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In Praise of Collecting: W o r k s b y C S U S ta n i s l a u s F a cu l t y a n d W o r k s they Collect

Gordon Senior Dean De Cocker David Olivant Jessica Gomula Ellen Roehne Richard Savini James Deitz M a r t i n C a m a r ata John Barnett Hope Werness Daryl Joseph Moore

In Praise of Collecting W o r k s b y C S U S ta n i s l a u s A r t Fa cu lt y and Works they Collect Carnegie Arts Center Turlock, CA

500 copies printed

In Praise of Collecting: Works by CSU Stanislaus Art Faculty and Works They Collect

July 11 - September 16, 2012

Carnegie Arts Center 250 North Broadway Turlock, CA 95380

In collaboration with: University Art Gallery Department of Art College of the Arts California State University, Stanislaus

This catalog has 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, College of the Arts, California State University, Stanislaus Catalog Printing: Claremont Print, Claremont, CA

ISBN: 978-0-9857652-0-0


C on ten ts

Foreword ............................................................................................................................................ 4 Introduction....................................................................................................................................... 5 About the Artists............................................................................................................................... 6 Images and Artist Statements.................................................................................................. 13 Artist Biographies......................................................................................................................... 59 Acknowledgments ....................................................................................................................... 76


F ORE WORD In Praise of Collecting: Works by CSU Stanislaus Fac-

Insights generally make themselves known in response

ulty and the Works They Collect is about art, achieve-

to questions such as “Why?” or “Are there common

ment, community, and collecting. Works by eleven

themes or styles?”

faculty and emeriti faculty members from California State University, Stanislaus, College of the Arts are

I would especially like to express our gratitude to Dean

featured together with 2-4 art works by other artists

De Cocker whose organizing efforts were truly the

drawn from their personal collections — some works

key to bringing this exhibition together, and to David

purchased, some exchanged, some gifts, others found.

Olivant for his perceptive and engaging essay. Our

Presented in a gallery built by the City of Turlock and

thanks are extended as well as to the CSU Stanislaus

operated by the Carnegie Arts Center Foundation, the

College of the Arts for the catalog design and to Cla-

exhibit reflects the collective artistic achievements of

remont Print and Copy for printing the catalog.

Turlock’s best resource — the university and its faculty. The artists include Gordon Senior, Dean De Cocker,

Finally, I would like to thank the artists who are also

David Olivant, Jessica Gomula, Ellen Roehne, Richard

educators for the art works included in the show as well

Savini, James Deitz, Martin Camarata, John Barnett,

as their commitment to the next generation of artists.

Hope Werness and Daryl Joseph Moore. This catalog is a permanent record of their work as

Rebecca Phillips Abbott

well as a testament to the efficacy of a collaborative

Executive Director and Curator

approach, while the installation is uniquely able to en-

Carnegie Arts Center

gender a dialogue that considers the correspondences between an artist’s works and those he or she collects.


I n tr oduc t ion The idea behind this exhibition, “the art that artists col-

as exhibiting artists, is the transformative experience

lect,� as developed by Carnegie Arts Center Executive

valued most by our students and with this exhibition at

Director and Curator Rebecca Phillips Abbott and CSU

the newly renovated Carnegie Arts Center enjoyed by

Stanislaus Gallery Director and Professor Dean De-

the greater Turlock Community.

Cocker, is an intriguing and thoughtful concept for an exhibition and will be a delight for the Turlock community. There has been much for me to enjoy and admire

Daryl Joseph Moore

in the work of my colleagues in the Department of Art

Founding Dean, College of the Arts

since my arrival in 2007. Their commitment to their

California State University, Stanislaus

work and the artistic process along with their evolving perspectives as visual artists is steadfast and central to their pedagogy while it is also well reflected in the work they have selected for this exhibition. These are artists that I respect, who have reached a level of excellence validated by the work in this catalogue, while sustaining careers that also advance the study of the visual arts in higher education. Their collective experiences are the powerful currency behind the curriculum delivered to the students of CSU Stanislaus. Their work and commitment to higher education, underscored by continued professional practice


A b o u t t he Artists Gordon Senior was chairman of the Department of

Equally imbued with material specificity are the wall-

Art at CSU Stanislaus for six years. A Yorkshireman in

sculptures of Dean De Cocker an artist whose back-

central California, he is a culturally displaced artist.

ground, education and exhibition activity are strongly

For three decades, he has responded directly to issues

rooted in the West Coast of California, particularly the

in the history of British landscape, and consistently uti-

LA area. In this work the relationship between produc-

lizes the very materials of the landscape and its modifi-

tion processes and finished product is largely transpar-

cation through agriculture. It is not entirely unexpected

ent but denuded of any traces of the artist’s activity

that such an artist, in being uprooted to an essentially

in a homage to industrial production techniques. This

alien terrain, would grasp the opportunity to use the

might place such sculpture squarely within a Formalist

one environment to comment on the other, or to em-

aesthetic were it not for the veiled personal associa-

ploy the tools and materials of the new environment

tions that come through. De Cocker’s work operates

for satiric effect.

on two levels simultaneously. On the one hand it takes quasi-geometrical structures from the immediate en-

For Gordon, the westward transatlantic move eleven

vironment of factory-built objects and conceptualizes

years ago fermented a crisis, albeit a fertile one, in

them into purely formal solids, thus purging them of

which the meditations on land-use and the sense of

any sense of utility and identity the originals might pos-

placement and connection with the earth have been

sess. On the other hand, these forms evoke a subtle

supplanted by a vision of disruption and fragmenta-

range of associations (often nostalgic) connected with

tion. The paradox that emerges is an art invigorated

meanings present in the objects or production methods

and enriched by a content that involves a deep sense

that serve as their inspiration. The fact that the associa-

of loss and even betrayal.

tions are often embedded in nostalgia for World War II military scenarios creates a type of poignancy based

The Atlantic crossing has caused a substantial reframing

on a discord between the essentially comforting na-

of the significant memories that inform Senior’s practice.

ture of rumination on a distant past and its disruption

New memories have taken precedence, like the crowded

by the distressing content of that past. In this way De

cattle-market in Cows and Heads, and in the process the

Cocker’s sculptures read as a sort of confession, where

past has been reinterpreted through the lens of the pres-

the art reveals something beyond its formalist posture,

ent; colored by mass-consumerism and environmental

where irony is at least approached, largely through the

devastation. Land use history has expanded to include a

tension between the severely impersonal methods of

wider human history, a history steeped in greed, squan-

manufacture and the personal associations that seep

dering and alienation from nature. The work is rescued

out despite them.

from propaganda by the deep immersion of these postulations in its very materials and forms. Where symbols

While David Olivant has spent much of his career

are present they emerge directly from the daily encoun-

acting out the methodology and pictorial dynamics

ter with diverse materials salvaged from the earth, rather

of an Expressionist, always seeking a hidden content,

than from some dictionary of pre-established meanings.

in the last decade or so the emotional urgency of his

The moral dignity and force of this work is embedded

earlier efforts has been supplemented by an ironic dis-

and embodied in this insistent materiality.

tance and sense of satire.


There is almost nothing in his working process that al-

approach her intermedia projects, Many of these in-

lows for any kind of prediction of the end result and

termedia installations explore the socio-political issues

he has indulged corrupted versions of automatism for

that chaperone sexual intimacy. The layering and sty-

longer than he cares to remember. Somewhere along

listic heterogeneity are reminiscent of Polke and Salle,

the way it seems that the characters, thus extracted

though the mood is sweeter. Significant is the sheer

from what he hypothesized to be a collective uncon-

quantity of different media layered into a seamless

scious, have acted to all extents and purposes as if

whole, which underplays, if not suppresses the irony, as

they occupied a life outside of the particular picture

if there could be nothing more natural than the overlay

in which they appeared. Not only this, but they rapidly

of painted images, video montage, photographic stills,

became aware of the symbolic, archetypal burdens of

text, and sound. The superabundance of it all seems

meanings Olivant was inflicting upon them and either

a spoof on sexual innocence. The sense of nostalgia

cooperated or rebelled, as their mood suited. His em-

only sweetens this further and we are cajoled into tacit

barrassment at such a usurpation of his role as creator

acceptance of the dichotomy between the pictorial flat-

has recently been furthered by the characters insistence

ness of the animations, the floating montaged sexual

on pre-empting his symbolic interpretations before

nicknames and the modified projection of live video

they have been fully extracted from the chaos of marks

captured of the viewer in the installation space.

that precedes their inception. This has tended to play havoc with his creative process causing him to all but

This dichotomy seems symbolic of the central contra-

tear up the Freudian/Jungian script that he has worked

diction in Gomula’s work between the casual, gentle

with for so long.

humor of the presentation with its apparent good-natured innocence and the taboos surrounding the erotic

Works completed in the last four years have wedded

subject matter. It is this dynamic that activates our re-

sculptures to painted images in a marriage of incon-

actions to Sigmund’s Laundry which shows, inset, the

venience that acts as a metaphor for the ontological

lingerie dressed performer ironing, silhouetted from

questioning and uncertainty of the characters that

one side of a bed sheet to remain polite but at the

evolve from this synthesis. We are never quite sure if

same time inviting a voyeuristic attention from the oth-

the characters painted in the illusory pictorial space

er side. Surrounding this, against a blue background,

can escape into the space of the viewer of if others, at-

images of embryos at an early stage of development

tempting to exit the viewer’s space, can make contact

and lady’s underpants float around, intermingling in

with those trapped in the picture’s surface.

the space of the performer. In the centre of this blue area is a large three-bladed washing machine agitator

In the Art of Jessica Gomula the post- modern hybrid-

seen from above.

ization of genre and style is second nature, virtually a reflex and irony is such a staple item of the artistic

With this artist’s recent focus moving to a re-imagining

diet that it passes through the digestive tract without so

of Modesto as something of a cultural Mecca and the

much as a hiccup. The computer screen is the melting

inevitable jump in scale and abandonment of a more

pot for this cocktail, which I feel perfectly justified in

intimate format one wonders whether Gomula’s earlier

using mixed metaphors to describe!

preoccupation with diverse aspects of human sexuality can crawl beneath the radar of local outlook that tends

Gomula’s website, until recently, was the most obvi-

to be conservative, whether indeed it can re-tune this

ous portal through which the neophyte viewer might

mindset to a more curious and responsive frequency.


Subtler allusions to femininity, expanded to include

toy with our expectations of modernity, they flatter to

maternity pervade the delicate, understated assem-

deceive, setting off like respectable academy exercises

blages of Ellen Roehne. In a series of wall pieces

but crossing the tape as proto-semi-abstractions. This

made from tiny found objects and illustrations and

playfulness becomes glaringly, startlingly, unabashedly

named after popular sayings, “don’t count your chick-

post-modern in the large computer assisted paintings

ens… “ “be careful what you wish for” the worlds of

that the artist has labored over for more than a de-

childhood and motherhood are somehow conflated as

cade, constantly surprising by abrupt juxtapositions of

if the innocent vision of the former state is somehow

color intensities, of Italian Baroque architecture with

transmitted from child to mother in a reversal of the

recognizable elements of Yosemite Park, and of Ber-

normal flow of genetic inheritance. This juxtaposition

niniesque sculptures with almost photorealistic nudes.

of childhood symbols with loosely anthropomorphic forms that evoke animistic rituals manages to avoid

The central protagonist seems to be the play of light

the clichéd collision of cuteness and disgust beloved

and the ways in which forms dissolve in or reflect light.

by adolescents and the much over-hyped Yoshitomo

This is not exactly a natural light, but one schooled

Nara and instead evokes a seemingly endless but fer-

in the paintings of cinquecento Italy, one that seems

tile chain of associations.

to have been traveling directly from the Florence of Pontormo and Bronzino loosing none of its freshness

The three works on display all feature a vaguely tro-

or immediacy on the way, ultimately to be digitally

phy-like peduncular head mounted precariously above

fine-tuned into an image that is at once set at a great

an ossuary-like box that contains the intestinal main-

Ingresesque remove from the spectator, filtered as it is

springs and from which is suspended a pendulum of

through layers of allegory and classical allusion, but

sorts in the form of silk-worm, butterfly or child, sug-

that also urgently spills into the spectator’s space while

gesting novel parallels between the female body and

simultaneously saturating and flooding his retina. The

antique clocks. The pendant child hangs from the fal-

total aesthetic effect is disconcertingly playful in its flir-

lopian tubes that hatch their lifetime ration of eggs

tation with the fine line that separates the high Baroque

with lunar precision and in this sense at least you really

from rampant kitsch, the more so because the color

could count your chickens before they have actually

harmonies and discords, complex variations of inten-

hatched, as the picture of the girl implies. All of the

sity and temperature are all so finely modulated and so

pieces are legless, if we discount those of the depict-

obsessively orchestrated.

ed child, but what they lack in ambulatory capacity they make up for in the engine room, prioritizing the

The recent work of James Deitz occupies an inter-

complex sequence of transactions, peristaltic, systaltic,

esting, though constantly shifting territory, in which he

osmotic and synaptic that animate the organism over

succeeds in synthesizing memory and observed im-

those that merely translate it from point A to point B.

ages, in a style that is able at once to preserve the particularities of any experience while also transforming

The work of Richard Savini entertains irony and con-

it into an iconic form stripped to its essentials, some-

tradiction in a mesmerizing technical tour de force.

times to the point of almost complete abstraction. As

His early canvases, usually depicting nudes or land-

a latter-day Saint Anthony, a would-be iconoclast, De-

scapes, are descendants of Degas or Edwin Dickin-

itz has often successfully evicted images from his cave

son but dramatically modernized through ramped up

and has watched them slink off, their tails between their

color contrasts and simplified planes. In a sense they

legs into the Albertian vanishing point on the distant


horizon. It is a Pyrrhic victory however, as the battle-

ize the ultimate and humiliating, mind numbingly banal

ground has shifted to the paint itself. The enemy is now

demise of the American dream.

incapable of being exorcized, as it is the very stuff from which the painting is made, and by extension physi-

These assassins might be considered post-modern be-

cality, substance itself, the stuff of life. Ultimately the

cause they utilize weapons of mass deconstruction. The

artist must wrestle with the angel of his own materiality

computer program that brings them into being, is their

through which he is embodied but through which he

demiurge, their urgrund, the ghost in the hard-drive,

also perishes. This, I feel, is the ultimate source of De-

the spanner in the Pentium processor, upstaging the

itz’s ambivalence, of his importance as a painter, of his

artist while at the same time nullifying itself, erasing its

iconography of doubt.

cookies in the process of enabling them, in the frenzied generation of chimerical avatars whose memories are

Deitz has embraced influences as diverse as Morandi,

never updated, whose browsers are never refreshed.

Tamayo, Hopper, Guston and Rothenberg along the

They deny everything, these avatars. Personal respon-

way. I am sure that it is in some part his ability to strad-

sibility has disappeared in a puff of virtual smoke, in a

dle the apparent divide between the empirical and the

post-Derrida sleight of hand in which no self means its

structural or the phenomenological and the archetypal

always the other to blame, you know that other “Smile

that lends such range and depth to his teaching. Much

and wave boys, smile and wave” to quote the century’s

of the work in the current exhibit was produced in the

most respected penguin to date.

art department between sessions in the classroom. A stimulating cross-fertilization happens between assign-

Since completing an extended series of miniature ce-

ments Deitz gives in his classes and events in his own

ramics depicting the homes of famous artists in which

studio, which tends to cancel the typical divide between

the tension between the commercialization of the art-

artist and teacher. James is an artist in the classroom

ist’s name and style and the original intentions of the

and he also teaches through his work.

all–suffering artist is resolved in the form of the tourist trinket that gently satirizes both sides of the dichotomy,

Martin Camarata was chair of the Art Department

Hope Werness has transferred her interest to the larg-

at CSU Stanislaus for much of his tenure. In his digital

est, most commercialized local icon, Yosemite Nation-

prints the existential self comes under direct attack from

al Park and, within the park, its most signature feature,

hidden post-modern assassins. The physical envelope


of the self, represented by monumental abused heads, is assaulted from all sides by a menacing array of firearms,

In her mockingly idealized Picnic all of the cutlery

kitchen knives and cages. Like the walls around gated

and crockery sports the HD emblem, and even the

communities are the cages keeping outsiders out or in-

chocolate box lid is not exempt, nor are its contents,

siders in? Weapons are often so integrated into the self-

chocolate truffles in the form of multiple miniature

image that they become the head’s best stab at survival.

half-domes. Of course where else to take these pic-

It seems that the preferred form of defense is to attack

nic essentials but to Half-Dome itself, to indulge in an

anything and everything, including oneself. The psychic

orgy of Freudian over-determination, targeted at a so-

landscape quickly declines into a jumble of split-off or

ciety so over-stimulated that the original Half-Dome

stuck-on components that seem permanently at war with

is somehow inadequate, less than the sum of its rep-

each other, unable any longer to distinguish friend from

resentations. The essential attraction of Half-Dome,

foe, viral from virtual, edible from audible. They symbol-

its size and grandeur, is also its biggest problem. The


size ensures it cannot be absorbed or digested, as in

The primary methods of production usually involve

owned. The picnic forms a far more convenient and

casting of some type, and hence a distancing from the

desirable alternative where over consumption assumes

human touch. In this sense the work of art is at a short

newer and more inventive opportunities where you can

remove from its source, whether that be the side of a

have your cake and eat it.

tree trunk, a depression in the earth or a slice of toast, adhering to a Seniorian ethos of the object speaking

It is hardly surprising that the monument itself should

for itself. This notion is then disrupted, sometimes by

seek a vacation from all of the admiring but over-stim-

outrageous subterfuge: the brown of the cork oak tree

ulated onlookers and where better than the Nile val-

bark is replaced by a stridently high pitch color scale,

ley amid those competing icons of pyramid and sphinx

or the toast slices form a primitive architectural config-

which, as it states in its postcard to Sentinel Rock, it

uration more proper to playing cards. Barnett seduces

is “taking in” rather than merely viewing? Behind the

us with the posture of “truth to materials”, “truth to the

polite and gentle and loving treatment of these sou-

artist’s vision” only to subvert these notions with a fri-

venirs lurks a virulent attack on the unceasing flow of

volity and dexterity that can simultaneously engender,

human consumption. The picnic items and postcard

confusion, laughter and delight in the bemused viewer.

evoke an apparently gentler period of history in which tourism might have formed part of a “Grand Tour” and

The focus of Daryl Joseph Moore over the past five

simultaneously evoke nostalgia and its deconstruction

years has primarily revolved around the leadership of

through tracing consumerism back to its possible his-

the College of the Arts and the advancement of each

torical origins.

of its progressive divisions in Visual Arts, Music and Theatre. While administrative responsibilities appropri-

A similar type of humor is central to the work of John

ately dominate his time, his background is in visual

Barnett and is in large part derived from this artist’s at-

communications. He was a published children’s book

tempts to prospect a unique imaginary territory some-

illustrator working primarily in this area in the early

where between Land Art and Pop Art, two movements

eighties however, in his quest for more challenging

that, on the surface, seem quite at odds. Rather than

opportunities he moved quickly into advertising and

using this unlikely synthesis to reflect on the mechan-

graphic design. This is where the focus of his profes-

ics of visual representation and authenticity, he uses

sional practice remains today whenever he has the op-

the language of Pop, its strident colors and bombastic

portunity and time to work on such projects, consulting

frontal presentation, to provide an unlikely source of

and lecturing in advertising and design, visual identity

iconic intensity to the enlarged features of fragments of

and branding.

a landscape. Of greater significance still is the artist’s Zen-preoccupation with landscape as a cryptic and condensed metaphor for states of immediate enlightenment in which humor is used for both its shock value

This short essay has tentatively navigated a path

and to undermine any notion of permanence in either

through a terrain of differently inflected attitudes to

things or the states of mind they represent. One might

post-modernism: the superimposition of disparate cul-

say that the irony in Barnett’s work is ultimately exis-

tures (Senior) the contradiction between a factory-for-

tential, insofar as the stylistic heterodoxy points to an

malist aesthetic and the personal associations it evokes

irreverence that is central to the Zen enterprise.

(De Cocker) the attempt to express the unconscious personality and the sabotaging of that attempt by the


supposed inhabitants of the unconscious (Olivant) the absorption of contradiction into the fabric of the artistic statement as a rhetorical norm (Gomula) a re-thinking of our attitudes to childhood and femininity (Roehne) the attempt to subsume baroque imagery into a postmodern web of unlikely juxtapositions (Savini) the conjunction of the archetypal and the empirical (Dietz). In Camarata the virtual self devours the existential self. Barnett fuses contradictory styles and Werness simultaneously advances and ridicules the cult of personality surrounding artist super-stars. The severest differences among this group of artists result from whether they choose to suppress or exploit irony and contradiction. All of them share a heightened awareness of the possible range of interplay between process, procedure and product, and it is this more than the historical accident of their resemblance to a given artistic trend that marks their work as contemporary.

David Olivant, Professor Department of Art CSU Stanislaus



IMAG ES and Artist StatEme n t s

Gordon S en i o r “Once you have lived on the land, been a partner with its moods, secrets, and seasons, you cannot leave. The living land remembers, touching you in unguarded moments, saying, I am here. You are part of me.” The Land Remembers, Ben Logan.

Gordon Senior lives and works in the Central Valley of California, but returns each summer to Norfolk in England. Making sculptures and installations, his work reflects the cultural differences he has experienced in his geographic relocation. More importantly he addresses our common loss of any real relationship with the land. His work has a sense of place, and concerns the relationship of animals and birds with humans. Senior is preoccupied with displacement from landscape. He expresses this loss of connection through work that depicts animals, incorporating within the sculptures materials such as wood, clay, metals, collaged maps, reproductions of landscape paintings, and beeswax. We have a sense that humans once belonged to, and were part of the earth, but have progressively been losing this, becoming urbanized and displaced. A brown hare, an indigenous wild animal in Britain, typically represents mankind while other animal forms also stand for the artist and ourselves. Gordon Senior’s work is concerned with nature. There is a feeling of autobiography about his work, which most recently has focused on issues of migration, memory and loss. In a recent review of Senior’s work Professor David Olivant wrote: “Senior has thus transformed uncertainty into invention and has charted the process in his recent series of object groups. In some he converts what is natural to his past into the form of his present and in others he transposes the objects of his present environment into a language of nostalgia for his former existence. It is the single achievement of Senior’s recent work to have invigorated the tendency to nostalgia in his earlier work, by exploiting the necessity of his current cultural alienation, and thus create a potent meditation on the nature of memory as well as a subtle critique of multiculturalism”.

For more information see:


Go rd o n S e n ior

Hare Spiral, 2007, bisque fired clay and plywood, 18” x 24”


Gordon S en i o r

Bird Boxes, 2006, rusted steel and wood, 21 boxes each 17” x 17” x 12”


Co l le c t io n o f Go rd o n S e n ior

Netsuke Japanese sculptures, 17th century, 17 figures

Joel Fischer, Entelechy, 2011, mixed media sculpture


Dean De Co c k er My work is part of a continuing series, “Blue Jackets Return.” From the first winged-shaped structures to the current work, I have been exploring my interest in formal elements by transforming flat, two-dimensional surfaces into three-dimensional objects. I derive much of my inspiration from everyday objects such as mailboxes, aircraft structures, wings and propellers, heavy machinery and architectural works. These objects become conceptual elements, which I transform first into drawings. Then, via techniques of aircraft construction, I have fabricated objects of inner structures and outer coverings that created volumetric enclosures. Recently, my interest in racecar fabrication and finishing and collecting vintage BMX bicycles from the 1970’s has led to subtle changes in structure and color. The titles of my works have no real meaning, but due to my interest in the construction techniques of World War II aircraft, I take my titles from the World War II battles in the South Pacific.


D e a n D e C o cker

Made in the Pacific, 2011, acrylic paint, fiberglass, metal, powder coat, 40” x 73” x 45”

When Flat Tops Ruled the Waves, 2011, metal, powder coat, vinyl, wood, 66” x 24” x 11”


Dean De Co c k er

Speed Flags in the Pacific, 2009, metal, powder coat, vinyl, wood, 55” x 45” x 18”


Co lle c t io n o f D e a n D e C o cker

Dawn Arrowsmith, Manderine Honey Sky, 1998, acrylic on canvas, 48” x 60”

Roland Reiss, The Importance of Being Green, 1996, acrylic on canvas, 36” x 36”


Dav i d Ol iva nt The futility of the creative process: scribbling, scraping, re-scribbling, inverting, wiping, dismembering, reinverting, erasing and again erasing to finally coax images from the brute stupidity of colored dust is hardly compensated by any show of gratitude on the part of these images. Instead they threaten at any moment to dissolve or re-congeal, to stop pretending and reveal the hoax. At best they dust themselves down and loudly proclaim themselves to be clichés, outdated symbols, all too obviously archetypal. Eschewing their creator’s methodology these images that yet fresh images can’t seem to beget disown the type of originality that might be scoured from the depths of a post-Freudian unconscious, the notion that behind or beneath their appearance there might be a latent content, - what do they care about ‘latent content’? Instead they enact a drama out of the failure of these very expectations albeit at the expense of some of their creator’s most cherished ideals. Like Hari, the mind-born heroine of Tarkovsky’s “Solaris”, they demonstrate remarkable self-awareness, they seek to know themselves and their ultimate ontological status. They wonder if they are “real people” or just the mental chimeras of the artist, if they are constrained by the conventions of a pictorial language or whether they have achieved a measure of autonomy. These images, now clearly personalities, comprehend their own iconographic precedents and exploit them. The children of Saturn start to bite back, Venus disfigures herself to avoid being stereotyped and the God of Michelangelo’s ceiling refuses to acknowledge his creation and absconds through the upper edge of the picture. The artist himself receives rough treatment, transformed into a piano playing pig-fox hybrid in “Cadenza” and a defunct generalissimo in “Chronos”. Paradoxically the images’ self-doubt is also their self-awareness and their story ceases to be a fantasy of their creator’s unconscious, and becomes an autonomous universe, in which they are to a large extent the authors of their own destiny, seeking the hand of God in unlikely situations, only to demonstrate his superfluity. For the artist it is left only to wonder if these personalities themselves have an unconscious, (individual or collective) from which they might create their own images and if those in turn might also be similarly endowed, thus creating generations of nested worlds each charting the artistic Odyssey of its predecessors.


David Olivan t

Attachments, 2010, mixed media


Dav i d O l i van t

The Fall of a Sparrow, 2010, mixed media

Timberline Transactions, 2010, mixed media


Co lle c t io n o f Dav id O liva n t

Ambadas, untitled, 1994, watercolor on paper, 14” x 18”

Simon Edmondson, untitled, 1997, oil on board, 12.5” x 16”


Je ssi ca G o m u l a

Gomula’s intermedia work employs video and large scale installation environments which elicit viewer interaction and community participation. Her work has been exhibited extensively both nationally and internationally, in traditional and non-traditional settings. Gomula’s current project, the //Building Imagination Initiative, seeks to re-imagine the future Modesto and the Central Valley through artistic interventions. The project confronts a poverty of imag­i­na­tion by using art - videos, archi­tec­ture, design, and game­play — to inspire cre­ativ­e solutions to the California Central Valley’s many quality of life problems. The //Building Imagination Initiative continues her work on private and public spaces, and how they build upon or break down Utopian ideals of the community they reside in. Gomula is a professor of Video and Time Based Media at California State University, Stanislaus.


J e s s ic a Go m ul a

Coming Soon! Science Museum, 2011, digital photograph

Coming Soon! Poet’s Corner, 2011, digital photograph


Je ssi ca G o m u l a

Dream Garden, 2012, public art project with personal dreams inscribed on recycled clothing

Submerged, 2012, single channel video


Co l le c tio n o f J e s s ic a Go m ul a

Sean Clute, Video Sintesi “Mechanical Bull”, 2010, single channel video

Sean Clute, Video Sintesi “Bowling”, 2010, single channel video


E l le n Ro eh n e Although much of my work is comprised of a variety of media there is a common thread of the narrative throughout. For me, the act of creating art is a connection- to the past, to nature, to others, to beauty and to spirit. The art work is the story, however obscure, that ties these elements together, weaving pieces of my life in a collection of visual stories. Finding beauty in the small insignificant things, living with a sense of awe and gratitude at the infinite potential of nature- in essence to see the world with the eyes of a child, that is my goal as an artist. These common human experiences inform the content of each piece of artwork. I strive to make work that resonates with viewers, giving each piece a presence beyond the physical limitations of the materials. As an artist and gallery owner, much of my art collection has been accumulated through trading artwork with artists that I admire as well as purchasing work of artists that I have discovered within the gallery business. I tend to have very eclectic tastes and am exposed to so many talented and inspiring artists that I sometimes find it difficult to choose which pieces to keep for my own collection. I love being surrounded by works that remind me of the artist friends who created them and feel very lucky to be able to live with these pieces in my home.


E l l en R o e hn e

Be Careful What You Wish For, 2011, assemblage


E l le n Ro eh n e

Butterflies In My Stomach, 2011, assemblage


C o l l ec t i o n o f E l l en R oe hn e

Ben Miller, City at Night, painting, 48” x 36”

Julie Hawkins, untitled (dyptich), 2011, mixed media, 12” x 24”


Ri cha rd S avi n i

David Olivant on the work of Richard Savini: The work of Richard Savini entertains irony and contradiction in a mesmerizing technical tour de force. His early canvases, usually depicting nudes or landscapes, are descendants of Degas or Edwin Dickinson but dramatically modernized through ramped up color contrasts and simplified planes. In a sense they toy with our expectations of modernity, they flatter to deceive, setting off like respectable academy exercises but crossing the tape as proto-semi-abstractions. This playfulness becomes glaringly, startlingly, unabashedly post-modern in the large computer assisted paintings that the artist has labored over for the best part of a decade. They are constantly surprising with abrupt juxtapositions of color intensities, of Italian Baroque architecture with recognizable elements of Yosemite Park, and of Berniniesque sculptures with almost photorealistic nudes. The central protagonist seems to be the play of light and the ways in which forms dissolve in or reflect light. This is not exactly a natural light, but one schooled in the paintings of cinquecento Italy, one that seems to have been traveling directly from the Florence of Pontormo and Bronzino loosing none of its freshness or immediacy on the way. It is ultimately to be digitally fine-tuned into an image that is at once set at a great Ingresesque remove from the spectator, filtered as it is through layers of allegory and classical allusion, but that also urgently spills into the spectator’s space while simultaneously saturating and flooding his retina. The total aesthetic effect is disconcertingly playful in its flirtation with the fine line that separates the high Baroque from rampant kitsch, the more so because the color harmonies and discords, complex variations of intensity, and temperature are all so finely modulated and so obsessively orchestrated.


R ic h a rd S avin i

Faith & Fear, 2005-2008, Digital Composition


Ri cha rd S avi n i

Nude, Diagonal Figure in Green Chair, 1987, oil on canvas, 58" x 48"


Colle c t io n o f R ic h a rd S avin i

Tinna Harter Savini, Acrobat, 2001, oil on canvas, 26” x 72”

Kelly Viss Hollinger, untitled, 1989, etching, 15 ½” x 22 ½”


Ja me s D ei t z

My work is my statement.


J a m e s Deitz

Glass Houses, oil on canvas, 20”x 18”


Ja me s D ei t z

Treasure Chest, oil on canvas, 48” x 24”

WASP, oil on canvas, 40” x 48”


C o lle c t io n o f J a m e s Deitz

Jay Steensma, Waritme Fish, 1991, acrylic on paper bag, 16 ¾” x 31 ¾”

Lee Andre, untitled, charcoal on gessoed paper, 12” x 12”


Ma rti n Cam ar ata My recent work is a continuation of my compulsion to make visual images. These images are generated by the subjective and enigmatic “self,” and might be described as psycho-narrative. My state of being is nurtured and supported by Existential premises and the human condition. These images are pictorial facts of the brain/mind experience made evident via the integration of medium, and the metamorphosis of creation. The computer as a medium/tool is integral to this process and is included in the totality and structure of my studio which has its dimensions within the sandbox of the so-called “mind.” My studio is a private place and no invitations or memberships are offered. There are times when even my “self” is neither invited not allowed to enter, which causes a process to begin and heightens the tension of primal despair. The images I make are like windows on the surface of my studio - but they are opaque windows that prevent one from looking inside - they exist on their own with their own “self”-ness and any audience to the work will have to take it or leave it - including my conscious self.


M a rtin C a m arata

Arms Dealer, 2012, digital print


Ma rti n Cam ar ata

Saving the Peanut, 2012, digital print


Co l le c tio n o f M a rt in C a m a rata

Vintage Circus Poster - Knapp & Listette: A Duo of Drolls, ca. 1900, lithograph


Joh n Bar n et t John Barnett sees nature with he eyes of a lover. A sculptor, he is attracted to surfaces, patterns and forms, to the feel, the material substance of things. He makes molds of tree bark and other natural forms and casts positives of them in aluminum, bronze and fiberglass. The pieces that result are often strikingly like the originals, but by removing them from their natural setting, and manipulating their forms, Barnett transforms them into aesthetic objects. They magically shift back and forth, for instance, from tree bark to sculptures that resemble but are not bark. Barnett invites us to go beyond our initial surprise, to see analogies between tree bark and human skin. Playfully, yet with deep seriousness, he entreats us to see that we humans share the vulnerability, and the vitality of rocks, trees and the earth. We, too, are part of the cycles of nature … – Hope Werness In his recent book, Down To A Soundless Sea, Thomas Steinbeck states “...If it weren’t for mankind’s inflated image of self-importance, humans would have realized that they don’t own the world. The world owns them. Perhaps it’s this secret knowledge that fuels the contest between the savage and the coming of the night.” Count me on the World’s side. – John Barnett


J o h n B a r n ett

Totem, 2012, mixed media


Joh n Bar n et t

Sawtooth Duo, 2012, mixed media


C o lle c tio n o f J o h n B a r n ett

Robert Freimark, Tapestry, 1973, cotton and wool, 95” x 61”

Titia Barnett-Gudde, Cactus Form, 2012, Adobe clay, 40” x 23”


Hope B. W er n es s As an Art Historian and some-time artist, I like to make things. While I was pursuing an undergraduate degree in studio art, my professors encouraged me to consider careers teaching high school or designing wallpaper. Neither appealed, so I went on, without thinking too much about the consequences and obtained first an MA and then a PhD in Art History. During my early years of teaching, when it was necessary to focus on academic work in order to climb the promotion ladder, I missed making things. Finally, after promotion to Full Professor, I allowed myself to begin making things again. Now that I’m fully retired, I can pursue my whim(sy) even more energetically. I enjoy working in all media and often work in series. Initially, the work related to my scholarship, for instance, a number of ceramic artists’ houses resulted from research for a book on the same subject. Other series include goddesses, sacred places, and most recently, a circus. The work in this exhibition is part of a group of boat images. Like the other series, this imagery is rife with profound symbolism—the ship as a symbol of the soul, the journey of life, of life’s calms and storms. I’ve included quotations on some of the boats and others simply embody ideas. I feel very fortunate to sail along, having the time, conditions, and luxury to pursue these interests of mine. And, besides, it’s just plain fun!


H o p e B. W e r n ess

The Midnight Circus, presented by Dr. X.K. Mirabilis, 2011, three of fifteen mixed media figures: Geppy the Clown; Mirabelle, the Equestrienne and Her Horse Moonlight; Max, World’s Strongest Man

Yosemite Picnic, 2009, found objects and mixed media


Hope B. W er n es s

Half Dome Takes a Vacation, two images from a series of original postcards – Half Dome Visits Egypt, 2004


Co l le c tio n o f H o p e B. W e r n es s

African (Venetian) Trade Beads, ca. 1900, glass

Big Trees Postcard Collection, ca. 1900-1950, print on paper


Da ryl JO s ep h M o o re As a visual communicator and published author I have evolved creatively to the committed purveyor of ideas that I am today, and as such always with the desire that what I do will possibly have a direct effect on the everyday lives of a wider audience. This continual need for relevance — having moved beyond the published illustration path I began in the early 1980s — is indeed lofty but nonetheless essential in the quest for creative fulfillment and validation. On the visual arts side of the spectrum that evolution has led to work primarily in the applied areas of advertising, visual identity, design and branding in a professional practice that began ostensibly in the 1980s. The examples I have selected for this exhibit not only show my approach to the creative process in the development of visual identity and branding, but the work is also a snapshot of a particularly prominent moment in my life as the newly appointed Dean of the College of the Arts in 2007. Creating a brand for the new College was an exciting and welcomed challenge, and the mark that I designed over that initial threemonth period was also a celebration of the new College in addition to being an arresting and memorable combination of typography, form and communication. The “COA” mark is a graphic totem, which in addition to representing the three distinct divisions of the new College forms a unit structure utilizing a slightly modified version of the classic font Gill Sans. The uppercase “C” embracing the lowercase case letter “o” womblike, while creating the inference of sight, an eye balancing on the lowercase letter “a” representing the arts on an all encompassing scale (a visual nod to the act of seeing and experiencing art, perhaps in new ways). I love the mark for its visual symmetry and balance, but mostly for the outstanding faculty and programs it was created to represent at the time. The masthead and logotype design for the new College of the Arts newsletter “Venue,” created for the promotion of the College to alumni, donors and the greater Turlock and Central Valley Community, and is based on a modified version of the font Futura. Here, the beauty of the font does most of the heavy lifting in the logotype design. I used an extra large red “colon” mark as a placeholder and signal to the reader that so much more awaits them on the pages that follow about the new College. This element was used throughout the publication as a graphic, underscoring the newsletter’s visual presence while branding it to the community. A few words (not nearly enough) regarding the work of Peter Barnet and Nancy Goldring, artists and former colleagues whose work I have the honor of owning and hanging in my home thanks to their generosity and appreciation having worked together for over a decade. Both were gifts of the artists respectively, which I have selected to be included in this exhibition catalogue. Nancy Goldring is an outstanding New York City based artist whose mysterious and thought provoking images utilizing her unique process of “Foto-Projection,” encompasses collage, drawing and photography. She has exhibited internationally with work in permanent collections throughout the world. Her images create (in my mind) a dream state for the viewer, each frame a sojourn of line and image, the narrative of which is often unknowable, but nevertheless always present. “Two Dogs Gazing” by Peter Barnet, is a painting that I am most fond of. The dogs are so true in his depiction of them that I continue to refer to them as my two dogs, the personalities of which are manifest in the paint strokes of the artist. While Barnet’s approach to the visual arts contrast decidedly from that of his father, the renown Will Barnet, Peter’s work is just as intimately realized as the lineage from which he hails. His work remains a personal favorite and I am truly humbled to have examples of both the work of his and Nancy Goldring, and to be able to introduce these noteworthy artists to you on these pages.


Da ry l J O s e p h M o ore

(above) Visual Identity for the new College of the Arts, 2007 (below) detail of College of the Arts promotional campaign


Da ryl JO s ep h M o o re

(above) Visual Identity for the new College of the Arts newsletter “Venue”, 2010 (below) detail of “Venue” layout

The Newsletter of the College of the Arts at California State University Stanislaus • Volume One • Number One • Fall 2010

Welcome to Venue! The College of the Arts Newsletter, dedicated to providing you with up-to-date news and information on our amazing programs, alumni and events — lead by the outstanding faculty, students and staff of the COA. Enjoy our premier issue highlighting past, current and future happenings in our studios, on our stages and in our galleries. I look forward to seeing you at our next COA Venue! Daryl Joseph Moore | frsa Founding Dean

Photo courtesy of the artist.

Photo courtesy of the artist.

Musician ElSaffar has created a fusion from his classical and jazz background with music that falls into the category of Al-Maqam Al-Iraqi, a four hundred year-old genre of Arabic music found in Iraq. Heather Raffo in charater (above right).

Heather Raffo & Amir ElSaffar bring “Sounds of Desire” to the CSUS Mainstage Theatre The first performance of the College of the Arts Forum Series premiered appropriately in March, literally trumpeting in Women’s History month with playwright and actor Heather Raffo’s stunning performance of “Sounds of Desire.” Accompanied by musician Amir ElSaffar on santoor and trumpet, the artists played to an intimate and captivated audience in the College of the Arts’ Mainstage Theatre. Raffo (pictured above) has performed her acclaimed one-woman show on stages in London, Chicago, New York, Seattle, Los Angeles, Philadelphia and the nation’s capital city, and has been heralded by the NewYork Times as a “…triumphant example of how art can remake the world.” To the backdrop of ElSaffar’s evocative music, Raffo brilliantly transformed herself into several dynamically diverse Iraqi women, each delivering relevant stories from all sides of the

complicated and tragic recent history of Iraq. The Michigan native, and 2005 Lucille Lortel Award winner for Best Solo Performance, graced the Mainstage Theatre and touched the audience with each characterization. Raffo’s desire is that she touch the hearts of her audiences through each woman she brings to life in her moving performance – with the goal of finding common ground on a humanistic level as well as raising serious questions as to the impact of three wars (two sanctioned by the United States government) on the people of Iraq who continue to endure as a republic in perpetual transition and violent conflict. While Raffo has had limited time in the homeland of her Iraqi father, she was moved by a profound experience while she was there. During a visit with relatives in 1993, she had the occasion to visit (continued on page 2)


The “Golden Gala” Fundraising Concert is a hit!

Co l l ec t io n o f Da ry l J O s e p h M o ore

Nancy Goldring, untitled, 2000, digital print

Peter Barnet, Two Dogs Gazing, 1985, oil on canvas


Artist Biograph i e s

GOrdon S en i o r Education 1964 Goldsmiths College, London University: ATC 1963 Leeds College of Art: National Diploma and Post Graduate in Art and Design 1960 Wakefield College of Art: Intermediate Diploma in Art and Design Selected Solo Exhibitions 2009 Residency Exhibition, Cortijada Los Gazquez, Velez Blanco, Almeria, Spain Butterfly World, MJC Gallery, Modesto, CA 2008 Tools of Unknown Use and Other Works, First Street Gallery, Eurieka, Humboldt State University, CA 2007 Touching Earth, Rasmussen Art Gallery, Pacific College, Angwin, CA Standing on Earth, Truckee Meadows Community College, Reno, Nevada 2006 Groundwork, Greenleaf Gallery, Whittier College, Whittier, CA 2005 About this Earth, University Art Gallery, California State University, Stanislaus, CA Gordon Senior, Parks Exhibition Center, Idyllwild Arts, CA 1999 Kelling Arts Festval, Kelling, UK 1996 Grizedale Centre. Grizedale Forrest, Cumbria, UK 1995 Crossing Open Ground, Norwich Gallery, Norwich, UK Hardware Gallery, London, UK Selected Group Exhibitions 2012 Many Faces of Clay, CCAA Mistlin Gallery, Modesto, CA Gallery Artists, Don Soker Contempoary Art, San Francisco, CA SHINE, Berkeley Art Center, CA 2011 Connect and Collect, San Jose Institute of Contemporary Art, CA 40th Anniversary Exhibition, Don Soker Contempoary Art, San Francisco, CA Art Auction 2011, Crocker Art Museum, Sacramento, CA Faculty Exhibition, Faculty Development Center, CSU Stanislaus, Turlock, CA Group Exhibition, Don Soker Contempoary Art, San Francisco, CA 2010 The Seventh Annual Miniature Show, First Street Gallery, Turlock, CA Faculty Exhibition , Faculty Development Center, CSU Stanislaus, Turlock, CA Art Auction 2010, Crocker Art Museum, Sacramento, CA Salthouse 10, Landmark, Salthouse, Norfolk, UK Faculty Exchange Exhibition, First Street Gallery, Humboldt State University, CA 2009 Faculty Exhibition, Faculty Development Center, CSU Stanislaus, Turlock, CA The Sixth Annual Miniature Show, First Street Gallery, Turlock, CA Art Auction 2009, Crocker Art Museum, Sacramento, CA Newcastle Group, Northumbria University Gallery, Newcastle Upon Tyne, UK 2008 Summer Exhibition, Jill Bishop Contemporary Art, Halesworth, UK Salthouse Sculpture Trail, Salthouse, Norfolk, UK Casters, University Art Gallery, California State University Stanislaus, CA Inside/out Parks Exhibition Center, Idyllwild Arts, CA 2007 Department of Art @ Faculty Development Center, California State University, Stanislaus, Turlock, CA 2006 Eight Hours Difference, The Peter Scott Gallery, Lancaster University, UK 2005 Just Visiting Huntington Beach Art Center, Huntington Beach, CA 2004 Valley View, University Art Gallery, California State University, Stanislaus, CA Objects in Contemporary Practice, Carnegie Arts Center, Turlock, CA 2001 Down to Earth, Salthouse Church, Norfolk, UK The Hare, Gysing Arts Centre, Suffolk, UK International Festival of Light, Westonbirt Arboretum, UK 2000 Drawing Connections, Beach Gallery, Kansas State University, USA Strands, I Gallery, Chicago, USA Strands, Gettysburg College Art Gallery, Pennsylvania, USA Drawing Connections, John Innes Centre, Norwich, UK 1998 Newcastle to Newcastle, Penrith Regional Art Gallery, NSW, Austrailia Inversions, Stroud House Gallery, Gloustershire, UK View Points, ArtsWay Gallery, Hampshire, UK Tree of Life, The Centre for Life Newcastle-Upon-Tyne, UK Vauxhall Gardens, Norwich Gallery, Norwich, UK Sticks, ArtSway Gallery, a Southern Arts touring exhibition, Hampshire,UK 1997 Newcastle to Newcastle, Newcastle Regional Gallery, NSW, Austrailia 1996 Weather View, Koninkijke Gallery, Den Haag, Netherlands The Hare, Leicester City Art Gallery, Leicester, UK Conversations, Contact Gallery, Norwich, UK


1995 1994 1993 1992

Tyne and Tide, Design Works Foundation, Gateshead, Tyne & Wear, UK The Taster Exhibition, Contact Gallery, Norwich, UK The Castle Art Show 95, Norwich Castle Museum, UK Leeds International Symposium Exhibition, Leeds Metropolitan University, UK Contemporary Art Society Exhibition, Smiths Gallery, London, UK Newcastle Group 93, Hatton Gallery, Newcastle, UK and Latvian Academy of Art, Riga, Latvia The Castle Art Show 93, Norwich Castle Museum, Norwich UK From Tyne to Tay, Duncan of Jordanstone College of Art, Dundee, Scotland North-East to Finland and Russia, Central house of the Artists, Moscow and Tampereen Taidemuseum, Tampere, Finland National Symposium Exhibition, Leeds Metropolitan University, Leeds, UK

Selected Collections The Crocker Museum, Sacramento, CA; The Darlington Collection, Co Durham, UK; Northumbria University, NewcaslteUpon-Tyne, UK; Wakefield City Art Gallery, Wakefield, UK; Leeds Schools Loan Scheme, Leeds, UK; The Fred Olsen Line, Newcastle, UK; King Edwards Hospital, UK; Grizedale Centre, Grizedale, UK; Various libraries, etc. including the Tate Gallery artist book collection Catalogues and 2010 2009 2008 2007 2006 2005 2002 1999 1998 1995 1994

Brochures Salthouse 10 Landmark, Salthouse, Norfolk, UK. Faculty Exchange Exhibition Catalog, First Street Gallery, Humboldt State University, Eureka. Energy in the Air the Newcastle Group 1984-2009. Gordon Senior : Tools of Unknown Use, Humboldt State University, ISBN: 0-9802410-0-6 Department of Art @ John Stewart Rogers Faculty Development Center, ISBN: 0-9773967-9-7 Groundwork, Greenleaf Gallery, Whittier College, Whittier, California, ISBN 0-9773967-1-1 About this Earth, University Art Gallery, Stanislaus State University, ISBN 0- 9676803-7-9 Drawing Connections, Kansas State University & NASD 2002. States org, Winchester: Southern Arts Viewpoints, Hampshire: ArtsWay Gallery Sticks, ISBN 1 873451 342 Southern Arts Birdsuit 4, writings and drawings from Norwich School of Art Crossing Open Ground, ISBN 1 872482 155.Norwich School of Art Birdsuit 3, writings and drawings from Norwich School of Art and Design Artists from Europe, Leeds European Fine Art Symposium

Selected Bibliography 2007 David Olivant, Standing on Earth, Truckee Meadows Community College, Reno, NV, 2001 Video interview, The Hare, 2001, directed by Mike Toll, Gysing Arts, Sufolk, UK Video, Down to Earth, 2001, directed by Mike Toll, Salthouse Church, North Norfolk, UK 2000 Drawing Connections, Kansas State University 1995 Gordon Senior - Crossing Open Ground, Cathy Coutney, Art Monthly, September Gordon Senior - Crossing Open Ground, Helen Pye-Smith, ARLIS, issue 113, March/April 1993 Latvia National T.V. Art World, Jan 31st Diena Pielikums, Balozu pari un citi pari, Riga, Latvia, Jan 30th Piektcliena, Nukaslas Grupas, Riga, Latvia, Jan 29th B.B.C. World Service, Lounaslahetys, Finland, 21st Jan 1992 Lansi- Guomi, The Newcastle Group, Finland, 8th Nov Radio Tampere, Finland, Lauantaitarootin, Nov 7th Radio Moreeni, Tampere, Minna Vesanto, Finland, Nov 7th Russian National TV News and Moscow Radio, The Newcastle Group at the Central House of the Artists, July 15th Aamulehti, Tampere, Finland, Nov 7th. Commissions, Research Awards and Residencies 2009 Joya Residency, Cortijade Los Gazquez, Spain 2008 Commisioned Sculpture of Eyemann Sculpture Garden, Idyllwild Arts, CA 2006 Commisioned Drawing for the Kaiser Permanente Medical Center, Modesto, CA Research award for collaborative international conference “Inspiration to Order” 2005-2007 Commision for NESsT 2004, 2007 Research award CSU Stanislaus 2000 Research award to development of exhibition Artor Stoll/Gordon Senior 1998 “Sticks” Commissioned for Southern Arts Touring Exhibition 1996 The Grizedale Forest Residency 1995 Eastern Arts Publishing Award NSAD research award, publication ‘Crossing Open Ground’ John Brinkley Sabbatical 1994 Invited Artist Leeds Metropolitan University International Symposium 1992 Invited Artist Leeds Metropolitan University National Symposium


Dean De Co c k er Education 1989 Claremont Graduate University, Claremont, CA, M.F.A. 1987 California State Polytechnic University, Pomona, CA, B.A. 1980 Don Bosco Technical Institute, Rosemead, CA, A.S. in Offset Lithography Color Separation Teaching 2003-Present California State University, Stanislaus, Turlock, CA Professor, Department of Art 2002 California State University, San Bernardino, San Bernardino, CA Adjunct Professor, Sculpture, Department of Art 1990-2003 Claremont Graduate University, Claremont, CA, Adjunct Professor in studio practices/theory, Department of Art Selected Solo Exhibitions 2011 “On the Way to Sulfer Island,” Beaver Street Gallery, Flagstaff, AZ ”Made in the Pacific,” Center for Contemporary Art, Sacramento, CA 2010 “Pacific Winds,” Skinner Howard Art, Sacramento, CA “Oahu before Dawn,” Frumkin Gallery, Santa Monica, CA 2009 “High Tide” Limn Gallery, San Francisco, CA 2008 “Return to Pearl” 643 A Project Space, Ventura, CA “Battle of a Shallow Sea,” John Stuart Rodgers Faculty Development Center, CSU Stanislaus, Turlock, CA 2007 “Sources of Victory,” Limn Gallery, San Francisco, CA “Return of the Black Cat,” Beaver Street Gallery, Flagstaff, AZ “Like the Yorktown,” Ventura College Gallery, Ventura, CA 2006 “Extended Orders,” University Art Gallery, California State University, Stanislaus, Turlock, CA (Catalog) 2005 “South of Tawara,” Truckee Meadows Community College, Reno, NV “Pin Points in the Pacific,” Limn Gallery, San Francisco, CA “Silence in the Coral Sea,” Riverside Art Museum, Riverside, CA “Full Fathom Five,” JayJay, Sacramento, CA “The Pacific Boils Over”, Carnegie Art Center, Turlock, CA “Power in the Pacific”, Ridley Gallery, Sierra College, Rocklin CA 2004 “Year away from the Pacific”, Parson’s Gallery, Harvey Mudd College, Claremont, CA “Current and Winds”, Robert V. Fullerton Art Museum, California State University, San Bernardino, CA “Fighting the Tides”, The Branson School, Ross CA 2003 “Past Magnetic North”, Limn Gallery, San Francisco, CA “Rough Seas”, Parks Exhibition Gallery, Idyllwild Arts, Idyllwild, CA 2002 “Rudder Shift”, Claremont City Hall Gallery, Claremont, CA 2001 “In the Shallow Lagoon”, JayJay, Sacramento, CA 2000 “Fragments from the Pacific”, Hunsaker/Schlesinger, Santa Monica, CA “Works From the Pacific Campaign”, The Huntington Beach Art Center, Huntington Beach, CA 1999 “Silent Service”, Davis Art Center, Davis, CA “Whispering Distance”, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA (Catalog) 1998 “Vanishing Tide”, Gallery Paradiso, Costa Mesa, CA 1997 “Speed Flags”, Wignall Museum/Gallery, Chaffey College, Rancho Cucamonga, CA (Catalog) “Allied Advances”, Weintraub Thomas Gallery, Sacramento, CA “Under a Shattering Fire”, San Diego Art Institute, San Diego, CA 1996 “Principles of Recognition”, Gallery Paradiso, Costa Mesa, CA (Catalog) 1995 “In the Slot, 3 PM”, Boritzer/Gray/Hamano Gallery, Santa Monica, CA “Flame Out”, The Art Store Gallery, Los Angeles, CA (Catalog) 1994 “Blue Jackets Return”, Boritzer/Gray Gallery, Santa Monica, CA “Distances and Halts”, San Diego Art Institute, San Diego, CA 1993 “The Boatswain Pipe”, Mendenhall Art Gallery, Whittier College, Whittier, CA “Dean De Cocker - Mixed Media Constructions”, Solomon Dubnick Gallery, Sacramento, CA 1992 “Dead Reckoning - The Resin Works”, Daniel Saxon Gallery, Los Angeles, CA


Group Exhibitions: Dean De Cocker has exhibited in over 100 group exhibitions Selected Collections The Crocker Museum, Sacramento, CA, Robert V. Fullerton Art Museum, California State University, San Bernardino, CA, Laguna Beach Museum, Laguna, CA, Merrill Lynch, Sacramento, CA, Orange County Museum of Art, Newport Beach, CA Selected Bibliography 2010 Dalkey, Victoria. “Dean De Cocker’s ‘icily elegant’ sculptures on display at Skinner/Howard Gallery.” Sacramento Bee April 18, 2010 2007 “Pulse.” Flagstaff Live May 3 – 9, 2007 Jerome. “Art Beat.” The Noise, arts and news May 7, Number 72 2006 Olivant, David. “Made in China.” “Eight Hours Difference,” Peter Scott Gallery Lancaster University, U.K. 2005 Vagner, Kris. “Artistic Community.” Reno News and Review 15 Dec. 2005. Morris, Barbara. “Beyond Plastic.” Artweek 36:8 (2005). Roth, David. “Dean De Cocker at Ridley Art Gallery.” Artweek 36:4 (2005). Millegan, Lisa. “Boiling Point.” Modesto Bee 11 Feb. 2005. Tornquist, Kara. “The Pacific Boils Over.” Turlock Living Jan./Feb. 2005. 2004 Geer, Suvan. “Dean De Cocker at the Robert V. Fullerton Art Museum.” Artweek 35:3 (2004). 2003 Baker, Kenneth. “Minimalist Sculptures that Climb the Walls.” San Francisco Chronicle 2 August 2003. 2002 Frank, Peter. “Art Pick of the Week, Materials and Meaning: A Sculpture Exhibition.” The LA Weekly 24:10 (2002). 2001 Dalkey, Victoria. “Dean DeCocker’s Art: Made in Southern California, stylishly.” Sacramento Bee 9 Dec. 2001. Griffith, Jackson. “Pick, Silver wings.” Sacramento News and Review 13:35 (2001). 2000 Iannaccone, Carmine. “Dean De Cocker at Hunsaker/Schlesinger.” Art Issues Sept./Oct. 2000. Ollman, Leah. “Art Reviews.” Los Angeles Times 23 June 2000. Frank, Peter. “Art Pick of the Week.” LA Weekly 22:30 (2000). Gilbert, Rick. “Dean De Cocker and Michael Aschenbrenner at the Huntington Beach Art Center.” Artweek 31:6 (2000). Flores, Angelique. “War and Remembrance.” The Independent 6-12 April 2000. 1999 Jullian, Kimi. “Form Beyond Function.” Sacramento News and Review 16 Sept. 1999. Mayle, Marilyn. “Surveying the Local Art Scene.” The Davis Enterprise, 21 Sept. 1999. “Art Alumni News, Cal Poly Pomona.” College of Environmental Design 2:1 (1999-2000). Donelan, Martha. “Poetic minimalism.” Santa Barbara News Press 5 Feb. 1999. Richards, Niki. “Airborne Form.” The Independent 14 Jan. 1999. Miles, Christopher. “Whispering Distance.” Catalog, Santa Barbara Contemporary Arts Forum. Willette, Jeanne S.M. “Whispering Distance.” Catalog, Santa Barbara Contemporary Arts Forum. 1997 Pagel, David. “Speed Flags,” Catalog, Wignall Museum/Gallery. Frank, Peter. “Skin and Bone.” LA Weekly 19:7 (1997). “Continuing and Upcoming”, ArtScene 16:5 (1997). 1996 Korten, Noel. “Skin and Bone.” Catalog, Municipal Art Gallery. Faist, Jennifer. “Between the Dream and the Reality Falls the Shadow.” Principles of Recognition. Catalog, Gallery Paradiso. “Continuing and Upcoming.” ArtScene 16:2 (1996). Willette, Jeanne S.M. “A Few Words on Jellyfish, French Fries, Pots and Airplanes.” Catalog, Gallery 825. Geer, Suvan. “George Geyer.” ArtScene 15:10 (1996). “Art Auction ’96.” Catalog, Museum of Contemporary Art. Knaff, Devorah L. “Fragile Balance of Power.” The Press-Enterprise 28 April 1996. O’Brien, Pat. “Celebrate New Beginnings.” The Press-Enterprise 17 April 1996. Boritzer, Etan. “Structuralism.” Catalog, Boritzer/Gray/Hamano Gallery. Reed, Jim. “Dean De Cocker: Ring Around Rubal, 3pm.” Riverside Art Museum. 1995 Exhibition Announcement with Photo, Arts & Entertainment. California State University, San Bernardino. The Coyote Chronicle 30:3 (1995). Grossman, Kat. “First Gallery Show/Neo Structuralism.” Friends of the Museum Newsletter (Fall 1995). “Continuing and Upcoming.” ArtScene 15:3 (1995). Kugelman, Kerry. “To See Gravity.” About Art 1:6 (1995). Eskay, Kay. “Suspended Animation: Dean De Cocker at the Art Store Gallery.” Coagula Art Journal #17. Kugelman, Kerry. “Ars Ex Machina.” Visions (Summer 1995). Madigan, Nick. “A Really Big Show.” The Outlook 21 August 1995. Kugelman, Kerry. “Flame Out.” Catalog, The Art Store Gallery.


Dav i d O l i van t Teaching Professor of Art at California State University Stanislaus, USA since 1995 Education 1984 M.A. Painting. Royal College of Art, London/UK 1977 B.A. Art. Falmouth School of Art, England/UK Awards 1989-1990 British Council travel award, Stockholm/Sweden 1986-1988 Commonwealth Scholarship, Lalit Kala Akademi, New Delhi/India 1984-1985 Cheltenham Fellowship, England/GB Solo Exhibitions 2011 Narrative Drift. First Street Gallery, Humboldt State University, CA/USA 2010 Studio Leitmotifs. Robert V Fullerton Museum, California State University, San Bernardino/USA 2008 Cadenza. University art Gallery California State University Stanislaus/USA 2007 Cadenza. Janzen Galerie, Wuppertal, Germany Ceramic Sculptures. Vergas Gallery, Mission College, Santa Clara /USA Those Images That Yet…, Truckee Meadows Junior College, Reno/USA 2001 Towards the Door We Never Opened, University Art Gallery, California State University Stanislaus/USA 1999 World Not World, Fresno Art Museum, California/USA 1996 University Art Gallery, California State University Stanislaus/USA Art Heritage Gallery, New Delhi/India 1994 Watercolors from the Aspen Series, Stephen Solovy Fine Art, Chicago/USA 1992 Stephen Solovy Fine Art, Chicago/USA 1991 Stephen Solovy Fine Art, Chicago/USA 1990 Center for International Contemporary Art, New York/USA 1987 Art Heritage Gallery, New Delhi/India Selected Group Exhibitions 2010 California State University Stanislaus Faculty Exchange Exhibition, First Street Gallery, Humboldt State University/USA 2008 International art fair, art Karlsruhe, Karlsruhe/Germany (represented by Janzen Galerie,Wuppertal) 2006 Eight Hours Difference, Lancaster University/ England. 2002 Art Department Faculty: Valley View, University Art Gallery, California State University Stanislaus/USA 1997-1999 Last Dreams of the Millennium, Art Museum, University of Hawaii, Honolulu; Tyler Museum of Art, Tyler/ USA; California State University, Fullerton/USA; California State University, Stanislaus/USA 1997 Two From Britain, California State Polytechnic, Pomona Art Gallery/USA 1995 Archer M. Huntington Art Gallery, University of Texas, Austin/USA 1993 Haggerty Art Museum, Marquette University, Milwaukee/USA 1990 French Institute, Stockholm/Sweden Work in Public Collections Robert V Fullerton Museum, CSU San Bernardino/USA; Archer M. Huntington Art Gallery, University of Texas, Austin/USA; Art Institute of Chicago/USA; British Council, London/GB; Haggerty Museum of Art, Marquette University, Milwaukee/USA Catalog Essays “Ambadas” Published by CSU Stanislaus 1998 “Last Dreams of the Millennium” Published by Stephen Solovy Art Foundation 1999 “Ranbir Kaleka: Ironist of the Imagination.” Published by Bose Pacia Gallery, New York, 2005 “Sophie Chardonnet” Published by Art Vietnam Gallery 2006 “Life Games” Published by CSU Stanislaus 2008 “Gordon Senior: Tools of Unknown Use and Other Works” Published by Humboldt State University 2008 Reviews of other Artists “Multiplying the Variations: David Olivant on Robin Hill,” 2006 “Standing On Earth: David Olivant on Gordon Senior,” 2006 “Eleanor Wood- mixed Media on Paper: David Olivant on Eleanor Wood,” 2007 “David Olivant on Takashi Murakami at the Geffen,” 2008 “Joan Moment @ Limn and JayJay,” 2009 “Picking up the Pieces” David Olivant on Julie Heffernan, 2010


Je ssi c a G o mu l a- K ru z ic Education Master of Fine Arts, Printmaking, Illinois State University, Normal, IL Bachelor of Fine Arts, Printmaking, Atlanta College of Art, Atlanta, GA Teaching Experience California State University, Stanislaus, Turlock, CA. Time Based Media Associate Professor (2005-Present) Bradley University, Peoria, Illinois. Temporary Full-time Instructor (2004-2005) Adjunct Instructor (2002-2004) Solo Exhibitions 2012 Dream Garden public art installation. LOVE Modesto. Graceada Park, Modesto, California. Ssshhhh! Alameda Public Library. Alameda, California. 2011 Meet Your Neighbor public art installation. Modesto Art Museum. Throughout downtown Modesto, California. 2009 Semantic Frottage, solo video installation. Modesto Art Museum / Mistlin Gallery, Modesto, California. 2008 Life’s Tantric Love Triangles. 21 Grand Gallery, Oakland, California. B.O.O.B. (Breastfeeding Outside Our Bedrooms). Solo Performance. Austin, Texas. Infinite Transformations of Desire. University Gallery, California State University, Stanislaus, Turlock, California. 2007 Love’s Receipts. Print / Photo Gallery, Truckee Meadows Community College, Truckee Meadows, Nevada. 2000 Transformations. University Galleries, Illinois State University, Normal, Illinois. Collaborative Installations Double Vision Intermedia Performance Group 2011 Ionion Center for the Arts and Culture, Kefalonia Greece. POP Revolution Festival, Lecce, Italy. ProARTS Festival 2011 & International Choreographic Platform, Brno and Prague, Czech Republic. Moving House Foundation / Florian Workshop in Budapest, Hungary. OZU, Monteleone Sabino, outside Rome, Italy. Recursive Things. Julian Scott Memorial Gallery. Montpelier, VT. 2010 May Day. CounterPulse. San Francisco, CA 2009 CST Institute for Computer Music and Sound Technology, Zürich. MuseumsQuartier Wien, Vienna, Austria. Institut Intermédií, Prague, Czech republic. Hypnagogia. Climate Theatre. San Francisco, CA. Innovative Performances for Traditional Needs. Mr. Smith’s, San Francisco, CA. 2008 4×60 National Tour. Center for Contemporary Arts, Santa Fe, New Mexico. 4x60 National Tour. ARTS Lab, Albuquerque, New Mexico. 4×60 National Tour. BASIC, San Diego, CA. 4×60 National Tour. DragonBar, San Francisco, CA. 2007 To Futurism and Back Again. Yerba Beuna Center for the Arts, San Francisco, CA. To Futurism and Back Again. Dance Mission Theatre, San Francisco, CA. Artist Salon, MacWorld Conference. Red Ink Studios. Red Ink Studios, San Francisco, CA 2006 21/ONE. Performance with Double Vision and Boxcar Theatre, Fringe Festival, San Francisco, CA. Lonely Owl and the Game of Life, Byte #2. CELLspace, San Francisco, CA. ArtsExpo. Civic Center Park, San Francisco, CA. Lonely Owl and the Game of Life, Byte #1.5. ArtSFest Spectra Ball, San Francisco, CA. 2005 Lonely Owl and the Game of Life, Byte #1. Mad Horse Loft, Oakland, CA. Lonely Owl and the Game of Life, Byte #0. WORKS, San Jose, CA. PAM – Perpetual Art Machine. 2010 Erased Walls. Mediations Biennale. Berlin, Germany 2009 Cyland Festival -Hermitage Museum. St. Petersburg, Russia 2008 Hanes Art Gallery, Wake Forest University Winston-Salem, North Carolina Utsikten Kunstsenter. Kvindesdal, Norway The Future Was Then. Scope Basel, Basel, Switzerland Second Nature Festival. AIX, France


2008 The Future Was Then. Scope New York, New York, New York 2007 Robodock Festival. Amsterdam, Netherlands Chelsea Art Museum. New York, New York Scope Art Fair, East Hampton, New York and New York, New York WRO07 – XII International Media Art Biennale, Wroclaw, Poland House of Campari, Los Angeles California Coachella Valley Music and Arts Festival, Inido, California ArtDC Art Fair, Washington D.C. ART|BASEL, Miami, Florida 2006 Digit Film & Media Festival, Bethel,NY Scope Art Fair, London, UK Split Film Festival, Split, Croatia Le Name Festival, Lille, France Digit Film Festival, Monticello, New York Selected Juried / Invitational Group Exhibitions 2012 RAW 2012. Deep Root Dance Collective. Garage. San Francisco, CA. 2011 Architecture Graffiti. Modesto International Architecture Festival, Chartreuse Muse Gallery. Modesto, CA. President’s Gallery. California State University Stanislaus. Turlock, CA. Deep Root Dance Collective at The Garage. San Francisco. CA. 2010 The Next 50 Years. California State University Art Gallery. Turlock, CA. Modesto International Architecture Festival. Film Screening, State Theatre. Modesto, CA. Illuminated Corridor. Best of Oakland. Oakland, CA. This Ain’t A Happenin’: Transient Acts & Documents. Beauborg268. San Francisco, CA The Fine Arts Faculty of CSU Stanislaus. Humbolt State University First Street Gallery. Humbolt, CA. 2007 Jealousy’s Triangle. Online screening at CultureTv: Digital Subjects. Block of the Arts, Coimbra, Portugal. CSU System Print Invitational. Janet Turner Print Museum, Chico, CA. Evolution, Print Invitational. Burt Gallery, London, England. Digital Fringe. Horse Bazaar, The Age Melbourne Fringe Festival. Melbourne, Australia. 2006 Made in China. Peter Scott Gallery, Lancaster, England. FILE: 2006. SESI Gallery, Sao Paulo, Brazil. Featured Artist. Women’s Caucus for Art online exhibition, Drunken Boat PanLiterary Online Journal. Web Art Award Finalist, Summer Issue. 2006: PublicDuck, Episode 16. Online screening. Lessedra: World Art Print Annual. Lessedra Gallery, Sofia, Bulgaria and 2006: 60 Seconds of Play. Saltworks Gallery, Atlanta, GA 60 seconds of Play. Forum Gallery, Cranbrook Academy of Art, Bloomfield Hills, MI and online Flux. Works Gallery, San Jose, CA. Imaging Ourselves. International Museum of Women. Featured on front page of website, Sigmund’s Laundromat. Online screening at CultureTv: 2005 Maintaining the Ideal. Exhibitions. In the Abstract. Sebastopol Center for the Arts, Sebastopol, CA. Happy Holidays. Online screening at CultureTv: Curation and Organization of Exhibitions 2006 Film Festival, Chair, National Women’s Studies Association Conference. Oakland, CA 2005 Invited | Invaded, Rhizome Exhibitions: Permanent Collections 2008 Fragile Moments: Handmade Glass Condoms. Kinsey Institute for Research in Sex, Gender, and Reproduction. Bloomington, Indiana. 2007 Name Game. Artbase: Evolution. Print exchange. Asagaya College of Art & Design, Tokyo; Norwich School of Art & Design; and California State University, Stanislaus. 2006 Love’s Laundry. Mid-America Print Conference Archives at Perdue University and Ohio University, Athens, OH. 2005 Happy Holidays. Artbase:


Ellen R o eh n e Education 1998 John F. Kennedy University, Berkeley, CA, M.F.A. 1993 California State University, Chico, Chico, CA, B.F.A. 1987 Romerike Folkehoyskole, Jessheim, Norway, Mixed Media Studio Art Teaching 2003-present California State University, Stanislaus, Turlock, CA- Adjunct Professor in Studio 2002-present The Chartreuse Muse Art School, Modesto, CA- Art Director/ Instructor 2000-present Lakewood Elementary School, Modesto, CA- Art Director/Instructor 2000-2003 Central California Art League, Modesto, CA- Art Director/Instructor California Arts Council, Stanislaus County, CA- Artist in Residence 1999-2000 Modesto High School, Modesto, CA- Visiting Artist La Loma Junior High School, Modesto, CA- Visiting Artist 1998-2003 STARS, Stanislaus County, CA- Artist in Residence 1998-2000 Modesto Junior College, Modesto, CA Guardian Rehabilitation Center, Modesto, CA- Art Instructor 1998 Harvey Milk Center, San Francisco, CA- Art Director/Instructor 1996-1998 LEAP, San Francisco, CA- Artist in Residence 1994-1998 Katherine Michael’s School, San Francisco, CA- Art Director/Instructor Solo Exhibitions 2007 2005 1999 1998 1997 1993 1992 1991

“Lost and Found” University Gallery, California State University, Stanislaus, Turlock, CA “The Muse” The Chartreuse Muse Gallery, Modesto, CA “Animal Tales”- performance and installation, Oakland Museum, Oakland, CA “New Work” CCAL Gallery, Modesto, CA “Girls, Boys and Toys” Art Annex Gallery, Berkeley, CA “Labels” John F. Kennedy University Gallery, Berkeley, CA “Tea Dreams” The Art Explosion Gallery, San Francisco, CA “Figures on the Wall” Lew Oliver Gallery, Chico, CA “Dreams” University Gallery, California State University, Chico, Chico, CA “Elements” Phoenix Gallery, Chico, CA “The Figure” Sienna Gallery, Chico, CA

Collaborative Exhibitions 2011 “Found Again” The Chartreuse Muse Gallery, Modesto, CA 2009 “2 Muse” The Chartreuse Muse Gallery, Modesto, CA 2007 “Opening” The Chartreuse Muse Gallery, Modesto, CA 2004 “Women’s Work” The Chartreuse Muse Gallery, Modesto, CA 2001 “Outside the Box” Modesto Art Center Gallery, Modesto, CA “Three Women Sculptors” Carnegie Art Gallery, Turlock, CA 2000 “The Art of Recycling” Stanislaus County Fairgrounds, Turlock, CA 1999 “Opening Tricks” Festival of the Arts, Berkeley, CA 1998 “Women Artists- New Work” Central California Art League Gallery, Modesto, CA 1997 “Between Dreams” Arts Annex Gallery, Berkeley, CA 1992 “Figurative Sculpture” California State University, Humboldt, Arcata, CA Group Exhibitions 2012 “The Many Faces of Clay” Mistlin Gallery, Modesto, CA 2010 “Pets and Their People” The Chartreuse Muse Gallery, Modesto, CA 2009 “Games People Play” The Chartreuse Muse Gallery, Modesto, CA 2008 “Beauty for Ashes” The Chartreuse Muse Gallery, Modesto, CA 2006 “Spring” The Chartreuse Muse Gallery, Modesto, CA 2004 “Hildegaard Festival” California State University, Stanislaus, Turlock, CA “Alumni Exhibition” John F. Kennedy University Gallery, Berkeley, CA “Faculty Show” University Gallery, California State University, Stanislaus, Turlock, CA 2003 “Beginnings” The Chartreuse Muse Gallery, Modesto, CA 2002 “Grand Opening” The Chartreuse Muse Gallery, Modesto, CA 1999 “What is Art For?” Oakland Museum, Oakland, CA


1998 1997 1996 1995 1993 1992 1991 1987 1986

“Human Habit” William King Regional Arts Center, Abingdon, VA “Lead Into Gold” Gallery Route One, Point Reyes, CA “Animals and Their People” Sebastopol Center for the Arts, Sebastopol, CA “An Homage to Inspiration” Danville Fine Arts Gallery, Danville, CA “Re-Membering” Arts Annex Gallery, Berkeley, CA “Graduate Exhibition” John F. Kennedy University Gallery, Berkeley, CA “Trash Into Treasures” YWCA Gallery, Oakland, CA “Calcinatio” The Art Explosion Gallery, San Francisco, CA “Journey Into Wholeness” Center for the Visual Arts, Oakland, CA “Collage and Assemblage” Arts Benicia, Benicia, CA “Spring Show” The Art Explosion Gallery, San Francisco, CA “A Woman’s Worth” Wednesday’s Gallery, Santa Cruz, CA “Bay Area Artists” The Art Explosion Gallery, San Francisco, CA “13th Annual Dream Art Exhibit” Claremont Resort, Berkeley, CA “Summer Art Show” The Art Explosion Gallery, San Francisco, CA “Open Studios” The Art Explosion Gallery, San Francisco, CA “California Clay Competition” The Artery, Davis, CA “37th Annual Student Exhibition” California State University, Chico, Chico, CA “Feats of Clay” Lincoln Arts Center, Lincoln, CA “California Works” California State Fair, Sacramento, CA “National Women’s Month Show” Planned Parenthood, Chico, CA “It Figures” Ayres Gallery, Chico, CA “Romerike Art Show” Radhus Gallery, Jessheim, Norway “International Art Exhibit” Romerike Gallery, Jessheim, Norway “Annual Art Competition” Tehama County Fair, Red Bluff, CA

Grants/Awards/Residencies 2000-2003 Arts Enrichment Grant, Central California Art League, Modesto, CA 1999-2002 California Arts Council Grant, Artist in Residence, Stanislaus County, CA 1999-2000 Project Alive Grant, Stanislaus County Arts Council, Modesto, CA 1998 Susan Seddon Boulet Award, Berkeley, CA Award of Merit, The Flame, Berkeley, CA 1992 Summer Arts Scholarship, California State University, Humboldt, Arcata, CA 1986 First Place Drawing, Tehama County Art Competition, Red Bluff, CA 1977 First Place Easter Design, Hallmark, Red Bluff, CA Selected Bibliography 2009 “Their Own Muse: Gallery Owners Show Their Works” The Modesto Bee, September 11, 2009 2008 “Beauty for Ashes” Lifewind Publications, October 2008 2007 “Lost and Found” Exhibition Catalog, California State University, Stanislaus, Turlock, CA 2005 Pethoud, Kathi. “Gallery Has Had a Hand” The Modesto Bee, October 2, 2005 Millegan, Lisa. “The Chartreuse Muse” The Modesto Bee, September 16, 2005 2003 Hill, David. “A Work of Art for Trio” The Modesto Bee, February 2, 2003 2002 Millegan, Lisa. “Downtown Modesto” The Modesto Bee, December 22, 2002 2001 Stutzin, Leo. “Outside the Box” The Modesto Bee, October 5, 2001 “Three Women Sculptors” TalkArts, Summer 2001 “Artist’s Reception” Turlock Journal, July 27, 2001 2000 Holmes, Mark. “The Arts in Education” TalkArts, Winter 2000 Flanders, Juline. “Artist in Residence” TalkArts, Winter 2000 “Recycled Art Treasures Abound” TalkArts, Summer 2000 “Art Show” Turlock Journal, April 19, 2000 1999 Gaiser-Sarraille, Lynn. “What’s New in Murals?” TalkArts, Spring 1999 Hunt, Karen. “The Jury’s In” San Francisco Chronicle, February 12, 1999 Brekke, Joe. “Opportunity Awaits” Turlock Journal, December 30, 1999 Brekke, Joe. “Artists in Training” Turlock Journal, November 9, 1999 “Mandala” John F. Kennedy University Gallery Catalog, Fall 1999 1998 “Re-Membering” Video Interview, September 8, 1998 “Safe Sacrifice” The Flame, July/August 1998 Lund, Nancy. “MFA Student Receives Award” The Flame, July/August 1998 Street, April. “The Human Habit” William King Regional Arts Center Catalog, July 1998 “Ellen Roehne- Current Work” Television Interview, Sputnik’s Rocket to Stardom, May 1998 1997 “As Above, So Below” The Flame, July/August 1997 1996 Moyle, Marilyn. “Celebrating” Davis Enterprise, April 11, 1996


Ri char d S avi n i Education 1968 B.F.A., Pratt Institute, New York, Painting, Printmaking, Art Education 1966 Skowhegan School of Painting and Sculpture, Skowhegan, Maine. Full scholarship award. 1968 The Art Student’s League, New York 1970 M.F.A., The City University of New York, Brooklyn College, Painting and Drawing

Teaching 1983-present California State University, Stanislaus, California 1977-81 Catholic University, Washington D.C. 1975-77 Cornell University, New York 1971-75 Princeton University, New Jersey 1969-70 Pratt University, New York Selected Exhibitions, Awards and Reviews 2006-2008 “Yosemite: Art of an American Icon”, touring museum exhibition: Autry National Center, Los Angeles Oakland Museum of Art, Oakland, CA; Nevada Museum of Art, Reno Nevada 2004 ‘Valley View’: CSU Stanislaus Art Gallery, Art Department Faculty 2003 “150 Years of Yosemite Landscape Art”, from 1885 to present, Yosemite Museum 2001 Group Exhibition Fresno City College: CSU Art Department Faculty 1999 Solo Exhibition CSU Stanislaus Art Gallery: 30 Year Survey, paintings & drawings, 70 works 1998 Exhibition, Yosemite Museum Fine Arts Gallery: Historic Paintings from the Yosemite Museum 1997 Hackett‑Freedman Gallery, San Francisco: ‘1987‑1997’ Group Exhibition 1995 Exhibition, Yosemite Museum Fine Arts Gallery: ‘140 Years of Landscape Painting’ 1994 Exhibition, CSU Stanislaus Art Gallery: Faculty Art Group Show 1992 Contemporary Realist Gallery, San Francisco: Group exhibition ‘New American Figure Painting’ 1990 Gallery North: New York group exhibition, recent large figure paintings, reviewed New York Times 1990 “US ART”: works exhibited in national annual. 1988 Director’s Choice: group exhibition, Contemporary Realist Gallery, September. 1988 American Artist Magazine: feature article surveying artist’s major works and theories. 1988 ‘One Hundred and Thirty Years of Painting in Yosemite’: from the Yosemite Museum Archives 1987 Solo Exhibition: “Direct Observation”, Contemporary Realist Gallery, San Francisco 1987 Bayley Art Museum, University of Virginia: Invitational Group Show 1987 “Private Worlds, New Realist Landscapes”: Group Show, San Francisco Contemporary Realist Glry 1987 1st Prize: National Juried Exhibition “The Yosemite Renaissance” Yosemite & Fresno Museums 1987 The Fresno Metropolitan Museum: ‘Artists in Residence’ at Yosemite 1987 Solo Exhibition, Invitational: Yosemite Valley Visitor’s Center 1987 Figurative Interpretations: Contemporary Realist Gallery, San Francisco, group exhibition 1987 Direct Observation: Figurative & Landscape Paintings, solo, Contemporary Realist Gallery 1986 The New York Academy of Art: solo exhibition of drawings & prints invited by Academy directors 1986 “Exhibition `86” Hayward Forum of the Arts 24th Annual Juried Exhibition of Northern CA Artists 1983 California State University, Stanislaus: solo exhibition paintings, drawings, sculptures, and prints. 1982 The Portland Project: 2nd Finalist, International Competition. sculpture design Portland, OR 1982 Portland Museum of Art, Portland, OR: an invitational exhibition for the two national finalists 1982 National Endowment for the Arts: Artist Fellowship 1981 Yaddo Fellowship 1980 The Art Gallery of the International Monetary Fund, Washington, D.C.: a large solo exhibition 1978 Catholic University, Washington, DC: an exhibition of paintings and drawings. 1975, 1976 Cornell University, Ithaca, New York: exhibitions of current paintings. 1972 The Museum of Art, Princeton University: solo exhibition of drawings & prints 1970 First Street Gallery, New York, NY: group exhibition ‘Art News Magazine’ review 1968 National Academy of Design, New York, NY: an annual, invitational group exhibition of paintings


Ja me s D ei t z Education 1986 M.F.A. Drawing and Painting, University of Washington, Seattle, WA 1984 B.F.A. Drawing and Painting, University of North Dakota, Grand Forks, ND Teaching 2006-2012 California State University, Stanislaus, Turlock, CA 2003 Pierce College, Lakewood, WA 1992 University of North Dakota, Grand Forks, ND Solo Exhibitions 2011 2010 2008 2006 2004 2003 2002 2000 1999 1998 1997 1996 1994 1993 1991 1990 1989 1987

James Deitz Paintings, Vermillion Gallery, Seattle WA James Deitz, California State University, Stanislaus Art Gallery, CA James Deitz, Paintings and Print Collages, Francine Seders Gallery, Seattle, WA Seattle: Land, Water, Sky, Upstairs Gallery, Francine Seders Gallery, Seattle, WA Paintings, Upstairs Gallery, Francine Seders Gallery, Seattle, WA James Deitz Drawings, The Cedar, New York, NY James Deitz, Fine Arts Gallery, Pierce College, Lakewood, WA New Work, Art Center Gallery, Seattle Pacific University, Seattle, WA Dialogue, Francine Seders Gallery, Seattle, WA Interiors, Upstairs Gallery, Francine Seders Gallery, Seattle, WA Toys, Upstairs Gallery, Francine Seders Gallery, Seattle, WA James Deitz Paintings, Fine Arts Gallery, Pierce College, Tacoma, WA Mexico, Francine Seders Gallery, Seattle, WA Drawings, Upstairs Gallery, Francine Seders Gallery, Seattle, WA New Work, Francine Seders Gallery, Seattle, WA An Introduction, Upstairs Gallery, Francine Seders Gallery, Seattle, WA Paintings, King County Arts Commission Gallery, Seattle, WA Recent Work, Blake Gallery, Seattle, WA Drawings, Robert Allman Gallery, Seattle, WA Ink Drawings, Browning Arts, Grand Forks, ND

Selected Group Exhibitions 2010 Art Faculty Exhibit, University Art Gallery, California State University, Stanislaus, Turlock, CA 2008 Art Faculty Exhibit, John Stuart Rogers Building, California State University, Stanislaus, Turlock, CA On the Wall, Steele Gallery, Gage Academy of Art, Seattle, WA 2005 Drawings: James Deitz, Gail Grinnell, Caryn Friedlander, Francine Seders Gallery, Seattle, WA 2002 North Dakota Museum of Art Annual, North Dakota Museum of Art, Grand Forks, ND 2000 4 x 4: Four Decades of School of Art Alumni, Jacob Lawrence Gallery, Seattle, WA 1995 The Painted Table, Seattle, WA 1994 Retrospective, AG47 Gallery, Seattle, WA 1993 Hands Off Washington, Crocodile Cafe, Seattle, WA The New England Fine Art Institute, State of the Art ‘93, New England Art Expo Art Works for Aids, Seattle Center Pavilion, Seattle, WA 1992 12th Northwest International, Whatcom Museum, Bellingham, WA New Artists to the Gallery, Summer Show, Francine Seders Gallery, Seattle, WA 34th North Dakota Print and Drawing Annual, North Dakota Museum of Art 1991 The Artist in the Art: Self Portraits, BumbershootFestival, SeattleCenter, Seattle,WA 25th Anniversary Exhibitions: The Later Years 1986-1990, Francine Seders Gallery, Seattle, WA 1990 Seven Seattle Artists, AG47 Studio Gallery, Seattle, WA Never Before Funded Show, Seattle Arts Commission, Seattle Center, Seattle, WA WPA (Workers Produce Art), Galleria Potatohead, Seattle, WA 1988 30th North Dakota Print and Drawing Annual, North Dakota Museum of Art 1986 Masters of Fine Arts Exhibition, Henry Art Gallery, University of Washington, Seattle 1985 Works in Progress, Department of Fine Arts, University of Washington, Seattle, WA University Bookstore Invitational Juried Show, Seattle, WA 1984 Bachelor of Fine Arts Exhibition, Hughes Fine Arts Gallery, University of North Dakota, Grand Forks, ND Selected Permanent Collections 4Culture, King County Arts Commission, Seattle, WA; Seattle Arts Commission; Zevenbergen Capital, Seattle, WA; State of Washington: Washington State’s Art in Public Places Program, Mattawa, WA, Auburn, WA Reviews 2000 1994 1992 1990

Still lifes with twists, Matthew Kangas, Art in America, (Special to the Seattle Times) Lawrence exhibit is this month’s star at galleries, Robin Updike, The Seattle Times Two artists turn fragments into wholes, Regina Hackett, The Seattle Post-Intelligencer Gallery Review, 911 COCA, (Center on Contemporary Art), Seattle, WA


Ma rt i n Camar ata Collections Palace of Legion of Fine Arts Museum, San Francisco, California Oakland Museum of Art, Permanent Collection, Oakland, California World Print Collection, Museum of Modern Art, San Francisco, California Museo Belles Artes, Caracas, Venezuela University of the Pacific, Permanent Collection, Stockton, California Private Collection in Europe, South America and the United States Crocker Art Museum, Permanent Collection, Sacramento, California Honors 1958 - 1959 Fulbright Grant, Painting-Printmaking, Rome, Italy 1977 Lily Foundation Summer Grant, Stanford University, Palo Alto, California Reviews
 Thomas Albright, San Francisco Chronicle , 1968, 1972, 1975, 1977 Artweek, 1975 Artpapers, 1984 Publications 1980 Album Cover Commission, Capitol Records, The Rest of Dr. Hook 1976 Visual Dialogue #3, Lithography
 1974 American Printmakers
 1973 California Graphics
 1972 Artist’s Proof Annual XI. Lithography at Collector’s Press
 1972 Site: U.S.A. TEACHING
Professor of Art Emeritus 1964 - present EDUCATION
 1952 - 1956 New York State University at Buffalo, New York, B.S., Art
 1952 - 1954 Albright Art School, Buffalo, New York,  Studio Courses
 1954 - 1957 New York University, M.A., Art
 1958 - 1959 Academia Degli Belle Arte, Rome, Italy 1960 - 1963 University of Rochester, Memorial Art Gallery School, Studio Printmaking


Joh n A. B ar n et t Education 1971 M.F.A. Sculpture, University of Washington, Seattle, WA 1967 B.A. Art, Western Washington University, Bellingham, WA Teaching 1987-2007 Professor of Art, CSU, Stanislaus, Turlock, CA 1986-1987 Production Manager, Nordhammer Art Foundry, Oakland, CA 1985-1986 Asst. Professor of Art, Sabbatical Replacement, CSU, Chico, CA 1984-1985 Asst. Professor of Art, Sabbatical Replacement, CSU, Stanislaus 1981-1984 Technician & Instructor, Metal Sculpture, Art Department, San Jose State 1979-1980 Instructor, Sculpture, Art Department, University of Hawaii-Manoa, Honolulu, HI 1978 Instructor, Painting & Drawing, Arts & Sciences Division, Kapiolani Community College, Honolulu, HI 1976 Assistant Professor Art, Art Department, University of Puget Sound, Tacoma, WA Selected Commissions/Site Specific Projects 2006 Installation of “The Gate”, Outdoor Sculpture, MSR Educational Gateway Building 2005 STONE SONG – FOUNTAIN, Turlock, CA 1999-2000 Outdoor Sculpture Program, Arranged loan of 4 artworks by William Wareham, placed around campus, Served on Art On Campus Committee, CSU Stanislaus 1999-2001 Public Art Project, 18 Bronze (2’ diam) inlays into Concrete, Police Services Building Entryway & Sidewalk, City of Turlock, CA 1999 “Double Samara”, 23”x6”x3”, bronze/patina, Portland, OR 1996-1997 “Palm Study”, 52”x52”x4”, fiberglass wall piece. Installed in Vache Library, CSU Stanislaus 1992 “The Dance”, 48”x84”x12”, cast aluminum/paint. Installed on the grounds of Fox Cove Development, Bainbridge Island, WA 1982 “Double Samara”, 36”x24”x10”, cast bronze, paint, patina. Installed at Park Center Plaza, San Jose, CA 1981 SAMARA XVI, 72” X 96” X 26”. Bronze, Tower Building, Honolulu, HI 1980 BLACK SAMARA, 46” X 37” X 18”, Bronze, Manoa Valley, HI Recent Solo Exhibitions 1999 Tumbleweed, An Installation, University Art Gallery, CSU, Stanislaus 1999 Norfolk Fragments, sculpture and color drawings. The Warehouse Artist’s Cooperative, Norwich, England 1999 Forms of Passage, sculpture and color drawings. Concourse Gallery, Fresno Art Museum, Fresno, CA 1999 Forms in Agriculture, color drawings. Upstairs Gallery, City Hall, Turlock 1998 Rifts, Rocks and Tree Skins, An Installation of sculpture, University Art Gallery, CSU, Stanislaus 1998 Forms from Nature, sculpture. Kitteredge Gallery, University of Puget Sound, Tacoma, WA 1994 John Barnett Sculpture, Kings Art Center, Hanford, CA 1990 Signs of Life, Montalvo Arts Center, Saratoga, CA Selected Group Exhibitions/Special Events 2008 WORKS AUCTION, San Jose, CA 2008 WORKS GALLERY, Members Exhibition, San Jose, CA 2008 TCAC Spring Show, Turlock, CA 2007 THREAD OF NATURE, CSUS Gallery, Turlock, CA 2007 Yosemite Renaissance Traveling Exhibition, YNP, CA 2006 GATE Installed, CSUS Campus, 10’ h. x 3’ w., Turlock, CA 2006 Lancaster University, Lancaster, UK. 2006 9th (Invitational) International Shoebox Sculpture Traveling Exhibition, initiated by University of Hawaii – Manoa, Oahu 2005 CSU Stanislaus Art Faculty Exhibition, University Art Gallery, Turlock, CA 2005 Monotype Marathon, San Jose Institute of Contemporary Art, SJ, CA 2004 Through The Artist’s EYE – JB & TB-G, Modesto Jr. College Gallery, Modesto, CA 2003 Textures/Form – JB & TB-G, Chico Art Center, Chico, CA 2003 Formed by Nature, Carnegie Center for the Arts, Turlock, CA 2003 8th (Invitational) International Shoebox Sculpture Traveling Exhibition, UH-Manoa, HI 2002 4th International Cast Iron Conference, Johnson Atelier, NJ 2001 Monotype Marathon, SJICA, San Jose, CA 2001 Artist in Residence, Jan.-Feb., Yosemite National Park, CA 2001 CSU Stanislaus Art Faculty Exhibition, Fresno City College Art Gallery 2000 Presented 5 day Sculpture Workshop on “Self-Set Sand”, Louisiana State University, LA 2000 Monotype Marathon and Exhibition, San Jose Institute of Contemporary Art 2000 7th (Invitational) International Traveling Show, “Box Sculpture Exhibition”. Organized and originated at the Art Gallery, University of Hawaii-Manoa, Honolulu, HI 1999 Teacher and Student (Self and Horacio Lopez), State Capitol Senate Chambers, Sacramento, CA 72

Hop e B. W er n es s Education 1961-1963 Occidental College 1963-1965 University of California, Santa Barbara, BA 1965-1968 Tulane University, MA 1968-1972 University of California, Santa Barbara, PhD Teaching 1969 Santa Barbara City College 1975-1976 San Jose State University 1976-2008 California State University, Stanislaus Selected Honors/Awards 1965 Outstanding Graduate in Art History, University of California, Santa Barbara 1980 National Endowment for the Humanities Summer Seminar, Stanford University 1992 CSU Summer Arts Faculty Exchange 2004 Outstanding Research, Creativity, and Scholarship Professor, California State University, Stanislaus Selected Publications 1999 The Symbolism of Mirrors in Art from Ancient Times to the Present. Lewiston, NY: Edwin Mellen Press 2000 The Continuum Encyclopedia of Native Art: Worldview, Symbolism and Culture in Africa, Native North America and Oceania. New York: Continuum 2003 The Continuum Encyclopedia of Animal Symbolism in Art. New York: Continuum Solo Exhibitions 1991 Ann Saunders Gallery, Jamestown, CA. 2005 University Art Gallery, California State University, Stanislaus. Selected Group Exhibitions/Competitions 1991 California State Fair, Award of Merit 1993 Art of California Competition, Fresno Art Museum, Fresno, CA, Bronze Award 1993 Two-Person Exhibition, Turlock City Arts Commission, Carnegie Center for the Arts, Turlock, CA 1994 Faculty Exhibition, University Art Gallery, California State University, Stanislaus, Turlock, CA 1994 Artists Who Teach, Turlock City Arts Commission, Carnegie Center for the Arts, Turlock, CA 1995 High Sierra Pack Trip: Grant Lakes, University Art Gallery, CSU Stanislaus and Yosemite Museum 1997 Clay ’97, University Art Gallery, California State University, Stanislaus, Turlock, CA 1998 Juried Show and Sale, Turlock City Arts Commission, Carnegie Center for the Arts, Turlock, CA 2000 The Little Prince, Villa Montalvo, Los Gatos, CA, Grand Prize winner 2001 California State University, Stanislaus Art Faculty, Art Space Gallery, Fresno City College, Fresno, CA 2001 The Art of Tile Show, SMUD Gallery, Sacramento, CA 2004 Art Department Faculty, Valley View, University Art Gallery, CSU Stanislaus, Turlock, CA 2004-2006 Yosemite Renaissance XIX, 2004 (2nd Prize Winner); XX, 2005 (2nd Prize Winner); XXI, 2006 2008 Yosemite Renaissance XXIII 2010 The House of‌.. First Street Gallery & Frame, Turlock, CA 2012 The Midnight Circus, First Street Gallery & Frame, Turlock, CA Gallery Representation: Chartreuse Muse, Modesto; First Street Gallery & Frame, Turlock


Da ryl Jos ep h Moore Education 1980 BFA Communication Design, minor Art Education, Pratt Institute 1991 MFA Advertising Design, Syracuse University Academic Employment History 2007-present Founding Dean and Professor Graphic Design, College of the Arts, CSU Stanislaus 1999-2007 Department Chair, Department of Art and Design, College of the Arts Montclair State University 2003-2007 Associate Professor, Graphic Design, Department of Art and Design, Montclair State University 1994-2003 Assistant Professor, Graphic Design, Department of Art and Design, Montclair State University 1993-1994 Instructor, Graphic Design, Department of Art and Design, Montclair State University 1991-1992 Acting Graphic Design Coordinator and Design Instructor, The Newark School of Fine and Industrial Art Professional Practice Center for Design Education and Research: Simpatico Design Consultancy LLC, Founder Visual Communications Group, Cofounding Partner, VP Creative Director (1989-1994); Creative Consultant (2005-2007) Foster Higgins, Senior Design and Art Direction (1986 to 1991) Rutgers the State University of New Jersey, Assistant Art Director, Office of University Publications (1983 to 1986) Bruan and Bianco Advertising NYC, Assistant Art Director (1981 to 1983) Freelance Children’s Book Illustrator (1980 through 1986) Published Illustration and Animation Partial Client List (1980 through 2005) Macy’s NYC, Harcourt Brace Jovanovich, McDougal & Little Inc., Curriculum Concepts Inc., Scott Foresman Co., Developmental Learning Materials, Excerpta Medica, LA&J Books CA, Houghton Mifflin, Consumers Union, Citicam NYC: Character Development (animation) for Pharmaceutical Product Infomercial (2004/5) Memberships and Professional Affiliations RSA Current Fellow of the Royal Society for the Encouragement of the Arts, London, England AIGA American Institute of Graphic Artist (The Professional Association for Design) Carnegie Arts Center Advisory Board Member Turlock, California Grants and International Projects 2005 Global Education Grant: Moholy-Nagy University of Art and Design, Hungary 2003 Global Education Grant: Korea, Wonkwang University 2002 Global Education Grant: China, “Global Visual Dialogues” 1999-2001 Global Education Grant: China, “Transcending Boundaries” 1997 Global Education Grant: Australia, “Dance across the Dateline” Curatorial 2009 The Fine Art of Form & Communication: The First International Biannual Student Digital Design Exhibition, Shanghai, China 2006 Double Happiness: Exhibition exchange, East China Normal University, School of Design, Shanghai, China 2003 Pleasant Tasting Kim Chi: Korean exhibition of the Visual Arts faculty of Wonkwang University, Iksan, South Korea Guest Lectures and Panels 2003 Design and the Creative Process: Wonkwang University, Iksan South Korea 2004 Design and The Creative Process: Univa Universidad del Valle de Atemajac Zapapan Jal. Mexico, 2006-2012 Graphic Design, Visual Identity & Branding Foreign Expert and Visiting Scholar, East China Normal University, School of Design, Shanghai PRC 2009 Design and The Creative Process: Moholy-Nagy University of Art and Design (Ponton Gallery) Budapest, Hungary Package Design, Illustration, Branding & Identity Visiting Lecturer , June 2010 & 2011, Shanghai Institute of Technology, Shanghai PRC Graphic Design Foreign Expert and Visiting Scholar, June 2012, Shanghai Institute of Technology, Shanghai PRC Guest Panelist Dazhou Wang Contemporary Art Exhibition “Bio-Art” opening, March 2012, Shanghai Art Museum, Shanghai PRC


Books & Essays Published Design and the Creative Process | Thomson Publishing: Publication Date: 12/2007: ISBN-13: 978-1-4018-6164-3 | Xue Song: A Retrospective from 1988 to 2011 | Essay Publication Date: 8/2011 | Kwai Fung Art Publishing House, Central Hong Kong PRC: ISBN-978-988-18829-0-5 Julie Heffernan: Holding Up | Essay Publication Date: 4/2011| CSU Stanislaus: ISBN-978-0-9830998-2-6 Professional Summary Born and raised twelve miles west of New York City in Newark, New Jersey. A focused and diverse professional background in the visual arts and higher education that includes executive leadership experience in the private and public sector, as well as industry experience as a published Illustrator, Creative Direction in Advertising and Design. Author of “Design and the Creative Process,” published in 2007 by Thomson Delmar, an examination of the critical thinking and professional practice of design professionals across disciplines. Fifteen + years of combined experience working in higher education, beginning as an adjunct instructor before becoming a tenured member of the faculty, and department chair at Montclair State University in 1999. Appointed Founding Dean of the College of the Arts at California State University, Stanislaus in 2007. Career highlights: • Progressive educational background with a terminal degree in Advertising Design from Syracuse University (MFA), and a Bachelor of Fine Arts in Communication Design (BFA) with a minor in Art Education from Pratt Institute • Senior Art Direction and Design in Advertising, Corporate Design and Studio environments; extensive experience in the project management of visual communications, new business development, identity, branding strategies and other promotional and marketing projects; • University level pedagogy: teaching beginning and advanced Graphic Design in progressive visual arts curriculum based undergraduate and graduate level programs in the United States and China; areas of emphasis include Advertising, Design, Typography Form and Communication, Package Design, Visual Identity and Branding • Three-term elected Chair of Art and Design at Montclair State University’s College of the Arts; leadership of the program over an eight year period, where enrollment increased from 250 to 600+ majors; managing an operational budget of $3.5 million while facilitating new program development and the management and advancement of 24 full-time tenure track professors, 60+ adjuncts and visiting specialist • Appointed Founding Dean of the College of the Arts at California State University, Stanislaus 2007; progressive preprofessional and liberal arts accredited degree programs in Music, Theatre and the Visual Arts • An Elected Fellow of the Royal Society for the encouragement of Arts and Manufactures and Commerce (RSA), London, England 2003 • Author of the book “Design and the Creative Process” published in 2007 by Thomson Delmar — a multi-disciplinary examination of the Design process from the unique perspectives of internationally known designers • 2007 Peoples Republic of China Invited Foreign Expert on the Branding and Promotion of the Shanghai 2010 Expo “Better City Better Life” • Visiting Scholar, 2006-2010, the School of Design, East China Normal University, Shanghai PRC • Visiting Lecturer, Shanghai Institute of Technology, June 2010 to present, Shanghai PRC • English Editor and Creative Consultant on the premiere issue and launch of “ArTech” an International publication devoted to Architecture and Design from the perspective of research, theory and professional practice (published August 2010).


Ack n owl edgments California State University, Stanislaus Dr. Joseph F. Sheley, Interim President Dr. James T. Strong, Provost/Vice President of Academic Affairs Mr. Daryl Joseph Moore frsa, Founding Dean, College of the Arts

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


In Praise of Collecting  

Works by CSU Stanislaus Art Faculty and Works They Collect