continue well beyond the terms of a given stay. During his
and Headlands AIR in 2003) and Michael Swaine during their
residency, Harrell Fletcher met one of his early heroes, John
residency.
Malpede, founder and director of the Los Angeles Poverty Department. The two have subsequently worked on a number
breaking bread
of things together. During her 2005 residency at Headlands,
One of the best things about Headlands is the food. This may
Jeanne C. Finley met fellow resident Mel Day, and together
be surprising to outsiders, for whom “institutional food”
they videotaped a sailboat that had wrecked on the coast
conjures up certain pejorative connotations, but it will ring
nearby. They recently resurrected this material as part of a
true for anyone who’s spent time there. In fact, many of the
(successful) application to the Alumni New Works program
cooks are artists themselves, and everyone helps with meal
for summer 2012.
preparation and cleanup afterward.
The poet cooley windsor (Writing faculty and
“It is impossible to think of Headlands without think-
Headlands AIR in 2000) shared a live-work house with the
ing about being incredibly well fed,” remembers Anna Von
writer Sapphire (neé Romona Lofton). The relationship they
Mertens. “It was actually a center point of the experience.”
developed formed the basis of Windsor’s book Visit Me in
The anticipation of a warm and delicious meal accompanied
California: Stories. Windsor says the residency was responsible
by conversation with her peers made her feel like the work she
for his being hired to teach at CCA. And his stories later
was doing in her studio was being respected and honored.
became the inspiration for the boat shape of the Reverse Ark
“You break bread together and share stories of your process.
Victory Garden built by amy franceschini (Fine Arts faculty
Then, inspired by other people’s stories, you head back into the studio to work alone again. It is a wonderful ebb and flow.” Says Jeremy Mende: “The conversations we had, often in the kitchen while making dinner—about what makes good art, the overlaps and divergences between art and design, how we each deal with the conceptual and metaphorical issues that define our individual practices—were extremely revealing and sustaining. After a long day, isolated in your studio wrestling with your work, this opportunity to discuss, share concerns, offer potential solutions, get support, and realize you are part of a community that is actively engaging with the larger existential issues of lived experience, is a kind of utopia. It reminds one of the vital human necessity of creative expression.” The kitchen and Mess Hall were extensively restored by the artist Ann Hamilton in 1989. At most public events, visitors are invited to join in on meals and “break bread” with the artist community.
here’s to another thirty years
14
The aforementioned David Maisel is not the only CCA alum
features
on the Headlands board of directors; another is kathryn
top jeremy mende’s Narcissus, 2012 bottom libby black’s Life-Size Paper Mercedes 1969 280SL, 2012 previous page kota ezawa at work on his multichannel installation City of Nature, 2011
van dyke (Painting 1990). The architect mark jensen, until recently chair of the Headlands board of directors, was CCA’s chair of Interior Design for many years. Given his expertise, Jensen served on the Headlands site committee, which was always a challenge because of the age of the buildings; they are remnants of what used to be Fort Barry, a U.S. Army installation constructed around 1908. One of the most picturesque and charming of the studio buildings was rehabilitated in 1986–87 by david ireland , a CCA alumnus (1953), honorary doctorate recipient (1991), and founder of Capp Street Project. Ireland executed the project in collaboration with Mark Thompson, Mark Mack, 24 young artist volunteers, and Headlands board and staff members. The