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A publication for the CCA community california college of the arts San Francisco / Oakland fall 2008 ‌ volume 17, no. 1

3 Jay Baldwin: Six Decades on the Edge of Design




Alumni Profiles: Yukiko Ogasawara, Amrit Sagar, and Morgan Barnard


Keeping the CCA Flame Burning in Seoul


Awards and Accolades


Wattis Institute


Meet CCA’s New President


School News



Fall 2008 Volume 17, No. 1 Lindsey Westbrook DIR ECTOR OF PUBLICATIONS

Erin Lampe


Meghan Ryan


Susan Avila Stacen Berg Chris Bliss Claire Fitzsimmons Barbara Jones Kim Lessard Lindsey Lyons Sarah Owens Marguerite Rigoglioso Jessica Russell Brenda Tucker Lindsey Westbrook DESIGN

CCA Sputnik, a student design team


Centennial Campaign


Bob Aufuldish


Faculty Notes


Alumni Notes


In Memoriam


Sarah Elizabeth Pulver Madeleine S. Ward Glance is published twice a year by the CCA Communications Department 1111 Eighth Street San Francisco CA 94107 415.703.9542 Change of address? Please notify the CCA Advancement Office 5212 Broadway Oakland CA 94618 510.594.3779

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All artworks are reproduced with the kind permission of the artists and/or their representatives, copyright the artists. All images appear courtesy the artists unless noted otherwise: pp. 2, 5, 15: Robert Adler Photography; p. 3: Phil Haggerty; p. 4: Kevin Kelly; p. 6 (bottom): Liz Fial; p. 12 (Holman): courtesy the artist and Silverman Gallery, San Francisco; p. 12 (Kantor): courtesy Ratio 3, San Francisco; p. 13 (top): Greg Schultz; p. 14 (top): courtesy the Estate of Diether Roth; p. 16 (top): Imogen Cunningham; p. 16 (bottom): Jim Norrena; p. 23: Don K. Oliver; p. 28: Van de R. Compbell; p. 29 (right): America Argentina Vaquerano; p. 30: Ira Schrank, Sixth Street Studios; p. 32: Jeff Machtig, courtesy Kohler Art Museum, Sheboygan, Wisconsin; p. 37: Nikki Ritcher Photography; p. 40: Seth Horowitz; p. 41 (top): © Disney/Pixar; p. 42 (bottom): courtesy the photographer and Time & Life Pictures; p. 43: courtesy fuseproject; p. 44: Kate & Camilla; p. 49: David Asari

Letter from the President Dear friends, Our campuses have been enlivened this fall by the largest first-year class in the college’s history—248, which is 61 more students than last year! These young and talented people have embarked on the first leg of a lifelong journey of learning, social engagement, and creative growth. The increase in first-year enrollment is heartening to me because I believe there has never been a better, more exciting, and more relevant time to go to art school. Culture has always held an important place in our daily lives, and for more than a century now, young people have been drawn to CCA to help them become accomplished practitioners in the arts. What is new, however, is that today these young people are being asked to help solve the world’s thorniest problems—and they are responding with enthusiasm. Creative individuals trained in art, architecture, and design are finding enormous opportunities to apply their talents to social and environmental issues, frequently by teaming up with members of other skilled disciplines. We see this every day at CCA, as students participate in the Solar Decathlon, the Sustainable Cotton Project, or the Radical Jewelry Makeover (read more about these projects and others at CCA’s faculty continues to be at the forefront of these efforts, as you will read in this issue’s feature story on Jay Baldwin (page 3). These pages also highlight many other wonderful things that are happening at the college, including the inspiring endeavors of our alumni (page 37) and faculty (page 29). We are particularly delighted to announce the successful completion of the Centennial Campaign (page 23), which raised more than $27.5 million, exceeding our original goal of $25 million. Excitingly, of the 1,000 campaign donors, more than 500 were giving for the first time. Clearly the call for support of student scholarships, facility improvements, and academic programs resonated with the community. The founding ideals of the college—to create a place where the arts are deeply connected to social and political work—have never been more vibrantly alive. A collective spirit of enthusiasm has defined the beginning of this academic year. I hope that you are as excited as I am about our future. Sincerely,

Stephen Beal






Six Decades on the Edge of Design by Lindsey Westbrook

What is it like to finally have the world talking about the ideas you’ve spent your career struggling to put on the map? For Industrial Design professor Jay Baldwin, one of the grandfathers of sustainable and ecological design, it’s a very good thing. But luckily for CCA it doesn’t mean he’s going to retire anytime soon. The 75-year-old Baldwin, or JB, as he is called by almost everyone he knows, became a student of Buckminster Fuller (most famous as the inventor of the geodesic dome) in 1951 after hearing Fuller deliver one of his signature 14-hour lectures. Baldwin soon became a key player himself in the field of ecological, energy-efficient design. He was on the team that developed the first exclusively solar-and wind-powered house; he was among the first editors of the nowlegendary Whole Earth Catalog and Whole Earth Review; he created pioneering outdoor recreational equipment with Bill Moss, inventor of the modern camping tent; he invented the Pillowdome to solve the geodesic dome’s persistent leakage problem; he has owned (among many other vehicles) four much-beloved Citroëns, whose design still provokes him to wax poetic; he lives in the hinterlands of Sonoma County in a converted chicken coop; and he puts 2,000 miles per year on his bicycle. And those are just a few of his endeavors. He is admired by his peers and students for many reasons, not least of which is that, like Buckminster Fuller, he lives life as a great experiment. “It’s always the extremists that make things happen. I consider JB an extremist of design,” says Remy Labesque, one of Baldwin’s former students who now works at frog design in San Francisco. Baldwin also has a pretty realistic idea of the public’s attention span and knows that the fight for sustainability will be a long, slow one. The saying about 15 minutes of fame applies to concepts as much as to people, and the emergence

Buckminster Fuller and Baldwin inspect Baldwin’s Pillowdome at its grand opening, Cape Cod, Massachusetts, 1982.

JB bought a “champ” Swiss Army knife in 1984 and kept track of how many times he used it. It came out to an average of 2,100 times per year, over Remy Labesque 20 years. Jay Baldwin


The way JB talks about all of his possessions is amazing. He spends so much time thinking about them, experiencing them. He could talk about his shoes for hours. As a designer it makes you think hard about your own possessions Adam Reineck and how you relate to them. of terms like “green fatigue” shows that people do lose patience with new ideas, especially ones that take time and energy and diligence to apply to everyday life. But everyone will always need things—objects will never cease to be invented and designed and manufactured—and Baldwin figures on continuing to do his part to make them well, taking into consideration not just the piece of plastic or metal but everything around it, everything that comes before and after. “In the 1960s you’d never hear the words environment or ecology unless you were really on the ball,” Baldwin says. But Buckminster Fuller had already been thinking in those terms for decades. “Fuller said that we should never waste anything, because wasting material is stupid, but our whole society was—and still is—grossly, distressingly wasteful in everything we do. We waste people, material, oil, effort. “I can’t remember a time when I didn’t think in these terms. Everyone’s talking about biomimicry now, but Buckminster Fuller punched that for years and years. Nature is not ‘multidisciplinary.’ Nature is the whole caboodle. Nature is omnidisciplinary. And we’re part of it. We need to do things as nature does, in the way that is most economical in terms of resources and energy.” Adam Reineck, another former student, now working at IDEO, says that he is happy to finally be at a place in his career where he can incorporate Baldwin’s philosophies into his work. “A lot of schools focus on a wallpaper aesthetic, just looking at the surfaces of things. CCA allows you to take a much more holistic approach. I went through CCA trying to center all my projects around sustainable design,


and JB always offered himself up as a walking library of knowledge, history, and insight. He’s from a different generation than most of the other teachers. In his day they really figured everything out, and they had a lot less to start with. He doesn’t draw—he makes. Because of that he has a much broader skill set.” What distinguished Baldwin and most of the Whole Earth Catalog crew from other early environmentalists was their embrace of technology. Baldwin never resisted machines and computers and tools, and likewise he never had much interest in living off the land. “Those people found out pretty fast,” he remarks, “that going back to the land means becoming a human donkey. If you’re serious about it you have to raise your own food, make your own toothpaste, everything, and of course no one wants to do that. It’s too much work. “I really looked into this in the 1970s when I was writing for the Whole Earth Catalog. In the 18th century, the average American woman spent about 30 percent of her waking hours making clothes and cloth. Is that what you want to do with your life? The purpose of technology should be to save us from being human donkeys, or cogs in a machine. I dedicate my design work not so much to saving people time, but to winning them back time for their own use.” Steven Skov Holt, distinguished professor and former Industrial Design chair (also the one responsible for bringing Baldwin back into the CCA fold in 1997—Baldwin had taught here for a couple of years in the 1960s), vividly remembers the day back in the 1970s when his “cool aunt” gave him a copy of the Whole Earth Catalog. “They

Baldwin’s shop truck holds more than a ton of tools and serves as a neighborhood workshop, enabling people without tools to get things done. It opens in about 10 minutes and carries its own power supply.

CCA is lucky to have JB. I learned everything I know about sustainability from him. He offers so much to people, and asks for nothing in Leslie Speer return.

Baldwin assists a student as she constr

ucts a maquette during the summer 2008

Pre-College Program for high school studen


JB is such a huge asset to CCA. He’s a repository of wisdom. He’s an aggregator of everything he comes across. He takes everything in and excretes knowledge. If you got everyone together in a room who’s ever taken a class from JB, you’d have a huge, amazing group of people, but JB’s time at CCA is only a small facet of everything he’s done in his life. JB’s life is huge. He is a walking monument to his own vast experience. Remy Labesque

Jay Baldwin


With its vents open, Baldwin’s 760-square foot Pillowdome stays cooler inside than

outside, without air conditioning.

There have probably been a number of times JB has come to a fork in the road: teach and influence students, or go in a commercial direction. He has relentlessly chosen exploration over exploitation. Steven Skov Holt

Baldwin’s shop truck folded and ready for the road, ca. 1985. He and his wife lived for 13 years, working on a variety of experimental ecological design projects acrossin the attached Airstream trailer the United States.


If JB had a blog for all his experiments, he’d be world famous. Adam Reineck defined tools in the widest possible sense: not just tools from the hardware store, but tools for life, tools for work, tools for treading more softly on the planet. The Whole Earth Catalog is one of the great books of the 20th century.” Baldwin consciously carries on Buckminster Fuller’s fundamental optimism and his passion for teaching; among his major writing projects has been the book Bucky Works, which translates Fuller’s ideas for students today. But he definitely isn’t interested in continuing Fuller’s massive compulsion to self-document. (Fuller’s archive, now housed at Stanford University, comprises more than 1,200 linear feet of papers.) Baldwin’s legacy will be vast, but the majority of it will not be written down; it will be knowledge passed on verbally, in the form of stories. Labesque recalls, “I first knew I wanted to go into industrial design after a four-hour conversation with JB on the sidewalk in front of his car, when I was in CCA’s Pre-College Program. We had this really long talk about life. Whenever you talk with JB about design it ends up being this broader conversation about the world. Since then I’ve had a number of similar chats walking JB to his car. You think you’re going to be with him for five minutes, and it turns into two hours. “JB can monologue for hours on end. A friend of mine once described him as an infinite loop of information, which you can access at any point. A never-ending spiral of stories, anecdotes, advice. It’s always hard to remember a whole JB story because the end of each one segues into the beginning of the next.” Leslie Speer (former ID associate chair, and Baldwin’s longtime peer) calls his method of teaching traditional, cultural. “JB teaches in an old way, meaning really old, like on the scale of millennia. He’s a storyteller. He’s not lecturing, there’s no PowerPoint. He’s telling stories based on his reallife experiences. Students may not realize until years later how much information he was revealing to them. The way he does it, they don’t feel like they’re being taught.” “It is important to have faculty of all ages in a department,” agrees Skov Holt. “JB is old enough to be basking in the golden years of retirement, but he’s energetic enough to be one of his students.” Baldwin is sturdily built, very tan, with very white hair. Labesque calls him “the most spry 75-year-old I’ve ever met. He looks like he’s 56. He’s always got a good tan.” He gives the impression of someone ready to withstand harsh sun, strong winds, driving snow. It’s easy to imagine him in his element: camping, working with tools, living in a greenhouse, building things. In his Pre-College classroom, he climbs over and around students’ projects, occasionally getting down on his knees on the concrete floor to take a closer look at something.

Baldwin’s Pillowdome under construction, 1981. Baldwin is the one pointing. The completed structure withstood several hurricanes with no damage. Light enough for urban rooftop farming, it housed vegetable crops year-round with no need for a furnace.

Design can, and must, have a moral and political dimension. JB provides inspiration and hope for all designers. I personally see him as a role model. Steven Skov Holt

He is full of encouragement, praising their work, turning their cardboard maquettes around and around in his hands. He doesn’t hesitate to point out what he thinks is the most advanced project in the room, but he does it in a way that inspires, rather than intimidates. When he speaks, he speaks directly to a person, but in a voice that welcomes those nearby to listen and join in. He tells stories about tools, hammocks, freezing weather. He is offering guidance but also giving the students the freedom to experience the problems that all designers encounter when translating a concept into full scale. “Most of these kids haven’t made anything before,” he observes. “Some of them are playing it safe. Others are going for it very aggressively. They make mistakes and need to back up, and that’s OK. They are finding out what’s inside them. “I tell my students that this is a great time to be a designer because we are being forced, at last, to be economical and not waste. So, if our cars are inefficient, which even the Prius is, let’s quit jabbering about it and actually do something. There’s a lot for designers to do: Use less stuff, use it better, make less of a mess, don’t abuse people. That’s my meat, and I love it.”

Jay Baldwin


Alumni Profiles A Tale of Two Continents: Yukiko Ogasawara Yukiko Ogasawara MFA, graduated in 2000 Born in 1961 in Tokyo Works in Tokyo, lives in Tokyo and Los Angeles Other education: BA in art, Evergreen State College Current occupation: president of the Japan Times Influences at CCA: Mary Snowden, Linda Geary, and visiting artists Martin Creed, Tom Marioni, Kara Walker, and Fred Wilson

Untitled, 2008

“Everything is everything,” says Yukiko Ogasawara, poetically, to explain how her MFA in painting from CCA informs her high-powered job as president of the Japan Times, Japan’s oldest English-language newspaper. “Everything is borderless—it goes from one genre to the next, one discipline to another. You really have to understand yourself in order to run anything. You can’t be afraid to be critiqued, to express yourself, to approach both sides of an issue with honesty and integrity. Art school trains you for all those things, even more than business school. From my first art class it was all about breaking it down and building it back up. And that builds you up as a person. It prepared me to do this.”

Traverse, 2007

Ogasawara, who graduated in 2000, was part of the first class that moved to CCA’s new building in San Francisco and recalls feeling as though she and her fellow students were sort of “growing up” alongside the college. She was one of those who practically lived in her studio, working there all day and late into the night, savoring the art school experience. “My favorite thing was the floor heating in my studio! It’s silly, but I loved that more than anything else in the world.” She also adored professor Mary Snowden. “She was older, and I was a little bit older student myself, and she’s so young at heart. She always tried to engage us, and engage herself, in a language that was continuously growing and evolving.” Ogasawara is still painting and keeps a studio in Tokyo, even though she isn’t able to devote much time to it these days. She looks forward, but patiently, to the next phase of her life when she’ll be able to get back to painting full time. “I’m in a special situation. I have this position because I was able to come in as family. And if I’m lucky enough to have the opportunity, then I better make something out of it!” At the Japan Times she’s working on organizing and solidifying revenue streams, and at the parent company she’s heading up what she calls a “feminist women’s revolution!” running an office dedicated to advancing women employees who value their careers and want more responsibility. 8

Wall Collage Continuously in Progress, 2003–ongoing

Bollywood Corleone: Amrit Sagar Amrit Sagar Film/Video, graduated in 2000 Born in 1975 in Mumbai, India Lives and works in Mumbai Current occupation: film and television producer and director Website: Influences at CCA: David Heinz, Willam Farley

Film and television are in the blood of Indian producer-director Amrit Sagar. He knew at age 10 that he wanted to be a director, and CCA was the only school he applied to. “My family has been producing and directing since 1950. So you could say I joined the family business. Like Michael Corleone!” His breakout success was Hatim, a TV series about the adventures of an Arab prince in Yemen, which catapulted him into one of the biggest production houses in India. His first movie, 1971, which he cowrote, directed, and produced, came out last year. The film’s story is fictional but based on fact, revolving around six Indian prisoners of war who escape from Pakistan and risk death on their journey home. “When I came to CCA, I had already been an assistant director in India for three years. David Heinz, one of my professors, saw the work I’d been doing and took a personal interest in me and put me right into senior-level courses. The best class I ever had was with David. I had finished all my required film courses, and he came up with this idea where he would give me a genre and I had to make a project on it. Then we took it to the next level, where he gave me multiple genres and I had to juxtapose and weave them into a single film.” Sagar’s favorite CCA tradition was the annual college film festival—a juried competition he recalls as “healthy” and stimulating—and he still counts among his proudest achievements winning an All-College Honor Award for one of the best films at CCA that year (its subject was intercaste marriages in India), and a national prize in which his film (about dowry deaths) was one of only seven selected out of more than 100 entries from 35 different American film schools. Sagar is currently working on a new TV show—a spy thriller called Vijay, Desh Ki Ankhen—and two new movies: a romantic film to be shot in Italy, and an action film that will be shot in seven different locations around the world. For the latter he is collaborating with Viacom, the company that owns Paramount. In his spare moments, which are few and far between these days, he’s also working on his new (and first!) house.

Alumni Profiles


Digital Master: Morgan Barnard Around the world, one million plastic bags are discarded every minute, creating literal mountains of garbage. That frightening reality inspired Morgan Barnard to create an urban design project about a world inundated with plastic.

Morgan Barnard

Barnard was one of scores of artists who participated in IntensCITY—a week dedicated to innovative urban design—last year in Wellington, New Zealand. Operating out of a shipping container, he and a colleague improvisationally projected footage, information, and interviews to create a live montage entitled Sentimental Plastics. They also led instructional sessions on how to iron plastic bags between sheets of waxed paper to create durable cell phone cozies and reusable shopping bags.

Lives and works in Wellington, New Zealand

Barnard is a multimedia artist whose work incorporates digital cinema, experimental narrative, documentary, and custom electronics. “I’m interested in making film more of a ‘live’ experience, like it was in the early days, when musicians accompanied the action,” he says.

Influences at CCA: Donald Day, Jeanne Finley, Lynn Kirby, Larry Sultan

Film/Video, graduated in 1996 Born in 1973 in Los Angeles

Other education: Interactive Telecommunications Program, New York University Current occupation: lecturer, media artist Website:

His penchant to innovate was fostered at CCA, where he VJed performance evenings that incorporated live music and video. By day, he benefited from the school’s progressive steps into the digital realm. “It’s impressive in retrospect,” he says, “that we had access to such new technologies and could work with them hands-on.” After CCA Barnard became an editor and motion graphics artist in San Francisco. In 1998 he moved to Los Angeles to join his father Michael Barnard’s (Interdisciplinary Fine Arts 1967) company, editing and directing documentaries and commercials. Among his numerous projects was Quest for Truth, about what he calls “the phenomenal works of landscape art happening in crop fields around the world.” Then he hopped to the other coast to earn a master’s degree in 2005 at New York University’s Interactive Telecommunications Program . . . which snatched him up to teach after graduation. Last year he took another leap, this time to New Zealand, to become a full-time digital media design professor at Victoria University of Wellington. Balancing teaching with his own work, Barnard will soon begin a new project with a colleague stationed on the exact opposite side of the globe in Toro, Spain. They’ll take turns directing one another remotely as they film themselves exploring their urban environments. Barnard plans to take the digital material and edit it live in front of an audience on different nights as a unique and ever-changing cinematic experience. “It’s pretty clear that people are viewing media in ways we thought improbable 12 years ago at CCA,” he says. “I’m excited to be part of shaping the way people experience it for the next 12 years.”


Sentimental Plastics installation with “upcycled” (heatfused) plastic bags and data and video projections, Wellington, New Zealand, 2007

Keeping the CCA Flame Burning in Seoul Seoul has become something of a home away from home for numerous CCAers. In cyberspace and, occasionally, on terra firma, about 150 Korean alumni, students, and prospective students meet, mingle, and network in what has become the CCA Korean Alumni Group. While giving members the opportunity to reminisce about the thrill of artistic victory and the agony of critique, the club also introduces the school to newly accepted students, offering them a way to meet classmates before they hit the California coast. As of fall 2008 CCA has 29 Korean students, who comprise more than a quarter of the college’s international student population. Last year, in honor of CCA’s centennial, the club hosted a special evening event for Korean alumni at Minjoo Kang’s (Ceramics 2002) wine and coffee house. Graduates, prospective students, parents of students, and Korean faculty from the likes of Seoul National University and Samsung Art and Design Institute attended the gala along with Stephen Beal, then CCA’s provost (now president), and Michele Rabin, director of international student affairs. “I love to see everyone doing so well at their work,” says member Sunghwan Moon (Film/Video 2003). “Just as fellow students were always my greatest teachers, keeping me alert and awake at school, they continue to inspire me to work harder.” Moon is now an editor at the Korean animation studio DigiArt; his latest project was Garfield: Pet Force. Jeesun (Arys) Hur (Interior Architecture 1997) was working for an interior design firm in Tokyo and had already shown a clear passion for the field before she managed to convince her parents that CCA would be a good move. They reluctantly gave her permission to go to school so far from home. Now she’s the CEO of her own firm, ArysArchiDesign, based in Seoul, with clients as far-flung as Japan and Africa. “The group allows me to meet those I didn’t know while I was in school, and reconnect with others I rarely get to see now,” she says. “Whenever CCA alumni happen to pass through Seoul, we gather to eat, drink, and enjoy a nightlong chat. Staying connected allows us to talk about what we’re doing in art and art-related fields, and helps keep us excited and focused.” A few months ago, Yunjung Kil (Interior Architecture 1997) participated in CCA’s orientation for new Korean students in Seoul under the auspices of the group. “I had the chance to tell students about my career and work, which was fun for me and, I hope, meaningful for them,” says Kil, whose interior design firm, GIL Design Inc., is branching out into environmental design. Meanwhile, in and around freelancing as a fashion designer (she has designed uniforms for past Korean Olympic competitors, among other high-profile projects), lecturing at universities, and earning a PhD in clothing and textiles, current club president Sooah Choi (Fashion Design 1998) has big hopes for the future. “I want us to hold alumni group exhibitions with various media and majors represented,” she says. She invites anyone interested in finding out more about the Korean Alumni Group to visit, where an account can also be opened in English.

CCA centennial event in Seoul, 2007. President Stephen Beal is third from the right.

President Stephen Beal, Jeesun (Arys) Hur (Interior Architecture 1997), and Michele Rabin, former director of international student affairs

Alumni Profiles


Awards and Accolades CCA Architecture students are participating for the first time ever (collaborating with Santa Clara University) in the high-profile Solar Decathlon, where 20 competing teams each receive a $100,000 grant from the U.S. Department of Energy to design and build an operational solarpowered house. The finished projects will be displayed to the public on the National Mall in Washington DC in October 2009.

CCA / Santa Clara University Solar Decathlon Team, Refract House, 2008–9

Joanna Paull (Interior Design 2008) won a $7,500 student scholarship for the 2007–8 academic year from the International Interior Design Association (IIDA) Northern California chapter. The theme of the competition was “cultural authenticity,” and her winning entry, titled Build It Green, was a mixed-use project with offices, housing, classrooms, a library, a café, and a lecture hall.

Jordan Kantor (Painting/Drawing faculty) and Desirée Holman (First Year faculty) are two of the four 2008 winners of the San Francisco Museum of Modern Art’s SECA Art Award. The award includes an exhibition (in spring 2009) and a cash prize. Desirée Holman, At the Kitchen Table with Football, 2007

Jordan Kantor, Untitled (Eclipse), 2008

At CCA’s 2008 fashion show, Jihye Kang (Fashion Design 2008) received a Surface magazine award, which promises a detailed photo spread of her work in an upcoming issue and an all-expenses-paid trip to New York. Zara Franks (Fashion Design 2008) was awarded an internship with Marciano (a division of Guess) in Los Angeles.

Le Monde est Petit, The Medium (motion graphics by Elizabeth Chiu), 2008


Graphic Design faculty member James Kenney has been a mentor for the last two years in the highly competitive Reel Ideas Studio, which brings selected students from around the globe to create documentaries at the Cannes Film Festival. Three CCA students won awards in 2008: Heidi Berg (Graphic Design 2008) received the independent emerging motion graphics artist award; Elizabeth Chiu’s (Graphic Design 2007) team received a distinguished documentary award; and Netsui Gosney’s (Graphic Design 2009) off-site team won a distinguished community documentary award.

CCA’s booth at ICFF, New York, 2008

CCA was one of just four design schools selected to exhibit student work at the International Contemporary Furniture Fair (ICFF) in New York in 2008. The projects were featured in the New York Times, the San Francisco Chronicle, and I.D. magazine. The Furniture Program displayed the outcomes of the Bevara Design House / sponsored studio, which addressed a “sustainable design for mass production” theme. The Industrial Design, Glass, and Ceramics programs were represented by several products for the home, from cocktail sets to kitchen sinks, made using real-world production techniques such as blow-molded glass and slip-cast ceramics.

Congratulations to Christine Miller Kelly (Industrial Design 2007) for winning second place in the 2008 Dyson Eye for Why competition. Her winning entry was the Flux breast pump, her CCA senior thesis project. She placed in the same competition three years ago with her Acorn coffee grinder.

Gabe Lam (Industrial Design 2008) won the prestigious Industrial Designers Society of America (IDSA)—Western District student merit award in 2008 for his Miranda device, a recording unit that registers video, audio, motion, impact, location, and other data to protect both protesters and police. The IDSA lauded the project’s unique combination of research, social engagement, aesthetic sensitivity, and thoughtfulness.

Gabe Lam, Miranda, 2008

Noah Balmer (Industrial Design 2008) tied for second place in the 2008 International Housewares Association student design competition for KitchenSync, a washable, portable wi-fi device that allows the user to look up recipes via a touch screen while cooking (thus keeping recipe books clean).

Greg Schultz, Peapod, 2008

Industrial Design chair and fuseproject principal Yves Béhar, one of the primary designers behind the spectacularly well-received One Laptop Per Child computer, had a hand in a grand total of nine award-winning projects at the 2008 BusinessWeek International Design Excellence Awards (IDEA) ceremony. (Béhar is also in the news lately for his design of Aliph’s Jawbone 2 cellular Bluetooth headset.) That same evening, Greg Schultz (Industrial Design 2008) won a bronze IDEA in the student design category for Peapod, a next-generation at-home sonogram device.

Several current or just-graduated Graphic Design students, including Heidi Berg, Bryn Bowman, Shawn Cheris, Charlie Kwok, Sara McKay, Portia Monberg, Ed Ng, Yosei Shibata, Lia Wesp, and Christina Zee, won awards in 2008 from Graphic Design USA, Adobe, Type Directors Club, HOW, and the University and College Designers Association. Graphic Design faculty members Bob Aufuldish, Mark Fox, Eric Heiman, Jeremy Mende, Jason Munn, Angie Wang, and Cinthia Wen have also been recognized recently in prestigious design competitions sponsored by Graphis, Type Directors Club, Graphic Design USA, AIGA, the American Museum Awards, and Step 100.

Awards and Accolades


CCA Wattis Institute for Contemporary Arts Paul McCarthy’s Low Life Slow Life: Part 2 January 27–May 30, 2009 Opening reception: Tuesday, January 27, 6–8 p.m. The highly acclaimed Los Angeles–based artist Paul McCarthy returns this spring with the second half of his two-part exhibition, this time focusing on the 1970s. That era witnessed the rise of radical political organizations and artist collectives motivated by a convergence of the political and the aesthetic; the show reflects that wave of alternative performance practices, Conceptual art, and video art. As before, McCarthy conceives the entire framework for the exhibition, from the checklist, design, and installation to the accompanying catalog and public programs, creating a “total artwork” that offers a new perspective on his own oeuvre and creative philosophy. Featured artists will include established figures such as Jeff Koons and Chris Burden, more obscure artists such as Howard Fried and Peter Kubelka, and radical political groups and artist collectives such as the Move and General Idea. The presentation will encompass a wide range of artworks and artifacts, from sculpture to painting, photography, installation art, books, magazines, and archival material. It will also include reproductions of artworks that no longer exist, that are unavailable for public showing, or that McCarthy only ever encountered as reproductions.

Dieter Roth, Staple Cheese (A Race) (installation at Eugenia Butler Gallery, Los Angeles), 1970

Ongoing Exhibitions The Exhibition Formerly Known as Passengers A new presentation opens to the public on the first Tuesday of every month, with a short artist talk at 7 p.m. followed by a reception:

Kirsten Pieroth: December 2 Colter Jacobsen: January 6 Jordan Wolfson: February 3 Kristen Morgin: March 3 Peter Coffin: April 7 Abraham Cruzvillegas: May 5 Claire Fontaine: June 2 Mario Garcia Torres: July 7 Aurélien Froment: August 4

Tino Sehgal Capp Street Project: Tim Lee (through January 10, 2009)

Les Levine, Diamond Mind (still), 1977

Support for Paul McCarthy’s Low Life Slow Life: Part 2 is provided by Robin Wright and Ian Reeves. Additional support provided by Outset Contemporary Art Fund. Lead sponsorship for Capp Street Project: Tim Lee is provided by the Nimoy Foundation. Passengers 2.12: Aurélien Froment is kindly supported by Etant donnés: The French-American Fund for Contemporary Art, a program of FACE. Founding support for CCA Wattis Institute for Contemporary Arts programs has been provided by Phyllis C. Wattis and Judy and Bill Timken. Generous support provided by the Phyllis C. Wattis Foundation, Grants for the Arts / San Francisco Hotel Tax Fund, Ann Hatch and Paul Discoe, and the CCA Curator’s Forum.


Americana: 50 States, 50 Months, 50 Exhibitions (through May 31, 2012)

Meet CCA’s New President by Chris Bliss Stephen Beal, CCA’s provost for the past 11 years, took the helm as the college’s ninth president on May 1, 2008. Since he came on board as provost in 1997, overall enrollment increased by 50 percent, 10 new academic programs were added, more than 30 new full-time tenure-track faculty members were hired, and the college made significant improvements to both campuses. The many new facilities included a student residence building in Oakland and the Graduate Center in San Francisco. Beal came to CCA from the School of the Art Institute of Chicago, where he was a member of the painting faculty and served as vice president of academic planning and associate vice president of academic affairs. He is a practicing artist, and his work has been exhibited in the Bay Area, Chicago, and throughout the Midwest. He serves on the board of Yerba Buena Center for the Arts in San Francisco, and he is board president of the internationally renowned Creative Growth Art Center in Oakland.

Chris Bliss: You’re a product of art

Stephen Beal: The late 1960s and early 1970s were a time of dramatic change

schools, with an MFA from the School of

politically, culturally, and socially, and art schools along with other colleges and

the Art Institute of Chicago. What was

universities were often at the center of that movement. As a student in Chicago

your art-school experience like?

I was surrounded for the fi rst time by people who shared my passion for art. We were interested in the ways art practice could help defi ne our relationship with the rapidly changing world. It was during the Vietnam War and we were all politically active—creating antiwar posters, organizing protests, playing music—exploring how art might affect the course of current events.

CB: How does that compare to the educational experience CCA students have today?

SB: Art school continues to be an exciting choice for those who want to have a positive impact on the world. In many respects, I believe an art school education today is more focused, empowering, and relevant than ever. Young artists, designers, and architects, often working collaboratively, can bring creative energy to solving the problems that face us today—issues around social justice and community empowerment, and environmental concerns such as global warming and sustainability. CCA students and faculty are at the forefront of these activities.

CB: CCA’s last artist-president was

SB: One of the great things about spending most of my professional life in art

Spencer Macky in the 1950s. How do you

schools has been the ability to continue my studio practice. It feeds into how I in-

think being a practicing artist will affect

teract with students. I know fi rsthand the challenges one encounters in producing

your role as president?

creative work. My teaching experience helped inform my move into administration. Now, as president, I see my role as moving across all of these areas—learning, teaching, and administration—to facilitate productive and creative interchange.

CB: As you go forward, moving across all

SB: Academic leadership is a priority. A faculty committee addressed this

of these areas, as you say, what are

issue over the summer and we’ve put into place a new structure that offers more

your top priorities?

leadership opportunities for faculty. Our search for a new provost will hopefully yield results by the end of the year. A new strategic planning process has begun this fall, and that gives us an exciting opportunity to engage alumni, students, faculty, trustees, and staff in charting the college’s future. Completing the WASC accreditation process, improving our facilities, fundraising for scholarships and other key programs—there’s a lot to do! Ultimately my top priority will always be creating and supporting an exceptional learning experience for our students. CCA will remain one of the leading art schools in the 21st century.

Wattis Institute / Meet the President


School News Faculty Emeriti Stephen Goldstine came to CCA in 1987 and taught, mentored, and helped launch hundreds of artists into creative practices. During his tenure, our MFA students were selected for Whitney Biennials, SFMOMA SECA Art Awards, Murphy and Cadogan Fellowships, Skowhegan School of Painting and Sculpture residencies, Headlands Center for the Arts residencies, Fleishhacker Foundation Eureka Fellowships, Artadia awards, and Djerassi residencies. Goldstine was such a successful mentor largely because he was constantly available on campus and by phone for informal discussions with students. He absorbed this Socratic method during his own years as a student under Ansel Adams, Minor White, Imogen Cunningham, and Edward Weston. He has entertained many with his amazing recall of people, places, and events as well as his huge knowledge of art, architecture, design, dance, and music. Several of his fellow faculty members have observed that, as they encounter our alumni around the country and the world, almost all of them mention Goldstine as one of the primary reasons they chose CCA and had a truly excellent experience here. Portrait of Stephen Goldstine by Imogen Cunningham, July 1952, when he was working as her studio assistant

Doug Akagi started teaching here in 1984, when the Graphic Design Program was relatively small and housed in temporary quarters above the art supply store on Broadway in Oakland. Since then it has grown by leaps and bounds, both in size and in international prominence, due in significant part to Akagi’s many contributions. He has taught courses at every level, most notably Sputnik (our award-winning in-house internship program, which flowered under his leadership) and Transitioning to Professional Practice. His consistently stellar course evaluations reveal how deeply his students will miss him. He will also be missed by his fellow faculty (he was never absent from a faculty meeting in all his time at the college!). Akagi was a cofounder, past officer, and member of the board of directors of the San Francisco chapter of the American Institute of Graphic Arts. Concurrently with his teaching career he has maintained his own design firm, named Alterpop in its current incarnation, whose work has won more than 150 important awards and has been featured in every industry publication.


New Trustee Our most recently appointed trustee, Julz Chavez, received her BFA in Illustration from CCA in 1984 and has been a professional toy developer for more than 20 years. She has worked as a toy creator and designer for Mattel and Sega, and in 2000 she launched Get Real Girl, a San Francisco–based startup, producing a line of dolls aimed at girls aged six to 12. The dolls are inspired by sports, adventure, and careers, with very un-Barbie-like figures! Chavez believes in “designing and developing with responsibility,” since toys make such a huge difference in children’s lives. Currently she is the founder and principal of Out of My Mind Productions, where her responsibilities include creative development, writing, and producing a range of feature film, television, and Internet properties as well as brand merchandise for the global market. Chavez is a cousin of the celebrated labor activist César Chávez. She has appeared on Oprah and in numerous newspaper and magazine articles. She has won the Entertainment Industries Council Award and is currently a nominating panelist for the PRISM Awards. She will provide invaluable representation for our board in Los Angeles, assisting the college on several fronts. Excitingly, she is interested in helping to develop new courses in brand and entertainment design.

Staff Appointments

New Academic Leadership

Megan Amaral Director of Extended Education

Leslie Becker Director of Design

Richard Elliott Chair of Textiles

Allen Fear Web Director

Ila Berman Director of Architecture

Rob Epstein Cochair of Media Arts (with Barney Haynes)

Sanjit Sethi and Ann Wettrich Codirectors of the Center for Art and Public Life

Rachel Schreiber Director of Humanities and Sciences Deborah Valoma Director of Fine Arts

Kim Anno Interim Chair of Painting/Drawing Curtis Arima Interim Chair of Jewelry / Metal Arts Tammy Rae Carland Chair of Photography

Maria Makela Chair of Visual Studies Leigh Markopoulos Chair of the Graduate Program in Curatorial Practice Aimee Phan Chair of Writing and Literature Ted Purves Chair of the Graduate Program in Fine Arts

Melinda de Jesus Chair of Diversity Studies

School News


Bookshelf Never Sleep: Graduating to Graphic Design By Andre Andreev and Dan Covert de.MO, 2008 Hardcover, 250 pages, $29.99 Andre Andreev (Graphic Design 2005) and Dan Covert (Graphic Design 2004) demystify the transition from student to professional by sharing the successes, failures, and surprises of their years at CCA, their current day jobs at MTV’s on-air design department, and their night gig at their own design fi rm, dress code. They enumerate everything from the creative process to monetary issues, internships, interviews, and personal relationships. The book includes examples of their work, from their fi rst undergrad design course through the present day, and side stories and interviews from their mentors, teachers, and peers.

No One You Know By Michelle Richmond Delacorte Press, 2008 Hardcover, 320 pages, $23 “A thoroughly riveting literary thriller,” raves Booklist of Michelle Richmond’s (Writing faculty) third major novel, the follow-up to her 2007 best seller The Year of Fog. The story revolves around a woman traveling abroad who unexpectedly meets the man accused of murdering her sister 20 years before, inspiring her to revisit the harrowing experience and solve the highly publicized, but still open, case.

Written on the City: Graffiti Messages Worldwide By Axel Albin and Josh Kamler How, 2008 Hardcover, 224 pages, $26.99 In 2006 Josh Kamler (MFA Writing 2002) and Axel Albin started a website devoted to “message” graffiti around the world, looking not only at its artistry but also at the fears, questions, and visions it expresses. This large, full-color volume presents the best of their fi ndings.

Graphic Design History: A Critical Guide By Emily McVarish and Johanna Drucker Prentice Hall, 2008 Paperback, 416 pages, $68.80 Designed and written by Emily McVarish (Graphic Design faculty) and Johanna Drucker (Printmaking 1973), this weighty tome is both a coffee-table showpiece and a textbook, offering a unique and exciting set of critical lenses for thinking not only about the history of graphic design but also about its cultural function, from prehistory to the present day.


War Is Only Half the Story By Jim Goldberg and Wolf Böwig Aperture, 2008 Paperback, 128 pages, $27.50 The nonprofit Aftermath Project documents long-term repercussions of confl ict that are neglected in the popular media. This book presents the two winners of its fi rst annual grant competition, one of whom is Magnum photographer Jim Goldberg (Photography faculty). Goldberg’s New Europeans series records the struggles of immigrants and asylum seekers around the globe.

Unbecoming Behavior By Kate Colby Ugly Duckling Presse, 2008 Paperback, 64 pages, $14 Part autobiography, part revisionist biography of the great 20th-century fiction writer and playwright Jane Bowles, this book-length poem is Kate Colby’s (MFA Writing 2004) follow-up to Fruitlands, her MFA thesis and winner of the Norma Farber First Book Award. Colby’s acrobatic wordplay touches on personal historicity, persona, performance, femininity, travel, exile, home, storytelling, and the act of writing itself.

Visit Me in California By Cooley Windsor Triquarterly, 2008 Paperback, 130 pages, $16.95 Moving between the comic and the tragic, the sacred and the profane, this collection of short stories by Cooley Windsor (Writing faculty) turns familiar narratives from the Bible and mythology inside out, exploring the feelings of minor characters and looking at much-retold stories from imaginative new perspectives.

House Colors: Exterior Color by Style of Architecture By Susan Hershman Gibbs Smith, 2007 Paperback, 336 pages, $35 Susan Hershman (Interior Architecture 1986) is both the author and the photographer of this comprehensive resource, which includes photographs of hundreds of homes sorted by architectural style, painting tips, color and design basics, and the specific names and numbers for all the products and materials that appear in the photos, from paint to roofi ng materials to door hardware.



The Entire Earth and Sky: Views on Antarctica By Leslie Carol Roberts University of Nebraska Press, 2008 Hardcover, 256 pages, $24.95 In the 20 years since Leslie Carol Roberts (Design and Writing faculty) first went to Antarctica with Greenpeace, she has been fascinated by the place. This book collages her own observations and documents with tragic and heroic tales of 19th-century explorers and interviews with scientists. She presents both the reality of the frigid outpost, populated by a ragtag alliance of international researchers, and a glimpse of a crystalline dreamscape at the bottom of the world.

André Masson and the Surrealist Self By Clark Poling Yale University Press, 2008 Hardcover, 212 pages, $50 Clark Poling (Visual Studies faculty) examines paintings, drawings, and writings by the French Surrealist artist André Masson, whose work from 1920–40 drew from the writings of Nietzsche and the Surrealists as well as other sources in philosophy, psychology, psychoanalysis, and ethnography.

Dark Prospects By Charles Beronio Printed Matter Inc., 2008 Paperback, 68 pages, $10 Charles Beronio (Sculpture 1996, MFA 2005, Visual Criticism 2006) blacks out all references to corporate branding, times, locations, and pop-culture stars in the pages of People, Time, Newsweek, and U.S. News and World Report. What’s left are detonated images and textual fragments of lifestyle and politics— modern life stripped bare.

Painted Paper: Techniques and Projects for Handmade Books and Cards By Alisa Golden Sterling, 2008 Hardcover, 176 pages, $24.95 Alisa Golden (Printmaking faculty) helps novices create decorated papers using stenciling, washes, dropper outlines, brush-handle painting, and other techniques, with an emphasis on water-based media.


Wild Goods By Denise Newman Apogee Press, 2008 Paperback, 66 pages, $14.95 The poet C. D. Wright praises Denise Newman’s (Writing faculty) new book of poems: “Not, what does it mean, but what does it feel like, taste like, smell like to be a lone living being; to give, love, lose, and choose between the heart’s dark woods and the ‘whole worthless sky.’ This is an interior venture, physically undertaken.”

The Number Before Infinity By Zack Rogow Scarlet Tanager Books, 2008 Paperback, 84 pages, $16 Zack Rogow (Writing faculty) presents his sixth book of poetry, this time with a travel theme. Cornelius Eady comments: “I was reminded of young Neruda’s love poems; here is the passion, tempered and informed by the briars and grace of marriage and family.”

Disposed By Steve Dickison Post-Apollo Press, 2007 Paperback, 52 pages, $15 Says Clark Coolidge of Steve Dickison’s (Writing and Literature faculty) new book of poems: “I’m hooked on just how he attaches those jazzical slices of the current dense. Listen here and know that ceaseless connection of the Poem Most High.”

Kodiak Herbal By Caroline Goodwin MaCaHu Press, 2008 Paperback, 20 pages, $10 The first title from MaCaHu Press, founded by Mary Behm-Steinberg and Writing faculty members Caroline Goodwin and Hugh Behm-Steinberg, is a hand-sewn chapbook of five poems, including one based on the life of Goodwin’s Alaskan grandmother.



CCA Publications Vertical Places: The Tall Building in the World City Edited by Neal Schwartz CCA, 2008 Paperback, 62 pages, $19.99

This fi rst volume in CCA’s Architecture Studio Series was designed by James Penalacia (Graphic Design 2007) and edited by Neal Schwartz (Architecture faculty) and features an essay by Mitchell Schwarzer (Visual Studies faculty). It examines the complexity of tall-building design, both in general and specifically in the context of the rapidly growing cities of Beijing, Dubai, Mexico City, and Singapore.

Capp Street Project: Tim Lee By Claire Fitzsimmons, Jens Hoffmann, and Tim Lee CCA, 2008 Paperback, 88 pages, $15.99

Jon Sueda (Graphic Design faculty) designed this exhibition catalog documenting Tim Lee’s 2007 Capp Street Project residency. Lee’s project involved researching the historical and aesthetic intersections between Steve Martin’s fi rst comedy album, Let’s Get Small (1977), and Neil Young’s seminal electric/acoustic album Rust Never Sleeps (1979).

Amateurs By Ralph Rugoff and John Roberts CCA, 2008 Paperback, 112 pages, $29.99

Jon Sueda (Graphic Design faculty) also designed this Wattis Institute exhibition catalog, surveying recent artworks that embrace amateurism as an aesthetic strategy or mode of production. The 18 featured artists include Jeremy Deller, Harrell Fletcher (MFA 1994), Cameron Jamie, Jim Shaw, Simon Starling, and Jeffrey Vallance.


CCA is proud to announce the successful completion of the Centennial Campaign, with just over $27.5 million raised. Thanks to the tremendous generosity of 1,000 campaign donors, the college exceeded its original goal of $25 million. This has been the most ambitious fundraising effort in the college’s history, providing vital revenue for student scholarships, academic programs, and facility improvements. This special effort began in 2004, when CCA realized it needed to enhance student aid, classrooms, studios, and curricular offerings to sustain its ranking as one of the best art schools in the country. Despite enrollment growth, tuition revenue alone could not meet these needs. Donations were required to fill the gap. The Board of Trustees launched a multiyear capital campaign to run concurrently with the celebration of CCA’s centennial. Alumni, parents, faculty, staff, and friends joined forces with the trustees to make the campaign a success. Together they raised an unprecedented amount of money and in the process built the largest donor community in the school’s history. Donations ranged from $50 to $5 million. Centennial Campaign Chair Judy Timken led the way. Reflecting on what was achieved, Timken says, “I want to extend CCA’s warmest thanks to every donor who made a gift. This campaign represents a generous expression of support for CCA’s future and the vitality of its mission. It transformed the school, not just with new studios and scholarships, but also with the emergence of a broad group of new donors.” President Stephen Beal says, “Everyone at CCA is grateful to Judy for devoting herself to four years of nonstop campaigning and cheerleading on behalf of our college. We never could have reached our goal without her generosity and encouragement. She and Board Chair Ann Hatch were remarkable in their dedication to the cause.” Timken was supported by an enthusiastic and skilled Centennial Campaign Committee that included trustees Simon Blattner, Tecoah Bruce, Diane Christensen, Ann Hatch, and Lorna Meyer.

Centennial Campaign


Dollars Given by Donor Type Board




Other friends








Faculty and staff




Number of Gifts by Donor Type Alumni


Other friends




Faculty and staff










Matching Gift Challenges Two important campaign milestones came in the form of matching grants that inspired hundreds of new donors to join the effort. In June 2007, an extraordinary challenge gift came from trustee Barclay Simpson, who promised to contribute an additional $1.85 million to the campaign (Mr. Simpson had already given a major leadership gift to launch the effort in 2004) if CCA could raise $3.7 million in new gifts to match it. CCA met his challenge in full in April 2008. CCA extends special thanks to trustee Byron Kuth and his wife, Elizabeth Ranieri, for giving the capstone gift to this special challenge match. The second important challenge came from philanthropist Gene Savin. He pledged a $500,000 grant from the Savin Foundation to create an endowed Community Arts Program scholarship if the college could find 500 brand-new donors to give at least $50 each. After six months of reaching out to alumni, parents, faculty, staff, and friends who had never given before, the 500th matching donor was secured in January 2008. The 500 Savin Foundation matching donors gave a total of more than $630,000 to the campaign. The success of the $27.5 million Centennial Campaign is due in large part to both the number of alumni who participated and the exceptional generosity of our Board of Trustees. Alumni gave 58 percent of the total number of gifts, and trustees gave 67 percent of the total dollars. Both groups were essential to the success of the two challenges and the entire campaign.


Scholarships CCA now has 27.5 million reasons to celebrate. Every dollar has already been put to use and is making a difference for our 1,740 students and 450 faculty members. More than $2.8 million in campaign gifts have been added to existing scholarship funds, and an additional $2 million has been allocated to create 24 new endowed scholarships. This represents a 50 percent increase in available endowed scholarship funds.

New Programs The Centennial Campaign also provided critical support for the launch of three exciting new degree programs that strategically enhance academic resources for all students: MBA in Design Strategy: In fall 2008 CCA welcomed the first class of 26 students in this groundbreaking program that unites the studies of design, finance, and organizational management, offering tools and strategies to address today’s complex, interconnected market. Students develop individual and team solutions to a variety of economic and social challenges using design techniques (such as user-centered research, prototyping, critique, and iteration) as well as business metrics. To offer maximum flexibility to working professionals, the program is conducted through five once-a-month, four-day weekends of instruction and interaction, with online and networked study between these residencies. Program chair Nathan Shedroff is one of the pioneers of experience-based design. Graduate Program in Design: In 2006 the renowned designer, researcher, and author Brenda Laurel was appointed chair of the Graduate Program in Design. Laurel introduced a new curriculum that includes discipline-based “tracks” in communication design, industrial design, and interaction design. All students in the program take courses addressing theory and criticism, research, materials, tools, processes, and entrepreneurship, and they explore transdisciplinary collaborations through special project studios. Animation Program: In fall 2007 CCA launched the undergraduate Animation Program, chaired by Andrew Lyndon of Pixar Animation Studios. Students acquire conceptual and technical skills in cinema-based character and experimental animation, film production, interactive media, motion graphics, narrative storytelling, and video, working in both traditional and digital media.

Facilities First-rate facilities go hand in hand with scholarships and programs in supporting CCA’s ability to attract top students and offer them the best possible educational experience. With funding from the Centennial Campaign, the college undertook a series of facility improvement projects. These included: • completion of the new Graduate Center, where all MFA, Visual Studies, and Curatorial Practice students can work and learn in a facility designed specifically for their needs • construction of the Carmen M. Christensen Production Stage and new editing studios to accommodate an expanded undergraduate Media Arts Program • renovation of studios for the growing Master of Architecture Program and construction of graduate design studios • purchase and renovation of a new Student and Faculty Service Center, where support services will be centralized For those who value the role of artists, architects, designers, writers, and scholars in shaping our future, the Centennial Campaign was an opportunity to support the college’s dynamic vision. CCA thanks all the donors to the campaign for their investment in future generations of creative leaders and in an educational institution that enriches creative practice worldwide.

Centennial Campaign


Donor List California College of the Arts extends its sincere thanks to the following generous donors to the Centennial Campaign. This list acknowledges donors who made gifts totaling $100 or more. Alumni donors are listed with their class year in parentheses.



C. Diane Christensen and Jean Pierret Carmen M. Christensen Carla Emil and Rich Silverstein The Barry Friedberg and Charlotte Moss Family Foundation Ann Hatch and Paul Discoe Koret Foundation MF Foundation / Tim Mott The Bernard Osher Foundation F. Noel Perry Rotasa Foundation Reuben & Muriel Savin Foundation Barclay and Sharon Simpson Judy and Bill Timken Anita and Ronald Wornick

Mr. Terry Dougall and Mr. Robert Hill Fong & Chan Architects Mr. Elvin L. Fowler Mr. and Mrs. Arthur Gensler Gensler Family Foundation Dick and Lorene Groshong Gump’s Joe and Beth Hurwich Martha and Raoul Kennedy Ms. Kay Kimpton and Mr. Sandy Walker Miranda Leonard Byron R. Meyer Mrs. Sarajane Miller-Wheeler and Dr. Calvin B. Wheeler John J. Muscardini* Family Living Trust OgilvyOne Worldwide Shepard Pollack and Paulette Long RMW architecture & interiors / Architectural Foundation of San Francisco Karen and Ronald Rose Dr. Michael S. Roth and Dr. Kari Weil Elizabeth M. Schaufel* Trust Norma Schlesinger* Hugo and Alva Steccati* Family Trust Christopher E. Vroom and Illya Szilak Mary and Harold Zlot


Kimberly and Simon Blattner Tecoah Bruce (1974, 1979) and Thomas Bruce Chalsty Foundation Alvin E. Cole* & Ruth S. Cole* Trust Mr. Rob Forbes Nancy and Pat Forster The Getty Foundation Blanche and Steven Goldenberg and Sara Goldenberg White (2004) The Helzel Family Foundation The Herbst Foundation, Inc. Timothy Howes and Nancy Howes (2005) IDEO / Tim Brown The William G. Irwin Charity Foundation George Frederick Jewett Foundation The Fletcher Jones Foundation Byron D. Kuth and Elizabeth Ranieri LEF Foundation Linda Lotspeich, Albertina L. Zanzi* (1941) Living Trust The S. Livingston Mather Charitable Trust Tony and Celeste Meier Lorna Meyer and Dennis Calas Nancy and Steven Oliver Peninsula Community Foundation Mark Petersen and Dana Whitaker PPR: Fnac, Redcats Group, Conforama, CFAO, Puma, Gucci, Bottega Veneta, Yves Saint Laurent, Balenciaga, Boucheron, Sergio Rossi, Alexander McQueen, Stella McCartney Dorothy and George Saxe Mr. Phil Schlein Chara Schreyer and Gordon Freund The W.L.S. Spencer Foundation Ruth and Alan Stein Michael Vanderbyl (1968), Vanderbyl Design Ms. Carlie Wilmans



Dr. Thomas and Janice Boyce Robyn and John Horn Ms. Leigh Hudson Ms. Ann Morhauser (1979) Henry and Nancy Salvo Margi Sullivan Ms. Sharon Vining and Mr. Mario Mamone Dr. Janice H. Zakin and Mr. Jonathan N. Zakin Anonymous FRIENDS GIFTS

Mr. Gregory L. Abbott (1971, 1973) Clarellen Adams Ms. Katryn K. Addiego Martha & Michael Adler Richard and Judith Allen Marianne Angelo (1989) Ms. Janis Anton (2004) Joanne and Juan Arauzo Jane L. Archer (1995) and Timothy Williams Ms. Ellen M. Arnaud (2004) David B. Astilli (1980) and Shirley Astilli Susan Avila and Stephen Gong Mrs. Terri Bailard (1973) Ms. Katherine M. Baldwin (1991)

Ms. Ellen E. Ball Mr. Patrick N. Barnes (1999) Marion and Andrew Barnes Ms. Marian L. Barrows Mr. John E. Bartko Jr. Mr. John W. Barton Mr. and Mrs. Glenn Bauer Mr. and Mrs. John Baumann Holly E. Bazeley (1972) Stephen Beal and Elizabeth Hoover Robert A. Bechtle (1954) and Whitney Chadwick Ms. Connie M. Beery Timothy Bellen (1986) and Nancy Bellen Jacob Belsky (1965) Mary C. Bendix (1975) Carolyn A. Bengston (1964) Ms. Barbara R. Berger Ms. Linda Berlinger Douglas Bernhagen (1969) and Cathy Bernhagen Mr. George A. Bernhardt Mr. William W. Bivins Jr. and Ms. Lynn D. Fuller Christine Bliss and David Nitz Mr. and Mrs. Byron Blodgett Mr. Power R. Boothe (1965) Mr. and Mrs. Stephen C. Bourn Ms. Deborah J. Bowman (1993) and Mr. Robert J. Riccardi Maureen Bragdon (1973) and Richard Bragdon Ms. Camille Ann Brewer (1989) Ms. Kathleen A. Broker and Mr. Steven K. Harris Mr. Justin P. F. Brown (1990) Michael Bull (1963) and Priscilla Bull Ms. Cecily R. Burke (1972) and Mr. David O. Taussig Ms. Kathleen G. Burns (1985) Butler/Shackley Family in memory of William Butler Martha MacLean Campbell (1978) and Twining F. Campbell III Ms. Sandra Carroll and Family Ms. Nancy Chan (2005) Ms. Lori Chan Luna (1973) and Mr. Robert Luna Sally and Philip Chapman, in memory of Gregory James Carroll, Richard Chapman, Thomas Corcoran, Judy Cortese, James Cramer, Enrico Donati, Virginia B. Goodwin, Bruce Kennedy, Karen Ann Lombardo, J. Richard McElyea, Frank Salamid Jr., and Jack Thornton Marjorie Chin (1971) and Dean Chin Mr. John M. Christensen (1950)

Connie L. Clark (1983) Mr. Dan E. Collins (1976) Leslie Connor-Newbold (1996) Ms. Nancy Conzett (1955) Celia E. Coolidge (1990) Elisabeth B. Cooper (1979) Rose Anne Critchfield (2005) and Steve Cohn Roberta Crumb (1965) Robert E. Daskam (1949) Ms. Mary Davidge Kenneth Davids Mr. Richard L. Davis Ms. Linda A. de Groot (1979) Mr. and Mrs. Paul B. Deal Ms. Marlitt Dellabough (1983) Mr. Allen Dempster, Dempster & Dietler LLP Ms. Margaret Dhaemers (1955, 1960) Mr. Thomas L. Dickson Ms. Lorna E. Dimeo Mr. Tom J. Dullaghan (1992) Mr. and Mrs. William M. Dwyer Gladys M. Eaton Mr. Rosi Eismont Mr. Lonnie J. Ellis (1985) Ms. Deborah Evenich Avery Falkner (1968) Nabil and Fayrouz Feghali Lori and Peter J. Feibelman Fennie+Mehl Architects Ms. Lynn M. Ferguson Mr. Ed Fernandez, Ed Fernandez Architects Ms. Leila Fiery Hamar (1986) and Mr. G. D. Hamar Jr. Mary Jane and Charles Fisher Ms. Julia Flagg (2002) Ms. Kathryn Fleck Ms. Linda Fleming (1976) Mr. Verne E. Folkmann James M. Fowler (1969) and Sui Hen Fung Fowler Mark Fox / BlackDog Mr. Dale L. Freeman (1983) Ms. Helen Frierson Jerry and Gail Gabriel Kathleen Gadway (1983) and Marcell Hall Henry L. Gardner Ms. Marjorie J. Garner (1980) John and Cindy Gayle Thomas and Pamela Gerfen Ms. Margaret Ghodsi Ms. Kathryn A. Glover (1973) Ms. Meredith R. Goldsmith (2005) Emma and Fred Goltz Mr. Brian K. Graham Ms. Dinia Caldwell Green and Mr. Lloyd L. Green Mr. Douglas B. Green Nancy E. Greenhaw (1994) Mr. Steve Gretz (1976)

Mrs. Laura M. Griffith (1982) Mrs. Susan Grimshaw (2004) Mark Gross (1977) and Christine Gross Mr. and Mrs. Steve D. Guest Charles and Rachael Hagner Ms. Bonnie T. Hall (1987) Ms. Patience M. Hammond and Mr. Lawrence Goldman Ms. Mikae Hara (1986) Ms. Patricia Harkleroad (1970) Ms. Jacquelyn A. Harrison (1972) Mr. Patrick J. Hartley (1984) and Ms. Lauren R. Henry-Hartley (1983) William Hathaway (1966) and Elizabeth Hathaway (1966) Ms. Mary Hawkins and Mr. Jose Esteban Mr. Robert S. Heller (1981) Mr. Ray F. Henry, AIA Ramiro and Laura Hernandez Scott and Rebecca Heskes Hickory Business Furniture Carol and James Hinton Ms. Cynthia Hobson Eleonore F. Hockabout (1981) Ms. Ann Hollingsworth (2005) and Ms. Catherine Carhart Ms. Laurel G. Hollis (1989) Mr. William D. Hovard (1985) Michael and Virginia Howden Ms. Lin Lin Hu Chung-Che J. Huang (1984) Ms. Linda Huffard (1977) Ms. Bronwyn Hughes (2006) Carolina Humphreys (2002) and David Humphreys Donna M. Hyland (1950) Mr. and Mrs. Robert Israel Ms. Louise C. Jansen (1989) Ms. Teddi L. Jensen (1984) Dr. and Mrs. Ernest E. Johnson Ms. Barbara Jones Marsha Jurgenson (1972) and Neal Jurgenson Ms. Hiba Kalache (2005) and Mr. Aref El Natour Richard C. Kalayjian (1983) and Ann Kalayjian Ms. Bernadette Karmazsin (1969) Barry M. Katz and Deborah Trilling Ms. Susan Landor Keegin Robbins C. Kelly (1978) Patrick Kenney (1983) and Diana Kenney Ms. Diane Ketelle Ms. Elizabeth Cary King (1986) Gordon King (1956)and Corky King Ms. Melinda Morrison King (1982) Gary Koshaba Sandra Kosinski (1974) and Anthony Kosinski Jennifer Kubo (1991) and Steve Kubo Mr. Andrew J. Kudless Terry Kwik and Dalia Chie Ms. Kathleen Larisch (1970, 1972) and Dr. Dennis S. Weiss

Mr. Jon E. Lash (1973) Mr. Brian Lauterbach Gregory D. Lee (1967) Mr. and Mrs. David Lees Ms. Lindsay A. Leggin (1976) Mr. and Mrs. David C. Lemon (1979) Susan M. Lilly (1988, 1991) Yim G. Lim and Family Frederick Loomis (2004) Donald and Renee Lorenze Charlene Luke and Edward Severn Carol and Craig Lundin Charlotte and Donald Macken Mrs. Carol T. Maddox (1960) Howard and Seisel Maibach Bill Mandel, MBV LAW in honor of Matthew Mills and David Robinson and in memory of Chris Mandel Ms. Kristina J. Manis (1988) Ms. Belle Marko (1990) Ms. Christina A. Marsh B.J. and Christopher Martin Janet Mason (1963) and Jerry Mason Mr. Steven McCanne and Ms. Tamara White Bart and Elizabeth McClelland Charles D. McDevitt (1966) Ms. Robbin McDonald & Mr. Steve Conway Ms. Karen L. McEligot Diane and Thomas McGinn Ms. Katherine McKay (1987) Sheri S. McKenzie and Mark S. Bernstein Anne W. McNerney (1975) Ms. Maria McVarish David Meckel Ms. Mary G. Mercer Ms. Amy Meyer (1956) Julie Meyer (1989) and Stephen Meyer John and Diane Michalik Gregory and Elaine Miller Ms. Irma S. Miller Mr. Michael E. Miller Ms. Jamie L. Millican (1981) Mr. and Mrs. Dennis E. Moran (1961) Ms. Cheryl Mortimer Ms. Barbara Mortkowitz (1975) Ms. Kathryn E. Namba Mr. Shigeru Namba Ms. Kara L. Nelson (2008) Mr. Russ S. Nichols Wendy Nishizaki (1990) and Craig Nishizaki David and Victoria Norris Diane Oles (1984) Rik Olson (1967) Ms. Judith E. Oroshnik (1983) Ms. Aura Oslapas and Mr. Robert Arko Susan E. Oviatt (1973) and Charles Oviatt Lori Owles Ms. Georgia Panagiotopoulos Relman (1984) and Mr. David Relman Centennial Campaign


Dmitry Panich (1991) Leroy W. Parker (1966) Wendy J. Paull-David (1972) Nicholas F. Pavloff (1962) Marshall H. Peck III (1972) and Beth Dunbar Mr. Keith E. Petersen (2006) Mr. Cian Phillips Mr. and Mrs. George L. Phillips Lisa A. Pickett (1984) Lisa Pierce (1990) Ernie A. Pinata (1971, 1974) and Anne Pinata Richard Plishker and Bettyann Plishker (1978) Ms. Ann Enlow Price Mr. and Mrs. Robert W. Purdie Ms. Stacy Pyles (1999) Mr. Carlos Ramos (1970) Katherine Renick Steve Reoutt* (1961) Lawrence R. Rinder Rachel M. Riser (1995) Mr. Donald P. Roberts (1953) Mr. Lenin J. Rojas (1998) Mr. Ernest H. Roth (1972) Mr. Mark Rowland and Ms. Rosemary Aguayo Robert and Eileen C. Ruby Ms. Jessica Russell and Mr. Patrick McKinney Ms. Sheila Sabine Mr. and Ms. Lester J. Sack Jr. Douglas C. Sandberg (1978) and Kristine Sandberg Gretchen and James Sanders Lynda Sanjurjo-Rutter and Dan Rutter Earl W. Saunders (1953) Ms. Sharyn Schneider and Mr. Chris Meinke Ms. Daphne Schrampf (1984) Robert A. Schultz (1961) and Carol Schultz Ann K. Schwiebinger-Mayer (1981) and D. J. Mayer Mr. George Luis Sedano and Mr. Eric Fiske Daniel and Martha Seeger Mr. Leslie M. Sennette (1981) and Ms. Zelma F. James Ms. Jennifer Serwer (2002) Sally L. Seymour Susan Shawl (1963) Ms. Nitza S. Shawriyeh (1980) Ms. Roxanne Sherif (1987) Ms. Ethel W. Shipp (1950, 1951) Estate of Lundy Siegriest (1949) Ms. Margaret B. Silverman (1990) Ms. Kristina R. Simanis (1986) Mr. and Mrs. Dennis M. Smith (1972) Mr. Donald Smith Ms. Heidi K. Smith (2006) Mr. Roger A. Smith (1968) Mr. Jim Smoldt (1983) Mrs. Young Duk-Nam Song (1973) and Mr. Che-Moon Song Aletha SoulĂŠ (1977) Mr. Philip L. Spross (1959) 28

Mr. Gino Squadrito Terry N. St. John (1966) Eve Steccati-Tanovitz (1969) and Ron Tanovitz (1969) Ms. Mary I. Stevens (2001) Nathan Stinus Fredenburg (1993) and Kathy Stinus Fredenburg Mr. Jaron A. Stokes Ms. Constance de Laveaga Stoops (1990) and Mr. Robert M. Stoops Mr. Mark J. Takiguchi Ms. Asako Takusagawa (1942) Philip S. K. Tang (1977) Teknion Corporation James Terman (1982) and Carolyn Terman Martin and Elizabeth Terplan Heidi A. Timken Ms. Jean Timken and Mr. Steven Cuny Shelley and Bill Timken Jr. Alta Tingle Mr. and Mrs. Jeanne L. Tintle Ms. Joyce I. Tobe (1990) TSAO Design Group, Inc. Ms. Susan S. Tsuchiya (1988) Mr. Rich VanAntwerp Ann Vanderbyl (1974) Roberto and Silvia Villa Ms. Suzy Vogler (1982) Mr. Robert L. Wait (1952) Mr. and Mrs. William Wan Ms. Dawn M. Ware Ms. Alyssa Warnock (2001) Betsy R. Weis (1981) and Ron Weis Ms. Susan S. Weller (1970) Jeffrey R. Werner (1979) Laurellee Westaway Suzanne Westaway Ms. Mary M. White (1983) Ms. Dorothy L. Wilbanks (1961) Mr. David W. Williams, David W. Williams Design Mrs. Lana Legallet Wilson (1966) Thomas Wojak (1992) and Misty Youmans (1996) Mr. John F. Wong (1964) Doris Woodward (1976) and Geoffrey Woodward Ms. Leslie C. Wozniak (1985) Elizabeth and Daniel Wright Mr. and Mrs. Seiji Yamashita Mr. Raul A. Yanez Ms. Setsuko Yoshimura Christine Young (2003) and Scott Young Mrs. Mardi Young (1980) Neysa Young Mr. and Mrs. Aaron S. Zisman Anonymous (10) *deceased


Nova Illuminated Corridor

(with CCA alumnus Steve Dye and more than 60 other artists) in conjunction with the Whitney Biennial and NPR, Gansevoort Plaza, New York, May 2008. KIM ANNO GROUP SHOW:

Looking Back, Patricia

Sweetow Gallery, San Francisco, Mar.–Apr. 2008. BOB AUFULDISH GROUP SHOW: Realities and Illusions, Marin Museum of Contemporary Art, Novato, Aug.–Sept. 2008. AWARDS: included in the 365: AIGA Year in Design award and Type Directors Club competitions for the CCA fall 2007 Architecture Lecture Series poster design, 2008; Graphis gold award for the CCA 2008 Portfolio Day poster design, 2008. ELLEN BABCOCK

Wayward, 301 Bocana Gallery, San Francisco, Feb.–Mar. 2008.




Buckminster Fuller Challenge, Center for Architecture, New York, June 2008.

Brownstein continues to teach and coach writing at 826 Valencia, San Francisco. He is also working on several online publication projects related to the archival holdings of the Judah L. Magnes Museum, Berkeley.


YEE JAN BAO AWARD: Adolph and Esther Gottlieb Foundation $25,000 individual support grant, spring 2008. CL AUDIA BERNARDI GROUP SHOW:

International Print Exhibition,

City Art Museum, Kyoto, Japan, May 2008, and the Prefectural Museum of Modern Art, Tokushima, Japan, July 2008. PUBLICATION: “The Tenacity of Memory / La tenacidad de la memoria” in Transforming Terror: Remembering the Soul of the World, UC Press, 2008. PUBLISHED TRANSLATION: “Creative Writing” (by Miroslav Holub), Poetry, Apr. 2008. MODERATOR: “This I Believe: Readings and Other Reflections on Life,” Oberlin College, Ohio, May 2008. RESIDENCY: Hedgebrook, Whidbey Island, Washington, Aug. 2008.

TAMMY R AE CARL AND SOLO SHOW: An Archive of Feelings, Jessica Silverman Gallery, San Francisco, June–July 2008. GROUP SHOWS: If Love

Could Have Saved You, You Would Have Lived Forever, Bellwether Gallery, New York, July–Aug. 2008; The Way That We Rhyme: Women, Art, and Politics, Yerba

Buena Center for the Arts, San Francisco, Mar.–June 2008. AWARD: Curve magazine’s 20 most influential lesbian professors, Mar. 2008. SUSANNE COCK RELL AND TED PURVES AWARD: Investing in Artists Grant, Center for Cultural Innovation, 2008. GROUP SHOWS: This Show Needs You, San

Claudia Bernardi, Tapestry of History, 2008 Community Arts faculty member Claudia Bernardi directed this group mural project in collaboration with the School of Art and Open Studio of Perquín, human rights agencies, and Guatemalan survivors of massacres. Bernardi has worked extensively in El Salvador, Guatemala, and Argentina, collaborating with local agencies to investigate human rights violations against civilians. These 25 Guatemalan muralists had never before made art, but the finished work documents their personal memories and tragedies beautifully and hauntingly.

Faculty Notes


Jose Institute for Contemporary Art, Mar.–May 2008; E.P.A. (Environmental Performance Actions) and S.E.A. (Social Environmental Aesthetics), Exit Art, New York, Mar.–May 2008. PUBLICATION: “Lemon Everlasting Backyard Battery,” New York Foundation for the Arts Green Issue, June 2008. PANELISTS: “Art and Life: Life and Art,” Intervene! Interrupt! Rethinking Art as Social Practice, University of California, Santa Cruz, May 2008. SPEAKERS: International Symposium, Art in Education / Education in Art, Mercosur Biennial, Porto Alegre, Brazil, October 2008. BRIAN CONLEY GROUP SHOW:

Bay Area Now 5,

Yerba Buena Center for the Arts, San Francisco, July–Nov. 2008. LIA COOK

Familiar Faces, Anderson Gallery, Virginia Commonwealth University, Richmond, Jan.–Mar. 2008.

STEVE DICKISON PRESENTATION: “Eye of the Ear: Jess and the Poets,” Reed College, Portland, Oregon, July 2008. AWARD: Poet to Watch, Northern California Independent Booksellers Association, 2008. ANTHONY DISCENZA

HalfLifers and AfterLifers: Walking and Talking (Exten-dead version),


Catharine Clark Gallery, San Francisco, July–Aug. 2008; Anthony Discenza’s (Another) Road Movie, Catharine Clark Gallery, San Francisco, June–July 2008. H ANK DUNLOP AWARD: International Interior Design Association Leadership Award of Excellence in observance of his contributions to the organization on a local level and his leadership in design and education, Sept. 2008.


JASMIN DARZNIK AWARD: $10,000 Steinbeck Fellowship in Creative Writing, 2008–9. MELINDA LUISA DE JESÚS PRESENTATION: National Women’s Studies Association conference, Cincinnati, June 2008. DONNA DE LA PERRIÈRE

poems have appeared recently in Colorado Review, Denver


Quarterly, Interim, Mirage/Period(ical), New American Writing, and Volt. READINGS: National Public Radio; Volt magazine

“War Issue” reading, Berkeley; Galería de la Raza, San Francisco; and Zinc Bar, New York. CURATED: CCA Centennial Faculty and Alumni Poetry Reading, Small Press Traffic, San Francisco, Sept. 2007; Bay Area Poetry Marathon reading series, The LAB, San Francisco, Aug. 2008.


ROB EPSTEIN BOARD ELECTIONS: Yerba Buena Center for the Arts, San Francisco, and Academy of Motion Picture Arts and Sciences, documentary branch. Epstein’s first film, Word Is Out, has been selected by the UCLA Film and Television Archive as a restoration project and showed at Outfest, Los Angeles, July 2008. His Oscar-winning The Times of Harvey Milk served as the inspiration for Gus Van Sant’s new feature film Milk, starring Sean Penn, and his advanced production class served as extras in the movie during filming in San Francisco. LISA FINDLEY PANELIST: Association of Collegiate Schools of Architecture conference, Houston, 2008. LINDA FLEMING

Peripheral Vision, Lemmons Contemporary Art, New York, Apr. 2008. COMMISSION: large outdoor


Donald Fortescue and Lawrence La Bianca, Sounding, 2008 This collaborative artwork featured in Bay Area Now 5 (at San Francisco’s Yerba Buena Center for the Arts) is inspired by Herman Melville’s MobyDick. Furniture faculty members Donald Fortescue and Lawrence La Bianca share a long-standing affection for the book’s detailed evocation of antiquated crafts, powerful tales of struggle at sea, and perennially relevant dissection of monomania. They filled the table with beach pebbles from the black sand beaches of Marin and then immersed it in Tomales Bay for a month to accumulate living oceanic organisms.

sculpture at the International Quilt Study Center and Museum, University of Nebraska, Lincoln, Mar. 2008. JAMES FORCIER PUBLICATION: “The

Upside of a Downturn: Making the Best of a Turbulent Economy,” North Bay Business Journal, June 2008. DONALD FORTESCUE GROUP SHOW: Bay Area Now 5, Yerba Buena Center for the Arts, San Francisco, July–Nov. 2008.


Graphis Design Annual 2009;

Graphis Logo Design 7, 2008; Type Directors Club TDC54, 2008; Print magazine Regional Design Annual, 2008. WORK FEATURED: PAGE, May 2008. GLORIA FRYM

poems have appeared recently in Van Gogh’s Ear, Zen Monster,


Origin 4, Golden Handcuffs Review, 31 Words, Nova Cookie: Six-Word Novels, and Encyclopedia Project Volume 2. LINDA GE ARY SOLO SHOW: Linda Geary, b. sakata garo, Sacramento, Feb.–Mar. 2008. GROUP SHOW: Introductions, Pulliam Deffenbaugh Gallery, Portland, Oregon, Feb.–Mar. 2008. JORDAN GEIGER ( WITH GA-GA)

Vapor, Southern Exposure, San Francisco, Mar.–May 2008. RESIDENCY: Banff New Media Institute, Canada, 2008. COMMISSIONS: Day for Night, Zero One Festival, San Jose, 2008; Southern Exposure gallery remodel, San Francisco, 2008. PUBLICATIONS: “One Tree, Two Wheels, 1000 Clones,” SPUR, Aug. 2008; “Specific Harbor, Generic Port,” 2nd Dieppe Biennial exhibition catalog, 2007. AWARDS: $15,000 California Initiative Grant in support of the “Vapor” advanced interdisciplinary studio and symposium at CCA (student work from the studio was featured in the American Institute of Architects exhibition Urban Rein(ter)ventions, San Francisco, Aug. 2008). COCURATED:

of Art, Baltimore, Jan.–Mar. 2008. AWARD: $10,000 CCA Chalsty Research Grant for his forthcoming book Minor Nature: Architecture and Its Immanent Environments. PUBLICATIONS: “Architecture’s Geographic Turns,” Log, Anycorp,

spring 2008; “Bigness vs. Greenness: The Shared Ideology of the Big and the Green” in Writing Urbanism: A Design Reader, Routledge, 2008; Atmospheres of Late Modernity: The Urban Production of Indoor Air in New York City, 1963–2003

(Phd dissertation), University College London, 2008. WORK FEATURED: “Big and Green” in Architectural Theory: An Anthology from 1871–2005, Blackwell, 2008, and in World Changing, Abrams, 2008. JAMES GOBEL SOLO SHOW: Bear Hunting, Marx & Zavattero, San Francisco, Feb.– Mar. 2008. GROUP SHOW: The Bathroom Show!!, Tricycle Gallery, San Francisco, Apr. 2008. ALISA GOLDEN

Never Mind the Press: 25 Years of Book Art, Heller Rare Book Room,


Mills College, Oakland, Jan.–Mar. 2008. GROUP SHOWS: Bookworks: Pacific

Anxious Climate: Contemporary Architecture at the Edge of Environment (reviewed in Metropolis, Urban Palimpsest,, and Baltimore City Paper), Maryland Institute College CURATED:


Nature Word / Verbe Nature,

NoneSuch Space, Oakland, Aug.– Oct. 2008. ERIC HEIM AN ( WITH VOLUME INC.)

two gold awards, Graphis Design Annual 2009; gold award, Graphis Poster Annual 2008–9; ReBrand 100 best-of award, 2008; graphic designer of the year, International Design Awards, 2007; two Spark! awards and one silver Spark! award, 2007. GROUP SHOWS: Gateways: International Book Cover Design, Silo Espaço Cultural, Porto, Portugal, July–Aug. 2008; AIGA San Francisco 25th Anniversary Exhibit, June 2008. WORK FEATURED: “STEP 100 Design,” STEP Inside Design, Mar.–Apr. 2008; “Volume,” étapes, Jan. 2008; Choosing and Using Paper, Rotovision, 2007; Typography 28, Type Director’s Club, 2007. JUDGE: 365: AIGA Annual Design Competitions 29, 2007. PUBLICATION: “The New, Weird America,” Eye, summer 2008. AWARDS:


with Larry Sultan,” EXIT, Feb. 2008.

Center for the Book Arts Members’ Exhibition, San Francisco Public Library, July– Sept. 2008; The Art of the Book, Donna


Seager Gallery, San Rafael, California, Apr.–May 2008. CURATED: Read Some Art! Student Book Art from CCA and SFAI, Albany Library, California, Feb. 2008.

RESIDENCY AND GROUP SHOW: Theory of Survival, The Lab, San Francisco, Apr. 2008. GROUP SHOWS: We Remember the Sun, Walter and McBean Galleries, San


spring 2008. M AYUMI H AM ANAK A



GROUP SHOWS: Never Seen, CCA Oliver Art Center, Oakland, Dec. 2007; The Little Show, Swarm Gallery, Oakland, Nov.– Dec. 2007; Fabric of Identity, Western Gallery, Western Washington University, Bellingham, Oct.–Nov. 2007.

Francisco Art Institute, June–Sept. 2008; Three Stages of a Rose, Seeing Peace billboard project, San Francisco, May–June 2008; The Way That We Rhyme: Women, Art, and Politics, Yerba Buena Center for the Arts, San Francisco, Mar.–June 2008. CURATED: Theory of Survival: Bay Area Now 5, Yerba Buena Center for the Arts, San Francisco, July–Aug. 2008; East of the West (with Anu Vikram), SomArts APICC Festival, San Francisco, May 2008.

Faculty Notes


Apr. 2008; Passed as Present, York Art Gallery, England, Jan.–Apr. 2008.

conference, Vitoria, Spain, summer 2008.




AWARD: Multi-Arts Production Fund grant for the project Imperial Silence:

Fellow Award, 2008.


Michele Pred, Fear Culture, 2008 For (Dis)possessions, her first solo museum show, CCA faculty member Michele Pred created this large installation of items confiscated at San Francisco International Airport. She has been collecting them en masse since 9/11. Pred is also an alumna (she graduated in 1990 with a degree in Interdisciplinary Fine Arts) and spearheaded the installation of CCA’s first campus recycling bins.

Francisco International Festival of Short Films, Aug. 2008. DIRECTOR AND MENTOR: student filmmaking program, Cannes Film Festival, France, May 2008. SCREENING: My Dad’s Hair, Cannes Film Festival, France, May 2008. FEATURED: The Screening Room, CNN International, May 2008. L AWRENCE L A BIANCA

Bay Area Now 5, Yerba Buena Center for the Arts, San Francisco, July–Nov. 2008; Nature Study, Chandra Cerrito Contemporary, Oakland, Apr.–May 2008; New West Coast Design: Contemporary Objects, San Francisco Museum of Craft + Design, Jan.–Apr. 2008. MUNG L AR L AM

2008 SECA Art Award, San Francisco Museum of Modern Art. SOLO SHOW: Videos, Night Vision at the Climate Theater, San Francisco, Aug. 2008. GROUP SHOWS: Mineral Park, Park Gallery, Falkirk, Scotland, Aug.–Sept. 2008; Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.


design principal, HDR International, San Francisco. WORK FEATURED: Cleveland Clinic Abu Dhabi Hospital interior architecture in Healthcare Design, May 2008. PRESENTATION: “Sustaining Culture in Abu Dhabi and Modernity,” Mubadala, Abu Dhabi, July 2008. NEW POSITION:


Craft and Folk Art Museum, Los Angeles, May–Aug. 2008.


Horror Vacui: Collaborative Prints by Jeanne Lorenz and Billy Sprague,


Forthrite, Oakland, Feb.–Mar. 2008. GROUP SHOWS: Triangulation, City Hall, San Francisco, Aug.–Sept. 2008; The Bathroom Show!!, Tricycle Gallery, San Francisco, Apr. 2008. IAN COATS M AC COLL

vice president of design and development, Wham-O Inc., Emeryville, California, May 2008.






California Autoharp Gathering Lifetime Achievement Award, 2008. PERFORMANCES: Freight and Salvage, Berkeley, Apr. 2008; San Diego Roots Festival, May 2008.

Manuf®actured: The Conspicuous Transformation of Everyday Objects


PRESENTATION: “Bio-Inspired Design,” International Biomimicry Educators’ Summit, Flathead Lake, Montana, July–Aug. 2008. McKeag conducted a course at Eco-Engineers, the first children’s camp devoted exclusively to bio-inspired design, in Kent, New York, July 2008.

Home Ec, Berkeley Art Center, May–June 2008.



(supported in part by a CCA faculty development grant), Museum of Contemporary Craft, Portland, Oregon, Aug. 2008–Jan. 2009. DAVID HUFFM AN

Looking Back, Patricia Sweetow Gallery, San Francisco, Mar.–






Una Ópera Muerta / A Dead Opera in Four Acts, 2008.



Making Room for Wonder (at SomArts Gallery), National Queer Arts Festival, San Francisco, June 2008. PANELIST: New Debates in Feminist Art CURATED:

READINGS: Small Press Traffic, CCA, San Francisco, May 2008; Red Rover series, Chicago, May 2008. PUBLICATION: essay in California Video: Artists and Histories, Getty Publications, 2008.


Art Farm @ Sheldon (in colloboration with FACT), Sheldon Museum of Art, University of Nebraska, Lincoln, Jan.–Apr. 2008.



Ferrous Park:

Fabricating Urbanism (in collaboration with Marlon Blackwell Architect, el dorado inc., and FACE Design), 96th Association of Collegiate Schools of Architecture conference, Houston, Mar. 2008. R AFFI MINASIAN WORK FEATURED: “Hybrid

Ferrari,” FORZA,


Field Work, The Apartment, Vancouver, May–Aug. 2008; Night Light, Climate Theater, San Francisco, May 2008; California as Paradox: Imagined Communities, Fort Gallery, San Francisco, Feb.–Mar. 2008. SCREENING: T-10 Video Festival, 21 Grand, Oakland, Jan. 2008. GROUP SHOWS:

JULIAN MYERS PRESENTATIONS: “Drawing Dragging,” College Art Association conference, Dallas, Feb. 2008; “Mirror Travel in the Motor City” (with Edgar Arceneaux), Artists Space, New York, Apr. 2008; “Riot Show” at Bay Area Now 5, Yerba Buena Center for the Arts, San Francisco, July 2008, Artists Space, New York, Apr. 2008, and TART Contemporary, San Francisco, Nov. 2007. PUBLICATIONS: “A Temporary Institution” (with Hou Hanru) in Shaving the Mammoth, San Francisco Art Institute, 2008; “Interview with Edgar Arceneaux” in 2008 California Biennial, Orange County Museum of Art, 2008. ABNER NOL AN

Unfaded Memories, Dorsch Gallery, Miami, Florida, Mar.–Apr. 2008. GROUP SHOW:

Lydia Nakashima Degarrod, Geographies of the Imagination, 2008 Lydia Nakashima Degarrod’s multimedia installation this fall at CCA’s Oliver Art Center is the result of a year of intensive interviewing and art making. It draws on her memories of emigration from Chile as well as the memories of several other Chilean immigrants—mostly political refugees—who now call the Bay Area home. Degarrod was the Center for Art and Public Life’s visiting artist and scholar in 2007–8.




Foundation Fellowship, Itaprica, Brazil, 2008. SOLO SHOW: Agua e terra, Galería Acbeu, Salvador, Brazil, Apr. 2008.

SOLO SHOW: Art Kites, Berkeley Kite Festival and CiCi Gelateria (owned by CCA alum Michael Orlandi), Mill Valley, California, Aug. 2008.




(Dis)possessions, John Michael

Kohler Arts Center, Sheboygan, Wisconsin, June–Oct. 2008. GROUP SHOWS: Vital Signs, Newcomb Art Gallery, Tulane University, New Orleans, Aug.–Oct. 2008; Quorum Art Collective Exhibition, Limn Los Angeles, Aug.–Sept. 2008; SubZero, Zero One Festival, San Jose, June 2008; Signals in the City, University of Abertay Dundee, Scotland, Mar.– May 2008. WORK FEATURED: “Search and Rescue,” ReadyMade, June–July 2008; Travel + Leisure, Aug. 2008; Trend (cover feature), spring 2008. K ATHERINE RINNE RESIDENCY AND RESEARCH FELLOWSHIP:

PUBLICATION: Constructive Images: Gender in the Political Cartoons of the Masses, 1911– 1917 (PhD dissertation), Johns Hopkins

University, 2008. PRESENTATION: “Gender and Visual Culture: Assessing Current Methodologies,” Berkshire Conference on the History of Women, Minneapolis, June 2008. AWARD: travel grant, Alice Marshall Women’s History Collection, Pennsylvania State University, Aug. 2008. MITCHELL SCHWARZER PUBLICATIONS: “Toward

a California Judaism” in Daniel Libeskind and the

Contemporary Jewish Museum: New Jewish Architecture from Berlin to San Francisco,

Canadian Centre for Architecture, 2008.

Rizzoli, 2008; “Skyscraper Stories” in


Clickers,” Architecture and Television Symposium, Syracuse University, New York, Apr. 2008.

AWARD: bronze Solas

award for “Alive in Lisbon,” 2008. READINGS: Book Passage, Marin, California; Get Lost Books, San Francisco; Mrs. Dalloway’s, Berkeley; Readers’ Books, Sonoma, California (all spring–summer 2008).

Vertical Places: The Tall Building in the World City, CCA, 2008. PRESENTATION: “House


Voussoir Cloud (reviewed in I.D.), SCI-Arc Gallery, Los Angeles, Aug.–Sept. 2008. SOLO SHOW:

Faculty Notes



Lux, Carleton

College, Northfield, Minnesota, Jan.– Mar. 2008. AWARD: Metropolis Next Generation competition winner (with Civil Twilight Collective) for Lunar Resonant Streetlight project, May 2007. NANCY SELVIN SOLO SHOW AND WORKSHOP: Baltimore Clayworks, Apr. 2008. GROUP SHOW: Clay(Mates), James Patrick Gallery, Wiscasset, Maine, July–Aug. 2008. LECTURES: “It’s Not the Same Old Dinnerware Anymore! Ceramics from the Marer Collection and Beyond,” San Francisco Museum of Craft + Design, June 2008; Sonoma Arts and Lecture Series, Sonoma Art Center, California, Mar. 2008. WORKSHOP: “Color, Surface, Text,” Heath Ceramics Company, Sausalito, California, July 2008. ELIZABETH SHER SCREENINGS:

Bella, Bella at the Baltimore

Women’s Film Festival, California State University Monterey Bay, KCSMTV, and the Aratoi Museum in New Zealand, all 2008; Stalls, Faux Film Festival, Portland, Oregon, Mar. 2008. GROUP SHOWS: TTFA Ten Year, Toomey Tourell Fine Art, San Francisco, July–

Aug. 2008; Bookworks: Pacific Center for the Book Arts Members’ Exhibition, San Francisco Public Library, July–Sept. 2008; Digital Visions (received 2nd place jury prize), Artlink, Fort Wayne, Indiana, May–July 2008; The Art of the Book, Donna Seager Gallery, San Rafael, California, Apr.–May 2008; Secrets and Lies (received 2nd place jury prize), 23 Sandy Gallery, Portland, Oregon, Mar.– Apr. 2008; Sit Down and Read, Another Room Book Arts, Alameda, California, Mar.–Apr. 2008. RESIDENCY: New Pacific Studio, New Zealand, 2008.

Contemporary Arts Museum, Houston, May–July 2008; Inner and Outer Space, Mattress Factory, Pittsburgh, Apr. 2008–Jan. 2009. OWEN SMITH

The Maltese Falcon posters, San Francisco Arts Commission Art on Market Street Program, June– Sept. 2008.


BAR RON STOREY SOLO SHOW: Victims, Anno Domini, San Jose, Feb.–Mar. 2008. GROUP SHOWS:

LitGraphic: The World of the Graphic Novel,


Norman Rockwell Museum, Stockbridge, Massachusetts, Nov. 2007– May 2008 (touring through 2012); The Last Picture Show, Delavan Art Gallery, Syracuse, New York, July–Aug. 2008. PUBLICATIONS: segments of two graphic novels published by Soleil: “On muert de la boue comme des balles” in Paroles

AWARD: finalist, California Clean Tech Open, green building category, 2008.

de Verdun 21 Fevrier 1916–18 Decembre 1916 (illustrating letters from World

CHRISTOPHER SIMMONS GROUP SHOW: Shelter x Survival: Alternative Homes for Fantastic Lives, Hiroshima

Museum of Contemporary Art, Japan, Feb.–Apr. 2008. K ATE SIMONEN


Ethnographies of the Future,

Starry Night Fund of the Tides Foundation, New York, Aug.–Nov. 2008; On Procession, Indianapolis Museum of Art, May–Aug. 2008; The Old, Weird America,

War I soldiers) and “United States 1968” in Mai ’68. Storey appeared at the San Diego Comic Convention in July 2008 and blogs daily at

Sanjit Sethi, Kuni Wada Bakery Remembrance, 2008 Sanjit Sethi’s olfactory memorial in the city of Memphis emits the smell of baked cookies and doughnuts. It commemorates the Japanese owners of the bakery that used to occupy this site, who were jailed during World War II. Sethi is the new codirector of CCA’s Center for Art and Public Life and chair of the Community Arts Program. 34


Nothing Moments: A Collaborative Project in Art, Literature, and Design (book launch, reading, and GROUP SHOWS:

travling exhibition), Printed Matter Inc., New York, June 2008; Forms of Inquiry: The Architecture of Critical Graphic Design, Casco Office for Art, Design,

and Theory, Utrecht, the Netherlands, Jan.–Feb. 2008 and LUX Gallery, Valence, France, Mar.–June 2008. WORK FEATURED: William Safire’s On Language column, New York Times Magazine, June 2008; Young Graphic Designers Americas, Daab Books, 2008. L AR RY SULTAN

This Side of Paradise: Body and Landscape in L.A. Photographs (travelGROUP SHOWS:

ing), Huntington Library, San Marino, California, June–Sept. 2008; Variable Capital, Bluecoat, Liverpool, England, May–June 2008; Seeing Ourselves: Masterpieces of American Photography from the George Eastman House Collection,

Mississippi Museum of Art, Jackson, Apr.–June 2008; Southern Exposure:

2008. GROUP SHOWS: Interruption of Hierarchies, Sesnon Art Gallery, University of California, Santa Cruz, Apr.–May 2008; Deeesire, Gatov Gallery, Long Beach, California, Dec. 2007. Drawing Complaint: Memoirs of Bjork-Geisha at the Santa Cruz Film


Festival, Deep House Hell, ATA, San Francisco, and Work To Do!, Queer, Feminist and Postcolonial Disidentifications Regarding Autonomy and Work Film Program, Shehalle, Zurich, Switzerland (all 2008). JOSEPH TANK E PRESENTATIONS: “Recent Challenges to the Postmodern Paradigm: The Case of the Aesthetic Regime,” Institut national d’histoire de l’art, Paris, May 2008; “The Twisted Logic of Modernity: the Philosophy and AntiPhilosophy of Art,” Jacques Rancière Day, Roehampton University, London, May 2008. LUCILLE TENAZAS

Quadrille Publishing, 2008; Interview, Mar. 2008; Wallpaper, Mar. 2008.

Henry Wolf Professor at Parsons the New School for Design. Tenazas will be starting a graduate program in communication design with a multidisciplinary focus, drawing on the New School for Social Research, Milano the New School for Management and Urban Policy, and Mannes College the New School for Music.



PUBLICATION: “Looking Through


Hannah’s Eyes,” Art Journal, summer 2008. PRESENTATIONS: “Interruption of Hierarchies: The Academy and the Gallery,” Intervene! Interrupt! Rethinking Art as Social Practice, University of California, Santa Cruz, May 2008; “Love/Sick,” 17th Annual Matrilineage Symposium, Syracuse University, New York, Mar. 2008; “Opening Interruptus,” Clark/Getty Symposium, Getty Research Institute, Los Angeles, Feb.

Alliance of Northern California Newsletter,

Works from the Collection of the San Diego MCA, Museum of Contemporary Art, Sydney, Mar.–June 2008; Worlds Away: New Suburban Landscapes, Walker Art

Center, Minneapolis, Feb.–Aug. 2008. WORK FEATURED:

The Genius of Photography,


Reflections, Sculpturesite Gallery, San Francisco, California, Aug.–Oct. 2008. ACQUISITION: Tagged (2004), by the William Benton Museum of Art, University of Connecticut, 2008. WORK FEATURED: Glass

July 2008. PUBLICATION: article about the glass program at Osaka University of Art (CCA’s sister school) in the Glass Art Society Newsletter, Sept.–Oct. 2008.

M ARTIN VENEZKY WORK FEATURED: Brian Wilson’s That Lucky Old Sun CD packaging and stamp sheet, 2008; Kelly Slater: For the Love,

Chronicle Books, 2008; CCA Graduate Studies materials, 2008; San Francisco Museum of Modern Art Diaspora playing cards and Non-Western Westerns poster and T-shirt series, 2008; Wired, May 2008; New York Times Magazine, Apr. 2008. LECTURE: Under Consideration Presents Opposites Attract series, New York Art Directors Club, May 2008. JUDGE: First Chicago International Poster Biennial, June 2008. ACQUISITION: full run of Speak magazine (1995–2001) by the Denver Art Museum, 2008. ANGIE WANG AWARDS: Type

Directors Club TDC54, 2008; Print magazine 2008 Regional Design Annual, 2008. WORK FEATURED: PAGE, May 2008. FR ANK LIN WILLIAMS

Obsession, Lizabeth Oliveria Gallery, Los Angeles, Mar.–Apr. 2008.


FEDERICO WINDH AUSEN PRESENTATIONS: “Ken Jacobs’s Stereoscopic Vision: Experimental Video and Photography,” International Visual Sociology Association conference, Buenos Aires, Aug. 2008; “Televisual Film and Owen Land’s Modes of Address,” Society for Cinema and Media Studies conference, Philadelphia, Mar. 2008. PUBLICATIONS: “Paul Sharits and the Active Spectator” in Art and the Moving Image, Afterall Books, 2008; “Historiographic Returns: Reviewing British Avant-Garde Film of the 1970s,” Grey Room, winter 2008. WORK FEATURED: “Cossacks in Argentina” on PRI’s Studio 360 (listen at

Faculty Notes



Taste 2008, Root Division, San Francisco, Apr. 2008. PUBLICATION: limited-edition print (with Primo Angeli) for the William Saroyan Centennial, Fresno, California, June 2008. COMMISSION: main gallery wall graphic, Contemporary Jewish Museum, San Francisco, June 2008. GROUP SHOW:

EUGENE YOUNG WORK FEATURED: Eye Candy From Strangers v.1.0, Brandstudio Press, Apr. 2008. AWARD: National Association

of Photoshop Users illustration award for Ash, 2008. JOHN ZURIER

Night Paintings, Larry Becker Contemporary Art, Philadelphia, Mar.– Apr. 2008.


Chris Johnson and Hank Willis Thomas, Question Bridge: Black Males / Blackmail (Reverend Herbert Oliver and Chris Williams), 2008 For more than a year Chris Johnson (Photography faculty) and Hank Willis Thomas (MFA 2003, MA Visual and Critical Studies 2004) have been visiting cities throughout the United States, asking black men questions about class, economic opportunity, and cultural values. View 20 minutes of sample footage and read more about the project, which is funded by grants from the Rockefeller Foundation and the LEF Foundation, at


Alumni Association Update Greetings from Lindsey Lyons (alumni relations associate), Amie Spitler (new Alumni Council president), and the Alumni Association! Since beginning my role as alumni relations associate in January, I’ve been honored to meet many of you at our Bay Area critique groups, the Career Expo, happy hour get-togethers, taco truck events for students, and via email as you send in your stories from around the world. Thank you all for keeping in touch. Hopefully since the summer you’ve been getting the new alumni email updates. You should also have received an alumni brochure and a new membership card in August. I encourage all 14,000 (!) of you to utilize the online alumni directory ( to track down fellow CCA grads in your area and get together! And you are always welcome to contact me at Alumni Relations Director Jessica Russell is currently on maternity leave, but we look forward to her return in early 2009. I’d like to welcome Amie Spitler (Interior Design 2003), our new Alumni Council president. Amie has already launched some great new programs, including the first alumni book club, and she has many other interesting ideas brewing. Amie is originally from Lawrence, Kansas, and is currently attending John F. Kennedy University for an MFA in studio art with an emphasis on civic engagement. Lindsey Lyons Alumni Relations Associate

Amie Spitler (left) and Lindsey Lyons (right) pose with Carsten Höller’s artwork at the opening of The Wizard of Oz at the Wattis Institute, 2008

Hello! I am very much looking forward to my term as Alumni Council president. CCA’s centennial celebration last year gave me a new attachment to, and sense of pride in, our college. More than anything it made me conscious of how large the CCA community is, and of how this is the perfect time to take the momentum of the reunion and direct it into the Alumni Association. By working together we can build a place for partnership and a wide network of contacts that will serve alumni today and inspire alumni of the future. My first exposure to CCA was in 1998, through the Pre-College Program for high school students. As an undergrad I lived in the residence hall and was resident advisor for two years; I also served as Student Council president for two years. I am excited about this new phase of my involvement with CCA and am looking forward to working with you. Please contact me at to get in touch, share your ideas, and get involved! Amie Spitler (Interior Design 2003) Alumni Council President Alumni Notes


Alumni Notes 1952 TED COHEN COCURATED: New West Coast Design: Contemporary Objects, San Francisco Museum of

Craft + Design, Jan.–Apr. 2008. NATH AN OLIVEIR A

Nathan Oliveira: The Painter’s Bronzes, Palo Alto Art Center, June–


Sept. 2008.




Loom and Lathe,


Harry Weisburd, Zezhong


Gallery, Beijing, May–Dec. 2008; Dancing for Joy, Expressions Gallery, Berkeley, Apr.–June 2008; Chinese Opera Paintings, Oakland Asian Cultural Center, Feb. 2008. GROUP SHOW: The

GROUP SHOW: The Question is Known: (W)here is Latin American / Latino Art?,

Dirty Show: 9th International Erotic Art Exhibition, Bert’s Warehouse Theater,

Mission Cultural Center for Latino Arts, San Francisco, Apr.–May 2008. AWARD: Bay Area Treasure Award, San Francisco Museum of Modern Art, Modern Art Council, Nov. 2008.

Detroit, Feb. 2008.

Berkeley Art Center, Mar.–Apr. 2008.



Native California, Filoli,

Woodside, California, Apr.–May 2008.


New West Coast Design: Contemporary Objects, San Francisco GROUP SHOW:

Museum of Craft + Design, Jan.– Apr. 2008.


1966 ARLENE RISI STREICH GROUP SHOW: Dancing for Joy, Expressions Gallery, Berkeley, Apr.–June 2008. MIR A M. WHITE SOLO SHOWS:

Abstract Art, Lindsay Dirkx

Brown Gallery, San Ramon, California, Apr. 2008; Driven to Abstraction, City Hall, Walnut Creek, California, Feb.– Mar. 2008. GROUP SHOW: Local Voice 2008, Bedford Gallery, Walnut Creek, California, June–Aug. 2008.


8 in ’07: Work by 8 Berkeley


GROUP SHOW: Martian Museum of Terrestrial Art, Barbican Art Gallery, London,

Artists, Giorgi Gallery, Berkeley, Mar.– Apr. 2007.


Safety Cones, Seattle Art Museum Olympic Sculpture Park,


this position and has retained it since, and now has been reelected for 2008). CH ARLES VALOROSO GROUP SHOW: Paintings by Willard Dixon, Rachel Kline, and Charles Valoroso,

SFMOMA Artists Gallery, San Francisco, Mar.–Apr. 2008.


Implements of Construction: Conversations with Paint, Joyce Gordon


Gallery, Oakland, July 2008. GENEVIEVE OLSON

Popo and Daughters, Northwest Arkansas Community College, Bentonville, Dec. 2007. PLAYS PRODUCED:

JOSEPH REES GROUP SHOW: California Video, Getty Center, Los Angeles, Mar.–June 2008. FILM SCREENING: Underground Forces (with Target Video), Museum of Contemporary Art, Los Angeles, June 2008. LORI WAK EFIELD GROUP SHOW: Illumination, Realization, Transformation, Karpeles Manuscript

Museum, Santa Barbara, Feb. 2008.


Homeland, Mercury Twenty Gallery, Oakland, Apr. 2008.





Mar.–May 2008.


June–Oct. 2008; The Dennis Oppenheim Weeks Retrospective, INTERGALERIE e.V., Potsdam, Germany, May–Aug. 2008; My Mind Is My House, Edelman Arts, New York, May–July 2008; Dennis Oppenheim: Six Models, Para/Site Art Space, Hong Kong, Dec. 2007–Feb. 2008. COMMISSIONS: Raining Halos, Beijing Olympic Games Sculpture Park, 2008; Engagement, Hong Kong Olympic Equestrian Park, 2008; Dancing Still, Distillery District Mill Square, Toronto, 2008.

1972 M ARY RUDGE AWARD: Poet Laureate of the City of Alameda (Rudge was the first to hold

PERFORMANCE: Folk Opera: I Had Always Thought (What Does It Mean to Be a Man?),

San Francisco Theater Festival, Yerba Buena Gardens, July 2008. THOM AS PL AGEM ANN GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.





GROUP SHOW: New West Coast Design: Contemporary Objects, San Francisco

PUBLICATIONS: Mimi Pond’s L.A. (cartoon series in the Los Angeles Times Sunday opinion pages), 2008.

Museum of Craft + Design, Jan.– Apr. 2008. GARY RUDDELL SOLO SHOW:

Recent Paintings, Gallery

Henoch, New York, May–June 2008.

1977 SUSAN GOLDSMITH SOLO SHOWS: Rives et Jardins, Galerie Odile Mauve, Paris, May–June 2008; Mixed-Media Paintings, 525 Market Street, San Francisco, May–June 2008. Goldsmith works at Industrial Light and Magic and contributed 2D paint and Rotoscope work (credited as Susan Klausner) to Indiana Jones and the Kingdom of the Crystal Skull (2008), The Spiderwick Chronicles (2008), and Transformers (2007).


1979 RUTH BOEREFIJN RESIDENCIES AND SOLO SHOWS: Drawing in Space, de Young Museum, June 2008; Interior Landscapes, Hafnarbourg Institute

of Culture and Fine Art, Hafnarfjordur, Iceland, 2007; Interior Landscapes, Galleri Klaustur, Skriduklaustur, Iceland, 2007. AWARDS: MacDowell Colony Fellowship, Peterborough, New Hampshire, Mar.– Apr. 2008; Leon Levy Foundation Award, 2007.


“Conversation: Paul Rousso,” Uptown Magazine, Feb. 2008 FEATURED:


The Ship of Fools, Auto-

body Fine Art, Alameda, California, June–Aug. 2008; Jingletown Junction, Pro Arts Gallery, Oakland, Mar.– Apr. 2008.


“The History of the Women’s Caucus for Art” in Blaze:


JUNE YOK ELL SOLO SHOWS: Fluctuations of Water, College of Marin Emeritus Center, Kentfield, California, Aug.–Oct. 2008; Recent Paintings, Mill Valley Community Center, California, Jan. 2008. RESIDENCY: Vermont Studio Center, Johnson, May–June 2008. PUBLICATION: Pet (reprint of 1978 book in a special edition of 25), Peter Koch Printers / Magnolia Editions, 2008. SHINICHI YUR A SOLO SHOW: Tokachino Kuroihitomi and Hamburgno Hitomi, Hamburg, May–June 2008. GROUP SHOWS: InterArt Greifswald 2008, Germany, May–June 2008; Open Art 2007, Rueil-Malmaison and

Villepinte, France, Sept.–Oct. 2007.

1984 JEANINE ALFIERI GROUP SHOW: Three Dimensions, Fountainhead Gallery, New York, Jan. 2008. GALE ANTOK AL

No Vanishing Point, Patricia Sweetow Gallery, San Francisco, May– June 2008. WORK FEATURED: KQED Arts and Culture, Feb. 2008; Harper’s, Feb. 2008. SOLO SHOW:

Discourse on Art, Women, and Feminism,


Cambridge Scholars Publishing, 2007.


GEM A LOPEZ SOLO SHOW: Pastel Still Life, Frank Bette Center for the Arts, Alameda, California, July 2008. B. G. MUHN

Mike Mignola (Illustration 1982): writer, coproducer, and creator of Hellboy Hellboy II: The Golden, Army, 2008

GROUP SHOW: The Art of Diorama, Bedford Gallery, Walnut Creek, California, Mar.–June 2008.

AWARD: Best in Show Painting Award, Bethesda Arts and Entertainment District, Maryland, June 2008. PAULINA ORTIZ

Trama del Tiempo: El recorrido de una experiencia neotextil,


Galería Sophia Wanamaker, San Pedro, Costa Rica, Mar.–Apr. 2008.

Sculpture, Gallery 555, Oakland, Jan.–May 2008; Sam Perry, Rena Bransten Gallery, San Francisco, Jan.–Feb. 2008. SOLO SHOWS:


Remembering to Forget: Strategies of Propaganda and Mythology, Schroeder Romero, New York, May–June 2008. GROUP SHOW: Caucus,


Schroeder Romero, New York, Jan.– Feb. 2008.

Alumni Notes



Sonoma Spring Exhibition, A

New Leaf Gallery, Sonoma, California, May, 2008; Narratives, Sculpturesite Gallery, San Francisco, Jan.–Apr. 2008. PUBLICATION: The Poetry of Form, Edition One Studios, 2008. WORK FEATURED:

Bringing Back the Natives Garden

Tour, Lafayette, California, May 2008. YOSHITOMO SAITO SOLO SHOW:

Riprap in Bronze, Haines

Gallery, San Francisco, Apr.–May 2008. GROUP SHOWS: Eco-Centric, Rule Gallery, Denver, Aug.–Sept. 2008; Material Terrain, Haines Gallery, San Francisco, July–Aug. 2008; Nation of Immigrants, Art Student League of Denver, Jan.–Feb. 2008. ANN WEBER SOLO SHOWS: Night Blooming, Thacher

Gallery, University of San Francisco, Aug.–Oct. 2008; Poetics of Structure, Donna Seager Gallery, San Rafael, California, Nov.–Dec. 2007; Ann Weber, Oakland Museum of California Sculpture Court at City Center, Aug.– Nov. 2007. RESIDENCY: International Oberpfälzer Künstlerhaus, Schwandorf, Germany, Sept.–Oct. 2007. Weber is teaching beginning sculptural design at Dominican University in spring 2008.


Dreaming Lhasa, 2007.


The Conceptual Edge,

National Conference of Artists Gallery, Detroit, Mar.–Apr. 2008.

1990 MIST Y GAMBLE SOLO SHOW: Beauty and Power, Cricket Engine Gallery, Oakland, July 2008. GROUP SHOW:

Watershed Winter Residents,

University of Arkansas, Monticello, June–Sept. 2008. RESIDENCY: Watershed Center for the Ceramic Arts (and Howard Kottler Fellowship), Newcastle, Maine, 2007–8. AWARDS: Ruth Chenven Artist Grant, 2008; Ceramics Monthly Emerging Artist, 2008; Virginia A. Groot Foundation Grant (finalist), 2008. Gamble is a special instructor at the Kansas City Art Institute in fall 2008 and a special instructor at the Armory Art Center in West Palm Beach, Florida, in 2008–9.


GROUP SHOW: Every Bit Counts: New Digital Work, Alameda Museum, California,

AMY K AUFM AN SOLO SHOW: Duo, Oakland Art Gallery, Nov. 2007–Feb. 2008.


Rosenblum Cellars and Thumbprint Cellars, Healdsburg, California, May 2008.



Wallpaper Architects

Directory, 2007.


Tari Kerss, Merced Multicultural Arts Center, California, June– Aug. 2008



Alex Zecca, Gallery 16, San Francisco, June–July 2008.

1992 M ARLENE ARON GROUP SHOWS: Nudes, Rozanoff Art, San Francisco, Feb. 2008; Tori no Ichi, Theatre of Yugen, San Francisco, Dec. 2007. AWARD: George Sugarman Foundation Grant, 2007–8. CHINA BLUE

Flatland Limo Project,


GROUP SHOW: Quorum Art Collective Exhibition, Limn Los Angeles, Aug.–




Stone Thoughts: PositiveNegative Space, Drabinsky Gallery,

July 2008.


Toronto, July–Aug. 2008. TINA M ANIS


Armory Fair, New York, Mar. 2008; The Lament Project,, 2008.

Sept. 2008. San Francisco World Channel Inc. KMTP-TV and KBTV, Nov. 2007.

“The Man From Tehran,” Canadian Art, Jan. 2008.





Synchronicity and Harmony,


Aug. 2008.



International Contemporary Gwangju Artvision, Seoul, Dec. 2007–Feb. 2008. AWARD: Pennsylvania Council on the Arts Fellowship for Drawing and Works on Paper, 2008.


China Blue (Painting 1992): artist Recording at the Top of the Eiffel Tower, 2008 Read more at

San Francisco Zinefest,

DOUGL AS SCHNEIDER GROUP SHOW: Quorum Art Collective Exhibition, Limn Los Angeles, Aug.–

Sept. 2008.


New West Coast Design: Jewelry + Metalwork,


Velvet da Vinci, San Francisco, Jan.– Feb. 2008. L AUR A DUFORT SOLO SHOW: Integral Whirl, Gallery Paule Anglim, San Francisco, July–Aug. 2008. LEE MINGWEI SOLO SHOW: Gernika in Sand, Queensland Art Gallery, Brisbane, Australia, May– July 2008. GROUP SHOWS: China Power Station: Part III, Musée d’art moderne Grand-Duc Jean, Luxembourg, Apr.– Sept. 2008; Bubble Tea: Contemporary from Taiwan, Moravska National Galerie, Czech Republic, Mar.–May 2008; All Inclusive: A Tourist World, Schirn Kunsthalle Frankfurt, Jan.–May 2008;

Person of the Crowd: The Contemporary Art of Flânerie, Neuberger Museum of Art,

Purchase, New York, Jan.–Apr. 2008.

Jason Deamer (Drawing 1997): character art director, Pixar Animation Studios Surprise! (sketch for Ratatouille), 2005 (©Disney/Pixar) Read more at




Double Vision: Artist Partners,

Chandra Cerrito Contemporary, Oakland, Dec. 2007–Jan. 2008. H AR RELL FLETCHER

Amateurs, CCA Wattis Institute for Contemporary Arts, San Francisco, Apr.–Aug. 2008; How Fast Your World Is Changing, Ampersand International Arts, Mar.–Apr. 2008. LECTURES: Graduate Studies Lecture Series, CCA, San Francisco, Apr. 2008; “Art, War and Peace,” Commonwealth Club, San Francisco, Mar. 2008. LAUNCHED: www.somepeoplepeople .com, a new participatory website featuring documentaries on interesting people who are not already well known. GROUP SHOWS:

Eric McNatt (Drawing 1995): commercial photographer Time magazine cover photo, 2005 Read more at


Encaustics, Pamela Skinner /

Gwenna Howard / Contemporary Art, Sacramento, Feb.–Mar. 2008.

A Complicated Dominion: Nature and New Political Narratives, San GROUP SHOWS:

Francisco Arts Commission Gallery, June–Aug. 2008; Bestiaries, Oakland Art Gallery, May–June 2008.


Yankee Hotel Foxtrot CD package design in The Greatest Album Covers of All Time,

Collins & Brown, 2008. DUNCAN HOUSE

The Art of Glass, Falkirk Cultural Center, San Rafael, California, Jan.–Mar. 2008.



Uniquely Singapore Talent Award, Singapore American Business Association and Singapore International Foundation, Dec. 2007. AWARD:


SOLO SHOW: Zooid, Steven Zevitas / OSP Gallery, Boston, Jan.–Mar. 2008.

SUE M ARK ( WITH M ARKSEARCH) GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.

New Permanent Art Collection for Territorial Government, Old GROUP SHOWS:

Fire Hall Gallery, Whitehorse, Canada, July 2008; Members’ Summer Exhibition, Arts Underground Gallery, Whitehorse, Canada, June–July 2008; Roots, Yukon Arts Centre Public Art Gallery, Whitehorse, Canada, May–Aug. 2008.

Alumni Notes



Recent Paintings, Hosfelt

Gallery, New York, Jan.–Feb. 2008.


Art Maui 30th Anniversary,

Schaefer International Gallery, Maui Arts and Cultural Center, Mar.– Apr. 2008. LESLIE SAIZ

Lawrence Azerrad (Graphic Design 1995): principal, LAD Design R.E.M. Hollywood Bowl poster, 2008 Read more at

AWARD: Emmy award in the new approaches daytime children’s entertainment category for the animated half-hour series I Got a Rocket, 2008.


CARL A ROSS ALLEN ( WITH KNOWEAR) GROUP SHOW: TechnoThreads: What Fashion Did Next, Science Gallery, Trinity

College, Dublin, Apr.–July 2008. WORK FEATURED: Fashionable Technology: The Intersection of Design, Fashion, Science, and Technology, Springer, 2008. MICH AEL H ALL

Bestiaries, Oakland Art Gallery, May–June 2008; MFA Exhibition 2008, Mills College Art Museum, GROUP SHOWS:

Oakland, May–June 2008. ERIN HERNANDEZ

This Side of Paradise: Body and Landscape in L.A. Photographs, The GROUP SHOW:

Huntington, San Marino, California, June–Sept. 2008. L AURIE REID

Crushed Glass, Stephen Wirtz Gallery, San Francisco, May–June 2008; New Monotype Installation, Aurobora Press, San Francisco, Mar.–May 2008. GROUP SHOW: Pacific SOLO SHOWS:


A View From Here: A Group Exhibition of Contemporary Landscapes, GROUP SHOWS:

Judson Gallery of Contemporary and Traditional Art, Los Angeles, Feb.– May 2008; Selections: CCA Alumni, Walter Maciel Gallery, Los Angeles, July– Aug. 2007. AM ANDA HUGHEN GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008. BRENDA REINERTSON

Abstract Paintings, Lireille Gallery of Contemporary Jewelry and Art, Oakland, June 2008.






A New Horizon Line,

Clayton Public Library, Saint Louis, Feb. 2008; Recent Watercolors, Triangle Gallery, San Francisco, Jan.–Mar. 2008. RESIDENCY: Bau Institute, Otranto, Italy, 2008. COLIN STINSON SOLO SHOW: Game of Death, Invisible NYC Gallery, New York, Mar.–Apr. 2008. GROUP SHOW: My Vice, Space Gallery, San Francisco, Dec. 2007–Jan. 2008.


SOLO SHOW: Malaika Zweig, JK Gallery, Los Angeles, Jan.–Feb. 2008.


18, Center Berlin, July–Sept. 2008; Teleport Färgfabriken, Färgfabriken Norr, Östersund, Sweden, Apr.–Aug. 2008. PERFORMANCE: Radical Mod, Scottsdale Civic Center Mall, Arizona, Mar. 2008. AWARD: Traveling Scholar Award, School of the Museum of Fine Arts, Boston, 2008. GROUP SHOWS:



Gallery, San Francisco, June–July 2008.

DEVELOPER AND ARCHITECT: 9onF (the first green-certified townhomes in Sacramento), 2008.



SOLO SHOW: Catcher, Braunstein/Quay


Against the Grain, Los Angeles

Contemporary Exhibitions (LACE), June–Sept. 2008. LYDIA VAN NOSTR AND GROUP SHOW:

Beyond Studio 9, Bruce

Gallery, Edinboro University, Pennsylvania, Oct.–Nov. 2007.

GROUP SHOW: Double-Take: The Poetics of Illusion and Light, Contemporary Museum,

Baltimore, Dec. 2007–May 2008. MICHELLE KNOX

executive director, Public Glass, San Francisco, 2008.




Light: A Survey of Californian Watercolour 1908–2008, Nordic Watercolour


Museum, Skärhamn, Sweden, May– Sept. 2008.

May–June 2008.

Throwaway Lines Often Ring True, Freight + Volume, New York,

GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.

Nick Cronan (Industrial Design 2002): senior designer, fuseproject Coca-Cola Refresh Bin and Y Water, 2008 Read more at



TOMMY BECK ER SOLO SHOW: Tape Number One, Hallwalls Contemporary Arts Center, Buffalo, New York, Mar.–Apr. 2008. JULIE CH ANG GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008. LILY COX-RICH ARD GROUP SHOW:

Lily Cox-Richard vs. Nadja

Ziller, Kompact Living Space, Berlin,

Feb. 2008. PATRICK DINTINO SOLO SHOWS: Full Spectrum, Artamo Gallery, Santa Barbara, June– July 2008; Endangered Species, Andrea Schwartz Gallery, San Francisco, Jan.– Feb. 2008. GROUP SHOWS: Red Dot Art Fair (with Andrea Schwartz Gallery), New York, Mar. 2008; Arts4BonacTonic, New York, Mar. 2008. PUBLICATION: Spectrum Painting, 2008. JESSAMYN LOVELL GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.


Raw Sewage, David Castillo

Gallery, Miami, Florida, Apr.–May 2008. GROUP SHOWS: Refraction, Loop Gallery, Berlin, Aug.–Sept. 2008; More Please! Excess and Indulgence in Contemporary Culture, Museum of

Contemporary Art, Jacksonville, Florida, Apr.–Aug. 2008. DON PORCELL A

Are We There Yet? (reviewed in NY Arts Magazine and Chelsea Now),


Stefan Stux Gallery, New York, Jan.– Feb. 2008. GROUP SHOWS: Summer Group Exhibition, Mark Wolfe Contemporary Art, San Francisco, Aug. 2008; From Head to Toe, Stefan Stux Gallery, New York, June–Aug. 2008; NEXT Art Fair (with Stefan Stux Gallery), Chicago, Apr. 2008; KUNST GRUPPE (reviewed in the Village Voice), Werkstätte, New York, Mar.–Apr. 2008; Red Dot Art Fair, New York (with MMGalleries), Mar. 2008; WPA Auction, Washington DC, Mar. 2008; Pool Art Fair, New York, Mar. 2008; X-07 Director’s Choice, MMGalleries, San Francisco, Nov. 2007–Jan. 2008. PANELIST: “Through the Prism: Collecting Contemporary Art,” School of Visual Arts, New York, Feb. 2007.

M ARCIA WEISBROT WORK FEATURED: 500 Handmade Books: Inspiring Interpretations of a Timeless Form,

Lark Books, 2008. JUDITH WHITE M ARCELLINI GROUP SHOW: Venue, Front Gallery, Oakland, Apr.–May 2008.

2002 K RIS CH AU

Talk Story, Rowan Morrison Gallery, Oakland, June–Aug. 2008.


JESSE H AYWARD SOLO SHOWS: Why and the Why Not, The Art Gym, Marylhurst University, Oregon, Apr.–May 2008; One None Done, Tilt Gallery, Portland, Oregon, Jan. 2008. DAVID HEVEL GROUP SHOW: NEXT Art Fair (with Marx & Zavattero), Chicago, Apr. 2008. ANN JORDAN

“People to Watch in 2008,” Graphic Design USA, Jan. 2008.


ANDREW JUNGE GROUP SHOW: Quorum Art Collective Exhibition, Limn Los Angeles, Aug.–

Sept. 2008.

Alumni Notes




Venus Gallery, San Francisco, Apr. 2008.

Craft is a regular style content blogger at Huffington Post (



Fastphoric (her CCA thesis project) in Area_2: 100 Graphic Designers, 10 Curators, 10 Design Classics,



Mixed, Plates and Metal,



Eureka Theater, Meant to be Heard Festival, San Francisco, 2008.


Valentine Show, Barbara Anderson Gallery, Berkeley, Feb. 2008.

NAZGOL ANSARINIA GROUP SHOWS: Drawn From Life: Drawing Space, Green Cardamom, London, July–Sept. 2008; Drawn from Life: Drawing Process, Green Cardamom,

London, June–July 2008. WORK FEATURED: “Patterns of Sentence,” Sydsvenskan, Mar. 2008.


We’re All in This Together,

KIM CURTIS SOLO SHOW: Disruption, Kasia Kay Art Projects Gallery, Chicago, Apr.– May 2008.




Radialvedic, Johansson Projects, Oakland, July–Aug. 2008.



Six: 2008 MFA Exhibition,

Nelson Gallery, University of California at Davis, May–June 2008.

New Works by OGI, Rean,

Tokyo, Feb.–Mar. 2008. CAROLINE PRIEBE ( WITH ULURU )

Uluru’s first collection of wovens featuring sustainable, organic, and biodegradable fabrications, a collaboration with Alabama Chanin, at Openhouse, New York, Feb. 2008. WORK FEATURED: “Upcycling fashion: How To Make Last Year’s Dress Look Like New,” Treehugger, Jan. 2008. WORK FEATURED:

EMILY R A ABE READING: Poets Pulling Prints (with commemorative signed letterpress broadside), San Francisco Center for the Book, Feb. 2008.

Caroline Priebe (Fashion Design 2003): principal, Uluru NYC Tunic with Wings (collaboration with Alabama Chanin), 2008 Read more at



Beyrouth : Baghdad,

Mashrabia Gallery of Contemporary Art, Cairo, Jan.–Feb. 2008. GROUP SHOW: East of the West, SomArts Cultural Center, San Francisco, May–June 2008. RESIDENCY: Centre d’art CAMAC, Marnay sur Seine, France. EDITH GARCIA SOLO SHOW: Happy Ugly Scars, Visual Arts Scotland, Edinburgh, Mar.–Apr. 2008. GROUP SHOWS:


GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.

Personal Impressions,

Pacific Grove Art Center, California, Feb.–Apr. 2008; Juried Annual 2008, Pro Arts Gallery, Oakland, Jan.–Mar. 2008; Selections 2007, 111 Minna, San Francisco, Dec. 2007.


CA Boom V,

Barker Hangar, Santa Monica, Mar. 2008; Architectural 44

Museum of Craft + Design, Jan.– Apr. 2008.

Swarm Gallery, Oakland, Jan.– Feb. 2008.



Digest Home Design Show, Pier 94, New York, Mar. 2008; New West Coast Design: Contemporary Objects, San Francisco

The Grand Ceramics Theatre,

International Museum of the Applied Arts, Turin, Italy, June–July 2008; Terra Incognita: Unknown Land, Baltimore Clayworks, Mar.–Apr. 2008. RESIDENCY: Visual Arts Council, Scotland, 2008. GREG H ALPERN GROUP SHOW AND PUBLICATION: Let Us Now

Praise San Francisco, Marx & Zavattero,

San Francisco, July–Aug. 2008. BRENT JONES READING: Poets Pulling Prints (with commemorative signed letterpress broadside), San Francisco Center for the Book, Feb. 2008. FREDERICK LOOMIS

The Third Covenant, Steven Wolf Fine Arts, San Francisco, Jan.– Feb. 2008. GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.





Feral: Tales of Wicked Women and Wildish Girls, Luggage Store Gallery,

San Francisco, Mar.–Apr. 2008.

sOLO SHOW: Nuclear Family, Patricia Sweetow Gallery, San Francisco, May– June 2008.


WEI WENG SOLO SHOW: Slice, Arrow Factory, Beijing, Apr.–June 2008.

SOLO SHOW: Hammer Projects, Hammer Museum, Los Angeles, Feb.–May 2008.

“I Haven’t Checked My Voicemail Yet (But F*** You)” (produced by the Anatomy Collective), Studio 207, Chicago, Apr. 2008; “Dumpsterland” (produced by the Anatomy Collective), MoJoe’s Hot House, Chicago, Sept. 2007; “About the Dogs . . .” (produced by the Crowded Fire Theatre Company), Marsh Cafe, San Francisco, Aug. 2007.



PUBLICATION: “The Bridge” in Field of Mirrors: A New Anthology of Philippine American Writers, PAWA Inc., 2008.

GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.




Let Us Now

Praise San Francisco, Marx & Zavattero,

San Francisco, July–Aug. 2008. GROUP Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.



Danger Girl (reviewed in Artweek), Mission 17, San Francisco, SOLO SHOW:

Mar.–Apr. 2008. MITZI PEDERSON


Under the Big Top, Main

ARTery Gallery, Benicia, California, Apr.–July 2008.



GROUP SHOW AND PUBLICATION: Let Us Now Praise San Francisco, Marx & Zavattero,

San Francisco, July–Aug. 2008.


Society of the PseudoSpectacle, Queens Nails Annex, San Francisco, June–July 2008; Turn to Stone, The Right Window Gallery at SOLO SHOWS:

ATA, San Francisco, Dec. 2007– Jan. 2008. VAL BRITTON GROUP SHOWS: Amidst the Ruins, Mission 17, San Francisco, Mar.–Apr. 2008; Close Calls: 2008, Headlands Center for the Arts, Sausalito, Jan.–Feb. 2008. MICHELE CARLSON SOLO SHOW:



GROUP SHOW: From Point to Departure, Issue Project Room, Brooklyn, Apr. 2008.

7 Weavings, Ratio 3, San Francisco, Mar.–Apr. 2008. GROUP SHOW: Here’s Why Patterns, Misako & Rosen, Tokyo, June–July 2008. WORK FEATURED: Artforum, Feb. 2008.


full-time design instructor, San Francisco State University, 2008.





Wearable Expressions, Palos

Verdes Art Center, California, Feb.– Apr. 2008. AWARDS: Searchlight Artist, American Craft Council, Feb. 2008; Niche Award in the handwoven fibers category for Dimensional-Weave Bracelet, 2008. WORK FEATURED: Art Buzz: The 2008 Collection, MidAmerica Publishing, 2008; The Art of Jewelry: Plastic and Resin, Lark Books, 2008. CH ARLES BERONIO GROUP SHOW:

How Soon Is Now, Artist

in the Marketplace, Bronx Museum, June–Aug. 2008.

Open for Business, Triple

Base, San Francisco, July 2008; Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.– Feb. 2008. AIRYK A ROCK EFELLER

Crooked Meadow, Jack Fischer Gallery, San Francisco, Apr.– May 2008.



Holes and Halos, Thomas

Erben Gallery, New York, Feb.–Mar. 2008. GROUP SHOWS: Bay Area Now 5, Yerba Buena Center for the Arts, San Francisco, July–Nov. 2008; New Work, Stephen Wirtz Gallery, San Francisco, July–Aug. 2008; Kick Out the Jams, Luggage Store Gallery, San Francisco, May 2008.

How I Learned To . . .,

Intersection for the Arts, San Francisco, Apr.–May 2008. ALEX CL AUSEN

Casual Labor, Kala Art Institute, Berkeley, Feb.–Mar. 2008.



Six: 2008 MFA Exhibition,

Nelson Gallery, University of California at Davis, May–June 2008. ALIK A COOPER

THERE! New Art from Oakland, di Rosa Preserve, Napa, California, Aug.–Sept. 2008; { 5 Years and 50 Art Shows }, Needles + Pens, GROUP SHOWS:

San Francisco, June 2008. ALEXIS GR ANT

Recent Paintings, Cafe Royale, San Francisco, June–Aug. 2008.



Advena Cultura, Public Glass, San Francisco, Mar. 2008.



Parallel Evidence (12 Months),

Basil Racuk, Berkeley, Mar.–May 2008.

Alumni Notes



Oblivion, Santa Barbara

Museum of Art, Jan.–Apr. 2008. RESIDENCY, ARTIST TALK, AND SOLO SHOW:

Apocalyptic Sublime: Will Oldham and David Maisel, Headlands Center for the

Arts, Sausalito, California, Mar.– May 2008. GROUP SHOWS: It’s Not Easy Being Green, Tampa Museum of Art, July–Sept. 2008; Imaging a Shattering Earth: Contemporary Photography and the Environmental Debate, National Gallery

of Canada, Ottawa, June–Oct. 2008; We Remember the Sun, Walter and

The New Dust, Jack Hanley Gallery, New York, Apr.–May 2008. GROUP SHOW: Bay Area Now 5, Yerba Buena Center for the Arts, San Francisco, July–Nov. 2008. SOLO SHOW:


Water Project,

Thoreau Center for Sustainability, San Francisco, June–Aug. 2008; Admirans, Upstairs at the Market Gallery, Los Angeles, May–June 2008.

McBean Galleries, San Francisco Art Institute, June–Sept. 2008; Shifting Landscapes, PowerHouse Arena Gallery, New York, Apr.–May 2008; New on the Wall, Portland Art Museum, Oregon, Feb.–June 2008. AWARD: shortlisted for the first Prix Pictet, the world’s first graphic award for sustainability, July 2008. WORK FEATURED: “Danger Zones,” Smithsonian, Jan. 2008; “Return to the Source,” Financial Times Weekend Magazine, July 2008.

Intersection for the Arts, San Francisco, Apr.–May 2008. GROUP SHOW: Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.–Feb. 2008.



Turn to Stone, The Right Window Gallery at ATA, San Francisco, Dec. 2007–Jan. 2008.



Close Calls: 2008, Headlands

Center for the Arts, Sausalito, California, Jan.–Feb. 2008. CHRISTOPHER RUSSELL SOLO SHOW:

Part of Everything, Rowan

Morrison Gallery, Oakland, Feb.– Mar. 2008. ZACH ARY ROYER SCHOLZ SOLO SHOWS: Yet to Be Determined, The LAB, San Francisco, Aug.–Sept. 2008; Void, The Small Gallery, Oakland, July 2008; Ricky Allman + Zachary Royer Scholz, Swarm Gallery, Oakland, Feb.–Mar. 2008. GROUP SHOWS: Amidst the Ruins, Mission 17, San Francisco, Mar.–Apr. 2008; Casual Labor, Kala Art Institute, Berkeley, Feb.–Mar. 2008.; Cleanliness Is …, The Washeteria, San Francisco, Jan.–Feb. 2008. WORK FEATURED: “Works on Paper originally in B&W,” ZYZYYVA, spring 2008.



Joshua Gorchov (Graphic Design 2001): editorial illustrator Frequent Flier (published in Money magazine), 2008 Read more at


How I Learned To . . .,


Forces of Nature, Limn Art Gallery, San Francisco, July–Aug. 2008; Bay to Barley, Hastings College Art Gallery, Nebraska, Jan. 2008.




The Land of a Million Cereals,

Mission 17, San Francisco, June– Aug. 2008.

COCURATED: InSitu: Richmond (a Yerba Buena Center for the Arts “Room for Big Ideas” Annex Project), San Francisco and Richmond, California, July–Aug. 2008. CHRISTOPHER LOOMIS


Art Maui 30th Anniversary,

Schaefer International Gallery, Maui Arts and Cultural Center, Mar.– Apr. 2008. FR ANK EBERT SOLO SHOW:

Society of the Pseudo-Spectacle,

Queens Nails Annex, San Francisco, June–July 2008. GROUP SHOWS: Estacion Odesia: Celebrating Audiophiles! (with Yerba Buena Center for the Arts’ Bay Area Now 5), Queens Nails Annex, San Francisco, July 2008; Bay to Barley, Hastings College Art Gallery, Nebraska, Jan. 2008. RENEE GERTLER

Bay Area Ceramic Sculpture: Collection in Context, di Rosa Preserve,

Improvised Territory, Swarm Gallery, Oakland, May–June 2008.


GROUP SHOW: New West Coast Design: Contemporary Objects, San Francisco

Museum of Craft + Design, Jan.– Apr. 2008. CAR RIE MINIK EL GROUP SHOW: Upstairs at the Market Gallery, Los Angeles, May 2008. ELIZABETH MOONEY GROUP SHOWS: Bay Area Ceramic Sculpture: Collection in Context, di Rosa Preserve,

Napa, California, Mar.–May 2008; No Presents Please, Michael Rosenthal Gallery, Redwood City, California, Dec. 2007.


Napa, California, Mar.–May 2008; Close Calls: 2008, Headlands Center for the Arts, Sausalito, California, Jan.– Feb. 2008.


Army of No One (reviewed in Art Ltd.), Lisa Dent Gallery, San Francisco, Mar.–Apr. 2008. GROUP


SHOWS: Joan Mitchell Foundation 2007 MFA Grant Recipients, CUE Art Founda-

tion, New York, June–Aug. 2008; Reunion, Irvine Contemporary, Washington DC, Jan.–Feb. 2008; Size Matters: XXL—Recent Large-Scale Paintings, Hudson Valley Center for

Contemporary Art, Peekskill, New York, Sept. 2007–July 2008. L ACEY JANE ROBERTS

The Master’s Tools (Decay Goes Both Ways), Little Tree Gallery, San


Francisco, May 2008. AWARD: American Craft Council Searchlight Artist, Feb. 2008.

Contemporary, Washington DC, Aug.– Sept. 2008; Master Pieces, Manifest, Cincinnati, July–Aug. 2008; Destination: Berlin, The Berlin Office, July 2008; The Institute for Social Research and the Discovery of Art God, Richmond Art Center, California, June–July 2008; Destination: San Francisco, Queen’s Nails Annex, San Francisco, June 2008; The Bathroom Show!!, Tricycle Gallery, San Francisco, Apr. 2008; Bay to Barley, Hastings College Art Gallery, Nebraska, Jan. 2008. TR AVIS MEINOLF


Bay Area Now 5, Yerba

Buena Center for the Arts, San Francisco, July–Nov. 2008; The Bathroom Show!!, Tricycle Gallery, San Francisco, Apr. 2008. LINDSEY WHITE SOLO SHOW:

If We Let Ourselves Go,

Partisan Gallery, San Francisco, July– Aug. 2008. THOM AS WHITTLESEY

Sustainable Design Project Artist, Massachusetts College of Art, Boston, Dec. 2007. AWARD:

CHRISTINE WONG YAP SOLO SHOWS: Sorry, Frey Norris Gallery, San Francisco, Apr. 2008; Dark Into Light, Swarm Gallery, Oakland, Feb.– Mar. 2008.


JAB!, Patricia Sweetow Gallery, San Francisco, July– Aug. 2008.

GROUP SHOWS: Open for Business, Triple Base Gallery, San Francisco, July 2008; First [Inter]Act, 18 Reasons Gallery, San Francisco, July 2008; The Bathroom Show!!, Tricycle Gallery, San Francisco, Apr. 2008; Give Up, Guertin’s Graphics, Chicago, May 2008. WORK FEATURED: “Weaving on the Go” (also cover photo), Craft, Aug. 2008. JESSICA SK LOVEN GROUP SHOWS: Abstract / Abstracted,

Herberger Theater Center Art Gallery, Phoenix, July–Sept. 2008; Fourth Annual Juried Exhibition, Newspace Center for Photography, Portland, Oregon, July 2008.

Drop Us a Line! Tell us about your creative and scholarly work: exhibitions, publications, screenings, performances, lectures, appointments, promotions, and awards. Please include all relevant dates (including months!), titles, venue names, and locations as well as your name and year of graduation.



Photo District News best of photojournalism award for The Third Marine, 2008. WORK FEATURED: 25 Under 25: Up-and-Coming American Photographers, Volume 2, Powerhouse Books, 2008. AWARD:

Send us images of your artworks as well (preferably JPGs, 300 dpi and at least 6 inches across). Include the title and date for each artwork. Email your news and JPGs to or You can also mail your info, including exhibition announcements, to


Alumni Notes / Faculty Notes CCA Communications Department 1111 Eighth Street San Francisco CA 94107

COMMISSION: UCSF Mission Bay campus Community Center mural, 2008. GROUP SHOWS: Introductions 4, Irvine

Notes are featured on a space-available basis. We cannot return slides and photographs, so please do not send your original copies!

Alumni Notes


In Memoriam Alumni CASPER BANJO


Oakland, California March 14, 2008

BA 1937 Oakland, California 2008


Painting/Drawing 1960 Bolinas, California July 2, 2008


Art Education 1941 San Francisco, California April 23, 2008


Graphic Design 1972 Berkeley, California May 2008 CHRISTOPHER GONZALEZ

MFA 1973 Jamaica August 3, 2008 M ARGARET GUSTAFSON

Applied Arts Certificate 1941 Oakland, California May 11, 2008 L AWRENCE DUANE HULL

Advertising 1962 Annapolis, Maryland April 10, 2008 STEPHEN LORENTE

Painting 1974 Anacortes, Washington June 2007 JOHN ( JACK ) MOFFITT

Painting/Drawing 1962 Las Cruces, New Mexico June 1, 2008 BETH K ATHRYN PARKINSON

Interdisciplinary Fine Arts 1974 Oakland, California December 20, 2007


Faculty and friends of the college DAVID HOOSON

Husband of faculty emerita Margaret Mackenzie Point Reyes Station, California May 16, 2008 GEORGE FREDERICK JEWETT II

Donor and father of trustee George F. Jewett San Francisco, California May 23, 2008 R. B. KITAJ

1995 honorary doctorate recipient Los Angeles, California October 21, 2007 ROBERT MONDAVI

2002 honorary doctorate recipient Yountville, California May 16, 2008 DAVID ROBINSON

Former trustee Sausalito, California February 2, 2008

NORMA SCHLESINGER, one of CCA’s longest-serving trustees and an active museum patron and philanthropist, passed away on May 25, 2008, of cancer. She had served on our board since 1987. Her keen interest in and passion for the academic side of the institution were reflected by her service on the Academic Committee, which was continuous since her appointment. She also served on the Committee on Trustees and the Advancement Committee.

Schlesinger supported the college’s advancement efforts on numerous occasions. She had a great sense of how to position the college to its best advantage and raise its profile in the community. She often hosted events at her home and enthusiastically introduced CCA faculty to her circle of friends. Michael McClure, the widely known poet (and CCA professor emeritus) wrote a poem for her entitled “Moment’s Muse.”

passed away on May 14, 2008, of cancer, just a few days after being named CCA professor emeritus. He received his BFA from CCA in 1961 and taught at the college for 41 years, beginning in 1967. STEVE REOUTT

Reoutt was deeply interested in the history of graphic design. His collection of Bay Area design was larger even than SFMOMA’s, and he contributed extensively to CCA’s archives, providing crucial course material and information about the history of the field. He conducted oral histories with most of the major local figures in contemporary design, and he was a cofounder of the AIGA-SF. Fellow Graphic Design faculty member Cinthia Wen still vividly recalls a remark Reoutt made when she was a student in his class 20 years ago: “Nothing is original, but what you do as a designer can make something that already exists fresh, new, and exciting again.”

CCA has created a named scholarship in Steve Reoutt’s memory. Tax-deductible donations can be sent to CCA / Steve Reoutt Scholarship c/o Camille Gerstel, Advancement California College of the Arts 5212 Broadway Oakland CA 94618-1426 Please make checks payable to CCA and note that the gift is for the Steve Reoutt Scholarship.

In Memoriam


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