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CALIFORNIA COLLEGE OF THE ARTS SAN FRANCISCO / OAKLAND FALL 2009 : VOLUME 18, NO. 1
10/30/09 12:26:40 PM
LETTER FROM THE PRESIDENT Dear friends, Fall is the time when I set aside six hours of my weekly schedule to teach. This can cause some scheduling headaches for my staff and hectic periods of catching up during the week, but the Mondays I spend with the 18 seniors in my Painting 3 class are some of my favorite hours. I am honored to serve as president of CCA and I enjoy all aspects of the job— working with the staff, faculty, and Board of Trustees; meeting alumni, parents, and friends of the college; telling the CCA story to foundations, corporations, and government agencies; and attending the numerous lectures and events held on both campuses. But nothing quite matches the experience of teaching in the studio and working closely with our students. They are talented, curious, deeply committed to learning, and poised to make an impact. They rarely fail to impress me, and they deserve our best efforts. In these pages you will read about a few of the recent accomplishments of our remarkable students and alumni. The cost of a CCA education is often out of reach for many deserving students, particularly during these difficult financial times. Finding support for them continues to be a priority, and I’m delighted to announce a challenge grant from our board chair, Noel Perry, to raise scholarship funds (see page 23). Initiatives such as this are critical to making our educational experience accessible to the most talented and motivated students. In the past year, given the volatile economic situation, I’ve often been asked about the value of an arts education. There are many indications that creativity and innovation are becoming increasingly appreciated throughout the world. We see this in the growth of professional opportunities for artists and designers, the belief that innovation is a key economic driver, the wider acceptance of creative, project-based learning, and the perspective that the world’s most intractable problems require creative solutions. For these reasons, I believe that educational institutions such as CCA will continue to thrive. Our fundamental values—the legacy of social and economic engagement rooted in the Arts and Crafts movement, the belief that art and design can have a positive impact on our community and our world, and an emphasis on conceptual and critical thinking—are more relevant now than ever before. I hope that you are as excited about CCA’s future as I am. Thank you for your continued interest and support.
Stephen Beal President
This past spring the San Francisco Museum of Craft + Design hosted the exhibition San Francisco Graphic Design, showcasing 12 graphic designers whose diverse projects in print, packaging, multimedia, and exhibition design represent the best of the Bay Area. An additional section of the show overviewed San Francisco design history.
LUCAS AINSWORTHâ€™s (Industrial Design 2010) Jungle Walkers (below) have just been picked up by Universal Toys and will be sold at FAO Schwarz this Christmas. Ainsworth developed them as a freshman-year project in Jay Baldwinâ€™s Industrial Design 1 course. The animals assemble in about 30 minutes without tools or glue, and move their heads and walk realistically. Plus, they are entirely recyclable and made from 100 percent recycled material.
The CCA contingent was huge: no less than seven alumni (Philippe Becker , Eric Heiman , Jennifer Jerde , Jim Parkinson , Sara Schneider , Christopher Simmons , and Cinthia Wen ), five current faculty, three of whom are also alumni (Eric Heiman, Tom Ingalls, Jennifer Morla, Michael Vanderbyl, and Cinthia Wen), and three former faculty (Doug Akagi, ron chan, and Michael Cronan).
DANIEL GONZALES (Animation 2010) spent this past summer at Pixar Animation Studios, working side by side with its staff of professional animators. It was his second stint at Pixar; he was there the previous summer too, as one of only 12 selected (out of a whopping 2,500 applicants) for the prestigious Pixar animation internship. Gonzales compares Pixar’s work environment to CCA’s: “We look at one another’s work and criticize it to make it better, not to tear it down. CCA teaches you how to take from people and what to give to people. If you lack a strength, somebody around you is bound to have that strength.” His success is indicative of the larger successes of the Animation Program, which since its launch in fall 2008 has already garnered much respect in the industry. CCA has begun a multiyear project to expand the program’s facilities on the Oakland campus.
NEW TRUSTEES JOHANNA BARUCH is a painter of figurative, still life, and landscape works. She exhibits nationally and her paintings are in corporate and private collections. She is on the board of trustees of the Djerassi Resident Artists Program, and she actively supports the programs of SFMOMA, the Fine Arts Museums of San Francisco, and New York’s Metropolitan Museum of Art. Her husband, Tom Baruch, is the founder and managing director of CMEA Capital, a venture capital firm based in San Francisco. His particular interest is in sustainable technologies for clean energy products, including solar power generation and management, renewable fuels, and rechargeable batteries.
GENE SAVIN has a PhD in economics from UC Berkeley and is a professor in the Tippie College of Business at the University of Iowa. He is married to Dr. Susan Enzle, a clinical psychologist. The two are directors of the Reuben and Muriel Savin Foundation, which supports the arts and arts education in the Bay Area and Iowa. In the recent CCA Centennial Campaign, the foundation pledged $500,000 to create an endowed scholarship in Community Arts after the college found 500 new donors to contribute at least $50 each. The foundation also supports the Oakland Museum of California, the Richmond Art Center, the East Bay Center for the Performing Arts, and ArtsChange. Mr. Savin and his wife live in Iowa City with their two cats. ASHER WALDFOGEL is a founder at venture-backed Silicon Valley companies, including Redback Networks, Tollbridge Technologies, and Peakstream, where he has held key positions in engineering, marketing, technology, and general management. He holds a bachelor’s degree in philosophy from the University of Minnesota and a master’s degree in philosophy from MIT. He serves on SFMOMA’s Architecture and Design accessions committee and the Palo Alto Utilities Advisory Commission. He and his wife collect American ceramics and furniture.
2 // SCHOOL NEWS
This year’s Center Student Grant recipients are putting their money to exciting use all around the world. CARLOS SAAVEDRA (Photography and Media Arts 2010) conducted a workshop over the summer with young victims of landmines in Colombia. He titled the project Blow Until You’re Numb. “Although the kids’ trauma will be with them forever,” he says, “art can offer a way to cope. While I was in Colombia I also conducted interviews with residents of the impoverished Ciudad Bolívar neighborhood, where the Colombianitos Foundation works with at-risk youth. In the end I will produce a documentary to expose American audiences to the problems associated with Colombia’s drug wars.” SAM SLATER (Photography 2011) spent the summer here in San Francisco helping local teens articulate their life experiences via photography. A few examples of the students’ work appear above. “Since they were all involved with Mission Pie and Pie Ranch’s agricultural learning program,” he says, “I presented the camera as a kind of harvesting tool for images, ideas, and perceptions, and they latched onto that.” Slater and his students wound up the project by producing a book and a billboard. Look for them at the Mission Pie café, at the corner of Mission and 25th Street.
The April 2009 Rising Tide: The Arts And Ecological Ethics conference brought together artists, activists, community organizers, venture capitalists, philanthropists, students, and faculty for three intense days on the campuses of CCA and Stanford University. The conference was unique in its effort to bridge diverse aspects of environmental justice and spawn new models for how art and design can play a pivotal role in combating climate change. It was brought to fruition by CCA Painting/Drawing chair Kim Anno, Visual and Critical Studies chair Tirza True Latimer, and Stanford art professors Gail Wight and Terry Berlier. It tied in exhibitions, films, and undergraduate and graduate courses from numerous programs. Anno recalls many memorable moments: “Sheila Kennedy, an architect and designer from MIT, riveted the audience when she spoke about her work with solar-sensitive materials, particularly Portalite, which nomadic and indigenous communities can transform into functional and culturally authentic objects that create light and heat without electricity. In the desert and the jungle, these objects can make a big impact. “Nancy Hernandez, a Mission District youth activist and teacher, spoke enthusiastically about H.O.M.E.Y. (Homies Organizing the Mission to Empower Youth), whose efforts include converting low-rider cars to biodiesel and teaching the importance of environmental justice.
above: Ila Berman and Mona El Khafif, URBANbuild local | global, 2009
“The British artist David Buckland of Cape Farewell spoke about the group’s voyages to the Arctic Circle with artists and youth. He recruited several Bay Area artists to attend a similar fact-finding expedition in South America.”
Two of the six winners of the 2009 Rising Tides architectural competition were CCA trustee Byron Kuth (with Kuth/Ranieri Architects) and Architecture faculty member Thom Faulders (with Faulders Studio). The challenge: Visualize a shoreline intervention, applicable to the San Francisco Bay and beyond, that sustains quality of life, environment, and economic vitality.
ARCHITECTURE NEWS In June, CCA claimed first prize in the Green Community International Student Design Competition, a juried contest put on by the Association of Collegiate Schools of Architecture (ACSA) and Architectural Record. The prize-winning submission, Urban Reef, reimagines San Francisco’s Pier 70 as a public showplace for green energy and sustainable food production. It was the brainchild of students Dylan Barlow (2010), Kyle Belcher (2009), and Geoffrey Gregory (2010) along with their faculty advisors Mona El Khafif and David Fletcher. All three students got to travel to Washington DC to formally present the project at the National Building Museum.
Kuth/Ranieri’s Folding Water is a ventilated, dynamic levee that exchanges waters through a perforated pump wall to artificially manage tides and create microbay estuaries, preserving current shorelines. Faulders’s RAYdike is a network of laser-light markers, which map a hypothetical dike system that would protect Bay Area cities from rising waters.
This is the first time CCA has ever won this award. Urban Reef was selected out of 260 submitted projects, representing the work of 76 academic institutions, 1,322 students, and approximately 200 faculty.
10 X 10 CITIES: Green Facts, Challenges, FutureS was presented in spring 2009 at 3A Gallery in San Francisco. Twelve CCA students, led by faculty member Mona El Khafif, thoroughly analyzed, ranked, and “datascaped” 10 cities across North America (including San Francisco) and then designed an installation that immersed gallery visitors in the cities’ “green” metrics: density, transit, water usage, energy consumption, waste generation, natural disaster potential, and more. An accompanying bus shelter campaign appeared at 20 Muni stops throughout the city.
4 // SCHOOL NEWS
CCA WATTIS INSTITUTE FOR CONTEMPORARY ARTS ONGOING EXHIBITIONS MOBY-DICK Through December 12, 2009 ......................... TINO SEHGAL Ongoing ......................... AMERICANA: 50 STATES, 50 MONTHS, 50 EXHIBITIONS Through May 31, 2012 .........................
This September marked the launch of the Wattis Institute’s new program the magnificent seven. Over the next three years, each of the seven participating artists will be integrated into every aspect of the Wattis’s structure and activities: Each will present a solo exhibition, complete a Capp Street Project residency, produce a publication, teach courses as a CCA faculty member, and deliver a public lecture. All seven artists are individualists, representing an anti-traditional approach to visual art. They are outcasts, misfits, quasi-revolutionaries, figures outside the established frames of society. By evoking the iconic film genre of the Western— specifically its depictions of militant groups of cowboys fighting on the side of the disenfranchised—the project speaks about the mythical American (and more generally human) struggle between outsiders and society, rugged individuals and the forces of civilization that want to tame them.
THE MAGNIFICENT SEVEN: abraham cruzvillegas harrell fletcher ryan gander renata lucas kris martin paulina olowska tino sehgal
ABRAHAM CRUZVILLEGAS / CAPP STREET PROJECT Abraham Cruzvillegas is the fall 2009 Capp Street Project artist in residence at the Wattis Institute. He and several MFA students have been collaboratively investigating need and scarcity in relation to object making as well as the politics of improvising with found materials. They spent the semester transforming discarded and scrap objects into bicycles, go-karts, and other vehicles.
Lead sponsorship for the Capp Street Project
Founding support for CCA Wattis Institute
Support for Moby-Dick provided by the Capital
artist residencies of Abraham Cruzvillegas
for Contemporary Arts programs has been
Group Companies Charitable Foundation.
and Renata Lucas is provided by the Nimoy
provided by Phyllis C. Wattis and Judy and
Additional support provided by the Consulate
Foundation. Special thanks to Monica
Bill Timken. Generous support provided by
General of the Netherlands; Mondriaan
Manzutto & Jose Kuri for supporting the
the Phyllis C. Wattis Foundation, Grants for
Foundation, Amsterdam; and the British
participation of Abraham Cruzvillegas, and to
the Arts / San Francisco Hotel Tax Fund,
Galeria Luisa Strina, São Paulo, for supporting
Ann Hatch and Paul Discoe, and the CCA
the participation of Renata Lucas, in The
Magnificent Seven program.
BY LINDSEY WESTBROOK
It’s 3 p.m. and the Interface exhibition opens in four hours, but Media Arts chair Barney Haynes (www.ultrafuzz.net) is calm amid a sea of laptops and electronics. “It’ll all come together,” he says. “Well, most of it will.” The exhibition, now in its ninth year, is the culmination of the semester’s work for several different courses related to technology and interactivity in art. These interdisciplinary studios represent the college’s best and most idealistic intentions: a true mixing of theory and practice, and the bringing together of multiple disciplines into a situation that is intellectually stimulating, dynamic, and extraordinarily productive.
above: Kate Richards, Toy Garden, 2009
The students excitedly describe their projects. Kirby McKenzie and her friend have created an installation called Cakewalk, which is something like musical chairs and involves a picnic basket, PBJ sandwiches, and a Foreman grill. In Lana Nichols’s piece, the user pedals a stationary bike facing a video screen and takes a virtual ride through a supermarket, a BMW dealership, and the San Francisco airport BART station. Kate Richards’s Toy Garden is an interactive flower garden that incorporates tactile interfaces, switches, speakers, and live grubs. Lico Wolffs has created a virtual violin, where the user puts on cuffs equipped
with sensors and waves his or her hands in the air to actually create violin music in the gallery space. Later, at the opening, there was a magical moment when Media Arts faculty member Todd Blair (www.hybridarts.org), who cotaught this family of courses from the beginning, made his first appearance on campus since suffering massive brain trauma in a serious accident two years ago. In particular he has trouble with his right hand. He tried Wolffs’s piece and amazed everyone with his performance. The backend of most of these works uses an application called Max/MSP/Jitter, a graphical programming environment that enables visually minded individuals to “code” without actually having to write lines of computer code. Its ease of use makes it possible for students to research, conceptualize, and execute technologically complex projects in a single semester.
Kolle Kahle-Riggs Jewelry / Metal Arts 2011 Kolle Kahle-Riggs was named one of three winners of the 2009 Past Infinity: CCA Math and Science Fair for her jewelry pieces inspired by human blood cells. “I am fascinated by the amazing microscopic forms that exist within our bodies, and with these pieces I wanted to inspire curiosity, appreciation, and exploration. I also love the idea of wearing tiny parts from within us on the outsides of our bodies.”
It’s not just Media Arts students making these things, but also students from Glass, Industrial Design, Architecture, Painting/Drawing. . . . Art students these days arrive at college with impressive technological aptitude and real enthusiasm for learning about technology—even fairly hard-core computer programming—especially when it enables the creation of sophisticated art pieces. Their fundamental concept of what art is embraces an astonishing range of media and approaches. Most museums draw clear lines between media, compartmentalizing their collections, their curators, and even their gallery spaces into tidy categories: painting, photography, architecture, design, and (almost always last on the list) media arts. Reality, in art and otherwise, is of course not so tidy. Among our alumni’s greatest contributions in the upcoming years will be to push the art world toward an ever-more-ambitious interdisciplinarity. There are other perspectives on the mixing of art and science, of course. Jon Meyer (www.jonmeyer.com), a visiting artist this year, makes a clear distinction between science and art and is wary of mixing the two. “It’s easy to assume that, because artists are ‘creative,’ having artists and scientists collaborate will automatically be beneficial. This is an oversimplification. The scientists I know are already extremely creative. And art is not about making things better, but rather about asking important and difficult questions. I think we should strive for cross-pollination as a model, rather than collaboration for collaboration’s sake.”
North Pitney Media Arts faculty www.northpitney.com “I’m an artist who identifies more with tinkerers and inventors than with painters and sculptors,” says North Pitney. “I combine robotics and programming with performance and philosophy to create works that have gestural interest, or some nascent cognitive presence.” The Creature is a collaboration with Barney Haynes. By means of sensors, it gains a crude perception of its surroundings, and then translates this data into motion and behavior via memory/action algorithms. 8 // ART AND SCIENCE AT CCA
Media Arts faculty www.well.com/~ddigor
MFA 1988 www.brunodavidgallery.com
Donald Day has been teaching at CCA since 1976. Both an electronics engineer and an artist, he likes quirky, unwieldy ideas that defy purpose and closure. “Students are effortlessly inventive,” he says. “I help them realize and mutate their technology-related visions and animate their robotic dramas.” This image shows the product of a collaboration with CCA alum Steve Dye (Film/Video 1990) that combines kites and floating objects.
Patricia Olynyk investigates the oftentenuous relationships among human culture, science, and the environment. “My work calls upon viewers to expand their awareness of the worlds they inhabit, whether those worlds are their own bodies or the spaces that surround them.” Her latest series, Probe, involves a vast inventory of prosthetic devices and medical instruments, collected for their historical value.
right: Jamie Lee, Ferris Fluid, 2009 far right: Ian Duffy, Time Machine, 2009
10 // ART AND SCIENCE AT CCA
Individualized Major 2009 www.jpkvideo.com, www.jpkelly.net
MFA 2004 www.stevenwolffinearts.com
“I use interactivity to draw viewers in, playing on their natural curiosity. I want my work to encourage people to take a critical look at government policies, current events, and their own actions.” Which doesn’t mean JP Kelly doesn’t engage occasionally in a project that’s more about seduction than investigation. In Boidian Motion, a collaboration with Thomas Bates (Individualized Major 2009), an artificial-life algorithm called Boids, which simulates the flocking behavior of birds, influences the movements of robotic vehicles.
Over the past 20 years Frederick Loomis has been developing a portfolio of more than 100 drawings and a written manuscript that will eventually become The Third Testament: The Genesis Story of the Coming Race of Human Computers. “Computers in a human form will be the next stage of the evolution of our species,” he says. “I do not intend to invent them. Others will do this. My role is to write and communicate the prophecy and to architecturally design a ‘soul’ for them: a computer chip called the DIOS Integration Operating System Neuroprocessor.”
Students in Meyer’s two undergraduate courses are getting an immersion-type experience, reading primary scientific sources, exploring science history and theory, and engaging in practical experiments that involve almost no “art” in the conventional sense. “I’m focusing more on science fundamentals than on technical skills. What do the notions of truth and provability mean? Who are the philosophers of science that artists should be aware of? What are the famous historical debates between artists and scientists? There is a large area of knowledge here that all artists should have.” Jody Gillerman (www.vipervertex.com) has yet another take on the matter. A
Jeannette Peters Fashion Design 2010 Jeannette Peters’s You Wear Who You Are offers a biological take on identity and clothing. “I was thinking about how your genetic makeup informs your physical appearance, and how your physical appearance reflects your genetic makeup; the two are intertwined. Knitting lends itself well to the idea of visualizing a DNA strand. The entire dress is made up of two long lengths of yarn, looped and locked together.”
fine artist who is totally self-taught in all things media-related, she has been on CCA’s faculty since 1976. For years she has taught a course called Genetics to Time Travel, in which students choose a scientific field and incorporate it into an artwork. Two works from the course’s spring 2009 exhibition appear above. But Gillerman doesn’t recognize “science-art” as any kind of distinct genre. Each artwork stands alone, with its own unique set of motivations, its own conceptual underpinnings. Science, to her, is so broad that it is almost indefinable as a field, a category, since there are so many different ideas of what science is. Does “science” include the paranormal? Time travel? Depends on who you ask. And the same goes for art. “I don’t like telling people how to interpret anything,” Gillerman says. “In the first part of the course, where we explore the history of science in art, we look at everything from Leonardo da Vinci to chimp paintings. We take field trips to the Wave Organ, the Camera Obscura, the James Turrell piece at the de Young museum, Moss Beach marine reserve, and the telescopes at the Chabot Space and Science Center.”
I imagine Mike Bianco (MA Curatorial Practice 2007) planting a flag in the ground in Marfa, Texas, like some kind of Arctic explorer. It’s not the greatest metaphor—Marfa has been an art destination for decades, after all. But Bianco’s decision to head there, of all possible places, to establish a gallery and residency program makes him a great example of CCA’s curator alumni, who are relentlessly staking out new territories. Traditional museums and galleries certainly aren’t going away, but the envelope of curatorial possibilities—both geographical and conceptual—is expanding all the time.
THE GRADUATE PROGRAM IN CURATORIAL PRACTICE Now in its seventh year, CCA’s Graduate Program in Curatorial Practice has quickly established itself as a training ground for tomorrow’s curators, and its alumni are doing exciting work around the world. The focus, says chair Leigh Markopoulos, is on operating outside traditional institutions, which not only opens up all sorts of creative possibilities but also liberates curators from dependence on institutional jobs, which tend to be few and far between. In the new millennium, diversification is key. Markopoulos stresses the differences between CCA’s program and more academic models that offer students little practical experience and few professional connections. CCA’s professors are all practicing professionals (as are many of the college’s faculty in architecture, design, and other fields) and the students benefit immensely from that network of contacts. 12 // CCA CURATORS
By Lindsey Westbrook
MAIKO SUGANO (MFA 2004) is a cofounder/cohost of Yomoyama-So, near Tokyo, a residency program in which the visiting artists actually live in the same house as the host artists. The residents are invited to reconsider, and engage with, daily life and domestic space as they go about making art. The resulting work is exhibited at the site once a year.
“I came to this with numerous tools, many of them developed at CCA,” Sugano reflects. “I have woodworking skills. I understand ways of thinking about activating the art world. I understand ways of thinking about how to live well. And I have an attitude of artistic initiative! This project is about stimulating a cheerful life, an arty life. Discussing and practicing, with artists, how to make a life with contemporary art.”
Another advantage of CCA’s program is its situation in an art school, where tomorrow’s curators can interact constantly with tomorrow’s contemporary artists. This is crucial, as curating as a discipline is evolving to become less about collecting and displaying and more about creating—actually making something new with each exhibition, and also enabling and encouraging artists to make new work.
GOING TO MARFA While Mike Bianco was a student in the program he was deeply involved with the experimental artist-run exhibition space Queen’s Nails Projects. Under the direction of Bianco and the well-known artist-curator Julio César Morales, Queen’s Nails was part of such prestigious exhibitions as Bay Area Now 5 and the 2008 California Biennial. In 2006 Bianco established another alternative space, the Waypoint, in Marfa, a town best known as the former residence of the minimalist sculptor Donald Judd. After Bianco graduated he moved there full-time and began ramping up both the exhibition program and what he hopes will soon be a successful residency program. He just finished renovating the vintage Airstream trailer (pictured above) where each resident will live. Marfa, he says, is the next frontier: population 2,000, 45 minutes from the Mexican border, a major hub for the United States border patrol, and a worldclass art destination. “There are a lot of interesting cultural issues going on,” he observes. “The old population of ranchers is peppered with a growing community of telecommuters, artists, actors, and athletes: people who live here because they’re into art and love the landscape. It’s got a beautiful historic downtown, a five-star restaurant, an annual film festival, and one of the most important art collections in the world. I see it as a great model for the way rural America could be revived.”
TRIPLE BASE: SPREADING THE LOVE If you saw the recent articles in San Francisco magazine and the San Francisco Chronicle touting the city’s newest young gallerists, you’ve already heard Triple Base’s praises sung, long and loud. Codirectors Joyce Grimm and Dina Pugh (both MA Curatorial Practice 2006) call Triple Base “a labor of love that has taken off.” Located on 24th Street in the lower Mission District, it is staking out ground in more ways than one. It is luring art-world movers and shakers down into a neighborhood far removed from 49 Geary, and it has a hybrid business model that enables it to be both financially robust and artistically adventurous. Grimm and Pugh (pictured below) place a particular emphasis on their flat file program, which promotes San Francisco artists specifically. They put on a regular dinner lecture series, in which a variety of local art people come together for food and discussion, in various locations. They’re even staking out new territory in their own building, having recently opened up their (somewhat low-ceilinged and damp, but with potential!) basement as a kind of annex, the Triple Basement. They are also expanding their operations out into the neighborhood and beyond. “When we moved in, one of our very first efforts to make friends on the block was the 24th Street Promenade. We arranged for 10 artists to create installations in 10 businesses, working closely with the shop owners.” Their current Art in Storefronts project is even more ambitious, reaching neighborhoods across the city. A collaboration with the mayor’s office and the San Francisco Arts Commission, it enables them to operate on a much bigger scale than they could alone, and the applicant pool was huge, putting hundreds of new artists on their radar. Pugh and Grimm say they are continually inspired by San Francisco. They praise it as a fundamentally cooperative and supportive place that enables new premises of what a gallery can be. “The Bay Area art community has a definite purity of intentions, which propels us to provide an experimental space for emerging artists. “We also want to shake things up a bit.”
14 // CCA CURATORS
As curating becomes more defined as a practice, says independent curator CHRIS FITZPATRICK (MA Curatorial Practice 2009), it becomes correspondingly more important to look for inspiration and intrigue beyond the art world and art history. So while he is indebted to renowned curators such as Harald Szeemann, Seth Siegelaub, and David Wilson, he also looks to “the dinner table, the newspaper, construction sites, strange noises, outer space, philatelists, and squirrels” for new models and perspectives. “Maybe a good curatorial philosophy is simply that people are wonderfully strange and life is interesting.” He has been working closely lately with the Oakland Museum of California staff on Mark Dion’s upcoming project-exhibition The Marvelous Museum: Orphans, Curiosities, and Treasures from the Oakland Museum of California. “I’ve become really fascinated with the specific practices of registrars and preparators. Theirs is an art that goes unsung most of the time. I like being around people who are excited about what they do, whatever it is.”
STAKING OUT 14TH STREET You can’t talk about San Francisco’s contemporary art scene without also mentioning Ratio 3, owned by Chris Perez (Individualized Major 1999). He doesn’t wax poetic about San Francisco as some kind of haven of artistic freedom; it’s just a city he loves, and for him, a great place to run his (very successful) gallery business. Perez makes it clear that he is an art dealer, not a curator, but he acknowledges that there is of course some overlap between the two. “At CCA I learned the skill of looking. I learned the importance of being involved, speaking up in the studio and in critiques.”
SARAH ROBAYO SHERIDAN (MA Curatorial Practice 2008) is the director of exhibitions and publications at Mercer Union, a center for contemporary art in Toronto. “Before CCA,” she says, “my training, my knowledge, my colleagues, and my peers were very tied into Canadian cultural politics, and Toronto specifically. My studies at CCA provided critical international exposure and an expanded sense of my practice. A key benefit of CCA was the great influx of visiting artists and critics, whose ideas continue to fuel my own projects. I wanted to be at an art school, in close proximity to studio practice and production.”
Robayo Sheridan’s current show We Interrupt This Program: Print Ads and TV Spots by Artists reaches beyond Mercer Union’s galleries. “Much of the original energy of the artists’ ads and TV spots derived from their surprise presence in a commercial arena. I’m replicating that by airing an interruption on Toronto subway monitors.”
Perez was at CCA when the college was just opening its San Francisco campus, and Larry Rinder had just come on board as curator of the newly established Wattis Institute. He worked with Rinder on several exhibitions, and when Rinder went to New York to be a curator at the Whitney Museum of American Art, he asked Perez to come along and be his assistant. After a few years in New York and the making of numerous valuable professional connections, Perez came back to San Francisco to open his own gallery. It has evolved into one of the most-watched art spaces in town, with a presence at Art Basel Miami Beach, the Armory Show in New York, and other high-visibility international art fairs. It’s off the beaten path but a place to see and be seen; a recent opening for photographer Ryan McGinley was attended by Mayor Gavin Newsom, filmmaker John Waters, designer Todd Oldham, and Wattis Institute director Jens Hoffmann. Perez’s artist roster includes five CCA alumni and two (current or former) faculty members.
ALMANACS AND ARCHIVES Joseph del Pesco (pictured below left) was part of the first Curatorial Practice graduating class, in 2005, and he clearly took to heart the program’s mandate to look outward in all ways, from the very definition of art to the delivery of the experience of art. For the last two years he was “curator-at-large” at Artists Space, a nonprofit in New York. Now he is working with SFMOMA on Pickpocket Almanack, a “school without walls” in which participants attend a prescribed itinerary of exhibitions. And coming up this winter is a residency at the Banff Centre, a kind of creative think tank that brings together artists, scientists, and businesspeople.
On his own he’s building what he calls the Anecdote Archive, a series of short digital films of people recalling their experiences of particular artworks. (They are available on YouTube.) “It’s a journalistic project that thinks beyond text,” he says, acknowledging with more than a little ambivalence the fact that people just don’t read as much as they used to. “It registers word of mouth—people sharing stories about artworks that were ephemeral or temporary.”
OAKLAND: ANOTHER NEW FRONTIER Rowan Morrison Gallery (pictured below), located in Oakland’s 40th Street corridor, is another pioneering outpost for new art. Owners Pete Glover (Film/ Video/Performance 2000) and Narangkar Glover (Film/Video/Performance 1999) met at CCA and married in 2005. “We’re not dealers,” they make it clear, “we’re gallerists. The priority is the artwork, not the selling of the artwork. We let sales happen from an authentic place.” They opened the gallery in 2006 mostly because the space fell into their laps— the Women’s Christian Temperance Union had just moved out, and the rent was cheap—but also because they realized it would fill a clear gap in Oakland’s art scene. Their programming is exclusively devoted to solo shows by emerging artists (an important early step in any serious art career). Many of the shows feature their former CCA classmates. The gallery is the storefront, their living quarters are upstairs, and their personal studios are in the basement. They’ve also got an online store that generates a surprising volume of sales. They have day jobs they enjoy to fill in the financial gaps (Pete works at the East Bay Depot for Creative Reuse). This fall Narangkar entered the MFA program at UC Berkeley. They hardly feel like slaves to their many hats. On the contrary.
JESSICA BRIER (MA Curatorial Practice 2008) is the program coordinator at Headlands Center for the Arts, and she’s also got several of her own projects going on. “Independently, I’m beginning to work on a show about amateur collecting practices that showcases contemporary works that are rarely seen because they are owned by people who only display them in their homes. I’m fascinated by collecting as a professional practice, like dealing or curating, and I want to tease out the differences between amateur and professional collecting.
“Studying the practice of curating in the context of an art school made me very aware of the way I talk to and about artists. Thinking about art making as a profession was a major part of my graduate experience, and I now put that notion into practice on a daily basis.”
16 // CCA CURATORS
BOOKSHELF FAT CHILDREN RUINED MY LIFE F2 Gallery, 2008 Paperback, 76 pages, $35 A thread of playful darkness runs through stella lai’s (Interdisciplinary Design 1997) manga-influenced paintings of fluffy pandas, radiant dragons, autumn lanterns, and lovely women. This bilingual English/Chinese exhibition catalog features large, powerful, full-color reproductions of her paintings, a poster, and an essay by curator John D. Spiak.
EVERYTHING WAS FINE UNTIL WHATEVER Future Tense, 2009 Paperback, 128 pages, $11 chelsea martin’s (Individualized Major 2008) first book is a bizarre and endearingly honest collection of stories, lists, artworks, fictions, and factoids. “A quirky blend of absurd erudition, hard-eyed candor, unexpected sentiment, tiny subliminal footnotes, and loopy artwork,” says Mike Topp, author of Shorts Are Wrong. “The illustration for her ‘to-do’ list alone is worth the price of the book. Plus she’s insane.” Martin’s second book, The Really Funny Thing About Apathy, is forthcoming from Sunnyoutside Press.
STREET ART SAN FRANCISCO: MISSION MURALISMO Harry N. Abrams, 2009 Hardcover, 304 pages, $35 The streets of San Francisco’s Mission District are unmatched for their mixture of officially sanctioned and underground art. Book designer martin venezky (Graphic Design faculty) deliberately took an approach that reflected that mix. “New pictures moved into the neighborhood,” he says, “forcing conflict and compromise. In some places they jammed together like passengers in a crowded bus barreling through the city.”
OPEN SEE Steidl, 2009 Paperback, 200 pages, $45 jim goldberg’s (Photography faculty) Open See began as a Magnum commission, on the occasion of the 2004 Olympics in Greece, to document the journeys of refugees and immigrants coming to Greece from war-torn and economically devastated countries. Goldberg’s photographs describe the difficulties, hopes, and heroism of these people, whose homes have been ravaged by AIDS, totalitarianism, and other disasters.
FUNDAMENTALS OF INTEGRATED DESIGN FOR SUSTAINABLE BUILDING Wiley, 2009 Hardcover, 360 pages, $80 Whether you are a designer, an engineer, a land use planner, or a politician, understanding the fundamentals of integrated building design is essential. marian keeler (Architecture 1990) and Bill Burke cover the topic thoroughly, overviewing the history, theory, and technology of green building as well as practical approaches to planning, designing, and building that mitigate—or even reverse—environmental impact.
SEVENTY-THREE FUNSHINE Electric Works, 2008 Hardcover, 210 pages, $68 This large-format monograph features more than 200 recent paintings and works on paper by jason jägel (Painting 1995 and Fine Arts faculty), whose work reflects the influences of hip hop, family life, and the humming buzz of the street. The book includes essays by Joseph del Pesco, Jeff Jank, Nate Denver, and the artist, plus a 10-inch vinyl record.
LISA ROBERTSON’S MAGENTA SOUL WHIP Coach House Books, 2009 Paperback, 96 pages, $16.95 lisa robertson’s (Writing faculty) poems mine the past—its ideas, its personages, its syntax—to construct a lexicon of the future. Her book collects “occasional” works written over the last 15 years and is full of dogs, movie stars, broths, painting’s detritus, Latin, and pillage. Says the Village Voice: “Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.”
TRUE CRIME Talisman House, 2009 Paperback, 74 pages, $13.95 Says Paul Hoover of donna de la perrière’s (Writing and Literature faculty) latest book of poetry: “True Crime is a fitting title for this sympathetic and sometimes harrowing family portrait of the American South: the uncle who absconded with the insurance money, the boyfriend who cares more about his muscle car than his dead girlfriend.” Says Dodie Bellamy: “De la Perrière’s landscape of corpses and misfits is trashy and sublime, outrageous and beautiful. And frighteningly funny.”
DENNIS OPPENHEIM: PUBLIC PROJECTS Charta, 2009 Paperback, 148 pages, $45 This volume looks back at dennis oppenheim’s (Painting 1965) many large-scale public art commissions, featuring numerous photographs as well as texts by Aaron Levy, Vito Acconci, Aaron Betsky, Liam Gillick, Roland Nachtigäller, Friederike Fast, and the artist himself. “Public art has some forces against it,” Oppenheim reflects. “Within this atmospheric fusion of architecture and sculpture some new laws are being written. I’m just not sure what they are.”
18 // CCA CURATORS
FOUCAULT’S PHILOSOPHY OF ART: A GENEALOGY OF MODERNITY Continuum, 2009 Paperback, 224 pages, $34.95 joseph tanke (Visual and Critical Studies faculty) offers the first complete examination of Michel Foucault’s reflections on visual art, tracing his engagement with artworks from the 17th century through the contemporary period. Tanke offers a concise and accessible introduction to material that has been frequently anthologized but rarely understood; he also draws upon essays and lectures that have never before been published or translated.
SPECLAB: DIGITAL AESTHETICS AND PROJECTS IN SPECULATIVE COMPUTING University of Chicago Press, 2009 Hardcover/paperback, 262 pages, $70/$25 Nearly a decade ago johanna drucker (Printmaking 1973) cofounded the University of Virginia’s SpecLab, a digital humanities laboratory dedicated to risky projects with serious aims. It is inspired by the imaginative frontiers of graphic arts and experimental literature and the technical possibilities of computation and information management. Its projects have ranged from Subjective Meteorology to the (as yet unrealized) ‘Patacritical Demon.
OAKLAND’S EQUESTRIAN HERITAGE Arcadia Publishing, 2008 Paperback, 128 pages, $19.99 terry l. tobey (Jewelry / Metal Arts 1980) is a lifelong Oakland resident, former champion rider, and Appaloosa queen who grew up on a ranch in the Oakland hills. Through text and historical photographs from the early 1900s through the 1980s, she and coauthor Amelia Sue Marshall preserve the history of this haven for horse enthusiasts.
PROPOSITIONS: THESIS RESEARCH IN ARCHITECTURE 2007–2009 CCA, 2009 Paperback, 128 pages, $20 From Old Delhi to Jerusalem, Alameda to Philadelphia, students and faculty in CCA’s Architecture Program offer creative propositions for the potential of architecture in locations around the world. neal schwartz and geneviève l’heureux (both Architecture faculty) have edited this collection of smart and stunningly illustrated thesis work: Frankenstein’s monster becomes a model for revitalizing a defunct naval air base; a jacket is transformed into a hammock for urban living; a San Francisco airport terminal is distilled down to the text on its walls and remains navigable. The book is designed by Sputnik designer Parul Sharma (Graphic Design 2010).
AWARDS AND ACCOLADES ADrian Van Allen (MFA 2000) has been
awarded the intensely competitive and prestigious Rome Prize. During her six-month residency at the American Academy in Rome in 2010, she will create a multilayered interactive map she calls Scientia Historia Romae. The map lets visitors explore the evolution of the sciences in the city of Rome, from the advances in the time of Pliny the Elder to the biotechnological wonders of the 21st century. It will be laced with podcasts, articles, animations, and videos. Van Allen’s nine years as a multimedia exhibit developer at the Exploratorium will be put to excellent use, as she is researching, photographing, designing, and coding the entire project by herself. The American Institute of Graphic Arts San Francisco (AIGA SF) has named as fellows Leslie Becker (current director
above: Michael Cronan, Leslie Becker, and Doug Akagi at the AIGA SF award ceremony below: Edgar Arceneaux, Guerrilla Monument at Rosa Parks Boulevard, 2006
of design), Doug Akagi (professor emeritus), and Michael Cronan (alum, former faculty, and current CCA parent). AIGA fellows are awarded for their exemplary achievements and contributions to raising the standards of excellence in the design community. Said Becker at the ceremony, “I chose CCA as my affiliation for the award even though I have been a design practitioner for over 35 years. I am thoroughly content to have ‘educator’ be my primary identification.” Communication Arts magazine celebrated its 50th anniversary that same night. Patrick Coyne (Interdisciplinary Design 1983), the magazine’s editor and designer, is also a CCA alum. Julian Myers (Curatorial Practice and Visual Studies faculty) has received a prestigious Creative Capital Warhol Foundation Arts Writers Grant for a book he is coauthoring with the artist Edgar Arceneaux, Mirror-Travel in the Motor City.
The book will investigate what they call “subterranean Detroit” in history and in fiction, from Michael Heizer’s 20 // AWARDS AND ACCOLADES
earthwork Dragged Mass Geometric (1971) to Rosa Parks Boulevard (the starting point of Detroit’s 1967 racial riot) to Drexciya, a fictional city underwater in Lake Michigan imagined by two techno musicians in the 1990s. Says Myers, “The project is about a large constellation of subjects, linked by the ideas of drawing, dragging, burial, guerrilla monuments, and history. The subjects include urbanism, patterns of African and African American migration, forms of labor and urban divestment, and the powerful forms of Afro-futurism that have emerged from Detroit’s particular vision of modernism.” CCA can claim not one, but two Fulbright scholars in 2009–10: Interior Design and Graduate Program in Design faculty member Bruce Levin was awarded a Fulbright grant to research and teach in Japan. He will engage Japanese design and architecture students in investigating the use of space in small urban dwellings. Says Levin: “The Japanese currently have the largest city, Tokyo, with a population of nearly 35 million. For the last 1,000 years they have always had a city in the top 10 largest cities in the world. I am interested in this ongoing condition of urban density and the human spatial responses to confined space—from traditional dwellings to modern micro houses— and their implications for the American context.” Mary B. White (MFA 1980, Ceramics and Glass 1970), now a member of the glass faculty at the Crucible in Oakland, has received a Fulbright grant to lecture, research, engage in collaborative projects, and organize a “makers” conference at the National College of Art and Design in Dublin, Ireland.
Two brand-new CCA MFAs—Julia Anne Goodman (MFA 2009) and Alicia Escott (MFA 2009)—and dual-degree alum Scott Oliver (Graphic Design 1994, MFA 2005) scored second, fourth, and third respectively in the SMART Art: Trash Into Treasure competition this past spring. Entrants were challenged to redesign discarded materials into works of art. The winners were showcased at San Francisco’s Lincart Gallery in June. Julia Anne Goodman’s Certain Is Nothing Now (top left) is made from blue junk mail that she gathered in her neighborhood over the course of a year. Alicia Escott’s Drawing of the California State Animal Last Spotted in 1923 (middle left) depicts a grizzly bear walking off a piece of low-density polyethylene (LDPE), otherwise known as petroleum-based plastic packaging from an IKEA Sultan Hasselback–model mattress. And Scott Oliver’s The Valley (bottom left) is made from a disintegrating upholstered chair that he found in a salvage yard. The landscape (also made from bits of the chair) depicts pre-dammed, pre-flooded Hetch Hetchy Valley circa 1923. CCA’s Interior Design Program has had a fantastic year. The Council for Interior Design Accreditation (CIDA) awarded one of its three major national scholarships to student Ginny Uyesugi. And CCA’s two nominees for the Angelo Donghia Scholarship, Breanne Bumanlag and Ginny Uyesugi, both claimed top honors: up to $30,000 each to complete their senior years in 2009–10.
GIFTS AND GRANTS Despite the challenging economy, CCA alumni and friends have continued to give generously. We thank all donors for their thoughtful support. Contributions provide vital funding for our academic programs, student scholarship aid, and outreach to the community. Following are some highlights from January through September 2009.
Scholarships Student scholarships are CCA’s highest fundraising priority in 2009–10, and donors have been very generous in this area. On the following page we feature a major new $350,000 scholarship challenge grant from board chair F. Noel Perry. CCA was notified this spring that longtime friend of the college Elvin Fowler created a $200,000 bequest to augment the George Post Endowed Scholarship. Carmen M. Christensen, mother of trustee Diane Christensen, gave a total of $107,000 to spend-down scholarships for graduate and undergraduate students. New scholarship gifts came from Ann Hatch and Paul Discoe, who gave $50,000, Lorna Meyer and Dennis Calas, who gave $25,000, and Susan Cummins and Rose Roven, who gave $20,000. CCA received three $10,000 scholarship gifts, one from the S. Livingston Mather Charitable Trust, one from the Helzel Family Foundation, and one from Dr. Thomas and Janice Boyce. Ann Morhauser (Glass 1979) gave $7,500.
Solar Decathlon The Solar Decathlon international competition took place on the National Mall in Washington DC in October, and CCA partnered with Santa Clara University to compete as Team California. The team was ecstatic to come in third overall, beating out top universities such as Tufts, Rice, and Cornell. In the individual contests they took first place in architecture and communications, second place in engineering, and third place in market viability. Thanks to the generosity of CCA trustees and other donors, the college raised $59,000 in cash and at least $70,000 in in-kind gifts (with more in-kind commitments that have yet to be valued). There were five cash donors, and board chair F. Noel Perry led the effort with a gift of $25,000. PG&E gave $20,000. Nancy and Steve Oliver gave $10,000, with half going to scholarship support.
22 // GIFTS AND GRANTS
Annual Fund The Annual Fund provides critical support for the core operations of the college. Sharon and Barclay Simpson gave the single largest donation, $83,500. In spring 2009 120 alumni and friends gave a total of $22,700. Several CCA trustees gave generously, including Tim Brown, Diane Christensen, Charles Guice, George Jewett (BArch 1996), Byron Kuth, Mark Peterson, George Saxe, Dr. Calvin Wheeler, Carlie Wilmans, and Mary Zlot. Elizabeth Hope Ashley (Drawing 1980) remembered CCA in her estate plans with a gift of $10,000.
Wattis Institute The Curator’s Forum group continues to underwrite exciting programming at the Wattis Institute for Contemporary Arts. CCA thanks Susan Almrud, Jeffrey Fraenkel and Frish Brandt (Printmaking 1979), Carla Emil and Rich Silverstein, kurimanzutto, and Galeria Luisa Strina for their gifts. Ross Sappenfield and his wife, Laura Brugger, gave to Curator’s Forum and also enabled CCA to receive a $15,000 matching gift from Capital Group Companies. This gift underwrote the Wattis Institute’s Moby-Dick exhibition. The Nimoy Foundation awarded a $25,000 grant to support the Capp Street Project artist residencies of Abraham Cruzvillegas and Renata Lucas.
Grants CCA received a $53,300 grant from Grants for the Arts / San Francisco Hotel Tax Fund to support public programs in San Francisco, including the Wattis Institute for Contemporary Arts, the Architecture Lecture Series, the Graduate Studies Lecture Series, and the Design and Craft Lecture Series. Intel awarded $50,000 for a sponsored studio in Industrial Design and $15,000 to make possible CCA students’ participation in the Intel Design Expo. The LEF Foundation, thanks to the support of board member Byron Kuth, awarded a grant of $40,000 for the Annual Fund and academic programs. The CCA Center for Art and Public Life received a grant of $36,000 from the National Endowment for the Arts, a grant of $35,000 from the Alameda County Office of Education / U.S. Department of Education, and a grant of $7,500 from the Clorox Company Foundation. The Toby Fund gave $11,000 to the Toby Devan Lewis Fellowship. The Christensen Fund supported the spring 2009 Rising Tide: The Arts and Ecological Ethics conference with a grant of $10,000. With Santa Clara University, CCA received a $10,000 planning grant from the National Science Foundation’s Industry/University Cooperative Research Centers Program.
F. Noel Perry Scholarship Challenge We are very pleased to announce a major new gift to student scholarships from the chair of the Board of Trustees, F. Noel Perry. Mr. Perry has generously pledged $350,000 as a special scholarship challenge. This gift is contingent on CCA raising $700,000 in matching gifts from alumni, parents, and friends. If the campaign is successful, CCA will have secured more than $1 million in new gifts for student aid. “Many CCA alumni and friends gave to scholarships in 2007 for the Centennial Campaign,” says Mr. Perry. “We sincerely appreciate that past support. But the need for student scholarships is still great. The economy has been especially hard on low-income students and their families. I want to help those young people, and I am asking the CCA community to join me in the effort.” Mr. Perry will match every two dollars given to scholarships with one dollar of his own (up to a total of $350,000). Gifts of any size make a difference and may be made to pooled funds (supporting needy students across the college) or to students in a specific program, graduate or undergraduate. You may also establish your own named scholarship fund with a gift of $5,000 or more. CCA needs your help to meet this challenge! Please go to www.cca.edu/give and make your matching gift online today. Giving online saves mailing costs and helps the college devote even more resources to student aid. “This is a top priority for CCA,” says President Stephen Beal. “We must do all we can to help our students with financial need. They are often from diverse cultural backgrounds and bring a breadth of life experience to the classroom and studio, enriching the educational experience for all.”
Scholarship Donor Profile: Hedge Gallery and Steven Volpe Design During our successful $27.5 million Centennial Campaign, CCA alumni, faculty, trustees, and friends gave $4.8 million to student scholarships. CCA is grateful to all of the 111 donors who made a gift to scholarships through this campaign. More than 25 new scholarship funds were created. One of these generous scholarships was given by Roth Martin and Steven Volpe of Hedge Gallery and Steven Volpe Design. They chose to establish a special spend-down fund where every dollar ($50,000 in total) is awarded in full as financial aid for students in the Interior Design Program. “We wanted to help promising and deserving undergraduates in interiors,” says Mr. Volpe. “It is important to support the next generation coming up in this special design field.” To date, eight Hedge Gallery Steven Volpe Design Scholarships have been awarded to CCA students. Mr. Volpe and Mr. Martin are leaders in design, having created successful projects in San Francisco, Paris, and New York for more than 20 years now. Their work has been featured in Architectural Digest, Elle Décor, and San Francisco magazine. CCA is grateful to have the support of these accomplished professionals, and our Interior Design students are thrilled to benefit from their generous scholarship fund.
1. Sculpture faculty member Allison Smith, Dana Walker, honorary doctorate of fine arts recipient Kara Walker, and President Stephen Beal at the Baccalaureate Exhibition reception, May 2009
3. James and Lauren Ford with President Stephen Beal and Wattis Director Jens HoffmanN at the opening reception for Paul McCarthy’s Low Life Slow Life at the Wattis Institute, January 2009
2. Trustee Barclay Simpson with 2008–9 Simpson Award winners Pablo Cristi (MFA 2009), Imin Yeh (MFA 2009), and Conrad Ruiz (MFA 2009) at the Simpson Award opening reception, April 2009
4. Trustee Simon Blattner with Susan and Bill Beech at the opening reception for Paul McCarthy’s Low Life Slow Life at the Wattis Institute, January 2009
24 // SPOTLIGHT
5. Jennifer Hung (Graphic Design 2001), Andre Andreev (Graphic Design 2005), and G. Dan Covert (Graphic Design 2004) at the New York alumni event A Taste of Brooklyn, March 2009
6. Leah Koransky (Graphic Design 2008), Shadin Saah (Graphic Design 2004), and Katie Barcelona (Graphic Design 2003) at a New York alumni happy hour, June 2009 7. President STEPHEN BEAL, San Francisco Mayor GAVIN NEWSOM, and Provost MARK BREITENBERG at the Sister Cities Artist in Residence Exchange Program fundraising event, September 2009
26 // CANDACY TAYLOR
CANDACY TAYLOR: TAYLOR MADE CULTURE
Candacy Taylor’s calendar is a maze of book tour dates, bullfights, interviews, grant application deadlines, and more. “I spend about 50 percent of my time actually working on my projects,” she says half-jokingly, half-ruefully, “and the rest of the time doing things that prevent me from having to get a day job: marketing, fundraising, consulting.” Although really, for her it’s all of a piece, and definitely a labor of love. Taylor was part of the very first incoming class in the Graduate Program in Visual and Critical Studies. A book version of her 2002 thesis project, Counter Culture: The American Coffee Shop Waitress, just came out from Cornell University Press. It contains not only Taylor’s soon-to-be-iconic photographs of coffee shop and diner waitresses, but also 50,000 words of her own writing, organized into themed chapters such as “The Regulars,” “Ketchup in Her Veins,” and “Counter Intelligence.” To qualify for the project the waitresses had to be at least 50 years old, and they had to have been waitressing for at least 20 years. “I expected to meet women who felt overworked and underappreciated, but that’s not what I found. Almost all of them said they loved their jobs. Many said that if it wasn’t for waitressing they’d be at home, lonely, maybe even crippled with arthritis from lack of physical activity. One even had an urn with the ashes of one of her favorite regulars on her mantel at home.”
“It’s a vanishing subculture. The younger generation has a different work ethic; they think of waiting tables as something temporary, on the way to starting a ‘real’ career.” Taylor got the idea for Counter Culture while she herself was employed as a waitress, working her way through CCA. A survey of existing published material revealed much about American diner architecture, but almost nothing about the women who bring these places to life. Her project grew to include not only the book, but also three radio episodes that aired on NPR and a traveling exhibition of oral histories and photographs. A documentary film is in progress. And she’s already knee-deep in two new projects: one looking at San Francisco’s longestrunning ethnic beauty shops, and another looking at female bullfighters and bull riders. Her jam-packed schedule was suddenly stalled about a year and a half ago when she had to have emergency surgery. The waitress project had literally broken her back; lugging cameras and other equipment in and out of a car trunk for six years and 26,000 miles had herniated one of the disks in her spine. After the surgery the doctors said she might walk with a cane forever, but she’s no longer even limping. The same stubbornness and perseverance that she applied to her physical therapy, she says, got her through graduate school. “CCA’s Visual and Critical Studies Program was the first of its kind. It’s intensely academic but it isn’t elitist. It encourages projects that could potentially reach the public, which is crucially important to me. “The program really helped me articulate what I wanted to do with my life. All the reading, all the theory—it was so hard! Many of my classmates had already been published, and I just didn’t have that background. So many times I felt I was in way over my head, but somehow I pushed through and finished. Now, no matter what I do, even when I have to tailor my projects to make them commercial enough to be accessible to a wide audience, they still have substance behind them. They have strong theoretical legs to stand on. At CCA I learned how to be a critical thinker, and then I grew from there to become a critical photographer, a critical artist, a critical interviewer.”
28 // CANDACY TAYLOR
Candacy Taylor Visual and Critical Studies 2002 Born in Gary, Indiana, in 1971 Lives and works in San Francisco ARTISTIC INFLUENCES
Gordon Parks, Dorothea Lange, Walker Evans, Susan Meiselas, William Eggleston, Robert Frank, Mary Ellen Mark, Bill Owens, Jeff Brouws, Studs Terkel, Ira Glass, David Isay influences at cca
Lydia Matthews, Mitchell Schwarzer, Mark Bartlett, Mabel Wilson, Barry Katz, John Laskey, David Goldberg website
SARA SCHNEIDER: THE DESIGN CHRONICLES
“Controlled chaos” doesn’t describe it at all; the Chronicle Books design department is more like beautiful, seductive, art-directed cacophony. There are shelves of books from floor to ceiling, immersing and enveloping the staff designers in a three-dimensional portfolio-gallery of their own work. But there is also space—room to move, room to think—and clearly everyone is thinking creatively. The few available walls are covered with sketches, drawings, ideas.
Design is a crucial component of every Chronicle Books project, and presiding over this indispensable department is Publishing Design Director, self-confessed book junkie, and CCA alum Sara Schneider.
with patina and history like musty books,
Chronicle turns out an extraordinary 300 to 400 projects a year, most of them designed by Schneider’s in-house staff of about 20 designers. Plus four fellowship interns—we can’t forget them, especially since a few former CCA students are now former interns and current full-time staff designers.
Graphic Design 1997 Born in Washington DC in 1971 Lives and works in San Francisco artistic influences
The talented designers at Chronicle; objects dilapidated barns, worn linen, chipped enamel, etc.; Eames, Nelson, Le Corbusier; Paris; Rex Ray; France Ruffenach, a phenomenal photographer; and my 16-monthold, who prompts me to rediscover wonders on a daily basis inspirations at cca
“Design is vital here,” says Schneider. “Chronicle recognizes that design is a major competitive advantage that sets us apart from other publishing houses. Because of that, the designers are central to the process, just like editors, production coordinators, and marketers. Each designer is an expert in a particular publishing category, and they participate in the acquisition conversations, getting involved right from the start. But they are also encouraged to stretch outside their respective categories. It keeps them fresh, and our publishing diverse.”
The other students, the building, the fantastic stuff the Sputnik crew produced semester after semester, and of course a few favorite teachers website
previous page: A display devoted to Sara Schneider’s work at the San Francisco Museum of Craft+Design’s 2009 retrospective San Francisco Graphic Design above and opposite top: “The Country Cooking of France was a highlight of my career. I took three separate trips to France with the photographer to document every region of the country, its cuisine, and its food artisans. The design integrates the intricacies of classic French ornament and typography into a huge (it weighs more than five pounds!), authoritative, and timeless celebration of French culinary culture and food. It won the James Beard awards for best photography and best international cookbook.”
If you have the impression of a particular Chronicle house style, a signature design approach, then think again. If there’s anything consistent about their products, Schneider says, it’s that they are constantly surprising, delightful, each design uniquely suited to the individual project. From a French cookbook to a Rex Ray monograph to a box of stationery, each product looks like it “ought to” but delivers much more, design-wise, than you expect. There is perhaps no other publisher that does all that Chronicle Books does. That diversity and eclecticism keeps Schneider on her toes, always learning, always stretching. She moves in a single day across the fields of art, photography, music, pop culture, food. There’s just no comparison to working in a small independent firm, although she started her design career that way. Schneider didn’t actually finish her CCA degree because she was snapped up by San Francisco design legend Jennifer Morla. The choice between doing a thesis at CCA with Morla or working full-time for Morla was a (financial) no-brainer, but she was still sad to leave student life. “Because I already had an undergraduate degree, I approached the program with the mindset of a grad student. I was on it 24/7, pulling at least one allnighter a week. CCA is such an intensely creative environment. The professors are grounded in the professional community, but they enjoy teaching and respect the students as intelligent, thinking people. The students benefit immensely from their teachers’ real-world experience. “It’s much less vocational than most graphic design programs. There is a strong theoretical underpinning to every project, and that is key. It’s much easier to make the move from ‘thinker’ to ‘producer’ than the other way around.”
30 // CANDACY TAYLOR
Schneider worked for Morla for two years, then landed a job as a designer at Chronicle Books in 1998. She likens the atmosphere there to CCA’s. It’s exhilarating, she says, to be part of determining the strategic path of the company, making big-picture decisions, yet still be involved in many, many individual projects, constantly engaged in conversations with people from all disciplines. Recently, for instance, she attended a New York photo shoot for a book devoted to the Bobbi Brown cosmetics line, which involved 80 models, multiple photographers, and 10,000 pieces of art that now need to be sifted through. Just a typical day at the office.
above: “This Rex Ray monograph could not have been more of a joy to work on. The design plays with the artist’s fantastic use of wood, paper, fluid forms, and vibrant color. Text forms are filled with sections of paintings, and the text is paired with organic cutout shapes.”
Schneider was one of only 12 designers to be highlighted in the San Francisco Museum of Craft+Design’s 2009 retrospective San Francisco Graphic Design. The show featured several other CCA alumni and faculty; read more on page 1.
ALUMNI NOTES 1956
STANLEY G. GROSSE
Solo show: Courtesan, Kyoto, Black Orpheus, and Maui Coastal Series, Roy’s, Maui, May–Aug. 2009. Residency: Maui Preparatory Academy, 2009.
Group shows: Friends, Cheryl Pelavin Fine Arts, New York, Dec. 2008– Jan. 2009; Inaugural Exhibition, Costello Childs Contemporary, Scottsdale, Arizona, Nov. 2008; Inaugural Exhibition, The Edge, Santa Fe, Oct. 2008. Featured: “Fine Art Profile: Marc Katano,” Creative Quarterly no. 12, 2008.
Solo show: New Paintings, Toomey Tourell, San Francisco, Feb. 2009.
1965 Michael Gordon Group show: Jingzhe International Ceramic Exhibition, Jingdezhen Ceramic Institute, China, 2008.
Dennis Oppenheim Solo show: Dennis Oppenheim, Galerie Jarmuschek, Berlin, June–Aug. 2009. Group show: The First Stop on the Super Highway, Nam June Paik Art Center, Yongin-Si, South Korea, Mar.–May 2009. Commissions: public sculptures in Grand Rapids, Michigan; Scottsdale, Arizona; Calgary, Canada; Chicago; Toronto; Houston; and Las Vegas, 2009.
Harry Weisburd Work featured: World Wide Arts Resources and absolutearts.com, July 2009; MesArt, Apr. 2009; Iris for You, Apr. 2009; NYARTS magazine, Apr. 2009; “Landscape and the Figure” (TV interview), Visual Studies Workshop Media Center, San Francisco, Jan. 2009.
1976 Mark Bowles Solo shows: New Artists I, Translations Gallery, Denver, July–Aug. 2009; Following the Light, University of the Pacific, Stockton, California, Jan.– Feb. 2009; Atmosphere and Light: New Landscapes, Pamela Skinner / Gwenna Howard Contemporary Art, Sacramento, Sept. 2008. Acquisition: Denver Museum of Art, 2009. Bowles’s work is on display indefinitely in the Art Gallery at the Brazilian Court, Palm Beach, Florida.
Audrey Brown Award: Fund for Artists Arts Teachers Fellowship Program, 2009.
Joan Perlman Solo shows: From Ice, Fringe Exhibitions, Los Angeles, Nov.–Dec. 2008; Flux, David Cunningham Projects, San Francisco, May–June 2008. Group shows: One Week Only, Jancar Gallery and Jancar/McCorkle Projects, Los Angeles, July 2009; Small Works on Paper by the Artists of ZYZZYVA, Mina Dresden Gallery, San Francisco, June–July 2009; Cool and Austere, Jancar Gallery, Los Angeles, June 2008. Residencies: Ucross Foundation, Wyoming, fall 2009; SIM, Reykjavik Art Museum, July 2009.
1977 Squeak Carnwath Solo shows: Spare Change, Turner Carroll Gallery, Santa Fe, July–Aug. 2009; Loose Change, JH Muse Gallery, Jackson, Wyoming, July–Aug. 2009; New Work, John Berggruen Gallery, San Francisco, Mar. 2009. Featured: Forum with Michael Krasny, KQED, July 2009.
1969 Ernest Cefalu Featured: “UnCovered Interview: Rolling Stones Lips & Tongue Logo,” RockPop Gallery, July 2009; “Cover Story Interview: Jesus Christ Superstar,” RockPop Gallery, May 2009.
1972 William Farley Screening: five-film retrospective (plus one work in progress), Ventura Film Festival, California, Mar. 2009.
1973 Karen Koblitz Solo show: Earth Tones, L2kontemporary Gallery, Los Angeles, June–July 2009.
1974 Doug Tinney Publication: Life and Liberty at Lake Liz: The Story of a Park and Its People, 2009.
32 // ALUMNI NOTES
Michael Vanderbyl / Graphic Design 1968 / www.vanderbyldesign.com You know Michael Vanderbyl as CCA’s Dean of Design and principal of the internationally renowned firm Vanderbyl Design. But you may not know that he’s also a CCA alum. The latest accolade in his long and distinguished career was a solo retrospective exhibition in spring 2009 at Western Gallery in Bellingham, Washington. Vanderbyl even designed the exhibition itself. Examples from his vast body of work hung from the ceiling in oversize poster format, creating walls and corridors. The gallery’s “real” walls were bare except for sparingly applied, haiku-like texts explicating his philosophy: Big always works. Illusion is truth. Design is art? No idea is too stupid. Find beauty in ugliness.
Squeak Carnwath / MFA 1977/ www.squeakcarnwath.com Squeak Carnwath just had her first major museum show in 20 years, Painting Is No Ordinary Object, at the Oakland Museum of California. Her paintings are complex, layered, dense with meaning, and rich with a sense of wonder. “Paintings are not ordinary objects,” she observes. “Painting is a carrier of meaning, of human touch. Each brushstroke or smear of pigment is freighted with philosophical inquiry.” Carnwath looks back very fondly on her years at the college and her faculty mentors. “Viola Frey was unconditionally encouraging, at least to me. Dennis Leon could stand in your shoes and talk about your work from a mature perspective, as if from the future. Jay DeFeo was interested in the magic, and encouraged you to do anything. To her, all kinds of things were part of the art-making process, from breakfast to whatever. Both Viola and Jay were incredibly hardworking artists and strong women.”
Solo show: Rock Meditations, Vintage Berkeley-Elmwood, May–July 2009.
Solo shows: Paintings, Levy Art & Architecture, San Francisco, May–June 2009; Paintings, San Rafael Corporate Center, California, Apr.–Oct. 2009. Group shows: Dreams and Revelations, Marin Museum of Contemporary Art, Aug.– Sept. 2009; Painting Large #2, San Marco Gallery, Dominican University, San Rafael, California, July–Aug. 2009.
Susan Goldsmith Group shows: MarinScapes, Escalle Winery, Larkspur, California, July 2009; Five Decades of Women’s Art, Marin Civic Center Galleries, San Rafael, California, Mar.–May 2009.
Herbert Ranharter Group show: ARTmART—Günstige Rahmenbedingungen für junge Kunst, Vienna Künstlerhaus, Nov. 2008.
1979 Annie Morhauser Featured: “This Is Us: Annie Morhauser of Annieglass,” KTEH TV, Jan. 2009.
1980 Carole Hawkes Cocurated: 1958 East West Abstractions, Togonon Gallery, San Francisco, Jan.– Feb. 2009.
1981 Katherine Estrella Group shows: Day of the Dead: Ancient Roots, Contemporary Expressions, Tohono Chul Park, Tucson, Aug.– Nov. 2009; Beauty in the Breast, Candelabra Gallery, Tucson, Aug. 2009; ¡Chubasco!, Raices Taller 222 Art Gallery and Workshop, Tucson, July–Sept. 2009; Forbidden Garden, Dinnerware Artspace, Tucson, June–July 2009.
1983 Robin Dintiman Solo show: Familiar Places, Alliance Gallery, Narrowsburg, New York, Mar.– April 2009.
Dan Gottsegen Solo show: Recent Paintings, Furchgott Sourdiffe Gallery, Shelburne, Vermont, May–June 2009. Group shows: Sky, Water, Land, Light, Lake Champlain Maritime Museum, Vergennes, Vermont, July–Aug. 2009; Small Works on Paper by the Artists of ZYZZYVA, Mina Dresden Gallery, San Francisco, June–July 2009. Publication: Land, Water, Sky, Furchgott Sourdiffe Gallery, 2009. Work featured: cover, Hunger Mountain Review, spring 2009. Award: New England Foundation for the Arts grant, 2009. Commission: design, fabrication, and installation of aesthetic enhancements for the Brattleboro Vermont district courthouse, 2009.
1984 Gale Antokal
Solo show: Nature/Nurture, RayKo Photo Center, San Francisco, Jan.–Feb. 2009.
Group show: From the Celestial Longitude of 45 Degrees, Ending at Longitude 60 Degrees, Patricia Sweetow Gallery, San Francisco, June–Aug. 2009.
Curated: Jo Hanson: Crab Orchard Cemetery Revisited, Peninsula Art Museum, Belmont, California, July–Sept. 2009.
Paradise, California, which opened in Dec. 2008. The building is designed to be both soothing and stimulating to people with mental disabilities such as autism. It was featured in the Chico News & Review, Feb. 2009.
1986 Mikae Hara Solo show: With Love, Galerie Petites Formes, Osaka, Jan. 2009.
Sono Osato Solo show: Babylon: The Buried Language Series, Brian Gross Fine Art, San Francisco, Mar.–May 2009. Featured: San Francisco Chronicle, Apr. 2009.
1987 Charles Browning Group shows: Strangers in a Strange Land, Morgan Lehman Gallery, Lakeville, Connecticut, Aug.–Sept. 2009; It’s a Schro Ro Summer!, Schroeder Romero, New York, July 2009.
Tracy Krumm Solo show: Tracy Krumm, Andrea Schwartz Gallery, San Francisco, Feb.– Mar. 2009. Group show: Connected: The Stitch, Cervini Haas Gallery, Scottsdale, Arizona, Jan. 2009.
Nina Lyons Solo show: Outside the Box, Inside the Frame, Menlo College, Atherton, California, Mar.–July 2009. Group show: 15th Annual Sculpture Exhibit, Ruth Bancroft Garden, Walnut Creek, California, June– July 2009. Publication: Poetry of Form, Edition One Studios, 2009. Screening: Leslie Ceramics, Berkeley, Jan. 2009. Work featured: Orinda News, Aug. 2009.
Commission: Jeon designed the building for the Community Opportunity for Vocational Experience (COVE) in // 33
Katherine McKay Group show: Pistils and Petals, Women’s Cancer Resource Center, Oakland, Nov.–Dec. 2008.
Patricia Sannit Group show: Contemporary Forum Artists Grant Exhibition, Phoenix Art Museum, May–June 2009.
Ann Weber Solo shows: Corrugated, Boise Art Museum, Idaho, May–Nov. 2009; Wonderland, Triton Museum of Art, Santa Clara, California, Sept.–Nov. 2008. Featured: “SPARK Plug: Taking Craft to the Limit,” KQED TV, Jan. 2009.
1988 Martha Pinkard-Williams Group show: Collective Nouns: MCSD Art Faculty Biennial (reviewed in INDenver Times), Center for Visual Art, Metropolitan State College of Denver, Mar.–Apr. 2009.
1989 Rosemary Allen
Gallery, Phoenix, Apr.–May 2009; The Watershed Six, Hyatt Regency Gallery, Phoenix, Apr. 2009; What the Future May Hold: Artists Consider the PostBush World, Museo Cultural de Santa Fe, Jan.–Feb. 2009. Work featured: 500 Ceramic Sculptures, Lark Books, 2009. Residencies: special instructor, Kansas City Art Institute, Aug. 2009–May 2010; visiting artist, University of Florida, Gainesville, May 2009; visiting artist, Ceramic League of Palm Beach, Florida, Mar. 2009; special instructor and resident artist, Armory Art Center, West Palm Beach, Florida, Jan.–July 2009.
Ana Maria Hernando
Group show: Superfine, Morgan Lehman Gallery, New York, July–Aug. 2009. Award: DC Commission on the Arts and Humanities fellowship, 2009. Acquisitions: Hirshhorn, Washington DC, 2009; Smithsonian American Art Museum, Washington DC, 2009. Residencies: San Jose Institute of Contemporary Art, Apr.–May 2009; University of Maryland, College Park, Jan.–Feb. 2009.
Group show: Pure Pleasure, Boulder Museum of Contemporary Art, Colorado, June–Sept. 2009.
Amy Kaufman Solo show: Recent Work, Traywick Contemporary, Berkeley, Mar.– May 2009. Group show: New Releases: Kaufman, Liu, Puryear, Paulson Press, Berkeley, Mar.–May 2009.
Solo show: Construction Workers, 333 Bush Street, San Francisco, Aug.– Nov. 2009.
Featured: The Ballad of Polly Ann: Celebrating Women Who Built the Bay Area’s Bridges, SOMArts Cultural Center, San Francisco, July 2009.
Solo show: From the Landscape of Memory, Morris Graves Museum of Art, Eureka, California, Jan.–Mar. 2009. Residency: Saltonstall Arts Colony, Ithaca, New York, 2009.
1990 Steve Dye Group shows: West Oakland Green Scene, Middle Harbor Shoreline Park, June 2009; Illuminated Corridor, Middle Harbor Shoreline Park, Oakland, May 2009.
Misty Gamble Group shows: Small Works, Miniatures, and Maquettes, John Natsoulas Gallery, Davis, California, July–Aug. 2009; Four Fired, Duane Reed Gallery, Saint Louis, June–July 2009; Emergence: The Resident Artist Exhibition, Armory Art Center, West Palm Beach, Florida, Apr.–May 2009; Human Narratives: Conversations in Clay, Victoria Boyce 34 // ALUMNI NOTES
Solo show: An Avatar Collective, LIMN Gallery, San Francisco, Jan.–Feb. 2009.
Group show: Connected: The Stitch, Cervini Haas Gallery, Scottsdale, Arizona, Jan. 2009.
Solo show: Ex Libro, Donna Seager Gallery, San Rafael, California, Feb.– Mar. 2009.
stacy Mar Featured: Ligature Volume 9, Big Fig Design Group, June 2009.
1992 Marlene Aron Group shows: Passages, U.S. Chinese Art Museum, Oakland, Sept. 2009; Intersectionality of Sisters, Joyce Gordon Gallery, Oakland, Mar.–Apr. 2009. Commission: Dreaming Before Daylight, Art Works Downtown, San Rafael Public Library, California, 2008. Lectures: ���Claude Monet: Painter of Light,” Rhoda Goldman Plaza, San Francisco, Feb. 2009; “The Life and Work of Vincent Van Gogh,” City Council Chambers, San Rafael, California, Oct. 2008.
Solo show: Double Vision Happiness, Meridian Gallery, San Francisco, June– Aug. 2009.
1993 Naomie Kremer Solo shows: Ghosts, Magnes Museum Windows, Berkeley, Mar.–May 2009; Paintings and Hybrids, Modernism, San Francisco, Mar.–May 2009. Group show: Theaters of Memory: Art and the Holocaust, Jewish Museum, New York, Feb.–June 2009.
Hifumi Ogawa Solo shows: Paintings 1993–2007, Taylor & Company, San Francisco, Apr.– May 2009; Ogawa Goes to Work, Hess Collection Contemporary Art Museum, Napa, California, Feb.–June 2009.
Stephen Sheffield Solo show: Stephen Sheffield, Achilles Project, Boston, Apr.–June 2009. Commission: Eastern Standard Restaurant, Boston, 2009.
1994 Harrell Fletcher Group show: Assume Nothing: New Social Practice, Art Gallery of Greater Victoria, Canada, Jan.–May 2009. Commission: The Knowledge, Metro, Portland, Oregon. Award: Civic Engagement Award, Portland State University, Oregon, 2009.
Sue Mark (with marksearch) Work featured: “Art Project Celebrates Local History, Seeks to Bring Communities Together: 10,000 Steps Project,” Oakland North, June 2009.
Tara Tucker Work featured: KQED Gallery Crawl, May 2009. Group show: Front + Center, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2009.
Community Arts Assistance Program (CAAP) grant, 2009.
Herb Thornby (with Think Studio) Commission: new look for the River to River Festival, New York, 2009.
1999 Timothy Duffy Promotion: associate project architect, HGA Architects and Engineers, Sacramento, Feb. 2009.
Narangkar Glover Solo show: It’s Gonna Be Awesome, Blankspace, Oakland, Sept.–Oct. 2009. Glover entered UC Berkeley’s MFA program in fall 2009.
Chris Oliveria Linn Meyers / MFA 1993 / www.linnmeyers.com Time: It’s always going too fast or too slow, which is frustrating for most of us but fascinating to artist Linn Meyers. Awarded a Smithsonian Artist Research Fellowship for the 2009–10 year, she is using this invaluable opportunity—full access to the various Smithsonian institutions and their curators, scholars, and scientists—to research the phenomenon of time. “I’m looking at objective and subjective perceptions of time, the portrayal of time in visual art, compression and decompression of time,” she says. “In recent years my studio practice has involved attempts to slow down time—to record the rhythms and small tremors of physical existence, gravity, and the imperfection of human motion.”
John Clifford (with Think Studio)
Group show: Soliloquies, Two Rivers Public Art Gallery, Prince George, Canada, Aug.–Nov. 2008.
Commission: new look for the River to River Festival, New York, 2009.
Commission: $3 million environmentally friendly Marina residence at 118–120 Cervantes Blvd., San Francisco, 2009.
Jeff Benroth Featured: “Glass Logs for Hearths and Tables,” Los Angeles Times, July 2009.
Michele Palley Publication: Me Vibration, CreateSpace, 2009.
Anthony Pearson Group shows: Xerox Prints, Shane Campbell Gallery, Oak Park, Illinois, May–July 2009; Alex Hubbard, Charlemagne Palestine, Anthony Pearson, and Jon Pestoni, China Art Objects Galleries, Los Angeles, May–June 2009; Constructivismes, Almine Rech Gallery, Brussels, Jan.–Mar. 2009; A Twilight Art, Harris Lieberman Gallery, New York, Jan.–Feb. 2009; Mark Barrow, Anthony Pearson, Blinky Palermo, Lisa Cooley Fine Art, New York, Jan.–Feb. 2009. Publication: Anthony Pearson: Solarizations, Midway Contemporary Art, 2009.
Doug Jacuzzi (with Soularch Design)
Stella Lai Group show: Beautiful/Decay A to Z, Kopeikin Gallery, West Hollywood, California, Feb.–Mar. 2009. Work featured: “Best of Beijing,” Flash Art, 2009; cover, Giant Robot no. 58 (the “15 Years Issue”), 2009; DailyServing, Mar. 2009.
1998 Stephanie Dean Solo shows: Modern Groceries, Ryerson Woods, Illinois, May–June 2009; Modern Groceries & Retrospective, Baby Grand, New York, Apr.–May 2009; Modern Groceries, FLATFILEgalleries, Chicago, Feb.– Mar. 2009. Group show: 4th Annual Juried Photography Exhibit, Morpho Gallery, Chicago, Apr.–May 2009. Featured: The Present Group Art Subscription Service issue 10, 2009. Award: Chicago
Solo show: A Garden for Losing One’s Head, LA><ART, Los Angeles, May–June 2009. Group show: Exquisite Corpse, or, the Show That Curates Itself, Nicodim Gallery, Los Angeles, July–Aug. 2009.
2000 Jennie Ottinger Solo show: ibid., Johansson Projects, Oakland, Aug.–Sept. 2009. Group show: Front +Center, Headlands Center for the Arts, Sausalito, California, Jan.– Feb. 2009.
Marina Vendrell Renaut Solo show: Flaming Furbelows, Johansson Projects, Oakland, Mar.– May 2009.
2001 Libby Black Group show: I Want You to Want Me, Marx & Zavattero, San Francisco, Apr.– May 2009.
Lily Cox-Richard Group shows: ...For Lovers, Kim Foster Gallery, New York, June–July 2009; CORE Artist in Residence, Museum of Fine Arts, Houston, Mar.–Apr. 2009. Award: Milos Chlupác Fellowship, 2009. Presentation: Stone Sculpture Symposium, Salzburg International Summer Academy of Fine Arts, Austria, July–Aug. 2009.
Patrick Dintino Group show: Word (curated by Danielle Steel), Andrea Schwartz Gallery, San Francisco, Aug. 2009.
Pepe Mar Group show: Beautiful/Decay A to Z, Kopeikin Gallery, West Hollywood, California, Feb.–Mar. 2009. // 35
2009; Natural Blunders, de Saisset Museum, Santa Clara University, California, Jan.–Mar. 2009. Residency: San Francisco Recycling and Disposal, June–Sept. 2009.
Kelly Jones Curated: Buddy System: A Project of Little Paper Planes, Rare Device, San Francisco, July–Aug. 2009.
Banker White / MFA 2000 / www.sodasoap.com Banker White, codirector and coproducer of the multi-award-winning documentary Sierra Leone’s Refugee All Stars (2006), returned to Sierra Leone this summer to teach filmmaking to young ex-combatants and survivors of the country’s civil war. The project, called WeOwnTV, “promotes self-expression as a way to explore our shared humanity and bridge cultural divides,” says White. “Our organization, SodaSoap Productions, offers technical support, encouragement, and training to these young adults, whose childhoods have been cut cruelly short by the war and who face a daily struggle with life in one of the world’s poorest countries. We are helping them creatively produce their own media and share their experiences and ideas with the world.”
Nellie King Solomon
Solo show: No soy de aquí, no soy de allá, soy glocal, Togonon Gallery, San Francisco, June 2009. Group show: Image Redemption / Redención de Imagen, Consulate General of Mexico, San Francisco, Mar.–Apr. 2009.
Group show: Inaugural Exhibition, Melissa Morgan Fine Art, Palm Desert, California, Feb.–Mar. 2009.
Don Porcella Solo show: Nature Boy, Swarm Gallery Project Space, Oakland, Apr.–May 2009. Group shows: X, Mixed Greens, New York, July–Aug. 2009; Not as a God, But as a God Might Be, Alphonse Berber Gallery, Berkeley, July–Aug. 2009; Low Blow: And Other Species of Confusion, Stux Gallery, New York, June–July 2009; Fantastical Interactical, Ashawagh Hall, East Hampton, New York, May 2009; Playing Around, Brattleboro Museum and Art Center, Vermont, Apr.–July 2009; Bonac Tonic Group Show, Ashawagh Hall, East Hampton, New York, Mar. 2009; Narrative Thread, Lyons Wier Ortt Contemporary Art, New York, Jan.– Feb. 2009. Work featured: Beautiful/ Decay, June 2009.
36 // ALUMNI NOTES
Patricia Vader Commission: Wheely Whirly Peacock (featured in Orinda News, Aug. 2009) Orinda Library Plaza, California, 2009–10.
2002 Ela Boyd Group show: Wisdom Within Us, Create:Fixate, Los Angeles, Mar. 2009.
Wanda Chan Solo show: Apparitions, Keys That Fit, Oakland, Feb.–Mar. 2009. Group show: Reverberations: Japanese Prints of the 1923 Kanto Earthquake, Mills College Art Museum, Oakland, June–July 2009.
David Hevel Solo show: How Deep Is Your Love, Pulse New York (with Marx & Zavattero), Mar. 2009. Group shows: I Want You to Want Me, Marx & Zavattero, San Francisco, Apr.–May 2009; oh, Maybe . . ., OFF Space, Emeryville, California, Mar.
Solo shows: The World Shrinks for Those Who Own It, Galway Arts Centre, Ireland, May–July 2009; Between Oireachtas and a Hard Place, Áras Éanna, Inis Óirr, Ireland, Oct. 2008. Group shows: This Must Be the Place, Irish Museum of Contemporary Art, Dublin, Mar.–Apr. 2009; The Life and Times of Lillian Virginia Mountweazel, Monster Truck Gallery, Dublin, Mar. 2009. Curated: How Do You Know?, Blankspace, Oakland, Aug. 2009; Unsolicited Fabrications: Shareware Sculptures by Stephanie Syjuco, Pallas Contemporary Projects, Dublin, May 2009. Commissions: The Doctor Is In (with Áine Phillips), Volvo Ocean Race Galway Stopover, Ireland, 2009; A Monument to Speaking Your Mind, Áras na Mac Léinn, National University of Ireland, Galway, Nov. 2008–Jan. 2009; Poulnabrone Village, Burren, Co. Clare, Ireland, Oct. 2008–Jan. 2009. Residency: Ard Bia, Berlin, Dec. 2008–Jan. 2009.
Stacy Speyer Residency: Exploratorium, San Francisco, 2009.
Deth P. Sun Solo show: This Too Shall Pass, Rowan Morrison Gallery, Oakland, Jan.–Feb. 2009. Group shows: Trace Elements, San Francisco Arts Commission Gallery, May–July 2009; Tales from an Imaginary Menagerie, Palo Alto Art Center, California, Jan.–Apr. 2009.
Candacy Taylor Work featured: “Counter Culture: A Photo Essay,” New Yorker, July 2009.
Natalie Tyler Group show: Thaw, Lana Santorelli Gallery, New York, Mar.–Apr. 2009.
2003 Adele Crawford Group show: Family Pictures, Root Division, San Francisco, July 2009.
Publication: poem in Eating Her Wedding Dress: A Collection of Clothing Poems, Ragged Sky Press, 2009.
Awards: I.D. magazine annual design review, July 2009; Housewares Design Award, 2009.
Group shows: Block Party, Dunlop Art Gallery, Regina, Canada, Aug.–Oct. 2009; Public Document Files, Public Space One, Iowa City, June 2009; The Readers, Artcity Festival, Calgary, Sept. 2008. Lecture: “Renavigating the Commercial Realm,” Hastings School of Law, San Francisco, Feb. 2009.
Solo show: Making Magic, Hamish Morrison Galerie, Berlin, Dec. 2008– Feb. 2009. Group shows: Small Works on Paper by the Artists of ZYZZYVA, Mina Dresden Gallery, San Francisco, June– July 2009; Out of the Flat Files II, Triple Base Gallery, San Francisco, Apr.–May 2009; Dearly Madly, Howard House, Seattle, Feb.–Mar. 2009. Work featured: “Obama’s Worst Pakistan Nightmare,” New York Times Magazine, Jan. 2009. Residency: Galleria Studio Legale, Caserta and Rome, Italy, Feb.–Apr. 2009.
Group show: Serenity, UCSF Center for Reproductive Health, San Francisco, Apr.–July 2009.
Edith Garcia Curated: Contemporary Monsters, Northern Clay Center, Minneapolis, Mar.–May 2009; Confrontational Ceramics, Westchester Arts Council, New York, Oct.–Dec. 2008. Group show: International Ceramics Festival, Aberystwyth, Wales, July 2009. Work featured: 500 Ceramic Sculptures, Lark Books, 2009. Residency: Clay Studio, Philadelphia, Sept.–Oct. 2009.
Jonathan Lyons Publication: “the reflecting pool” in Hotel Amerika (“Trans-genre” issue), spring 2009.
Derek Weisberg Solo show: Olam Haba: The World to Come, Rowan Morrison Gallery, Oakland, Feb.–Mar. 2009.
Solo show: The Colony, Triple Base, San Francisco, Feb.–Mar. 2009.
Solo show: The Echo Fields (with Michael Meyers), Johansson Projects, Oakland, May–June 2009.
Group show: 40th Anniversary Benefit Auction, White Columns, New York, Apr.–May 2009.
Carlo Flores Screening: Real Ideas Studio, Cannes International Film Festival, France, May 2009.
Joe Kowalczyk Group shows: Guest Curator Show, Pamela Skinner / Gwenna Howard, Sacramento, May–June 2009; 20th Annual California Clay Competition, The Artery, Davis, California, May 2009; Eccentric Imagery, Blue Line Gallery, Roseville, California, Nov. 2008–Jan. 2009.
Vanessa Marsh Solo show: Always Close but Never Touching, Ampersand International Arts, San Francisco, May–June 2009.
Ben Peterson Solo show: The Pilgrim’s Progress, Ratio 3, San Francisco, Jan.–Feb. 2009.
Hank Willis Thomas Solo show: Pitch Blackness, Jack Shainman Gallery, New York, Feb.–Mar. 2009. Group shows: I Want You to Want Me, Marx & Zavattero, San Francisco, Apr.– May 2009; 30 Americans, Rubell Family Collection, Miami, Dec. 2008–Nov. 2009. Featured: Art in America website, Feb. 2009. Publication: Pitch Blackness, Aperture, 2008.
2005 Carl Auge Solo show: Resound, Rowan Morrison, Oakland, July–Aug. 2009. Group shows: Annual Biennial, Michael Rosenthal Gallery, San Francisco, Aug.–Sept. 2009; The Mash Up: Art Will Eat Itself, Noma Gallery, San Francisco, May 2009; Mixed Metaphors and Obsessive Compulsive Behavior, Michael Rosenthal Gallery, San Francisco, Apr.–May 2009.
Patricia Esquivias / MFA 2007 / www.murrayguy.com Patricia Esquivias has had shows in just the last couple of years in London, New York, Basel, Valencia, Amsterdam, Lisbon, Istanbul, and Prague. She was born in Caracas and currently lives and works between Guadalajara, New York, and Madrid. She is 30 years old. She had a solo show at Madrid’s Reina Sofia museum this past summer, a video installation titled Everything that is not a portion is speculation. It was an unorthodox exploration of Spanish history and idiosyncrasies via everyday situations and pop-culture phenomena. Video is Esquivias’s primary medium. She appreciates its performative, improvisational potential—what she poetically calls “the advantages of imperfection.” // 37
Group show: What Comes Next, Parlour at Pretty Penny, Oakland, May– June 2009.
Solo show: Reads Like the Paper, 2005–2009, Midway Center for Contemporary Art, Minneapolis, Apr.–June 2009. Group shows: 5x5 Castelló 09, Espai d’art contemporani de Castelló, Castellon de la Plana, Spain, July–Sept. 2009; Report on Probability, Kunsthalle Basel, Switzerland, June–Aug. 2009; The Boundaries of Time, Confines/ Valencia 09, IVAM (Institut Valencià d’Art Modern), Spain, May–Nov. 2009; Monument Transformace, Municipal Library, Prague, May–Aug. 2009; The Generational: Younger Than Jesus, New Museum, New York, Apr.–July 2009.
Group show: From the Celestial Longitude of 45 Degrees, Ending at Longitude 60 Degrees, Patricia Sweetow Gallery, San Francisco, June–Aug. 2009.
Eliot daughtry (with killer banshee Studios)
Leslie Shows Group shows: Wallworks (reviewed in the San Francisco Chronicle), Yerba Buena Center for the Arts, San Francisco, July–Oct. 2009; Frenz, Fleisher/Ollman Gallery, Philadelphia, June–Aug. 2009; re:con-figure, Kala Art Institute, Berkeley, May–June 2009; A Mind Meld Is a Terrible Thing to Waste, Jack Hanley Gallery, Feb.–Mar. 2009. Publication: Black Icebergs, Hassla Books, 2008. Award: Eureka Fellowship, Fleishhacker Foundation, 2009.
Jamie Vasta Solo shows: Conversation 5, San Francisco Arts Commission Gallery, July– Sept. 2009; The Hunt, Patricia Sweetow Gallery, San Francisco, Jan.–Feb. 2009. Group show: From the Celestial Longitude of 45 Degrees, Ending at Longitude 60 Degrees, Patricia Sweetow Gallery, San Francisco, June–Aug. 2009.
Group shows: Live and Direct, Ping Pong Gallery, San Francisco, May–June 2009; The Big Three, Michael Rosenthal Gallery, San Francisco, Jan.–Feb. 2009.
2008 Heidi Berg Featured: “17 Rising Stars in Design, Photography, and Illustration,” HOW magazine (“Creative Talent” issue), Aug. 2009.
Chad Carpenter Group show: London Design Festival (selected for exhibition by the AA|FAB Research Cluster), Sept. 2009.
Cocurated: 9th Annual T-10 Video Festival, 21 Grand, Oakland, July 2009.
Group show: The Big Three, Michael Rosenthal Gallery, San Francisco, Jan.–Feb. 2009.
Group show: National Council on Education for the Ceramic Arts Student Exhibition, Tempe Center for the Arts, Jan.–Apr. 2009.
Lecture: “On Otl Aicher,” San Francisco Museum of Modern Art, May 2009.
Group shows: Art Biologic, Limner Gallery, Hudson, New York, May 2009; 5th World Ceramic Biennale, Incheon, South Korea, Apr.–Jun 2009.
Group show: JURIED@BAC: Works on Paper, Berkeley Art Center, Aug.–Sept. 2009. Award and residency: Visions from the New California award, Alliance of Artists Communities, Headlands Center for the Arts, 2009.
New position: curator of exhibitions, Laguna Art Museum, California, 2008.
Solo show: Buckled and Pinned, Curiosity Shoppe, San Francisco, Feb.– Mar. 2009. Group shows: Not as a God, But as a God Might Be, Alphonse Berber Gallery, Berkeley, July–Aug. 2009; Coming Attractions, Bucheon Gallery, San Francisco, Jan.–Feb. 2009.
2007 Joseph Becker
Elizabeth Chiu Screening: Real Ideas Studio, Cannes International Film Festival, France, May 2009.
Anne Devine Group show: From New Orleans to Hopedale, Big Top Gallery, New Orleans, Aug. 2009. Performances: From New Orleans to Hopedale (37+ mile investigational and performative walk with two water crossings), Louisiana, Feb. 2009; This Fabulous Shadow Only the Sea Keeps (13,500-foot skydive into 24-mile solo night walk during Lyrid meteor shower), Cape Canaveral, Florida, Apr. 2008. Residency: Changing Landscapes, Center for Bioenvironmental Research, Tulane University, New Orleans, Jan.– Feb. 2009. 38 // ALUMNI NOTES
Carson Murdach Group show: NextNew:Green, San Jose Institute of Contemporary Art, July– Sept. 2009.
Lacey Jane Roberts Award: Smack Mellon Studio Program Hot Pick Artist, 2009. Panelist: “Queering Craft,” College Art Association Conference, Los Angeles, Feb. 2009. Commission: Mystery Ball, Headlands Center for the Arts, Sausalito, California, Oct. 2008.
Christine Wong Yap Group shows: Involved, Socially, Triple Base Gallery, San Francisco, Aug.– Sept. 2009; The Kiss of a Lifetime, Vane, Newcastle, England, Aug. 2009; Tech Tools of the Trade: Contemporary New Media Art, De Saisset Museum, Santa Clara University, California, Apr.–June 2009. Residency: Breathe, Chinese Art Centre, Manchester, England, Jan.– Apr. 2009.
Josh Hershman Residency: North Lands Creative Glass, Lybster, Scotland, Apr.–May 2009.
Danny Keith Group show: Safe Word, Ratio 3, San Francisco, June–Aug. 2009.
Kari Marboe Solo show: Anatomies (reviewed in the San Francisco Chronicle), Compound Gallery, Oakland, July–Aug. 2009.
Brian Schuck Group show: What Comes Next, Parlour at Pretty Penny, Oakland, May– June 2009.
Jessica Skloven Solo shows: Chronicle of a Place Unknown, Togonon Gallery, San Francisco, Mar. 2009; In Silence and in Sleep, 50 Fremont, San Francisco, Jan.–Mar. 2009.
Zachary Royer Scholz Group show: The Exhibition Formerly Known as Passengers: Stowaways, CCA Wattis Institute for Contemporary Arts, San Francisco, May–Aug. 2009.
Erik Scollon Group shows: Live & Direct, Ping Pong Gallery, San Francisco, May–June 2009; The Big Three, Michael Rosenthal Gallery, San Francisco, Jan.–Feb. 2009.
Karina Michel / Fashion Design 2008 / besosdetortuga.wordpress.com Karina Michel spent spring and summer 2009 interning on-site at Pratibha Syntex, a 4,000-employee Indian company that produces organic cotton yarn, fabric, and garments. Michel was helping the company creatively devise new strategies to reuse and redirect its waste. One of her several projects was to create brand-new fashion lines entirely out of fabric and yarn waste. Another was a collaboration with local Indian women’s empowerment groups, working on sustainable solutions not only to material waste, but also to poverty. The women in the program learn fabric hand-working skills, embellishing and creating new items out of garment waste from Pratibha Syntex, and become able for the first time in their lives to earn an independent income.
Solo show: Dark Mirror, Rena Bransten Gallery, San Francisco, Apr.–May 2009. Group shows: Decline and Fall, Rena Bransten Gallery, San Francisco, July– Aug. 2009; Trace Elements, San Francisco Arts Commission Gallery, May– July 2009; A NY Print Show, Giant Robot, New York, May–June 2009. Featured: KQED Gallery Crawl, May 2009.
Award: first place in the iDesignAwards “Media and Home Electronics— Phone and Other Communications Technology—Student” category, 2009.
Alison Yates Group show: What Comes Next, Parlour at Pretty Penny, Oakland, May– June 2009.
2009 Patrick Gillespie Award: Graduate Fellowship Award, Headlands Center for the Arts, Sausalito, California, 2009.
Cornelia Jensen Solo show: Microstructures, art.les.nyc studios, New York, July–Aug. 2009.
Christopher Lura Reading: Paul Revere’s Horse spring 2009 issue launch (Lura is founder and editor of the magazine).
Hanh Nguyen Curated: 1st Annual Running Reel Film Festival, Oakland, Apr. 2009.
Hilary Pecis Solo show: Intricacies of Phantom Content, Triple Base, San Francisco, May–July 2009. Group shows: Superfine, Morgan Lehman Gallery, New York, July–Aug. 2009; Remix, Catharine Clark Gallery, San Francisco, June–Aug. 2009.
Group shows: Present Tense Biennial, Chinese Cultural Center, San Francisco, May–Aug. 2009; Contemporary Editions, ART 94124, San Francisco, Mar.–Apr. 2009; The Paradox of the Sets, Onsix Gallery, San Francisco, Mar. 2009; Satisfaction Town, Southern Graphics Council Conference, Chicago, Mar. 2009; For Lovers and Fighters, Spare Room Project, San Francisco, Feb. 2009. Featured: “100% Authentic: Interview with Imin Yeh,” SFMOMA blog, May 2009.
Zakary Zide Featured: Cine Source, Apr. 2009. Zide was recently hired at the London office of the global branding, design, and advertising agency Wieden + Kennedy.
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FACULTY NOTES Rebekah Bloyd Barry Katz (Graduate Design and Industrial Design faculty) was the very first academic fellow at IDEO, the prominent Silicon Valley design consultancy. One of IDEO’s core principles is the concept of prototyping—testing out an idea with foam, cheap electronics, video, whatever is appropriate. “In that spirit,” says Katz, “I developed a discipline I call narrative prototyping, testing a design direction through the medium of language. While I was exploring the application of narrative thinking to design, Tim Brown, IDEO’s CEO (and a CCA trustee), was exploring the application of design thinking to an increasingly broad range of social narratives, from health care delivery to clean energy to primary school education.” They put their heads together, and the result is Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation, in bookstores now. It has already attracted a great deal of attention (one chapter was excerpted in BusinessWeek) and more accolades are certainly to come.
Publications: “Clockman, Summer Afternoon” (poem), Cincinnati Review, 2009; “A Poet in Death Valley” (essay), Poetry, July–Aug. 2009; translation of Miroslav Holub’s “Creative Writing,” Poetry, 2008. Workshop: Fir Acres Workshop in Writing and Thinking, Lewis and Clark College, summer 2009. Moderator: “This I Believe: Readings and Other Reflections on Life,” Oberlin College, May 2008. Residency: Hedgebrook, Whidbey Island, Washington, Aug. 2008.
Lia Cook Solo shows: The Embedded Portrait, University of Wyoming Art Museum, Laramie, May–Aug. 2009; In Touch: Faces and Mazes, Robert Hillestad Textiles Gallery, University of Nebraska, Lincoln, Mar.–Apr. 2009 (traveling through 2011). Group show: From Lausanne to Beijing: 5th International Fiber Art Biennale (received gold medal award), Academy of Arts & Design, Tsinghua University, Beijing, Nov.–Dec. 2008.
Lydia Nakashima Degarrod
OPAL PALMER ADISA
Yee Jan Bao
Residency: CounterPULSE Performing Diaspora, 2009.
Solo show: New Paintings, Mark Wolfe Contemporary Art, San Francisco, Jan.– Feb. 2009.
William Alschuler Publication: “History of the Telescope” (special issue on astronomy), Science, Jan. 2009. Presentation: 9th International Symposium on Display Holography, Shenzhen, China, July 2009.
Projects: artistic director for two community-based projects, one with the Association of Victims of Violence in Cocorná, Antioquia, Colombia, Aug. 2009, and one with indigenous survivors of sexual violence in Cobán, Alta Verapaz, Guatemala, Feb. 2009. Work featured: cover design, Pedro and the Captain, Cadmus Editions, 2009. Residency: Spencer Center for Civic and Global Engagement, Mary Baldwin College, Virginia, 2009–10.
Cocurated: Natural Balance: Art & Ecology, University of Girona, Spain, May 2009.
Bob Aufuldish Group show: Ersatz, SF Camerawork, San Francisco, June–Aug. 2009. Work featured: How to Type, IDEAfried Studio, 2009. Lecture: “The Photographic Book” symposium, Palm Springs Photo Festival, April 2009. Screening judge: Photography.Book.Now contest, July 2009.
40 // FACULTY NOTES
Solo show: New Paintings, Mark Wolfe Contemporary Art, San Francisco, Jan.– Feb. 2009.
Group shows: Hybridity, SomArts Cultural Center, San Francisco, Feb. 2009; Exonome: IberoAmerican Artists in California, Consulate General of Mexico, San Francisco, Nov.–Dec. 2008. Residency: A Place of Your Own, de Young Museum, San Francisco, Jan. 2009. Publication: “When Ethnographies Enter Art Galleries” in Museum Materialities, Routledge, 2009. Presentation: “Eyes of Exile,” College Art Association conference, Los Angeles, Feb. 2009.
Melinda de Jesús Publication: “Acts of ‘Desicreation’: Urban Space and South Asian American Identity in Tanuja Desai Hidier’s Born Confused” in Ethnic Literary Traditions in American Children’s Literature, Palgrave-Macmillan, 2009. De Jesús has been selected to participate in the 2009 National Women’s Studies Association’s Women of Color Leadership Project.
Donna de la Perrière Award: $3,000 Fund for Poetry, 2009.
Mona El Khafif Curated: 10x10 Cities: Green Facts, Challenges, Futures, 3A Gallery, San Francisco, Apr.–May 2009. Publication: Staged Urbanism, VDM, 2009.
Solo show: Destroy Every Closet Door (film retrospective), Institute of Contemporary Arts, London, Jan. 2009. Screening: Sex in ‘69: Sexual Revolution in America, History Channel, July 2009. Epstein has been reelected to the board of governors of the Academy of Motion Picture Arts and Sciences, representing the documentary branch, for another three-year term.
Awards: Type Directors Club 55, 2009; Graphis Design Annual 2009. Work featured: Typography Essentials: 100 Design Principles for Working with Type, Rockport, 2009; No Rules Logos: Radical Design Solutions That Break the Rules, Rockport, 2009; Decoding Design: Understanding and Using Symbols in Visual Communication, How, 2008.
Publications: poems in Big Bridge, Connecticut Review, Letters to the World anthology, Uncontained anthology, NO/ ON, and Plastic Ocean, all 2009; prose in Fast Forward anthology and Van Gogh’s Ear, both 2009. New position: Small Press Traffic board of directors, August 2008. Readings: KQED “Writer’s Block” podcast, July 2009; Long Island University, Brooklyn, Apr. 2009; Associated Writing Programs small press showcase, Chicago, Feb. 2009; Moe’s Books, Berkeley, Feb. 2009. Presentation: “Handmade Anti-War Signage: Photographs 2002–2005,” Hybrid/Visual panel, Naropa University, Boulder, Colorado, June 2009. Visiting faculty: Summer Writing Program, Naropa University, Boulder, Colorado, June 2009; Purdue University, Fort Wayne, Indiana, Apr. 2009. Residency: Western Connecticut State University, Danbury, Aug. 2008.
Solo show: The Teased Edge, Acme, Los Angeles, Apr.–May 2009. Group show: Wallworks, Yerba Buena Center for the Arts, San Francisco, July–Oct. 2009.
Karen Fiss Publications: “Design in a Global Context: Envisioning Postcolonial and Transnational Possibilities,” Design Issues, summer 2009 (Fiss also served as guest coeditor for this issue, with Hazel Clark); “Design Indaba 2008,” Metropolis online, May 2008. Awards: Graham Foundation for Advanced Studies in the Fine Arts grant, 2008; London Design History Society research grant, 2008.
David Fletcher Award: 2nd place in SCI-Arc and the Architect’s Newspaper competition “A New Infrastructure: Innovative Transit Solutions for Los Angeles,” 2009.
James Forcier Presentations: Commonwealth Club of California, San Francisco, Aug. 2009; “Agency Issues and Welfare Losses in the Management of Nonprofit Trusts,” Western Economic Association 84th International Conference, Vancouver, July 2009. Interviews: KRON TV (NBC), July 2009; KGO NewsTalk Radio, July 2009; CW Bay Area Focus, July 2009; KLLC (Radio Alice), KITS (Live 105), KMVQ (Movin’ 99.7), KFRC, and KYOU, July 2009; CBS 5 News, Aug. 2009; KBLX (The Quiet Storm), Aug. 2009;
Donald Fortescue Solo show: Genius Loci, Sonoma Valley Museum of Art, Sonoma, California, Jan.–Mar. 2009. Lecture: “Understanding the Art of Wood Sculpture,” de Young Museum, San Francisco, Apr. 2009.
Mar.–Apr. 2009. Award: International Gold Medal Book Prize, Fotofestival di Roma, 2009. Work featured: “Sons, lovers . . . and weird things about mothers,” The Observer, July 2009; “Regards croises sur l’immigration,” Le Monde, June 2009; “Reves et Desillusions des Migrants,” Les Inrockuptibles no. 706, June 2009; “Jim Goldberg,” May 2009; New York Times Style Magazine, spring 2009; Foam Magazine no. 18, 2009; Blind Spot no. 39, 2009.
Guillermo Galindo CD release: Lift (recorded with Charlotte Hug), and accompanying release party and performance at swissnex San Francisco, May 2009.
James Gobel Group shows: I Want You to Want Me, Marx & Zavattero, San Francisco, Apr.– May 2009; Big Rock Candy Mountain, Naomi Arin Contemporary Art, Las Vegas, Apr. 2009.
Jim Goldberg Solo show: Open See, Fondation Henri Cartier-Bresson, Paris, May–July 2009. Group shows: Disposable People, New Art Exchange, Nottingham, England, Aug.–Sept. 2009; Ça me touche, Nan Goldin’s Guests, Les Rencontres D’Arles, France, July–Sept. 2009; Magnum Contemporary: Future Icons, Atlas Gallery, London, June–July 2009; Access to Life, Stenersen Museum, Oslo, June–Aug. 2009; Access to Life, Matadero Madrid,
Inspired by historical mercantile stores as intimate public spaces of exchange, Allison Smith (Sculpture faculty) has just launched a new project space, SMITHS, in her downtown Oakland studio. She is regularly inviting various kinds of makers, from tinsmiths to tunesmiths, to demonstrate their skills and give congenial lectures. “It’s about new forms of craftiness within a larger context of economic recession,” she says. The first big event, “Indigo Girls,” was a “craft-action dye-vat nontoxic happening and social sculpture” hosted by the Brooklyn-based artist Travis Boyer. Email firstname.lastname@example.org to get on the mailing list. // 41
Eric Heiman (with Volume Inc.)
Solo show: What I Felt: Books and Objects Made of Wool, Albany Library, California, Apr. 2009. Group show: The Art of the Book, Donna Seager Gallery, San Rafael, California, Apr.–May 2009. Curated: Wings for Words: New Bookworks from South Korea and Japan, San Francisco Center for the Book, Jan.–Apr. 2009. Presentation: “Model Teaching: Artists’ Book Exemplars in the Classroom,” College Book Art Association conference, University of Iowa, Iowa City, Jan. 2009.
Group show: San Francisco Graphic Design, San Francisco Museum of Craft + Design, Jan.–Apr. 2009. Columnist: Open Space, SFMOMA Culture Blog, 2009. Work featured: The Sundown Salon Unfolding Archive: A Project By Fritz Haeg, Evil Twin Publications, 2009; Spark: Inspirational Graphic Design, maomao, 2009; “Green Cabinet of Curiosities” and “Making Time,” SEGD Design no. 24, 2009. Awards: Step Inside Design Step Design 100, 2009; I.D. Annual Design Review, 2009; Mohawk Show 10 (finalist), 2009; New York Book Show (second place), 2009; AIGA SF Cause/Affect Awards (first place, environment category and judges’ choice), 2009. Judge: San Francisco Cut and Paste Digital Design Tournament, 2009; Portland Society of Architects Unbuilt Architecture Awards, 2009.
Solo shows: Reborn, Silverman Gallery, San Francisco, Apr.–May 2009; Living History, Marc Selwyn Fine Art, Los Angeles, Apr. 2009; Make Believe, Thacher Gallery, University of San Francisco, Mar.–Apr. 2009. Group shows: It’s Not Us, It’s You, San Jose Institute of Contemporary Art, Apr.– June 2009; 2008 SECA Art Award, San Francisco Museum of Modern Art, Feb.–May 2009. Residency: Headlands Center for the Arts, Sausalito, California, Feb.–July 2009. Screenings: Coté Court, Pantin, France, June 2009; The Stan Brakhage Symposium, University of Colorado, Boulder, Mar. 2009. Featured: Bad at Sports Contemporary Art Talk, July 2009.
Arthur Gonzalez Solo show: Arthur Gonzalez, Harvey Meadows Gallery, Aspen, June–July 2009. Group shows: Small Works, Miniatures, and Maquettes, John Natsoulas Gallery, Davis, California, July–Aug. 2009; Human Narratives, Victoria Boyce Galleries, Scottsdale, Arizona, Apr. 2009; Contemporary Monsters, Northern Clay Center, Minneapolis, Mar.–May 2009. Lectures and demonstrations: Northern Clay Center, Minneapolis, Mar. 2009; University of Alaska, Anchorage, Mar. 2009; University of California, Davis, Feb. 2009; Saddleback College, Mission Viejo, California, Feb. 2009.
Glen Helfand Publications: Theory of the Unforeseen: Mary Anne Kluth and Laurel Roth, Frey Norris Gallery, 2009; Tracey Snelling: Where Mr. Wong Sent Me, Gallerie Urs Meile, 2009; Young Americans, Mills College Art Museum, 2009; “Vincent Fecteau” in Vitamin 3D, Phaidon, 2009; “Reasons to be Mission 17” in Mission 17: 2004–2009, Mission 17, 2009. Presentation: “Toxic Colors,” Rising Tide Conference, Stanford, April 2009.
Jason Jägel Solo shows: Fate in a Pleasant Mood, Galleri Christoffer Egelund, Copenhagen, Sept.–Oct. 2009; Gramophone Rainbow, AMT / Alberto Matteo Torri, Milan, Apr.– May 2009; Keeping Time, Galleria Della Pina Artecontemporanea, Pietrasanta, Italy, Apr. 2009. Group shows: Trace Elements, San Francisco Arts Commission Gallery, May–July 2009; With Hidden Noise, David Krut Projects, New York, Feb.–Apr. 2009.
“Homeless zombies from cardboard town are coming to take your piggy bank, Charlie.” Charlie asked his dad to give his piggy bank to the zombies. “Why, Charlie?” “I like zombies,” Charlie said. This imaginary conversation takes place in Cardboard Town, Barron Storey’s (Illustration faculty) latest body of work. Storey was honored with two important exhibitions this past summer: Cardboard Town at Bert Green Fine Art in Los Angeles, and the retrospective Life After Black: The Visual Journals of Barron Storey at the Society of Illustrators in New York. The latter show is a major honor in the illustration world. Since 1976 Storey has created more than 145 visual journals, 100 of which were on view (and, remarkably, available for actual physical handling by visitors). Visual journals are repositories for life—a kind of personal therapy and a crucial venue for project research and development— and Storey works on them daily. 42 // FACULTY NOTES
Solo show: Did You Kiss the Dead Body?, Catalyst Projektraum, Berlin, June 2009. Group shows: Wonder What the Others Are Up To?, Gallery OED, Cochin, India, Apr.–May 2009; Shifted Focus, Kearny Street Workshop, San Francisco, Dec. 2008–Jan. 2009; Emerging Artist Fellowship Exhibition, Socrates Sculpture Park, New York, Sept. 2008–Mar. 2009. Lecture and performance: “Painting and Performing the Racial Grotesque,” Neue Gesellschaft für Bildende Kunst, Berlin, Mar. 2009.
Presentation: 3rd International Conference on Design Principles and Practices, Technical University Berlin, Feb. 2009.
Project: creation and design of Franklin Mint 1965 Lambandi Mark II (featured in The Diecast Magazine), 2009.
Group show: Adorned Cloth: Contemporary Surface Design in Fiber Art, Mills Building, San Francisco, Dec. 2008– Mar. 2009. Performance (as Kathy & Carol): San Diego Roots Festival, Apr. 2009.
Publication: translation of Azorno (a novel by the Danish poet Inger Christensen), New Directions, 2009.
Jordan Kantor Solo show: Art Statements, Art|40|Basel, Switzerland, June 2009. Group shows: Untitled (History Painting), University of Michigan Museum of Art, Ann Arbor, May–Sept. 2009; Liberation Upon Contact, Ratio 3, San Francisco, May 2009; According to Speculative Logic, Western Bridge, Seattle, Apr.–ongoing 2009; 2008 SECA Art Award, San Francisco Museum of Modern Art, Feb.–May 2009.
Barry Katz Publications: “1927: Bucky’s Annus Mirabilis” in New Views on R. Buckminster Fuller, Stanford University Press, 2009; “The Promise of Recession,” Arcade: Architecture and Design in the Northwest, summer 2009; “La violon rouge” (special film section), Design and Culture, July 2009; “Graphic Design: A New History,” Technology and Culture, Jan. 2009; “Our Only Planet: A Sustainability Timeline,” Dwell, Aug. 2008. Lectures and presentations: “i-nnovation, ennovation” (keynote address), University of Tokyo i.School opening, Sept. 2009; “Product Design and Engineering,” Re-Imagining Cities: Urban Design after the Age of Oil symposium, University of Pennsylvania, Nov. 2008.
Carol Koffel Group shows: Marin Society of Artists 3rd National Exhibition, Ross, California, Aug. 2009; 50/50, Sanchez Art Center, Pacifica, California, July–Aug. 2009; Arts on Fire XIII, Sanchez Art Center (received award of excellence), Pacifica, California, Apr.–May 2009.
Lawrence LaBianca Group show: NATURE (not as you’d expect), Gensler, San Francisco, Jan.– Apr. 2009.
Tirza True Latimer Cocurated: Lineage: Matchmaking in the Archive, GLBTHS Main Gallery, San Francisco, June–Oct. 2009; Threads, National Queer Arts Festival, SOMArts, San Francisco, June 2009. Panelist/participant: “Surrealism and Variant Sexualities,” Radcliffe Institute for Advanced Study, Cambridge, Massachusetts, July 2009; “Cultural Confluences,” SOMArts, San Francisco, May 2009. Publication: “Pool and the Production of Cinema, Sexuality, and Race During the Inter-War Era” in Essays on Women’s Artistic and Cultural Contributions 1919–1939, Edwin Mellen Press, 2009.
Elizabeth Leger Group show: LineWeight, Truman State University Art Gallery, Kirksville, Missouri, Jan.–Feb. 2009. Work featured: Mutanabbi Street Starts Here (a benefit for Doctors Without Borders; Leger collaborated with the poet Owen Hill), May 2009.
Margo Majewska Solo show: Turbulence, Mina Dresden Gallery, San Francisco, Apr. 2009. Group show: Small Works on Paper by the Artists of ZYZZYVA, Mina Dresden Gallery, San Francisco, June–July 2009.
Maria Makela Publication: “Munch’s Women: Misused and Much-Abused,” Cantor Arts Center Journal no. 5, 2009. Coeditor: Of Truths Impossible to Put in Words: Max Beckmann Contextualized, Peter Lang, 2009.
Elizabeth Mangini Publication: “This Is Not a Painting: Space Exploration and Post-War Italian Art” in Target Practice: Painting Under Attack 1949–78, Seattle Art Museum, 2009.
Francesca Pastine Group shows: SFMOMA Artists Gallery, San Francisco, Mar.–Apr. 2009; Front and Center, Headlands Center for the Arts, Sausalito, California, Jan.– Feb. 2009.
Aimee Phan Publication: “Emancipation” (short story) in The Aunt Lute Anthology of U.S. Women Writers Volume 2: The 20th Century, Aunt Lute, 2009.
Michele Pred Group shows: Open Source Embroidery, Bildmuseet, Umea, Sweden, June– Sept. 2009; Art Chicago (with Nancy Hoffman Gallery), Apr.–May 2009; Los Angeles Art Show (with Nancy Hoffman Gallery), Jan. 2009. Curated: While It Lasts (featuring nine CCA students), Hatch Gallery, Oakland, Mar. 2009.
Katherine Rinne Presentations: four lectures on her research on water infrastructure, Rome, May–June 2009.
Eugene Rodriguez Solo show: Another Country, MACLA (Movimiento de Arte y Cultura Latino Americana), San Jose, Jan.–Mar. 2009.
Marianne Rogoff Published: book essays in The Rumpus: “North of the Border” (review of Into the Beautiful North by Luis Alberto Urrea), June 2009; “What Is Found” (review of The Cradle by Patrick Somerville), May 2009; review of Humpty Dumpty Was Pushed by Marc Blatte, Apr. 2009; “Is the Internet Ruining Our Lives?” (on The Cult of the Amateur by Andrew Keen), Mar. 2009; “In Search of Our Brains: Reading and Teaching Proust Was a Neuroscientist (by Jonah Lehrer), Feb. 2009.
Group show: New Works/Old Story: 80 Artists at the Passover Table, Contemporary Jewish Museum, San Francisco, Feb.–June 2009. Presentation: “Out of Sight: Visualizing Service and Production Laborers,” College Art Association conference, Los Angeles, Feb. 2009.
Solo show: Strange Oddities: Selections from the Doof Museum of Culture and History, Studio Quercus, Oakland, Sept.–Oct. 2009. Group show: The Tattoon Show, Eclectix Gallery, El Cerrito, California, Aug.–Oct. 2009.
Publication: Design Is the Problem: The Future of Design Must Be Sustainable, Rosenfeld Media, 2009. Featured: BusinessWeek “Innovation of the Week” podcast interview, Apr. 2009.
Group shows: Book Worm: Phoenix Creative International Book Design Exhibition, Hangzhou, China, Sept. 2009; The Generational: Younger Than Jesus Live Archive, New Museum, New York, Apr.–July 2009. Award: AIGA 50 Books 50 Covers, 2008. Coeditor: Task Newsletter no. 2, June 2008. Featured: Atlas of Graphic Designers, Rockport Publishers, 2009; Small Studios, Hesign International, 2009; Graphic Magazine no. 10 (self-publishing issue), 2009.
Award: Boston Society of Architects Unbuilt Architecture award, 2009. Work featured: “Kitchen” and “Bath,” Residential Architect, June 2009; “The Glass Menagerie,” California Home and Design, Apr. 2009; “Small Wonders,” San Francisco Chronicle, Feb. 2009.
Craig Scott (with IwamotoScott) Award: Architect magazine R&D Award for Voussoir Cloud, 2009.
Christina Seely Solo shows: Lux, Country Club Projects, Cincinnati, May–Aug. 2009; Lux, Photographic Center Northwest, Seattle, Mar.–Apr. 2009. Group shows: The Edge of Intent, Museum of Contemporary Photography, Chicago, May–July 2009; 1000 Days, Scion Installation L.A., Culver City, California, May–June 2009. Work featured: “Photolucida Critical Mass Top 50,” Yvi Magazine #3 (“Modern Explorers” issue), 2009. Residency: MacDowell Colony, Peterborough, New Hampshire, June 2009.
Nancy Selvin Group shows: Diversity in Clay, American Museum of Ceramic Art, Pomona, California, Aug. 2009; Visiting Artist Exhibition, Tahoe Gallery, Sierra Nevada College, Incline Village, Nevada, June– Aug. 2009; The Uncommon Object: Contemporary Still-Life Works, Pence Gallery, Davis, California, Mar.–Apr. 2009; New Works/Old Story: 80 Artists at the Passover Table, Contemporary Jewish Museum, San Francisco, Feb.–June 2009. Workshops: MudFire, Atlanta, July 2009; Sierra Nevada College, Incline Village, Nevada, July 2009; Ruby’s Clay Studio, San Francisco, May 2009.
Judith Serin Publication: Family Stories (chapbook of nine prose poems), Deconstructed Artichoke Press, 2009.
44 // FACULTY NOTES
Elizabeth Sher Group shows: Celebrates 10 Years, Toomey Tourell Fine Art, San Francisco, July–Aug. 2009; Printing on the Cutting Edge, Alameda Historical Museum, California, June 2009; The Art of the Book, Donna Seager Gallery, San Rafael, Apr.–May 2009; Codex 2009 Bookfair, Berkeley, Feb. 2009; Bookworks 2008, Skylight Gallery, Main Library, San Francisco, July–Sept. 2008. Film screenings: NPR’s Riverwalk, San Antonio, Apr. 2009; First International Film Festival on Aging, Castro Theatre, San Francisco, Feb. 2009; Baltimore Women’s Film Festival, Sept. 2008.
Allison Smith Group shows: The Old, Weird America, DeCordova Sculpture Park + Museum, Lincoln, Massachusetts, June–Sept. 2009; No Bees, No Blueberries, Harris Lieberman Gallery, New York, June–July 2009. Work featured: “Acts of Association: Allison Smith’s Craft as Civic Practice,” Journal of Modern Craft 2.2, 2009; “Queerly Made: Harmony Hammond’s Floorpieces,” Journal of Modern Craft 2.1, 2009; On Procession (exhibition catalog), Indianapolis Museum of Art, 2009; “Allison Smith, Artist,” Acne Paper, winter 2008–9. Cocurated: Threads, National Queer Arts Festival, SOMArts, San Francisco, June 2009. Lectures: Rhode Island School of Design, Providence, Mar. 2009; Massachusetts College of Art, Boston, Mar. 2009. Panelist: “YES: The Persistence of Optimism” symposium, Skidmore College, Saratoga Springs, New York, Mar. 2009. Award: Henry L. and Natalie E. Freund Teaching Fellowship, Washington University, Saint Louis, 2009.
Tina Takemoto Publications: “Remembering Jo Spence,” Afterimage vol. 36, no. 5, 2009; “Love Is Still Possible in This Junky World,” Women and Performance, Mar. 2009. Exhibitions and screenings: Freaky: Queer Art, Ballhaus Naunynstrasse, Berlin, Aug. 2009; Auto/Pathographies, Kunstpavillion, Kleiner Hofgarten, Innsbruck, Austria, July–Aug. 2009; Lineage: Matchmaking in the Archive, GLBTHS Main Gallery, San Francisco, June–Oct. 2009; Across Queer Time, National Queer Arts Festival, The Garage, San Francisco, June 2009. Presentations: “Pedagogies of Contemporary Art Workshop,” Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, June 2009; “Confluences: Lenore Chinn Art Panel,” SOMArts, San Francisco, May 2009; “InQueering Minds: Art and Gender Identity,” Queer Bodies in Psychotherapy Conference, California Institute of Integral Studies, San Francisco, Oct. 2008.
Joseph Tanke Presentation: “For a Materialist Imagination or a Materialism of the Imagination?” Jan van Eyck Academie, Maastricht, the Netherlands, June 2009.
Mark Thompson Group shows: Art|40|Basel, Switzerland, June 2009; Open Space, Art Cologne, Apr. 2009; The Third Mind: American Artists Contemplate Asia, 1860–1989, Guggenheim Museum, New York, Jan.–Apr. 2009; Seeing Double, Galerie Thomas Zander, Cologne, Nov. 2008–Mar. 2009; Conceptual Art from California, Neuer Berliner Kunstverein n.b.k., Nov. 2008; Waist Deep in the Big Muddy, Artisterium, Caravan Sarai, Tbilisi, Georgia, 2008.
Pamina Traylor Solo shows: Reflections, Sculpturesite Gallery, San Francisco, Aug.–Nov. 2008; Bay Area Glass, University Art Gallery, Chico, California, Aug.–Sept. 2009. Group show: IMPACT: Creative Glass Center Alumni Biennial, Gallery of Fine Craft, Millville, New Jersey, June–July 2009. Work featured: “Shimmering Glass Reflections,” San Francisco Examiner, Aug. 2008; “Nature and Culture: Pamina Traylor: Reflections,” ArtSlant, Aug. 2008; “Interview with Pamina Traylor,” Glass Alliance of Northern California Newsletter, summer 2008.
Angie Wang Award: Type Directors Club 55, 2009. Work featured: Typography Essentials: 100 Design Principles for Working with Type, Rockport, 2009; No Rules Logos: Radical Design Solutions That Break the Rules, Rockport, 2009.
Federico Windhausen Screenings: Cuando el pueblo fue Hollywood, Palais de Glace, Buenos Aires, Aug. 2009; Cuando el pueblo fue Hollywood, Casa de la Cultura, Salta, Argentina, July 2009; The Argentine Cossacks, Pacific Film Archive, Berkeley, Apr. 2009. Lectures: “Levels of Engagement: Intervention and Responsibility in Nicolás Prividera’s M,” Visible Evidence conference, USC, Los Angeles, Aug. 2009; “Relational and Anti-Relational Composition in Experimental Film: Ken Jacobs and Paul Sharits Circa 1969,” University of Kent, Canterbury, England, Mar. 2009. Publication: “Paul Sharits,” Animation: An Interdisciplinary Journal, July 2009.
Thomas Wojak Group shows: Celebrating Vallejo’s Urban Forest, U.S. Forest Service, Mare Island, Vallejo, California, permanent exhibition; Celebrating Vallejo’s Urban Forest, Vallejo Naval and Historical Museum, California, Feb.–May 2009.
Martin Venezky Work featured: New signature product line exclusive to SFMOMA’s MuseumStore, 2009.
John Zurier Solo show: John Zurier, Gallery Paule Anglim, San Francisco, June–July 2009.
“Bookmaking” already has an illicit second meaning, and Alisa Golden (Printmaking faculty) gives it yet another subversive twist with her latest project. Her felted books tell stories just like regular paper books, but those stories are encoded, sculptural, sometimes humorous, always seductive. Smiled Politely and Left has machine-sewn drawings on its pages, and it closes with a huge doll needle with a felted handle. You don’t just close this book; you stab it shut. “I love making big, abstract pieces, then going back in with a sewing machine or the felting needle to add text and drawings,” Golden says. “Freehand machine sewing on wool feels really luxurious and spongy. Very sensual. Needle felting words and drawings is a time-consuming, methodical, meditative process, and it also satisfies my writer’s desire for legible text.”
IN MEMORIAM Alumni elizabeth ashley Drawing 1980 Berkeley, California March 31, 2009
phyllis culver Ceramics 1949 Twin Falls, Idaho June 26, 2009
E. John Robinson (Earl Johnson) Art Education 1955 Mendocino, California November 18, 2008
jack barrett 1949 Fort Bragg, California September 13, 2008
charles (chuck) eades Painting/Printmaking 1971 Grass Valley, California May 27, 2009
Arthur Krakower MFA 2001 Atherton, California June 10, 2009
cleveland bellow Graphic Design 1969 Pleasant Hill, California March 11, 2009
charlie ebberts Commercial Art 1951 Redding, California December 11, 2008
Penelope (Penny) Lopez 1949 La Follette, Tennessee March 11, 2009
clifton roy bowers jr. Art Education 1955 Auburn, Washington June 29, 2009
christopher gonzalez MFA 1973 Jamaica August 3, 2008
Mariparvathidevi (Devi) Sundararaman Architecture 2008 Redwood City, California February 25, 2009
patrick brennan Graphic Design 1971 San Francisco, California March 11, 2009
Philipa Pena Henschel Applied Arts 1945 Sarasota, Florida January 28, 2009
DAVID IRELAND, legendary conceptual artist and cofounder of Capp Street Project, passed away on May 17, 2009. He studied printmaking and industrial arts at CCA, receiving a BFA in 1953. The college awarded him an honorary doctorate in 1991. In 1975 he bought his now-famous house at 500 Capp Street in San Francisco. It was an 1886 Victorian, quite run down, and he spent decades working on it, even leading weekly public tours of it as a kind of sculpture in progress. In 1979 he purchased and transformed a second house at 65 Capp Street, which was subsequently purchased by CCA board member Ann Hatch; the two of them cofounded the Capp Street Project artist residency program there in 1983. The program became part of the CCA Wattis Institute for Contemporary Arts in 1998 and is now housed on the CCA campus. Hatch says, â€œDavid was an artist who enormously influenced both students and other artists. 500 Capp was the place to go, and meeting David made artists feel connected and appreciated. He was generous and made people think about what the fabric of art could be.â€? 46 // IN MEMORIAM
above: Nathan Oliveira and David Ireland, 2008
james schevill Berkeley, California January 30, 2009
roland pitschel, Oakland facilities supervisor for the last 27 years, passed away on August 1, 2009. He was CCAâ€™s unofficial archivist and historian, with an amazing memory for anything related to the facilities and grounds. His extensive botanical and arboreal knowledge is evident all over the Oakland campus, and his dependability, ingenuity, artistry, and wry sense of humor will be missed.
dennis gallagher San Francisco, California April 20, 2009
Professor emeritus ARTHUR OKAMURA passed away on July 10, 2009, near his home in Bolinas, California, at age 77. He taught at the college for 31 years, retiring in 1997, and was an important mentor to hundreds of students. He was a prolific painter and also worked in screenprinting and drawing.Â His work is in the permanent collections of the Smithsonian Institution in Washington DC, the Whitney Museum of American Art in New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art, among others.
Current StudentS james douglas arthur Painting/Drawing Sacramento, California June 12, 2009
Matthew Sardinia Illustration Castro Valley, California September 2009
In summer 1983 I taught a hand building ceramics class at Louisiana State University. One of my students was a die-hard potter and needed to take my class to graduate, but he refused to learn to hand build. His name was Chip Wood, no kidding. At that time in ceramics, you were either a potter or a hand builder, kind of like a Crip or a Blood. I was also seen, mistakenly, as a stereotypical California Sculptor who hated pottery, didn’t know how to throw on the wheel, and, as a consequence, didn’t care about potters and didn’t deserve respect. top: Arthur Gonzalez and Lisa Clague at CCA, circa 1996 above: Chip Wood (left) and Arthur Gonzalez (right) go head to head at the first LSU Blind Throwing Contest, 1983
So I challenged Chip Wood to a head-to-head wheel throwing contest, mano a mano. He was an accomplished potter and I was adequate. The challenge: If I could throw a pot better than him, he would stop fighting me and learn to hand build. He agreed. I then upped the ante by making the challenge blindfolded. I secretly knew that this was the only way to level the playing field. Long story short: I won the challenge, he stopped fighting me, and I gained the respect of the pottery natives, who had to re-label me “Dances with Potters” (sort of). When I started teaching at CCA in 1991, I thought the Ceramics Program needed to reconsider the wheel as a viable tool for creating. I remembered how fun the Blind Throwing Contest was. Plus it’s a great way of introducing the wheel without the daunting burden of “NEEDING TO DO WELL.” Also everyone likes to point and laugh. It’s just funny how it also makes people want to do more of it later. The above picture of me and Lisa Clague, the Ceramics studio manager at that time, captures that fun. Since then, the event has brought the potters and the hand builders together and proved that the wheel has a place in the life of all. For many alumni who use the potter’s wheel as a tool now, their very first time with it was a Blind Throwing Contest at CCA. —Ceramics professor ARTHUR GONZALEZ
48 // BACKWARD GLANCE
Tempted to caress the soft bulges of Glance’s cover? Think again! P_Wall, created by Architecture faculty member Andrew Kudless, may look soft but it’s literally hard as rock. Kudless and his firm, Matsys, created it as a special commission for SFMOMA’s fall 2009 exhibition Sensate: Bodies and Design. It now resides in the museum’s permanent collection. The cast-plaster piece is 12 feet high and 45 feet long; the intent is to replace a smooth gallery wall with a skin that is decidedly more imperfect and flabby. “The plaster tile has a certain resonance with the body as it sags, expands, and stretches with gravity,” Kudless observes.
Glance Fall 2009 Volume 18, No. 1 Editor Lindsey Westbrook Contributors Susan Avila Stacen Berg Chris Bliss Lindsey Lyons Jim Norrena Sarah Owens Brenda Tucker Lindsey Westbrook Design CCA Sputnik, a student design team Faculty Advisor Bob Aufuldish Design Manager Meghan Ryan Designers Kseniya Makarova Meg Quarton Glance is published by the
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CALIFORNIA COLLEGE OF THE ARTS SAN FRANCISCO / OAKLAND FALL 2009 : VOLUME 18, NO. 1
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