Download - Glance Fall 2003
glance
Volume 12
No. 1
Fall 2003
A publication for the CCA community
In this issue:
Barry Katz on Arts and Crafts
“Art Chooses You, You Don’t Choose Art”: Alumni Profiles
departments
To Our Readers
California College of the Arts: An Idea Whose Time Has Come by Barry Katz
“Art Chooses You, You Don’t Choose Art”: Alumni Talk About CCA and Their Careers in Art and Design by Melissa Hutcheson with Erica Olsen
In the News Faculty Notes Alumni Notes In Memoriam
Editor
Erica Olsen
Managing Editor
Debbie Kane
Contributors
Susan Avila
Chris Bliss
Melissa Hutcheson
Barry Katz
Ashley Lomery
Pippa Murray
glance
Fall 2003 Volume 12, No. 1
Glance is a publication of the CCA
Communications Department.
Please send all address corrections
by mail to the CCA Advancement Office,
5212 Broadway, Oakland, CA 94618,
or by email to [email protected].
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02
07
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contents
Design
Sputnik CCA, a student
design team
Design Director
Eric Heiman
Designers
Aine Coughlan
Dennis Pasco
EditorEditorErica OlsenErica Olsen
Managing EditorManaging EditorDebbie KaneDebbie Kane
ContributorsContributorsSusan AvilaSusan Avila
Chris BlissChris Bliss
Melissa HutchesonMelissa Hutcheson
Barry KatzBarry Katz
Ashley LomeryAshley Lomery
Pippa MurrayPippa Murray
Fall 2003 Volume 12, No. 1Fall 2003 Volume 12, No. 1Fall 2003 Volume 12, No. 1Fall 2003 Volume 12, No. 1
DesignDesignSputnik CCA, a student Sputnik CCA, a student
design teamdesign team
Design DirectorDesign DirectorEric HeimanEric Heiman
DesignersDesignersAine Coughlan Aine Coughlan
Dennis PascoDennis Pasco
Dear Readers,
Welcome to the first issue of Glance: A Publication
for the CCA Community. Our main feature profiles six
notable alumni. With nearly one hundred years
of graduating classes, it was extremely difficult to
choose from the thousands of CCA alums around
the world. In the end we selected representatives
from a variety of disciplines who are at different
stages of their careers—from recent graduates
to seasoned professionals. We plan to make these
profiles a regular feature of Glance.
As many of you know, in August we began calling
the college by a new name: California College
of the Arts. Understandably, this has caused some
concern that the college might be abandoning
its Arts and Crafts movement heritage. We asked
Professor Barry Katz to give us a historical and
cultural perspective on the term “arts and crafts.”
He writes about the movement’s impassioned
beginnings and why its message of unity in the
arts may be even more relevant today.
We also have lots of news to share. The “In the
News” section gives brief updates on new schol-
arships and other generous gifts to the college,
and introduces some new faculty.
Sadly, this year we lost many good friends of the
college: Robert Bolman, Carl Jennings, Wolfgang
Lederer, Walter Menrath, Gertrude Schaufel, and
Dean Snyder, among them. This issue of Glance
includes tributes to these important members of
the CCA community.
Our next issue of Glance will be mailed in spring
2004. Meanwhile, we welcome your comments and
suggestions. Please email us at [email protected]
or write to CCA Communications Department, 1111
Eighth Street, San Francisco, CA 94107.
Sincerely,
Chris Bliss
Vice President for Communications
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California College of the Arts: An Idea Whose Time Has Come
by Barry Katz
Time Has ComeTime Has ComeTime Has Come
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It is just over a hundred years since William Morris closed his eyes for the last time on a world that seemed to have
spun dreadfully out of control. The new regime of industrial mass
production had established itself; cheap, factory-made products
were flooding the markets; and a tradition of craftsmanship was
being obliterated before his eyes. “Think of it!” he thundered. “Is
it all to end in a counting-house on the top of a cinder-heap?”
In 1861, in the first convincing attempt to assert the dignity of the
“lesser arts” against the increasingly esoteric fine arts on the one
hand, and the tyranny of the machine on the other, Morris and his
friends founded the firm of Morris, Marshall, and Faulkner, Fine Arts
Workmen—an event that the historian Nikolaus Pevsner rightly
called “the beginning of a new era in Western Art.” Over the centuries,
the status of the crafts had declined in proportion to the elevation
of the “beaux arts.” The crafts were now threatened with outright
extinction by the advent of the factory system. Through the small-
scale production of furniture pieces, glass- and metalwares, decorative
fabrics, and wallpaper designs Morris and his fellow reformers sought
nothing less than to restore the lost unity of the arts.
But there was a social dimension to their campaign on behalf of craft
and the craftsman. By fragmenting the manufacture of products,
the industrial division of labor also fragmented the humanity of the
producer. Shoddy work and demoralized, exploited workers were
merely two sides of the same coin, for beauty, Morris always insisted,
is nothing else but “the expression by man of his pleasure in labor.”
It was this commitment both to art and to the artisan that defined
what the English bookbinder T. J. Cobden-Sanderson would soon
christen the “Arts-and-Crafts Movement.”
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Even in the 1880s and 1890s, however, this position
was becoming increasingly untenable. The system
of industrial mass production, whatever its human
and aesthetic costs, had proven itself terrifyingly
efficient at filling the homes of even the laboring
classes with an assortment of cheap goods that
would have been unimaginable in any previous
epoch. By contrast, the Century Guild, founded
in 1882 by A. H. Mackmurdo; the Art Workers’ Guild,
founded in 1884 by W. R. Lethaby; Walter Crane’s
Arts and Crafts Exhibition Society (1888); and even
the American outpost that would become known
as California College of Arts and Crafts (1907)
projected a craft ideal that seemed to repudiate the
industrial system at the moment of its near-global
triumph. As wealthy collectors vied for the honest,
sturdy, and outrageously expensive products of
these “utopian craftsmen,” Arts and Crafts steadily
devolved from an ethical ideal into a period style.
By 1915 C. R. Ashbee conceded in the privacy of his
journal that “We have taken a great social move-
ment and turned it into a tiresome little aristocracy
working with high skills for the very rich.”
This judgment is too harsh, however—in part be-
cause these tiny communities of cabinetmakers,
weavers, metalsmiths, bookbinders, and decorators
were hardly in a position to reverse the inexorable
tide of history and technology, in part because they
actually succeeded beyond their wildest imaginings.
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discussing these issues today. But the fact remains
that his nightmarish view of modern technology
blinded him to its potential to liberate and not just
subjugate the arts.
In the age of Photoshop, Form-Z, and streaming
video, our challenge is neither to celebrate
nor repudiate the craft tradition but to redefine it.
We will always admire the elegance of a mortise-
and-tenon joint or a perfectly executed flat fell
seam, but how about a few hundred lines of lean,
flawless code? Or the seamless integration of text
and graphics in one of those rare websites through
which it is a pleasure to navigate? Should we look
for craftsmanship only in the finished product,
or must we learn to appreciate the model, the pro-
gram, or even the theory?
William Morris would not have known what to do
with these questions, and thus the Arts and Crafts
movement has plainly lost its edge. But the force of
its underlying demand is stronger than ever: the
unity of art and life.
At the heart of the belief system William Morris
imparted to his brethren was a simple but
revolutionary program:
• the unity of the fine and the applied arts and
their mutual dependency;
• an insistence upon simplicity of form,
propriety of ornament, and honesty of materials;
• the unshakable belief that art-making is a
social act and carries with it an ethical obligation.
It is at least arguable that this set of principles
framed all of the great twentieth-century debates,
from futurism and constructivism to the socially
engaged art of the 1960s and ’70s; from the Bauhaus
to postmodernism; from Jan Tschichold’s call for “a
new typography” in 1928 to the launching of Emigré
in 1984. Modern architecture was founded upon
these ideas. They are the basis of modern design.
Had William Morris been more measured in
his judgments, more temperate in his exhortations
on art under plutocracy, less dogmatic in his oft-
expressed “hatred of modern civilization,” he would
not have been William Morris, and we might not be
Barry Katz is a professor in the Humanities and
Sciences, Industrial Design, and Visual Criticism
Programs at California College of the Arts.
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Craftsmanship and an understanding of cultural context have always been key to
the education offered at California College of the
Arts. These are values we have embraced in the
past and will continue to embody. In today’s
world, craft is art; the artificial boundaries be-
tween art, design, and craft that were so important
to the nineteenth-century academies no longer
exist. Our commitment to the unity of the arts,
our curriculum’s reinforcement of craftsmanship,
and our continued support of community-based
arts programming are substantial evidence that
the college will continue to embrace the ideals
of the Arts and Crafts movement. In the past one
hundred years, the understanding of the words
From the SOFA (International Exposition of Sculpture
Objects and Functional Art) Chicago 2003 catalog
“arts and crafts” has clearly changed. Moreover,
contemporary craft is now firmly part of the most
progressive work in art, design, and architecture.
And the visual, performing, and literary arts
are now intersecting in the most productive and
powerful ways. By placing our students and faculty
at the heart of these intersections, we will continue
to provide them with the very best of what an
education in the arts, and an education through
the arts, can offer.
Michael S. Roth
President
Alumni Relations Manager Melissa Hutcheson spoke recently with six alums who attended undergraduate or graduate programs at California College of the Arts during the past thirty-five years. They are a video maker, an interior designer, a painter, an industrial designer, a children’s book author and illustrator, and a motion designer. Their graduating classes range from 1969 to 2003. Here’s a look at their lives, their art, and their time at the college.
“ Art Chooses You, You Don’t Choose Art”: Alumni Talk About CCA and Their Careers in Art and Design By Melissa Hutcheson with Erica Olsen
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Alumni Relations Manager Melissa Hutcheson spoke Alumni Relations Manager Melissa Hutcheson spoke recently with six alums who attended undergraduate recently with six alums who attended undergraduate or graduate programs at California College of the or graduate programs at California College of the Arts during the past thirty-five years. They are a video Arts during the past thirty-five years. They are a video maker, an interior designer, a painter, an industrial maker, an interior designer, a painter, an industrial designer, a children’s book author and illustrator, and designer, a children’s book author and illustrator, and a motion designer. Their graduating classes range a motion designer. Their graduating classes range from 1969 to 2003. Here’s a look at their lives, their from 1969 to 2003. Here’s a look at their lives, their art, and their time at the college.art, and their time at the college.
Art Chooses You,Art Chooses You,Art Chooses You,You Don’t Choose Art”:You Don’t Choose Art”:You Don’t Choose Art”:Alumni Talk About Alumni Talk About Alumni Talk About CCA and Their Careers CCA and Their Careers CCA and Their Careers in Art and Designin Art and Designin Art and Design By Melissa Hutcheson with Erica OlsenBy Melissa Hutcheson with Erica OlsenBy Melissa Hutcheson with Erica Olsen
hundred children’s books, including the Caldecott
Honor Award–winning Strega Nona. He still works
seven days a week.
Why children’s books? DePaola says the books he
had as a child were the only place—besides
the world of Walt Disney—where he saw artwork.
Art was not in his school curriculum, and there
were no museums in Meriden. Today, he is proud
that his books touch the hearts of thousands of
people. It’s clear that CCA has left its own mark on
dePaola’s heart. A protégé of Wolfgang Lederer,
dePaola credits Lederer with giving him the freedom
to express himself in a noncommercial way, and
for setting up a tutorial at Tamalpais Press where
dePaola set type one day a week. DePaola recalls
Lederer saying, “I can’t teach you a thing about
illustration, but I can teach you about type and
design of books.” The two remained friends up
until Lederer’s death this year. “CCA refined my
work and is totally responsible for my success,”
dePaola says.
“ Art Chooses You, You Don’t Choose Art”: Alumni Talk About CCA and Their Careers in Art and Design
When Gary Hutton found himself working at a mall
after graduating from UC Davis with a degree in
fine arts, he decided it was time to go back to school.
He had always loved interiors, and CCA seemed like
the natural choice. Early training came through
work at the famed Scalamandré textiles showroom
and an internship at Gump’s. For a while, Hutton
held two part-time jobs to get by. Eventually he
became a manager at the C. J. Welch showroom and
then a designer for Jerry Jansen at Orientations,
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When he was four years old, Tomie dePaola wanted
to become a writer, an illustrator, and a tap dancer.
In his long and varied career, dePaola has done all of
that and more. He is a prolific author of some two
Tommy dePaola
Gary Hutton
where he worked on the restaurant Today’s, on
Union Square. It was “the place to lunch,” Hutton
recalls. After his stint at Orientations, he worked
briefly in the Macy’s interior design studio.
Disliking the corporate structure, he left to open
his own firm in 1980.
Born in 1934 in Meriden, CT
MFA 1969, concentration in illustration
CCA influence: Wolfgang Lederer
Other education: BFA 1956, Illustration, Pratt Institute; graduate studies (PhD equivalency), Lone Mountain College
Residence: New London, NH
Current occupation: Artist, author, designer, speaker
Proudest achievement: When parents, kids, and teachers say, “You’re Tomie dePaola? I love your books!”
Born in 1950 in Watsonville, CA
BFA 1975, Environmental Design
CCA influence: Willis Kauffman, who taught History of Interior Design; Andy Addkison
Other education: BA 1972, Fine Arts, UC Davis
Residence: San Francisco, CA
Current Occupation: Interior designer, furniture designer, owner of Gary Hutton Design
Proudest achievement: The relationship he’s built with clients over the years
Today, Hutton commands a loyal clientele of twenty
years’ standing—in fact, he’s still in touch with
his very first client. Ninety-five percent of his
clients are residential, and most of his corporate
work comes from residential client referrals.
In addition to interior design work, Hutton oversees
production for his line of furniture, produced in
Emeryville and San Francisco.
Born in 1950 in Watsonville, CABorn in 1950 in Watsonville, CA
BFA 1975, Environmental DesignBFA 1975, Environmental Design
CCA influence: Willis Kauffman, who taught CCA influence: Willis Kauffman, who taught History of Interior Design; History of Interior Design; Andy AddkisonAndy Addkison
Other education: BA 1972, Fine Arts, Other education: BA 1972, Fine Arts, UC DavisUC Davis
Residence: San Francisco, CAResidence: San Francisco, CA
Current Occupation: Interior designer, Current Occupation: Interior designer, furniture designer, owner of Gary furniture designer, owner of Gary Hutton DesignHutton Design
Proudest achievement: The relationship he’s Proudest achievement: The relationship he’s built with clients over the yearsbuilt with clients over the years
Born in 1934 in Meriden, CTBorn in 1934 in Meriden, CT
MFA 1969, concentration in illustrationMFA 1969, concentration in illustration
CCA influence: Wolfgang LedererCCA influence: Wolfgang Lederer
Other education: BFA 1956, Illustration, Other education: BFA 1956, Illustration, Pratt Institute; graduate studies (PhD Pratt Institute; graduate studies (PhD equivalency), Lone Mountain Collegeequivalency), Lone Mountain College
Residence: New London, NHResidence: New London, NH
Current occupation: Artist, author, Current occupation: Artist, author, designer, speakerdesigner, speaker
Proudest achievement: When parents, kids, Proudest achievement: When parents, kids, and teachers say, “You’re Tomie dePaola? I and teachers say, “You’re Tomie dePaola? I love your books!” love your books!”
Nellie King Solomon says, “Art chooses you, you
don’t choose art.” Initially drawn to architecture,
she studied at Cooper Union, then worked in
architecture in Barcelona and New York. She is now
known for large paintings created with her
own handmade tools on heavy mill Mylar. She
started by using the lid of a gesso jar to stamp
a dot; the dot was to slow her down, to represent
stillness rather than the travel implicit in a line.
Following her experience in Europe and New York,
and her return to California, Solomon knew she
Born 1971, San Francisco, CA
MFA 2001, Painting and Drawing
CCA influences: Kim Anno, Larry Sultan, John Zurier, Linda Geary, Mary Snowden, Steve Beal, Sam Tchakalian, Chris Brown
Other education: BFA 1995, General Fine Arts, UC Santa Cruz; architecture studies, The Cooper Union
Residence: San Francisco, CA
Current occupation: Artist
Early success: Introductions, Braunstein/Quay Gallery, San Francisco, 2001
Nellie King Solomon
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in the Concepts category and caught the eye of Joe
Rosa, a curator at SFMOMA, who selected it for the
exhibition Body Design, on view from November
2002 through March 2003. What was Petrizzi’s
original assignment? Tasked to create something
that would work as both science and fashion, some-
thing conceptual yet anchored in reality, at first he
wanted to create a diving suit with an embedded
gill. Investigating this possibility, he found that
the gill required a higher volume of water than was
practical. But out of this came Aquaticus, a diving
scooter with an embedded gill. The gill not only
extracts oxygen from the water to feed the fuel cell
power source, it also supplies oxygen to the diver,
who is pulled along behind the device.
During his second to last semester, Petrizzi took
a course with Yves Béhar, head of San Francisco’s
fuseproject. An internship there turned into a full-
time job. At fuseproject, Petrizzi juggles multiple
projects for clients such as BMW, Birkenstock, and
Nike. He also designs cosmetics packaging, perfume
bottles, and other consumer products.
Geoffrey Petrizzi enjoys the unusual distinction
of seeing his senior thesis project exhibited at the
San Francisco Museum of Modern Art. Two years
after graduating, Petrizzi submitted his project,
Aquaticus—an underwater diving scooter—to ID
Magazine. His piece won a Design Distinction award
Geoffrey PetrizziBorn 1970, Pasadena, CA
BFA 2001, Industrial Design
CCA influences: Jay Baldwin, Barry Katz, Tylor Garland, Mitchell Schwarzer
Residence: San Francisco, CA
Current occupation: Senior designer, fuseproject
Early success: Group show, Body Design, SFMOMA, 2002–3
wanted to focus on the wilderness, environment,
and values of the West. Initially creating pieces
made from plaster that she called “misbehaving
architecture,” in which a wall would erupt and
buckle, she then shifted to paint to explore these
spatial disturbances. The simple gesture of the dot
grew into large canvases, such as Treasure Island
Westbound, which began with one dot from the head
of a pin and became an 8´ x 12´ landscape in her
Great West series. In her artist statement, Solomon
says, “The paintings are experiences of the great
western landscapes, interior and exterior terrain,
the shock of unabsorbed events. California is a place
where we are caught off guard, a place of gambling,
chance, and change. I paint it.” To see her work,
visit www.nelliekingsolomon.com.
Born 1971, San Francisco, CABorn 1971, San Francisco, CA
MFA 2001, Painting and DrawingMFA 2001, Painting and Drawing
CCA influences: Kim Anno, Larry Sultan, John CCA influences: Kim Anno, Larry Sultan, John Zurier, Linda Geary, Mary Snowden, Steve Zurier, Linda Geary, Mary Snowden, Steve Beal, Sam Tchakalian, Chris BrownBeal, Sam Tchakalian, Chris Brown
Other education: BFA 1995, General Fine Arts, Other education: BFA 1995, General Fine Arts, UC Santa Cruz; architecture studies, UC Santa Cruz; architecture studies, The Cooper UnionThe Cooper Union
Residence: San Francisco, CAResidence: San Francisco, CA
Current occupation: ArtistCurrent occupation: Artist
Early success: Introductions, Braunstein/Early success: Introductions, Braunstein/Quay Gallery, San Francisco, 2001Quay Gallery, San Francisco, 2001
Born 1970, Pasadena, CABorn 1970, Pasadena, CA
BFA 2001, Industrial DesignBFA 2001, Industrial Design
CCA influences: Jay Baldwin, Barry Katz, CCA influences: Jay Baldwin, Barry Katz, Tylor Garland, Mitchell SchwarzerTylor Garland, Mitchell Schwarzer
Residence: San Francisco, CAResidence: San Francisco, CA
Current occupation: Senior designer, Current occupation: Senior designer, fuseprojectfuseproject
Early success: Group show, Early success: Group show, Body DesignBody Design, , SFMOMA, 2002–3SFMOMA, 2002–3
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In 1991 Anthony Discenza moved from New Jersey to
California, where his friend and fellow video maker,
Torsten Burns, was a student at the San Francisco
Art Institute. The two formed a collaborative, the
Halflifers; their works have screened in New York
City at the Museum of Modern Art and the New
York Video Festival; in the Bay Area at the Pacific
Anthony Discenza
Film Archive; and at festivals around the world.
Already a working artist, Discenza decided to
complete his art education and pursue an MFA at
California College of the Arts. While still a grad
student, his video work Phosphorescence was selected
for the 2000 Whitney Biennial. Discenza says, “I’m
interested in revealing the world of images around
us as a very ‘real’ space—one which shapes our
world view in all sorts of potent but invisible
ways.”
When he was chosen for the Whitney Biennial,
Discenza commented that it was “a great honor,
but I have to take it with a grain of salt. I don’t
want to build up my expectations about what it’s
going to mean.” Today, he balances his artwork
with part-time work as a paralegal to help pay
the bills. It’s a challenge familiar to many Bay
Area artists. Discenza has had solo shows in San
Francisco at Hosfelt Gallery and jennjoy gallery
and has participated in numerous group shows.
His work November is featured in Reprocessing
Information, a group show at SFMOMA presenting
video works that explore information as land-
scape and medium. The show runs through
February 8, 2004.
Born 1967, New Jersey
MFA 2000, Film/Video
CCA influences: Barney Haynes; two other film/video students, Dave Kareken and Adrian van Allen
Other education: BA 1990, Studio Art, Wesleyan University
Residence: Oakland, CA
Current occupation: Artist
Early success: 2000 Whitney Biennial
Kitchen, she was happy to accept—in part because
she grew up in Seattle and has friends and family
there. But, she stresses, she would never take a job
just based on location. She chose Digital Kitchen
because their work seemed the most exciting.
“Motion design allows you to combine elements of
the senses that strike a chord with people,” Daniels
says. At Digital Kitchen, her current projects include
a title sequence and a project for an investment
company. As she goes through the transition of
learning to design for corporate clients, not just for
herself, Digital Kitchen’s varied clientele keeps her
work life interesting. “Learning to think in motion
has been a fun challenge,” she says.
As she neared graduation, Lindsay Daniels didn’t
know where she would end up. She sent her
portfolio to four motion design firms, researching
and applying to companies whose work she
admired. With a letter of recommendation from
Dean of Design Michael Vanderbyl and a summer
2002 internship at Landor Associates under her belt,
she visited firms in Los Angeles, New York City,
and Seattle. When the job offer came from Digital
Born 1979, Richland, WA
BFA 2003, Graphic Design
CCA influences: Eric Heiman “He pushed my thinking and design skills to a new level” and Jim Kenney
Residence: Seattle, WA
Current occupation: Motion designer, Digital Kitchen
Proudest achievement: Winning a gold medal from the Art Directors Club at the 82nd Annual Awards—the only gold medal awarded to a student
Lindsay Daniels
Born 1979, Richland, WABorn 1979, Richland, WA
BFA 2003, Graphic DesignBFA 2003, Graphic Design
CCA influences: Eric Heiman “He pushed CCA influences: Eric Heiman “He pushed my thinking and design skills to a new level” my thinking and design skills to a new level” and Jim Kenneyand Jim Kenney
Residence: Seattle, WAResidence: Seattle, WA
Current occupation: Motion designer, Digital Current occupation: Motion designer, Digital KitchenKitchen
Proudest achievement: Winning a gold Proudest achievement: Winning a gold medal from the Art Directors Club at the medal from the Art Directors Club at the 82nd Annual Awards—the only gold medal 82nd Annual Awards—the only gold medal awarded to a studentawarded to a student
Born 1967, New JerseyBorn 1967, New Jersey
MFA 2000, Film/VideoMFA 2000, Film/Video
CCA influences: Barney Haynes; two other CCA influences: Barney Haynes; two other film/video students, Dave Kareken and film/video students, Dave Kareken and Adrian van AllenAdrian van Allen
Other education: BA 1990, StudioOther education: BA 1990, StudioArt, Wesleyan UniversityArt, Wesleyan University
Residence: Oakland, CAResidence: Oakland, CA
Current occupation: ArtistCurrent occupation: Artist
Early success: 2000 Whitney BiennialEarly success: 2000 Whitney Biennial
College Receives $5 Million Gift for Center for Art and Public Life
In May 2003, California College of the Arts re-
ceived a $5 million gift to establish an endowed
fund to support the Center for Art and Public
Life. The donation is the largest single gift in the
college’s ninety-six-year history and was given
by a longtime trustee of the college who wishes
to remain anonymous.
Established in 1998, the Center for Art and
Public Life creates community partnerships based
on creative practice that serve the CCA com-
munity and the diverse populations of Oakland
and San Francisco. Arts education partners
include Oakland public schools Arts Far West and
Lockwood Elementary School, and San Francisco
public school Enola D. Maxwell Middle School
of the Arts. For CCA students, the Center offers
service learning opportunities through programs
such as Artists for Community, Community Stu-
dent Fellows, and the Alternative Spring Break trip.
The Center also offers arts education training and
curriculum development for public school teachers.
The Center plays a pivotal role in implementing
CCA’s diversity plan. In addition to its significant
programs in the areas of community partnerships,
fellowships, and teacher training, the Center has
many initiatives planned for the 2003–4 academic
year, including administering the new diversity
and community studies curriculum and launching
a new art teacher precredential program.
Unique among art colleges in its commitment
to community practice, California College of the
Arts is the only art college invited to participate
in The James Irvine Foundation’s Campus Diver-
sity Initiative and to receive funding from the
Corporation for National and Community Service’s
Learn and Serve America program.
President Michael S. Roth commented, “This
extraordinary gift not only validates the work
of the Center and assures its future, but also
underscores the importance of the arts in the
community. One of our primary goals is to
demonstrate that successful art practice can
take many forms. By identifying this goal
and developing the infrastructure and programs
to achieve it—namely the Center for Art and
Public Life—the college has undertaken a leader-
ship role in defining the artist-as-citizen as a
critical issue in contemporary studio practice.
We are extremely grateful to our donor for
this generous act, which demonstrates a firm
belief in this model of art education.”
In the News
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Faculty Appointments
There have been a number of moves and changes
among the current CCA faculty and some new
hires. Matthew Higgs, curator at the CCA Wattis
Institute, and Lydia Matthews, chair of the MA
Program in Visual Criticism, are co-chairs of the
MFA Program in Fine Arts. Stephen Goldstine,
who has stepped down as chair of this program,
continues his great work with the graduate stu-
dents in a new position as Dennis Leon Professor
of Fine Arts. Ann Joslin Williams is serving as
chair of the MFA Program in Writing for the
2003–4 academic year during John Laskey’s sab-
batical. Mark Fox is filling in as chair of Graphic
Design during Leslie Becker’s sabbatical this year.
New hires include Tina Takemoto and Matthew
Jackson (who begins in the 2004–5 academic
year) in the Visual Studies Program and Joseph
Lease and Juvenal Acosta in the Creative Writing
Program. Emily McVarish and Eric Heiman
have been promoted to assistant professor in the
Graphic Design Program. Dugald Stermer, chair
of Illustration, and Steven Holt, chair of
Industrial Design, have both been designated
distinguished professors.
Joseph Lease photo: John Burnham Schwartz
Matthew Higgs photo: Bob Adler
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Tina Takemoto photo: Bob Adler
Emily McVarish photo: Aine Coughlan
Eric Heiman photo: Renée Getsey Lydia Matthews photo: Bob Adler
13
Gifts and Grants
CCA donors were exceptionally generous over the
spring and summer months, and we thank them
for their thoughtful support. In addition to the
incredible $5 million anonymous gift featured in
this issue, California College of the Arts received
the following major gifts:
Trustee Ronald Wornick and his wife, Anita, made
a wonderfully generous gift of $500,000 to establish
the Ronald Wornick Distinguished Visiting Pro-
fessor of Wood Arts. The goal of this new endowed
fund is to enrich the CCA academic experience by
bringing a celebrated artist to teach as a visiting
professor each year. The visiting professorship will
enhance the curriculum through the use of wood as
a creative medium for exploration, expression, and
aesthetic functionality. Artists invited through this
program will have made a significant contribution
to one or more of the studio fields and will see the
opportunity to work and teach in wood as a vehicle
for deepening and broadening their professional
life. Look for a feature article on the Wornick Dis-
tinguished Visiting Professor in the next issue
of Glance.
Alumna Emily Schwilke (AB 1936) made a generous
provision for CCA in her estate plans. Upon her
passing in May of this year, the college received
$50,000 to support the academic program. We
are grateful to Mrs. Schwilke and her family for
remembering the school with such a thoughtful
gift in support of our mission.
Two special gifts were made in memory of beloved
members of the CCA community who passed away
recently. Elizabeth Schaufel made a gift of $25,000
to the Gertrude Schaufel Memorial Scholarship
established in memory of her mother, and Lorenz
and Thomas Menrath gave $25,000 to establish
the Walter J. Menrath Scholarship in honor of
their father. Both gifts create endowments that
provide critical financial aid to gifted students
who otherwise could not afford to attend CCA.
The college received a generous grant of $46,000
from the Grants for the Arts/Hotel Tax Fund to
support the presentation of our San Francisco–
based public programs in 2003–4.
The Creative Work Fund awarded the CCA Center
for Art and Public Life a $35,000 grant to support
“Pieces of Cloth, Pieces of Culture: Tongan Tapa
Cloth,” a yearlong collaboration between the Center;
sociocultural anthropologist Ping-Ann Addo, the
Center’s 2003–4 scholar in residence; and lead art-
ist Siu Tuita of Oakland’s ‘Otufelenite Tongan
Community Nonprofit Organization. Activities in-
cluding lectures, demonstrations, and an exhibition
will coincide with the creation of a 15 x 15 foot tapa
cloth, the first of its kind made in the traditional
island manner in the continental United States.
The LEF Foundation, a generous and longtime
funder of the college, awarded $10,000 to the
CCA Wattis Institute for Contemporary Arts for its
exhibition Warped Space. In addition, the Jumex
Collection, a new donor to the college, awarded the
Wattis Institute $8,000 to assist with publication
of the catalog accompanying the exhibition Baja to
Vancouver: The West Coast and Contemporary Art.
Finally, the college extends its thanks to Nancy
S. and R. Patrick Forster, Dorothy and George
Saxe, and Mr. C. David Robinson FAIA and
Mary L. Robinson for their generous trustee
unrestricted gifts.
CCA San Francisco campus photo: Douglas Sandberg
14
Wolfgang Lederer Memorial Scholarship
To date, $5,210 has been
raised for the Wolfgang Lederer
Memorial Scholarship. For
the 2003–4 school year, Tracey
Hufteling (third year), Suzanne
LaGasa (third year), and
Lizette Picasso (fourth year)
were selected to receive this
scholarship. All graphic design
students, they were chosen based
on merit and financial need.
Pat Miler and Jerry Brodkey
Susan Ciriclio
Mr. Stanley Cohen
Sol and Shirley Cooper
Mr. Tomie dePaola
Mr. David S. Gordon and
Ms. Michelle L. Gordon
Mrs. Eugenie Q. Handa and
Mr. Mark R. Handa
Mr. Keith Herritt
Mr. Kenji R. Hitomi
Florence and Leo Holub
George and Janet Hunter
Elizabeth Kavaler
Ms. Virginia Kolmar
Joann L. Lavey and
Kenneth H. Lavey
Richard and Marjorie Murray
Harriet and Edward Nathan
Mr. Steve Reoutt
Ms. Me Me Riordan
Ms. Elizabeth Rodriguez
Mrs. Edward W. Rosston
Ms. Alison Samuel
Ms. Elizabeth Schaufel
Ms. Kay Sekimachi
Hugo Steccati
Ms. Lucille W. Toy
Ms. Patricia Walsh
Mr. and Ms. Glenn E. Weaver
Steve Renick Graphic Design Scholarship
Three recipients of the Renick
scholarship have been selected
for the 2003–4 school year and
will share the total of $4,580
raised. All graphic design majors,
the students were chosen
based on merit and need. The
scholarship recipients are
Rachel Lopez (fourth year), Bree
Spaulding (third year), and
Larissa Waters (fourth year).
Catherine Bonnell
Mr. William Bonnell
Mr. and Mrs. Richard Burn
CCA Student Affairs Office
Ms. Elizabeth Chen
Chronicle Books
Ms. Shelly Coe
Ms. Carole Cole
Ms. Sheila Dutton and
Mr. C. H. Fotch, Jr.
Mr. and Ms. Richard Eckersley
Mr. and Ms. Dennis Furby
Mr. and Mrs. John E. Girton
Ms. Helen Gooden
GTS Graphics
Ms. Marcia Hagen
Mr. and Mrs. George T. Hall
Mrs. Rebecca E. Hayden
Mr. Richard Hendel
Ms. Linda Jadeson
Mr. and Mrs. Lance Kuykendall
Donations Support New Scholarships
California College of the Arts would like to thank those who have so generously given to the scholarship funds established in memory of our esteemed faculty and staff who have passed away recently. The following lists all gifts received through July 15, 2003.
15
Mr. George D. Lewis and
Mrs. Laurie Lewis
Malloy Incorporated
Mary Jean McAllister
Dr. Mary McDevitt
Sheri S. McKenzie and
Mark S. Bernstein
Mr. and Ms. John R. McSween
Mr. Raymond L. Meador
Ms. Deborah M. Mick
Mr. Patrick G. Mitchell and
Ms. Frances K. Mitchell
Mr. Dennis Norton and
Mrs. Therese Norton
Mrs. Katherine Renick
Dr. Michael S. Roth and
Dr. Kari Weil
Thomson Learning —
Wadsworth Group
Mr. Jack N. Thornton
Mr. and Mrs. Walden Valen
Mr. and Mrs. Scott Wilson
Mr. and Ms. Brian Wittenkeller
Mr. and Mrs. Alan E. Wulzen
New Master of Architecture (MArch) Program
In fall 2004 California College of the Arts will
introduce the three-year first professional master’s
degree in architecture (MArch). Building on
the strength of our undergraduate bachelor of
architecture (BArch) program, the master’s pro-
gram integrates critical, artistic, and material
approaches to the study and practice of architec-
ture. The program is designed for students who
hold a bachelor’s degree in another field and wish
to study architecture, and gives advanced stand-
ing to students who have some previous education
in architecture.
New Graduate Studios Open in San Francisco
California College of the Arts has opened a
new graduate center adjacent to the San Francisco
campus. Located at the corner of Hooper and
Eighth Streets, the spacious, well-lighted facility
includes two buildings comprising 12,000 interior
square feet and a 10,000-square-foot outdoor
atrium. Thirty-two fine arts graduate students
occupy individual studios. The new facility was
created to accommodate the expansion of the
CCA graduate programs.
Formerly a warehouse, the graduate center was
designed by the award-winning firm of Jensen and
Macy Architects. Principal Mark Jensen is a former
chair of the CCA Interior Architecture Program.
Frank Merritt (BArch 1999) was the project designer.
A list of donors to the Walter J.
Menrath Scholarship will appear
in the next issue of Glance.
Gertrude Schaufel Memorial Scholarship
Donors have contributed $4,605
toward the Gertrude Schaufel
Memorial Scholarship, which
was awarded for the 2003–4
school year to Zara Finlay and
Gian Giglio. Both are first-year
students. Zara is majoring in
graphic design, and Gian is
studying photography.
Ms. Elizabeth H. Ashley
Ms. Niki Caldis
Mr. and Ms. Arthur R. Carson
Susan Ciriclio
Mrs. Kathleen P. Collop
Ms. Marilyn Donahue
Mr. Robert A. Dorsey
Kevin and Theodora Elston
Bella Feldman
Andrea and William Foley
Ms. Judith Foosaner
Betty G. Franks
Diane and Bruce Friend
Helen Frierson
Andrea M. Gunderson
Ms. Maria A. Houlberg
Ms. Cyndy Jacobsmeyer
Ms. Carolyn K. Kastner and
Richard H. Counihan
Ms. Alice B. Knudsen
Ms. Kathleen Larisch and
Dr. Dennis S. Weiss
Wolfgang and Hanni Lederer
Sheri S. McKenzie and
Mark S. Bernstein
Philip B. Morsberger
Mr. Arthur Okamura
Mr. M. Scott Patterson
Dr. Michael S. Roth and
Dr. Kari Weil
Stephanie A. Scea
Ms. Sharyn Schneider
Judith Serin
Ms. Elizabeth Sher
Mrs. Sally Snyder
Michael Vanderbyl,
Vanderbyl Design
Ms. Patricia Walsh
Ms. Linda Yaven
New Master of Architecture (MArch) Program
In fall 2004 California College of the Arts will In fall 2004 California College of the Arts will
introduce the three-year first professional master’s introduce the three-year first professional master’s
degree in architecture (MArch). Building on degree in architecture (MArch). Building on
the strength of our undergraduate bachelor of the strength of our undergraduate bachelor of
architecture (BArch) program, the master’s pro-architecture (BArch) program, the master’s pro-
gram integrates critical, artistic, and material gram integrates critical, artistic, and material
approaches to the study and practice of architec-approaches to the study and practice of architec-
ture. The program is designed for students who ture. The program is designed for students who
hold a bachelor’s degree in another field and wish hold a bachelor’s degree in another field and wish
to study architecture, and gives advanced stand-to study architecture, and gives advanced stand-
ing to students who have some previous education ing to students who have some previous education
in architecture.in architecture.
New Graduate Studios Open in San Francisco
California College of the Arts has opened a California College of the Arts has opened a
new graduate center adjacent to the San Francisco new graduate center adjacent to the San Francisco
campus. Located at the corner of Hooper and campus. Located at the corner of Hooper and
Eighth Streets, the spacious, well-lighted facility Eighth Streets, the spacious, well-lighted facility
includes two buildings comprising 12,000 interior includes two buildings comprising 12,000 interior
square feet and a 10,000-square-foot outdoor square feet and a 10,000-square-foot outdoor
atrium. Thirty-two fine arts graduate students atrium. Thirty-two fine arts graduate students
occupy individual studios. The new facility was occupy individual studios. The new facility was
created to accommodate the expansion of the created to accommodate the expansion of the
CCA graduate programs.CCA graduate programs.
Formerly a warehouse, the graduate center was Formerly a warehouse, the graduate center was
designed by the award-winning firm of Jensen and designed by the award-winning firm of Jensen and
Macy Architects. Principal Mark Jensen is a former Macy Architects. Principal Mark Jensen is a former
chair of the CCA Interior Architecture Program. chair of the CCA Interior Architecture Program.
Frank Merritt (BArch 1999) was the project designer.Frank Merritt (BArch 1999) was the project designer.
Student Callers Make Telefund a Success
Each spring, California College of the Arts recruits
a group of talented and enthusiastic students to
phone our alumni and friends asking for gifts in
support of the Annual Fund. This effort provides
crucial funding for student scholarships, the
libraries, computer labs, and materials and supplies.
These are the college’s core needs, and we depend
on the generosity of our alumni and friends to help
maintain an excellent teaching environment.
Thanks to student callers, the telefund is one of
our most effective fundraising programs. During
spring break 2003, students worked evenings and
weekends in Macky Hall and raised more than
$20,000 for the college. Our callers are recruited
from all majors, and many are first-year students
who are looking for ways to connect with alumni.
These are not your typical telefund calls. Students
and alumni often enjoy long conversations as
alumni share their experience in professional
practice and callers describe student life today.
Amanda Heikkinen, who will graduate with a BFA
in sculpture in December 2003, says, “The tele-
fund really wasn’t intimidating because you are
talking to people with whom you have something
in common. It was a great experience, which is
why I have done it two years in a row.”
We have also received kind messages from alumni,
thanking us for involving students in the effort.
Diane Oles (BFA 1984, interior architecture) writes,
“I have a tremendous amount of admiration for the
direction the school has taken since I graduated, so
when I received a call from a student, I was more
than happy to give back to the college.”
This special campaign will run each March during
spring break. If you receive a call, please take a
moment to talk to a student. Your support will
have a meaningful impact at the school, and the
conversation alone can be a very positive experience
for our students. If you have questions about the
CCA telefund, please contact Ashley Lomery in the
Advancement Office at 510.594.3662.
Staff Appointments
Chris Bliss
Vice President for Communications
Jennifer Minniti
Associate Dean of Instruction
Kate Wees
Director of Undergraduate Admissions
Janice Woo
Director of Libraries
Awards and Accolades
Eric Heiman (BFA 1996, graphic design), an
assistant professor in the Graphic Design Program,
received the college’s inaugural Excellence in
Teaching Award on May 9, 2003. Graduating
students of the class of 2003 selected Heiman as
the instructor who had had the greatest influence
on their work and their artistic and creative
experience at the college.
Dean of Design Michael Vanderbyl was elected
national chair of the American Institute of Graphic
Arts (AIGA). Vanderbyl has gained international
prominence in the design field as a practitioner,
educator, critic, and advocate. His firm, Vanderbyl
Design, is a multidisciplinary studio with
expertise in graphics, packaging, signage, interiors,
showrooms, retail spaces, furniture, textiles, and
fashion apparel.
Interior design student Lorie Shay won a $30,000
Senior Student Scholarship Award from the New
York City–based Angelo Donghia Foundation,
which provides support for two distinct fields:
advancement of education in interior design, and
discovery of the causes and methods of treatment
for AIDS and related diseases. Shay was one of ten
winners from FIDER-accredited interior design
programs in the western United States. She will
graduate in 2004.
16
17
9.
1. Larry Rinder (left) and Richard N.
Goldman at the honorary doctorate
reception. photo: Stuart Brinin
2. Riley Bamesberger (left), Pre-College
student, and Jennifer Fiore, Pre-College
photography instructor, celebrate Riley’s
receipt of the Nicole Brownlee Memorial
Scholarship for Photography.
August 1, 2003. photo: Ashley Lomery
3. Robert Bechtle (left) and Nathan
Oliveira at the honorary doctorate
reception. photo: Stuart Brinin
4. Left to right: Kay Kimpton,
Sandy Walker, Paul Discoe, and
Jennifer Morla. Opening reception, Capp
Street Project: 20th Anniversary Exhibition at
the CCA Wattis Institute.
March 1, 2003. photo: Stuart Brinin
5. Ann M. Hatch and James Turrell.
Capp Street Project: 20th Anniversary
Exhibition dinner at the San Francisco
home of Rich Niles and Lenore Pereira.
February 28, 2003. photo: Stuart Brinin
6. Left to right: Ann K. Hamilton;
Simon Blattner, chair of the Board
of Trustees; Kimberly Blattner; and
CCA President Michael S. Roth at the
honorary doctorate reception.
photo: Stuart Brinin
2.
4.
18
The 2003 recipients of the honorary doctorate of fine arts were Ann K. Hamilton, Ann M. Hatch, and Richard N. Goldman. They were honored at a reception on the Oakland campus on May 9, 2003.at a reception on the Oakland at a reception on the Oakland at a reception on the Oakland campus on May 9, 2003.campus on May 9, 2003.campus on May 9, 2003.
1. Larry Rinder (left) and Richard N. 1. Larry Rinder (left) and Richard N.
Goldman at the honorary doctorate Goldman at the honorary doctorate
reception. reception. photo: Stuart Brininphoto: Stuart Brinin
2. Riley Bamesberger (left), Pre-College 2. Riley Bamesberger (left), Pre-College
student, and Jennifer Fiore, Pre-College student, and Jennifer Fiore, Pre-College
photography instructor, celebrate Riley’s photography instructor, celebrate Riley’s
receipt of the Nicole Brownlee Memorial receipt of the Nicole Brownlee Memorial
Scholarship for Photography. Scholarship for Photography.
August 1, 2003. August 1, 2003. photo: Ashley Lomeryphoto: Ashley Lomery
3. Robert Bechtle (left) and Nathan 3. Robert Bechtle (left) and Nathan
Oliveira at the honorary doctorate Oliveira at the honorary doctorate
reception. reception. photo: Stuart Brininphoto: Stuart Brinin
4. Left to right: Kay Kimpton, 4. Left to right: Kay Kimpton,
Sandy Walker, Paul Discoe, and Sandy Walker, Paul Discoe, and
Jennifer Morla. Opening reception, Jennifer Morla. Opening reception, Capp Capp
Street Project: 20th Anniversary ExhibitionStreet Project: 20th Anniversary Exhibition at at
the CCA Wattis Institute. the CCA Wattis Institute.
March 1, 2003. March 1, 2003. photo: Stuart Brininphoto: Stuart Brinin
5. Ann M. Hatch and James Turrell. 5. Ann M. Hatch and James Turrell.
Capp Street Project: 20th Anniversary Capp Street Project: 20th Anniversary
ExhibitionExhibition dinner at the San Francisco dinner at the San Francisco
home of Rich Niles and Lenore Pereira. home of Rich Niles and Lenore Pereira.
February 28, 2003. February 28, 2003. photo: Stuart Brininphoto: Stuart Brinin
6. Left to right: Ann K. Hamilton; 6. Left to right: Ann K. Hamilton;
Simon Blattner, chair of the Board Simon Blattner, chair of the Board
of Trustees; Kimberly Blattner; and of Trustees; Kimberly Blattner; and
CCA President Michael S. Roth at the CCA President Michael S. Roth at the
honorary doctorate reception. honorary doctorate reception.
photo: Stuart Brininphoto: Stuart Brinin
1818
12.
1.
3.
5.
6.
FacultyNotes
S. Jane Cee published, editorial on Lesbian,
Gay, Bisexual, Transgender
Community Center of San Fran-
cisco, Architecture magazine,
April 2002; chairperson, 50th
Annual P/A Awards Jury,
Architecture magazine, Jan.
2003; Cee Architects awarded
$6 million renovation and
conversion, Leland Polk Hotel,
San Francisco, to Leland
Polk Senior Community for
Mercy Housing.
Tim Culvahouse award, with Amy Eliot,
finalist for 2003–4 Benjamin
Henry Latrobe Fellowship,
a $100,000 research fellowship
awarded by the American In-
stitute of Architects; appointed,
Favrot Distinguished Chair,
Tulane School of Architecture,
spring 2004.
Christopher Deam group show, American Design,
Denver Art Museum, traveling to
Miami, FL; New York City,
NY; and Memphis, TN; Feb. 2002 –
Feb. 2004.
Thom Faulders published, “Thom Faulders/
Beige Design,” MARU magazine, Thom Faulders, Particle Reflex, SFMOMA installation view, 2001
Michael S. Roth, President published, essay, “California
College of the Arts: Craft’s
Intersection with Art, Archi-
tecture, and Design,” SOFA
Chicago 2003 Catalog; review
of Society Must Be Defended:
Lectures at the College de France,
1975–76, by Michel Foucault,
translated from the French by
David Macey (Picador, 2003),
Los Angeles Times Book Review,
Aug. 2003; special guest, speak-
ing about “The Art of Now,” Zen
Hospice Project benefit, “One
FacultyFacultyFacultyNotesNotesNotes
20
Night One Heart,” Nov. 2003;
lecture, “Craft’s Intersec-
tion with Art, Architecture,
and Design,” SOFA Chicago
(International Exposition of
Sculpture Objects and Func-
tional Art), Oct. 2003; commence-
ment address, U.C. Berkeley
Department of History of Art,
May 2003; seminar participant,
“The Ideal Art School in the 21st
Century,” Aspen, CO, Aug. 2003;
interviewed, KQED radio’s Forum,
hosted by Michael Krasny,
San Francisco, Aug. 2003.
Michael S. Roth, Presidentpublished, essay, “California published, essay, “California
College of the Arts: Craft’s College of the Arts: Craft’s
Intersection with Art, Archi-Intersection with Art, Archi-
tecture, and Design,” SOFA tecture, and Design,” SOFA
Chicago 2003 Catalog; review Chicago 2003 Catalog; review
of Society Must Be Defended: of Society Must Be Defended:
Lectures at the College de France, Lectures at the College de France,
1975–76, by Michel Foucault, 1975–76, by Michel Foucault,
translated from the French by translated from the French by
David Macey (Picador, 2003), David Macey (Picador, 2003),
Los Angeles Times Book Review, Los Angeles Times Book Review,
Aug. 2003; special guest, speak-Aug. 2003; special guest, speak-
ing about “The Art of Now,” Zen ing about “The Art of Now,” Zen
Hospice Project benefit, “One Hospice Project benefit, “One
Night One Heart,” Nov. 2003; Night One Heart,” Nov. 2003;
lecture, “Craft’s Intersec-lecture, “Craft’s Intersec-
tion with Art, Architecture, tion with Art, Architecture,
and Design,” SOFA Chicago and Design,” SOFA Chicago
(International Exposition of (International Exposition of
Sculpture Objects and Func-Sculpture Objects and Func-
tional Art), Oct. 2003; commence-tional Art), Oct. 2003; commence-
ment address, U.C. Berkeley ment address, U.C. Berkeley
Department of History of Art, Department of History of Art,
May 2003; seminar participant, May 2003; seminar participant,
“The Ideal Art School in the 21st “The Ideal Art School in the 21st
Century,” Aspen, CO, Aug. 2003; Century,” Aspen, CO, Aug. 2003;
interviewed, KQED radio’s Forum, interviewed, KQED radio’s Forum,
hosted by Michael Krasny, hosted by Michael Krasny,
San Francisco, Aug. 2003.San Francisco, Aug. 2003.
group show, Reduction of Complexity,
ADHOC Group, summer 2003;
traveling group show, AIGA 50
Books/50 Covers 2003.
Steven Skov Holt group show, American Design,
Denver Art Museum, traveling to
Miami, FL; New York City,
NY; and Memphis, TN; Feb. 2002–
Feb. 2004; moderator, “Future
of Design,” World Technology Con-
ference Summit, San Francisco,
June 2003; judge, Industrial De-
sign Category, Portland Design
Festival, summer 2003; furniture
prototype featured, “Pool Chair,”
USDesign 1975–2000, opened at
Denver Art Museum, at American
Museum of Art and Design, New
York, through Sept. 2003.
Mark Horton show, CCAC’s New Dormitory: The
Design Process, School of Archi-
tecture and Environmental
Design, California Polytechnic
State University at San Luis
Obispo; published: “Snow
Place Like Home,” San Francisco
magazine, Feb. 2002; “Four
Sides to Every Storey,” Blueprint
magazine, Jan. 2003; “The
Little School,” Confort, Oct. 2002;
“A Weekly Dose of Architec-
ture—CCA Dormitory,” Archidose,
Apr. 2003; Achievement Award,
CC AIA 2002; Merit Award, CC
AIA 2003.
Mark Jensen awarded, 2002 AIASF, Best of the
Bay and Beyond Architecture
Award; Honor Award, Retail
Category, American Institute
of Architects, SF Chapter/SF
Business Times; published: “Four
Rooms with a View,” Twin
Flats residence, 7x7, Nov. 2002;
“Courtyard Glamour,” Joss
residence, San Francisco Chronicle
magazine, Jan. 2003; “Cartoon
Korea, Jan. 2003; exhibit, Street
Furniture Exhibition, Jerusalem,
Israel, Feb. 2003; lecture, “Recent
Projects,” University of Detroit
Mercy, Detroit, MI; workshop,
“Soft Works,” Southern California
Institute of Architecture, Los
Angeles, CA, in collaboration with
Loom Studio, summer 2003;
group show, Experimentadesign
2003—Bienal de Lisboa, Lisbon,
Portugal, Sept. 2003; Microarchi-
tecture, virtual museum,
Institut Français d’Architecture,
Sept. 2003.
Donald Fortescue solo show, John Elder Gallery,
New York, NY, Nov. 2003; co-
editing, theoretical writings on
furniture from antiquity to
the present with Professor Edward
S. Cooke, Yale University, and
Dr. Glenn Adamson, Chipstone
Foundation, Milwaukee, WI.
Mark Fox redesigned identity for CCA
Wattis Institute for Contemporary
Arts and identity for CCA, 2003.
Gloria Frym lecture, “Lorine Niedecker’s
Plain (Language),” Lorine
Niedecker Centenary Celebration,
Milwaukee, WI, Oct. 2003;
published online, “More Lies,”
Fiction Attic magazine; featured,
poem from “Mind Over Matter,”
engraved in glass for Robert
Hass’s Addison Street Project,
Berkeley, CA; published, proses,
from new ms. Dawn,
Nth Position magazine, London,
UK; published online, prose,
Times New Roman: Poets Oppose 21st
Century Empire Anthology; publi-
shed online, proses from new ms.,
Milk magazine; published: poems
from “Message Interruptus, A
Sequence,” Nocturnes magazine,
fall 2003; poem, Cento
magazine; poems, Skanky Possum
#9, fall 2003; photographs,
www.taparts.org; photographs,
Biblio: A Review of Books, New
Delhi, India; appointed,
Distinguished Writer in Resi-
dence, Saint Mary’s College,
Moraga, CA, spring 2004.
Linda Geary group show, SFADA/Off the
Preserve, May–June 2003;
group show, Best in Show: 5 Year
Anniversary, Marcel Sitcoske
Gallery, San Francisco, July–
Aug. 2003.
Eric Heiman award, CCA Excellence in
Teaching, May 2003; promoted,
assistant professor of design,
CCA, 2003; published, “New
York, typisch!” Page magazine,
Germany, May 2003; lectur-
er, Project M Summer Design
Program, Bielenberg Institute
at the Edge of the Earth,
Searsport, ME, June 2003; group
show, California Design Biennial
2003, Pasadena Museum of
California Art, Pasadena, CA,
June–Sept. 2003; group show,
TDC49, Type Director’s Club, New
York City, NY, June–July 2003;
Eric Heiman, AIGA SF Enrichment Scholarship Poster for AIGA SF, 2003
21
Planet,” Angry Monkey Offices,
KBP West Offices, Frame 30,
Jan.–Feb. 2003; Levi’s Original
Spin, Poppybox Gardens, Osho
Restaurant at SFO, Retail Innovation
Report, GDR Creative Intelligence
Publication, Feb. 2003.
Chris Johnson group show, Reflections in Black: A
History Deconstructed, Mills Col-
lege Art Museum, Oakland, CA,
June–Aug. 2003; appointed,
member of Port of Oakland Public
Art Management; currently
promoting Question Bridge
video project.
Barry Katz published: “How to Turn
an Aircraft Carrier Around,”
Innovation: Quarterly of the
Industrial Designers Society of
America, spring 2003; “The
Dematerialization and Remater-
ialization of Everyday Life,”
in Subjectivity at the Threshold of the
Digital Culture, Rio de Janei-
ro, forthcoming; review of Sara
Danius, The Senses of Modernism:
Technology, Perception, and Aesthe-
tics, in Technology and Culture,
forthcoming; lectures: “Spaces
of Creativity and Innovation,”
Hitotsubashi University, Tokyo,
Japan; “The Loneliness of the
Long-Distance Traveler,” Boeing
Aircraft, Seattle, WA; “Design:
The Final Frontier,” NASA,
Mountain View, CA; “The
Rules Have Changed,” Agilent
Technologies, Palo Alto, CA;
“The Renaissance in Perspective,
Perspective in the Renaissance:
Four Lectures,” Florence, Italy.
Jennifer Morla group show, American Design,
Denver Art Museum, traveling
to Miami, FL; New York City,
NY; and Memphis, TN; Feb. 2002–
Feb. 2004.
Kiersten Muenchinger lecture, “The Evolution of the
Terminator: How New Materials
Improve Product Design,”
Materials Engineering Student
Societies lecture series, Cal
Poly, San Luis Obispo, CA, May
2003; lecture, “Spaghetti on the
Wall: Finding Products that
Stick in the Market,” product
development lecture series,
PARC, Inc., Palo Alto, CA, July
2003; featured, gift box designs,
HGTV.com, Mar. 2003; Greetings
Etc. magazine, May/June 2003;
Martha Stewart Weddings magazine,
summer 2003; and Martha Stewart
Living television program,
July 2003.
Stephen Peart group show, American Design,
Denver Art Museum, traveling
to Miami, FL; New York City, NY;
and Memphis, TN; Feb. 2002–
Feb. 2004.
Marianne Rogoff published, short story, “The Poet,
Off Hours,” Zebulon Nights.
Judith Serin published, prose poems,
Paragraph magazine, issue 23.
David Sherman solo screening, Pacific Film
Archive, Berkeley, CA, Oct. 2002;
solo screening, First Person
Cinema, University of Colorado,
Boulder, CO, Feb. 2003; featured:
San Francisco International Film
Festival, Apr. 2002; Dallas Video
Festival, May 2002; New York
Underground Film Festival, Mar.
2003; Athens Film and Video
Festival, Ohio, Apr. 2003; World
Wide Video Festival, Amster-
dam, Netherlands, May 2003;
San Francisco Cinematheque,
June 2003; curator, Super
Fresh Eyes 2003, San Francisco
Cinematheque,
May 2003.
Leslie Speer lecture, “You Did What with
WHAT? A Report on Teaching
Eco-Awareness and Changing
ID Education,” IDSA National
Education Conference, New
York, NY, Aug. 2003.
Bruce Tomb lecture, “The Space Around Us”
(with Julie Mehretu), Salon Series
at Headlands Center for the Arts,
June 24, 2003.
Roy Tomlinson group show, Four Painters, Four
Friends, SOMARTS Gallery, San
Francisco, Jan. 2003; group
show, Gensler Architecture, San
Francisco, CA, May–June 2003.
Michael Vanderbyl group show, American Design,
Denver Art Museum, traveling to
Miami, FL; New York City,
NY; and Memphis, TN; Feb. 2002–
Feb. 2004.
Todd Verwers lecture, “Scandinavian Design:
Attitude and Form,” Swedish
American Hall, Swedish-Ameri-
can Chamber of Commerce and
Danish-American Chamber of
Commerce, May 2003.
Thomas Wojak group show, Vallejo Artists’ Guild
Invitational 2003 Photography
Show, Fetterly Gallery, Vallejo,
CA, July–Aug. 2003; group show,
participant and co-curator,
Arts Benicia Print Show, Arts Beni-
cia Gallery, July 2003; group
show, Monoprint Madness, East
Side Editions, Jan. 2003; group
show, The Art of a Community, Arts
Benicia Gallery, Jan.–Feb. 2003;
faculty juror, Hamaguchi Awards
Competition, 2003.
22
Creative Photography, University
of Arizona; listed by Edan
Hughes in “Artists in California
1786–1940,” Crocker Art Museum,
Sacramento, CA, 2002.
1952Stanley Cohen: solo show, An
Older Artist’s Journey, San Francisco
Arts Commission Gallery, City
Hall, San Francisco, CA; awarded,
Lifetime Achievement Award for
Art and Education from Oakland
Chamber of Commerce, Apr. 2003.
1956Billy Al Bengston: group show,
Surf Culture: The Art History of
Surfing, San Jose Museum of Art,
San Jose, CA, Aug.–Nov. 2003.
1958Gloria Brown-Brobeck: solo show,
UC Berkeley Men’s Faculty Club,
Berkeley, CA, May 2003.
1959John Nicolini: solo show, Oils and
Watercolors by John Nicolini, Lindsay
Dirkx Brown Art Gallery, San
Ramon, CA, June 2003.
1962Donald E. King: retired, 35 years
teaching art and history, West
Michigan University, Kalama-
zoo, MI; establishing studio in
Taos, NM.
Alumni Notes
1938Hugo Steccati: group show, Land-
scapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA,
June–Aug. 2003.
1939Ira H. Latour: solo and group
show, Artist of the Year, San
Francisco Elder Arts Celebration,
The Jewett Gallery, Aug.–Oct.
2003; lecture, “Ansel Adams
and the 1945 Founding of the
Photographic Department at
What Is Now the San Francisco
Art Institute and the Role Played
by Minor White in Directing
the Pioneering Program Over
the Next Seven Years,” San
Francisco Public Library, Sept.
2003; lectures, “The Art and
Architecture of the ‘Pageant of
the Pacific,’ the Golden
Gate International Exposition
on Treasure Island, 1939–40,”
and “The Pageant of Photography
curated by Ansel Adams for the
Exposition”; contributing writer,
B&W: Black & White Magazine
for Collectors of Fine Photography;
award, foundation grant,
California State Universities
Emeritus & Retired Faculty
Association; award, Ansel Adams
Research Fellowship, Center for
John McCracken: group show,
Surf Culture: The Art History of
Surfing, San Jose Museum of Art,
San Jose CA, Aug.–Nov. 2003.
Patricia Tavenner: group shows:
UC Berkeley Extension Center,
San Francisco, CA; Transportale,
Berlin, Germany; Post Modern Post:
International Artistamps, Santa
Rosa, CA, Feb.–Apr. 2003; East Bay
Open Studio Exhibition, Oakland, CA;
Open Studio Weekends, May–June
2003, P. Birge Studio, Emeryville,
CA; The Big Tree Project, Bedford
Gallery, Dean Lesher Center for
the Arts, Walnut Creek, CA, June–
Aug. 2003.
1963Karen Ring Meatliffe: solo
show, Clay Works, Ocean View
Bar and Grill, Pasadena, CA,
Sept. 2002–July 2003; retired, La
Canada Unified School District,
June 2003.
1965Chuck Overton: group show, XV
Group Spring ’03 Art Show, Nexus
Gallery, Berkeley, CA, June 2003.
1966Arlene Risi-Streich: group show,
Crossings, Nexus Gallery, Berkeley,
CA, Mar. 2003.
Alumni NotesAlumni NotesAlumni Notes
23
24
DDY Studio, Pacifica, CA, Oct.
2002; group shows: Craft Showcase
3, Museum of Craft and Folk Art,
San Francisco, CA, Dec. 2002;
Come Together, Art Guild of Pacifica,
Sanchez Art Center, Pacifica,
CA, Mar. 2003; Fiber Directions
2003, Wichita Center for the Arts,
Wichita, KS, Mar.–Apr. 2003.
Magdalene Crivelli: group show,
Clay Connections, Solomon Dubnick
Gallery, Sacramento, CA, July–
Aug. 2003.
1973Robert Simons: solo show, Robert
Simons: Premonition and Paradoxes,
A Thirty-Year Survey, Kennedy Art
Center, Holy Names College, Mar.–
May 2003.
1974Katherine McKenzie Oerting:
solo show, Body Politic, Jefferson
Davis Community College,
Brewton, FL, Feb.–Mar. 2003;
group show, awarded honor-
able mention for Poussiere,
Bill Spiess: featured, Italian
Street Painting Festival, Mission
Viejo, CA, June 2003; presenting,
Italian Street Painting Festival,
Youth in Arts, San Rafael, CA,
June 2003.
1967Mike Gordon: group show, Gallery
Concord/California Watercolor
Association, Concord, CA,
Mar.–June 2003.
Jay Price: appointed, director, K–
12 Non-Fiction Series, Reference
Hub, San Diego.
1969Robert Barrett: elected, chair,
California Travel Industry
Association, Los Angeles, CA.
Brenda Luckin: group show, The
Big Tree Project, Bedford Gallery,
Dean Lesher Center for the Arts,
Walnut Creek, CA, June–
Aug. 2003.
M. Louise Stanley: group
show, Squares Painters as Rebels,
Richmond Art Center, Rich-
mond, CA, June–Aug. 2003;
conducting, Art Lover’s Tour of
Italy, May 2003.
1970Pamela Hahn: group show, The
Big Tree Project, Bedford Gallery,
Dean Lesher Center for the Arts,
Walnut Creek, CA, June–
Aug. 2003.
Judith Linhares: solo show, New
Works—Judith Linhares, Gallery
Paule Anglim, San Francisco, CA,
Sept.–Oct. 2003.
Kent Rush: solo show,
Photography—Mixed
Media,Amarillo Museum of Art,
June–Aug. 2003.
1972Deborah Corsini: solo show, Past/
Present, Tapestries and Wedge Weaves,
charcoal on plywood, By
Women, About Women, Gallery
Artel, Pensacola, FL; group
show, Art After Dark, Pensacola
Museum of Art, Pensacola, FL;
awarded, Best of Show, Beaux
Arts Exhibition, Art and De-
sign Society of Ft. Walton Beach,
FL, Feb. 2003; awarded First
Place, Acrylic Painting, Pensacola
Interstate Fine Art Exhibition,
Oct. 2002; lecturer, “Heat-Fixable
New Media,” Art and Design
Society of Ft. Walton Beach, Ft.
Walton Yacht Club; juror, Sigmund
Freud’s Dreams, Artel Gallery,
Pensacola, FL, Feb. 2003.
1975Marc Katano: solo show, Recent
Work, The Contemporary Museum
at First Hawaiian Center,
Honolulu, HI, May–Sept. 2003.
Priscilla Spitler: awarded,
Jury Prize for Binding, Helen
Warren DeGolyer Triennial Exhibition
and Competition for American
Bookbinding, Bridwell Library,
Marc Katano, Redline #8, 2003
2424
DDY Studio, Pacifica, CA, Oct. DDY Studio, Pacifica, CA, Oct.
2002; group shows: 2002; group shows: Craft Showcase Craft Showcase
33, Museum of Craft and Folk Art, , Museum of Craft and Folk Art,
San Francisco, CA, Dec. 2002; San Francisco, CA, Dec. 2002;
Come TogetherCome Together, Art Guild of Pacifica, , Art Guild of Pacifica,
Sanchez Art Center, Pacifica, Sanchez Art Center, Pacifica,
CA, Mar. 2003; CA, Mar. 2003; Fiber Directions Fiber Directions
20032003, Wichita Center for the Arts, , Wichita Center for the Arts,
Wichita, KS, Mar.–Apr. 2003.Wichita, KS, Mar.–Apr. 2003.
Magdalene CrivelliMagdalene Crivelli: group show, : group show,
Clay ConnectionsClay Connections, Solomon Dubnick , Solomon Dubnick
Gallery, Sacramento, CA, July–Gallery, Sacramento, CA, July–
Aug. 2003.Aug. 2003.
1973Robert SimonsRobert Simons: solo show, : solo show, Robert Robert
Simons: Premonition and Paradoxes, Simons: Premonition and Paradoxes,
A Thirty-Year SurveyA Thirty-Year Survey, Kennedy Art , Kennedy Art
Center, Holy Names College, Mar.–Center, Holy Names College, Mar.–
May 2003.May 2003.
1974Katherine McKenzie OertingKatherine McKenzie Oerting: :
solo show, solo show, Body PoliticBody Politic, Jefferson , Jefferson
Davis Community College, Davis Community College,
Brewton, FL, Feb.–Mar. 2003; Brewton, FL, Feb.–Mar. 2003;
group show, awarded honor-group show, awarded honor-
able mention for able mention for PoussierePoussiere, ,
Bill SpiessBill Spiess: featured, Italian : featured, Italian
Street Painting Festival, Mission Street Painting Festival, Mission
Viejo, CA, June 2003; presenting, Viejo, CA, June 2003; presenting,
Italian Street Painting Festival, Italian Street Painting Festival,
Youth in Arts, San Rafael, CA, Youth in Arts, San Rafael, CA,
June 2003.June 2003.
1967Mike GordonMike Gordon: group show, Gallery : group show, Gallery
Concord/California Watercolor Concord/California Watercolor
Association, Concord, CA, Association, Concord, CA,
Mar.–June 2003.Mar.–June 2003.
Jay PriceJay Price: appointed, director, K–: appointed, director, K–
12 Non-Fiction Series, Reference 12 Non-Fiction Series, Reference
Hub, San Diego.Hub, San Diego.
1969Robert BarrettRobert Barrett: elected, chair, : elected, chair,
California Travel Industry California Travel Industry
Association, Los Angeles, CA.Association, Los Angeles, CA.
Brenda LuckinBrenda Luckin: group show, : group show, The The
Big Tree ProjectBig Tree Project, Bedford Gallery, , Bedford Gallery,
Dean Lesher Center for the Arts, Dean Lesher Center for the Arts,
Walnut Creek, CA, June–Walnut Creek, CA, June–
Aug. 2003.Aug. 2003.
M. Louise StanleyM. Louise Stanley: group: group
show, show, Squares Painters as RebelsSquares Painters as Rebels, ,
Richmond Art Center, Rich-Richmond Art Center, Rich-
mond, CA, June–Aug. 2003; mond, CA, June–Aug. 2003;
conducting, Art Lover’s Tour of conducting, Art Lover’s Tour of
Italy, May 2003.Italy, May 2003.
1970Pamela HahnPamela Hahn: group show, : group show, The The
Big Tree ProjectBig Tree Project, Bedford Gallery, , Bedford Gallery,
Dean Lesher Center for the Arts, Dean Lesher Center for the Arts,
Walnut Creek, CA, June–Walnut Creek, CA, June–
Aug. 2003.Aug. 2003.
Judith LinharesJudith Linhares: solo show, : solo show, New New
WorksWorks——Judith LinharesJudith Linhares——Judith Linhares—— , Gallery , Gallery
Paule Anglim, San Francisco, CA, Paule Anglim, San Francisco, CA,
Sept.–Oct. 2003.Sept.–Oct. 2003.
Kent RushKent Rush: solo show, : solo show,
Photography—Mixed Photography—Mixed
MediaMedia,Amarillo Museum of Art, ,Amarillo Museum of Art,
June–Aug. 2003.June–Aug. 2003.
1972Deborah CorsiniDeborah Corsini: solo show, : solo show, Past/Past/
Present, Tapestries and Wedge WeavesPresent, Tapestries and Wedge Weaves, ,
charcoal on plywood, charcoal on plywood, By By
Women, About WomenWomen, About Women, Gallery , Gallery
Artel, Pensacola, FL; group Artel, Pensacola, FL; group
show, show, Art After DarkArt After Dark, Pensacola , Pensacola
Museum of Art, Pensacola, FL; Museum of Art, Pensacola, FL;
awarded, Best of Show, Beaux awarded, Best of Show, Beaux
Arts Exhibition, Art and De- Arts Exhibition, Art and De-
sign Society of Ft. Walton Beach, sign Society of Ft. Walton Beach,
FL, Feb. 2003; awarded First FL, Feb. 2003; awarded First
Place, Acrylic Painting, Pensacola Place, Acrylic Painting, Pensacola
Interstate Fine Art Exhibition, Interstate Fine Art Exhibition,
Oct. 2002; lecturer, “Heat-Fixable Oct. 2002; lecturer, “Heat-Fixable
New Media,” Art and Design New Media,” Art and Design
Society of Ft. Walton Beach, Ft. Society of Ft. Walton Beach, Ft.
Walton Yacht Club; juror, Walton Yacht Club; juror, Sigmund Sigmund
Freud’s DreamsFreud’s Dreams, Artel Gallery, , Artel Gallery,
Pensacola, FL, Feb. 2003.Pensacola, FL, Feb. 2003.
1975Marc KatanoMarc Katano: solo show, : solo show, Recent Recent
WorkWork, The Contemporary Museum , The Contemporary Museum
at First Hawaiian Center, at First Hawaiian Center,
Honolulu, HI, May–Sept. 2003.Honolulu, HI, May–Sept. 2003.
Priscilla SpitlerPriscilla Spitler: awarded, : awarded,
Jury Prize for Binding, Jury Prize for Binding, Helen Helen
Warren DeGolyer Triennial Exhibition Warren DeGolyer Triennial Exhibition
and Competition for American and Competition for American
BookbindingBookbinding, Bridwell Library, , Bridwell Library,
Marc Katano, Marc Katano, Redline #8Redline #8, 2003, 2003
25
Southern Methodist Univers-
ity, Dallas, TX, June–July 2003.
1976
Mark Bowles: solo show, Recent
Abstracts, Epperson Gallery,
Crockett, CA, Mar. 2003; solo
show, Reflections of Yosemite: Recent
Paintings from the 2003 Artist-
in-Residence Program, Art Foundry
Gallery, Sacramento, CA, July–
Aug. 2003; group show, Wiford and
Vogt, Santa Fe, NM; group show,
Expression in Fine Art, Santa Fe,
NM; group show, Friend of the River,
20th St. Gallery, Sacramento,
CA; group show, Invitational Art
Auction, Crocker Art Museum,
Sacramento, CA; commission,
eight large-scale paintings,
Brazilian Court Hotel, Palm
Beach, FL.
Diane Fabian Fabiano: group
show, Long Beach Arts Gal-
lery, Long Beach, CA, June–July
2003; group show, Small
Works, So. California Women’s
Caucus for the Arts Gallery,
Los Angeles, CA, June 28–Aug. 15
2003; group show, Variety is the
Spice, West Side Art, Los Angeles,
CA, June 2003.
Sheila O’Hara: solo show, 989
Market Street, San Francisco,
CA, Apr.–July 2003; group show,
Inspired Objects—The Crafts of
Mendocino County, Grace Hudson
Museum, Ukiah, CA, May–Aug.
2003; California Looms: Woven
and Constructed, Craft and Folk Art
Museum, Los Angeles, CA, Sept.
2002–Mar. 2003; The Curatorial Eye,
Sonoma Museum of Visual Art,
Santa Rosa, CA, Jan.–Mar. 2003;
Innovations in Fiberart, Sebastopol
Center for the Arts, Sebastopol,
CA, Feb.–Mar. 2003; donated,
Blossom Creek tapestry, given
to Cheju, South Korea, Santa
Rosa, CA’s sister city, by Mayor
Sharon Wright; keynote speaker,
Conference of the Northern
California Handweavers, Nevada
County Fairgrounds, May 2003;
published, Handwoven magazine,
Sept./Oct. 2002; taught,
Mendocino Community College,
Ukiah, CA, 2002–3.
1978Marjorie J. Rubin: solo show,
Growing in the Darkness, Gallery 110,
Seattle, WA, June 2003.
1981Cynthia M. Baird: group show,
Variety is the Spice, West Side Art,
Los Angeles, CA, June 2003.
Richard Duggan: designed and
produced, Mokupapapa: Hawaii’s
Remote Coral Reef Discovery
Center, Hilo, HI, May; designed
and produced, Hanauma Bay
Education Center, HI; group show,
Keepers of the Flame, The Arts at
Marks Garage, Honolulu, HI,
May–June 2003.
Bennett Harris Horrowitz:
published, CD, “Resonator-
Acoustic Blues Guitar, Vocal and
Harmonica,” June 2003.
Hulleah Tsinhnahjinnie:
awarded, Eiteljorg Fellowship;
group show, Eiteljorg Fellow-
ship Show, Eiteljorg Museum,
Indianapolis, IN, Nov. 2003–
Feb. 2004.
1982Jennifer Bain: group show,
Landscapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA,
June–Aug. 2003.
1983Annette Goldberg: group show,
The Big Tree Project, Bedford
Gallery, Dean Lesher Center for
the Arts, Walnut Creek,
CA, June–Aug. 2003
Robert Simons, Even Here Too, 1974
1984Emily Lazarre: solo show, Emily
Lazarre—Oil on Paper Collages,
Fresno Art Museum, Fresno, CA,
Mar.–June 2003; group show,
Landscapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA,
June–Aug. 2003.
Josef Venker: group show, Con-
temporary Jesuit Artists, St. Louis
University Museum of Art, St.
Louis, MO, Apr.–Sept. 2003;
received tenure, assistant pro-
fessor of fine art, Seattle
University, Seattle, WA.
1986David Burton: group show, The
Big Tree Project, Bedford Gallery,
Dean Lesher Center for the Arts,
Walnut Creek, CA, June–
Aug. 2003.
1987Erik Adigard: group show,
American Design, Denver Art
Museum, traveling to Miami,
FL; New York City, NY; and
Memphis, TN; Feb. 2002–
Feb. 2004.
Katherine McKay: taught,
Colored Pencil Workshop,
Mendocino Art Center, April
2003; group show, Instructors’
Exhibit, Mendocino Art Center,
Mendocino, CA, Mar.–Apr.
2003; group show, Instructors’
Exhibit, Richmond Art Center,
Richmond, CA, Mar.-Apr. 2003;
group show, Art Faculty Exhibit,
UC Berkeley Extension Program,
San Francisco, CA, Mar.–May
2003; group show, CCA Alumni
Exhibit, The Grey Whale; Fort
Bragg, CA, June–Aug. 2003.
Yoshitomo Saito: solo show,
Marshall University Berke Art
Gallery, Huntington, WV,
2003; group shows: Sight Unseen—
The 120th Annual Exhibition, San
Francisco Art Institute, San Fran-
cisco, CA, Jan. 2002; Outdoor
Sculpture Show, Snowshoe Inst-
itute, Snowshoe, WV, Aug.
2002; 15th Anniversary Exhibition,
Haines Gallery, San Francisco,
CA, Sept. 2002; Japanese Shikishi
Art, Bedford Gallery, Walnut
Creek, CA, Nov. 2002; 8th Inter-
national Shoebox Sculpture,
University of Hawaii Art Gallery,
Honolulu, HI, traveling to Tai-
wan, Guam, HI, CA, PA, OH, SD,
and IA through 2005; Art on View
2003, Dairy Barn Cultural Arts
Center, Athens, OH, 2003; San
Francisco International Art Exposition,
Fort Mason Center, San Francisco,
CA, 2003.
Ann Weber: featured, “Bay Area
Artists,” KQED, Apr. 2003; group
show, The Big Tree Project, Bedford
Gallery, Dean Lesher Center for
the Arts, Walnut Creek, CA, June–
Aug. 2003
1988Donna Fenstermaker: group
show, Landscapes, Seascapes, Vantage
Points, The Grey Whale, Fort
Bragg, CA, June–Aug. 2003.
Lampo Leong: solo show, Kotin-
sky Gallery, Pompton Lakes,
NJ; Eastern Kentucky University,
Richmond, KY; group shows:
Ninth Great Plains National Art Exhi-
bition, Fort Hays State Uni-
versity, KS, 2003; 4 to Go, Maude
Kerns Art Center, Eugene, OR,
2003; Jane T. Walsh Juried Show, Art
Guild of Burlington, Burling-
ton, IA, 2003; 53 Annual Quad-
State Juried Exhibition, Quincy
Art Center, Quincy, IL, 2003;
Memphis/Germantown Art League 8th
National Juried Exhibition, Memphis,
TN, 2003; Current Work 2003: A Nat-
ional Competition, Fayetteville
State University, NC, 2003; Ab-
straction from Nature, Machine
Shop Gallery, Washington, MO,
2003; Englewood Arts National
Juried Art Show, Museum of Out-
door Arts, Englewood, CO,
2003; Two By Two: Ceramic Sculpture
Biennial, Eastern Washington
University, 2003; On/Of Paper 2
Exhibition, Cloyde Snook Gall-
ery, Adams State College,
Alamosa, CO, 2003.
Gabrielle Thormann: group
shows: Works on Paper SF/NY/Sheila O’Hara, Blossom Creek, 2002
26
LA, Oct. 2003, San Luis Obispo
Art Center; January Juried Show,
Gallery Route One, Pt. Reyes, CA,
Jan. 2003; Visual Aid’s Big Deal 2002,
SomaArts, San Francisco; open
studio, Developing Environments,
San Francisco, CA, Oct. 2002;
The Living LABoratory, A Residency
Installation by Lise Swenson, The
Lab, San Francisco, CA, Sept–
Oct. 2002; Let it Breed: C.A.L.F.
(Coalition of Artists and Life Forms)
5th Anniversary Exhibition, Bio
Arts Gallery, Sausalito, CA, May
2002; Forms, Patterns, Reflections,
Sebastopol Center for the Arts,
Sebastopol, CA, Mar.–May
2001; artist in residence, Dorland
Mountain Arts Colony, Temecula,
CA, Nov.-Dec. 2002; taught,
outdoor drawingworkshop,
“Abstracting Nature,” Sunnyside
Conservatory, San Francisco,
CA, April 2002.
1989Susan Leibowitz Steinman:
group show, Pacific Rim Sculptors
Group Invitational, Oakland
Museum of California at City
Center Gallery 555, Oakland,
CA, Jan.–Apr. 2003.
Florence Yoo: featured, New
York University Music Showcase,
New York, NY, Apr. 2003; solo
show, Florence Yoo/Indelible, Cobi’s
Place, New York, NY, May 2003.
1990Christine Harrison: group
show, Maryhill Museum of Art
Outdoor Sculpture Invitational
2003, Goldendale, WA, Mar.–Nov.
2003; adjunct professor, Lesely
University and Tillamook Bay
Community College.
Ana Maria Hernando: solo show,
Bryant St. Gallery, Palo Alto, CA;
group shows: The Spines That Bind:
A Survey of Contemporary Artist-
Made Books, Buddy Holly Center,
Lubbock, TX, 2003; CCA Alumni
Exhibition Series, Andrea Schwartz
Gallery, San Francisco, CA, 2003;
Avant-Garden, Boulder Museum
of Contemporary Art, Boulder,
CO, 2003; I-25, Representing
Boulder, Sangre de Cristo Arts
and Conference Center, Pueblo,
CO, 2003; Exhibitrek Gallery,
Boulder, CO, 2002 and 2003; ID
Project, Museum of Contemporary
Art, Denver, CO, 2002; Old
Firehouse Gallery, Longmont, CO,
2002; The Creative Force Collaborative,
Boulder, CO, 2002; faculty,
Naropa University, Boulder, CO,
2003; Of Work and Earth, project
with 5th graders at Columbine
Elementary, Longmont, CO,
2002; ID project, MCA Denver
and Samsonite, Denver, CO,
2002; vice president, Board
of Directors, Boulder Museum
of Contemporary Art, Boulder,
CO, 2002; published: Denver Post,
Denver, CO, May 2003; Sunday
Daily Camera, Boulder, CO, March
2002; New American Paintings
Catalogue, #36, Open Studios
Press, Wellesley, MA, 2001.
1991Taraneh Hemami: solo show,
Hall of Reflections, San Francisco
Arts Commission Gallery, San
Francisco, CA, Sept.–Oct. 2002;
group show, 6th International
Sharjah Biennial, Sharjah, UAE,
May 2003; awarded, California
Council for Humanities,
California Stories, spring 2003;
solo show, Richmond Health
Center, Aug. 2003; solo show,
Persian Center, summer 2003.
Paula Poole: group show,
Landscapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA,
June–Aug. 2003.
1992Marlene Aron: group shows:
Dreams of Resistance, Mission
Cultural Center, San Francisco,
CA, Jan. 2003; Wish You Were
Here! Postcards From Our Friends,
A.I.R. Gallery, New York, NY,
June-July 2003; Quatrain: Four
Visions, Herger Gallery, Solano
County Community College,
Suisun, CA, March 2003;
published, “Balancing Tradition
and Innovation: Pittsburgh,”
Sculpture magazine, June 2001;
reviewed, “Two Artists Offer Way
to Reflect on Tragedy,” Pittsburgh
Post-Gazette, Pittsburgh, PA, Dec.
2001; featured, “Home Grown,”
The Indiana Gazette, Indiana, PA,
Nov. 2001.
China Blue: solo show,
Architectural Therapy, Lance Fung
Gallery, New York, NY, June–
July 2003; award, Who’s Who
in America, Who’s Who in the
World, Who’s Who of Women.
Eric Johnson: solo show, Overview,
Andrea Schwartz Gallery, San
Francisco, CA, June–July 2003.
Stephen Sheffield: com-
missioned photomontage, Union
Beer Company, Brooklyn, NY.
1993Amber Eagle: show, Muestra 2,
World Trade Center, Mexico City,
2003; exhibit, Trayectorias Internas,
Museum of Contemporary
Art Alfredo Zalce, Morelia,
Michoacan, Mexico, 2003; show,
Sweetscapes, Moody Gallery,
Houston, TX, 2002; show,
Cavernas Escarchadas, Universidad
Autonoma de Queretaro,
Mexico, 2002.
Erik Eiserling: group show,
Landscapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA,
June–Aug. 2003.
27
Colin Mosher: named senior
associate, Hillier Architects,
Princeton, NJ.
1994Deborah A. Bates: solo show,
From This Ground, Carney
Gallery, Regis College, Weston,
MA, Sept.–Oct. 2003; group
shows: Fountain Street Open
Studios, Framingham, MA,
Apr. 2003; Danforth Museum,
Framingham, MA, May; Voice
and Vision, Massachusetts College
of Art, Boston, MA; named
visiting associate professor,
Massachusetts College of Art,
Boston, MA.
Harrell Fletcher: group show,
Portable Exhibition Venues, work
worn by Kate Pocrass wherever
she may be during the month of
June 2003.
Fain Hancock: group show, All
About Eve, Hang Gallery, Palo Alto,
CA, June 6, 2003.
Ilah Jarvis: artist in residence,
Fundacion Valparaiso, Mojacar,
Spain, Feb. 2003.
Greg Owen: fellowship, Virginia
Center for the Creative Arts,
Sweet Briar, VA, May–June 2003.
1995Sandra Julia Ledesma: attended,
graduate seminar at Smithsonian,
“Interpreting Latino Cultures:
Research and Museums”;
volunteered, with Carmen Lomas
Garza, San Jose Art Museum,
2001; participant, MACLA San
Jose Latino Arts Auction,
June 2003.
Teresa Scarpulla: solo show,
Metaphysical Body Parts, LunarBase,
Inc., Brooklyn, NY, Feb.–
Mar. 2003.
1996Rose Callahan: group show,
Visionaries, Blue Heron Arts Center,
New York, NY, Mar.–Apr.
Geoff Chadsey: solo show,
Drawings, James Harris Gallery,
Seattle, WA; drawing part of
permanent collection, From
Matisse to Beyond, SFMOMA, Dec.
2002–present; group show, Picture
This, Spanganga, July 2003;
awarded, Fine Arts Work Center
Visual Artist Winter Fellowship,
Provincetown, MA.
Amy Conover: appointed to
manage National Design
Awards, Cooper-Hewitt National
Design Museum.
Jan Freeman Long: group show,
Landscapes, Seascapes, Vantage Points,
Grey Whale Inn, Fort Bragg, CA,
June–Aug. 2003.
1997Kent Alexander: group show,
Squares: Painters as Relics or Rebels,
Richmond Art Center, Rich-
mond, CA, June–Aug.; artwork in
movie, Simone; artwork in movie,
Freaky Friday.
Steven Robert Barich: group
shows: Spacescapes-Landlines, TENT,
Rotterdam, Netherlands, May
2003; The Great Debate, Budget
Gallery, San Francisco, CA, June
2003; PrintROOM, Room: Art Space,
Rotterdam, Netherlands, March
2003; ROOM the Shop, Room: Art
Space, Rotterdam, Netherlands,
Dec. 2002; CBK Project Subsidie,
Centrum Beldeende Kunst,
Rotterdam, Netherlands, Sept.
2002–3.
Ezra Li Eismont: solo show,
Altered States, Gallery A.D., San
Jose, CA, June 2003; group
show, Collab, Punch Gallery, San
Francisco, CA, May 2003; group
show, The Apex, Cappella Event
Center, San Francisco, CA,
Aug. 2003.
Sian Oblak: group show, Gallery
Paule Anglim, July 2003.
Lynn Sondag: group show,
Landscapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA,
June–Aug. 2003.
Shalene Valenzuela: solo show,
A Post 2/14 World—New Work by
Shalene Valenzuela, Cricket Engine
Studio and Gallery, Oakland, CA,
Mar. 2003.
1998Curtis Arima: group shows:
Chess: Contemporary Chessmen,
Velvet Da Vinci Gallery, San
Francisco, CA, May 2003; Snag:
A Metal Arts Guild Exhibition,
Oakland Museum of California
Collector’s Gallery, Oakland, CA,
May–June 2003; Instructor’s Show,
Kids ‘N’ Clay Gallery, Berkeley,
CA, May–June 2003; Big LITTLE:
Jeweler and Sculptors Making it in
Metal, Craft and Cultural Arts
Gallery, Oakland, CA, May–June
2003; Metal, Virginia Breier
Gallery, San Francisco, CA,
May–June 2003; Asian Roots,
Western Soil: Visual Poetry in Metal
2003, Nihonmachi, Japantown,
San Francisco, CA, May–Aug.
2003; Exhibition in Motion, SNAG
Conference, San Francisco, CA,
May 2003; Gallery Flux, San
Francisco, CA, ongoing.
Pamela Cobb: group show,
Landscapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA,
June–Aug. 2003.
Stephanie Dean: published
and featured, Chicago Artist’s
Coalition News, Chicago, IL, May
2003; sold two photographs,
Belgravia Group, Ltd. for 530 N.
Lakeshore Drive, Chicago, IL;
awarded scholarship, Union
League Club of Chicago’s Civic
and Arts Foundation; published
28
photograph, album cover,
“Toshack Highway vs. siansphe-
ric, Magnetic Morning/Aspirin
Age” Sonic Unyon, Ontario,
Canada; published, “Symptom:
Photographs by Stephanie
Dean, Paintings by Narangkar
Khalsa,” Kitchen Sink magazine,
winter 2003.
Pat Dernham: group show,
Landscapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA,
June–Aug. 2003.
Bryan Nash Gill: solo show, Blow
Down, DeCordova Museum and
Sculpture Park, Lincoln, MA,
Jan.–Aug. 2003.
Allison Lasley: group show,
Works by Allison Lasley, Art Station
Contemporary Arts Center, Stone
Mountain, GA, June–Aug.
Remi Rubel: group show, The
Big Tree Project, Bedford Gallery,
Dean Lesher Center for the Arts,
Walnut Creek, CA, June–
Aug. 2003.
1999Brooke Fletcher: group show,
Landscapes, Seascapes, Vantage Points,
The Grey Whale, Fort Bragg, CA
June–Aug. 2003.
Desiree Holman: group show,
Portable Exhibition Venues, work
worn by Kate Pocrass wherever
she may be during the month of
June 2003.
Narangkar Khalsa: solo show,
Mojo’s, Oakland, CA, Jan.–Mar.
2003; group shows: Symptom,
21 Grand, Oakland, CA, June
2002; Priced to Sell, Ardency
Gallery, Oakland, CA, Oct. 2002;
published, Kitchen Sink maga-
zine, Issue #2.
Chris Oliveria: solo show, Things
Can Get Upside Down in This World…I
Hope You Are Resilient, May 2003;
group show, Yerba Buena Center
for the Arts, fall 2003.
Amos Scully: group show, The
Big Tree Project, Bedford Gallery,
Dean Lesher Center for the Arts,
Walnut Creek, CA, June–
Aug. 2003.
2000Eve Chang: solo show, Public/
private, PCC Art Gallery, Pasadena,
CA, June–July 2003.
Alexandra A. Grant: group show,
CCA alumni exhibition series,
Andrea Schwartz Gallery, San
Francisco, CA, July 2003.
Shane Montgomery: group show,
Fictional Science and Alternate Worlds,
HEREart Gallery, New York, NY,
May–June 2003.
Marina Vendrell: group show,
Catalyst, Oakland Art Gallery,
Oakland, CA, Mar.–May 2003.
Anna Von Mertens: solo show,
MATRIX 207/Suggested North Points,
Berkeley Art Museum, Berkeley,
CA, July–Sept. 2003.
2001Libby Black: group show, Portable
Exhibition Venues, work worn by
Kate Pocrass wherever she may
be during the month of June 2003.
Jeanette Bokhour: group show,
Construction/Deconstruction, Big
Eric Johnson, Ocean Study, 2003
29
Pagoda, San Francisco, CA,
Aug. 2003.
Patrick Dintino, solo show,
Big Pagoda, San Francisco, CA,
June 2003; group show, Andrea
Schwartz Gallery, San Francisco,
CA, May 2003.
Arthur Krakower: group show,
Smith Anderson Gallery, Palo
Alto, CA, July 2003.
Bob Lawless: awarded, Murphy
Fellowship, The Herringer Family
Foundation Prize for Excellence
in Art; group show, Murphy
Fellowship Exhibit, San Francisco
Arts Commission Gallery, San
Francisco, CA, July–Aug. 2003.
Greg Silva: group show, Holiday
Invitational, OXOXO Gallery,
Baltimore, MD and Stone Harbor,
NJ, Nov. 2002–Jan. 2003.
Marcia Weisbrot: group shows:
Mobilivre/Bookmobile, touring
U.S. and Canada, 2003; PDBA
exhibit, Mechanics Institute, San
Francisco, CA, 2003; Crossing
Bridges, Marketwatch, San
Francisco, CA, June–Sept. 2003;
Re-imaging books, San Mateo Public
Library, San Mateo, CA, Jan.
2003; La Petite X, Alder Gallery,
Coburg, Oregon, Nov.–Dec. 2002;
1st Annual Book Jam, Foothill
College, Mountain View, CA,
Oct. 2002; lecture, “Pencilhead
Press: From the Personal to the
Political in Artist’s Books,” San
Francisco Center for the Book,
San Francisco, CA, May 2003.
Eugene Young: published, 32
illustrations, Ophidian 2350
collectible card game, Fleet
Trading Cards International.
2002David Hevel: group show,
Fictional Science and Alternate Worlds,
HEREart Gallery, New York, NY,
May–June 2003.
Chicory Miles: group show,
Fictional Science and Alternate Worlds,
HEREart Gallery, New York, NY,
May–June 2003.
Zoe Nemeth: group show,
Fictional Science and Alternate Worlds,
HEREart Gallery, New York, NY,
May–June 2003.
Cristina Rodriguez: group show,
Fictional Science and Alternate Worlds,
HEREart Gallery, New York, NY,
May–June 2003.
30
Mark Bowles, Winter Falls in Yosemite, 2003
Roberta Therese “Tre” Arenz BFA 1975
May 8, 2003, Portland, OR
Henry E. Costa
BA 1950
May 1, 2003, Millbrae, CA
Curran A. “Johnny’’ Johnson, Jr. March 28, 2003, Canton, CT
Curtis H. Palmer
MFA 1969
December 12, 2002, Wayzata, MN
John “Jack” Frederick Vickers
BA Ed 1949
March 12, 2003, Vallejo, CA
Robert H. Bolman
Trustee Emeritus Robert H. Bolman died on March
12, 2003. He was ninety-seven. Bolman joined
the college’s Board of Trustees in 1958. He served
on both the Development and Audit and Finance
Committees, and was board chair from 1965 to 1968.
In 1970, on his retirement from the Board, he was
elected trustee emeritus, an honorary title bestowed
on only a handful of trustees. Bolman had a dis-
tinguished career in banking and management
consulting and an impressive record of service with
civic organizations including the United Fund, the
World Affairs Council, and as trustee of the Oakland
Museum. His survivors include his wife, Edith, and
daughters Gay Stern and Sylvia Bolman Fones.
Carl Jennings Carl Jennings died on May 13, 2003, at the age
of ninety-three. A third-generation metal crafts-
person, he had worked in iron for more than
seventy years. After graduating from the college
in 1934, he worked in a number of shops before
opening El Diablo Forge in Lafayette. In 1969 he
moved his studio to Sonoma. Perhaps his finest
masterpiece is his Sonoma home, which he and
his late wife, Elizabeth, designed and constructed,
crafting every detail down to the nails and
screws. During his long and distinguished career,
Jennings was the recipient of numerous honors
and awards, including induction into the College
of Fellows by the American Crafts Council in
1988. A retrospective exhibition of his work was
held at the National Ornamental Metal Museum
in Memphis in 1990.
Wolfgang Lederer
Renowned designer, illustrator, and educator
Wolfgang Lederer died on May 13, 2003. He was
ninety-one. As a design practitioner and teach-
er for more than sixty years, Lederer defined and
shaped design practice in the Bay Area and on
the West Coast. He was appointed director of the
CCA School of Design in 1950. After his retire-
ment in 1980, he was designated professor emeritus.
He was active professionally almost to the end,
with a retrospective exhibition in 2000 at the San
Francisco Center for the Book and a prize for
excellence in typography from the California Book
Club in 2001. Lederer is survived by his wife of
In Memoriam
31
Left to right: Hugo Steccati, Hanni Lederer, Wolfgang Lederer
Carl Jennings
sixty years, Hanni Lederer; sons Tom and Andrew;
and grandchildren Katy and Mark. A memorial gath-
ering was held on June 14 at the Oakland campus.
Donations may be made to the Wolfgang Lederer
Memorial Scholarship c/o CCA Advancement Office,
5212 Broadway, Oakland, CA 94618.
Walter Menrath Walter Menrath died on July 13, 2003. He was eighty-
two and had served on the faculty for thirty-nine
years, teaching courses in political sociology, art and
cultural history, and philosophy. He taught until
two months before his death. He leaves Maryellen
Himell, loving companion and life partner of
twenty-nine years; Nina Menrath, the mother of
his children, to whom he was married from 1955
to 1968 and with whom he remained close friends;
sons Lorenz and Thomas; daughters-in-law
Margaret Menrath and Kathryn McGill; and grand-
daughters Elizabeth and Madeline Menrath. A
celebration of Menrath’s life and career took place
on September 6 on the Oakland campus. Contri-
butions to the Walter J. Menrath Scholarship support
an annual award in the humanities and sciences
for undergraduates. Donations may be sent to the
CCA Advancement Office, 5212 Broadway,
Oakland, CA 94618.
Gertrude Schaufel Beloved friend and colleague Gertrude Schaufel
passed away on April 20 at the age of eighty-two.
As CCA receptionist for thirty-four years,
Gertrude was the heart and soul of the college.
Generations of students, faculty, and staff benefited
from her many acts of kindness and gracious
helpfulness. On May 2 members of the college com-
munity gathered in Oliver Art Center to share
their memories of this remarkable woman. The
Gertrude Schaufel Memorial Scholarship has
32
Dean Snyder
Retired faculty member Dean Snyder died on March
6, 2003, at the age of seventy-five. He graduated
from the college in 1964 with a BFA in industrial
design and began teaching here the following
spring. Snyder taught for twenty-seven years, retir-
ing as a full professor in 1991. He was program
head from 1982 to 1986 and served in various advis-
ing capacities as well as on the Academic Council.
He was instrumental in growing the Industrial
Design Program after it was reinstated in the 1980s.
Snyder was a very generous member of the CCA
community, known especially for his teaching and
mentorship. Survivors include his wife, Sally,
and his daughter, Deana Green (BFA 1978). A cele-
bration of Dean Snyder’s life took place at the
Snyder home on March 16.
been established in her honor. Donations
may be sent to California College of the Arts,
President’s Office, 5212 Broadway, Oakland, CA
94618. The scholarship will be awarded to a
first-year student.
Little Smothering for Gertrude
Someone dies who you liked a great deal
but didn’t know well: a little smothering where
the almost transparent flame
vanishes, is swallowed by a pocket
of smoke, forming into a pocket
of smoke—its gray flame bent down
inside—no longer sensing the smallest
needs, not now capable of being the perfect
plume from nowhere, the quiet radiance for one
second more—having slipped as the black seal
down ... down for a minute, many minutes,
more minutes than one cares to count.
—Stephen Ajay
Chair, Creative Writing
Gertrude Schaufel photo: Douglas Sandberg
Walter Menrath
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