{ a publication for the CC A community }
C a l i f or n i a C ol l e ge of t h e A rt s
Sa n F r a n c i sc o
Fal l
2007
::
& Oa kl a n d
Volume
16,
No.
1
Glance Fa l l
2007
::
Volu m e
16,
No.
Director of Publications Erin L ampe
Editor Lindsey Westbrook
Managing Editor Jim Norrena
Contributors Susan Avil a Stephen Beal Chris Bliss
1
Contents 2
Industry Collaborations Enhance the Student Experience
8
Alumni Profiles: Charles Glaubitz, Miriam Wilson, Gregangelo Herrera
14
Wattis Institute Spring Exhibitions
16
Centennial Campaign Update
17
Centennial Exhibitions
18
New Programs, Faculty & Staff
20
Centennial Gala & Threads Fashion Show
26
Presidential Search Update & New Trustees
28
Awards & Accolades
32
Faculty Notes
37
Bookshelf
40
Alumni Notes
48
In Memoriam
49
Backward Glance
Hannah Eldredge Cl aire Fitzsimmons Kim Lessard Sheri M c Kenzie Marguerite Rigoglioso Brenda Tucker Lindsey Westbrook
Design Sputnik CC A a student design team
Faculty Advisor Bob Aufuldish
Designer Portia Monberg
Photo credits Glance is published twice a year by the
All artworks are reproduced with the kind permission of the artists and/or their representatives, copyright the artists.
CCA Communications Department
All images appear courtesy the artists unless noted otherwise:
1111 Eighth Street San Francisco CA 94107 Write to us at glance@cca.edu Change of address? Please notify CCA Advancement Office 5212 Broadway Oakland CA 94618 or email bjones@cca.edu
Cover, back cover, pp. 2, 6 (top), 7: Portia Monberg; p.4 (left): Karl Petzke; pp. 4 (top), 5, 31: fuseproject; p. 6: Oblio Jenkins; p. 17 (top): Oakland Museum of California, gift of the Art Guild and the Reichel Trust; p. 17 (bottom): Š Estate of Robert Arneson / Licensed by VAGA, New York, NY, collection of the Fine Arts Museums of San Francisco, gift of Manuel Neri, printed by Timothy Berry, published by Landfall Press Inc., Chicago; pp. 20–21: Stevan Nordstrom Productions; p. 22: Thomas Jon Gibbons; p. 24: (1, 2) Robert Adler Photography, (3) Swanda & Schindler Digital Photography, (4, 5, 6) Drew Altizer Photography, courtesy San Francisco Museum of Modern Art; p. 25: (1) Robert Adler Photography, (2) Stuart Brinin Photography, (3, 4) Drew Altizer Photography, courtesy San Francisco Museum of Modern Art; p. 32 (top): published by Crown Point Press, San Francisco; p. 34 (bottom): Sibila Savage; p. 35: courtesy Intersection for the Arts, San Francisco; p. 36 (bottom left): collection of the San Francisco Museum of Modern Art,
Printed by St. Croix Press Inc.
gift of the artist and Paule Anglim; p. 40: courtesy Rena Bransten Gallery, San Francisco; p. 41: courtesy Johansson
New Richmond, Wisconsin
Projects, Oakland; p. 49: courtesy the archives of California College of the Arts, Meyer Library, Oakland.
Letter from the Chair Dear alumni and friends of CCA, We have much to be proud of at California College of the Arts. This year we welcome 200 new first-year students—the largest freshman class ever. And our centennial celebration continues with a major retrospective exhibition at the Oakland Museum of California as well as shows at the de Young and other local museums and galleries (see page 17 for details). The Board of Trustees is conducting a national search for the school’s next president. While at this stage we must maintain confidentiality, we can report that we are very pleased with the level of interest and the high caliber of the candidates. Updates on this process are available at www.cca.edu/about/president, and we welcome your input at every stage of the search process. Trustees and alumni are working to secure the final $2.4 million to complete CCA’s $27.5 million Centennial Campaign. This campaign provides critical support for our most important priorities: improved facilities, increased scholarship funds, and seed money for new academic programs. Two extraordinary challenge grants have been made in conjunction with the campaign to inspire new donors, and you can read more about them on page 16. For those who value the role of artists, architects, designers, writers, and scholars in shaping the world’s future, there is no better time than now to support the college’s dynamic vision. Funds raised through the Centennial Campaign are already making a difference. Construction is complete on the third phase of the San Francisco campus’s new Graduate Center, which includes media labs, studios for 100 Fine Arts graduate students, and classrooms that are already booked solid with graduate and undergraduate courses. More than 20 new named, endowed scholarship funds have been created and will exist in perpetuity to help deserving students. The Oakland campus is enlivened this fall by the first class of students enrolled in the Animation Program. And we are actively planning for the fall 2008 launch of two new programs in San Francisco: the Graduate Program in Film and the MBA in Design Strategy. Thank you for your thoughtful interest in CCA. Sincerely,
Ann Hatch Chair, Board of Trustees
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INDUSTRY Coll aborations
Enhance the Student Experience
2
studio par t n e r s h i ps
| page No.
3
{ pa ntec h & m
c s weeney’s
ON {
story by Kim Lessard, Lindsey Westbrook
& Hannah Eldredge
}
}
E
essential component of a CCA education in architecture or design involves working with outside companies. These relationships expose students to real-world projects and give them a taste of professional life. Some programs of study require internships, and all of them encourage it. And lately, more and more outside companies are coming to the college to meet the students on their own turf. Sponsored studio courses give students the opportunity to conceptualize product design within the context of a particular brand. They also give manufacturers access to the fresh perspectives of next-generation designers. Recent sponsored collaborations have included a sustainability studio with the international design firm IDEO, a pet product studio with the Turkish company Gaia & Gino, and a studio with the South Korean cell phone manufacturer Pantech.
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studio pa rt n er s h i p s
Pantech s po nso r ed S tud i o
Industrial Design chair Yves Béhar and his students brainstorm the next big thing in cell phone design in the Pantech sponsored studio.
opposite page, from top: Tirshathah Hunter, Conduit, 2006 Kristina Lee, Inhealth, 2006 Seth Murray, Flirt, 2006
In the fall 2006 studio sponsored by Pantech, Industrial Design students took on the future of mobile communications, and specifically the idea of emotional networking, guided by program chair Yves Béhar and instructor Noah Reinhertz. The results included such designs as Kristina Lee’s Inhealth cell phone, which encourages exercise and uses NASA’s ENose technology to track dietary needs, and Cubby Golden’s Nike+ cell phone, which uses social-networking technology to allow users to compete in real time while running in different locations. Student Chip Beal remarks, “The most valuable thing I learned came from working with the model shop in Korea. We had to specify, to the minutest detail, each and every material and color choice. It taught me a lot about the importance of clear communication when putting together a prototype. The challenge is to be true to your vision and rigorous about backing it up with solid visuals and a story.” Another interesting discovery, he says, was the fact that design doesn’t have to happen over the course of a semester, or on a computer screen. “You learn more by doing,” he says, “and design does not need to be a drawn-out, torturous affair. It can be playful. And sometimes your best idea is your first idea.” At the end of the course, four students selected for their outstanding work—Gregory Davis, Kristina Lee, Seth Murray, and Cecilia Nguyen— flew to Pantech’s headquarters in Seoul to present the cell phone designs on behalf of the entire class. It was Lee’s first-ever trip abroad, she says, and “a great opportunity to work with both a large corporation and other design students from across the world. The communication barrier created a new experience that was fun and full of charades and misinterpretations.” Nguyen agrees that it was a great course: “The kind of pressure that comes from a high-profile class is different, because you know you’re going to get attention. It’s scary and somehow more real. I had never thought of a cell phone as a design process from the inside out before. There is so much fashion and techno-excitement involved with people’s choice of phones, and I was worried that a project like this might not hold my interest because my point of view is always concept driven rather than about coolness. But it turned out to be perfect, because that’s what we were asked to do: to innovate a new concept.”
4
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studio pa rt n er s h i p s
McSweeney’s
Student-made models of new office architecture for McSweeney’s
D ES IGN BUIL D
Design Build is a different kind of studio, intended specifically for advanced Architecture students, and the 2006–7 Design Build course, taught by Oblio Jenkins and Mabel Wilson with Dwell magazine as the media sponsor, was the most ambitious one yet. The project: a complete remodeling of the San Francisco offices of the literary journal McSweeney’s. “A Design Build course is very different from a regular studio,” says student Flavia Giraldo. “You experience all the phases of a project and understand how complex it is. It was really exciting to see it all come together at the end just like we designed it.” Dave Eggers, editor of McSweeney’s, met with the 15-student class at the beginning of the project and described the company’s need for new shelving, lighting, a conference room, and flexible work spaces. The students then spent time interviewing the magazine’s seven full-time employees and observing the office in action in order to design the best solutions (in the first semester) and build them (in the second). “The idea was that the students would maximize this space, make something really unusual and singular, and that we would serve as clients,” says Eggers. “It’s been a phenomenal project. The students are geniuses. We were blown away by how good they were and how well they problem solved every little thing.” Since McSweeney’s is a nonprofit, it was important to keep costs down, and the students found creative ways to recycle and reuse materials. They incorporated the tops of existing desks into the new work pods, which have small platforms on movable arms that allow the sitter to shift piles of paper around easily while keeping the main desk surface clear. They turned a sailboat sail into operable baffles on the building’s skylights to cut down glare, and they even created a phone booth so employees could make calls in privacy. The project ended up stretching into the summer, partly because it was so ambitious, and also because of unexpected delays in city permitting and complications in sponsor funding. “We faced a few problems along the way that were characteristic of a real-world architecture project,” says Giraldo.
6
Student Mary Desing agrees: “I don’t think any of us realized how long it would take not only to design, but to construct this project. Just coming up with the shelving details took a great deal of time. We started with a loose concept and as we developed it, the next challenge was to physically make what we had designed in a simple and expedient way, down to the details of the hardware and plywood size. “I think some of the best ideas came out of group charettes where we would divide up and tackle a component of the project and then come together and talk about what we all came up with. When you work in groups, there is a need for leadership, and everyone has to take a part to work on. The more diplomatic you can be, the better! I really enjoyed collaborating with my classmates.”
A sailboat sail transformed into skylight baffles at the McSweeney’s office
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alumni PROF ILE S
| page No .
8
{ artists & their
work } { story by
Marguerite Rigoglioso }
C ros s i n g B o r de r s
Charles Glaubitz
Cha rles G l au b i t z Born in 1973 in Tijuana, Mexico Illustration Program, graduated in 2001 Lives in Playas de Tijuana, works in Tijuana and San Diego C u r rent o ccu pat i on
Artist, illustrator, designer Influences at CC A
Mark Bartlett, Vince Perez, Dugald Stermer, Barron Storey We bsi t e
www.mrglaubitz.com
She’s massive, rotund, winged. Her vagina spews forth quarks, those infinitesimally small particles that come in and out of existence a million times a second. She’s the Soft Machine, and she’s the visual creation of Charles Glaubitz. Or is she? Glaubitz himself is not entirely sure whether, as a painter, illustrator, and installation artist, he’s the author of new worlds or merely a reporter of unseen realms. He suspects that, at different times, he’s both. Whatever the case, Glaubitz takes the calling seriously. By giving form to cosmic principles—and hinting that earthly problems such as environmental destruction and warfare may have much deeper, otherworldly causes and roots—he hopes his work will stimulate epiphanies of consciousness in others. “Like the artist Alejandro Jodorowsky,” Glaubitz says, “I believe art is for healing.” The uncanny realms of the esoteric get star billing in Glaubitz’s drawings. His psychedelic imagery, rendered variously in pen and ink or acrylic, depicts forces such as greed and consumerism clashing with justice and humanity. These energies are personified as eerie, fantastical figures that make multiple appearances in his ongoing series. Glaubitz’s play with duality is apparent in every aspect of his work, including his sources of inspiration. “I particularly like comic books, because they contain all the great mythologies from around the world,” he says. He also looks to Joseph Campbell, Deepak Chopra, Grant Morrison, Hayao Miyazaki, George Noory, cave art, and quantum physics. The hybridity of Glaubitz’s art has its source in his own biography. Growing up in Mexico with a German American father and a Mexican mother, he learned how to bounce between worlds. That journey has included countless literal trips across the border between Tijuana and San Diego over the last 12 years as he has pursued his career as an artist and graphic designer. Glaubitz came to CCA to find his artistic vision. “I had been drawing and painting since I could remember, but I didn’t know how to tell a story, how to structure an image, how to communicate a concept. I didn’t feel I was saying anything,” he reflects. “Teachers such as Dugald Stermer, Barron Storey, and Vince Perez taught me how to look at things conceptually and find a way to express my ideas through my art.” Glaubitz’s messages are both political and spiritual. In one recent series, more than 100 individual works tell the story of a clash between an evil, Mickey Mouse–like Capitalist King character and the Gardener,
8
Charles Gl aubitz, The Soft Machine, 2007
a sympathetic defender of nature. For the artist, the story is no mere fantasy but a depiction of actual machinations on multiple planes of reality—including our own. “The idea of using consciousness to direct quarks’ journeys in and out of existence is also a story that teaches us about the power literally to create reality with our thoughts,” he says. Now married with two children and living in Tijuana, Glaubitz illustrates for the likes of Rolling Stone and Nickelodeon magazines, and he has had numerous group and solo exhibitions in Mexico, the United States, and Spain (at such venues as the Museo de Arte Carrillo Gil in Mexico City and the Museum of Contemporary Art San Diego). He also teaches graphic design at San Diego City College. But he spends more than half of his time rendering other worlds. “For me,” he says, “it’s less about commercial success than about helping people awaken.”
9 { Glance
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Charles Gl aubitz, Secret Societor,
detail, 2006
10
alumni PROF ILES { story by
Marguerite Rigoglioso }
An imati n g t h e Of fb e at
Miriam Wilson Did you know that the average person, while asleep, unknowingly eats at least four spiders over the course of his or her lifetime? That gruesome statistic is the inspiration for Ignorance Is Bliss, Miriam Wilson’s comedic animated short, which made it into the Cannes Film Festival this past May. When Wilson received the news from her coproducers that their three-minute film—about a girl who learns in the afterlife that God has a twisted sense of humor—was chosen over thousands of other entries, she thought they were joking. But, indeed, not only was the piece shown along with 900 other shorts in France, but it will appear in the Dingle Film Festival in Ireland this fall, and it may even make a showing in Spain. “This film is traveling to places I’ve never been and can’t afford to go,” observes Wilson, wryly. “I’m actually jealous of it.” Her foray into short films—she has another one about a pesky health condition characterized by the sudden intrusion into your personal space of a bagpipe-playing Scotsman in full regalia—is just the latest development in an already impressive creative career. It also pulls together a background that includes illustration, photography, graphic design, and comedy sketch writing. Some of those interests were cemented while she was in the Illustration Program at CCA. “Bob Ciano rekindled an interest in film I’d had since my days watching Disney movies and LucasArts video games,” she says. “Juvenal Acosta made me realize I enjoy writing as much as visual art.” Wilson’s earlier sources of inspiration include her father, who, she says, “has a way of making everything that comes out of his mouth funny,” and her mother, who encouraged her prolific drawing talent from an early age. “I used to wall myself up in my attic bedroom filling multitudes of sketchbooks with my own cartoon characters.” So impressed was CCA with her portfolio that the school offered her a Creative Achievement Award merit scholarship on the spot during her admission interview. Since graduating with distinction (one of her final projects was a human-powered bicycle machine that puts sprinkles on cupcakes), she has had a number of offbeat gigs, such as sketchwriter for the Killing My Lobster comedy troupe in San Francisco. She also has a more straightforward day job as a graphic artist for Madeleine Corson Design. Wilson’s main goal now is for her production company, Animated State, formed last year with her husband and another comedy colleague, to get a second film into Cannes: “I want to be able to go this time and experience firsthand the glory of making people giggle in a whole other country.”
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M iriam W ilson Born in 1983 in Oakland Illustration Program, graduated in 2005 Lives in Oakland, works in San Francisco C u r r en t occu pat ion
Production artist, Madeleine Corson Design Inf lu enc es at C C A
Juvenal Acosta, Bob Ciano, Mark Eanes, Robert Hunt, John C. Rogers, Barron Storey W ebs it es
www.themiriam.com www.animatedstate.net
opposite page: miriam wilso n, Satan’s Secret Admirer, 2005
alumni PROF ILE S { story by
Lindsey Westbrook }
H i g h Velo c i t y
Gregangelo Herrera
gregangelo herrera Born in 1966 in San Francisco Individualized Major, graduated in 1989 Lives and works in San Francisco C u r rent o ccu pat i on
Artist Influences at CC A
Harry Critchfield, Gail Fredell We bsi t e
www.gregangelo.com
Walking through Gregangelo Herrera’s front door is a little like stepping through Alice’s looking glass. From the Solstice Room to the Eclipse Room to the Midnight Hall, the whole thing is decorated down to the smallest detail in Winchester Mystery House–meets–Ali Baba style. Like the productions he puts on with his arts and entertainment troupe, Gregangelo and Velocity Circus, there’s some history there, as well as some fine art, some fantasy, and some pure, unadulterated ambition to entertain. The house is actually a museum, and people pay to tour it, with all the money going to a nonprofit youth arts organization that the artist founded in 2003. It’s also the headquarters for his business, which employs about a dozen full-time staff, 70 artists who work as many as three or four of his events every week, and another 100 or so artists who are on call as needed. “Some of them are really specialized,” he says. “We might hire a scientist to create an illuminator, which will light fiber optics, which will become a tapestry, which is part of a costume, which will go onto an athlete, who’s on skates as part of a larger ensemble.” The basement is a combination wardrobe and prop storage facility, costume shop, and office; it hums with sewing machines, computers, and general activity. He shows off a project they’re doing for Ghirardelli, creating costumes and headdresses for chocolate-themed characters. Herrera takes great pride in the fact that he is not dependent on a particular gallery or the whims of a couple of important patrons. “We are all about sustainability in the arts. Most art students come out of college not knowing what to do, or having very idealistic and impractical visions. The politics and the business of art are important parts of interdisciplinary knowledge. The core group of our artists are all sustaining themselves, buying homes.” Many of them have been with the company 15 or 20 years, and part of his role, he says, is to keep pushing them to develop and expand what they can do. His clients range from nonprofits to Fortune 500s to major media giants, but he doesn’t make corporate art. More and more lately, in fact, the companies that hire him for their events ask only that he create something amazing. “They give us carte blanche: ‘Just make it spectacular!’” And he is constantly pushing the envelope of spectacular. “What we do is intended to be entertaining, but also very ornate and complex—encrypted and layered with all kinds of mysticism, stories, and legends. The audience doesn’t necessarily get every single reference, but they come away knowing the experience has been more than just pretty.”
12
Gregangelo herrera, Performance as an Illuminated Soul Seeker, 2006
Herrera seems to run in extremely high gear, partly because he’s one of those people who doesn’t need much sleep, but also because of the stimulation that comes from surrounding himself with so many creative people. His CCA experience, he says, was the same way. He had been involved in art groups and theater since childhood, but CCA offered the opportunity to engage with a huge number of artistically inclined individuals who were passionate about a wide array of pursuits. “Everybody is inspired by their environment,” he says. “At CCA I enjoyed learning the foundations of various disciplines, I enjoyed the facilities, the instructors. But the really important part was learning from the experiences of others. Seeing who’s succeeding, who’s failing, who’s serious, who’s not serious.” Art making can be a very introverted process, and the stereotypical artist is not always inclined to collaborate. In Velocity Circus, however, “we’re not only bringing different artists together, with their different egos and passions, but we’re working right on top of each other.”
Gregangelo herrera, Whirling Dervish, Palace of Fine Arts, San Francisco, 1995
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the wat t is
| page No .
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{ contemporary art at CCA } Wat t i s Ins t i t u t e
{ Viewing G u i d e }
....................................................................
Ap o c a ly ps e N ow: T h e T h e ate r o f Wa r
November 30, 2007 –January 26, 2008 ....................................................................
Pa sse ng e r s
ongoing ....................................................................
T in o S e hg a l : arti s t o f th e c e ntury
ongoing ....................................................................
Am e r i c a n a
ongoing (through May 31 , 2012 ) ....................................................................
C a p p S t r e e t Pr oje ct: Mario ybarra jr.
ongoing (through September 6, 2008) ....................................................................
C a p p S t r e e t Pr oje ct: T im L e e
January 9, 2008 –January 10, 2009 ....................................................................
Pau l M c C a r th y ’ s lo w l i fe
February 8 –April 5, 2008 ....................................................................
Am ate u r s
April 18–June 14, 2008 ....................................................................
Spring Exhibitions In 2007 the CCA Wattis Institute for Contemporary Arts set out to develop a radically different concept for programming an art institution. Recently appointed director Jens Hoffmann and his curatorial team, Cl aire Fi tzsi mmo ns and Stacen Berg, launched their new program in September with a diverse range of projects, making an in-depth investigation of curatorial practice while continuing the Wattis Institute’s reputation as a challenging, ambitious contemporary art venue. The lineup for spring is equally exciting: Apocalypse Now: The Theater of War, opening November 30 and cocurated by Hoffman and the politically engaged artists Jenn ifer Allora and G ui l l e r mo C a lzadill a, features a number of contemporary artists whose works deliberately block, resist, and repel the audience. The exhibition defines war as a universal condition—a language and iconography of struggle embedded in our social consciousness, personal behaviors, and everyday realities. Three permanent exhibitions continue over the winter and spring. In the constantly transforming Passengers, a number of international contemporary artists, including Shana Lut ker, Annet t e K elm, and the collaborative duo João Maria Gusmão and Pedro Paiva, present their first American solo shows. Another ongoing exhibition featuring the Berlin-based conceptual artist Tino S ehgal will eventually present all of Sehgal’s existing works to date as well as new works configured specifically for the Wattis Institute galleries. Americana, an ambitious project coorganized with CCA’s Graduate Program in Curatorial Practice, is taking an alphabetical tour of the United States via artworks, historical artifacts, and other elements. The Vancouver-based Tim Lee is the Wattis Institute’s next Capp Street Project resident artist. His project, opening January 9, is based on an intriguing coincidence in San Francisco’s pop-cultural history: the nearly simultaneous recordings of Steve Martin’s comedy album Let’s Get Small and Neil Young’s hybrid electric/acoustic record Rust Never Sleeps. Opening February 8 is part one of Paul McCarthy’s Low Life by the acclaimed Los Angeles artist Paul M c C art hy. This “total” artwork, presented in a custom installation environment, will reflect both McCarthy’s own oeuvre and the diverse range of other artists who have been his collaborators and inspirations over the past four decades. Amateurs, opening April 18 and curated by Ralph Rugoff, is the first major exhibition of recent artworks that embrace amateurism as a critical aesthetic strategy. Amateurs will reflect on the history of this tendency and its continuing value in pushing the envelope of art practice.
14
Tim Lee, Untitled (Steve Martin 1972), 2005
Lead sponsorship for Capp Street Project: Tim Lee and Capp Street Project: Mario Ybarra Jr. is provided by the Nimoy Foundation.
Founding support for CCA Wattis Institute for Contemporary Arts programs has been provided by Phyllis C. Wattis and Judy and Bill Timken.
Lead sponsorship for Apocalypse Now: The Theater of War is provided by the American Center Foundation.
Generous support provided by the Phyllis C. Wattis Foundation, Grants for the Arts / San Francisco Hotel Tax Fund, Ann Hatch and Paul Discoe, and the CCA Curator’s Forum.
Amateurs is made possible by an Emily Hall Tremaine Exhibition Award.
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support C C A
| page No .
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{ donate }
Please Give to
t h e C C A C E NTE NNIAL C AM PAIGN To expand and enhance its facilities, launch new programs, and honor its commitment to making education accessible through scholarships, CCA has launched the Centennial Campaign, the most ambitious fundraising effort in the school’s history. CCA is just $2.4 million away from reaching its campaign goal of $27.5 million. The campaign will strengthen the college and prepare it for its next 100 years of excellence. Two extraordinary challenge grants have been made to inspire new donors to invest in CCA. Trustee Barclay Simpson has offered the Simpson Challenge, which promises $1.85 million to the Centennial Campaign if CCA can raise an additional $3.7 million in new gifts. And the Reuben & Muriel Savin Foundation has pledged $500,000 for CCA scholarships if the college can secure 500 new donors to the campaign between July 15, 2007, and December 31, 2008. Your tax-deductible gift will help leverage these significant challenge grants and provide vital support for the school’s most pressing needs. Tuition alone does not cover the cost of running a college. CCA is a private, nonprofit, charitable institution. Only with generous giving by parents, alumni, and friends can we maintain the quality of our programs. You can make a gift by sending in this form or by using the envelope inserted in this issue of Glance. Thank you.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .................................................... .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..
Yes, I will support t h e CCA C e n t e nni a l C a mpa ign! I would like to make a taxdeductible gift in the amount of
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$ City
Thank you! Please return this form and your donation in the enclosed envelope, or you can mail or fax it to:
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made payable to California College of the Arts is enclosed.
CCA Advancement Department 5212 Broadway Oakland CA 94618
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Fax: 510.594.3665 Tel: 510.594.3787
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cc a
at 1 0 0
| page No .
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{ Bay Ar ea museums }
C a lif o rn ia C o l l e g e of t h e A r t s
Centennial Exhibitions ....................................................................
The centennial celebration continues into 2008 with these and other exhibitions at Bay Area museums and galleries. For a complete listing of centennial events and programs, visit www.cca.edu/100.
Celebrati ng a Centennial: Cont emporary Print makers at CC A
through April 20 d e Young M us eum
Golden Gate Park, San Francisco
....................................................................
Ar t is ts of In v en t i on :
T ue s. – S un . 9 :3 0 a . m . – 5 :1 5 p . m .
A C en tu ry o f C C A
F r i . ope n un t i l 8 :4 5 p . m . 4 1 5 . 7 5 0 . 3 6 0 0 | www.thinker.org
through March 16 Oa k l a nd Mus eum o f C alifornia 1000 Oak Street, Oakland W e d . – Sat. 10 a . m . – 5 p . m .
at the oakland museum of california:
S u n . no o n – 5 p . m . 5 1 0 . 2 38. 2200 | www.museumca.org
This extensive historical survey of more than 120 works chronicles a century of achievements by artists associated with CCA, including Robert Arneson, Squeak Carnwath, John Coplans, Richard Diebenkorn, Kota Ezawa, Viola Frey, Charles Gill, David Ireland, Nathan Oliveira, Leslie Shows, Hank Willis Thomas, and Peter Voulkos. A section devoted to 1987–2007, curated by a peer committee, specifically traces recent artistic strategies. Curatorial consultant Lee Plested joins acclaimed exhibition designer Ted Cohen and the Oakland Museum’s chief curator, Philip Linhares, to form an all-alumni exhibition team. A full-color book accompanies the show.
David IREL AND, Harp, 1991 ....................................................................
SJM A Colle ct s CC A : Wor ks o n Paper fro m the Pe r ma ne nt Co l l ect ion
through February 3
Approximately 25 prints by CCA alumni and faculty, including Robert Bechtle, Roy De Forest, David Ireland, George Miyasaki, Manuel Neri, Raymond Saunders, Peter Voulkos, Stan Washburn, and Paul Wonner. This show of works from the de Young’s collection is organized by Karin Breuer, curator of contemporary graphic art.
San Jose Mus eum of A r t
....................................................................
110 South Market Street, San Jose
C Change: Craft in Our Future
Tues. – Sun. 1 1 a . m . – 5 p . m .
through January 27
4 0 8 .2 7 1 .6 8 4 0 | www.sjmusart.org
A selection of works on paper by CCA alumni and faculty, including Squeak Carnwath, Laurie Reid, and Richard Diebenkorn. ....................................................................
....................................................................
M us eum of C r af t and Fol k A r t 51 Yerba Buena Lane, San Francisco T ue s. – F r i . 1 1 a . m . – 6 p . m . Sat. – S un . 1 1 a . m . – 5 p . m . 4 1 5 . 2 2 7 . 4 8 8 8 | www.mocfa.org
Distinguished faculty from CCA’s craft-related departments have selected works by recent graduates that best represent the cutting edge of contemporary craft. Come and witness the innovative and creative work being done today in wood, metal arts, ceramics, textiles, and glass. ....................................................................
at the de young museum: Robert Arneson, California Brick, 1975
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new p ro g ra ms
MBA
| page No .
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{ fac u lt y & STAFF }
i n d e s i gn s t r at e gy
CCA’s new MBA in Design Strategy program will admit its first students in fall 2008. This unique program, the first of its kind in the United States, unites the study of design, marketing, finance, and organizational management to address today’s complex and interconnected market. “The program is intended to help designers become business leaders, not merely design leaders,” explains program chair N atha n Sh e dr o ff, “and create meaningful, sustainable change in the world. We also welcome experienced business professionals without design backgrounds. Both groups will gain the tools necessary to drive lasting growth in a variety of organizations through innovative, customer-focused practices.” Shedroff, an experienced strategist, author, and speaker, has assembled an advisory council of business leaders, including S ar a Be ckma n (of UC Berkeley’s Haas School of Business) and Ti m Br o wn (chief executive officer of IDEO), to help guide the program. Brown observes: “Business is a uniquely powerful force for change in the world, and designers have never had more opportunity to create positive impact by influencing what business does. The more designers understand about business, the more influential they will be.” The program offers an approach to design that encompasses performance, strategy, and innovation. Each semester, students develop individual and team solutions to a variety of economic and social challenges using design techniques (such as user-centered research, prototyping, and critique) as well as business metrics. Sponsored projects allow students to work with leading businesses. Seminars address traditional business and organizational issues such as finance, economics, operations, and marketing, always incorporating design approaches and processes. Students can also take advantage of electives in CCA’s other graduate programs.
18
The program’s unique residency structure—five once-a-month, four-day weekends on campus with online and networked study in between—offers maximum flexibility to working professionals from all over the country, allowing them to maintain their careers while participating in the program. For more information or to apply, please visit www.cca.edu/designmba.
Art in Education teaching institute This fall, CCA’s Center for Art and Public Life began offering the Art in Education Teaching Institute, addressing a growing need for credentialed art teachers. This comprehensive, year-round development program is open to K–12 generalist teachers as well as teaching artists. Its purpose is to help them better understand how to teach art and how to integrate it successfully into other courses, such as reading or math. Says Ann Wet t rich, the center’s associate director of arts education, “The AIE Teaching Institute gives teaching artists the insight, understanding, and skills they need to collaborate successfully with schools, providing engaging art and art-integrated lessons that promote learning across all areas of the curriculum.” Teaching artists are professionally trained artists who receive funding from third-party organizations to teach art in K–12 schools. They often present a solution for schools whose budget constraints have forced them to cut art programming. Given the recent decision by the California governor and state legislature to allocate $105 million in new annual funding to restore arts education to the state’s public schools, there will soon be increased demand for qualified instructors. For more information about courses or to register, see www.cca.edu/aie.
New
Tenure-Track Faculty
The nationally recognized architect and educator I l a B e r m a n has been named chair of CCA’s undergraduate and graduate Architecture programs. Berman comes from Tulane University, where she was associate dean of the School of Architecture and director of the graduate program. She initiated URBANbuild, a Tulane program that is helping revitalize hurricane-damaged areas of New Orleans. Berman holds a doctorate in design and a master of design studies in architecture from Harvard University. T i r za T r u e L ati me r is the new chair of the Graduate Program in Visual and Critical Studies. She received her PhD in art history from Stanford University in 2003. Latimer publishes work from a lesbian feminist perspective on a range of topics in the fields of visual culture, sexual culture, and criticism. Other new tenure-track faculty members include A im e e P h a n , a Vietnamese American author whose first book, We Should Never Meet (St. Martin’s Press, 2004), was a Kiriyama Prize notable book and a finalist for the Asian American Literacy Award. Phan joins the Writing and Literature faculty. New to the Community Arts Program are J o h n Le a ñ o s, a media artist who focuses on the convergence of memory, history, social space, and aesthetics, and Sa nj i t Se th i , a sculptor whose works center around ideas of nomadism, national identity, labor, and interdisciplinary collaboration. Joining the Architecture Program are And r e w Kudle ss, who is gaining an international reputation for his investigations of architecture, engineering, biology, and computation, and Davi d Giss e n , who focuses on the intersection of architecture and nature. J o s e ph Ta nk e is the new Chalsty Professor of Aesthetics and Philosophy; he recently received his PhD from Boston College. Co l i n Ow e n, CCA’s first tenure-track hire in Industrial Design, has executed impressive contract work with Nokia; Skidmore, Owings and Merrill, LLP; Biodesign; and Wireless Generation.
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}
VP
for stud ent affairs
Pamel a D . Jenn ings
was appointed this past summer to the newly created position of vice president for student affairs. This cabinet-level role was established to help create the best possible student experience at CCA, and it is especially important given the dramatic growth in enrollment in recent years. Jennings now oversees such areas as student activities, career services, residential life, counseling, advising, disability resources, international student affairs, and student exhibitions. She comes to CCA from UC Berkeley, where she was director of admissions, student affairs, and alumni affairs for the Graduate School of Journalism from 2005 to 2007. Prior to that she spent 10 years as the director of outreach, retention, and diversity affairs for UC Berkeley’s graduate division. She has an MFA in film and television from UCLA and a BA in mass communications from UC Berkeley.
Staff
Ap p ointments
S hawn Brick : director of financial aid Noel Dahl:
director of graduate admissions
Lynda sanjurjo rut t er:
associate vice president for advancement, individual giving
dress up
| page No .
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{ s u pporting cca }
Centennial Gala & Threads Fashion Show
a Run {a} way Success
opposite page: eva kath leen garcia, Modern Interpretation of Nouveau Deco Glamour, 2007
this page: maggie servais, Fresh Silk Print Mix, 2007
detail,
21 { Glance
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}
The suggested dress was “up” and 720 guests came duly clad for an evening of food and fashion. The CCA Centennial Gala and Threads Fashion Show, held on April 25, exceeded all expectations by bringing in more than $600,000 in support of the college’s scholarship programs. The vast Festival Pavilion at Fort Mason Center was beautifully transformed by the designer Stanlee Gat t i. The dinner was prepared by Taste. Renowned San Francisco retailer Wilkes Ba shford was honored with the CCA Fashion Industry Award, and CCA Fashion Design student Christopher Weiss was announced the winner of the Surface Emerging Talent Award. The evening culminated with a runway fashion show featuring designs by CCA’s graduating Fashion Design students. The college thanks Gala cochairs K ay K impt on Walker and Al l i so n Spe e r for their vision, leadership, and hard work. Many thanks also to honorary chair Emily C arroll and the gala honorary committee for making this one of our most successful events to date. CCA is especially grateful to the evening’s lead sponsors.
dress u p
2
1
3
4
5
6
1. Kay Kimpton Walk er
& Michael
Krasny at the Centennial
Gala preparty at the home of Norah 2. Allison Speer 3. Amber Marie
&
&
Norman Stone
Wilk es Bashford at the Gala preparty
& Christ opher
Bently at the Centennial Gala
and Threads Fashion Show 4. Norah
& Norman
Stone at the Gala
22
7
5. C arlie Wilmans at the Gala preparty 6. Jeffrey Fraenkel 7. Gary
&
&
Andrew Fisher at the Gala preparty
O. J. Shansby at the Gala
Lead Sponsors
.....................................................
Osterweis Capital Management is delighted to have been a lead sponsor of CCA’s Centennial Gala and Threads Fashion Show for the third consecutive year. We are pleased to join this celebration of the college’s 100-year legacy of educating its students through the practice and study of the arts. Through this investment in CCA’s scholarship program, we have an opportunity to support the designers, architects, artists, and writers of tomorrow.
.....................................................
Levi Strauss Signature® is pleased to have been a lead sponsor of CCA’s Centennial Gala and Threads Fashion Show. Levi Strauss & Co. and CCA share a long history of design leadership in the San Francisco Bay Area, and we are honored to join in celebrating 100 years of CCA.
.....................................................
Saturn was a proud sponsor of the 2007 Centennial Gala and Threads Fashion Show and displayed the Saturn SKY and the 2007 North American Car of the Year, AURA, on-site at the event. In 2006 Saturn began a major revitalization of its portfolio and now has five new models, including the OUTLOOK Crossover SUV, the ASTRA Sport Compact, the VUE Compact SUV, the SKY Roadster, and the AURA Sport Sedan as well as two affordable hybrid models, the VUE and AURA Green Line. Saturn recognizes the importance of design innovation and is proud to partner with California College of the Arts, which is a leader among American colleges in design education.
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}
24 - Karat {$10,000} Amber Marie and Christopher Bently C. Diane Christensen Chris Columbus and Monica Devereux Suzanne Diamond Nancy and Pat Forster Mimi and Peter Haas Fund Raoul and Martha Kennedy Byron Kuth and Liz Ranieri Tony and Celeste Meier Nicola Miner and Robert Mailer Anderson Tim Mott and Ann Jones F. Noel Perry Michael S. Roth and Kari Weil Dorothy and George Saxe Charles and Helen Schwab Barclay and Sharon Simpson Bill and Judy Timken Kay Kimpton Walker and Sandy Walker Carlie Wilmans Anita and Ronald Wornick Janice and Jonathan Zakin Anonymous 18 - Karat {$7,500} Claudia Belcher and Robert Tjian De La Rosa & Co. Lorna Meyer and Dennis Calas Helen Hilton Raiser Phil Schlein Mary and Harold Zlot Anonymous 14 - Karat {$5,000} Wilkes Bashford Kimberly and Simon Blattner Boucheron Tecoah and Thomas Bruce Susan Cummins and Rose Roven Dwell Magazine James M. Ford Ann Hatch and Paul Discoe The Hellman Family Hermes Nancy and Timothy Howes Beth and Joe Hurwich Brenda and George Jewett John and Tina Keker Sandra Lloyd and Douglass Smith Leigh Sherwood Matthes Elaine McKeon Eileen and Peter Z. Michael
Nancy and Steven Oliver Mark Petersen and Dana Whitaker Ronald and Karen Rose Norma Schlesinger Ruth and Alan Stein Cathy and Ned Topham Christopher E. Vroom Jack and Susy Wadsworth Brooks Walker Jr.
{$1,000–$3,500} Linda Allen Sher Amos Gretchen and John Berggruen Frances Bowes Rena Bransten Michael E. Broach and Nancy Clark Heidi and Caley Castelein City National Bank Simone Coxe Bridget Crowe Karen and John Diefenbach Andrew Fisher and Jeffry Weisman Ann and Bob Fisher Laura and Marshall Front Emma and Fred Goltz George Gund III Kate Harbin and Adam Clammer Hood & Strong Linda and Lawrence Howell Adriane Iann and Christian Stolz Wallace Jonason Matthew Kelly and Diane Chapman Wanda Kownacki and John Holton Gretchen and Howard Leach Mark and Kelly Macy Chris McCutcheon Alex Mehran Lisa and John Miller Deborah Minor Michael and Robyn Muscardini Mr. William D. B. Olafsen, ASID Yurie and Carl Pascarella Andy and Mary Pilara Allyson Rusu O. J. and Gary Shansby Sotheby’s Norah and Norman Stone Laura and Joe Sweeney Roselyne C. Swig Francesca Vietor and Mark Hertsgaard
Susan Swig Watkins Amelia and Brandt Williams Mrs. Alfred Wilsey Annie Robinson Woods and Montgomery Woods
{$500–$850} Abercrombie & Fitch Chris Boskin Alexandra Bowes and Stephen Williamson Michael Brennan Gerry and Bill Brinton Barbara Brookins-Schneider Ann Moller Caen Mei and Herald Chen John and Mary Conlin Daniel and Susan Daniloff Juliette and André de Baubigny Dixon and Carol Doll Family Foundation Jennifer Emerson fuseproject Ebersole Gaines Ellene Gurtov-Smith Haines Gallery Julie Harkins Lisabell Heida Gary Hutton Design Annalise Hyllmon and C. W. Sattler Carol and Richard Hyman Jensen Architects Richard and Pamela Kramlich Leddy Maytum Stacy Architects Kathryn Leighton Maryon Davies Lewis Moldaw Family Foundation Ms. Ann Morhauser Sally and Robert Nicholson, parents of Bobby Nicholson John Perez Cathy and Mike Podell Laurie Reid Joan E. Roebuck Megin Scully Michael and Mary Servais Eve Simon Ron H. Tanovitz and Eve Marie Steccati-Tanovitz Jay and Susie Tyrrell Barbara Vermut Valerie Wade Kirby Walker and Paul Danielson Jill Weed Ann Winblad Richard and Sue Wollack
o p en ings
& R e c e pt i ons
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{ s u pporting cca }
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1
2
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opposite page:
this page:
1. Susan Miller, Susan Swig Watkins, L arry Sultan & Nellie King Solomon at the Wattis Institute opening
1. Jennifer Biederbeck & Charlot te Winton at the Wattis Institute opening
2. Phil Linhares
& Byron
Meyer at the
Wattis Institute opening 3. Sharon & Barcl ay Simps on at the Simpson Award reception with award winners Reggie Stump, Patricia Esquivias Gabrielle Teschner
&
4. Jan Zakin at SFMOMA’s reception for the exhibition California College of the Arts at 100 5. H elen Hilton Raiser & C hristi ne Murray at SFMOMA’s CCA at 100 reception 6. Dolly
& George
Chammas at SFMOMA’s
CCA at 100 reception
25 { Glance
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}
2. Honorary doctorate recipients Trin Minh Ha & Robert Bechtle with Ann Hatch, chair of CCA’s Board of Trustees, at the 2007 commencement reception 3. Barbara & Ron Kauffman with R oselyne C. Swig at SFMOMA’s CCA at
100 reception 4. Mike
&
C athy Pode ll at SFMOMA’s CCA
at 100 reception
4
update from t he b oar d
{ Search C o m m i t t e e } T rus t ees
Diane Christensen, cochair Raoul Kennedy, cochair Simon J. Blattner Jr. Tim Brown Tecoah Bruce Susan Cummins Ann Hatch Steven H. Oliver
| page No .
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{ WE L COME new trustees }
Presidential
S earch Up date
Ann Hatch,
chair of the Board of Trustees, reports that the search for CCA’s next president is progressing well. Over the summer, members of the search committee met with staff and faculty on each campus to answer questions about the search and to solicit input on the expectations for and the desired characteristics of the next president. Student representatives have organized forums in Oakland and San Francisco to update students on the process and ask for their input. The search has attracted a strong, diverse pool of candidates. Eight to ten first-round interviews will take place in November. Once finalists have been identified, we hope to be able to offer opportunities for the CCA community to meet them. As always, the committee welcomes your ideas, which may be sent to cca@heidrick.com. For the latest information about the search, visit www.cca.edu/about/president.
Alan Stein Judy Timken Facu lt y
Kim Anno, assistant chair of the Painting/Drawing Program Barry Katz, president of the Faculty Senate Emily McVarish, chair of the Appointments, Promotions, and Tenure Committee Staff
Julia Rowe, associate dean of students Helen Frierson, executive assistant, Office of the President St udent s
New
T r ustees
De bo r a h Ch a l st y
is the executive director of the Chalsty Foundation, which is dedicated to supporting artistry and craftsmanship in wood- and metalworking. She and Maria McVarish, an architect and faculty member in CCA’s Graduate Program in Design, are business partners in a real estate development firm. Chalsty is also an emeritus advisory board member of the Crucible, a nonprofit educational arts collaborative based in Oakland. She graduated from Harvard Business School and is a former investment banker. Her hobbies include working with wood and metal. The Chalsty family recently gave CCA a $300,000 endowed gift to support the Chalsty Aesthetics and Philosophy Initiative. The grant has enabled the college to develop new public programs, enhance its libraries, fund faculty development, support research, and create an annual scholarship award. There is also a new endowed professorship: Joseph Tanke is the new Chalsty Professor of Aesthetics and Philosophy and began teaching this fall.
Jessica Brier, Graduate Program in Curatorial Practice Liana Chavarin, Individualized Major Adam Green, Glass Program
26
C ha r le s G u i c e
is an art dealer and the director of Charles Guice Contemporary. He specializes in modern and contemporary art by nationally and internationally recognized visual artists, and he has sold to important museums and private collectors throughout the United States and abroad. Guice is a trustee of the Museum of the African Diaspora (MoAD) in San Francisco and a member of the Photographs Council at the J. Paul Getty Museum in Los Angeles. He also serves on the nominating committee for the Aperture West Book Prize. Guice represents three artists affiliated with the college: Carrie Mae Weems, who received an honorary doctorate from CCA in 1999 and served on the faculty in 1991, Hank Willis Thomas (MFA 2003, MA Visual and Critical Studies 2004), and Jessica Ingram (MFA 2003). Prior to his career in art, Guice was an executive in the health care industry, focusing on workers’ compensation, medical malpractice, and general liability. He holds a BA in psychology from Trinity College and an MBA from Golden Gate University. He is also a writer and curator, and he has collected art for 20 years.
M a rk P e te r s e n is a partner in the law firm Farella Braun + Martel LLP. He joined the firm in 1983 and has a broad-based litigation and mediation practice emphasizing complex biotechnology issues, consumer fraud claims, construction, entertainment, and general business litigation. He has represented a professional football team, a professional baseball team, and a nationally recognized recording artist as well as prominent biotech, software, and financial companies. He serves as a mediator for various courts, and he is a judge pro tem in San Francisco for resolution of cases about to go to trial. Petersen served on the Capp Street Project board of trustees from 1992 until 1998, when the organization became part of CCA. During his tenure he served as treasurer and board chairman, and Capp Street presented memorable new works by Mona Hatoum, Glen Seator, Janine Antoni, and many other notable artists. Petersen received his BS degree from the United States Naval Academy in 1974 and served in the navy as a nuclear submarine engineer until 1980. He earned his JD from Hastings College of the Law in 1983.
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noteworthy AC HIEVE M E N T S
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{ pu bl ic
recognition}
Awards & Accolades C av e h Z a h e d i
(Media Arts faculty) has won the prestigious 2007–8 Rome Prize from the American Academy in Rome. He plans to use the fellowship to write a screenplay adaptation of Ulysses, James Joyce’s epic work of experimental literature, devoting an hour of screen time to each of the book’s 18 chapters.
R o b E p s te i n ,
chair of the new Graduate Program in Film, has received two awards—a $35,000 Rockefeller Foundation Media Arts Fellowship and a $10,000 Sundance Institute Documentary Fund grant—for his newest project, Howl, a documentary film memorializing the publication of Allen Ginsberg’s groundbreaking 1955 Beat poem of the same name.
J im G o ld b e r g
(Photography faculty) received a 2007 Henri Cartier Bresson Award for his project The New Europeans, about refugees and immigrants journeying to Europe from war-torn and economically devastated countries. He will use the ¤30,000 prize to travel to his subjects’ countries of origin and tell their root stories of migration. Goldberg also recently received a Soros Foundation OSI Documentary Award and an Aftermath Award.
H a nk W i lli s T h o ma s (MFA 2003, MA Visual and Critical Studies 2004 ) and CCA Photography professor C h r i s J o h ns o n have received a $35,000 Media Arts fellowship from Renew Media,
funded by the Rockefeller Foundation, for Question Bridge: Black Male, a documentary film that explores critically divisive issues within the African American male community. Ho pe M e ng
(Graphic Design 2007) and her fellow cofounders of San Francisco’s Stitch Lounge, the country’s first drop-in cut-and-sew space, were honored at the Women’s Initiative Gala in May 2007. Stitch Lounge’s unique concept has also been featured on NBC’s Nightly News and in the Wall Street Journal. The San Francisco Foundation Fund for Artists awarded Ta r a ne h He mami (MFA 1991, Community Arts faculty) a $5000 commission for her 2007 production of Most Wanted at Intersection for the Arts. Hemami also received a $10,000 individual artist commission from the San Francisco Arts Commission Cultural Equity Grant for the research and production of the new multimedia documentary project One Day, focusing on the exchange of stories of everyday people in Iran and San Francisco. L aur e n El de r (Community Arts faculty) has received a $5000 planning grant from the city of Oakland for a landscape and edible garden at New Highland Elementary School. The school district has allocated $20,000 to implement the design. C a r l Aug e (Painting/Drawing 2003, MFA 2005) received the Pollock-Krasner Foundation Award in 2006–7. This individual artist’s
28
grant is intended to assist in the creation of new work over the course of one year. So nia B a s Sheva Mañ jo n,
executive director of CCA’s Center for Art and Public Life, is the 2007 arts and culture inductee into the Alameda County Women’s Hall of Fame. The award recognizes her work with the center, the Community Arts Program, and the 100 Families Oakland project. In summer 2007 Maria nne Rogoff (Writing and Literature faculty) won the fiction contest organized by Tiferet: A Journal of Spiritual Literature for her series of stories inspired by Manuel Alvarez Bravo’s photographs. Lynda Grose (Fashion Design faculty) recently received a $10,000 California project grant for her Sustainable Design course, part of CCA’s Fashion Design Program. Anne- C atrin S ch ultz
(Architecture faculty) has received a Berkeley Architectural Heritage Preservation Award for a remodel of the Rankin House in Berkeley. The Leland Stanford Mansion State Historic Park preservation and restoration project has won two awards: one from the Victorian Society in America and one from the California Preservation Foundation. Hank D un lop (Interior Design and Visual Studies faculty) was the project’s historic interior and furniture consultant.
jim goldberg, Scars , 2006
The AIA California Council has named Min | Day (principal E. B. M in is an Architecture faculty member ) an emerging talent in Northern California. Min | Day will present at the AIA California Council’s Monterey Design Conference in October. C ra ig S c o tt
(Architecture faculty ), with IwamotoScott Architecture, won the 2007 I.D. Design Distinction award and a citation in the 2007 San Francisco AIA annual design awards for Jellyfish House. Jellyfish House has also been featured in I.D. magazine’s 53rd Annual Design Review; the New York Times; the Los Angeles Times; Wired.com; and the websites of Architectural Record and Domus.
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Several 2007 MFA grads won awards upon graduation this spring: Davi d G ur man received the $10,000 Toby Devan Lewis Fellowship and the 2007–8 Graduate Studio Award from Headlands Center for the Arts in Sausalito. Patri cia Es q ui vi a s, Re ggie St ump, and G a br i e l l e Te sc h ner each won a $2,500 Barclay Simpson Fine Arts Scholarship. Ryan Pierce received $15,000 from the Joan Mitchell Foundation. And L acey Ja ne Ro be r ts won a $5,000 Craft Research Fund award from the Center for Craft, Creativity, and Design. Ch r i sto ph e r We iss (Fashion Design 2007) won the Surface Emerging Talent Award at the
Centennial Gala and Threads Fashion Show this past May. It includes a trip to New York and the opportunity to collaborate with Surface staff on a photo shoot featuring his designs; the pictures appeared in a fall issue of Surface. Current senior K ali Lewis (Architecture) is one of only 11 students nationwide this year to receive the prestigious Donghia Foundation Interior Design Scholarship. The scholarship covers tuition, board, and maintenance as well as books and other materials. Several faculty and students in CCA’s craft programs have received awards. Marilyn da Silva (Jewelry / Metal Arts faculty) is an
noteworthy AC HIEVE M E N T S
Remy L abesque, Urban Shelter_SF, 2006
American Craft Council Fellow; the designation signifies an artist of outstanding ability who has worked 25 years or more in the discipline. In summer 2007, General Motors awarded T r e vo r M a ntkus , now a senior in Ceramics, a highly competitive internship to work in its model sculpting operations unit in Detroit. D e r e k We i sbe r g (Ceramics 2005) is one of 15 American Craft Council Searchlight Artists; they showed their work in a special section of the American Craft Show in Baltimore in February. Ja m e s K e nne y
(Graphic Design 1998, Graphic Design faculty) won a 2006 Insight Award from the National Association of Film and Digital Media Artists for the intro and title sequence of the documentary film Soul of Justice: Thelton Henderson’s American Journey. The American Institute of Graphic Arts has given M i ch a e l Va nde r by l (Graphic Design 1968, Graphic Design faculty) a 2007 Fellow Award. This award
recognizes mature designers who have made significant personal and professional contributions to the field. CCA’s design students have been making a mark: Kerry Bogus (Interior Design) received a $6,000 Honor Awards Scholarship in spring 2007 from the Northern California chapter of the International Interior Design Association for her Love Chair; she made the chair, which is composed entirely of recyclable, biodegradable, sustainable materials, in a course taught by Brian Kane. Nat e Ri bbe ns (Industrial Design) was a finalist in the Microsoft NextGen design competition for his Horizon personal computer, which connects otherwise isolated people to the global marketplace. Remy L a be sq ue (Industrial Design 2006) received an award for design distinction in I.D. magazine’s student competition for Urban Shelter_SF, a wearable hammock/ shelter for urban dwellers.
30
The first annual Spark! Awards, presented in June 2007 in Pasadena, honored two CCA faculty members and one alum. An t hony Marschak (Wood/Furniture 2003) received a Gold Spark Award for his bamboo Spring Chair. With his firm, Volume Inc., Eric Heiman (Graphic Design 1996, Graphic Design faculty) received awards for the SFMOMA film series poster Fidelity and Betrayal: Variations on the Remake and for the books Heath Ceramics: The Complexity of Simplicity and Readymade: How to Make (Almost) Everything. Industrial Design chair Yves Béhar (with fuseproject) received awards for the Danese Kada Chair, Aliph Jawbone Bluetooth Headset, Herman Miller LEAF Lamp, and XO Laptop. Yves Béhar and fuseproject have won several other awards recently, including a Gold IDEA (International Design Excellence Award) from BusinessWeek magazine for the Aliph Jawbone packaging and a silver IDEA for Herman Miller Leaf Strategy. BusinessWeek recently featured the
james kenney, Soul of Justice,
stills, 2005
firm as the number-two overall IDEA award winner in the last five years. fuseproject presented a booth on the One Laptap Per Child XO Laptop at Art Basel, Switzerland. The laptop, a flexible, ultra-lowcost, power-efficient, durable computer designed collaboratively by experts from both academia and industry, has won one of five 2007 INDEX awards. These ¤100,000 awards are the biggest in the design world, rewarding projects that take an interdisciplinary approach and cross conventional design categories. I.D. magazine
The March–April 2007 issue of STEP Inside Design featured the top 100 designs from the magazine’s annual competition. Thirteen of the winning projects had ties to CCA Graphic Design faculty and alumni: ....................................................................
judges ’ pick
No Plot? No Problem! Novel-Writing Kit Design: Rise-and-Shine Studio, M e l i ssa Ti o l e co - Cheng (2002) Art Direction: Chronicle Books, M i ch a e l M o r r i s (2004) ....................................................................
catalogs
....................................................................
RADAR: Selections from the Collection of Vicki and Kent Logan Design: Aufuldish & Warinner, Bo b Auful di sh (faculty)
identity
Uneasy Nature Design: Volume Inc., Eric He i ma n (1996, faculty), Am ber Re e d (2005), M a dh avi Jagd ish (2004) ....................................................................
editorial YVES Béhar, XO Laptop, 2007
has given the Herman Miller LEAF Lamp a Best of Consumer Products award. fuseproject’s Morpheus Chandelier and Danese Kada Chair both won Red Dot Design Awards, Fly-Bench Global Edition Collection received a NeoCon Gold Award, and DXL Helmet won a D&AD Award. PCWorld named the Aliph Jawbone Bluetooth Headset one of the 100 best products of 2007.
Harry Callahan: The Photographer at Work Design: Aufuldish & Warinner, Bo b Auful di sh (faculty)
Fall 2007
}
SINO Restaurant Design: Public, Todd F oreman (former faculty), Nancy Thomas (2002) Fuego Grill Design: Pentagram, Erik S chmit t (1992) ....................................................................
reader ’ s choice exhibit design
/
Fuego North America Design: Pentagram, Erik S chmit t (1992) ....................................................................
posters
ReadyMade: How to Make (Almost) Everything Design: Volume Inc., Eric He i ma n (1996, faculty), El i za be th Fi tzgibbons
(2005), Aki ko
Ito
(2004)
Love Hotels Design: Chronicle Books, S ara Sch ne i de r (1998) ....................................................................
31 { Glance
Bob aufuldish, RADAR, 2006
The Shins; SFMOMA College Night; The Books Design: The Small Stakes, Ja so n Munn (faculty) ....................................................................
miscellaneous
Paint by Number Kit Design: Chronicle Books, Alet hea Morrison (1998) ....................................................................
EX HIBITIO NS
& p u b l i c at i ons
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{N oteworthy achievements}
Faculty Notes Do ug Aka g i
Ce l e ste Co nnor
group show : The Graphic Imperative:
essay contributions to
International Posters for Peace, Social Justice, and the Environment, 1965– 2005, Massachusetts College of Art, Boston, Sept.–Nov. 2005 (traveled to the Design Center at Philadelphia University and the AIGA National Design Center, New York; the show is currently in San Diego and will also be presented in Saint Louis, Missouri; Boca Raton, Florida; and Boone, North Carolina).
exhibition catalogs : Oltre
K im Ann o
solo show : Kim Anno, Marcia Wood Gallery, Atlanta, Mar.–Apr. 2007. group shows : Banzai & Godzilla, SFMOMA Artists Gallery, San Francisco, June 2007; Stop Pause Foward, Patricia Sweetow Gallery, San Francisco, May–June 2007. work featured : Twentieth Century Asian American Artists, Greenwood Press, 2007.
(Beyond), Palazzo Panni, Galleria Civica Segantini, Arco, Italy, 2007; Paging through Dreamland: The Tablet Project, Permanent Press, Oakland, 2007. publications: “Just Say No, Thanks,” Antinomy, summer 2007; “In Advance of Some Non-Standard Stoppages: On the State of Art Criticism in the San Francisco Bay Area,” Stretcher.org, Feb. 2007. award: Language Learning Grant, Istituto Italiano di Cultura, summer 2007. M a r i lyn da Si lva
solo show : Second Nature: A Bird’s-
Eye View, Mobilia Gallery, Cambridge, Massachusetts, Sept.–Oct. 2006. group shows : Metal Works North, Grace Hudson Museum, Ukiah, July–Oct. 2007; Exhibition in Print, Metalsmith, Aug. 2007; Challenging
John Chiara, 24th at Carolina (Center), 2006
the Chatelaine! Selected Works: 2002–2006, Designmuseo, Helsinki, Sept. 2006–Jan. 2007 (exhibition is traveling internationally through 2009). Rob Epst ein
Jurist at the 2007 Los Angeles Film Festival. Jeann e F inley
group show : 3x3: Napa Solano
Sonoma, di Rosa Preserve, Napa, California, July–Sept. 2007. Linda F leming
award : Peter S. Reed Foundation grant, June 2007.
C u r ti s H. A r i m a
group shows : Metal Works North,
Grace Hudson Museum, Ukiah, California, July–Oct. 2007; Necklaces, Aaron Faber Gallery, New York, June–Aug. 2007.
Gloria F rym
publications : The Lost Sappho
J oh n C h i a r a
work featured : “Imperfect
Beauty: A Conversation with John Chiara,” Article, summer 2007; “The Last Word: West Coast Writers and Artists,” ZYZZYVA, spring 2007.
Duncan House, Counting the Days #2, 2006
32
Poems, Effing Press, 2007; Solution Simulacra: Poetry, United Artists Books, 2006; other poems recently published in Coconut, Origin 4, Parthenon West Review, Golden Handcuffs Review, and Zen Monster. readings: Saint Mark’s Church Poetry Project, New York, Feb. 2007; Bowery Poetry Club, New York, Feb. 2007; San Francisco State University Poetry Center, Mar. 2007; University of Arizona / Chax Press, Tucson, Mar. 2007; Moe’s Books,
Doug Akagi, Save San Francisco Bay, 1991
Berkeley, May 2007; Beyond Baroque Literary Arts Center, Venice, California, July 2007. award: Faculty development grant for research in Andalusia, 2007. L inda G e a ry
group show : 7.07, b. sakata
garo, Sacramento, May–June 2007 (curated by Hung Liu and reviewed in Artweek, July 2007). residency : Art Omi International Artists Residency, July 2007. J im G o ld b e r g
solo show: Raised by Wolves, Art Gallery of Western Australia, Perth, Feb.–June 2007. group shows: 60 Years of Magnum, Les Rencontres, Arles, France, July– Sept. 2007; Turkey by Magnum, Istanbul Museum of Modern Art, Feb.–May 2007.
33 { Glance
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}
Al i sa G o l de n
solo show : Threads of Thought:
New Books by Alisa Golden, Donna Seager Gallery, San Rafael, California, June 2007. group show : A Poetic Coup D’Etat: Mallarmé’s Influence on Artists’ Books, Denison Library, Scripps College, Claremont, California, Jan.–Mar. 2007. Er i c He i ma n
(with Volume Inc.)
50 Covers panel discussion, San Francisco Center for the Book, Nov. 2006; “Intelligent Design,” University of California, Davis, Nov. 2006; “Design What You Love,” AIGA Los Angeles, Jan. 2007; “What Is ‘Passion’ Anyway?” Creative Summit, San Marcos, Texas, Mar. 2007. Glen Helfand
essay contributions to
group shows : California College of
exhibition catalogs : Hung
the Arts at 100: Innovation by Design, San Francisco Museum of Modern Art, Mar.–Aug. 2007; TDC53, Type Directors Club, New York, July 2007. publications : Graphis Annual Reports 2006; Design Life Now; Typography 27; Applied Arts Design and Advertising Annual, Nov.–Dec. 2006; “How,” 2007 International Design Annual, Apr. 2007; “Step Inside Design,” 2007 Step 100, Mar.–Apr. 2007. lectures : AIGA 50 Books/
Liu: ZZ (Bastard Paintings), Nancy Hoffman Gallery, New York, 2007; Georgia June Goldberg, Swarm Gallery, Oakland, 2007. Taraneh Hemami
solo show : Most Wanted, Intersection for the Arts, San Francisco, May–June 2007. group shows : Global Eyes, Siggraph International Exhibition, San Diego, Aug. 2007; Stitches in Time II: Identity Imprinted,
EX HIBITIO NS
& p u b l i c at i ons Exhibition, Fort Mason, San Francisco, Aug. 2006; The Family of Clay: CCACeramics 1950–2005, CCA Oliver Art Center, Oakland, Jan.–Feb. 2006; Glass Now auction, National Liberty Museum, Philadelphia, Oct. 2006. J o r da n Ka nto r
group shows : Very Abstract and
Kim Anno, Wind, 2007
Richmond Health Center, California, June–Sept. 2007; Intimate Bodies Public Spaces, Mina Dresden, San Francisco, Mar. 2007. T o dd H i d o
group shows : ELOI: Stumbling
Toward Paradise, UCR / California Museum of Photography, Riverside, Jan.–Apr. 2007; POV: Photography Now and the Next 30 Years, Photographic Resource Center, Boston University, Nov. 2006–Jan. 2007. work featured : Eyemazing, Jan. 2007; American Photo, Feb. 2007. S t e v e n S kov H o lt
featured : “The Edgar Lanpher
Effect,” Wall Street Journal, Apr. 2007. Dunc a n H o us e
group shows : CCA Sculpture
Selections, Sculpturesite Gallery, San Francisco, Jan.–Apr. 2007; CCA: A Legacy in Studio Glass, San Francisco Museum of Craft and Design, Jan.–Apr. 2007; Americana, Main ARTery Gallery, Benicia, California, May–July 2007; Go Figure, Main ARTery Gallery, Benicia, Feb.–Apr. 2007; American Craft Council CCA Juried Alumni
Hyper Figurative, Thomas Dane Gallery, London, Mar.–Apr. 2007; Image Processor: Kota Ezawa / Chris Finley/ Jordan Kantor, Lombard-Freid Projects, New York, Apr.–May 2007. Ba r ry Katz
visiting faculty : Bezalel Academy of Art and Design, Jerusalem, May 2007; Haystack Mountain School of Crafts, Deer Isle, Maine, July 2007. faculty leader : Stanford Alumni Travel/Study Program, China, June–July 2007. publications : “Ideology and Engineering in the Tennessee Valley” in The Tennessee Valley Authority: Design and Persuasion, Princeton Architectural Press, 2007; “1927: Bucky’s annus mirabilis” in New Views on R. Buckminster Fuller, Stanford University Press, 2007; “Intelligent Design,” Technology and Culture, Apr. 2006; “Manifesto Destiny,” Dwell, May 2007; “Then and Now,” Dwell, Mar. 2007.
Christ ina L a S al a
residency : Elsewhere, Greensboro, North Carolina, Aug. 2007. Elizabet h Leger
solo show : Fragments: Liz Leger,
Deirdre White, City Art Gallery, San Francisco, Oct.–Nov. 2006. group show : Just Charcoal, SFMOMA Artists Gallery, San Francisco, Feb.–Mar. 2007. Margaret M a c kenzie
group shows : West Marin Icons,
Toby’s Gallery, Point Reyes Station, California, May 2007; Wild Book Show, Point Reyes Books, Point Reyes Station, July 2007; Box Show, Gallery Route One, Point Reyes Station, July–Sept. 2007. invited presentations : Indulgences art salon, San Rafael, California, Mar. 2007; Alchemy art salon, San Rafael, June 2007. Ari Marcopoulos
group show : In the Alps, Kunst-
haus Zurich, Oct. 2006–Jan. 2007. Raffi Mina sian
award : Educators Who Make a Difference award from the Yuba
Ja me s Ke nne y
Faculty mentor at the Cannes Film Festival, May 2007. Codirector of SF Shorts: The San Francisco International Festival of Short Films, Aug. 2007. Kenney’s film My Dad’s Hair was screened at Rooftop Films, New York, in July 2007 and was the Independent Film Channel film of the day on July 3, 2007.
34
Alisa Golden, Antenna, 2007
County Office of Education, for Minasian’s support of the Automotive Academy, May 2007. Keynote speaker at the Blackhawk Museum docent graduation ceremony, 2007. P hil i p Mo r s b e r g e r
publication : Philip Morsberger:
A Passion for Painting, Merrell, 2007 (by Christopher Lloyd, former curator of the Queen’s art collection). award : elected honorary fellow of Saint Edmond Hall, Oxford, England, in recognition of his distinguished career. K iers te n Mu e nc h i nge r
lectures : “MTRL: Material on
New Materials” (with ASM, the Materials Information Society), Institute of Design, Chicago, July 2007, and Hotel Adagio, San Francisco, Aug. 2007. C l iff o r d R a i n e y
group show : 3x3: Napa Solano
Sonoma, di Rosa Preserve, Napa, California, July–Sept. 2007. M a ri a nne R o g o ff
Fiction judge for the 2007 Jessamyn West Creative Writing Contest, Napa Valley College, California.
Taraneh Hemami, Most Wanted,
installation view, 2007
M i ch a e l Sch ne i der
publications : the final two in
the five-part series of Constructing the Universe Activity Books, devoted to mathematics, nature, and art (these accompany Schneider’s A Beginner’s Guide to Constructing the Universe, HarperPerennial, 1994, now in its 28th printing). M i tch e l l Sch wa rzer
publications : “The Architecture
The Art and Life of Léopold Sédar Senghor, based on the work of the West African writer and political figure (read at the Lit&Lunch reading series, San Francisco, Mar. 2007, in collaboration with the Lorraine Hansberry Theatre).
of Patronage,” ArcCA, May and Sept. 2007; “Windows on the World: Anne Fougeron’s Houses,” California Homes, Jan.–Feb. 2007. lectures : “The Tourism Zone,” Things That Move: Material Worlds of Tourism and Travel symposium, Leeds Metropolitan University, England, July 2007; “Secondhand Sight,” College Art Association annual conference, New York, Feb. 2007.
KC R o s e n b e r g
Cr a i g Sco tt
Z ack R o g o w
written work : La Vie en Noir:
Design Museum, Weil am Rhein, Germany), Art Center College of Design, Pasadena, California, Mar.–July 2007; Exceptional Houses, Architecture Gallery, Brno, Czech Republic, May–July 2007; Young Architects Program 2007 (exhibition of P.S.1 outdoor courtyard competition finalists), Museum of Modern Art, New York, June–Sept. 2007 (IwamotoScott’s competition entry, REEF, has also been featured online at Wired, Inhabitat, Bldg Blog, and dezeen). presentations : Architectural League, New York, Mar. 2007; guest studio critic, Southern California Institute of Architecture, Los Angeles, summer 2007. Elizabet h Sher
group shows: Museum without Walls,
New York, July 2007; Artists’ Books Exhibition, Cuesta College, San Luis Obispo, California, June–July 2007.
award : Alameda County Art
(with IwamotoScott Architecture)
Mary S nowd en
Commission purchase award, 2006.
group shows : Open House:
curated : CCA at 100: Alumni Looking Forward, Braunstein/Quay Gallery, San Francisco, Mar.–Apr. 2007.
Architecture and Technology for Intelligent Living (organized by Vitra
35 { Glance
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}
EX HIBITIO NS
& p u b l i c at i ons John Zurier
elizabeth sher, Bella, Bella,
still, 2007
F ed e r i c o W i ndh aus e n
lectures : “Paul Sharits and
the Active Spectator” and “Realism in New Argentine Cinema,” Society for Cinema and Media Studies annual conference, Chicago, Mar. 2007; “Paul Sharits and the Problem of Structure,” Documentation, Demonstration, Dematerialization: American Art & Cinema of the Late 1960s and 1970s, University of California, Berkeley,
Apr. 2007. panelist : “Matthias Müller: Multimedia Poet,” Boston University, Oct. 2006. With CCA funding, Windhausen traveled to Buenos Aires this past summer to complete research for a book on recent Argentine cinema and shoot a documentary with cinematographer Rubén Guzmán in the northern province of Salta. Th o ma s Wo ja k
group shows : CCA 100th Anniver-
sary Alumni Exhibit, GarageGallery, San Francisco, Apr.–June 2007; Impressions: The Printed Image, El Camino College Art Gallery, Torrance, California, Aug.–Sept. 2007. award : certificate of appreciation from the city of Vallejo for his artistic contribution to the Veterans Memorial Monument restoration, 2007. Euge ne Yo ung
Craig Scot t, REEF Anemone Cloud Model 2,
detail, 2007
solo show : John Zurier: Paintings, Peter Blum Gallery, New York, Mar.–May 2007. group shows : The Good, the Bad, and the Ugly, New Langton Arts, San Francisco, Jan.– Feb. 2007; Contemporary Art, Colby College Museum of Art, Waterville, Maine, July–Oct. 2007; Selections from Concrete, H. Paxton Moore Fine Art Gallery, Dallas, June–Sept. 2007; Some, Larry Becker Contemporary Art, Philadelphia, June–Aug. 2007. acquisitions : Arabella, 2005, by the San Francisco Museum of Modern Art; other
work featured: ImagineFX, Aug. 2006. This semester Young is a digital illustration instructor at City College of San Francisco.
36
John Zurier, Arabella, 2005
paintings by the Colby College Museum of Art, Waterville, Maine, and the Farnsworth Art Museum, Rockland, Maine.
published W ORK S
| page No .
37
{ TE XT, a rt & des ign }
Bookshelf A rt is ts o f Inv e n ti on: A Ce ntury o f CC A
Philip Morsberger: A Pa ssion for Paint ing
California College of the Arts, 2007 Paperback, 184 pages, $29.95
by Christ opher Lloyd
Published in conjunction with the major retrospective at the Oakland Museum of California, this companion volume presents a vivid portrait of Bay Area artists and art movements associated with CCA over the last century. It includes new essays, interviews, historical texts, biographies of more than 100 artists, and more than 100 color plates.
Merrell, 2007 Hardcover, 128 pages, $49.95
This large-scale, well-illustrated monograph presents the lively, witty work of Philip Morsberger (professor emeritus), whose career as a painter began in the 1950s and has ranged from realism to abstraction and the American comic-strip tradition. It includes eight “appreciation” texts by the artist’s contemporaries and friends.
T h e H e a r t of W h i t ene ss: Nor mal Se xualit y
The Virgin’s Guide t o Mexico
and R ac e i n Am e r i c a , 1880–1940
by Eric B. Mart in
by J u li a n B . C a r te r
MacAdam/Cage, 2007 Hardcover, 350 pages, $25
Duke University Press, 2007 Hardcover, 240 pages, $74.95 Paperback, 219 pages, $21.95
Julian Carter (Critical Studies faculty) examines how cultural discourses of whiteness and heterosexuality fused in the early twentieth century to form a new concept of the “normal” American. Carter draws from an array of popular texts, including children’s sexeducation books and marital advice books for adults.
Eric B. Martin’s (Writing and Literature faculty) fictional novel tells the story of a teenage girl who runs away from wealthy, suburban Texas to Mexico City, where she disguises herself and encounters a series of eccentric characters. Her parents follow close behind in their SUV, swerving around cacti and herds of wild pigs. Up Above and D own Below by Sue Redd ing
Bu il d T h i s B o ng : Ins tr ucti o ns a nd D i ag r ams f o r 4 0 B ongs , Pipe s, and H o o k a h s by R a ndy S tr atto n Chronicle Books, 2007 Paperback, 107 pages, $12.95
Randy Stratton (Jewelry / Metal Arts 2002) presents detailed DIY instructions for building 40 bongs— some classics, some his own original designs—using common household goods such as melons, coconuts, snow globes, and teapots. Projects range from a standard gravity bong to a rubber-ducky hookah and a state-ofthe-art vaporizer.
Chronicle Books, 2006 Hardcover, 32 pages, $14.95
Sue Redding (Industrial Design faculty) writes and illustrates this colorful children’s book (recently published in France by Seuil as DesSus and DesSous) that juxtaposes whimsical scenes taking place simultaneously above and below ground: in a house, a theater, a picnic spot, the Antarctic, and other locations. “ The L a st Man,” in The Apoc alypse Reader by Adam Nemet t Thunder’s Mouth Press, 2007 Paperback, 336 pages, $15.95
This anthology of 34 doomsday scenarios features “The Last Man” by current MFA Writing student Adam Nemett alongside short stories by such contemporary greats as Joyce Carol Oates, Ursula LeGuin, and Rick Moody as well as past luminaries Nathaniel Hawthorne, Edgar Allan Poe, and H. P. Lovecraft.
37 { Glance
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}
published WOR KS
U nc le T o m ’ s C a b in a s Vi sua l Cultur e
The 5 P s : Proper Pl a nning P revents
by J o -Ann M o r g a n
Poor Performanc e
University of Missouri Press, 2007 Hardcover, 240 pages, $39.95
by Liz Cohen
Jo-Ann Morgan (Painting 1969) reveals how prints and paintings of Uncle Tom and other characters in Harriet Beecher Stowe’s famous novel shaped public perceptions of slavery in the years following the novel’s publication in 1852. She examines illustrations in various editions of the book, advertisements for stage productions, and even sheet music.
Onestar Press, 2007 Paperback, 150 pages, $21.95
“I’ve been building a car at Elwood Bodyworks for a couple of years. Bill Cherry’s my mentor. He lets me use his tools and constantly reminds me of the 5 Ps: Proper Planning Prevents Poor Performance. These are Bill’s tools.” —Liz Cohen (MFA 2000) It end ed sad, but I loved where it began by Jim Goldberg
The Year of Fog
These Bir ds Walk, 2007 Paperback, 40 pages, $75
by Mi c h e lle R i c h mo nd Delacorte Press, 2007 Hardcover, 383 pages, $20 Paperback, 496 pages, $5.99
This San Francisco Chronicle bestseller by Michelle Richmond (Writing and Literature faculty) traces a traumatic year in the life of a young photographer after she loses her fiancé’s six-year-old daughter while walking on the beach in San Francisco. Panic and fear soon lead to exhaustion and emotional shutdown as the search for the missing girl continues.
Jim Goldberg (Photography faculty) engulfs and engages readers with beautiful prose and images addressing timeless notions of love, loss, and pain. This handnumbered, limited-edition book is part of a subscription series (which next year will feature faculty members Todd Hido and Abner Nolan). Bet ween t he Two by Todd Hido Nazraeli Press, 2006 Hardcover, 76 pages, $75
Bu r n i ng B o o k : A Vi sua l H is to ry o f Bur n ing M a n de s i gn e d by M a r ti n Ve ne zky Simon Spotlight Entertainment, 2007 Hardcover, 368 pages, $28.95
Martin Venezky (Graphic Design faculty) designed this image-laden volume commemorating the history of Burning Man, which began in 1986 on San Francisco’s Baker Beach and now transforms Nevada’s Black Rock Desert into a bustling city for one week each year. The book explores the festival’s unique ethos and art installations as well as its distinctive landmarks, pranks, lore, and gift-based economy.
38
Todd Hido (Photography faculty) weaves photographs of abandoned houses together with portraits of anonymous models in motel rooms. The rooms have seen better days, and the pictures evoke both seediness and internal beauty. The 35 photographs are printed on matte art paper and bound in an oversize format. S eeing Beyond Sight designed by Julia F l agg Chronicle Books, 2007 Hardcover, 152 pages, $24.95
This book, designed by Julia Flagg (MFA Design 2002), features 136 photographs by blind teenagers, accompanied by the photographers’ own words about the creative process, self-expression, and the visual world.
C ous i n Wa s h P r e s e nts: T he F o o d C o n v e n ti o n i llus trat e d by Eug e ne Yo ung Les Lurn Publishers, 2007 Hardcover, 32 pages, $16.95
Eugene Young (Graphic Design 2001, Graphic Design faculty) illustrates this children’s book based on an original folktale by the celebrated storyteller Curtis N. Hunt. Characters such as Mr. Corn and Mr. Stringbean help doctors and educators in the fight against childhood obesity, diabetes, and other diet- and exerciserelated issues. T he R e v i s i o n i s t by M i r a nda M e lli s Calamari Press, 2007 Paperback, 82 pages, $12
Miranda Mellis (Writing and Literature faculty) describes an apocalyptic, detached, distorted world populated by mutant children, a centenarian with iguanas beneath her dress, brooding frigate birds, a terrorist curator, and other fantastic characters. The story is of a nuclear-age weather reporter who operates out of an abandoned lighthouse and conducts covert surveillance on a city. S olu ti o n S i mul ac r a by Glo r i a F rym United Artists Books, 2006 Paperback, 74 pages, $14
Gloria Frym’s (Writing and Literature faculty) collection of poems captures the difficulties of a culture characterized by war and little tolerance for dissent. The writer and critic Ammiel Alcalay observes: “Like in the aftermath of a ‘mesmerizing theater of operations,’ Gloria Frym’s solutions tread the water of a flood inundating what we once considered our life.”
39 { Glance
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}
after C C A
| page No.
40
{ N OTEWORTHY
achievements}
Alumni Notes { 1939 }
De nni s Oppe nheim
{ 1975 }
I ra L ato u r
solo show and lecture :
Ellen Eagle
screening : The documentary Through the Lens of Ira Latour, at California State University, Chico, May 2007.
Alternative Land Art, Gallery 1600, Savannah College of Art and Design, Atlanta, May–Aug. 2007.
{ 1950 }
Patr i ci a Fr i sc her
Jo h n B e r ry
solo show : One Man Show, River-
land Community College, Austin, Minnesota, Sept. 2007, and Minnesota West Community and Technical College, Worthington, Oct. 2007. { 1956 } S ta n le y G r o sse
group shows : Exploring Multiple
Dimensions, Albuquerque Museum of Art and History, July–Oct. 2007; Manheim Gallery, Cottonwood, Arizona, Oct. 2007. Selected artist by Larson-Juhl line of framed art. Signed with Grand Image, Seattle. { 1961 } Edwa r d B o h o n
group show : Boca Grande Art
Alliance National Exhibition, Florida, Mar.–Apr. 2007.
solo shows : Concordia College,
Artists Gallery, Mar.–Apr. 2007.
Bronxville, New York, Aug.–Oct. 2004; Lyme Academy College of Fine Arts, Old Lyme, Connecticut, Dec. 2003–Feb. 2004. work featured : “Inside Ellen Eagle’s Studio,” Pastel Journal, June 2006; The Classical Drawing Atelier, Watson Guptill, 2006. awards : two Elizabeth Greenshields Foundation grants; residency fellowship at the Vermont Studio Center.
{ 1974 }
Marc K atano
Susa n Gwi n
group shows : 18 Painters, Visual
{ 1972 } curated : SD Art Prize: Domestic Deviation, L Street Fine Art, San Diego, Mar.–June 2007. Ch a r l e s Va lo roso
group show : City Life, SFMOMA
residency : Jentel Artist Resi-
dency Program, Aug.–Sept. 2007. C a r o l Ski ng e r
speaker : Pennsylvania Art Education Association conference, Oct. 2006. Created cover art for the Truro Center for the Arts at Castle Hill, Massachusetts, summer 2006 catalogue. Da l e Wi l h i te
group show : Mind’s Eye, Infusion
Gallery, Los Angeles, May 2007.
{ 1962 }
Arts Gallery, Mount Hood Community College, Gresham, Oregon, Feb. 2007; CCA Alumni and Faculty Show, Stephen Wirtz Gallery, San Francisco, Aug. 2007; Paintings on Paper 1998–2006, Costello/Childs Contemporary Fine Art, Phoenix, Mar. 2006; 3 Painters, Tadu Contemporary Art, Santa Fe, July 2006; Black and White, Pulliam Deffenbaugh Gallery, Portland, Oregon, Aug.–Sept. 2006. Ryan L. Weideman
reviewed : Artforum, Feb. 2007.
Patr i c i a Tav e nne r
group show and lecture :
{ 1976 }
Multiplicity/Multiplicidad: MailArt & Artistamps, SomArts Cultural Center, San Francisco, July 2007.
Mark Bowles
solo show : Abstract Landscapes, Pamela Skinner/Gwenna Howard Contemporary Art, Sacramento, Apr.–May 2007.
{ 1965 } E l i za b e th K ava le r
Erik d’Azevedo
group show : A Living Legacy: The
acquisitions : two paintings
Arts and Crafts Cooperative Inc. 50th Anniversary Celebration, ACCI Gallery, Berkeley, May 2007.
by the Oakland Museum of California, 2007. Tara Tucker, Venus in Furs, 2007
40
Charles Brown ing
group shows : Promised Land, Morgan Lehman Gallery, New York, June–Aug. 2007; Story Redefined, Poietis Gallery, Poet’s Den Art Center, New York, Apr. 2007; Art Chicago, featured artist of Schroeder Romero Gallery, Apr. 2007. D iane Menzies
solo show : The Passing, Joan Lukas Rothenberg Gallery, Syracuse, New York, May–June 2007. Ann Weber Amanda Hughen, Consumptia, 2007
solo show : Ann Weber, Oakland
{ 1978 }
{ 1982 }
Ja m ie B r uns o n
El e a no r Di ck i nson
group show : New Abstraction,
solo show : The Fires Within, Peninsula Museum of Art, Belmont, California, May–July 2007. publication : History of the Women’s Caucus for Art” in Blaze: Discourse on Art, Women, and Feminism, Cambridge Scholars Press, 2007. speaker : National Women’s Studies Association annual conference, Chicago, June 2007.
Robischon Gallery, Denver, Mar.–May 2007. { 1979 } S us a n J u e
Nominated to the board of directors of the Northern California chapter of the International Interior Design Association in the role of philanthropy lead, 2007. Cochair of the IIDA renovation project committee for Multi Services Center South, a homeless shelter, in partnership with Mayor Gavin Newsom and the city of San Francisco, 2007. Nominated to the board of directors of the Summit Bank Foundation, 2007.
{ 1983 } Sa di ki sh a Co l l i er
curated : An Evolving Tradition, Medgar Evers College, Brooklyn, and Danny Simmons’s Corridor Gallery, Brooklyn, July–Aug. 2007. Da ni e l G o ttse gen
{ 1981 }
group show : Thoreau Reconsidered,
Ja n Watte n
Glyndor Gallery, Bronx, New York, June–Aug. 2007.
group show : Alameda on Camera,
Frank Bette Center for the Arts, Alameda, California, Apr. 2007.
{ 1987 } Er i k Adi ga r d
B et sy W e i s
solo show : Dual Term (with Chris
solo show : Photography, Anelle
Salter), Terminal Zero One, Pearson International Airport, Toronto, and Secondlife.com, July 2007–Jan. 2008.
Gandelman Fine Art, Larchmont, New York, June–July 2007.
41 { Glance
Fall 2007
}
Museum of California Sculpture Court, Aug.–Nov. 2007. com missions : Infinite Possibilities, a sculpture at César Chávez Library, Phoenix, 2007; Promenade, a sculpture at Skyline Park, Denver, 2006. { 1988 } Wendy Bell
solo shows : Art Meets Technology, Schaefer Business Solutions, Berlin, June–Nov. 2007; The Right Side, offices of Schäfer, Thieme, and Hermel, Berlin, July–Dec. 2007. commission : Meuer’s Fröhlichkeit, a mural at Sayn, Germany, Aug. 2007. Designed costumes for Avalancha, a video installation by Sergio Belinchón, shot in Bad Sooden / Allendorf, Germany, July 2007. Pat ricia Olynyk
Named director of the graduate school of art (part of the Sam Fox School of Design and Visual Arts) at Washington University, Saint Louis. C yn t hia Guild S t oet zer
solo show : Fresh Lands, Muse Gal-
lery, Jackson, Wyoming, Mar. 2007.
after C C A
Gregory Gavin, Riveropolis, 2006
{ 1990 } M is ty G a m b le
group show : Cream: From
the Top, Arts Benicia, California, July–Aug. 2007. Amy K aufm a n
solo shows : Recent Work, Traywick Contemporary, Berkeley, Apr.–June 2007, Amy Kaufman / Daniel Reneau, 101 California, San Francisco, Feb.–Mar. 2007; Just Charcoal, SFMOMA Artists Gallery, San Francisco, Feb.–Mar. 2007. M ic h e le P r e d
Curated and participated in the group shows Code Switching (with Quorum SF), Red House Gallery, Los Angeles, and Swarm Gallery, Oakland, Aug.–Nov. 2007; and Blood for Art (with Quorum SF), Scope Miami, Florida, Dec. 2006. { 1991 } B o b a k E tm i n a n i
solo show : Evolution of Form and
Idea in Paintings of Bobak Etminani, Imam Ali Religious Arts Museum, Tehran, Iran, June–July 2007.
Li sa Ko ki n
Jane Grimm
solo show : Fruit of the Broom, Jenkins Johnson Gallery, New York, Mar.–Apr. 2007. group show : Childish Things, 301 Bocana, San Francisco, June–July 2007.
solo show : Hearts: Homage to Saint Valentine, Ruby’s Clay Studio, San Francisco, Jan.–Feb. 2007. group shows : Pacific Rim Sculptors Group Summer Members Exhibition, Richmond Art Center, California, June–Aug. 2007; AWA in Paris, Espace Chalet, Paris, May 2007; Artfest, Gallery One, San Francisco, May 2007; Follow The Line, Pence Gallery, Davis, California, Apr.–June 2007; Four Generations of Women at CCA, 871 Fine Arts, San Francisco, Apr.–June 2007; Inaugural Show, Terra Gallery, Columbus, Ohio, Mar.–Apr. 2007; Ceramic Abstraction, Creative Arts Workshop, New Haven, Connecticut, Mar.–Apr. 2007; Plane, Chicago Art Source, Mar.–Apr. 2007; The Alliance of Women Artists, Asylum Gallery, Sacramento, Jan.–Feb. 2007.
J oAnn Se l i ske r
performance : Begin with a Box, ODC Theater, San Francisco, May 2007. residency : ODC Theater, San Francisco.
{ 1992 } M a r l e ne Ar o n
solo show : The Presence of Now, Gallery Route One, Point Reyes Station, California, June–July 2007. group show : Arcadia: Artists Celebrate Trees, California Modern Gallery, San Francisco, Apr. 2007. taught : “Seeing the Divine: The Spirituality of Vincent Van Gogh,” First Unitarian Universalist Society of San Francisco, Apr. 2007. lecture : “The Life and Work of Vincent Van Gogh,” San Francisco Public Library, Bernal Heights branch, July 2007.
42
St even Miller
Designer for the San Francisco Designer Showcase, Pacific Heights mansion dining room, Apr.– May 2007.
{ 1993 } Greg o ry G av i n
public art project : Riveropolis,
Oakland, Oct. 2006. { 1994 } C ha ndr a C e r r i to
curated : Still, Contemporary
Quarterly.com, 2007; Inaugural Exhibiton, Chandra Cerrito Contemporary, Oakland, 2007. Fain H a nc o ck
group show : Mythologies, Hang
Annex, San Francisco, Mar. 2007. A a ro n J o h ns o n
group show : The Last Open Studios
in Tribeca, New York, Apr. 2007. L aw r e nc e L a B i a nc a
group show : Faithfully, Bucheon
Gallery, San Francisco, Feb.– Mar. 2007. J ea nne Lo r e n z
group show : Nothing But Space,
Bucheon Gallery, San Francisco, June–Aug. 2007.
Museum of Contemporary Art, Taipei, Taiwan), Mar.–Aug. 2007; Stars and Starlets Fashion Show, Second Skin, Essen, Germany, Aug. 2006. work featured : “Fashionable Technology,” XXmagazine.org, Jan. 2007; Entry Paradise: New Worlds of Design, Birkhäuser Basel, 2006. G i o i a Fo nda
founded : Tangent, an artist-run alternative gallery space and studio in Sacramento, July 2007. M e l a ni e Ho fma nn
group show : Animals and Sea
Creatures, Expressions Gallery, Berkeley, June–Aug. 2007. An th o ny Pe a r son
solo show : Anthony Pearson, Shane Campbell Gallery, Chicago, Feb.–Mar. 2007. group shows : Stuff, Museum of Contemporary Art Detroit, May–July 2007; Radiant City, Cherry and Martin, Los Angeles, June–Aug. 2007; Aspects, Forms, and Figures, Bellwether Gallery, New York, Feb.–Mar. 2007.
Ta ra Tuck e r
solo show : Friend and Foe, Rena Bransten Gallery, San Francisco, Apr.–May 2007.
{ 1995 } L aw r e nc e A z e r r a d
Designed artwork for new Wilco CD Sky Blue Sky, 2007. { 1996 } C arl a A lle n
group shows : Our Cyborg Future,
Discovery Museum, Newcastle upon Tyne, England, Aug.–Oct. 2007; Second Skin, organized by the Cooper-Hewitt National Design Museum (traveled to Kaohsiung Museum of Fine Arts, Taiwan, and
43 { Glance
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}
Don Porcell a, Artist Colony, 2005
Jeremy S t eng er
group show : Pattern vs. Decoration,
Hosfelt Gallery, San Francisco and New York, June–Aug. 2007. { 1997 } Tia Fact or
solo show : Spaceball Ricochet,
Keys That Fit Gallery, Oakland, Apr.–June 2006. group shows : Alumni at the Centennial, Oliver Art Center, CCA, Oakland, Jan.–Feb. 2007; Oakland: East Side Story, Yerba Buena Center for the Arts, San Francisco, Oct.–Dec. 2006. S t ell a L ai
group show : Girls Just Wanna
Have Fun!, International Female Artists Exhibition, Artspace, Shanghai, July–Aug. 2007. John Rogers
solo show : Crazy Train to the Land of Pure Imagination, Blankspace, Oakland, June–Aug 2007.
after C C A J u li a S h i r a r
Ro be r t Ol se n
Lee Walt on
solo show : New Paintings, Rowan
group show : CCA at 100: Alumni
public art project : Life/Theater
Morrison Gallery, Oakland, Mar.– Apr. 2007.
Looking Forward, Braunstein/Quay Gallery, San Francisco, Mar.– Apr. 2007.
Project, SoEx Off-Site, Southern Exposure, San Francisco, Mar. 2007.
J u le s d e B a li nc o ur t
Ch r i sto ph e r Russell
group show : CCA at 100: Alumni
solo show : Together, Acuna-Hansen
Jeanet t e Bokhour
Looking Forward, Braunstein/Quay Gallery, San Francisco, Mar.– Apr. 2007.
Gallery, Los Angeles, Jan.–Feb. 2007.
Ama nda Hug h en
Julie Chang
Stephanie Dean
solo show : Between Above
group show : Cream: From the Top,
and Below, Electric Works, San Francisco, June–July 2007.
Arts Benicia, California, July–Aug. 2007.
Ra jka ma l Ka h lon
Lily Cox-Richard
group shows : What F Word?,
solo show : At Stake and Rider, Civilian Art Projects, Washington DC, June–July 2007. group shows : Company Picnic, Metro Space Gallery, Richmond, Virginia, May 2007; Introducing the Commonwealth Bricoleurs, Off Grounds Gallery, Charlottesville, Virginia, Mar. 2007. award : 2007 Jacob K. Javits Commended Scholar.
{ 1998 }
solo show : Sleeping Men, Armit-
age Gallery, Chicago, July–Aug. 2007. group shows : Craftsmanly Conceptualism, Johnsonese Gallery, Chicago, May–June 2007; Bridge Art Fair, Chicago, 2007; Cook County Women’s History Month, Chicago City Hall, Mar.–Apr. 2007. work featured : F-Stop: The First Four Years, Free Milk Press, 2007. Pam e l a D e r n h a m
group show : Wired, Mowen
Solinsky Gallery, Nevada City, California, June–July 2007. Dav i d Huffma n
group show : Graphic: New Bay
Area Drawing, di Rosa Preserve, Napa, California, Jan.–Mar. 2007.
{ 1999 }
Cynthia Broan Gallery, New York, Feb.–Mar. 2007; The Big Picture, Nathan Cummings Foundation, New York, Feb.–May 2007; CCA at 100: Alumni Looking Forward, Braunstein/Quay Gallery, San Francisco, Mar.–Apr. 2007. { 2000 } Li z Co h e n
group shows : 50,000 Beds,
Artspace, New Haven, Connecticut, and Aldrich Contemporary Art Museum, Ridgefield, Connecticut, July–Sept. 2007; Picturing Immigration, Galería de la Raza, San Francisco, Aug.–Sept. 2007; Chopped, Chromed, and Customized, Center for Contemporary Arts, Santa Fe, Aug.–Oct. 2007; Fuoriuso: Are You Experienced?, WAX (ex MEO), Budapest, Hungary, and the National Museum of Contemporary Art, Bucharest, Romania, May–Aug. 2007. Al e xa nd r a G r ant
Edith Garcia, Diablo, 2007
solo show : MOCA Focus: Alexandra Grant, Museum of Contemporary Art, Los Angeles, Apr.–Aug. 2007.
44
{ 2001 } group show : TechArt III, South
Shore Art Center, Cohasset, Massachusetts, Apr.–May 2007.
Jose Mar
group show : CCA at 100: Alumni
Looking Forward, Braunstein/Quay Gallery, San Francisco, Mar.–Apr. 2007. Viviana Paredes
group show : Nuevo Arte: Colección
Tequila Don Julio, organized by the Mexican Museum, San Francisco (traveled to White Box, New York; New World Museum, Houston; Aldo Castillo Gallery, Chicago; Los Angeles Contemporary Exhibitions [LACE]), Jan.–Aug. 2007. The collection is being gifted to the Mexican Museum in San Francisco.
Do n P o r c e ll a
group show : Road Trip, Mixed
Greens Gallery, New York, July– Aug. 2007. M a rc i a W e i s b r o t
group show : Pulp Function, Fuller
Craft Museum, Brockton, Massachusetts, May 2007–Jan. 2008. { 2002 } K at h e r i n M cInni s
solo show : Excavations of the Recordable World (a presentation of the digital films Landscapes in Alphabetical Order; Predictions; Suspicious Activity; Open; elevations; A Clear Story; San Quentin, CA 94964; Model Prisoner; and new work), Yerba Buena Center for the Arts, May 2007. group shows : Terra Incognita III, New Langton Arts, San Francisco, July 2007; International Panorama, Festival Pocket Films, Centre Pompidou, Paris, June 2007; San Francisco International Film Festival, Apr.– May 2007; Alternate Soundtrack City Tours, Southern Exposure, San Francisco, Mar. 2007. visiting artist : Conceptual/Information Arts program, California State University, San Francisco, fall 2007.
{ 2003 }
Francis M c Ilveen, Sleipnir: Optimistic: Doomed, 2007
Fr a nci s M c Ilve e n
{ 2004 }
group shows : California Clay Com-
John Chiara
petition Exhibition, The Artery, Davis, California, Apr.–June 2007; Handymen and Girly Boys: Masculinity, Craft, and Culture, Sherry Leedy Contemporary Art, Kansas City, Missouri, Apr.–June 2007; Artist/Teacher, Teacher/Artist, Richmond Art Center, California, Apr.–June 2007.
solo show : John Chiara (sponsored by Gen Art and Johnny Walker), Club Sportiva, San Francisco, Mar. 2007. group show : Visual Alchemy, Oakland Art Gallery, Feb.–Mar. 2007.
Ki r styn Russe l l
group show : Allusive Moments,
Biennial of the Universe, Apexart, New York, July–Aug. 2007.
Rena Bransten Gallery, San Francisco, Mar.–Apr. 2007.
Ed it h Garcia
Ha nk Wi l l i s Th o ma s
K im Cu r ti s
publication : Volume 4,
publication : Photo essay, Mother
True-Eye.net, July 2007.
Jones, June 2007.
Anje e H e ls tr u p-A lva r e z
El i za be th Wa l sh
guest curator : Ancient Roots /
group show : Systems & Transmuta-
Urban Journeys: Expressions for Días de los Muertos, Oakland Museum of California, Oct.–Dec. 2007. Associate director and curator, Movimiento de Arte y Cultura Latino Americana (MACLA), San Jose.
tions, Root Division, Gallery 3175, San Francisco, Feb. 2007.
45 { Glance
Fall 2007
}
David F oug ht
group show : The Most Curatorial
group shows : Six McKnight Art-
ists, MacRostie Art Center, Grand Rapids, Minnesota, and Owatonna Arts Center, Minnesota, May– Sept. 2007; Contemporary Monsters at Wunderkammer: A Cabinet of Curiosities, Bluecoat Display Centre, Liverpool, England, July–Aug. 2007. work featured : Breaking the Mould: New Approaches to Ceramics, Black Dog Publishing, 2007; Confrontational Ceramics, A&C Black, 2007.
after C C A S ar r i ta Hunn
Angel a Henn essy
group shows : Optimism: A Natural
solo show : Party Cloudy, Ampersand International Arts, San Francisco, Apr.–May 2007. group show : Breaking Ice: Bay Area Artists Consider the African Diaspora, Artwork SF, San Francisco, May–June 2007.
Vector, Hardware Store Gallery, San Francisco, May–June 2007; The Collective Foundation, Yerba Buena Center for the Arts, San Francisco, Apr.–July 2007; CCA at 100: Alumni Looking Forward, Braunstein/Quay Gallery, San Francisco, Mar.– Apr. 2007. R ac h e l K ay e
K ari Morris
curated : Glamour, Glory, and the
group show : Glamour, Glory,
Eugene Young, Cousin Wash Presents: 2007 The Food Convention,
and the Good Old Days, Paul Morris Gallery, New York, July–Aug. 2007.
M a ry Yo unki n
F re d e r i ck Lo o m i s
group show : Headlands Center
for the Arts open house, Sausalito, California, Apr. 2007. work featured : Leonardo magazine cover, Feb. 2007. E il e e n Mo d e r b ac h e r
group show : The Most Curatorial
Biennial of the Universe, Apexart, New York, July–Aug. 2007. B r i tta ny P o w e ll
solo show : Mucho Más, Boise Art
Museum, Idaho, June–Oct. 2007. B ay e té R o ss S m i th
solo show : Passing, Blue Room
Gallery, San Francisco, Mar.– Apr. 2007. M ic h e le T h e b e r g e
group shows : Childish Things,
301 Bocana, San Francisco, June– July 2007; Best Friends Forever, Space Gallery, San Francisco, June 2007; Faculty Exhibition, Coffee Gallery, Fort Mason campus, City College of San Francisco, May–July 2007.
detail,
solo show : One Thousand Words,
Luka’s Taproom and Lounge, Oakland, May–June 2007. { 2005 } Lo r i Auff h a mmer
group show : You Can Have It All:
New York, Salvation Gallery, New York, Feb.–Mar. 2007. C a r l Aug e
solo show : Between You and Me, Rowan Morrison Gallery, Oakland, May–June 2007. group shows : Red Ink Studios, San Francisco, Feb. 2007; CCA 100th Anniversary Alumni Exhibit, GarageGallery, San Francisco, Apr.–June 2007. Ch a r l e s Be r o nio
group shows : SELF 2.0, Vertex-
List, Brooklyn, June–July 2007; New American Talent: The 22nd Exhibition, Arthouse, Austin, June– Aug. 2007 (traveling through 2009). M i l e s Epste i n
solo show : The Waste Stream— Art/Furniture, Thoreau Center for Sustainability, San Francisco, June–Sept. 2007.
46
Good Old Days, Paul Morris Gallery, New York, July–Aug. 2007. { 2006 } Valerie Brit t on
solo show : Near and Far, 301 Bocana, San Fancisco, Mar.–Apr. 2007. group shows : Time Lines, Mina Dresden Gallery, San Francisco, Feb. 2007; Excavations, Johansson Projects, Oakland, May–June 2007. Alika Cooper
solo show : Alika Cooper, Mark Wolfe Contemporary Art, San Francisco, July–Aug. 2007. group show : Glamour, Glory, and the Good Old Days, Paul Morris Gallery, New York, July–Aug. 2007. K at ie Lewis
group shows : Systems & Transmu-
tations, Gallery 3175, San Francisco, Feb. 2007; Time Lines, Mina Dresden Gallery, San Francisco, Feb. 2007; Introductions3, Irvine Contemporary, Washington DC, Aug.–Sept. 2007. David Maisel
solo shows : Black Maps, Nevada
Museum of Art, Reno, Apr.–July 2007; Oblivion, Haines Gallery, San Francisco, Apr.–May 2007. group shows : Comfort Zone, Santa Fe Art Institute, June–Aug. 2007; Re-SITEing the West, Los Angeles County Museum of Art, Mar.–June 2007;
Global Anxieties: Nine Perspectives on a Changing Planet, College of Wooster Art Museum, Ohio, Mar.–May 2007. interview : Studio 360, Public Radio International, Mar. 2007. lecture : College of Wooster Art Museum, Apr. 2007. lecture and workshop : Santa Fe Art Institute, June 2007.
{ 2007 }
Ryan Pierce
J e ssa lyn Ha gge njos Barr
group show : Introductions3,
group show : Zonal Confluence,
Swarm Gallery, Oakland, June– Aug. 2007.
Christ ine Wong Yap
Re ne e G e r tl e r
group shows : Ship Launch!,
group show : Zonal Confluence,
Swarm Gallery, Oakland, June– Aug. 2007.
Galleon Trade, Oakland, and Mag:net Galleries / Green Papaya Art Projects, Quezon City, the Philippines, June–Aug. 2007; Beats per Minute: Contemporary Artists Influenced by Craft and Folk Art Practices, Museum of Craft and Folk Art, San Francisco, Mar.–Apr. 2007. Affiliate artist at Headlands Center for the Arts, 2007–8.
El i za be th M o o ney
Jenn ifer Zit o
Swarm Gallery, Oakland, June– Aug. 2007.
L inds e y Musc ato
group show : Glamour, Glory,
Cubby G o l de n
and the Good Old Days, Paul Morris Gallery, New York, July–Aug. 2007.
Shoe Designer,” Buckets, July 2007.
featured : “The Life of a Nike
Davi d G ur ma n
J ob P i s to n
solo show : An Unsung Rhythm
in a Colonnade of Stars, Silverman Gallery, San Francisco, Mar.–Apr. 2007. group shows : Evidence of Things Unseen, Peninsula Museum of Art, Belmont, July–Oct. 2007; Our World (with PhotoAlliance), SFAC City Hall, San Francisco, June– Sept. 2007; A Kingdom for a Horse, Peles Empire / MAK Center for Arts and Architecture, Los Angeles, June–July 2007; In a New Direction, Wall Space, Seattle, Jan.–Feb. 2007. work featured : Self Service, summer and fall 2007; San Francisco Bay Guardian, Aug. 2007; Artweek, June 2007; Artforum.com, Mar. 2007. Dan i e l R e n e au
solo show : Daniel Reneau, 101 California Street, San Francisco, Feb.–Mar. 2007.
Irvine Contemporary, Washington DC, Aug.–Sept. 2007.
group show : Zonal Confluence,
group show : Zonal Confluence,
group show : Cream: From
Swarm Gallery, Oakland, June– Aug. 2007.
the Top, Arts Benicia, California, July–Aug. 2007.
Ka r e n Ol se n- Dunn
group show : Cream: From
the Top, Arts Benicia, California, July–Aug. 2007.
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W es t o n T e r uya
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group show : Graphic: New Bay
At tention Alumn i N ot e s / Fac ult y N ot e s
Area Drawing, di Rosa Preserve, Napa, California, Jan.–Mar. 2007.
CCA Communic at i on s D e pa rt m e n t 1 1 1 1 Eighth Str e e t San Francisco CA 9 4 1 0 7
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47 { Glance
Fall 2007
}
In Memoriam Tobia s Lee
Faculty R oy D e F o r e s t died May 18, 2007, in Vallejo at age 77. De Forest was a lecturer at CCA in the mid-1960s, he participated in Founders’ Weekend in the 1980s, and he juried the Hamaguchi Printmaking Scholarship competition in 2000. His paintings frequently showed jungle-like landscapes populated by dogs and wide-eyed humans. He was inspired by the Bay Area Figurative style that became influential in the 1950s, but he always took his own, distinctive approach. His wife, Gloria De Forest, is a CCA alumna. M a r ti n Me ta l, a sculptor who taught at CCA in the mid-1950s and early 1960s, died in Berkeley on February 28, 2007, at age 88. His projects included the 70-foot-tall campanile at Saint Bartholomew’s Church in San Mateo, the curving metal gates at the original entry to the Berkeley Repertory Theatre courtyard, the voluptuous 10-foot-long nude that reclined above the bar at the old Narsai’s restaurant in Kensington, and the abstract iron horse head outside the San Ramon Office Depot.
Industrial Design, 2003 Truckee, California April 18, 2006 Harriet E. Midd let on
BAEd, Art Education, 1939 Walnut Creek, California September 10, 2006 John Mina sian
BFA, Painting, 1950 Cupertino, California February 9, 2006 S unny S. Nishkian
Interdisciplinary Fine Arts, 1979 Orinda, California August 26, 2006 D orot hy P. Roos
BFA, Interdisciplinary Fine Arts, 1973 Orinda, California April 20, 2007 John A. Rust ing
Alumni L ee B o us i a n
Ste l l a M . Eppe rson
BFA, Advertising, 1935 Fowler, California January 14, 2007
BFA, Painting, 1966 Orinda, California October 15, 2006
Go r d o n D . C a nno n
J o h n J . Eskr i dge
BFA, Industrial Design, 1966 Aptos, California October 11, 2006
Certificate, Commercial Art, 1948 Berkeley, California April 2006
T o ny G . C a n ta li ni
M a r th a R. G o rdon
BFA, Interior Architecture, 1993 Palm Springs, California November 11, 2006
BAEd, Art Education, 1936 Grass Valley, California March 13, 2007
V iv i a n J . C h i v e r s
Kr i sti n G udjo nsd ot t ir
BFA, 1946 Hemet, California 2007
BFA, Sculpture, 1995 Chapel Hill, North Carolina April 21, 2007
W illi a m R . Da nc h
Ja ni ce L. Hunt oon
BFA, Ceramics, 1973 January 9, 2007
BAEd, Art Education, 1941 Murphys, California May 4, 2006
48
Certificate, Applied Arts and Advertising, 1948 Alameda, California March 2, 2007 D iana K. Vavra
BFA, Printmaking, 1961 Loma Linda, California July 24, 2007 Lorenzo Vill acorta
BFA, Painting, 1975; MFA, 1977 Turin, Italy August 5, 2007 ....................................................................
Please inform us of deaths of alumni and faculty by sending information, including newspaper obituaries, to glance@cca.edu or: Glance CCA Communications Department 1111 Eighth Street San Francisco CA 94107
Backward Gl ance
After purchasing what was to become CCA’s new Oakland campus in 1922, Frederick Meyer and his students spent innumerable hours transforming the weed-infested parcel into beautiful gardens that included specimens from all over the world. Many of the trees and plants had botanical labels so that students could identify them properly while sketching around campus. Plant Analysis, Outdoor Sketching, Nature Drawing, and Landscape Painting were all required courses during the school’s first few decades. Meyer’s reputation as a horticulturalist spread; often he would be invited to come and remove whatever plants he wished when a local house was being torn down. Former student Leah Beall Reagg recalled in later years: “Mr. Meyer used to call me at the most awful times, like 6:30 a.m. or so, to tell me to please hurry over to the school (I was working for my room and board) because a night-blooming cereus was just coming into bloom and would I please draw and paint it before the sun touched it.”
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