Glance | Spring 2022 by California College of the Arts

THE MAGA ZINE OF CALIFORNIA COLLEGE OF THE ARTS

SPRING 2022

1. Film faculty member Donald Matthew Smith teaches first-year students how 8x8 diffusion material is used in lighting for film and television. 2. “This piece is called Overdue Embrace, and it’s a mixedmedia wearable piece of art made primarily of fabric and polyfill. The teeth are vacuum formed, and the eyes are cast in resin,” says PJ Parker (Sculpture). “I’ve found myself making work and really enjoying it these days, and being back with our amazing teachers.” 3. Architecture undergraduate Claire Leffler works on her architectural model in the Nave. 4. “This is my final project called ‘Connecting Both and Between.’ And it comments on the changing nature of the Dogpatch neighborhood through structures which house a media library and a film school for middle and high school-aged children.” says Bennett (Ben) Grisley (Architecture). “I’ve come to see the value of community and the campus resources in a new light. It’s great to be back.”

he act of making looks a little different now than it did before the pandemic. Yet students and faculty have audaciously adapted to the circumstances of our time. Like most places, CCA went online until it was safe for students, faculty, and staff to come back together in person.

For CCA, that moment came during the fall 2021 semester, when many classes resumed in-person and in-studio making and learning. “The return to campus has been fantastic,” says Karla Wozniak, associate professor of painting and drawing. “Our students are so eager to make art and engage with each other inside and outside of class. I am so happy to see our studio culture up and thriving. And students learn as much from each other as the faculty.” As the college resumes in-person teaching and learning, students and faculty revel in the joy of making—together— again. So what does making look like today at CCA? Here’s a look at what we’ve been up to since returning to campus last fall.

W H AT D O E S MAKING LOOK LIKE NOW?

5. “I’m excited to have access to so many school facilities including the Kuka robots, 3D printers, laser cutters, and CNC labs,” says Anbin Liu (MArch), while preparing his architectural model in the Orbiculight. “Being back on campus, I feel like I hold a deeper connection with my work, my friends, and my instructors.” What Does Making Look Like Now? | 1

6. “This is a coffee table called Convergence. I made it by creating a jig for bent laminations, using extremely thin pieces of wood and gluing them together,” says Nicole Wong (Furniture). “It feels tremendous to be back in the shop getting my hands dirty again. Time passes so quickly there; you just get lost working.” 7. Wood from droughtdamaged trees from the Oakland campus is reclaimed in the Furniture Atelier course taught by Wornick Visiting Professor Ido Yoshimoto. 8. Students from the Architecture division stand in front of a digital drawing they created in a one-day workshop called Drawing Afield.

2 | What Does Making Look Like Now?

9. “For my introductory painting class, I worked with oil paints to make six close-up views of various objects,” says Michaela Sampas (Painting and Drawing). “I really missed having a big space to work so getting to work in the studios again has been a great experience.” 10. “This is a soft sculpture piece that depicts the transformation of material. I started with a blank piece of muslin and used crayon and acrylics to draw fossils, and then finally crystallized the whole piece,” says Hanna Boyd (Painting and Drawing). “I’m remembering what it’s like to have classes and critiques in person again. It feels great working on our art together.”

What Does Making Look Like Now? | 3

11. Fashion Design undergraduate Ziyao Wang’s artful couture stands ready for a critique. 12. A day in the Nave: The Studio 1 Master of Architecture course meets, while a student, in passing, transports materials for their project. 13. MFA Design graduate student Nick Lamkin’s geometric work is on view during the MFA Design final critiques.

4 | What Does Making Look Like Now?

DEAR FRIENDS, Welcome to the spring 2022 issue of Glance magazine. You are reading this at a notable time for California College of the Arts. As I write, we are preparing for our first in-person commencement ceremony in three years. I’m so proud of our graduating students, who persevered through the extraordinary disruption of the pandemic to complete their degrees, and I’m thrilled to be able to join their faculty and families to congratulate them in person! This summer, we will implement recently negotiated collective bargaining agreements between CCA and its unionized faculty and staff. These multi-year agreements will support all members of our community and help provide a sustainable future for our college. I look forward to a productive partnership with the union going forward. Perhaps most significantly, we are concluding our final semester on the Oakland campus. When students and faculty return in the fall, it will be to San Francisco, with academic programs, shops, studios, student services, housing, and dining together in close proximity. As we say a bittersweet goodbye to Oakland, the Office of Alumni Engagement, the Oakland Campus Legacy Committee, and many individuals have organized meaningful events, programs, and curricula to reflect on and honor CCA’s home for the past century (email alumni@cca.edu to learn more). When the pandemic hit, we were about to launch construction of our innovative campus expansion designed by Studio Gang Founding Principal Jeanne Gang. (See “Singular Vision, Double Ground,” page 9.) Two years later, this project remains more essential than ever. As we put the final pieces in place to begin building this summer, our Oakland-based programs will join those in San Francisco this fall, some in their permanent locations, others in temporary spaces and facilities designed to suit their needs until the new campus is completed. With CCA’s unification comes an unprecedented opportunity to expand understanding of the profound impact this institution is making on the city, the region, and the world. Rarely does one get such an opportunity to consider not only the ways such a transformation enhances the curriculum, but also how it may influence what happens outside the studio and classroom. CCA, with its long commitment to social justice, community engagement, and environmental sustainability, is uniquely positioned to help reset and broaden the voices and leadership that will forge a different kind of cultural and civic approach for the Bay Area, the nation, and beyond.

PRESIDENT STEPHEN BEAL

C A M P U S

FIFT Y YEARS OF CRITICAL ETHNIC ST U D I E S AT C C A

In 1970, CCA (then CCAC) launched the Ethnic Art Studies program and Black Studies Institute, now the Critical Ethnic Studies program. It was and remains the only dedicated program of its kind 1 at a U.S. art and design college. The program was founded by Dr. Michael Oshoosi Wright, who was hired to teach Black history at the college. Today, Critical Ethnic Studies remains an integral part of the CCA curriculum, and all CCA undergraduates take one seminar and one studio class from the program. In 2020, as the Critical Ethnic Studies program marked its 50th anniversary, racism in the form of anti-Blackness permeated public consciousness

Our 2022 gala on May 19 honoring community leader Roselyne C. Swig raised well over $1 million for student scholarships. Scan the code or visit cca.edu/gala for pics and details!

6 | Campus News

following the public murder of George Floyd and many other Black Americans at the hands of the police. In a statement of solidarity, Critical Ethnic Studies faculty cautioned that police brutality is but one symptom in a system designed to marginalize Blacks and “othered” groups. They wrote, “We recognize … that until Blacks are free from this oppression, and Black Lives Matter, no other lives will be free.”

CCA HONORS L EG E N DA RY DESIGNER SIR JONY IVE CCA proudly celebrated Sir Jony Ive as the honoree during its annual gala last spring, highlighting his profound influence on the world of design. The chief design officer at Apple for 27 years, he created some of the most influential, intuitive, and beautiful products we use every day, such as the iMac, PowerBook, iPod, iPhone, and Apple Watch. Sir Jony also delivered the commencement address to CCA’s 2021 graduating class, where he was awarded an honorary doctorate in recognition of his extraordinary contributions to design. His devotion to design principles continually influences new ways of practicing and studying design, art, and technology, and is inspiring the next generation of creative visionaries—including a group of CCA students who had the opportunity to meet with him personally. 2

N E W D EG R E E P RO G R A M S LO O K TO T H E F U T U R E Building on its long history of innovation in the fine arts, CCA has added two new degrees to its diverse range of artistic practices: the BFA in Game Arts, launched in fall of 2021, and the BFA in Comics, which will be offered fall 2022. The BFA in Game Arts is an interdisciplinary degree program that allows students to explore and envision nearly every type of game. Students learn the art of character design, story development, and computer and motion graphics, preparing them today to create the games of tomorrow. Building on the success of its current MFA in Comics program, CCA will offer its new BFA in Comics in the coming fall. As the only undergraduate program like it on the West Coast, the BFA in Comics will prepare students with the skills to enter the professional comics industry.

1. Critical Ethnic Studies 50th anniversary logo, designed by professor Steve Jones (BFA Graphic Design 1992). 2. Sir Jony Ive. 3. Board game by students Namhi Kwun, JJ Tan, and Laksh Agrawal in the Animated Games course. Courtesy of the artists.

NEWS

D U ST I N O. CANALIN GOES F RO M C C A TO T H E N B A A N D B AC K AGA I N

ST U D E N T S TA K E T H E I R W O R K TO NEW HEIGHTS 5

Bay Area–born alum Dustin Canalin turned his passion for basketball into his dream career as a designer, and if you’ve ever watched an NBA game, you’ve probably seen his work. Canalin (Graphic Design 2000) created the Golden State Warriors’ iconic “The Town” logo and uniform, released to honor their last season in Oakland. He’s also designed for the Chicago Bulls, Philadelphia 76ers, and Brooklyn Nets, as well as for brands such as Nike, Puma, Under Armour—and now, CCA. On a Saturday morning coffee run in his New York neighborhood, Canalin wanted to show off his CCA pride by wearing a hoodie with his alma mater’s name. When he discovered no such hoodie was available to buy, he decided to design one himself. The result is a partnership between the designer and his school: CCA by DOC. The capsule collection features a hoodie, crew, and t-shirt Canalin created just for CCA. The limited-edition apparel is available at the ARCH Art Supply store on the San Francisco campus or online at shop.archsupplies.com. 4

ST U D I O F O RWA R D S P EC U L AT E S O N B E LO N G I N G In a new partnership with Google, Design students and faculty at California College of the Arts are piloting a year-long 6 interdisciplinary course called Studio Forward. As part of a growing number of speculative design courses, students are investigating what belonging might look and feel like in the years ahead. Through a series of research prompts and collaborations, student teams built installations and experimental artifacts to bring their ideas to life, addressing questions such as, “How do we heal as a collective, in a community, and in relationship to nature?” In spring 2022 student teams honed in on the future of synchronized, viral, restorative, experimental, intimate, and social belonging, and finished the year with an exhibit of their work and a slate of public programming.

Since 2019, renowned Bay Area artist Jim Campbell has been working with Film professors Lynn Marie Kirby’s and Jeanne Finley’s students to showcase their work high above the San Francisco skyline at the top of Salesforce Tower. Campbell is the artist behind the stunning light installation Day for Night (originally launched in 2018). Lit by 11,000 LED lights on the tower’s top eight floors, Campbell’s installation is public art you definitely can’t miss.

In January 2021, Campbell and his studio, White Light, began an ongoing, monthly Midnight Artist Collaboration series showcasing the work of emerging Bay Area artists, whose images are featured on the tower every night at midnight. Several recent projects were created by CCA students or alums, many reflecting the timely events of 2020 and 2021: Zihan Jia (MFA Fine Arts 2021) and Yiqing Sun’s (MFA Fine Arts 2021) homage to Zoom revealed that some things just can’t be done over video conferencing, and Huan Cheng (MFA Film 2020) and Narges Poursadeqi (MFA Fine Arts 2020) digitally interpreted the COVID-19 virus.

4. Limited edition CCA by DOC pullover hoodie, designed by Dustin O. Canalin. 5. Emilie Cevallos Paredes, Eryn Bathke, Tony Barnardo, and Toni Olutomiwa, Hologramos, 2021. Courtesy of the artists. 6.Melissa Ortiz, Personal Collection 2, 2021. Courtesy of the artist. 7. Zihan Jia and Yiqing Sun’s Salesforce Tower projection, 2020. Courtesy of the artists.

Campus News | 7

s the college’s first-ever vice president of diversity, equity, inclusion, and belonging, Tricia Brand is eager to lead bold efforts to build on a campus culture imbued with a commitment to social justice. Brand comes to CCA from Portland Community College, where she served as both a dean and most recently its chief diversity officer. She held senior leadership roles at the University of Arizona in Tucson and Lewis & Clark College in Portland, Oregon. We talked with Brand about hope and the future of CCA.

WHAT ARE SOME INITIATIVES YOU’RE EXCITED TO GET STARTED ON AT CCA? I am really excited to support the relaunch of the Center for Art and Public Life (CAPL). The vision is to make it a space that is curated alongside community artists, faculty or student work, or Bay Area partnerships that bridge relationships in the community. A major goal for CAPL is to rethink what it feels like to connect culturally immersive creative spaces within the community to our students and faculty and their own forms of inquiry. HOW WOULD YOU LIKE TO SEE CCA ENGAGE WITH ITS COMMUNITY AS WE UNIFY OUR CAMPUSES? This question sparks another one for me: What loss is everyone connected to CCA feeling while also looking toward the future? What space do we need to hold

8 | THE POWER OF HOPE

for thoughtfully ending our presence in Oakland and making a new identity in San Francisco? How do we preserve aspects of what has made CCA so much a part of Oakland’s community and vice versa? All of us at the college are going to have to be very intentional, as we transition to a distinctive footprint in San Francisco.

language, religion, economic disparities, and issues around intergenerational poverty—we have to figure out how we can weave these together. All forms of oppression are connected.

WE ARE SEEING A BACKLASH TO INITIATIVES BRINGING ATTENTION TO RACISM AND WHITE SUPREMACY. HOW DO YOU THINK WE MARCH AHEAD IN THESE TUMULTUOUS TIMES?

I don’t think you can engage in any social movement without always having some vision of hope. And you can’t meaningfully work in education and not be constantly driven by hope.

That is a really heavy question. We are facing this point of precarity because we’re still figuring out how to merge our movements for social progress. To me, that means each of us has to leverage or relinquish aspects of our own comfort. Black Lives Matter, and also gender justice, disability justice, residency status,

I’m really hopeful that CCA is going to continue to push the boundaries around recognizing a critical analysis. I also am hopeful for what it looks like to have a community that has always been at the forefront of challenging structures and systems of power—especially in the Bay Area—and that here is where these movements will merge.

WHAT GIVES YOU HOPE FOR THE FUTURE—AT CCA AND IN THE U.S.?

THIS INTERVIEW HAS BEEN EDITED FOR LENGTH. TO READ THE FULL CONVERSATION, VISIT CCA.EDU/VP-DEIB

SING UL A R VIS ION WITH THE UNIFIC ATION OF ITS C AMPUSE S IN SAN FR ANCISCO, CC A BUILDS ON IT S ART S AND CR AF TS LEGACY TO DE SIGN A NEW MODEL FOR ARTS EDUC ATION.

f you want a glimpse into the future of creative practice, there may be no better place to find it than the broad, light-drenched central atrium of California College of the Arts (CCA)’s main building in San Francisco. Known affectionately as “the Nave,” the flexible space stretches 350 feet from front door to back, serving both as the primary route within the building and as a hub of creative and curricular activity.

Stroll through the Nave on any given day, and you may discover an array of finely crafted furniture, a congregation of beautifully attired dressmakers’ forms, or an assemblage of architectural models, all awaiting review and critique from professors, peers, professionals, and passersby. A few hours later the walls may be covered with ink-on-paper figure drawings, digital projections, or colorful illustrations. In November, you may find a community-built Day of the Dead ofrenda; in May the space transforms into an exhibition venue showcasing the work of graduating students.

“There are few, if any, art schools that value transparency around the process of learning and making like we do,” says CCA President Stephen Beal. “That transparency cuts across programs and disciplines. Most architecture programs, for example, are sequestered in separate buildings on university campuses. At CCA, an architecture student can walk through the Nave and encounter a painting critique, an industrial design critique, a fashion critique, and a graphic design critique on the way to their studio class. It will have an impact. And perhaps it will encourage them to collaborate on a project with another student, or to consider a different approach than they would otherwise.” The Nave—where making and learning happen in the open and all are welcome participants in the creative discourse—is a profound example of how CCA’s built environment encourages an approach to education that is rooted in making and places a premium on collaboration, experimentation, and risk taking.

D O U BL E G RO UN D

DESIGNING TO CCA’S VALUES

Creating spaces that provide intentional opportunities to amplify these ideas is the driving force behind CCA’s campus expansion. When CCA students begin their fall 2022 semester on a single, residential campus that brings together fine arts and design, craft and architecture, writing and making, it will be a moment decades in the making. And when Double Ground, CCA’s innovative campus expansion, is completed, it will mark the culmination of years of visioning, dreaming, strategizing, planning, questioning, listening, learning, collaborating, fundraising, designing, and building—all in the service of creating a campus that will, as Beal says, “redefine arts education for the future.”

1. Student projects in the Nave, the transparent and open space that helped inform the design of Double Ground. 2. Double Ground is so named because it will have two ground levels. The upper ground features an outdoor plaza, a park-like garden, and views of the maker yards on the lower ground. All renderings courtesy of Studio Gang. 3. Wide doorways and a continuous floor enable heavy materials to be moved around easily and into flexible outdoor courtyards on the lower ground called maker yards.

10 | Singular Vision, double ground

The value—some would say necessity— of this redefinition is becoming increasingly clear, as our world’s thorniest problems demand solutions from radically creative people. CCA’s founding values and established pedagogy, emphasizing experiential learning, interdisciplinarity, sustainability, and connection to community, have positioned the college particularly well to lead this process. And its global approach ensures that ideas and influences flow freely into its San Francisco campus, and are carried around the world as CCA graduates embark on their careers.

From its founding in 1907, CCA has been steeped in the principles of the Arts and Crafts Movement—a melding of theory and practice; an integrated approach to art, design, and craft; and a commitment to social activism and engagement. With a focus on “educating those who do,” CCA’s curriculum embraces the value of craft and making in concert with theory and scholarship. Those principles hold as true today as they did more than a century ago. When CCA sought a partner to embody them in a unified San Francisco campus, the college found it in Studio Gang, an architectural firm noted for its innovative use of materials; commitment to environmental sustainability; and deep research into the history, mission, and values of the organizations it works with. The project will transform the Backlot—a 2.4-acre open space adjacent to CCA’s main building—into a hub of making and learning that is welcoming, functionally flexible, and carbon neutral. Studio Gang Founding Principal Jeanne Gang and her team sought insight from those who know CCA best—students,

faculty, studio managers, alumni, and many others. Among the priorities for the CCA community was a design that would “anticipate and support the pace of change in education,” “embody creative risk and experimentation,” “make green space work,” and fully integrate the campus and the surrounding neighborhood.

and trees, this welcoming green space brings something of a traditional collegecampus feel to the site and continues the opportunity for cross-disciplinary interactions and spontaneous meetings.

The resulting design is an architectural embodiment of the values and pedagogy that are central to CCA’s mission. It will be, as Gang puts it, “creatively hackable,” a fluid space that serves the needs of students and faculty today that can easily evolve to support creative practice and pedagogy in the decades to come.

With ingenuity, collaboration, support from the city, and the generosity of donors who shared the vision for a residential campus, Blattner Hall opened in the fall of 2018 with 30 apartmentstyle units housing 200 students. In the fall of 2020, Founders Hall opened adjacent to the main building (and soon, Double Ground), adding full dining services and about 500 more beds for first-year, second-year, and graduate students.

DOUBLE GROUND Studio Gang’s innovative design, “Double Ground,” is so named because it will have essentially two ground levels. The “lower ground,” at street level, will house workshops and studios requiring heavy equipment: facilities for ceramics, metal, sculpture, and furniture, among others. Wide doorways and a continuous floor without steps or thresholds will enable heavy materials to be moved around easily (the transparency of these glasswalled spaces ensures ideas move easily among them, too). Many of these ground-floor spaces open into shared “maker yards,” outdoor courtyards that serve as extensions of the surrounding shops while encouraging interaction and chance encounters among students. The “upper ground” is a second main level featuring an outdoor plaza and a park-like garden, with views into the maker yards below. Dotted with plants

identified the development of student housing as a top priority, understanding its importance to building an inclusive creative community. The assignment was daunting: construct enough oncampus housing to transform CCA into a residential campus, keep the cost to students comparable to peer institutions across the country, and do it in one of the most challenging housing markets in the world.

A LIVING-LEARNING LABOR ATORY Despite pandemic disruptions that have delayed the construction of Double Ground, other elements of CCA’s campus expansion and unification were able to continue as planned—including the college’s transformation to a residential campus with capacity to house about 50 percent of students within blocks of their classrooms, workshops, and studios. When CCA’s Board of Trustees first outlined its vision for an expanded campus more than a decade ago, it

As programs and housing unify in San Francisco, the college is honoring the legacy of its historic Oakland campus with a series of events, projects, and curricular initiatives designed to preserve artifacts and memories, celebrate history, and honor the legacy of craft, social impact, and learning through making that has defined CCA since its founding more than a century ago. With a thoughtful, flexible design that embodies this legacy, the expanded San Francisco campus is well positioned to carry this rich history forward into the new spaces and traditions that will define CCA into its next century.

4. Founders Hall houses more than 500 students and features an 8,000-squarefoot dining hall and cafe.

Singular Vision, double ground | 11

FIRST-YEAR STUDENTS TAKE A STAND

imberly Seda, a first-year student studying animation, picks up an oversized basket formed from cardboard and walks to the front of the classroom. Her peers form a semicircle and look on curiously. “Okay, Kimberly, go ahead and tell us about your work,” says the class’s instructor, Assistant Professor Kari Marboe.

Seda takes a deep breath and begins: “I’m protesting ocean pollution and all the trash that’s fallen into the sea. It affects literally the entire planet.” Seda hoists the large basket over her shoulder and says, “This giant net is modeled after a fisherman’s net, but instead it gulps up the trash in the ocean.” [1] She turns the basket upside down and out falls a shower of trash and small fish, all made out of cardboard. “You see?” she says. “There is more trash than fish, and more trash in the ocean than life.” Seda’s project is one of dozens by first-year CCA students who made artwork inspired by important social and environmental issues. The project, called “protest prosthetics,” is part of the First Year Core Studio program. Students are prompted to protest a social injustice of their choosing by making something they would wear on their body. The catch? It must be made entirely out of cardboard.

1. Kimberly Seda (Animation 2025), Untitled (netting ocean trash). 2. Cole Morrison (Textiles 2025), Arm Yourself with Knowledge. 3. Karina Zhou (Industrial Design 2025), Untitled (not your Asian woman).

12 | Putting on Protest

Other students protested the rise of disinformation. Textiles major Cole Morrison made a special vest and helmet designed to arm the wearer with knowledge. [2] “What if we thought about education the way we thought about the military?” Morrison asks, as they take off the cardboard helmet. “I think a lot about the rise of disinformation with the pandemic and the recent election. And I’m protesting that by creating armor against it. What if we better funded schools to teach critically how we share information online?”

The creator of the protest prosthetics project, First Year Core Studio Program Chair Erik Scollon, says sharing ideas through the lens of a protest draws out students’ passions and makes the work more resonant for both the students and their classmates. “The thing that is most powerful about this whole project is that we’re asking new students to identify something they care about,” Scollon says. “They quickly learn that art and design encompass a wide variety of ideas that are just as important as the skills you learn to make your idea real.” Scollon’s inspiration for the project was born from combining ideas and techniques he saw in the work of Colombian American artist Johana Moscoso and CCA alum Ann Weber (MFA Ceramics 1997). Moscoso’s Emotional Prosthesis works include pillows that hug you back during moments of sadness and an assemblage of foam pads that can cover up the body from head to toe

during overwhelming moments in city life. Weber, on the other hand, casts cardboard into bronze or fiberglass to create sculptures that are large in scale, yet appear soft and flowing. Scollon translated Moscoso’s conceptual premise and Weber’s materials for use in the classroom. “Previous to this, I had done a project that had to do with prosthetics just for learning about three-dimensional design. The body is a really useful thing for teaching students because they grasp whether something fits or doesn’t,” Scollon says. “In my first version of this particular class project, I had taken Moscoso’s emotional prosthetics concept and Weber’s cardboard medium and fused those together without the protest component, but then Trump got elected in 2016.” The Women’s March, one of the largest protests in history, took place on January 21, 2017, the day after Donald Trump’s

inauguration. In previous classes, Scollon had noticed that students had trouble creating an emotional prosthetic because they were trying to tackle broad categories such as “love” or “sadness.” “They were too abstract,” he says. “But after the Women’s March, I knew students were really familiar with the idea of the aesthetics of protests, and pivoting this project slightly in that direction helped them grasp something meaningful to them.” In this year’s class, after a year of increased droughts in the West, flooding in New York City, and frigid temperatures in the heart of Texas, many students are increasingly worried about the future of the planet. And their protests reflected that deep concern. Eva Ponting (Illustration 2025), for instance, made a cardboard breathing apparatus that looks like a spacesuit. On her back is a plant encased in a tank,

Putting on Protest | 13

“THE THING THAT IS MOST POWERFUL ABOUT THIS WHOLE PROJECT IS THAT WE’RE ASKING NEW STUDENTS TO IDENTIFY SOMETHING THEY CARE ABOUT. THEY QUICKLY LEARN THAT ART AND DESIGN ENCOMPASS A WIDE VARIETY OF IDEAS THAT ARE JUST AS IMPORTANT AS THE SKILLS YOU LEARN TO MAKE YOUR IDEA REAL.” ERIK SCOLLON Associate Professor and Chair, First Year Core Studio Program

suggesting the suit’s source of oxygen. She says, “I imagine myself in a postapocalyptic world, where the Earth is uninhabitable because of pollution, so this suit has a tree that helps me breathe.” [4] Students also addressed the pain of anti-Asian racism, which has been highly visible in the form of attacks on elders in the community, many of which occurred in the Bay Area. For students who identify as Asian or Asian American, the project offered an opportunity to comment on and resist anti-Asian hate. Sophie Ring (Animation 2025) built a mask that resembles a dragon she wears over her head. “This is my protest against racism,” she says, as she pulls a lever to open and close the dragon’s mouth. “The mask blocks out the sound of people who intend to harm, but it also allows you to fight back. I’m half Chinese, so it’s very personal to me.” [5]

14 | Putting on Protest

Similarly, Karina Zhou (Industrial Design 2025) protested the fetishization of Asian women in Western media and society. “I have personally experienced being sexualized for being an Asian woman and see it in the culture at large,”

she says. “I wanted to draw awareness around how women of Asian descent are expected to behave in power dynamics and media representations.” [3] In teaching the class, Scollon highlights the power of protest art to reframe ideas for a viewer without using words. He includes examples like The Mirror Barricade (Die Spiegel Barrikade), whose participants confronted a neo-Nazi rally in Dortmund, Germany in 2016 with inflatable, reflective baloons, and the Bread and Puppet Theater, a political theater troupe that stages performances and marches in certain parades. Scollon observes, “Protest signs become such a familiar sight at demonstrations that they can sometimes be easy to ignore, but if you make this amazing puppet, people have to stop, consider, and make a choice about what they are seeing.” Sara Cruz’s (Ceramics 2025) chosen protest exemplifies this premise. While others protested racism and pollution, Cruz felt a strong desire to protest strict gender roles. In her piece, Cruz made a belt with two large, oval-shaped spheres descending from the middle. [7]

“I decided to protest toxic masculinity and the power of gender conformity. I think of harmful phrases like, ‘Why don’t you grow a pair!’ or ‘Man up!’ I was inspired to make an exaggerating statement,” Cruz says. “Toxic masculinity has stopped so many voices from being heard and emotions from being expressed, and it has turned violence into an indicator of power.” Cruz’s protest also demonstrates how artists learn to work with materials to turn their ideas into reality. “This project taught me how to stick to one material and manipulate it in a way that I never thought I could. Cardboard is usually angular and as a ceramics major, I wanted to shape it so it would look organic,” she says. For Scollon, the project not only teaches students how to translate concepts and ideas into artworks, but also how to craft and manipulate their materials, to under-

stand proportions and measurements, to experiment, and how to do so sustainably. “But I hope that I teach them proper calculations of scale—how to go from a drawing to something that fits your body. They also experiment, which plays an important part in the design process, and since they have no previous knowledge of cardboard as an art form, it really loosens up their expectations and limitations,” says Scollon. One student ran with the chance to experiment with cardboard by taking his love of marine life to a whole new scale. Vincent Parkes (Animation 2025) created a piece he calls Mr. Clean, a monumental sculptural whale that he carries over his shoulder. On one side of the whale, plastics and other trash overflow its body. [6] Parkes describes how truly experimental creating this piece was for him, adding his zeal for environmental responsibility. “Mr. Clean is double the size I antici-

pated!” he says. “I used recyclable gum tape to smooth out the surface and add patterns. Making this entirely out of cardboard was certainly a learning curve, but I think it is a very forgiving medium.” Reflecting on the project, Scollon observed that many new students wrestle with authenticity and vulnerability. “First-year students are learning how to bring out their authentic selves. Many of them have something they are making that is just in their notebook that they share only with their friends,” says Scollon, “And it’s something we want to draw out of them, to show them how to confidently share ideas that fire their imagination.”

4. Eva Ponting (Illustration 2025), Take a Breath. 5. Sophie Ring (Animation 2025), Untitled (a mask against racism) 6. Vincent Parkes (Animation 2025), Mr. Clean. 7. Sara Cruz (Ceramics 2025), Untitled (grow a pair).

Putting on Protest | 15

e sat down with Comics professor Justin Hall in October to talk about his big year. His feature-length documentary, No Straight Lines: The Rise of Queer Comics (made with director-producer Vivian Kleiman), premiered at the Tribeca Film Festival in July 2021 and won the Documentary Feature Grand Jury Prize at the Outfest Film Festival. In honor of the 50th anniversary of San Francisco Pride, his poster series Marching Toward Pride was installed at bus stops along San Francisco’s Market Street. And during the 2021–22 academic year, he’s interim chair of the MFA in Comics program.

blasts through the page

WHERE DID YOU GET THE IDEA FOR NO STRAIGHT LINES? AND HOW DID IT CHANGE, FROM CONCEPT TO CREATION? It started as an exhibition for the San Francisco Cartoon Art Museum in 2006 and then I did a book that came out in 2012. While I was working on the book, a friend said, “You should make a documentary film about this.” Not realizing what that actually entailed, I said, “Okay!” Initially, the film was sort of haphazard. Then it evolved to focus on five pioneers of queer comics [Alison Bechdel, Jen Camper, Howard Cruse, Rupert Kinnard, and Mary Wings].

Vivian [Kleiman] and I were able to work with Allison Bechdel [Dykes to Watch Out For, Fun Home] and Jennifer Camper [Rude Girls and Dangerous Women, Juicy Mother], and with Rupert Kinnard [Cathartic Comics], who created the first queer Black characters in comics. History hasn’t paid enough attention to him, so to be able to shine a spotlight on him and his work was a wonderful thing. We also interviewed Howard Cruse [Wendel, Stuck Rubber Baby], who is the godfather of queer comics. He died in 2019 when we were still filming and so he never got to see it, which is heartbreaking. I consider him a personal hero and a mentor, so it means everything to be able to help celebrate his influence. He was one of the greatest cartoonists of his generation, but he never got the acclaim that he should have because he was gay.

1. Justin Hall in front of his Marching Toward Pride poster about the Compton’s Cafeteria Riots. 2. Details from Hall’s Marching Toward Pride poster series.

16 | Justin Hall Q&A 1

SAN FR ANCISCO’S QUEER HISTORY AND CULTURE IS FULL OF REMARKABLE CHAR ACTERS WHO ARE LARGER THAN LIFE. I WANT TO PAY HOMAGE TO THAT AND BE PART OF THIS LINEAGE OF QUEER ARTISTS AND FREAKS AND REBELS. WHAT INSPIRED YOU TO START MAKING COMICS? I was a visual kid, but I was also fiercely narrative. A lot of people struggle to figure out their passion, but I got it easy—I always knew I wanted to make comics. I read a lot of superhero comics as a kid and then a lot of French comics like Tintin and Asterix. Eventually, I found underground and alternative comics and they completely blew my mind and opened me up to the possibilities of more authentic storytelling. HOW HAS SAN FRANCISCO AND ITS LGBTQ+ CULTURE AFFECTED YOUR PRACTICE? San Francisco’s queer history and culture is full of remarkable characters who are larger than life. I want to pay homage to that and be part of this lineage of queer artists and freaks and rebels. I moved to San Francisco both for the comics history and for the queer community. I grew up in Providence, Rhode Island, where I was known as

Justin “the gay guy.” But in San Francisco, where queerness is so diverse and omnipresent, I could also be “the comic guy” and “the bicyclist” and be identified with all of these other aspects of my personality.

graphic novel. I’m also working on a graphic novel set in the National Guard Armory in San Francisco during the years when it was owned by Kink.com. It’s a queer ghost story that’s also about San Francisco’s history.

TELL US ABOUT YOUR MARCHING TOWARD PRIDE POSTER SERIES.

Currently, I’m on a panel reviewing Fulbright applications—it’s exciting to see comics projects finally being taken seriously by organizations like that. Comics are coming into the academic and cultural mainstream like never before, allowing for cartoonists to get grants, residencies, teaching positions, and other opportunities.

As queer people, we have a hard time accessing our own history, so to have the opportunity to create public art about those stories was incredibly inspiring. And comics are engaging, so you can put forward complex narratives and ideas in profound and accessible ways that really can’t be done in other media. The queer history of San Francisco is an important foundation for the history of all of San Francisco. It’s one of the things that makes San Francisco such a unique city, and I want to make sure people understand that this area was pivotal for civil rights and cultural innovation. WHAT ARE YOU WORKING ON NOW? I plan to turn the Marching Toward Pride poster series into a full-length

I think that’s where CCA’s Comics program positions itself: we can show students how to become better artists and storytellers, but also how to make a living out of this. We have an opportunity to become the central academic institution for comics in the country, and internationally prominent as well. It’s a really thrilling time and CCA’s been incredibly supportive of all of us comic geeks. 3. Hall teaching a comics class at CCA.

Justin Hall Q&A | 17

CREATIVE CREATIVE CREATIVE CREATIVE A CREATIVE CREATIVE CREATIVE CREATIVE CITIZENSHIP CITIZENSHIP CITIZENSHIP ENERGIZES ENERGIZES ENERGIZES ENERGIZES ENERGIZES ENERGIZES CAMPUS CAMPUS CAMPUS

rt can inform, persuade, inspire, and motivate. This is the principle behind creative activism, which harnesses the power of the arts to enact political and social change. Creative activism can call attention to inequities, as poster campaigns from the Guerilla Girls have been doing since 1985. It can pose incisive questions, like many of the artist-designed billboards For Freedoms organized across all 50 states prior to the 2020 election. It can create change, as Nan Goldin showed us with organized die-ins that led to the stripping of the Sackler name from many museums. And it can come to symbolize a movement— think pink pussy hats.

At CCA, the Creative Citizens in Action (CCA@CCA) initiative weaves creative activism into the life of the college, engaging societal issues and electoral politics through the lenses of art and design. Launched in 2018, the initiative sponsors The Deborah and Kenneth

Novack Creative Citizens Series, comprising lectures, symposia, projects, and exhibitions that bring the college community and the public together around important topics such as prison reform, sustainable agriculture, voter participation, and trans civil rights. “In creating CCA@CCA, we were responding to a strong desire among CCA students, faculty, and staff for more programming related to activism, social justice, democratic engagement, and current events,” says Director of Exhibitions and Public Programming Jaime Austin. CCA@CCA grew out of a collaboration with artist Hank Willis Thomas (MFA Fine Arts, MA Visual and Critical Studies 2004) and For Freedoms, the platform for creative civic engagement, discourse, and direct action that he cofounded. The recipient of a Guggenheim Fellowship and the subject of a recent major touring retrospective, Thomas is a conceptual artist whose work addresses how popular culture perpetuates biases and how art can raise awareness of social justice issues. As the first Creative Citizens Fellow, Thomas came to campus to work with students and participate in exhibitions, town halls, and community events promoting civic action around the 2018 midterm elections. In the lead-up to the 2020 presidential election, CCA@CCA built upon this energy to sponsor creative projects promoting participation in the democratic process. More than 65 students, faculty, staff, and alumni answered the call to submit poster designs for the CCA@ CCA Artwork Campaign. The resulting works—ranging from a striking image of a world consumed by wildfires to a

18 | CCA @ CCA

comic book–style infographic listing ballot-return deadlines for all 50 states— called attention to campaign issues and encouraged voting. They were displayed in a window exhibition during the pandemic lockdown and most are still available to download for free—check them out at creativecitizens.cca.edu. The fall 2020 course What Is Your Voting Story?, funded by a CCA@CCA micro-grant to Associate Professor of Photography Aspen Mays, galvanized students to think deeply about the democratic process. Photography students from CCA and Georgia State University in Atlanta came together virtually to discuss voting stories from their families and communities. Although they found that they shared more than they would have expected— students on both coasts struggled to discuss their political beliefs with their more conservative parents—CCA students were shocked to learn about efforts to suppress the Black vote in Georgia. These conversations informed the creation of new work, which students from both schools presented at an online event cohosted by SF Camerawork, exhibited on the CCA Libraries’ virtual exhibition platform, and mailed in the form of postcards to registered voters in partnership with Sister District. Gordon Fung (Individualized Studies 2022) wrote about the powerful photographs produced as part of this cross-country collaboration in the online student journal Rewind, Review, Respond, noting that the project encouraged “young artists from different states, upbringings, and backgrounds to exchange valuable views on the democratic process as a way to demand social justice and racial equality.”

A CCA@CCA faculty micro-grant also led to Getting Out the Vote: The 2020 US Presidential Election Awareness Project, a creative activism collaboration between students in Critical Ethnic Studies courses taught by Professor of Painting and Drawing Kim Anno and adjunct professor and graphic designer Steve Jones. Each team of students had four weeks to craft an effective and persuasive message around an election issue that could be disseminated in print or digital form. The project “got students fired up about election issues,” says Jones. These creative initiatives around voter registration, education, and turnout—as well as a social media voter registration campaign and the establishment of an on-campus polling place—earned CCA a Voter Friendly Campus designation from the National Association of Student Personnel Administrators (NASPA) and the

Campus Vote Project and a Silver Seal award from All In Campus Democracy Challenge. Riah Trevino (Film 2023), a CCA@CCA student representative during the 2020 election season, is proud of the campus’s achievements: “We had a hand in one of the largest youth turnouts ever,” she says. Inspired by the success of its 2020 efforts, CCA@CCA is gearing up for the 2022 midterm elections. We know our creative citizens will rise to the challenge.

1. Installing posters created for the CCA@ CCA Artwork Campaign in the windows of Hubbell Street Gallery, 2020. 2. Elaine Moreno (BFA Photography 2021), Mami, Papi, y Yo Votando, 2020. Photograph for Aspen Mays’s photography course What Is Your Voting Story? 3. sherry xiang (Community Arts 2022), Green Nation, CCA@CCA Artwork Campaign, 2020.

CCA @ CCA | 19

Meet Our New Trustees CCA

welcomed 11 new trustees to the Board over the past year and a half, bringing an impressive range of professional expertise and diverse perspectives to the college. Here’s what our new trustees said excites them to join the Board and contribute to the future of CCA.

RITU KALR A

SUZANNE R ANDOLPH Suzanne Randolph (MBA Design Strategy 2010) has been an entrepreneur for more than 30 years, beginning with the creation of her advisory firm, Suzanne Randolph Fine Arts. Randolph was a member of the first cohort of CCA’s DMBA program, which was launched in 2008. Looking ahead, she says, “As enrollment is key to long-term growth, I would like to support innovative ways of consistently reaching diverse pre-college students to contribute to the creative voices of CCA.”

ALYSSA WARNOCK CCA alum Alyssa Warnock (BFA Graphic Design 2001) is an award-winning graphic designer and principal of Alyssa Warnock Design Studio based in San Francisco. She says, “As a graduate of CCA and now a member of the Board of Trustees, I am really excited about my affiliation coming full circle, and also about the San Francisco campus.”

“I’m honored to join CCA’s Board of Trustees to help support CCA’s ongoing mission to educate and encourage students to make art that matters,” says Ritu Kalra, the treasury director and special projects advisor to the executive vice president and chief financial officer of Harvard University. Kalra has provided strategic advising to educational organizations and nonprofits, as well as state and local governments.

ABBY SADIN SCHNAIR

AARON GENSLER

“I have been involved in the arts and arts education both as an artist and a leader of arts organizations throughout my life. For me, joining the CCA Board is a culmination of my passions intersecting with the dynamic future of CCA,” says Abby Sadin Schnair, an architectural photographer with over 40 years of experience. Schnair was appointed to the San Francisco Arts Commission in 2013. She has served on the board of the American Conservatory Theater (A.C.T.) since 2006 and is past chair of the A.C.T. MFA Conservatory board.

“The complex issues on our collective horizon will necessitate the careful, considered solutions that have so often been found in the creative thought and system-building in art and design education. I am honored to lend myself to the tasks at hand at CCA in the company of so many exceptional thought leaders and educators,” says Aaron Gensler, a licensed architect, award-winning designer, and artist. Gensler is also an assistant professor and chair of the undergraduate and graduate architecture programs at Woodbury University.

20 | Meet our New Trustees

LUIS RICO-GUTIERREZ

JULIE LYTHCOTT-HAIMS

“This is an exciting moment to join the Board of Trustees as CCA realizes its goal of enhancing art and design teaching and learning by unifying on San Francisco’s stunning Double Ground campus,” says Luis Rico-Gutierrez, dean of the Iowa State University College of Design. He previously taught at Carnegie Mellon University, where he served as associate head of the School of Architecture, associate dean of the College of Fine Arts, and chair of the Studio for Creative Inquiry’s steering committee.

The New York Times–bestselling author of How to Raise an Adult, Julie Lythcott-Haims’s (MFA Writing 2016) work encompasses writing, speaking, teaching, mentoring, and activism. She is looking forward to “a united campus with a residential experience that will enrich the next generation of creatives, and the Bay Area, too.” Lythcott-Haims also serves on the boards of Common Sense Media, Black Women’s Health Imperative, and Narrative Magazine.

JESSICA FARRON

MARV TSEU Marv Tseu has had a long career as an executive across the technology, media, and telecommunications landscapes. “I am excited to be able to be part of building the next chapter of CCA and making it an art institution that sets the standard for all others to follow,” he says. Tseu also serves on the Fine Arts Museums Foundation Board of Trustees.

An early stage investor and brand advisor, Jessica Farron is an active supporter of education-focused organizations, serving as board secretary at the Bay Area Discovery Museum and a board member at SLS Preschool. She says, “I am thrilled to be a part of such an important and incredible institution dedicated to building futures for creators, innovators, designers, and new thinkers.”

LUCILLE TENAZAS

CARINA WONG

The founding chair of the MFA Design program at CCA, Lucille Tenazas is currently the Henry Wolf Professor of Communication Design at Parsons School of Design. Tenazas says, “With the campus unification plan, CCA is poised to be not only an academic but a cultural hub in the Bay Area. Building on CCA’s legacy of craft and design, the expanded campus will be a hospitable environment for makers of all stripes.” Tenazas is also a trustee of the American Craft Council and was the national president of the American Institute of Graphic Arts (AIGA) from 1996 to 1998.

Carina Wong (MBA Design Strategy 2019) is excited for “the potential for CCA graduates to be part of solving the world’s biggest problems with passion, creativity, and in community with each other.” Wong has worked in education policy and workforce development for over two decades at the national, state, and local levels. She is a former trustee of the Oakland Museum of California and was on the school boards of the Lighthouse Community Schools and Yu Ming Charter School.

Meet our New Trustees | 21

HOMECOMING: IN OAKLAND TOGETHER AGAIN

he CCA community returned to the Oakland campus for a day of art, music, and fun for its 2021 Homecoming celebration. With Homecoming temporarily moved online in 2020 during the height of the COVID-19 pandemic, attendees reveled in the joys of being in person together again.

The daylong celebration included something for everyone. Those looking to take in art got a peek at the latest student work in Ceramics, Jewelry and Metal Arts, and Photography. For the maker, a special collaborative sculpture mobile and a monoprint workshop in the Printmedia studio offered hands-on art-making experiences. The celebratory atmosphere was felt outside with food trucks at Macky Lawn and a special performance by the Delta Wires, a blues band featuring alum Ernie Pinata (BFA Painting 1971, MFA Painting and

22 | Honoring the Oakland Campus

Drawing 1974). And those looking to do some holiday shopping could choose from unique, handmade goods by almost 100 CCA artists and designers in the annual Holiday Fair. The festivities culminated in an exhibition launching an edition of specially made prints which visually narrate the 100-year history of the Oakland campus. Since CCA’s founding, gathering has been an important part of building community and friendships that last a lifetime. As CCA has grown—and in the midst of a global pandemic—gathering safely once again to greet friends, old and new, carries the traditions of the Oakland campus forward. Want to stay up to date on future alumni events, including a closing ceremony for the Oakland campus in the fall? Email alumni@cca.edu to join our mailing list!

1. The CCA community enjoying the Holiday Art & Craft Fair. 2. Alum and Professor Emeritus Thomas Wojak (center) opens the Oakland campus legacy exhibition, A Garden Campus. 3. Alum Ernie Pinata sings lead in his band, the Delta Wires. 4. Half Century Club Chair Laura Greenfield (BA Interdisciplinary Fine Arts 1971) speaking at the 50th reunion. 5. Metal casting demo with Curtis Arima (BFA Individualized Studies 1998), chair of Jewelry and Metal Arts.

COMMEMOR ATE CCA’S OAKLAND HISTORY WITH ORIGINAL ART

The Oakland Campus Legacy Committee is proud to present 10 limited-edition prints, each one depicting a decade of CCA on the Oakland campus. Curated by alums Deborah Valoma (MFA Textiles 1995), Lisa Jonas (MFA Fine Arts 2014), and Annemarie Haar (BFA Photography 2003) and produced by alum and Professor Emeritus Thomas Wojak (MFA Printmaking 1992), the series titled A Garden Campus includes original artwork by CCA faculty, featuring historically significant imagery, graphics, and flora of the 100-year-old campus—all hand screen printed by Wojak.

Own a slice of CCA history To see more and get a print, visit: cca.edu/legacyprints All proceeds help fund Oakland Campus Legacy projects. 5

A Garden Campus: Oakland campus legacy prints, by decade, hand screenprinted by Thomas Wojak. 6. The 1920s by Bob Aufuldish. 7. The 1930s by Curtis Arima. 8. The 1940s by Michael Wertz.

7 8

Honoring the Oakland Campus | 23

TECOAH BRUCE (1933–2021)

ART GENSLER (1935–2021)

ROBERT BECHTLE (1932–2020)

TRUSTEE, ARCHITECT, VISIONARY

ARTIST, TEACHER, PAINTER

Art Gensler was a transformational leader within our CCA community. For 11 years as a trustee, including four as board chair, Art championed art and design education. He played a critical role in the multiyear plan for the unification of CCA’s campuses in San Francisco. His philanthropic support was unwavering, beginning with a gift to the CCA Library 27 years ago and continuing with growing generosity year after year.

Esteemed photorealist painter Robert Bechtle (BAA Interdisciplinary Design 1954, MFA Painting 1958) was a vital member of the CCA family, the Bay Area arts community, and beyond. His paintings found understated and unexpected beauty in the vernacular of American life. Since he first earned his undergraduate degree, Bob has been a beloved and venerable part of the CCA community and served as a member of our faculty for almost 30 years.

TED COHEN

GARRY KNOX BENNETT

(1928–2021)

(1934–2022)

TRUSTEE EMERITUS, SUPPORTER, ADVOCATE For over 40 years, there was no greater champion of CCA than alum and Trustee Emeritus Tecoah Bruce (BFA Painting 1974, MAEd Art Education 1979). Tecoah served as chair, secretary, and assistant secretary of the board as well as founding chair of the CCAC Contemporary Art and Salon Circle donor groups. Prior to board service, she was president of the CCA Alumni Association. To honor her in perpetuity, we created the Tecoah Bruce Scholarship endowment which will support Fine Arts students working toward their undergraduate degrees at CCA. To help fund this scholarship in memory of Tecoah please visit cca.edu/give.

RONALD WORNICK (1932–2021)

TRAVELER, EXHIBITION DESIGNER, COLLECTOR

ARTIST, FURNITURE MAKER, CRAFTSMAN

TRUSTEE, ART COLLECTOR, ENTREPRENEUR

The Bay Area’s most respected and brilliant exhibition designer, Ted Cohen (BAEd 1952) embarked on an inspiring 60-year career in exhibition design and education after attending CCA on the GI Bill. He received a National Endowment for the Arts grant in 1976 and a Fulbright grant in 1980. His installations have delighted visitors in cultural institutions across the U.S., and he recently published The Object in its Place: Ted Cohen & the Art of Exhibition Design.

Garry Knox Bennett is recognized for his unconventional style and often irreverent furniture and decorative works. He attended CCA at the age of 24 and studied painting and drawing. In the 1970s, he mastered metal and wood working, and by 1996 was inducted into the American Craft Council College of Fellows. Future generations will know Garry through the incredible stories he shared for the college’s oral history program of the Emeryville Mudflats and his time at CCA.

As a trustee and supporter of the college for almost three decades, Ron Wornick made a transformative and enduring impact on CCA. Ron was an active member of the CCA Board of Trustees, where he held numerous leadership roles. His generous investments in CCA named the Ronald Wornick Wood Furniture Studios and established endowments for the Wornick Distinguished Visiting Professor in Wood Arts and the Ronald and Anita Wornick Award.

Photo of Garry Knox Bennett courtesy of Alison McLennan. 24 | Remembrances

IN O UR TH O UG HTS 2021–22

2020–21

Stephen Ajay (Professor Emeritus)

Danyal K. Akol (BFA Environmental Studies 1978)

Ruth Armstrong (BFA Fine Arts 1975) Janice Chilimidos (BFA General Fine Arts 1957) Beverly Joyce Gimlin (MFA Painting 1987) Michelle Anne Goodman (1973) Gary “Chicken” Hirsh (1963) Lisa Holland (MBA Design Strategy 2016) Jack Howard (BAEd Art Education 1958, MFA Painting 1959) Peter Keefer (BFA Interior Design 1958) Alice Geary Kilham (BFA Interior Architecture 1981)

Jean Orr Applegate (BFA Interdisciplinary Fine Arts 1949) Moysha Barnet (Faculty) Robert Benker (BFA Ceramics 1990) Whitney N. Davison (BFA Ceramics 1997) Ruth P. Forbes McLeod (Graphic Design) Beverly J. Gimlin (MFA Painting 1987) Chad Glashoff (Sculpture 2004) Wade Hoefer (BFA Painting 1970, MFA 1972)

Arturo Luz (Certificate 1949)

Sherry Kwint-Cattoche (BFA Painting 1973)

Richard E. Meyer (BFA Advertising, Illustration 1958)

Melissa M. McDill (BFA Illustration 1975)

Manuel Neri (1956)

Norman Nicholson (Faculty)

Norman Nicholson (Faculty, Illustration)

Terry St. John (MFA Painting 1966)

Andy V. Reid (BFA Printmaking 1987)

Elspeth Tordoff (BFA Interaction Design 2021)

Anthony David Shatsky (Photography 1972) Ferne Kerr Wilson (BAEd Arts Education 1942) Gary Wiss, Jr. (BFA Interior Architecture 2005) Ira Yeager (1975) Al Young (Faculty, MFA Writing)

Remembrances | 25

H O N O R RO LL O F D O N O RS

CCA is honored to recognize the following leadership donors who contributed generously to the college.

JANUARY 1, 2020–DECEMBER 31, 2021

INDIVIDUAL DONORS $25,000+ Deborah Ablin Johanna and Tom Baruch Stephen Beal and Elizabeth Hoover John Berggruen Kimberly and Simon Blattner Michael and Tammy Borosky Lorna Meyer Calas and Dennis Calas Brian Chesky C. Diane Christensen and Jean M. Pierret Maria and Eric Clothier Gayle and Ron Conway Penny and Jim Coulter Catherine Courage Richard and Jean Coyne Family Foundation Ellen and John Drew The Field Family Koko F. Flowers (BFA Graphic Design 1970) Lauren and James Ford Nancy and Pat Forster Jonathan Gans and Abigail Turin Stanlee R. Gatti Gensler Family Foundation Maria Giudice and Scott Allen Lizelle and Martin Green Janet G. Herrero Michaela and Jay Hoag George F. Jewett III (BArch 1996) David and Deborah L. Kirshman Kaitlyn and Michel Krieger Byron D. Kuth, FAIA LEED AP and Elizabeth Ranieri Miranda Leonard Joyce Linker The S. Livingston Mather Charitable Trust Nion McEvoy and Leslie Berriman Mrs. Sarajane Miller-Wheeler and Dr. Calvin B. Wheeler

26 | Honor Roll of Donors

Mary Mocas (MFA Fine Arts 2016) and Marv Tseu Meridee Moore and Kevin King* Ms. Ann Morhauser (BFA Glass 1979) Deborah and Kenneth Novack Katie and Matt Paige F. Noel Perry Cathy and Mike Podell Mo and John Pritzker Rappaport Family Foundation, Deborah and Andy Rappaport Rotasa Fund Tara Rudman The Sage Foundation Gene Savin and Susan Enzle Helen and Chuck Schwab Simpson Family Kimberlee Swig Judy and Bill* Timken Jack and Susy Wadsworth John Wagner and Leita Hancock Kay and Sandy Walker The Westridge Foundation Ms. Carlie Wilmans Diane B. Wilsey Anita and Ronald* Wornick Mary and Harold Zlot Anonymous

$10,000–$24,999 Mr. and Mrs. Rand L. Alexander Larry and Pam Baer Dr. Thomas and Janice Boyce Chris and Nina Buchbinder Nancy* and Joachim Bechtle Sabrina Buell and Yves Béhar Casey and Jack Carsten Matthew Chapman Wayee Chu and Ethan Beard Willi de Dios Cohen (MBA Design Strategy 2019) Mary Lou Dauray and Alan Davis Daniele De Iuliis and Janine Wiedmer

Kevin Domecus and Laura Brucken Carla Emil and Rich Silverstein Jessica and Matthew Farron Ferguson-Scott Family Trust Randi and Bob Fisher Jeffrey Fraenkel and Frish Brandt (BFA Printmaking 1979), Fraenkel Gallery Emma and Fred Goltz Chris Hennessy (BFA Illustration 2013) Mara Holt Skov Pamela and David Hornik Ritu Kalra Lauren Kern Nancy Klehr Robin Rosa Laub Paulette Long Kathleen McIntosh and Michael Covarrubias Michele and Chris Meany The Anthony and Celeste Meier Family Eileen and Peter Michael Diana Nelson and John Atwater Parker Family Foundation Toby and Sally Rosenblatt Catherine and Mark Sarkisian Laurel Scheinman Abby and Gene Schnair Eleanor and Francis Shen Molly Hasson Shreeve Susan Swig Roselyne Chroman Swig William True Rudy VanderLans and Zuzana Licko Ali and John Walecka Phyllis and John Walker Alyssa Warnock (BFA Graphic Design 2001) and Todd Berardi Andrea Weisbrod Wilder (BFA Interdisciplinary Design 1974) John Wendler Carina Wong (MBA Design Strategy 2019) and David Chai Robin Wright and Ian Reeves Sonya Yu

Nancy and William Zerella Anonymous (2)

$5,000–$9,999 Darla and Richard Bastoni Shelby and Carol Bonnie Ralph and Donna Briskin Tecoah Bruce* (BFA Painting & Drawing 1974, MAEd 1979) and Thomas Bruce Sarah Cannon Ashley Carr Laurence and Kim Chapman Daniel J. Daniloff (BFA Industrial Design 2011) and Susan E. Daniloff Kumiko Darrough Andrew G. Fisher (BFA Metal Arts 1978) and Jeffry Weisman Lorrie and Richard Greene Mimi and Peter Haas Fund Denise Hale Evans Hankey and Brook S. Lane (Film/Video) Maria and Chris Hemphill Wanda Kownacki and John Holton Eric Ku Suzanne Modica Michael Muscardini (BFA Printmaking 1972) and Kate Eilertsen Nancy and Steven Oliver Amnon and Katie Rodan Jessica Silverman (MA Curatorial Practice 2007) and Sarah Thornton Denise Littlefield Sobel Katherine Farley and Jerry Speyer Amanda and Bruce Spivey Dr. and Mrs. Norman C. Stone* Laura and Joe Sweeney Steven Volpe Glen Walton Sarah Willmer, AIA, and Brian Shiles, FAIA Mari Wright (Textiles 1965)

Gifts to our MAKER/MEETS/FUTURE campaign will be recognized separately.

$1,000–$4,999 Alka and Ravin Agrawal Alfred Amoroso Jo and Barry Ariko Ana Arriola Alexandria and Dwight Ashdown Ursula K. Auerbach (BFA Ceramics 1977) Susan Avila and Stephen Gong Peter Aylward and Quenby Morrow Terri Bailard (BFA Environmental Studies 1973) Tim Barabe Jeremy Bataillou Marie Jose and Kent Baum Jonah Becker (BFA Industrial Design 1997) and Lena Brook Michael Bernard Douglas Bernhagen (BA Applied Arts 1969) and Cathy Bernhagen Eli Bishop (MFA Comics 2017) Michael Bodziner (BFA Interior Architecture 1985) Howard and Barbara Bomze Jan Boynton Roslyn and Peter Brandt Tim and Gaynor Brown Lucy Buchanan Garrett and Sam Garrett Leslie Buchbinder Dr. and Mrs. Michael D. Butcher Tammy Rae Carland Heidi W. Castelein Willa and Lawrence Chao Susanne Cockrell (MFA Film & Video 1993) Belle Cohen Rose Anne Critchfield (BFA Painting & Drawing 2005) and Steve Cohn Michael Darling and Ashlee Jacob Robin A. Dintiman (MFA Printmaking 1983) Hank Dunlop Elizabeth Dye Jonathan Eager Lisa Findley and Rod Henmi John Marx, AIA Tracy Freedman and Nick Robins Mark Freund and Trice Koopman Graham P. Gardner (MBA Design Strategy 2014) Jason Kelly Johnson and Nataly Gattegno Bill and Christy Gautreaux Bill and Vanessa Getty Kit (BArch 1997) and Craig Gibbs William Gisvold and Kathy Hull Maria Godfrey Gabriel (BArch 2002)

Teri and Andy Goodman Martha Griswold and Laurence Elias (MFA Fine Arts 2018) Lisa M. Grotts Mara Hancock (BFA Individualized Studies 1986) and Tracy Davis Kate Harbin Clammer and Adam Clammer Stephanie and Fred Harman Sally and Stephen Harper Doris Harris (BFA Interior Architecture 1983) Craig Hartman, FAIA, and Jan O’Brien, AIA Ann Hatch and Paul Discoe Tracy and Charles Haynor Bruce Helmberger (BFA Painting & Drawing 1984) and Barbara Kuecker Maie Herrick Larry and Jacquelyn Hester Elizabeth Holland Holly Hunt Judith Hunt Hyde Schrumpf Family Lisa Jackson Ms. Susan Landor Keegin Cassandra Kegler Kaldor (MFA Graphic Design 2005) John and Tina Keker Duncan Kerr Elizabeth J. Kert Cheryl Kiddoo Gretchen B. Kimball Carol K. Koffel (MFA Ceramics 2011) Arlene and Robert Kogod Pam and Dick Kramlich Kenneth Krueger Thomas A. Krulevitch (MArch 2020) David Lemon (BFA Interdisciplinary Design 1979) Fred Levin, The Shenson Foundation Julie Lythcott-Haims (MFA Writing 2016) Kelly Macy (BFA Graphic Design 1996, MBA Design Strategy 2016) and Mark Macy Elizabeth Manwaring (BFA Graphic Design 1989) and Timothy J. Perks (BArch 1991) Anna and Dimitri Markopoulos Susan Marsch Elizabeth McMillan and George Varian Charmaine and Roman Mendoza Byron R. Meyer Francis Mill Fran Noval

Nadine Koster O’Donovan (BAed Art Education 1951) Dean Orr (BArch 1997) and Alissa Lillie (BFA Interior Architecture 1996) Leslie Podell (BFA Furniture 2021) and Nick Podell Scott Pofcher Ms. Lynne C. Rappaport and Mr. Jonathan B. Frank The Ras Family Laurie Reid (MFA Painting & Drawing 1996) and Charles Casey Lynn Rosenzweig and Paul Dijkstra Michael S. Roth and Kari Weil Nicole Rouda Nancy and Carmelo Santoro Dorothy Saxe Patricia Seawell George Luis Sedano and Eric Fiske Büldan Seka Michael Sherman and Carrie Tivador Hsuan Chung Shih and Yu Jen Dai Lois and Andrew Skaff Emily Slater Sunny A. Smith Robert S. Stein and Jessica Pers Ruth Stein Christine Suppes Rebecca Swig Natalia Tamayo and Carlos Lopez Junzo Tateno Wayne Thiebaud* Heidi Timken, Max and Jackson Perkins Jean Timken and Steven Cuny Vivienne and Moez Virani Kim Vorrath Jeffrey Wahl Phillip Walton Suzanne Westaway Laurellee Westaway Gail Wong-Lau and Glen Lau Constance Yu Anonymous (5)

ORGANIZATIONAL DONORS $10,000+ Alchemy Amazon Angelo Donghia Foundation, Inc. Autodesk, Inc. Richard Beard Architects Burnham Benefits Insurance Services City National Bank

Cotton Incorporated Emily Hall Tremaine Foundation (EHTF) FACE Foundation Fong & Chan Architects Google Grants for the Arts Hanson Bridgett LLP Hathaway Dinwiddie Construction Company Logitech The Maxwell/Hanrahan Foundation Merrill Private Wealth Management Michael Asher Foundation National Endowment for the Arts National Endowment for the Humanities Phyllis C. Wattis Foundation The Presidio Trust The San Francisco Advocacy for NMWA San Francisco Planning Department VIA Art Fund The Andy Warhol Foundation for the Visual Arts

$5,000–$9,999 Annieglass Blomberg Window Systems, Jeremy Drucker (BArch 2000) CHANEL Emerald Fund Equity Community Builders First Republic Bank Hudson Pacific Properties National Real Estate Advisors Nibbi Brothers General Contractors NICOLEHOLLIS Panoramic Interests PayPal Reuben, Junius & Rose, LLP Skidmore, Owings & Merrill LLP Studio Gang Architects Touch Point Foundation Vartain Law Group, P.C.

$1,000–$4,999 American Institute of Architects, San Francisco Chapter Atelier Ten Catriona Jeffries Gallery East Bay Asian Local Development Corporation G2 Insurance Services Gabriel Projects GCI General Contractors Hawkins Delafield & Wood LLP Haworth, Inc

Honor Roll of Donors | 27

Interior Architects, Inc. Jensen Architects Leddy Maytum Stacy Architects Oro Editions Inc. Perkins + Will Stanley Saitowitz | Natoma Architects Inc. Statewide California Electronic Library Consortium Surfacedesign, Inc. TEF Design Tishman Speyer and San Francisco Giants University of Miami University of Toronto UrbanGreen Devco Webcor Builders Weber Shandwick

GIFTS IN KIND Athena Studios Bon Appetit Management Company William W. Bivins, Jr. and Lynn D. Fuller Martin Bringuel Urban Chalet Carol Inez Charney Diane Christ Deborah Corsini (BFA Printmaking 1972) and Bruce Hirschman Charles Desmarais Melanie Doherty (BFA Graphic Design 1978) Diane and Richard Einstein Gordon Huether Studio Ann Hatch and Paul Discoe Laura and Brett Hazlett Stuart Kogod LAGOS Loras Orjeda Elizabeth McMillan and George Varian Estate of Ms. Barbara Shawcroft Kimberlee Swig Sofia Vivanco Airaghi Virginia and Nichol Wilson Anita and Ronald* Wornick Yale University Art Gallery

FOUNDERS LEGACY SOCIETY** Cal Anderson (Interdisciplinary Design 1946) Carole A. Austin (BFA Textiles 1978) Jennifer Bain (BFA Interdisciplinary Fine Arts 1982) Kimberly and Simon Blattner

28 | Honor Roll of Donors

Audrey Brown (Interdisciplinary Fine Arts 1976) Claudia L. Bubeck (BFA Painting 1980) Robert J. Cole Mary L. Correia (BFA Illustration 1967) Daniel J. Daniloff (BFA Industrial Design 2011) and Susan E. Daniloff Donald Fay (BFA Interdisciplinary Fine Arts 1950) and Linda Fay Andrew Fisher (BFA Metal Arts 1978) and Jeffry Weisman Mrs. Phoebe Fisher-Wolters and Charles Wolters* (BAEd Art Education 1958, MFA 1963) Koko F. Flowers (BFA Graphic Design 1970) and Thomas E. Flowers* Florence J. French Estate Gensler Family Foundation* Betsy Gits (BFA Interdisciplinary Fine Arts 1974) Kenneth A. Goss, in memory of Armando Rocha (BFA Environmental Studies 1980) Ritu Kalra Marian D. Keeler (BArch 1990) Jim Kidder Roxanne Kupfer Bob Levenson (BFA Interdisciplinary Fine Arts 1974) and Diane Levenson Michael Lopez* (MFA Sculpture 1963, MFA Painting 1970) and Jeannette Lopez* Richard M. Lowenthal, MD Donna Meisl (BFA Interdisciplinary Fine Arts 1982) and Helmut Meisl Dr. Thomas L. Nelson and Dr. Wylda H. Nelson Gerald M. Ober (BFA Commercial Art 1956) Diane Oles (BFA Interior Architecture 1984) Nancy and Steven Oliver Carole Doyle Peel* Shepard Pollack* and Paulette Long Ted Purves* and Susanne Cockrell (MFA Film & Video 1993) Edna M. Reichmuth* (BA Art Education 1939) Dorothy Saxe and George Saxe* Laurel Scheinman Eve Steccati-Tanovitz (BFA Graphic Design 1969) and Ron Tanovitz (BFA Graphic Design 1969) Margi Sullivan (BFA Interior Design 1973) Kern Toy (BFA Graphic Design 1985) Everett Turner* (BFA Sculpture 1951,

MFA Sculpture 1952) and Petal Turner* Sheila L. Wells (BAEd Art Education 1955) Dr. Thomas J. White Anita and Ronald* Wornick Anonymous (7)

GIFTS IN HONOR Honoree Donor Leslie Becker Jonah Becker (BFA Industrial Design 1997) and Lena Brook Kelley Chao (BFA Painting & Drawing 2019) Willa and Lawrence Chao Tim Cutler Anonymous Carolyn DeVoto Salcido Vivienne and Moez Virani Hank Dunlop Michael Bodziner (BFA Interior Architecture 1985) Laura A. Figa (MFA Fine Arts 2018) Leslie Buchbinder Stanlee R. Gatti Eileen and Peter Michael Josephine May Viamari Susan Landor Keegin Leigh Mark Jessica Silverman (MA Curatorial Practice 2007) and Sarah Thornton Cathy and Mike Podell Teri and Andy Goodman Terry N. St. John (MFA 1966) Tracy Freedman and Nick Robins Student Affairs Leadership Team George Luis Sedano and Eric Fiske

GIFTS IN MEMORY Gretchen Berggruen John Berggruen Tecoah Bruce (BFA Painting & Drawing 1974, MAEd 1979) Susan Avila and Stephen Gong Kimberly and Simon Blattner Thomas Bruce Wanda Kownacki Nancy and Steven Oliver Simpson Family Patricia W. Fitzpatrick Kimberlee Swig M. Arthur Gensler, Jr. Mr. and Mrs. Rand L. Alexander

* Deceased

Roslyn and Peter Brandt Carla Emil and Rich Silverstein GCI General Contractors Lorrie and Richard Greene Tracy and Charles Haynor Hanson Bridgett LLP Haworth, Inc Holly Hunt Judith Hunt Interior Architects, Inc. Arlene and Robert Kogod Pam and Dick Kramlich Fran Noval Kimberlee Swig Junzo Tateno Judy and Bill* Timken Weber Shandwick Webcor Builders Virginia Rose Kleker (MFA Film & Video 2005) Ferguson-Scott Family Trust Andrea Manson Krueger (BFA Graphic Design 1974) Kenneth Krueger Ted Purves Susanne Cockrell (MFA Film & Video 1993) Stanlee R. Gatti Ann Hatch and Paul Discoe Sunny A. Smith Tobin H. Shreeve (MBA Design Strategy 2019) Belle Cohen Willi de Dios Cohen (MBA Design Strategy 2019) Molly Hasson Shreeve Sandra I. Vivanco Susan Avila and Stephen Gong Stephen Beal and Elizabeth Hoover Michael Bernard Lisa Findley and Rod Henmi Maria Godfrey Gabriel (BArch 2002) Kit Gibbs (BArch 1997) and Craig Gibbs Elizabeth J. Kert Carol K. Koffel (MFA Ceramics 2011) Elizabeth McMillan and George Varian Dean Orr (BArch 1997) and Alissa Lillie (BFA Interior Architecture 1996) Glen Walton Phillip Walton Sarah Willmer, AIA, and Brian Shiles, FAIA Anonymous Ronald C. Wornick Judy and Bill* Timken

**The Founders Legacy Society is made up of alumni and friends of CCA who have included the college in their estate plans.

G L AN CE Spring 2022 Volume 29, No. 1

S TAY CO N N EC TE D O N S O CI A L @CACollegeofArts

LEAD WRITER + EDITOR

DESIGN DIRECTOR

Antonio Campos

Joel Gregory

CONTRIBUTORS

PRODUCTION

Nicholas Lea Bruno Teresa Duddy Nina Lewallen Hufford Taryn Lott Christina Nishihara Giorgia Sage Ann Wiens

Connie Jeung-Mills

Printed by Quad Graphics, Inc. Our printer is Chain-of-Custody certified to the three leading international forest management standards. Printed with inks that contain a minimum (27.3%) by weight renewable content. All images of artworks appear by permission of the artists.

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