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CENTENNIAL ISSUE California College of the Arts 1907–2007 San Francisco | Oakland Winter 2007 | Volume 15, No. 1

A publication for the CCA community


OPENING RECEPTION: WEDNESDAY, JANUARY 31, 2007, 6−8 PM OLIVER ART CENTER • TECOAH BRUCE GALLERY • OAKLAND CAMPUS For more information about Centennial events visit,

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44 A Year of Special Centennial Events

48 100+ Alumni of Note

53 International Aperture

An Interview with Harry Ford President 1959–84 Eve Steccati-Tanovitz



Out of the ashes How Frederick Meyer’s

Honoring Creative Excellence

Bold Vision Was Born

Twenty Years of the Simpson Award

Robert W. Edwards

58 Celebrating Life and Art

62 Innovative Exhibitions

Greatness Inspires Greatness

66 A Space for Making

20 Inspired by the times Voices of the Sixties and Seventies

Jeff Hunt

72 Backward Glance

32 Bigger Than the Bauhaus Moving into the Second Century

Barry Katz

Glance WINTER 2007 Volume 15, No. 1 Director of Publications Erin Lampe Editor Jennifer Rodrigue Managing Editor Megan Carey Contributors Chris Bliss Robert W. Edwards Jeff Hunt Barry Katz Eve Steccati-Tanovitz Design Sputnik CCA, a student design team Faculty Advisor Doug Akagi Designers Elizabeth Chiu Mónica Hernández Michael Thompson Glance is published twice a year by: CCA Communications Department 1111 Eighth Street San Francisco, CA 94107 Write to us at Change of address? Please notify: CCA Advancement Office 5212 Broadway Oakland, CA 94618 or email Printed by St. Croix Press, New Richmond, WI Images courtesy of the archives of California College of the Arts, Meyer Library, Oakland: 4 center and bottom, 7, 8, 9, 10, 11 all, 12 top, 14–15 all, 16, 17 all, 18–19 all, 20, 23 top, 24 top and bottom left, 25 top, 26–27 all, 28 bottom, 29 top, 30 top and center, 31 all, 32, 37 bottom right, 53, 54 all, 55, 67 top, 68 top, 71 top, 72 right

Photography © Larry Keenan: 20, 22, 24 center and bottom, 30 top

this page top left and right: Karl Petzke center: stone and steccati photographers

previous page top image: steven J. Gelberg

back cover

Frederick Meyer, School of the California Guild of Arts and Crafts sign, c. 1910 courtesy of fine arts museums of san francisco, gift of isak lindenauer in memory of his mother, 1999.65.2

Glance Winter 2007 4/5

A century of Accomplishments and Creativity Dear Friends, Welcome to the special Centennial edition of Glance. In this issue we celebrate the people, places, and events that have shaped the college into the institution it is today. The year 2007 will be filled with celebration. In these pages you’ll find an impressive calendar of events, including exhibitions, lectures, the All-Alumni Reunion Weekend, the Gala, and much more. More than 30 galleries and museums, from New York to Los Angeles and the Bay Area, will be marking this important anniversary with special Centennial exhibitions and programs. Bringing these often competing arts organizations together in celebration is just one measure of the influence and reputation of the college. We have a lot to be proud of in our 100-year history. From the vision and determination of the founders to the recent accomplishments of faculty, students, and alumni, CCA’s story is remarkable, rich, and inspiring. Our students and alumni have distinguished themselves in a variety of creative fields—art, architecture, design, education, and writing. Faculty members past and present have been nationally prominent, acknowledged as excellent teachers and practitioners, and productive in creative work and scholarship. We have grown from three classrooms in Berkeley to world-class facilities on both sides of the Bay, making CCA “bigger than the Bauhaus.” Students can now choose from 20 undergraduate and 6 graduate programs. And, in order to continue to offer the best arts education in the country, we have ambitions to expand further. College founder Frederick Meyer no doubt would be amazed at the development of the college and proud of its accomplishments. He would recognize that while the college has grown and changed in so many ways, one thing has remained constant: our mission to prepare students for a lifetime of creative work and service to their communities. More importantly, he would see that the college is poised for an impressive and influential future.

Michael S. Roth President

One thing has remained constant: our mission to prepare students for a lifetime of creative work and service to their communities.

California College of the Arts was born in the mind of a visionary, Frederick Heinrich Wilhelm Meyer, with the most destructive natural disaster ever recorded in California history—the 1906 San Francisco earthquake—as its catalyst. CCA succeeded beyond anyone’s dreams due to Meyer’s leadership, the dedication of its immensely talented teachers and staff, and support from East Bay communities Berkeley and Oakland.


CCA founder Frederick Meyer opposite

A figure-modeling class in the early 1900s



of the


Frederick Meyer’s Bold Vision Was Born

Robert W. Edwards

On June 24, 1907, frederick and Laetitia

meyer opened the School of the California Guild of Arts and Crafts with 43 students, $45 in cash, and their personal line of credit.

The Early Years

A substantial part of the college’s early history is the life of Frederick Meyer. Born near Hamelin, Germany, on November 6, 1872, to a family of craftsmen, Meyer’s maternal grandfather once held the position of court weaver in the principality of Westphalia. One uncle was a designer and builder of custom furniture, while another was a blacksmith. He apprenticed to both before immigrating at the age of 16 to Fresno, California. Dissatisfied with the art program at the San Jose Normal School, he studied at applied art colleges in Cincinnati and Pennsylvania. Meyer became a naturalized citizen on November 7, 1893, and returned to Germany soon after to convalesce from typhoid fever. The following spring Meyer entered Berlin’s Royal Academy for Applied Arts as an American student to avoid the German military draft. He returned to California in 1897 and became the art supervisor for the Stockton public schools the following year. In 1902 Meyer married a local teacher, Laetitia Summerville, and accepted an offer to become a part-time instructor of descriptive geometry (what would now be called mechanical drawing) at UC Berkeley, an appointment he held for five years. In addition, Meyer taught drawing and wood carving at the Mark Hopkins Institute of Art in San Francisco, where he established his home and a design studio known as the Craftsman’s Shop. At this time he joined Bernard Maybeck to create the custom furnishings for Wyntoon, the Hearst estate designed by Julia Morgan. Meyer also created the furniture that was displayed in the San Francisco Room of the California Building at the 1904 Louisiana Purchase Exposition in St. Louis. In October 1905 he was elected president of the California Guild of Arts and Crafts. This well-respected organization had been founded two years earlier with the clear intent of supporting the applied art of craftsmen as opposed to the work of painters and sculptors.

Out of the Ashes

Glance Winter 2007 8/9

1906 Following the destruction of his home and workshop in the San Francisco earthquake, German-born cabinetmaker and art teacher Frederick Meyer speaks at a meeting of the local Arts and Crafts Society about his idea for a new “practical art school.”

1907 Frederick Meyer establishes the School of the California Guild of Arts and Crafts in the Studio Building on Shattuck Avenue in Berkeley with 43 students and three teachers: himself, Elizabeth Ferrea, and Perham Nahl. Meyer’s wife, Laetitia, serves as registrar and secretary. Initial faculty salaries range from $40 to $60 per month.

1908 The school is renamed California School of Arts and Crafts and graduates its first class of five students. Most of these graduates had been students of Meyer’s at the Mark Hopkins Institute of Art in San Francisco. Having outgrown its location, the school moves to 2130 Center Street in Berkeley.

1910 The school moves again, to 2119 Allston Way, site of the old Berkeley High School.

Why an Art School? It was needed, but why did I have to start it? Probably the answer is a mixed one, stemming in this instance from my childhood, educational background, varied experience in the applied art professions—and fate, in the guise of the San Francisco fire of 1906! [At a dinner for the Arts and Crafts Society] I spoke about my ideal of a practical art school, from which one could graduate and earn a comfortable living; and instead of teaching only figure and landscape painting and sculpture, teach also design, the commercial arts, mechanical drawing, and crafts, as well as prepare competent teachers of the arts and crafts. The above is an excerpt from Frederick Meyer’s personal archive.


Frederick Meyer at a Men’s Smoker, 1938

Angel Island Immigration Station opens. For 30 years, it will serve as a point of entry for people immigrating to the US.

1913 The last horse-drawn streetcar drives down Market Street in San Francisco.

1915 Bernard Maybeck designs the Palace of Fine Arts as part of the Panama-Pacific International Exposition. Oakland YWCA opens. Designed by Julia Morgan, the top two floors are now known as Webster Hall and provide housing for CCA students.


The Studio Building, first site of the college, at Shattuck and Addison in Berkeley. Now listed on the National Register of Historic Places. courtesy of the Oakland Museum of california

opposite top

“Mechanical drawing and lettering are basic courses for industrial arts,” from A Portfolio of Pictures of California College of Arts and Crafts, 1937 image: Don K. Oliver

opposite bottom

Isabelle Percy and Perham Nahl, 1907

On April 18, 1906, Meyer’s home, business, and life savings were destroyed in the devastating earthquake and fire. In the end, over 31,000 buildings and almost 10,000 lives were lost. Not only did the Mark Hopkins Institute vanish, but also the robust economy and leisured class that supported the arts. Shortly after, a local newspaper published Meyer’s comments on the genuine need to establish California’s first practical art school, one that would provide each student with training in the aesthetic arts and certified skills as practitioners or teachers of art and design. These comments may have been directed at the Mark Hopkins Institute, which had a reputation for graduating students into a highly volatile art market with few career opportunities. The First Move

Later that spring Frederick Dakin offered Meyer three classrooms in Dakin’s soon-to-be-completed Studio Building near the UC campus. Dakin, a wealthy Berkeley entrepreneur and art collector, was eager to draw in creative professional tenants. Berkeley survived the earthquake with relatively little damage, and there was the added attraction that the university and a strong community of artists would provide moral support and a ready supply of potential students. Meyer accepted Dakin’s offer, permanently resigned his teaching appointments, and embarked for Germany to study its regional schools of applied arts. On June 24, 1907, Meyer and Laetitia opened the School of the California Guild of Arts and Crafts with 43 students, $45 in cash, and their personal line of credit. Meyer conducted classes in freehand and instrumental drawing, designing, woodcarving, and descriptive geometry, and Laetitia took on the responsibilities of registrar and secretary. Meyer persuaded Perham Nahl, a part-time instructor in UC Berkeley’s Department of Architecture, to teach sketch, anatomy, and life classes as well as courses in pen and ink drawing and oil painting. The third instructor, Elizabeth Ferrea, taught courses in clay and wax modeling. In the fall Rosa Taussig, instructor in bookbinding, and the talented Isabelle Percy joined the faculty. Meyer was able to persuade Percy by including her in the profits. She taught courses in design, interior decoration, composition, antique drawing, and watercolor. In December 1908 she resigned to study, teach, and travel in New York and Europe. She returned in the summer of 1920 as Mrs. Percy West and remained on the faculty until her retirement in 1942.

Out of the Ashes

Glance Winter 2007 10 / 11

1922 With enrollment increasing following the influx of World War I veterans, Meyer searches for a permanent home for the college. He purchases the four-acre James Treadwell estate in Oakland for $60,000. For the next four years, Meyer leads a crew of students, faculty, and alumni to transform the rundown estate into a campus. The Meyer family moves into the top floor of the Treadwell mansion (now called Macky Hall).

1923 UC Berkeley Art Department founded.

1925 The school completes its move to the new campus at 5212 Broadway (where it remains today).


Building the Foundation for a Curriculum

Between 1907 and 1909 the school changed dramatically to meet the requirements of the Berkeley community, which had neither a private nor a university-based art school. Meyer, who initially believed that he needed a nominal institutional affiliation to be successful, stressed in the preamble of the catalog for the first full academic year (1907–8) that his school was an extension of the California Guild of Arts and Crafts in San Francisco and was established “for instruction in industrial art.” However, his vision for education went far beyond the intent of the Guild. He organized classes into the same principal divisions as Berlin’s Royal Academy, with a clear distinction between applied arts (practical training for designers) and normal arts (fine arts training for teachers in drawing, painting, and manual skills). In addition to diplomas for the two categories above, the school offered modest scholarships and an industrial certificate for commercial drawing. At this time tuition for a full-time student through both semesters of an academic year was $70, and no special qualifications for entrance were required “beyond good moral character and such proficiency in the common English branches as the completion of the ordinary grammar school

Oakland Municipal Airport opens.

1931 The Paramount Theatre in Oakland opens, with an art deco design by Timothy Pflueger.


Faculty member Xavier Martinez taught at the college from 1909 to 1942. His efforts laid the foundation for the school’s fine arts program. image: Dean Stone, ’40


Xavier Martinez Pont Neuf (The Bridge), c. 1898 Oil on canvas, 15" × 20" Collection of the Oakland Museum of California, Gift of Dr. William S. Porter

course would imply.” To accommodate the local public school teachers, night and Saturday courses were scheduled; classes offered on Saturdays to high school students also proved to be popular. Theoretically, Meyer’s intent was to integrate the instruction of applied, fine, and industrial arts as equal disciplines. However, as there was more demand for classes in drawing and painting from a student body that increased fivefold in just a few years, he expanded the art curriculum and faculty. The more Meyer denied that his school was a direct challenge to San Francisco’s new Institute of Art, the more interest the press took in his comments. In order to quiet dissent from members of the California Guild in San Francisco over his ambitious plans in the arts, he renamed his institution California School of Arts and Crafts (CSAC) in the summer of 1908. Meyer’s coup was the addition of Xavier Martinez, a superstar in the firmament of California artists, to the faculty. He was hired in the summer of 1909 as a replacement for Perham Nahl, who was on a prolonged vacation in Mexico. Martinez arrived for his first day of instruction wearing velvet pantaloons, a ridiculously large cravat, and a broad-brimmed hat that crowned an overflowing crop of hair. His flamboyant dress and demeanor surprised some, but his exacting and disciplined style of instruction won the respect of his colleagues and students. Teaching still life and landscape painting, he also instituted CSAC’s summer art program in Carmel and Monterey, where he taught from 1910 through 1914. Martinez would remain on the faculty until September 1942.

Out of the Ashes

Glance Winter 2007 12 / 13

Embracing Community

Meyer was a master at public relations. He became one of the founders of the local Berkeley Art Association (BAA), serving on its board of directors, and was so popular with civic leaders, he was appointed to head of the Department of Drawing and Art for the Berkeley Public Schools in 1908. By 1913 he was given the same position for the Oakland school system. Meyer was also elected president of the prestigious Hillside Club and taught art in the summer sessions of the university. He enhanced the prestige of CSAC when he was awarded the Medal of Honor for Design at the 1915 PanamaPacific International Exposition. The people of Berkeley embraced the school. Frequent and widely publicized exhibitions by both students and teachers at CSAC drew large crowds and became a focus for the artistic community at large. The games and burlesque at the end-of-term jinks, which oddly enough paralleled similar practices at San Francisco’s Bohemian Club and the old Mark Hopkins Institute, were widely reported in the Berkeley press. The Berkeley Daily Gazette described the Christmas Jinks of December 17, 1908, as having a “fiesta queen” and a royal court of “senoritas and vaqueros,” who were entertained by Spanish dancers, a “lurid melodrama” of seven murders, the Topsy-Turvy chorus, and an “elaborate supper under improvised grape arbors.” Meyer and Laetitia had an uncanny ability to hire talented faculty who excelled both as teachers and role models. Bertha Boye, who taught modeling as well as freehand drawing in 1908, established two successful studios in the Bay Area, exhibited at the most prestigious venues, and designed popular posters in support of women’s suffrage. The new instructor of costume design and illustration appointed in 1910, Blanche Letcher, had completed postgraduate studies under William Merritt Chase and William Keith. She was one of the founding artists of the San Francisco Spinner’s Club, a cultural center for women, and exhibited frequently from her studios in New York and Berkeley. Her cover illustrations regularly appeared on Vogue and Good Housekeeping. William Rice also joined the


Hazel Verrue A Model Studio, 1915 Ink on paper, 10" × 14" Collection of the Oakland Museum of California, Gift of Laetitia Meyer

Pen and ink sketch of an exhibit of a model artist’s studio, created by students and shown at the Panama-Pacific International Exposition in San Francisco in 1915. The furniture for this exhibit was designed by Margery Wheelock under the supervision of Frederick Meyer.


“Skill as well as talent is required to create an acceptable portrait bust,” from A Portfolio of Pictures, 1937 image: Don K. Oliver

right top

Students Jane Gilbert and Louis Moulthrop in costume for the 1936 San Francisco Bridge Parade right Bottom

“Students studying to be art teachers do practice teaching in local schools,” from A Portfolio of Pictures, 1937 image: Don K. Oliver

Out of the Ashes

Glance Winter 2007 14 / 15


Students off on a painting trip—and they have the easels to prove it! c. 1926–27 Below

Sculpture class with live model, pre-1930s

A man of prodigious talent and energy, Meyer built a school that fused the practical and ideal goals of aspiring artists, teachers, and designers, and in the process he changed the course of arts education in this country.

faculty at this time. An experienced educator, he would eventually become the region’s preeminent authority on block printing. Other distinguished members of the faculty in this early period include Beniamino Bufano, William Clapp, and Eric Spencer Macky. Growing Pains


“Lifelong friendships grow out of common interests developed in art school,” from A Portfolio of Pictures, 1937 image: Don K. Oliver


Student painting, c. 1937 Image: Don K. Oliver

From the beginning, CSAC and Frederick Meyer faced challenges. After the school opened on the fifth floor of the Studio Building, the landlord raised the rent to a level Meyer could no longer afford. In 1908 he relocated to a larger space above a billiard parlor and then later to the old Berkeley High School complex at 2119 Allston Way. In 1915, after several failed attempts, CSAC was finally placed on the list of accredited institutions by the California State Board of Education, allowing the school’s graduates to obtain state-certified teaching credentials. As the male population of the school declined during World War I, Meyer offered more courses that appealed to women and CSAC successfully maintained a respectable enrollment. By 1920 the school had again outgrown its facilities, and expansion in downtown Berkeley was prohibitively expensive. The university had three of the region’s most famous artists on its tenured staff: Charles Chapel Judson, Perham Nahl, and Eugen Neuhaus. By 1915 Nahl was teaching at CSAC only in the evenings and eventually became an occasional instructor in order to devote his full energies to UC Berkeley. Fearing that the university would siphon off art students, Meyer offered a direct challenge. Inspiration Finds A Home

In spring 1922 Meyer purchased the James Treadwell estate, a four-acre tract at the junction of College Avenue and Broadway in Oakland. With help from students as well as alumni, the buildings on the site were renovated and the Meyer family moved into the top floor of what is now Macky Hall. The move was complete in 1925. Although his school was not officially named California College of Arts and Crafts until 1936, Meyer incorporated it “as a college of the arts and crafts under the laws of the State of California” on November 2, 1922. Legally, it passed from private ownership and became a nonprofit institution with a governing board of trustees. CSAC now conferred standard degrees as well as various certificates of proficiency. By 1929 the 24 members of the faculty taught 50 different subjects organized into 3 professionals schools: Applied Arts, Arts Education, and Fine Arts.

Out of the Ashes

Glance Winter 2007 16 / 17

1935 SFMOMA opens on January 18. First trans-Pacific flight, from San Francisco to Honolulu, is flown.

1936 The school changes its name to California College of Arts and Crafts. Bay Bridge opens on November 12.

1937 First pedestrian traffic walks across Golden Gate Bridge on May 27. Bridge opens to vehicle traffic the following day.

1939 Treasure Island World’s Fair held in honor of the newly built Bay and Golden Gate bridges.

1941 Design Program is established.


Opportunities were born in the tragedy of the 1906 earthquake. Frederick Meyer fashioned a school that was not only independent of the ossified institutions of San Francisco, but also united the instruction of applied and fine arts. For the communities of the East Bay, the school was a cultural asset as well as an obvious benefit to the local economy. The artisan instructors became visible celebrities who were viewed with respect and affection. Frederick Meyer retired in 1944 and died on January 6, 1961, at the age of 88. For five decades, his life was inextricably entwined with the life of the college. A man of prodigious talent and energy, Meyer built a school that fused the practical and ideal goals of aspiring artists, teachers, and designers, and in the process he changed the course of arts education in this country. Generations of CCA alumni are a testament to this enduring legacy. Robert W. Edwards completed his PhD in Archaeology and Art History at UC Berkeley in 1983 and retired from teaching and fieldwork 20 years later. He is currently writing a history of the Berkeley and Carmel art colonies.

Frederick Meyer retires and becomes president emeritus. Noted artist and art teacher Eric Spencer Macky is selected as the college’s second president. He will serve in this role until 1954.

Spencer Macky, c. 1940

Suggested Reading Andersen, Timothy J., et al., eds. California Design 1910. Pasadena: California Design Publications, 1974. California Guild of Arts and Crafts. Catalogue, Second Annual Exhibition of the Guild of Arts and Crafts. San Francisco: CGAC, 1904. California School of Arts and Crafts. Catalogue of Classes, Summer 1907–Fall 1929. Berkeley and Oakland: CSAC, 1907–29. Dhaemers, Margaret Penrose. “California College of Arts and Crafts, 1907–1944.” Unpublished MA thesis, Mills College, Oakland, 1967. Hailey, Gene, ed. Monographs, Abstract from California Art Research, vols. 1 and 10: Works Progress Administration Project 2874, O.P. 65-3-3632. San Francisco: WPA, 1937. Hjalmarson, Birgitta. Artful Players: Artistic Life in Early San Francisco. Los Angeles: Balcony Press, 1999. Jacobsen, Anita. Jacobsen’s Bibliographical Index of American Artists. Carrollton, TX: A. J. Publications, 2002. Jones, Harvey L. Twilight and Reverie: California Tonalist Painting, 1890–1930. Oakland: Oakland Museum, 1995. Kovinick, Phil, and Marian YoshikiKovinick. An Encyclopedia of Women Artists of the American West. Austin: University of Texas Press, 1999. Martinez, Elsie Whitaker. San Francisco Bay Area Writers and Artists. Interview by Franklin D. Walter and Willa K. Baum. Regional Oral History Office, University of California, Berkeley, 1969. Meyer, Frederick H. “Why an Art School?” in Remembering Dr. Meyer. Oakland: California College of Arts and Crafts, 1961. Neubert, George W. Xavier Martinez (1869– 1943). Oakland: Oakland Museum, 1974. Trapp, Kenneth R., ed. The Arts and Crafts Movement in California, Living the Good Life. New York: Abbeville Press; Oakland: Oakland Museum, 1993. Trask, John, and J. Nilsen Laurvik, eds. Catalogue de Luxe of the Department of Fine Arts, Panama-Pacific International Exposition. 2 vols. San Francisco: Paul Elder and Company, 1915.

Out of the Ashes

Glance Winter 2007 18 / 19


Life drawing class with instructor Maurice Logan, spring 1936. Logan was an instructor from 1935–43, a trustee from 1936–62, and trustee emeritus from 1964–77. image: Don K. Oliver


Frederick Meyer lays down the law in this college bulletin.


Entrance to Treadwell mansion and estate in 1928. Treadwell mansion is now Macky Hall.


Students walking through the grounds on their way to class, c. 1930s

voiceS OF THE SixtieS

Inspired by the Times

and Seventies by jeff hunt

Inspired by the Times

Glance Winter 2007 20 / 21

Stephen Ajay Sue Ciriclio Eleanor Dickinson Jack Ford Joe Girard Michael McClure Michael Vanderbyl

THE 1960s AND 1970s are considered a time of great political and social change the world over. The Bay Area was a vital center of many of the revolutions of the era, and CCAC, as it was then known, was a very different place.

Many former students, as well as former and current faculty who were around at that time, remember a campus with a close sense of community, one in which students and faculty from the various disciplines mingled, both in work and in play. CCAC was home to influential artists and art movements throughout the last century, and the 1960s and 1970s were no exception. Both alumni and faculty, former and present, were involved in developments in art with international significance. Richard Diebenkorn, a principal creative force in painting, taught at CCAC from 1955–57, and the work of alumnus Nathan Oliveira and Manuel Neri served to develop and reinforce the strength and effect of Bay Area figuration. Robert Arneson, Viola Frey, and Peter Voulkos gave rise through their creative force to what is often referred to as the modern ceramics revolution.

In addition, Robert Bechtle, Richard McLean, and Jack Mendenhall took leading parts in shaping the methods and importance of photorealism. John McCracken was beginning his explorations in minimalism, while David Ireland and Dennis Oppenheim were breaking new ground in conceptual art. In the literary world, Michael McClure, one of five poets to read with Allen Ginsberg at San Francisco’s Six Gallery in 1955, and whose name is inextricably linked with the Beat Generation, took a teaching position in the school’s literature program in 1961. He eventually brought Ginsberg and Bob Dylan to the school to further electrify the already-charged atmosphere. McClure has been here ever since. Designer Michael Vanderbyl, dean of design, recalls visiting the college as a senior in high school: “It was love at first sight—art all the time.” This impression,


The Happening, Oakland, 1966 “I was walking back to CCAC with some fellow art students when we came to a Goodwill box. Next to it was a bathtub. One guy took off his clothes, jumped into the tub and started using an old brush to wash his back. As I got ready to take his picture, I noticed my other two friends kissing in the phone booth. A spontaneous street theater event right next to the busiest street in Oakland.” image and comment: Larry Keenan

page 20

Student Geoff Bishop on top of Macky Hall, 1965 image: Larry Keenan

mixed with the social and political upheaval of the times, marks a particular period in the school’s history, one that brought community and art together in a unique way. Outside the art world and away from the school, things were changing on a scale unimaginable at the dawn of the 1960s. From the Civil Rights Movement and the war in Vietnam to the tragic assassinations of Martin Luther King and John F. Kennedy, the national mood, reflected in protests and demonstrations in Berkeley and Oakland, was volatile, to say the least. At the same time, the Free Speech Movement in Berkeley, the tragedy at Kent State, the rise of the Black Panthers, feminism, and the Gay Rights Movement all created an environment unlike any that had come before, and possibly anything that has occurred since. Glance spoke with seven current and former faculty members, asking them to recall various aspects of the school in the 1960s and 1970s.

Inspired by the Times

Glance Winter 2007 22 / 23

“The Graphic Design Program [was] a teeny department banished to a College Avenue storefront. [Now it’s] one of the strongest design departments in the country.” Michael Vanderbyl BFA ’68, Faculty, 1973–present, Graphic Design

1945 The United Nations Charter is signed at the United Nations Conference on International Organization in San Francisco.

1950 Children’s Fairyland opens in Oakland.

1952 One of the first public television stations in the country opens in San Francisco, Bay Area Educational Television Association (now KQED).

1954 Daniel S. Defenbacher is appointed president.


Barth Blier (left) at the “Dog Day” seminar on the Oakland campus, 1975 above

Michael Vanderbyl (right) setting up the 1968 Art Directors Club exhibition with fellow students Daniel S. Defenbacher, c. 1951 IMAGE: Walker Art Center, Minneapolis

“People had this sense that art could make a difference in the world, that making something beautiful could actually change things.”

Sue Ciriclio BFA ’71, Faculty, 1977–present, Photography


ABOVE left

opposite top

Art in Action with (left to right): Art Nelson, Bill Pickerill, Larry Kennedy, Evelyn Johnson, Sylvia Helder, David Helder, Ruth Tamura, and Mary White, 1969

Calligraphy demonstration

Students in costume

IMAGE: Betty Jane Nevis

IMAGE: Herrington Olson

above right

Opposite CENTER

IMAGE: Van de R. Compbell

Sue Ciriclio, Shoe, 1970

Peter Coyote and Michael McClure, Marin Headlands, 1978 IMAGE: Larry Keenan

Opposite bottom

Michael McClure, Allen Ginsberg, and Peter Orlovsky reading a Zen sutra at Ginsberg’s apartment in San Francisco, 1965 image: Larry Keenan

Inspired by the Times

Glance Winter 2007 24 / 25


“In class, there was this tremendous quality of turning the room into a theater. Instead of reading a dialog by Plato, we’d act it out. We had poetry readings, protests, and teach-ins.”

Joseph Danysh is appointed president.

1959 Harry Ford is appointed acting president. He will be appointed president in 1960 and will serve in this position until 1984.

1961 Frederick Meyer dies.

1967 Summer of Love.

Michael McClure Faculty, 1961– present, Writing and Literature

Inspired by the Times

Glance Winter 2007 26 / 27


Graduate Show opening, 1966 IMAGE: Charles H. Hays


Discussing art and the creative process Opposite Left

A student takes a break from studying opposite right

Laetitia “Babs” Meyer honoring Wolfgang Lederer (right) at the 1969 Founder’s Day celebration

“The 1960s were a time of unprecedented energy—Vietnam, the antiwar protests, the Free Speech Movement, and People’s Park. We were of those times and in touch with the energy they produced. It wasn’t just all sex, drugs, and rock and roll, as some might have you believe.”

Joe Girard MFA ’71, Faculty, 1972–87, Sculpture


Joe Girard, 1989

Opposite top

“Building Your Own Space,” with panelists William Kirsch and Lloyd Kahn, c. 1970s


Life drawing class, 1960s IMAGE: Stone and Steccati Photographers

OPPOSite bottom

Faculty emeritus Arthur Okamura’s Peace poster, c. 1968

Inspired by the Times

Glance Winter 2007 28 / 29

“In the printmaking department, we did protest posters, sometimes printing at the shop all night long, 24 hours a day.”

Jack Ford MFA ’65, Faculty, 1969–present, Printmaking

1968 Completion of two major buildings on the Oakland campus. Founders Hall, honoring Frederick and Laetitia Meyer, Isabelle Percy West, and Perham Nahl, now houses the library, media center, and classrooms. Martinez Hall, honoring Xavier Martinez, houses the Painting and Printmaking Programs.

1969–71 American Indians occupy Alcatraz.

1970 Interior Design Program is established.

1971 Guild Hall burns down.

1973 The Noni Eccles Treadwell Ceramic Arts Center opens.

1974 The BART transbay tube opens for operation.

“Degrees didn’t mean as much back then. We actually got a lot of flak from some artists who thought the in thing was to be self-taught. People constantly asked me, ‘What are you going to school for?’” Eleanor Dickinson MFA ’71, Faculty, 1971–2001, Drawing



Students on a balcony

Eleanor Dickinson, 1974

IMAGE: Larry Keenan

OPPOSITE TOP center left

Students at an exhibition, 1969

Sculpture students preparing assignments for class

IMAGE: Eric W. Cheney

OpPOSITE bottom center right

Students on the lawn, 1968

Hard at work in metal arts

IMAGE: Eric W. Cheney

Inspired by the Times

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“Kids were scared of the draft then; they were being called up in the lottery and pulled out of school if their grades were bad enough.”

Stephen Ajay Faculty, 1967–present, Writing and Literature

1977 Macky Hall is placed on the National Register of Historic Places.

1978 Assassination of San Francisco Supervisor Harvey Milk and Mayor George Moscone.

1979 The Raleigh and Claire Shaklee Building, housing the Glass, Metal Arts, and Sculpture Programs, is completed.

Bigger than the Bauhaus: Moving into the Second Century by Barry Katz

Bigger than the Bauhaus


View of San Francisco and Montgomery Campus during construction opposite

Rendering, Montgomery Campus, Tanner Leddy Maytum Stacy

In 1993, when I made the decision to move from Stanford to CCA(C), our well-heeled neighbor to the south had just completed a $1.2 billion orgy of fundraising: new labs designed by signature architects; technologyenhanced lecture halls; a refurbished 18-hole golf course … the works. CCA, by contrast, had just moved As we enter our second century, we into its San Francisco campus, a disused industrial find ourselves securely established on building at the seedy intersection of 17th and De Haro, both sides of the Bay and a major where, according to doubtful urban myth, the cables contributor to the aesthetic culture for the Golden Gate Bridge had been spun. There of Northern California. were no seminar rooms. The computer lab was literally a janitor’s broom closet under a stairwell. Studio space was, to put it generously, Spartan. The library—well, let’s not get into that. “This will be a challenge,” I thought to myself as I waited in the rain for the #22 bus.




Graphic Design thesis exhibition, 17th and

De Haro bottom

Montgomery Campus opening gala, 1999 Image: Stu Brinin

In the decade that followed CCA experienced a rate of growth that can only be described as spectacular; and as we enter our second century we find ourselves securely established on both sides of the Bay and a major contributor to the aesthetic culture of Northern California. The catalyst, and most conspicuous emblem of this growth, was surely the opening of the Montgomery Campus in San Francisco, and that is a good place to begin. In 1985 CCA’s historic four-acre Oakland campus was bursting at the seams—even with a spate of new building during the preceding decade, there was barely space for the Apple computers that began to arrive that year. At about that time, the college was given the opportunity to purchase—for the princely sum of $1—the architecture program of Cogswell Polytechnical College. With the encouragement of Steven Oliver, chairman of the college’s board of trustees, President Neil Hoffman and his bareknuckles CFO John Stein began to search for a suitable location for the planned Schools of Architectural Studies and Design. After eight years in cramped, leased quarters at 17th and De Haro, which now barely contain the corporate offices of Jamba Juice, CCA’s new president, Lorne Buchman, announced the purchase of a spectacular piece of industrial architecture: a vacant Greyhound bus-maintenance terminal designed in 1951 by the arch-modernist firm of Skidmore, Owings & Merrill (SOM) and located on the corner of 8th and Irwin at the foot of Potrero Hill. The building, which covers half a city block, actually consists of two parts: to the south, a two-story reinforced-concrete slab that housed Greyhound’s administrative offices and machine shops; adjacent to it, a breathtaking, 60,000-square-foot clear-span shed supported by seven massive concrete arches.

Today the Simpson Library and Timken Lecture Hall occupy opposite ends of the first floor of what used to be called the Alpha building. They are connected by a row of classrooms and galleries named in honor of trustee Tecoah Bruce (who enjoys reminding people that she is also an alumna). The Wornick Wood and Furniture Studios, the Blattner Design Studios, the Oliver Architecture Studios, and the Koret Center for Digital Media are on the second floor. Beta, the soaring structure next door, was renamed Carroll Weisel Hall and is now home to the Logan Galleries and the Wattis Institute, recognized as one of the leading Bay Area venues for contemporary art. The rest of the cathedral-like Nave is populated by painters, illustrators, fashion designers, and other students arrayed across six flourishing graduate programs working in spaces named for CCA’s many benefactors, including the Osher Foundation Academic Center and the Jewett Architecture and Design Studios. Before all this could happen, however, it was necessary to transform a shed for repairing the last generation of buses into a school for educating the next generation of artists, writers, designers, and architects. This took place in two design phases, beginning with Alpha in 1994–95, which could not have been done without a little help from our friends. Steve Oliver’s construction firm, Oliver & Company, built both phases. The design was done pro bono by Kaplan McLaughlin Diaz (KMD) thanks to David Hobstetter, who was a principal there and also on CCA’s board of trustees. Chuck Bloszies, who was on the faculty at that time, led the structural work. Then, at


Beta during renovation Image: Richard Barnes


President Lorne Buchman with Mayor Willie Brown, 1997 Image: Douglas Sandberg


Photography students with professor Chris Johnson (center), Oakland campus, c. 1985 below

Illustration studio, San Francisco campus, 2006 Image: Karl Petzke

left top

Architecture studios at 17th and De Haro, c. 1990s Image: karl Petzke

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Fashion design student with adjunct professor Lynda Grose, San Francisco campus, 2006 Image: Karl petzke


Invitation to the San Francisco campus inaugural celebration, October 1996 Designed by Bill Bowers Jr., Sputnik CCAC

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the end of May 1996, two weeks after the 89th graduating class marched, pranced, and cavorted across the stage of the Calvin Simmons Theatre of the Arts and out into the world, President Buchman published an RFQ (architectural parlance for a Request for Qualifications) for Beta, inviting proposals that would preserve “the reductive formal clarity” of SOM’s mid-century masterpiece while transforming it into a complex, multidisciplinary center for the visual arts. After an intensive review, which drew upon the professional expertise of many of CCA’s own faculty, the well-known San Francisco firm Tanner Leddy Maytum Stacy (TLMS, now Leddy Maytum Stacy) was selected for the project. Promising “a humane, modernist intervention” based on “the marriage of poetry and pragmatism,” TLMS began work on the renovation. In September 1996 the city of San Francisco granted the school an occupancy permit—about 20 minutes before fall semester classes were scheduled to begin! And a few weeks later, deans David Meckel (architecture) and Michael Vanderbyl (design) invited the arts community to a gala in the unfinished Nave: “BIGGER THAN THE bauhaus,” their invitation read. However dramatic the structure, everybody knows that facilities can do no more than facilitate. The vast reinforced-concrete shell enabled CCA to spread out, and in the process undertake a sustained, living experiment in arts education. Interior architects Mark Jensen and Mark Macy of Jensen & Macy developed a versatile open system that gave academic planners the opportunity to break down disciplinary walls in the most literal way: Can industrial designers be brought into proximity with sculptors? Shouldn’t painters be comparing notes with graphic designers? Where do we put all of the so-called new media—digital video, computer-assisted design, time-based and sound-based art—which fit so uneasily into the 19th-century framework of arts and crafts? Can the humanities be elevated from a set of required service courses to become the driver of a new

1984 Thomas (Toby) Schwartzburg serves as acting president of the school.

1985 Neil Hoffman is appointed president. The first Apple computers arrive on campus. The college purchases Cogswell Polytechnical College’s architecture program for $1 and establishes the undergraduate Architecture Program.

Neil Hoffman, c. 1980s

1986 The successful Macky Hall Renovation Campaign is launched. Many prominent artists donate work to hang in the renovated building. The Pre-College Program for high school students begins.

{At CCA the pedagogic dream of founder Frederick Meyer was poised to become an architectural reality.}

cultural-critical agenda? Above all, the abrupt doubling of the size of the college raised questions of how to sustain two vital centers on opposite sides of the Bay. The departure of the last buses from the Greyhound terminal inaugurated a sustained program of curricular innovation that many of us feel has only just begun. Merging fine and applied arts had been a dream ever since William Morris argued a century ago that “When they are so parted, it is ill for the Arts altogether.” The applied arts, he complained, become “trivial, mechanical, and unintelligent,” and the fine arts become nothing but “dull adjuncts to unmeaning pomp.” Shortly afterward, the artists and artisans of fin-de-siècle Vienna joined forces to assert, “We recognize no distinction between high art and low art; all art is good.” They were followed by Walter Gropius, who inaugurated the modernist era by proclaiming not just their equality but their unity: “Let us create a new guild of craftsmen,” he declared at the opening of the Bauhaus in 1919, “without the class distinctions that raise an arrogant barrier between craftsman and artist!” At CCA the pedagogic dream of founder Frederick Meyer was poised to become an architectural reality. An early salvo in this campaign came at the initiative of Michael Roth, who had moved from the Getty Museum in Los Angeles in 2000 to become CCA’s eighth president. Roth made the decision to eliminate the schools of fine arts, design, and architecture altogether in favor of a unified, undifferentiated model of creative practice. An even more controversial initiative came three years later, when the trustees, for the fourth time in the college’s history and following years of emotional debate, decided to change the name of the school from California College of Arts and Crafts to California College of the Arts. Many voiced concern over what they perceived to be an affront to the craft tradition on which the school had been founded; others countered that it was not the crafts that were being jettisoned, but arts and crafts—a 19th-century slogan freighted with associations that seemed ill suited to an age of form-Z, streaming video, and three-dimensional printers. Our own turn of the century brought further growth and change to the college, most notably in the area of graduate education. CCA’s established MFA Program was joined in rapid succession by new programs of advanced study in design and architecture, and the college also ventured into previously uncharted territory: curatorial practice, to prepare a generation of


Rob Epstein’s media arts students filming on location, 2006 image: Karl Petzke


Architecture studio, San Francisco campus, 2006 image: Karl Petzke

opposite top

Sculpture studio, Oakland campus, 2004 image: Karl Petzke

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Materials library, San Francisco campus, 2004 Image: Karl Petzke

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1987 The Design and Architecture Programs move to leased space on 17th Street in San Francisco. The Illustration and Industrial Design Programs are established.

1989 The Oliver Art Center, including the 3,500-square-foot Tecoah Bruce Gallery, opens on the Oakland campus. The Loma Prieta earthquake rocks the Bay Area.

1993 The award-winning Barclay Simpson Sculpture Studio, designed by faculty member Jim Jennings, opens on the Oakland campus.

1994 Lorne Buchman, CCAC provost and former chair of the Department of Dramatic Art at UC Berkeley is appointed seventh president.

1995 The college launches the comprehensive Campaign for CCAC to raise funds for the renovation of a new San Francisco campus and programmatic initiatives. The college purchases a building in lower Potrero Hill to create the new permanent San Francisco campus. Sputnik, student design team, is established.

1996 The first phase of the renovation of the Montgomery Campus is completed. The Design and Architecture Programs move into the new building.

1997 The Fashion Design Program begins. The college launches the Young Artist Studio Program, a summer program for middle school students.

professionals to think about the act of curating as an artistic practice in itself; writing, an art form whose medium is (mostly) words; and visual criticism, which analyzes the production, distribution, and reception of images. Today almost a fifth of CCA’s students are pursuing master’s degrees, and a new Graduate Center promises to transform the blighted Hooper Street into an important cultural corridor. These sweeping changes, expansion, and innovation at both the undergraduate and graduate levels were intended to stimulate the academic programs, and there is strong evidence that this has begun to happen. A wide-ranging reorganization of the undergraduate curriculum has led, since 2003, to the creation of two humanities majors, in visual studies (the successor to the aging discipline of art history) and in writing and literature. The first students in the history of the college to receive the bachelor of arts degree (as opposed to the bachelor of fine arts degree) graduated in 2006. Although their numbers are still small, there is great significance to this: CCA competes for the most talented students not only with arts institutions nationwide, but also with liberal arts colleges and universities. The growing rigor, consistency, and edginess of the humanities curricula announce to prospective undergraduates and their parents that they do not have to choose between a rich studio experience and a broad liberal education. They can have it both ways. There are strong indications that this message is being heard. In 1994 the college embarked upon a comprehensive strategic planning process with the modest goal of achieving leadership in arts education. Enrollment at that time hovered at around 900 students, only 171 of whom were firsttime freshmen. In the next year or two, it is expected that our numbers will have more than doubled as we approach a growth target of 1,850. The college has invested significantly in the infrastructure—academic, social, and residential—that a growing population of younger students requires. It’s unlikely that CCA will be fielding a varsity football team anytime soon, but we now have a dormitory in Oakland and a burgeoning program of student life on both sides of the Bay. There is simply more going on now in any given week than aspiring artists can hope for. The six graduate programs have pooled their resources to

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1998 The college establishes the Institute for Exhibitions and Public Programs. bottom left

Meyer Library on the Oakland campus, 2006 Image: MÓNICA HERNÁNDEZ


bottom right

Bay Area ID student and portfolio review, with special guest Cameron Sinclair, 2006

MFA commencement exhibition, San Francisco campus, 2006

Image: Karl Petzke

Image: robert adler

Noted artist-residency program Capp Street Project becomes part of the Institute for Exhibitions and Public Programs.

1999 The college celebrates the completion of the Montgomery Campus with an opening gala.

2000 Michael S. Roth, associate director of the Getty Research Institute, is appointed eighth president. The college launches new graduate programs in design, visual criticism, and writing. The Center for Art and Public Life is established.

2001 The Institute for Exhibitions and Public Programs is renamed Wattis Institute for Contemporary Arts in honor of philanthropist Phyllis Wattis.

2002 A new student housing facility, Clifton Hall, opens on the Oakland campus. The college welcomes the largest entering class in its history.

2003 The Center for Art and Public Life receives a $5 million endowment—the largest gift in the history of the college. Reflecting the breadth of its programs, the college changes its name to California College of the Arts. CCA launches new graduate programs in curatorial practice and new undergraduate programs in writing and literature and visual studies. The Graduate Center opens on the San Francisco campus.

put on a graduate lecture series that regularly brings to the San Francisco campus internationally known artists, writers, and scholars. In Oakland the Center for Art and Public Life maintains a lively program of community outreach that resonates strongly with the East Bay culture of social diversity and political engagement. In 2005, reflecting the growing prominence of such movements as social practice and relational aesthetics, CCA launched a new undergraduate major in community arts. It has, by all accounts, been a pretty remarkable decade: new buildings and enhanced facilities; new programs, centers, and institutes; the ever-greater visibility of the institution, its faculty, and its alumni. It is precisely the steepness of this growth trajectory, however, that helps keep us focused on the work that remains to be done. Salaries have risen since 1907, when Frederick


Oakland campus, 1997 this Spread

The Nave, San Francisco campus, 2006 Image: MĂ“nica HernĂ ndez

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Meyer hired his four faculty members (there are now 480 of us) and paid them each $40 per month, but so has the cost of living in this charmed corner of the universe. The diversity of the institution does not begin to reflect that of the Bay Area, and the price of a culture of participatory selfgovernance is the chronic threat of burnout. Although we have made truly remarkable strides, much work remains to be done to ensure that faculty and staff at every level of the academic hierarchy feel equally invested in—and respected by—the institution as a whole. Each of us can find plenty of reasons to feel impatient, frustrated, and occasionally depleted, and that certainly applies to me. But at the most challenging moments, I often wander a few blocks down the street to the dreary, drizzly corner of 17th and De Haro. We should be proud of our accomplishments during this past remarkable decade, and that alone should fortify us for all that remains to be done.

2004 College launches its new Master of Architecture Program.

2005 A new BFA in Community Arts Program begins.

2006 Barry Katz is professor of design and visual criticism, and president of the faculty senate.

College enrollment reaches 1,650. Faculty numbers 480.

A Year of special Centennial Events

shows continuing from 2006

September 20, 2006– February 24, 2007 Draw on Photography: New Etchings by Kota Ezawa and Isca Greenfield-Sanders Paulson Press, Berkeley November 30, 2006– January 13, 2007 Linda Geary Rena Bransten Gallery, San Francisco

January 2007 January 5–27 Alumni Show Jack Hanley Gallery, San Francisco January 6–February 17 Naomie Kremer Hosfelt Gallery, New York Reception: January 6, 3–6 p.m. January 16–December 21 Historical Exhibitions Simpson Library, San Francisco campus Meyer Library, Oakland campus January 20–April 22 100 Families Oakland Exhibition Oakland Museum of California Family Programs: January 28, 1–4:30 p.m. February 18, 1–5 p.m. March 18, 1–4:30 p.m. January 23–March 17 Jessamyn Lovell Richmond Art Center

January 26–April 8 CCA: A Legacy in Studio Glass San Francisco Museum of Craft+Design Curated by Carolyn Kastner February 8, 6 p.m. Lecture: “A World of Glass” with Marvin Lipofsky, SFMC+D February 17, 1:30 p.m. Studio visit with Marvin Lipofsky (SFMC+D members only) March 4, 1 p.m. Demonstration with Clifford Rainey, glass studio, Oakland campus

January 29–February 16 Alumni at the Centennial Oliver Art Center, Tecoah Bruce Gallery Oakland campus Reception: January 31, 5:30–7:30 p.m.

January 30, 7 pm Centennial KickOff Special Lecture Carrie Mae Weems The Nave, San Francisco campus Reception follows lecture

Graduate Studies Centennial Lecture Series For up-to-date information on speakers, venues, dates, and times, visit Runs through December 2007.

February 2007 February 1–21 Louis Siegriest Triangle Gallery, San Francisco Info: 415.392.1686

A juried exhibition of work by alumni from around the world, across disciplines, and spanning generations.

March 23–July 3 California College of the Arts at 100: Innovation by Design San Francisco Museum of Modern Art Reception: March 22, 6–8 p.m. March 27, 12–1:30 p.m. Panel Discussion: “When Art Solves Problems,” David Meckel, moderator SFMOMA will present a special exhibition of works from the museum’s architecture and design collection, as a tribute to the college’s Centennial. The exhibition will feature works by such esteemed architects and designers as Yves Béhar, Thom Faulders, Donald Fortescue, Mark Fox, Jim Jennings, William Leddy, Jennifer Morla, Jennifer Sterling, Lucille Tenazas, Michael Vanderbyl, and Martin Venezky, to name a few.

Martin Venezky Tulane School of Architecture poster Rethink New Orleans Rebuild, 2006 Offset printing, 36" × 24"

A Year of Special Centennial Events

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February 1–25 WIDE LENS: A Retrospective of Oscar Documentaries San Francisco Museum of Modern Art Phyllis Wattis Theater Co-presented by the Academy of American Motion Picture Arts and Sciences and CCA, a series of short subject and feature documentaries recognized by the Academy over the past 40 years. Filmmakers will be present at each program. Sundays at 2:30 p.m. and Thursdays at 8:30 p.m. during February. For a complete schedule, visit

April 25, 6 pm Centennial Gala and Threads Fashion Show Fort Mason, San Francisco Info: 415.594.3776 Event includes a cocktail reception, gourmet dinner, and professional runway show highlighting the best work of CCA’s senior fashion design students. Proceeds will benefit the college’s scholarship program.

February 8–March 10 Mary Snowden: It’s a Matter of Time Braunstein/Quay Gallery, San Francisco Reception: February 10, 3–5 p.m. February 10–March 13 Michele Pred Nancy Hoffman Gallery, New York February 15–19 Manuel Neri ARCO, International Art Fair, Madrid, Spain

March 2007

March Forthcoming dates

Amy Kaufman Traywick Contemporary, Berkeley Runs through May 2007.

March 1–April 28 Three Generations of CCA Women: June Felter, Jane Grimm, Emily M c Varish 871 Fine Arts, San Francisco Info: 415.543.5155

New prints by Nathan Oliveira Crown Point Press, San Francisco

March 8–April 28 Manuel Neri: Painted Sculpture and Reliefs Hackett-Freedman Gallery, San Francisco

Including works by Robert Bechtle, Christopher Brown, Squeak Carnwath, Richard Diebenkorn, Richard McLean, Nathan Oliveira, Maria Porges, and Paul Wonner.

March 15–April 7 CCA at 100: alumni looking forward Braunstein/Quay Gallery, San Francisco Curated by Mary Snowden Reception: March 17, 3–5 p.m.

Alumni and Faculty Show John Berggruen Gallery, San Francisco

April 2007 April 1–30 Arthur Okamura: New Work Claudia Chapline Gallery, Stinson Beach Reception: April 30, 3–5 p.m.

April 8, 12–5 pm Graduate Open Studios San Francisco campus Info: 415.551.9213 Graduate students in fine arts, architecture, design, and writing open their studios to the public.

April 12–May 19 Tara Tucker Rena Bransten Gallery, San Francisco April 17–May 18 Gerald Walburg Retrospective Thompson Art Gallery San Jose State University april 21, 11 am–3 pm Spring Fair Community event on the Oakland campus.

April 23–28 20th Annual Simpson Awards and Exhibition Oliver Art Center, Tecoah Bruce Gallery Oakland campus Reception: April 23, 6–8 p.m. april Forthcoming dates

Laurie Reid: Works on Paper Berkeley Art Museum Runs through September 2007.

May 2007 May 10–19 Graduate Exhibition San Francisco campus Info: 415.551.9213 Reception: May 10, 6–9 p.m.

September 29, 2007– April 20, 2008 Celebrating a Centennial: Contemporary Printmakers at CCA Anderson Gallery of Graphic Art de Young Museum In honor of the college’s Centennial, this exhibition will feature about 25 prints from the museums’ collection by CCA alumni and faculty, including Robert Arneson, Robert Bechtle, Nathan Oliveira, and Peter Voulkos. Celebrating a Centennial is organized by Karin Breuer, curator of contemporary graphic art at the de Young.

fine arts museums of san francisco, museum purchase achenbach foundation for graphic arts endowment fund 1997.88

Featuring work by graduating MA, MFA, and MArch students. july Forthcoming dates

May 10–June 30 Naomie Kremer Modernism Gallery, San Francisco Reception: May 10, 5:30–8 p.m. May 12–June 16 Michael Beck Charles Campbell Gallery, San Francisco May 12, 2 pm Centennial Commencement Masonic Auditorium, San Francisco Alumnus Robert Bechtle and filmmaker Trinh Minh-ha will receive honorary doctorates.

July 2007 July 7–August 18 Alumni Show Walter Maciel Gallery, Los Angeles

Nathan Oliveira Pier Site 14, 1986 Monotype, 48" × 42 ½"

Alumni and Faculty Show Stephen Wirtz Gallery, San Francisco Including works by Todd Hido, Jim Goldberg, Laurie Reid, Raymond Saunders, Paul Schiek, Larry Sultan, Kathryn Van Dyke, Rachel Weeks, and others.

August 2007 August 9–12 Alumni Show American Craft Council Show Fort Mason, San Francisco august Forthcoming dates

Alumni and Faculty Show Gallery Paule Anglim, San Francisco Including works by Robert Bechtle, Christopher Brown, David Ireland, Judith Linhares, Manuel Neri, and John Zurier.

September 2007 September 4–November 10 CCA’s 100th Anniversary Photography Retrospective Richmond Art Center A survey of work by past and present CCA photography students and teachers.

September 6–October 13 Dennis Leon: One Stone; Works from the Estate Patricia Sweetow Gallery, San Francisco September 6–October 27 Honoring CCA Brian Gross Fine Art, San Francisco Including works by Robert Arneson, Roy DeForest, Linda Fleming, Sono Osato, and Nellie King Solomon.

September 6–October 13 Libby Black Heather Marx Gallery, San Francisco

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A Year of Special Centennial Events

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September 30–December 21 Marilyn da Silva Palo Alto Center september Forthcoming dates

Faculty Show Oliver Art Center, Tecoah Bruce Gallery Oakland campus

October 2007 October 3–November 2 Philip Buller and Tracy Krumm Andrea Schwartz Gallery, San Francisco October 12–14 All-Alumni Reunion Weekend A weekend of celebrations, exhibitions, openings, and informative programs for alumni and their families. Join us on both sides of the Bay to reconnect with your classmates and the CCA community.

October 20, 2007– February 10, 2008 CCA Alumni and Faculty: Selections from the Permanent Collection San Jose Museum of Art

Berkeley Art Museum

October 20–November 24 CCA at CCG Charles Campbell Gallery, San Francisco

Iris & B. Gerald Cantor Center for Visual Arts at Stanford University

Including works by alumni and faculty ranging from the Society of Six to Manuel Neri and Nathan Oliveira to Michael Beck and Christopher Brown.

The Cantor Arts Center’s permanent collection contains many works by CCA faculty and alumni. During 2007, special Centennial wall labels will be added to inform visitors of these works.

During the Centennial year, works by CCA alumni and faculty will be acknowledged on special wall labels throughout the galleries.

October 22–December 1 Jamie Vasta: Glitter Paintings Patricia Sweetow Gallery, San Francisco

Visit for the latest calendar updates.

December 2007 December 1, 11 am–3 pm Holiday Fair Community event on the Oakland campus.

October 13, 2007–January 27, 2008 CCA: 100 Years in the Making Oakland Museum of California; Reception: October 13 (for members, donors, and alumni) In honor of CCA’s Centennial, the Oakland Museum of California will present an extensive historical survey that will chronicle the important achievements of artists associated with the school from its founding in 1907 to 2007. Guest curator Lee Plested joins acclaimed exhibition designer Ted Cohen and Oakland Museum chief curator Philip Linhares to form an all-alumni exhibition team. The exhibition will focus on the creative expertise and critical ideology of artists throughout the college’s history. Artists included in the exhibition: the Society of Six; ceramist Edith Heath; figurative painters Richard Diebenkorn and Nathan Oliveira; sculptors Peter Voulkos, Robert Arneson, and Viola Frey; John McCracken and Dennis Oppenheim; photorealists Robert Bechtle, Robert Gils, Richard McLean, and Jack Mendenhall; performance artist Suzanne Lacy; painters Squeak Carnwath and Raymond Saunders; and photographer Catherine Wagner. A section devoted to 1987–2007, curated by a peer committee, will trace recent artistic strategies.

Robert Bechtle ’56 Chrysler, 1965 Oil on canvas, 36" × 40" Collection of the Oakland Museum of California, Gift of Gary Lucidon

100+ Alumni of Note

It is estimated that there are more than 14,000 alumni of the college. Collectively, they have had a profound impact on our culture in the last 100 years. Who are they? Architects, artists, businesspeople, cartoonists, critics, designers, entrepreneurs, fashion designers, filmmakers, illustrators, painters, photographers, printmakers, publishers, teachers, writers, and more. They are directing nonprofits, constructing buildings, running their own businesses, and working with underserved communities. In short, they are using their arts education to shape the world. This list gives you a small sample of the range of alumni achievements. 1. Erik Adigard (’87) and Patricia McShane (’87):

designers and founders of the design firm M-A-D; created original design of Wired magazine; won prestigious Chrysler Design Award in 1998. 2. Andre Andreev (’05), G. Dan Covert (’03), and Jennifer Hung (’01): award-

winning graphic designers, their clients include MTV and VH1. 3. Robert Arneson (’56):

sculptor recognized for his pivotal role in establishing ceramics as a medium for contemporary sculpture. 4. Patrick Arrasmith (’94):

illustrator whose work has appeared in the New York Times, Wall Street Journal, and numerous magazines and books. 5. Lawrence Azerrad (’95):

designer and principal at LAD, design and art direction studio; former art director for Warner Brothers Records; and faculty member at Art Center College of Design. 6. Jules de Balincourt (’98):

artist; his work is shown at the Saatchi Gallery in London.

7. Giorgio Baravalle (’92):

designer and founder of design firm de.MO; has pub­ lished 13 books, mainly on photojournalism. 8. Robert Bechtle (’54):

prominent photorealist painter; his well-received retrospective organized by SFMOMA toured nationally in 2005. 9. Billy Al Bengston (’55):

painter and central figure in the 1960s art scene in Los Angeles; his work has been described as “at the intersection of Pop and Color Field.” 10. Garry Knox Bennett (’61):

studio furniture maker of work with unexpected shapes and combinations of color and material. 11. Libby Black (’01): artist;

known for her drawing and sculptural representations of objects in the world of fashion and luxury. 12. Ralph Borge (’52): painter

and faculty member; recognized for his sweeping landscapes of the Bay Area. 13. Gaby Brink (’95): designer,

co-founder, and principal of Templin Brink Design.

14. Kathan Brown (’68):

printmaker and founder of Crown Point Press; has worked with prominent artists such as Diebenkorn, LeWitt, Marden, Marioni, and Thiebaud. 15. Tecoah Bruce (’74, ’79):

art consultant, former board chair, and current trustee. 16. Raul Cabra (’90): designer

and principal of design firm Cabra Diseño; published a series of books on designers for Chronicle Books. 17. Squeak Carnwath (’77):

artist and recipient of numerous honors and awards, including SFMOMA’s SECA Art Award, Guggenheim Fellowship, and NEA Grants; current faculty at UC Berkeley. 18. Patrick Coyne (’83): editor

and designer of Communication Arts magazine. 19. Tomie dePaola (’69):

illustrator and author of more than 200 books; winner of Caldecott Honor award for his book Strega Nona. 20. Anthony Discenza (’00):

artist; his work appeared in the 2000 Whitney Biennial. 21. Terry Dougall (’72):

president and founder of Dougall Design Associates, the top theme and interior design firm in the US gaming industry. 22. June Felter (’58): painter

and printmaker; part of the Bay Area Figurative Art Movement.

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23. Harrell Fletcher (’94):

artist; works collaboratively and individually on socially engaged projects; work included in 2004 Whitney Biennial. 24. Viola Frey (’56): leading

figure in contemporary ceramics; known for her monumental, intensely colored figurative sculpture; faculty member for 34 years. 25. Bob Gardiner (’72): artist

and early claymation innovator; won an Academy Award for his animated film Closed Mondays. 26. Max Geiser (’97) and Linda Malhewson Geiser (’97):

founders of Fold Bedding. 27. Gia Giasullo (’94) and Erez Steinberg (’91): principals

of Studio eg, an industrial and graphic design firm committed to the use of recycled, reused, and nontoxic materials. 28. Charles Gill (’55): painter

and printmaker, faculty member for 39 years, and founder of CCA’s printmaking program. 29. Ralph Goings (’53): one

of the original members of the Photorealist Movement. 30. Dave Gonzales (’80):

illustrator and creator of the “Homies,” a line of toy figurines.

31. Nadja Haldimann (’97):

designed Microsoft Office 2003 while a product designer at Microsoft. 32. Eric Heiman (’96): graphic

designer, co-founder of Volume Inc. design firm, and faculty member. 33. Todd Hido (’96): photographer

exhibiting nationally and inter­ nationally; has three monographs published by Nazraeli Press. 34. Wade Hoefer (’72): painter

who is best known for his land­scapes, which have been described as “visual poetry.” 35. Nancy Howes (’05): metal

artist and trustee. 36. David Huffman (’86, ’98):

painter and faculty member; his painting presents human experience with a social and historical perspective. 37. Gary Hutton (’75): interior

designer and furniture designer; his work has been published in Architectural Digest, House & Garden, and Metropolitan Home, among others. 38. David Ireland (’53): one of

39. Jennifer Jerde (’92):

founder of Elixir Design. 40. George Jewett (’96):

architect, founder of Jewett Design, and trustee. 41. David Karam (’91) and Gigi Obrecht: faculty, graphic

designers, founders of Post Tool design, and 2001 winners of SFMOMA’s Experimental Design Award. 42. Marc Katano (’75): painter,

exhibiting nationally; SECA Art Award winner. 43. Larry Keenan (’67): best

known for chronicling the Beat Generation; his photographs are in the Smithsonian’s permanent collection.

the most important and critically 44. Naomie Kremer (’93): artist acclaimed artists working in known for her abstract “moving” the arena of conceptual and paintings. installation art.

50. Bruce McGaw (’57): painter, active in the Bay Area Figurative Art Movement; current faculty member and former chair of painting at San Francisco Art Institute.

59. Robert S. Neuman (’51):

51. Richard McLean (’58):

60. Nathan Oliveira (’52):

painter and prominent artist in the Photorealist Movement. 45. Lawrence LaBianca (’94):

sculptor who works with metal, ceramics, wood, and glass; faculty member. 46. Judith Linhares (’70):

painter known for her imaginative figurative work; faculty member at Yale University School of Art. 47. Maurice Logan: studied at

CSAC, faculty member 1935–43, trustee 1936–62, trustee emeritus 1964–77; painter and member of the Society of Six, a group of plein air landscape painters in the early 20th century. 48. Tina Manis (’88): architect

and owner of Tina Manis Associates in New York; faculty member at Columbia University. 49. John McCracken (’62):

internationally renowned artist of abstract painted sculpture.

52. Jack Mendenhall (’70):

prominent painter in the Photorealist Movement and faculty member. 53. Mike Mignola (’82):

illustrator and creator of Hellboy comic books. 54. Lee Mingwei (’93):

installation and performance artist; work included in 2006 Liverpool Biennial. 55. George Miyasaki (’58):

painter, printmaker, and faculty member at UC Berkeley for many years. 56. José Montoya (’62): artist

and preeminent Chicano bilingual poet. 57. Ann Morhauser (’79): owner

and president of Annieglass, an international glass design and production firm; trustee. 58. Manuel Neri (’56): figurative

sculptor and winner of the 2006 Lifetime Achievement Award from the International Sculpture Center.

painter; known for his abstract work; taught for many years at schools in the Northeast, including Brown, Harvard, and Keene State College. prominent painter in the Bay Area Figurative Art Movement; taught at Stanford University for over 30 years. 61. Patricia Olynyk (’88): artist

known for her interactive installations; faculty member at the University of Michigan. 62. Dennis Oppenheim (’65):

artist, one of the key figures in American conceptual art; his work includes installation, performance art, mechanized sculpture, and earthworks. 63. Rita Organ (’87): executive

director, Indiana Museum of African American History. 64. Jim Parkinson (’63): type

designer; created logo for Rolling Stone and other publications; collaborated on design for ITC Bodoni typeface. 65. Mitzi Pederson (’04): artist

and recipient of a 2006 SECA Art Award. 66. Tim Perks (’91): architect;

designs retail stores for Nike worldwide.

100+ Alumni of Note

Glance Winter 2007 50 / 51

67. Richard Posner (’76):

artist; his large-scale sculptures have been installed at science museums, federal buildings, hospitals, and numerous private locations nationwide. 68. Steve Purcell (’82): car­

75. Jon Rubin (’93): artist known

for his collaborative projects; has received numerous public commissions and is a faculty member at Carnegie Mellon. 76. Raymond Saunders (’61):

artist and faculty member since 1987; his work is in numerous museums, including MoMA, Metropolitan Museum, Whitney Museum, and SFMOMA.

toonist and creator of Sam & Max. 69. Orfeo Quagliata (’99):

industrial designer and founder of Phuze, a glass design company. 70. Laurie Reid (’96): artist; her

work has been shown in group and solo exhibitions, including the 2000 Whitney Biennial; 1998 SECA Art Award winner.

77. Alan Scarritt (’72): artist;

known for his sound, video, photography, sculpture, and installation work. 78. Rick Schmidt (’71):

filmmaker; his acclaimed films have shown at Sundance and other film festivals; author of Feature Filmmaking at Used Car Prices.

71. Adam Richardson (’92):

strategy director at frog design. 72. Jake Rivas (’97): footwear

design director at North Face.

79. Leslie Shows (’06):

artist and recipient of a 2006 SECA Art Award.

73. Sara Roberts (’88): director

of integrated media, California Institute of the Arts; her inter­ active sculpture is installed in San Francisco’s Moscone Center. 74. Christina Lei Rodriguez (’02): artist; her work has been

featured in the Art Basel Miami Beach art fair.

80. Louis Siegriest (’19):

painter and prominent member of the Society of Six, a group of plein air landscape painters in the early 20th century. 81. Jennifer Sonderby (’02):

design director at SFMOMA. 82. M. Louise Stanley (’69):

painter; known for her surrealist, humorous works that draw on Renaissance art for inspiration.

83. Hugo Steccati (’38):

photographer; one of the most important architectural photo­ graphers to document modern Bay Area history. 84. Henry Sugimoto (’28):

painter; received a major retro­ spective at the Japanese American National Museum in 2001. 85. Lucille Tenazas (’79):

designer; selected as one of the I.D. Forty; AIGA national pres­ ident 1996–98; founding chair of CCA’s graduate design program. 86. Hank Willis Thomas (’04):

photographer; work included in Bay Area Now 4 at Yerba Buena Center for the Arts; received a Skowhegan Fellowship in 2005. 87. Judith Thompson (’91):

founder and owner of Thompson Brooks, Inc., one of the most successful general contractors in the Bay Area. 88. Steven Utz (’97): architect;

recipient of a fellowship from the Enterprise Foundation to help revitalize the city of Meadville, PA. 89. Kathryn Van Dyke (’90):

artist and SECA Art Award recipient in 2000.


Viola Frey, studio view Works in progress, 2000 Courtesy of Artists Legacy Foundation and Rena Bransten Gallery, San Francisco

Bottom LefT

Squeak Carnwath No Nothingness, 2004 Courtesy of John Berggruen Gallery


Andre Andreev and G. Dan Covert, dresscode Video Music Awards Campaign, 2005 Courtesy of MTV OFF-Air Creative

Bottom RIGHT

Eric Heiman, Volume Inc. ReadyMade, 2005 Courtesy of VOLUME INC


David Ireland Rubber Band Collection with Sound Accompaniment, 1977 IMAGE: © Schopplein Studio Courtesy of Gallery Paule Anglim

90. Michael Vanderbyl (’68): designer and president


of Vanderbyl Design; AIGA medalist in 2000; IIDA Lifetime Achievement Award in 2006; faculty member since 1973.

Dennis Oppenheim Bus Home, 2002 IMAGE: Focus on the Masters, Ventura, Ca Courtesy of the artist


Laurie Reid Traveling Unraveling, 2005

91. Henry Villierme (’57):

Courtesy of Stephen Wirtz Gallery

painter and part of the Bay Area Figurative Art Movement.


92. Anna Von Mertens (’00):

Raymond Saunders Painted by a ref.-gee?! – Refugee as noun – One who flees for refuge to another country – Slavery?, 2005

artist; known for her bold, modernist quilts. 93. Peter Voulkos (’52): artist

and pioneer in the field of ceramics; his work emphasized mass and weight; established ceramics department at Otis College of Art and Design. 94. Kelly Walker (’97):

editor of Arcade, the foremost architectural journal in the Pacific Northwest. 95. Wayne Wang (’73): film

director, writer, and producer; his feature film credits include Chan Is Missing, The Joy Luck Club, Smoke, and The Center of the World. 96. Stan Washburn (’66):

painter; his etchings and paintings are in major collections worldwide.

Courtesy of Stephen Wirtz Gallery


Lucille Tenazas AIA SFMOMA lectures poster, 1997

97. Ann Weber (’87): artist; known

for her large-scale cardboard sculptures. 98. Anne Wilson (’76): chair of the

textiles department at the School of the Art Institute of Chicago. 99. Charly Wittock (’92): architect

and principal of CW Architects in Brussels, Belgium. 100. Paul Wonner (’41): artist;

associated with the Bay Area Figurative Art group; his works are in major collections worldwide.

Courtesy of Tenazas Design


Michael Vanderbyl Hull design for AmericaOne, America’s Cup Challenge, 2000 Courtesy of VANDERBYL DESIGN


Peter Voulkos Alhambra, 1999 IMAGE:; Courtesy of the Voulkos & Co. Catalogue Project;

Glance Winter 2007 52 / 53

International Aperture An Interview with Harry Ford President 1959–84 by Eve Steccati-Tanovitz

On September 7, 2005 I had the pleasure of interviewing Harry Ford about his tenure as president.

Eve Steccati-Tanovitz: What event or program during your tenure do you think was the most pivotal or farreaching for the school? Harry Ford: Setting a goal to advance the college by taking it in an international direction. In so doing, I felt that we could create an exchange and dialog between local colleges and others in different parts of the world that would be a great benefit to CCA. Over time we created exchange programs with institutions such as those in East Bay colleges and universities, the Alliance of Independent Colleges of Art, the Western College Association, and the National Association of Schools of Art and Design. EST: Who sticks out in your mind as someone during your tenure who was instrumental in helping you achieve your goals? HF: My late wife, Celeste. With her great love for people and her tremendous sense of humor, Celeste was a wonderful asset to the college. She assisted Native American above students as well as foreign exchange students from Iran, Japan, Mexico, Harry Ford, c. 1970 and China. She opened up our home to students … many were experiencing Western culture for the first time. One summer during the 1970s we offered a special session for students from Osaka. We organized a pool party for the students at the home of Harry Jackson, who at the time was the president “Being a college president is a challenge. In of the board of trustees. When the women exchange fact, it always reminded me of a chariot students were too shy to appear in their new bikinis, race—sometimes the wheels tilt, but you it was Celeste who finally got them out of the house and into the pool. try your best to keep it in line …” EST: Would you do anything different if you were president now? HF: I believe my focus would be the same: to be open to new ideas and develop new plans to benefit the college. Being a college president is a challenge. In fact, it always reminded me of a chariot race—sometimes the wheels tilt, but you try your best to keep it in line—to always stay focused on the goal.


Harry Ford (left) with astronaut Neil Armstrong at a conference on the environment Image: Oliver Goldsmith


Imogen Cunningham and Joe Sinel IMAGE: Eric W. Cheney

When I wanted to improve the facilities by creating a new library and other buildings on campus, there were those who felt that my plans would ruin the college. They thought that the students should struggle, should have to learn how to make do only with what was available. At the time, the Oakland campus consisted of several old wooden portable structures as well as permanent buildings that had been built many years earlier. Of course, the students who attended the college [later] took the modern facilities for granted. EST: What was your biggest challenge during those years? HF: The crisis at Kent State in 1970, when National Guardsmen killed four students. In the aftermath there was disruption on college campuses nationwide. For a brief time I felt I was losing the reins, that chaos and violence might happen here as well. The group Students for a Democratic Society had made their presence felt on campus. They were allegedly advocating the burning of cars as a protest. I asked the Oakland Police Department not to enter the campus without advance notice, fearing their presence might lead to even more tension. Students stopped attending classes. Things came to a head one morning when they gathered in front of the college. There was anxiety among all of us as they talked about how to protest the shootings. The students went up to Nahl Hall to determine their next move. After much discussion and dialog, it was decided that the best way to protest the events at Kent State University would be to create a series of antiwar posters. The students started a collection of these prints, poetry, and essays, creating a portfolio in which they could express their feelings about this terrible event. Professor Charlie Gill, the head of our Printmaking Program, was instrumental in helping to plan and implement the collection, and this led to a plan to improve student and faculty relations as well. EST: Members of the Alumni Council have been researching the archives and finding references to how the college viewed itself, its students, and the challenge to artists during times of war over the past 100 years. What role does the artist play during times of war or unrest?

International Aperture

Glance Winter 2007 54 / 55

HF: There are all kinds of artists in the world and “There are all kinds of artists in the world just as many ways to make one’s voice heard. It is and just as many ways to make one’s voice important not to be confused by the issues. In my heard.… Be true to yourself. That’s the personal experience, as a prisoner of war in Nazi starting point.” Germany during WWII, the enemy was visible. But in Korea, in Vietnam, and now in the Middle East, the issues are becoming more complex, making it more difficult to determine what one should do. There are no easy answers. The artist should always question: “Why are we doing this?” Be true to yourself. That’s the starting point. EST: What are some memorable highlights during your tenure as president? HF: There are so many wonderful memories. Creating a sister-college relationship with the Osaka University of Arts is certainly a highlight. At one point, they were developing a library. We hosted their president to come to California to visit libraries here. Later at the Osaka University, I wanted to give a speech in Japanese in commemoration of their 25th anniversary. But in above spite of all my efforts, I was advised by my language coach to limit my Harry Ford and Tsukamoto signing an Educational Cooperative Agreement attempt at speaking Japanese to my opening and closing remarks. Over the years many influential artists, including designer Charles Eames, photographer Imogen Cunningham, sculptor Isamu Noguchi, and others have visited the campus. We also invited astronaut Neil Armstrong to come as a speaker on environmental issues. Spotlight on the Our involvement with the World Print Council was very meaningful Presidency to the college. At the time, we created a department of the college Coming in the based on this institution that sponsored international exhibitions. This Spring 2007 Glance collaboration offered a much greater presence for the college on a worldFormer presidents Neil Hoffman wide level. and Lorne Buchman and cur-

Eve Steccati-Tanovitz received a BFA in graphic design in 1969. As a student, she became acquainted with Harry Ford. Eve has served on the Alumni Council for the past 11 years. Her parents, Hugo Steccati and Alva Tofanelli, met while at CCA; both graduated in 1938. Through their lifelong support of the college, they shared an enduring friendship with the Fords.

rent president Michael Roth reflect on the pleasures and challenges of leading this institution during their years in Macky Hall’s corner office.

Honoring creative excellence Twenty Years of the Simpson Award

Since 1988 recipients of the Simpson Award have continued to excel in the world of art, showing locally, nationally, and internationally at exhibitions, festivals, galleries, and major museums, including: the Art Institute of Chicago; Berkeley Art Museum; de Young Museum; Museum of Fine Arts, Boston; Museum of Modern Art, New York; Philadelphia Museum of Art; P.S.1; San Francisco Museum of Modern Art; Semena De Cine Experimental Madrid; Studio Museum in Harlem; and the Whitney Biennial. CCA trustee Barclay Simpson and his wife, Sharon “The magnitude of the Simpsons’ support Hanley Simpson, are philanthropic leaders in the Bay for the college is only surpassed by their Area, and our school is one of many fortunate instituleadership and caring as donors. The only tions strengthened by their generous spirit. They were recognition they desire is that their gifts recipients of the 2004 Outstanding Philanthropist Award, an honor that pays tribute to exceptional inspire others to give.” Michael S. Roth, President donors who provide a lead gift or substantially assist a nonprofit organization. Barclay and Sharon have supported the school in numerous projects, and their contributions, guidance in the addition of new trustees and donors, and leadership gifts have set the stage for investment in our mission of excellence in art education. In 1998 a gift from the Simpsons built the Sharon Hanley Simpson Library on the San Francisco campus. Their name also graces the award-winning Opposite sculpture facility on the Oakland campus. Every facet of our community left to right, top to bottom benefits from their generosity, including recipients of the Simpson Award. Jessamyn Lovell CCA’s Centennial will mark the 20th year this scholarship has been awarded Mommy with Gun, 2004 to honor the talent and work of exceptional graduate students. Anthony Discenza Untitled (Event #2), 2005 Todd Hido #1738, 2003 Harrell Fletcher The Problem of Possible Redemption, 2002 Hartford, CT Hank Willis Thomas Branded Head, 2003 all images courtesy of the artists

Honoring Creative Excellence

Glance Winter 2007 56 / 57

1988 James Cook Patricia Olynyk Jean Rainer 1989 Craig Black Sachi Mizutani Inoue Dennis Spicer 1990 Marlene Angeja Richard Cunningham Jean Murakami Miller 1991 Susan Stover Flory Lisa Friedlander Carol Ladewig 1992 Kurt Kiefer Stephen Lee Lloyd Walsh

1993 Robert Chorak Susanne Cockrell Linn Meyers Hifumi Ogawa

1998 Curtis Hsiang David Huffman Nicole Saulnier Sasha Wizansky

2003 Evan Jourden Heather Rowley Tim Schwartz Hank Willis Thomas

1994 Sarah Bird Harrell Fletcher Lawrence LaBianca Emily Shepard

1999 Stephanie Ashenfelder John Mills Jon-Paul Villegas

2004 Case Calkins JosĂŠ Cartagena Pam Servatius

1995 David Rosberg Amy Snyder

2000 Anthony Discenza Bill Durgin Chy-Young Kang

2005 Sean Horchy Elizabeth Moy Scott Oliver

1996 Geoff Chadsey Todd Hido Colin Stinson

2001 Josh Greene David Hinman Jessamyn Lovell

2006 Katie Lewis Mark Rodriguez

1997 Kent Alexander Karen Kersten Karen Krall Andrew Phares

2002 Jarrett Mitchell Rebecca Schaefer Mary Elizabeth Yarbrough

celebrating life and art

Students are often surprised to find out that we’re coming full circle. In class I introduce the historical perspective of community arts with the Arts and Crafts Movement, in particular William Morris’s philosophy of celebrating life—upholding humanity despite industry. Since then the Harlem Renaissance, Black Arts Movement, Chicano Arts Movement, and Hip-Hop Movement have all sustained these ideals. We’re now developing an international network of arts and educational institutions committed to these principles. Sonia Bas Sheva Mañjon Director Center for Art and Public Life

Culture of Values

In 1952 student James Leong brought his creative inspiration and talent to the streets of San Francisco’s Chinatown. In a commissioned mural for the first government-funded housing in the neighborhood, Leong painted a colorful compilation of panels called One Hundred Years’ History of the Chinese in America, illustrating the subject of the title. Despite what he remembers as a cool reception from the Chinatown community in the 1950s, Leong continued with his career as an artist to substantial acclaim. The mural is again on display in San Francisco’s Chinatown as part of the Chinese Historical Society of America’s permanent collection. Throughout the last century, participation in community has not only been a priority but a fundamental component of the school’s culture. Today the programs and curriculum supported by the Center for Art and Public Life serve to bring students, faculty, and staff to the intersection of art, education, and our surrounding community. The Center was established in 1998 to initiate and develop community partnerships based on creative practice that serve the college and the diverse populations of San Francisco and Oakland.

Celebrating Life and Art

Glance Winter Fall 2006 2007 58 / 59

“This mural was the first public portrayal of the history of Chinese in America.”

James Leong, BFA ’50, MFA ’52


James Leong, One Hundred Years’ History of the Chinese in America, 1952 Reproduced by permission of the artist and the Chinese Historical Society of America

far left

Visiting scholar Dr. Ping-Ann Addo and Tongan tapa artists IMAGE: HANK WILLIS THOMAS


Spring Fair 2004, Far West School, Oakland, longtime partner of the Center

Artists in Community

College and public life is vitalized by students applying their talents and skills as artists in collaborative projects that fulfill needs identified by communities. The Center’s academic offerings link theory with practice and classroom with community. Courses are offered in art education, community arts, diversity studies, and mentorship. Students with aspirations to teach can declare an art education emphasis through SMART (Subject Matter Art). Grounded in visual art and creative practice, the SMART program aims to deepen art teaching in relation to learning, human development, diversity, literacy, and critical thinking. The Community Arts Program focuses on community-based arts practice and theory, with an emphasis on service learning, civic engagement, and issues in diversity. The program draws on the rich resources of the Center for Art and Public Life. BFA candidates are encouraged to apply what they learn in the classroom with the Center’s numerous community partners,


Community Student Fellow TaSin Sabir and student at Art Esteem, 2001

including public schools, health centers, nonprofit organizations, museums, cultural centers, and neighborhoods. Real-World Context


A student works on the Yelapa Community mural project in Mexico below right

Developing relationships through making art, c. 1970s

Through courses in art education and youth mentorship, students have the opportunity to explore teaching and mentoring while working with school and community partners. These courses apply theoretical knowledge and studio skills to real-world contexts while extending art education in local schools. The college offers a community arts studio course that focuses on aesthetic, cultural, and geographic changes and culminates in a community art project. The course begins with a series of seminars held on campus. During spring break, the class travels to a designated location in the United States or abroad and engages in a community arts project in collaboration with established local institutions. The Center’s Community Exchange Programs have increasingly explored community-based art initiatives that create pathways between the college’s creative and intellectual resources and the public. This program prepares students to work in community settings and promotes community practice as an alternative or complement to studio practice. Fulfilling a Public Need

Over the years, the long-term relationship the Center has developed with schools fosters an exchange of knowledge, experience, and skills between students and faculty across campuses, as well as among administrators, policy makers, parents, and community artists and activists. This relationship fulfills an urgent public need for education in the arts by working directly with Bay Area schools through mentorship, teaching artists, and professional development programs.

Celebrating Life and Art

Glance Winter Fall 2006 2007 60 / 61


A residency program run by the Center commissions scholars and artists to carry out projects incorporating teaching with community practice in arts and arts education. Artists are selected based on their ability to incorporate a community art practice, traditional or contemporary, involving a community group, a group of artists, or both. The Teaching Institute draws on contemporary art and progressive education practices. The approach supports a culture of thinking in classrooms, where teachers and students are actively engaged in constructing knowledge together. Understanding place and responsibility as an artist is a vital part of the heritage of a century of the college. Maintaining this tradition continues to be a priority for our future.

100 Families Oakland Art and Social Change The mission of the 100 Families project is to enliven the creative spirit and celebrate the power of families and neighborhoods in Oakland through the inspiring and transformative process of making art. Through this project, carried out in partnership with artist F. Noel Perry, 100 families from different neighborhoods in Oakland will make art centered around the theme of family. The aim is for families and their neighborhoods to be uplifted and strengthened through the collective experience of creating art that promotes hope, action, and beauty.

Artwork from Binding the Gap: A Book of Messages, 2004 bottom

A proud artist from the 100 Families project in East Oakland displays her work Image: TaSin Sabir

Innovative Exhibitions Greatness Inspires Greatness

In January 1998 the college founded the Institute for Exhibitions and Public Programs with Larry Rinder as its first director. The Institute was “part of a broad strategic goal to expand beyond the physical and cultural space the school occupied, into the Bay “There has always been a fundamental Area, the country, and the world,” receptivity to risk at Capp Street.” Rinder says, and he established it through groundbreaking exhibiAnn Hatch, founder of Capp Street Project, chair of CCA Board of Trustees tions such as Searchlight: Consciousness at the Millennium (1999); Kara Walker’s Capp Street Project, No Mere Words … (1999); Rooms for Listening (2000); and Extra Art (2001), among others. Today the Wattis Institute for Contemporary Arts—as it is now known in recognition of the generous support of Phyllis Wattis—has gained an international reputation for its innovative programs and exhibitions, many traveling to venues throughout North America. Capp Street Project joined the college in June 1998 and brought with it its own vibrant history of hosting artists to transform space, inviting viewers to see the world in new ways. The organization took its name from the house at 65 Capp Street where celebrated artist and alumnus David Ireland developed his renowned conceptual art project. With the Wattis Institute and Capp Street together under one roof, CCA brought influential practitioners of art to the Bay Area and in turn increased the influence of Bay Area art. In 2000 Ralph Rugoff became director of the Wattis and continued the momentum initiated by Rinder, fully engaged with the potential to reinvent culture through curatorial practice and art. Of the 30-plus exhibitions presented by the Wattis during Rugoff’s tenure, perhaps the most ambitious effort was Baja to Vancouver (2004), a survey of recent art from the West Coast that traveled to three other venues. Rugoff described the Wattis as “a cultural test site or aesthetic think tank, where artists and visitors alike experiment with new ideas about relationships between art, society, popular culture, and everyday life.” In December ABOVE

opposite TOP

opposite bottom left

Marcos Ramírez ERRE, Crossroads (Tijuana/ San Diego), 2003; from Baja to Vancouver, 2004

Edward Ruscha, ED RUSCHA SAYS GOODBYE TO COLLEGE JOYS, 1967; from Extra Art, 2001

Sergio Prego, still from Tetsuo/Bound to Fail, 1998, video installation; from Tracking, 2001

Collection of Museum of Contemporary Art San Diego Courtesy of the artist Image: Pablo Mason

courtesy of the artist IMAGE: JERRY MCMILLAN

opposite CENTER

Kara Walker, No Mere Words …, 1999; from Capp Street Project: Kara Walker, 1999 IMAGE: IAN REEVES

courtesy of the artist

opposite bottom right

Ann Veronica Janssens, Bicycles, 2003; from Capp Street Project: 20th Anniversary Exhibition, 2003 Image: florian holzherr

Innovative Exhibitions

Glance Winter 2007 62 / 63

CCA Wattis Institute for Contemporary Arts Exhibitions 1998­­–2006 1998 Held and Let Go LOT/EK Undercurrents and Overtones 1999 Big Soft Orange Capp Street Project: Kara Walker Fabrice Hybert Fast Forward Klaus Bürgel Searchlight Spaced Out twistfoldlayerflake 2000 Black Box Capp Street Project: Asymptote Architecture Capp Street Project: Jim Hodges Capp Street Project: John Maeda I Live Here Potent/Present Rooms for Listening Scanner Unbuilt Monuments 2001 The Artist’s World Capp Street Project: Anthony Hernandez Capp Street Project: Karim Rashid A Contemporary Cabinet of Curiosities Extra Art Mise en Scène Tracking Utopia Now

“The Wattis was always meant to bring in practitioners from all over the world who could inspire greatness through greatness.” Larry Rinder, dean of the college and former director of the Wattis Institute

top left

top right

bottom right

Carsten Höller, The Invisible, 1998; from A Brief History of Invisible Art, 2005

Toshio Iwai, Composition on the Table, No. 1, Push, 1998–99; from Rooms for Listening, 2000

Jeremy Deller, After the Gold Rush, October 2002; from Capp Street Project: Jeremy Deller, 2002

Courtesy of the artist

Courtesy of the artist

bottom left

Martin Kersels, Ice Pond Fall #4, 1997; from Sudden Glory, 2002 Courtesy of the artist and Acme Gallery, Los Angeles

center right

Janine Antoni, Monument to go, 2005; from Monuments for the USA, 2005 Courtesy of the artist and Luhring Augustine Gallery, New York IMAGE: Suzanne Lagasa

Innovative Exhibitions

Glance Winter 2007 64 / 65

2005 he received the inaugural Ordway Prize: $100,000 awarded by the Penny McCall Foundation. In the spring of 2006 Rugoff moved on from the Wattis and accepted his current position as director of the Hayward Gallery in London. And from London comes our new director, Jens Hoffmann, former director of exhibitions at the Institute of Contemporary Arts (ICA). It’s clear the dialog among artists, viewers, and culture continues to hold great potential for remaking the spaces and practices around us.

2002 Capp Street Project: Jeremy Deller Capp Street Project: Shirley Tse Generosity Projects How Extraordinary That the World Exists! Michel Blazy Reality Check Rock My World Sudden Glory To Whom It May Concern 2003

Jens Hoffmann newly appointed director of the Wattis Institute

One of my primary interests is the connection of the Wattis Institute with the college. I’m planning to build a strong relationship with CCA’s Program in Curatorial Practice as well as other academic programs. There will be a mix of local, national, and international group and solo exhibitions, with an emphasis on San Francisco and the Bay Area as inspiration for developing new exhibitions and formats. One project I’m in the process of developing for the Wattis is called Americana, encompassing 50 shows, with each month-long show representing an individual state and presented in a space designed specifically for this exhibition. The Wattis Institute programs will continue with investigations into curatorial practice that Larry Rinder and Ralph Rugoff began during their tenure as directors, and expand upon these concerns through investigations in unconventional exhibition formats, participatory ideas, and very close collaboration with artists. In addition, I’m working to establish an international network through collaborations with other art institutions to co-produce and tour exhibitions. Writer, curator, and artist Seth Sieglaub wrote, “Art has to change what one expects from it.” In describing the future programs of the Wattis Institute, I could say, “Exhibitions have to change what one expects from them.”

Capp Street Project: 20th Anniversary Exhibition The Gray Area Mixtapes Uncertain Images Warped Space 2004 Baja to Vancouver Capp Street Project: Brian Jungen Likeness 2005 Anthony Burdin A Brief History of Invisible Art Capp Street Project: Jeanne Dunning Capp Street Project: Tariq Alvi General Ideas Irreducible Monuments for the USA Repetition 2006 Capp Street Project: Michael Stevenson How to Build a Universe That Doesn’t Fall Apart Two Days Later Humans Were Here! (Building in L.A.) Prophets of Deceit Radical Software Utopia, Utopia = One World, One War, One Army, One Dress

A space for making

Campus Architecture

As you stroll around the two campuses, you may start to wonder about a particular building or space. How did it get its name? Who designed it? When was it built? What goes on in there? Here is a quick guide to campus architecture. Oakland Campus Blattner Print Studio, dedicated in 2003. Located in Martinez Hall and named

for Kimberly and Simon J. Blattner. Mr. Blattner has been a trustee of the college since 1994 and was board chair from 2000 to 2005. Carriage House, c. 1880. Originally the

carriage house of the Treadwell family mansion, it houses drawing studios. Clifton Hall, 2002. Designed by Mark Horton/Architecture, the student housing facility has received numerous awards. Founders Hall, 1968. Founders Hall,

which includes Nahl Hall, Meyer Library, and Isabelle Percy West Gallery, was

listed in the National Register of Historic Places. Martinez Hall, 1968. Named for Xavier Martinez, member of the faculty from 1909 to 1942 and founder of the fine arts division. Laetitia Meyer Faculty Lounge, dedicated in 1987. Named in memory of Laetitia “Babs” Meyer, only child of founders Frederick and Laetitia Meyer. Oliver Art Center, 1989. Steven H.

Oliver has been a trustee since 1981; he was board chair from 1983 to 1987. Ralls Studios, 1989. Named in memory of Robert Manton Ralls, a trustee in 1987. Dana Ralls, his wife, served as a trustee from 1988 to 1994. Tecoah Bruce Gallery, Oliver Art Center, 1989. Named for alumna Tecoah Bruce, member of the board of trustees since 1981, former board chair (1992–98), and past president of the Alumni Association. raleigh and claire Shaklee BuildinG, 1979. Named for

philanthropists Raleigh and Claire Shaklee. above

Students in front of Macky Hall image: karl petzke

named for Frederick Meyer, Laetitia Meyer, Isabelle Percy West, and Perham Nahl.

Opposite TOP

Irwin Student Center, 1969. Named

The Carriage House on the Oakland campus being moved uphill, c. 1922

for 1936 alumna Dorothy Irwin and her husband, Henry.

Opposite bottom

Montgomery Campus, San Francisco images: douglas sandberg

Macky Hall, c. 1880. Named for Eric

Spencer Macky, president from 1944 to 1954. Formerly the Treadwell mansion, Macky Hall and the Carriage House are

Barclay Simpson Sculpture Studio, 1992. This studio was named to recognize

the generosity of Barclay Simpson, a trustee since 1986. Noni Eccles Treadwell Ceramic Arts Center, 1973. Noni Eccles Treadwell

was a lifelong supporter of ceramic arts and a dedicated friend of the college for 30 years.

A Space for Making

Glance Winter 2007 66 / 67

San Francisco Campus

Gruber Family Technology Center,

Montgomery Campus, 1996–99. The

Linda and Jon Gruber, the Technology Center houses the college’s mainframe computer.

Montgomery Campus was built in two phases: the first in 1996 and the second in 1999. The name recognizes the contributions of Thomas W. Weisel and senior partners at Montgomery Securities.

1996. Named to honor local philanthropists

Florence and Leo B. Helzel BoardRoom, 1996. Named to honor the

for Kimberly and Simon J. Blattner.

generosity of trustee emeritus Leo B. Helzel and his wife, Florence, longtime supporters of the college.

Boyce Fashion Design Studio, 1996.

Jewett Architecture and Design

Blattner Design Studios, 1996. Named

Named in honor of Janice Boyce, a trustee from 1993 to 2005, and her husband, Tom. Tecoah and Thomas Bruce Galleries,

Studios, 1999. Named in honor of alumnus and trustee George F. Jewett III. Mr. Jewett graduated with a BArch in 1996 and has been a trustee since 1997.

1996. Named to honor the generosity of

Koret Center for Digital Media,

Tecoah Bruce and her husband, Thomas.

1996. The Koret Foundation supported

construction of this center, which includes image labs for our design and architecture students.

Carroll Weisel Hall, 1999. This building is named in honor of Emily L. Carroll, a trustee from 1993 to 2001, and her husband, Thomas W. Weisel. The couple co-chaired the successful campaign that supported the acquisition and renovation of the new Montgomery Campus.

Lillie Family Library Reference

Graduate Center, 2003–7. This facility

Kent and Vicki Logan Galleries, 1999.

provides studios, classrooms, and other facilities for graduate students. Constructed in three phases, the center will be complete in fall 2007.

Opened in April 1999, the Logan Galleries are named for philanthropists and art collectors Kent and Vicki Logan. Kent Logan was a trustee from 1997 to 2005. The galleries are the principal site for the CCA Wattis Institute for Contemporary Arts.

Center, 1996. Named in honor of

philanthropists John and Daryl Lillie and their daughter Alissa, who received her BFA in Interior Architecture at CCA.

Design Awards for Campus Buildings San Francisco Campus montgomery campus 1111 Eighth Street • 2002 Honor Award, AIA San

Francisco • 2001 First Award, Architecture +

Energy Awards • 2001 National AIA Top Ten Green

Projects • 2000–1 Award of Merit, Institutional

Category, AIA San Francisco Best of the Bay Interior Architecture Awards • 2000 Design Award, California

Preservation Foundation • 2000 Honor Award, AIA California

Council • 2000 PG&E Savings by Design

Energy Efficiency Integration Award Graduate Center Hooper Street • 2004 Excellence in Design Award,

AIA San Francisco Design Awards • 2004 Merit Award for Design, AIA

California Council Design Awards


Oakland library during construction, 1968 Below

Rendering of the new Graduate Center, to be completed in fall 2007 images: Jensen and Macy Architects

Paulette Long and Shepard Pollack

Design Awards for Campus Buildings Oakland Campus Clifton Hall • 2005 Merit Award, Residential

Architect Design Awards • 2003 Excellence in Design Award,

AIA San Francisco Best of the Bay • 2003 Merit Award, AIACC • 2003 Merit Award for Architecture,

Graduate Student Gallery, 1999. Also

known as PlaySpace, the gallery is named in honor of trustee Shepard Pollack and his wife, Paulette Long. Pollack has been a trustee since 1993. Oliver Architecture Studios, 1996.

Named for trustee Steven H. Oliver. Osher Foundation Academic Center, 1999. The Osher Foundation supported

construction of this center, which includes studios, classrooms, and office space.

AIA East Bay Lee and CarolE Pierce Reading

macky hall

Room, 1996. Lee Pierce was a trustee from

• 1975 Declared Historic Landmark

1994 to 2003. His wife, Carole, received an MFA in 1993.

Nahl Hall • 1970 AIASF Interiors Award

Simpson Sculpture Building • 1990 Progressive Architecture


Dorothy and George Saxe Academic Services Center, 1996. Named in

honor of trustee George Saxe and his wife, Dorothy. Their extensive collection of contemporary glass, ceramics, wood, fiber, and metal objects is on view at the de Young Museum. Mr. Saxe has been a trustee since 1985. Sharon Hanley Simpson Library, 1996. The library was named in honor of

the wife of trustee Barclay Simpson. Student and Faculty Service Center, 80 carolina, 2004. This building houses

student services and administrative offices.

Timken lecture hall, 1996. Named for trustee Judith P. Timken and her husband, Bill. She has served on the board since 1989 and was board chair from 1998 to 2002. Wornick Wood and Furniture Studios, 1996. Ronald C. Wornick has been a trustee since 1992. Mr. Wornick and his wife, Anita, also fund a scholarship program for CCA wood/furniture students. Zafiropoulo Media Laboratories, 1996. The labs were named to honor

Arthur W. Zafiropoulo, chairman and CEO of Ultratech Stepper Inc. in San Jose.

Glance Winter 2007 68 / 69

identity through design

All images courtesy of California College of the Arts, Meyer Library, Oakland unless otherwise noted.

design: mark fox

design: bob aufuldish design: bob aufuldish

design: bob aufuldish

Board of Trustees Ann M. Hatch, Chair Simon J. Blattner Timothy C. E. Brown Tecoah P. Bruce C. Diane Christensen Susan M. Cummins Nancy S. Forster

Alumni Council 2006–7

Senior Cabinet

Executive Committee

Michael S. Roth President

Steven Compton Painting ’95 Michaela Peters MFA Textiles ’97 Eve Steccati-Tanovitz Graphic Design ’69

Susan Avila Vice President Advancement Stephen Beal Provost

Arlene Risi Streich, President BAEd ’61, Painting ’66

Chris Bliss Vice President Communications

Leigh A. Hudson


George F. Jewett III

Valeri Clarke Textiles ’98

Marvin Dunn Chief Information Officer

Mrs. Charles Henri Hine Nancy Howes

Laurene Powell Jobs Raoul D. Kennedy Kay Kimpton Byron D. Kuth, AIA Anthony P. Meier Lorna F. Meyer Ann Morhauser Timothy Mott Steven H. Oliver F. Noel Perry Shepard P. Pollack Karen M. Rose

Donna Fenstermaker MFA Printmaking ’88

David Kirshman Vice President Finance and Administration

Sylvi Herrick MFA Painting/Drawing ’99

Sonia BasSheva Mañjon, PhD Director, Center for Art and Public Life and Simpson Professor of Community Arts

Carole Jeung Graphic Design ’89 MFA Printmaking ’97

Sheri McKenzie Vice President Enrollment Management

Carol Ladewig MFA Painting/Drawing ’91

David Meckel Director of Research and Planning

Ron Tanovitz Graphic Design ’69

Lawrence Rinder Dean of the College

Sharon Wilcox MFA Printmaking ’65

George Saxe Philip S. Schlein Norma Schlesinger


Barclay Simpson

A very grateful thank you to the following people for their invaluable support in the development and organization of this publication: Stephen Ajay, Sue Ciriclio, Eleanor Dickinson, Robert Edwards, Harry Ford, Jack Ford, Joe Girard, Jens Hoffmann, Jeff Hunt, Barry Katz, Michael McClure, Erica Olsen, Larry Rinder, Ralph Rugoff, and Michael Vanderbyl; the Centennial Committee: chair Tecoah Bruce, Susan Avila, Steve Beal, Chris Bliss, David Meckel, Michael Roth, Brenda Tucker, and Janice Woo; the Alumni Archive Committee: Arlene Risi Streich, Eve Steccati-Tanovitz, and Sharon Wilcox; Doug Akagi and CCA’s student design team, Sputnik; designers: Elizabeth Chiu, Mónica Hernández, and Michael Thompson; the staff of the Meyer and Simpson Libraries; the Bancroft Library, UC Berkeley; and the Advancement and Communications staff: Kathy Butler, Megan Carey, Jeremy Crawford, Hannah Eldredge, Camille Gerstel, Barbara Jones, Rebecca Katz, Lisa Kitchen, Erin Lampe, Kim Lessard, Jennifer McKay, Jessica Russell, Jenny Smrekar, Ingrid Steber, and Chadwick Wood. All images are reproduced with the kind permission of the artists or their representatives.

Alan L. Stein Judith P. Timken Christopher E. Vroom Calvin B. Wheeler, MD Carlie Wilmans Ronald C. Wornick Janice H. Zakin, MD Mary L. Zlot Trustees Emeriti Carla Emil Leo B. Helzel Rodric Lorimer Jean R. Wente


Glance Winter Fall 2006 2007 70 / 71


Robert Bornhuetter’s silkscreen class, c. 1950s IMAGE: MARGARET DHAEMERS photography


First-year students sketching as a part of “Five Days Draw,” 2006 IMAGE: karl petzke

Backward Glance


Industrial Design chair Yves BĂŠhar (far right) working with students in the studio, 2006 Image: Karl Petzke


Viola Frey, professor of sculpture and renowned ceramicist, instructing a student, c. 1980

Teaching is at the core of the CCA experience. Throughout the college’s history, faculty members have inspired, supported, and challenged their students. In the spring 2007 issue of Glance, we will take a look at some of the most influential teachers in the past 100 years. If you have a memory of a particular faculty member that you would like to share, please send email to or write to Glance, CCA, 1111 Eighth Street, San Francisco, CA 94107.


OPENING RECEPTION: WEDNESDAY, JANUARY 31, 2007, 6−8 PM OLIVER ART CENTER • TECOAH BRUCE GALLERY • OAKLAND CAMPUS For more information about Centennial events visit,

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CENTENNIAL ISSUE California College of the Arts 1907–2007 San Francisco | Oakland Winter 2007 | Volume 15, No. 1

A publication for the CCA community

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