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JAMEY BRZEZINSKI

LIGHT SIDE / DARK SIDE


JAMEY BRZEZINSKI

LIGHT SIDE / DARK SIDE University Art Gallery Department of Art School of the Arts California State University Stanislaus


500 copies printed Jamey Brzezinski: Light Side/Dark Side August 23 - October 19, 2012 University Art Gallery School of the Arts California State University Stanislaus One University Circle Turlock, CA 95382

This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University Stanislaus

Copyright Š 2012 California State University Stanislaus All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.

Catalog Design: Kristina Stamper, School of the Arts, California State University Stanislaus Catalog Printing: Claremont Print, Claremont, CA

ISBN: 978-0-9857652-1-7

Cover Image: Pool #145, 2011, acrylic on canvas, 40 x 72 inches

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CONTENTS

Director’s Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Essay by DeWitt Cheng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Curriculum Vita and Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

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DIRECTOR’S FOREWORD Jamey Brzezinski: Light Side/Dark Side, represents a chance to view some amazing bodies of work from Jamey Brzezinski. As an artist, Brzezinski works on many medias with a master’s touch that is seldom rivaled. In other capacities he has been a writer and devoted teacher of artists. Brzezinski’s students from Merced College clearly benefitted from his mentoring. I have had the great fortune to work with many of the students who received an excellent knowledge of the arts through Brzezinski’s teaching. I am very excited to be able to exhibit his work for others to enjoy. I would like to thank the many colleagues who have been involved in presenting this exhibition: Jamey Brzezinski for the chance of exhibiting his wonderful work; DeWitt Cheng for the wonderful essay; California State University, Stanislaus, School of the Arts, for the catalog design; and the Claremont Print for the printing of this catalog. Great thanks are also extended to the Instructionally Related Activities Program of California State University, Stanislaus, as well as to anonymous donors for the funding of the exhibition and catalog.

Dean De Cocker, Director University Art Gallery California State University, Stanislaus

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JAMEY BRZEZINSKI: LIGHT SIDE/DARK SIDE On a recent art-related trip abroad, I read two books, one on art theory and one on the art market; together, they provide an accurate picture of our current cultural confusion. How the ideological or idealistic goals of art formulated in the academy play out in the real world of galleries, fairs, and museums, of money and cultural cachet, is both comic and tragic. This distinction between the ideal and the real forms and informs the work of Northern California artist Jamey Brzezinski. A virtuosic draftsman and an engaging conversationalist, he has taught drawing, painting and printmaking since 1992 at Merced College. Now on the brink of retirement and relocation to the Bay Area (where he maintains a studio), Brzezinski has been selected for a retrospective exhibition, the first of a series honoring local artist-teachers, at the University Art Gallery at California State University, Stanislaus. It’s an inspired choice: Brzezinski’s varied work is accessible to seekers of both beauty and truth (which are not always equivalent, despite John Keats), and to art novices and veterans alike. Brzezinski, an insightful writer (who was Northern California editor of Artweek), identifies an eternal artistic dichotomy easily illustrated by the stylistic poles, equal and opposite, of Greek idealism and Roman realism; even in the modern and postmodern age, we choose between savoring the world and saving it. I think every artist has this dialog going on within...to view the world as it should be, or as it is. This manifests in the way we make art and can be found within a single work, or...comes out in distinctly different series of works...I’ve made work that aspires…and work that condemns. It is a worldview with both yin and yang. It is what I wish, and what I wish wasn’t. The light side of Brzezinski’s temperament and vision is beautifully expressed in his Views from Above series, begun in his last year of college (1977-78) at California State University, Humboldt. Fascinated by the textures and patterns of rock, water and mud that he trudged through in a campus parking lot, he saw the potential for combining traditional illusionism, taboo at the time, with the abstraction that some of his teachers upheld as de rigueur. Brzezinski found that he could indulge his love of materiality—it’s easy to picture him as an architect or other builder—with his love of geometry by painting suburban landscapes composed of pools surrounded by circles, arcs, stripes and rectangles of incisively rendered tile, concrete, slate and terrazzo, seen from directly above, in bright noonday sunlight. They combine David Hockney’s sensual California paradises with the complex geometries of Frank Stella. As time went by I realized these were metaphors for the California experience where East meets West, Latin and Asian influences converge aesthetically, often harmoniously, and frequently in a manner of breathtaking beauty. And beauty, simple decorative beauty, motivates these works. Pointing to a way we could be? That’s important. Making metaphor? Sure. But really, can visual art have any greater goal than beauty in all its meanings? These works want to massage and caress the eye, suggest warmth and depth, and above all make the world a more beautiful place.

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Brzezinski’s love of beauty is notably nonconformist in today’s conceptualism-based aesthetic climate, but equally anachronistic is the artist’s process: rather than use and adapt photographs, as one of his teachers the photorealist painter, Robert Bechtle, does, he constructs these aerial views by improvising during the painting process. The door-sized, vertical-format acrylic Pools paintings are technical tours de force, each thin paint layer suggesting and affecting the next, with no preplanning and no erasures. Brzezinski: “I’ve always liked swimming...upstream.” If making them is difficult, even for a skilled painter, the works have always been peoplepleasers. Less obviously seductive are the large, satirical The Grim Picture drawings that Brzezinski made starting in the 1980s under the pseudonym of Klaus Trophobic (which is sometimes given a Polish pronunciation), dealing with corporate control of the government, job downsizing and offshoring, imperialist foreign wars, the growth of homelessness, and the decline of the middle class. Brzezinski: Using classical, Biblical, and historical references in fairly large drawings I attempted to shed some light on the subject of American culture. Sometimes tongue-in-cheek, sometimes deadly serious, I felt the need to address the world as it is. If art viewers who generally endorse the pleasure principle are discomfited by the sardonic humor of The Battle Between the Clowns Who Wear Rubber Noses and Those Who Don’t, The Four Cowboys of the Apocalypse Meeting Innocence Abroad, Caligula’s Horse (referring to the mad Roman emperor making his favorite steed a Senator), and If the British Had Had Cruise Missiles with Accurate Guidance Systems, they should remember that moralizing critics of the status quo from Hieronymus Bosch to R. Crumb have always been attacked by defenders of the status quo. The political passion of this onetime editorial cartoonist is unmistakable, and his political astuteness now evident, after thirty-five years. Also looking on the “dark” and realistic side of life, are small oils and prints. Brzezinski’s California: Burning series comprises some sixty small oils done from memory and imagination, each one executed in only one day, celebrating the heroism of firefighters and Californians’ indomitable spirit during the Oakland Hills fire and the Loma Prieta and Northridge earthquakes. Two series of “plexicut” relief prints—Brzezinski invented the process after exploring a technical mistake—celebrate working-class culture heroes (The Apostles), and point up the absurdity of eternal truth based on faulty knowledge (Vanitas) of how humanity arose: science trumps omniscience, and revision trumps dogma. If abstract painting eventually exhausted its possibilities, the postmodernist revolution of inclusiveness opened art to the world again. Brzezinski, who considers himself a postmodernist, maintains his options at the cost of stylistic uniformity, as does the German painter, Gerhard Richter, who makes realistic and abstract work of equal power and beauty. Where Brzezinski differs from doctrinaire or dogmatic postmodernism is his dedication to craft and imagination, qualities disparaged by academic nihilists in recent years. Brzezinski, who teaches his students that art is made by individuals, and not by disembodied concepts, sets a fine example. - DeWitt Cheng

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IMAGE S


Pool #145, 2011, acrylic on canvas, 40 x 72 inches

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Two Pools #11, 1988, acrylic on canvas, 90 x 66 inches

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Two Pools #13, 1988, acrylic on canvas, 90 x 66 inches

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Two Pools #12, 1988, acrylic on canvas, 90 x 66 inches

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Two Pools #15, 1989, acrylic on canvas, 90 x 66 inches

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Two Pools #6, 1988, acrylic on canvas, 90 x 66 inches

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First Light/Day Two, 1994, oil on Masonite, 12 x 12 inches

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11 Palms, 1994, oil on Masonite, 12 x 12 inches

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Hearth, 1994, oil on Masonite, 12 x 12 inches

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Wading In, 1994, oil on Masonite, 12 x 12 inches

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Wall of Fire, 1994, oil on Masonite, 12 x 12 inches

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The battle between the clowns who wear rubber noses and those who don’t, 1987, graphite on paper, 60 x 40 inches

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The Four Cowboys of the Apocalypse Meeting Innocence Abroad, 1987, charcoal on paper, 60 x 40 inches

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Caligula’s Horse, 1989, pencil on paper, 40 x 60 inches

If the British had had Cruise Missiles with Accurate Guidance Systems, 1989, graphite on paper, 40 x 60 inches

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Apostle #4, 1992, plexicut relief, 7 x 5 inches

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Apostle #1, 1991, plexicut relief, 7 x 5 inches

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(from left to right) Vanitas, #9, #10, #11, #7, plexicut relief

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(from left to right) Vanitas, #8, #5, #12, #6, plexicut relief

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J A M E Y B R Z EZ INS KI EDUCATION MFA BA AA

California College of Arts & Crafts, Oakland, CA Humboldt State University, Arcata, CA College of the Redwoods, Eureka, CA San Bernardino Valley College: lower division art CSU Stanislaus, University of the Pacific: graduate studies Art, Arts Administration

TEACHING EXPERIENCE 2012-92 Professor of Art: Merced College, Merced, CA, tenured. Drawing, painting, figure drawing, printmaking, and art history. Arts Division Chair (Art, Music, Drama)1996-2008 1992-84 Lecturer: Chabot College, Hayward, CA, Painting, Drawing, Life Drawing, Illustration 1992-89 Lecturer: Ohlone College, Fremont, CA, Printmaking, Drawing Lecturer: Canada College, Redwood City, CA Printmaking, Painting, Drawing 1991 Lecturer: Painting, College of San Mateo Lecturer: Santa Clara University, Painting, Drawing 1987 Lecturer: College of San Mateo, 2-D Design & Color 1986 Lecturer: Santa Clara University, Drawing, Painting Lecturer at Assistant Professor: San Francisco State University, Printmaking & Drawing 1983 Lecturer: University of California, Davis, Drawing 1980 Lecturer: California College of Arts & Crafts, Printmaking 1980-78 Teaching Assistant: Lithography, Intaglio, C.C.A.C. 1978-77 Teaching Assistant: Lithography, Intaglio, Humboldt State University RELATED EXPERIENCE 2008 Arts Advisory Council: University of California, Merced, CA 2009-06 Curator: Merced Multicultural Art Center, Merced 2008-06 Board of Directors: Merced County Arts Council 2003-97 Site Specific Painting Commissions: Newport Beach, Mariposa, Merced, Modesto, CA 1995-91 Writer: Artweek Magazine, Inc., San Jose, CA. Northern California Editor, 1991-92 1985 Printmaking Supervisor/2-D Education Coordinator: A.S.U.C. Studio, U.C. Berkeley 1985-84 Foundry Worker: Coleman Art Foundry, Oakland 1983 Vice President: California Society of Printmakers (est. 1917) 1982-81 Editorial Cartoonist: Montclarion Weekly, Oakland 1981 NEA Artist in Institutions Grant Recipient: Developed printmaking techniques adapted for mentally and physically challenged artists. Creative Growth Art Center, Oakland 1980-70 Commercial Artist: California, Arizona, Hawaii PUBLIC AND PRIVATE COMMISSIONS 2003 A.D., B.C., Anastazi: mural, Private Residence, Mariposa, CA 2000 Water, Wealth, Contentment, Health: paintings, Stanislaus County, City of Modesto 1999 Mother of Counties: paintings, Mariposa County Supervisor’s Chambers, Mariposa Muses: dome ceiling painting, Private Residence, Mariposa 1998 Amalfi: mural, Private Residence, Merced Hilltown: mural, Private Residence, Mariposa 1997 Views from Above: paintings, Private Residence, Newport Beach SOLO EXHIBITIONS 2003 More Pools: Merced Multicultural Art Center, Merced, CA (review) 1996 California Burning: Vorpal Gallery, San Francisco 1993 From 100 Views from Above: Art Gallery, Merced College (review) 1992 Drawings: University Gallery, University of the Pacific, Stockton, CA (review) 1990 Cypress Series: Vorpal Gallery interview 1989 Paintings, Drawings, & Prints: Vorpal Gallery Pools & Patterns: San Mateo County Hall of Justice (review) The Grim Picture: the Vulcan, Oakland, CA 1987 From 100 Views from Above: Santa Clara University 1985 From 100 Views from Above: Los Medanos College, Pittsburg, CA

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1982 1981 1980 1978

Prints: Stairway Gallery, Oakland Lithographs, Etchings, & Mezzotints: A.S.U.C. Studio Gallery, U.C. Berkeley Lithographs, Etchings, & Mezzotints: East Bay Center for the Performing Arts, Richmond, CA Rocks & Sand: Printmaking Gallery, California College of Arts & Crafts Recent Work: Humboldt State University Summer Snakes: Jambalaya Gallery, Arcata, CA

SMALL GROUP & INVITATIONAL EXHIBITIONS 2009 California Printmakers Invitational: Visalia Art Center, Visalia, CA 50/50 Exhibition: Sanchez Art Center, Pacifica, CA 2009-07 Arts on Fire: Sanchez Art Center, Pacifica, CA 2007 The Fantastic Landscape: Sanchez Art Center, Pacifica, CA 2003 Every Picture Tells a Story: Two Person, Sanchez Art Center, Pacifica, CA 2006-92 Art Faculty Show: Art Gallery, Merced College (review) 2002 9/11 Commemorative Exhibition: Merced County Regional Art Center, Merced 2000-99 Black & White: Merced County Regional Art Center 2000-92 New Works: Vorpal Gallery, San Francisco 1996 Inaugural Exhibition: Merced County Regional Art Center 1994 Artists Who Teach: Carnegie Art Center, Turlock, CA 1992 30 Years of Bay Area Printmaking: Palo Alto Cultural Center, Palo Alto, CA (review) California Printmakers: Berkeley Art Center, Berkeley 1991 Gallery Artists: Vorpal Gallery, San Francisco Gallery Artists: Artefino Gallery, Charlotte, N.C. 1990 Media Mixes: Zenith Gallery, Washington, D.C. (review) Faculty Show: College of San Mateo 1989 Single Sheets: Vorpal Gallery, San Francisco Gallery Artists: Vorpal Gallery, San Francisco Contemporary Mezzotints: Arts Corridor, Menlo Park, CA (review) 1988 New Art In The West: Vorpal Gallery, San Francisco New Art/New Artists: Don Soker Gallery, San Francisco Gallery Artists: Gallery 44, Oakland 1987 Artists Invite: Rolando Castellon Gallery, San Francisco Gallery Artists: Don Soker Gallery, San Francisco Chabot College Art Faculty: Adobe Art Center, Castro Valley 1986 1% For The Arts Finalist Exhibition: environmental plaza design, University of Oregon, Eugene 1985 Recent Acquisitions: Achenbach Foundation for Graphic Arts, Palace of the Legion of Honor, Fine Arts Museums of San Francisco The Intimate Landscape: Heller Gallery, University of California, Berkeley 1984 Three Artists: Art Gallery, Chabot College, Hayward, CA 1983 San Francisco/Sacramento Printmakers: Artists Contemporary Gallery, Sacramento, (review) San Francisco Bay Area Printmakers: San Francisco State University 1982 Mezzotints: World Print Gallery, San Francisco 1981 Art Expo: through the World Print Council, United Nations Plaza, San Francisco (award) 1980 MFA/1980: Graduate Center Gallery, California College of Arts & Crafts 1978 Six Arcata Printmakers: Ameka Gallery, Arcata, CA SELECTED GROUP EXHIBITIONS 2011-07 A.G.P. Membership Exhibition: Sanchez Art Center, Pacifica, CA 1992 Contemporary Printmaking: San Diego Art Institute 1988-87 The Cutting Edge: California Relief Printmaking touring exhibition, San Francisco State University, San Jose State University, and several other locations 1986 California Society of Printmakers: Montalvo Center for the Arts, Saratoga, CA California Works: Cal Expo, Sacramento (award) 1986-84 Prints USA touring exhibition: World Print Gallery, San Francisco, National Museum, Singapore, National Gallery, Bangkok, Amerika Haus, Berlin, Kunsthal, Malmo, Sweden, Museo Carillo Gil, Mexico City 1985 4th Annual Pulse of the City Show: N.G.H. Gallery, San Francisco 1984 California Works: Cal Expo, Sacramento California Society of Printmakers: Marin Civic Center, San Rafael, CA (review) Northern California Print Exhibition: Art Club Gallery, Palo Alto (review) 1983 CSP Prints: Institute of Contemporary Art, San Jose (review) 30th Annual Painting Exhibition: Richmond Art Center, Richmond, CA Recent Printmaking: Creative Growth Gallery, Oakland (review) 1983-82 Contemporary California Prints: touring exhibition, Museum of Art, San Jose, University of California,

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1982 1982-81 1981 1980

Davis, and several other locations Works on Paper: Richmond Art Center, Richmond (award) 8th International Miniature Print Exhibition: touring exhibition (award, review), Pratt Manhattan Graphics Center, New York City, Arnot Art Museum, Elmira, NY, Purdue University, and several other locations San Francisco Art Festival: United Nations Plaza, San Francisco (award) California Watercolor & Drawing: Art Center, Eureka, CA (award) Selected Prints: Print Club Gallery, Philadelphia Small Print: Purdue University, West Lafayette, IN Small Works Exhibition: New York University, New York City

SELECTED COLLECTIONS Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, H. M. King Fahd, Saudi Arabia, Pratt Manhattan Graphic Center, New York City, Contra Costa Alliance for the Arts, Bechtel Group, San Francisco, City of Modesto, CA, Grubb & Ellis Co., Stanislaus County, Sohio Petroleum, Mariposa County, Executive Company, New York City, and many private collections INTERVIEWS, ARTICLES, & REVIEWS Modesto Bee: several articles relating to Water, Wealth, Contentment, Health, interviews, illus. regarding public art commission for Stanislaus County and City of Modesto Merced Sun Star: numerous articles about shows over the years Artweek Magazine: vol.23, no.27, Contemporary Printmaking, p.16, commentary, illus. PrintNews: vol.3, no.1, 8th Miniature Print Exhibition, Pratt Graphics Center, NYC p.8-9, illus. City Arts Monthly: vol.4, no.5, An Opportunity, re: Creative Growth Printmaking, San Francisco Art Com: vol.4, no.4, Performing/Performance, re: Novacaine at La Mammelle Performance Space Oakland Tribune: 2/14/90, An Artist Responds to Disaster, interview, illus. regarding show of drawings at Vorpal Galley, S.F., about Loma Prieta earthquake destruction in Oakland Oakland Tribune: 10/19/90, One Year After the Quake, interview San Jose Mercury News: The Cutting Edge, review Sacramento Bee: San Francisco/Sacramento Printmakers, review ESSAYS, TECHNICAL ARTICLES, ART CRITICISM, & SHORT STORIES Light Sculpture in Real Time: Catalogue essay for the light sculpture of Milton Komisar Center for the Arts, Yerba Buena Gardens, San Francisco, 1996 PrintNews: vol.6, no.4, July/August 1984, The Plexicut, p.10-12, illus. California Printmaker: Summer 1985, The Plexicut. P.4-5, illus. Artweek Magazine: Northern California Editor for 12 issues, 1991-92. Writer: 1986-1994 vol.22, no.31 Enigmatic Extremities: Squeak Carnwath at John Berggruen Gallery, San Francisco vol.22, no.34 Reassurance, the Figure Identified: Richmond Art Center, Richmond, CA vol.22, no.36 Ezra, John, and Buddha: Charles Strong at the Hearst Gallery,St. Mary’s College, Moraga vol.22, no.38 Tony Urquhart: Meridian Gallery, San Francisco vol.22, no.39 A Printmaker’s Paradise: Recent Acquisitions Part II, Achenbach Foundation, Palace of the Legion of Honor, Fine Arts Museums of San Francisco vol.22, no.40 Rik Ritchey: William Sawyer Gallery, San Francisco vol.22, no.44 Three Forms of Light: Illuminations, Bedford Gallery Regional Center for the Arts, Walnut Creek vol.23, no.4 Paul Harcharik: Olga Dollar Gallery, San Francisco vol.23, no.4 Willard Dixon: Contemporary Realist Gallery, San Francisco vol.23, no.7 …If We Start Today: 500 Years Since Columbus: interview with Paul Pratchenko/Enrique Chagoya vol.23, no.7 Expressionist Drawings and Paintings from the von-Solochin-di Frenes Collection: Evergreen Valley College, San Jose vol.23, no.8 Rudy Lemcke: Modernism, San Francisco vol.23, no.9 Theatre of Illusion: Peter Milton at Edith Caldwell Gallery, San Francisco vol.23, no.15 The Disappearing Rainforests: Leigh Hyams at SOMAR Art Center, San Francisco vol.23, no.15 The Curse of Ideology: Kathryn Jacobi at Harcourts Modern & Contemporary Gallery, San Francisco vol.23, no.17 John Di Paolo: Andrea Schwartz Gallery, San Francisco vol.23, no.17 Alan Magee: Edith Caldwell Gallery, San Francisco vol.23, no.21 Jaques Cressaty: Stephen Wirtz Gallery, San Francisco; Yayoi Ailene Shibata: 871 Fine Arts, San Francisco; David Collins: Gallery Paula Anglim, San Francisco; Troy Dalton: Olga Dollar Gallery, San Francisco; Jim Rottmayer: Harleen & Allen Fine Arts, San Francisco vol.24, no.2 Peter Rodriguez: 50 Year Retrospective: Haggin Museum, Sacramento vol.25, no.14 Misterioso: Sam Hernandez at the Fresno Art Museum vol.26, no.1 Jaap Bongers & Kenneth Matsumoto: Carnegie Art Center, Turlock, CA Life in Space: anthology of short stories and articles, There Be Humans There by Jamey Brzezinski, short story, fiction: Glass making at the Lunar Colony and unexpected consequences, 2009

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These paintings are about California. The pools, spas, fountains, trees, plants, and architecture could only coexist in a climate as temperate as our own. California is where the westward march of Euro-American civilization encounters the eastward impulse of Asia. From the south comes Meso-America with its Moorish echoes and African rhythms. Rationalism, Mysticism, Passion, and Zen superimposed on a landscape that, in terms of geographic beauty and complexity, is second to none. I love painting this stuff. These paintings are about perception. Brushing shapes of pigment onto a surface and making an image is one of the most enduring of human inventions. Light, space, and form rendered in brushmarks examines the nature of imagemaking. Shifting the view from above to the wall emphasizes the act of perception: that moment of recognition when the mind interprets what the eye is seeing. Also, I find this view can sometimes cause a slight sense of vertigo, an unexpected but interesting effect. When I work on these I often rotate the canvas: the aerial view having no top. So they can be shown as vertical or horizontal compositions with any of the four edges “up”. I enjoy getting lost in the construction of these images. The Views from Above series was started in 1977 and includes hundreds of paintings, drawings, and prints. I continue to explore other directions in my work, but keep returning to these with different variations. In this group, for instance, all the images are on the same scale within long (5:9) rectangles. Although they look planned out, they are very Zen…spontaneous. There is no going back from a move, only forward. Sometimes I paint myself into a corner that I have to paint my way out of. For me, as an artist, this is when it really gets good—creating a dilemma that begs resolution. - Jamey Brzezinski

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AC K N OWL EDG EMENTS California State University Stanislaus

Dr. Joseph F. Sheley, President (Interim)

Dr. James T. Strong, Provost/Vice President of Academic Affairs

Dr. James A. Tuedio, Interim Dean, College of Arts, Humanities and Social Sciences

Department of Art

Dr. Roxanne Robbin, Chair, Professor

Dean De Cocker, Professor

Jessica Gomula, Associate Professor

David Olivant, Professor

Gordon Senior, Professor

Richard Savini, Professor

Dr. Staci Scheiwiller, Assistant Professor

Jon Kithcart, Equipment Technician II

Meg Broderick, Administrative Support Assistant II

University Art Gallery

Dean De Cocker, Director

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Jamey Brzezinski: Light Side/Dark Side  

Catalog published in conjunction with the exhibition Jamey Brzezinski: Light Side/Dark Side in the University Art Gallery at California Stat...

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