glance fall 2007
DESCRIPTION
Glance Fall 2007TRANSCRIPT
{ a publication for the CCA Community }
California College of the arts
san franCisCo & oakl and
FAll 2007 : : Volume 16, no. 1
Contents
2 IndustryCollaborationsEnhancetheStudentExperience
8 AlumniProfiles:
CharlesGlaubitz,MiriamWilson,GregangeloHerrera
14 WattisInstituteSpringExhibitions
16 CentennialCampaignUpdate
17 CentennialExhibitions
18 NewPrograms,Faculty& Staff
20 CentennialGala&ThreadsFashionShow
26 PresidentialSearchUpdate&NewTrustees
28 Awards&Accolades
32 FacultyNotes
37 Bookshelf
40 AlumniNotes
48 InMemoriam
49 BackwardGlance
GlanceFAll 2007 : : Volume 16, no. 1
Director of Publicationserin l ampe
Editorlindsey Westbrook
Managing EditorJ im norrena
Contributorssusan avil a
stephen beal
Chris bliss
hannah eldredge
Cl aire fitzsimmons
kim lessard
sheri mckenzie
marguerite rigoglioso
brenda tuCker
lindsey Westbrook
Designsputnik CCa
a student design team
Faculty Advisorbob aufuldish
Designerportia monberg
Photo creditsall artworks are reproduced with the kind permission of the artists and/or their representatives, copyright the artists.
all images appear courtesy the artists unless noted otherwise:
Cover, back cover, pp. 2, 6 (top), 7: portia monberg; p.4 (left): karl petzke; pp. 4 (top), 5, 31: fuseproject; p. 6:
oblio Jenkins; p. 17 (top): oakland museum of California, gift of the art guild and the reichel trust; p. 17 (bottom):
© estate of robert arneson / licensed by vaga, new york, ny, collection of the fine arts museums of san francisco,
gift of manuel neri, printed by timothy berry, published by landfall press inc., Chicago; pp. 20–21: stevan nordstrom
productions; p. 22: thomas Jon gibbons; p. 24: (1, 2) robert adler photography, (3) swanda & schindler digital
photography, (4, 5, 6) drew altizer photography, courtesy san francisco museum of modern art; p. 25: (1) robert
adler photography, (2) stuart brinin photography, (3, 4) drew altizer photography, courtesy san francisco museum
of modern art; p. 32 (top): published by Crown point press, san francisco; p. 34 (bottom): sibila savage; p. 35: courtesy
intersection for the arts, san francisco; p. 36 (bottom left): collection of the san francisco museum of modern art,
gift of the artist and paule anglim; p. 40: courtesy rena bransten gallery, san francisco; p. 41: courtesy Johansson
projects, oakland; p. 49: courtesy the archives of California College of the arts, meyer library, oakland.
Glance is published twice a year by the
CCa Communications department
1111 eighth street
san francisco Ca 94107
Write to us at [email protected]
Change of address? please notify
CCa advancement office
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printed by st. Croix press inc.
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Letter from the Chair
Dear alumni and friends of CCA,
We have much to be proud of at California College of the Arts. This year we
welcome 200 new first-year students—the largest freshman class ever. And
our centennial celebration continues with a major retrospective exhibi-
tion at the Oakland Museum of California as well as shows at the de Young
and other local museums and galleries (see page 17 for details).
The Board of Trustees is conducting a national search for the school’s
next president. While at this stage we must maintain confidentiality,
we can report that we are very pleased with the level of interest and the
high caliber of the candidates. Updates on this process are available at
www.cca.edu/about/president, and we welcome your input at every stage
of the search process.
Trustees and alumni are working to secure the final $2.4 million to
complete CCA’s $27.5 million Centennial Campaign. This campaign provides
critical support for our most important priorities: improved facilities,
increased scholarship funds, and seed money for new academic programs.
Two extraordinary challenge grants have been made in conjunction with
the campaign to inspire new donors, and you can read more about them
on page 16. For those who value the role of artists, architects, designers,
writers, and scholars in shaping the world’s future, there is no better time
than now to support the college’s dynamic vision.
Funds raised through the Centennial Campaign are already making a
difference. Construction is complete on the third phase of the San Fran-
cisco campus’s new Graduate Center, which includes media labs, studios
for 100 Fine Arts graduate students, and classrooms that are already booked
solid with graduate and undergraduate courses. More than 20 new named,
endowed scholarship funds have been created and will exist in perpetu-
ity to help deserving students. The Oakland campus is enlivened this fall
by the first class of students enrolled in the Animation Program. And we
are actively planning for the fall 2008 launch of two new programs in San
Francisco: the Graduate Program in Film and the MBA in Design Strategy.
Thank you for your thoughtful interest in CCA.
Sincerely,
Ann Hatch
Chair, Board of Trustees
1 { Glance Fall 2007}
2
iNDUStrY CollaboratioNS Enhance the Student Experience
essential component of a CCA education in architecture or design involves
working with outside companies. These relationships expose students to
real-world projects and give them a taste of professional life. Some programs
of study require internships, and all of them encourage it. And lately,
more and more outside companies are coming to the college to meet the
students on their own turf.
Sponsored studio courses give students the opportunity to concep-
tualize product design within the context of a particular brand. They also
give manufacturers access to the fresh perspectives of next-generation
designers. Recent sponsored collaborations have included a sustainability
studio with the international design firm IDEO, a pet product studio with
the Turkish company Gaia & Gino, and a studio with the South Korean
cell phone manufacturer Pantech.
studio partNerShipS | page No. 3 { paNtech & mcsweeNey’s }
story by Kim lessard,
lindsey Westbrook
& hannah eldredge{ }
ONE
3 { Glance Fall 2007}
Pantech SpoNSoreD StUDio
In the fall 2006 studio sponsored by Pantech, Industrial Design students
took on the future of mobile communications, and specifically the idea of
emotional networking, guided by program chair Yves Béhar and instruc-
tor Noah Reinhertz. The results included such designs as Kristina Lee’s
Inhealth cell phone, which encourages exercise and uses NASA’s ENose
technology to track dietary needs, and Cubby Golden’s Nike+ cell phone,
which uses social-networking technology to allow users to compete in real
time while running in different locations.
Student Chip Beal remarks, “The most valuable thing I learned came
from working with the model shop in Korea. We had to specify, to the
minutest detail, each and every material and color choice. It taught me a
lot about the importance of clear communication when putting together
a prototype. The challenge is to be true to your vision and rigorous about
backing it up with solid visuals and a story.” Another interesting discovery,
he says, was the fact that design doesn’t have to happen over the course of
a semester, or on a computer screen. “You learn more by doing,” he says,
“and design does not need to be a drawn-out, torturous affair. It can be
playful. And sometimes your best idea is your first idea.”
At the end of the course, four students selected for their outstanding
work—Gregory Davis, Kristina Lee, Seth Murray, and Cecilia Nguyen—
flew to Pantech’s headquarters in Seoul to present the cell phone designs
on behalf of the entire class. It was Lee’s first-ever trip abroad, she says,
and “a great opportunity to work with both a large corporation and other
design students from across the world. The communication barrier created
a new experience that was fun and full of charades and misinterpretations.”
Nguyen agrees that it was a great course: “The kind of pressure that
comes from a high-profile class is different, because you know you’re going
to get attention. It’s scary and somehow more real. I had never thought
of a cell phone as a design process from the inside out before. There is
so much fashion and techno-excitement involved with people’s choice of
phones, and I was worried that a project like this might not hold my inter-
est because my point of view is always concept driven rather than about
coolness. But it turned out to be perfect, because that’s what we were
asked to do: to innovate a new concept.”
studio partNerShipS
opposite page, from top: tirshathah huNter, Conduit, 2006
KristiNa Lee, Inhealth, 2006
seth murray, Flirt, 2006
industrial Design chair yves Béhar and his
students brainstorm the next big thing in cell
phone design in the pantech sponsored studio.
4
5 { Glance Fall 2007}
McSweeney’s DeSiGN bUilD
Design Build is a different kind of studio, intended specifically for
advanced Architecture students, and the 2006–7 Design Build course,
taught by Oblio Jenkins and Mabel Wilson with Dwell magazine as the
media sponsor, was the most ambitious one yet. The project: a complete
remodeling of the San Francisco offices of the literary journal McSweeney’s.
“A Design Build course is very different from a regular studio,” says
student Flavia Giraldo. “You experience all the phases of a project and
understand how complex it is. It was really exciting to see it all come
together at the end just like we designed it.”
Dave Eggers, editor of McSweeney’s, met with the 15-student class at
the beginning of the project and described the company’s need for new
shelving, lighting, a conference room, and flexible work spaces. The
students then spent time interviewing the magazine’s seven full-time
employees and observing the office in action in order to design the best
solutions (in the first semester) and build them (in the second).
“The idea was that the students would maximize this space, make
something really unusual and singular, and that we would serve as
clients,” says Eggers. “It’s been a phenomenal project. The students are
geniuses. We were blown away by how good they were and how well
they problem solved every little thing.”
Since McSweeney’s is a nonprofit, it was important to keep costs down,
and the students found creative ways to recycle and reuse materials. They
incorporated the tops of existing desks into the new work pods, which
have small platforms on movable arms that allow the sitter to shift piles
of paper around easily while keeping the main desk surface clear. They
turned a sailboat sail into operable baffles on the building’s skylights to
cut down glare, and they even created a phone booth so employees could
make calls in privacy.
The project ended up stretching into the summer, partly because it was
so ambitious, and also because of unexpected delays in city permitting and
complications in sponsor funding. “We faced a few problems along the way
that were characteristic of a real-world architecture project,” says Giraldo.
Student-made models of new office architecture
for McSweeney’s
studio partNerShipS
6
Student Mary Desing agrees: “I don’t think any of us realized how long
it would take not only to design, but to construct this project. Just coming
up with the shelving details took a great deal of time. We started with a
loose concept and as we developed it, the next challenge was to physically
make what we had designed in a simple and expedient way, down to the
details of the hardware and plywood size.
“I think some of the best ideas came out of group charettes where
we would divide up and tackle a component of the project and then come
together and talk about what we all came up with. When you work in
groups, there is a need for leadership, and everyone has to take a part to
work on. The more diplomatic you can be, the better! I really enjoyed
collaborating with my classmates.”
a sailboat sail transformed into skylight baffles at the McSweeney’s office
7 { Glance Fall 2007}
She’s massive, rotund, winged. Her vagina spews forth quarks, those
infinitesimally small particles that come in and out of existence a million
times a second. She’s the Soft Machine, and she’s the visual creation of
Charles Glaubitz.
Or is she?
Glaubitz himself is not entirely sure whether, as a painter, illustrator,
and installation artist, he’s the author of new worlds or merely a reporter of
unseen realms. He suspects that, at different times, he’s both.
Whatever the case, Glaubitz takes the calling seriously. By giving form
to cosmic principles—and hinting that earthly problems such as environ-
mental destruction and warfare may have much deeper, otherworldly
causes and roots—he hopes his work will stimulate epiphanies of con-
sciousness in others. “Like the artist Alejandro Jodorowsky,” Glaubitz says,
“I believe art is for healing.”
The uncanny realms of the esoteric get star billing in Glaubitz’s draw-
ings. His psychedelic imagery, rendered variously in pen and ink or acrylic,
depicts forces such as greed and consumerism clashing with justice and
humanity. These energies are personified as eerie, fantastical figures that
make multiple appearances in his ongoing series.
Glaubitz’s play with duality is apparent in every aspect of his work,
including his sources of inspiration. “I particularly like comic books,
because they contain all the great mythologies from around the world,”
he says. He also looks to Joseph Campbell, Deepak Chopra, Grant Morrison,
Hayao Miyazaki, George Noory, cave art, and quantum physics.
The hybridity of Glaubitz’s art has its source in his own biography.
Growing up in Mexico with a German American father and a Mexican
mother, he learned how to bounce between worlds. That journey has
included countless literal trips across the border between Tijuana and
San Diego over the last 12 years as he has pursued his career as an artist
and graphic designer.
Glaubitz came to CCA to find his artistic vision. “I had been drawing
and painting since I could remember, but I didn’t know how to tell a story,
how to structure an image, how to communicate a concept. I didn’t feel I
was saying anything,” he reflects. “Teachers such as Dugald Stermer, Barron
Storey, and Vince Perez taught me how to look at things conceptually and
find a way to express my ideas through my art.”
Glaubitz’s messages are both political and spiritual. In one recent
series, more than 100 individual works tell the story of a clash between
an evil, Mickey Mouse–like Capitalist King character and the Gardener,
CharleS Gl aUbitz
Born in 1973 in Tijuana, Mexico
Illustration Program,
graduated in 2001
Lives in Playas de Tijuana, works in Tijuana and San Diego
CUrreNt oCCUpatioN
Artist, illustrator, designer
iNFlUeNCeS at CC a
Mark Bartlett, Vince Perez, Dugald Stermer, Barron Storey
WebSite
www.mrglaubitz.com
crossiNg Borders
Charles Glaubitz
alumni proFileS | page No. 8 { artists & their work }
{ story by Marguerite rigoglioso }
8
a sympathetic defender of nature. For the artist, the story is no mere
fantasy but a depiction of actual machinations on multiple planes of
reality—including our own. “The idea of using consciousness to direct
quarks’ journeys in and out of existence is also a story that teaches us
about the power literally to create reality with our thoughts,” he says.
Now married with two children and living in Tijuana, Glaubitz illus-
trates for the likes of Rolling Stone and Nickelodeon magazines, and he
has had numerous group and solo exhibitions in Mexico, the United States,
and Spain (at such venues as the Museo de Arte Carrillo Gil in Mexico City
and the Museum of Contemporary Art San Diego). He also teaches graphic
design at San Diego City College. But he spends more than half of his time
rendering other worlds. “For me,” he says, “it’s less about commercial
success than about helping people awaken.”
charLes gL auBitz, The Soft Machine, 2007
charLes gLauBitz, Secret Societor, detail, 2006
9 { Glance Fall 2007}
10
aNimatiNg the offBeat
Miriam WilsonDid you know that the average person, while asleep, unknowingly eats at
least four spiders over the course of his or her lifetime? That gruesome
statistic is the inspiration for Ignorance Is Bliss, Miriam Wilson’s comedic
animated short, which made it into the Cannes Film Festival this past May.
When Wilson received the news from her coproducers that their
three-minute film—about a girl who learns in the afterlife that God has a
twisted sense of humor—was chosen over thousands of other entries, she
thought they were joking. But, indeed, not only was the piece shown along
with 900 other shorts in France, but it will appear in the Dingle Film Fes-
tival in Ireland this fall, and it may even make a showing in Spain. “This
film is traveling to places I’ve never been and can’t afford to go,” observes
Wilson, wryly. “I’m actually jealous of it.”
Her foray into short films—she has another one about a pesky health
condition characterized by the sudden intrusion into your personal space
of a bagpipe-playing Scotsman in full regalia—is just the latest develop-
ment in an already impressive creative career. It also pulls together a
background that includes illustration, photography, graphic design, and
comedy sketch writing.
Some of those interests were cemented while she was in the Illustra-
tion Program at CCA. “Bob Ciano rekindled an interest in film I’d had since
my days watching Disney movies and LucasArts video games,” she says.
“Juvenal Acosta made me realize I enjoy writing as much as visual art.”
Wilson’s earlier sources of inspiration include her father, who, she
says, “has a way of making everything that comes out of his mouth
funny,” and her mother, who encouraged her prolific drawing talent from
an early age. “I used to wall myself up in my attic bedroom filling multi-
tudes of sketchbooks with my own cartoon characters.” So impressed was
CCA with her portfolio that the school offered her a Creative Achievement
Award merit scholarship on the spot during her admission interview.
Since graduating with distinction (one of her final projects was a
human-powered bicycle machine that puts sprinkles on cupcakes), she has
had a number of offbeat gigs, such as sketchwriter for the Killing My Lob-
ster comedy troupe in San Francisco. She also has a more straightforward
day job as a graphic artist for Madeleine Corson Design.
Wilson’s main goal now is for her production company, Animated State,
formed last year with her husband and another comedy colleague, to get a
second film into Cannes: “I want to be able to go this time and experience
firsthand the glory of making people giggle in a whole other country.”
MiriaM WilSoN
Born in 1983 in Oakland
Illustration Program,
graduated in 2005
Lives in Oakland, works in San Francisco
CUrreNt oCCUpatioN
Production artist, Madeleine Corson Design
iNFlUeNCeS at CC a Juvenal Acosta, Bob Ciano, Mark Eanes, Robert Hunt, John C. Rogers, Barron Storey
WebSiteS www.themiriam.com
www.animatedstate.net
alumni proFileS
opposite page: miriam wiLsoN,
Satan’s Secret Admirer, 2005
{ story by Marguerite rigoglioso }
11 { Glance Fall 2007}
high veLocity
Gregangelo Herrera
alumni proFileS
GreGaNGelo herrera
Born in 1966 in San Francisco
Individualized Major,
graduated in 1989
Lives and works in San Francisco
CUrreNt oCCUpatioN Artist
iNFlUeNCeS at CC a Harry Critchfield, Gail Fredell
WebSite www.gregangelo.com
Walking through Gregangelo Herrera’s front door is a little like stepping
through Alice’s looking glass. From the Solstice Room to the Eclipse Room
to the Midnight Hall, the whole thing is decorated down to the smallest
detail in Winchester Mystery House–meets–Ali Baba style. Like the pro-
ductions he puts on with his arts and entertainment troupe, Gregangelo
and Velocity Circus, there’s some history there, as well as some fine art,
some fantasy, and some pure, unadulterated ambition to entertain.
The house is actually a museum, and people pay to tour it, with all the
money going to a nonprofit youth arts organization that the artist founded
in 2003. It’s also the headquarters for his business, which employs about
a dozen full-time staff, 70 artists who work as many as three or four of his
events every week, and another 100 or so artists who are on call as needed.
“Some of them are really specialized,” he says. “We might hire a scientist
to create an illuminator, which will light fiber optics, which will become a
tapestry, which is part of a costume, which will go onto an athlete, who’s
on skates as part of a larger ensemble.” The basement is a combination
wardrobe and prop storage facility, costume shop, and office; it hums with
sewing machines, computers, and general activity. He shows off a project
they’re doing for Ghirardelli, creating costumes and headdresses for
chocolate-themed characters.
Herrera takes great pride in the fact that he is not dependent on a
particular gallery or the whims of a couple of important patrons. “We are
all about sustainability in the arts. Most art students come out of college
not knowing what to do, or having very idealistic and impractical visions.
The politics and the business of art are important parts of interdisciplin-
ary knowledge. The core group of our artists are all sustaining themselves,
buying homes.” Many of them have been with the company 15 or 20 years,
and part of his role, he says, is to keep pushing them to develop and ex-
pand what they can do.
His clients range from nonprofits to Fortune 500s to major media
giants, but he doesn’t make corporate art. More and more lately, in fact,
the companies that hire him for their events ask only that he create some-
thing amazing. “They give us carte blanche: ‘Just make it spectacular!’”
And he is constantly pushing the envelope of spectacular. “What we do is
intended to be entertaining, but also very ornate and complex—encrypted
and layered with all kinds of mysticism, stories, and legends. The audi-
ence doesn’t necessarily get every single reference, but they come away
knowing the experience has been more than just pretty.”
{ story by lindsey Westbrook }
12
Herrera seems to run in extremely high gear, partly because he’s one
of those people who doesn’t need much sleep, but also because of the
stimulation that comes from surrounding himself with so many creative
people. His CCA experience, he says, was the same way. He had been
involved in art groups and theater since childhood, but CCA offered the
opportunity to engage with a huge number of artistically inclined indi-
viduals who were passionate about a wide array of pursuits. “Everybody
is inspired by their environment,” he says. “At CCA I enjoyed learning the
foundations of various disciplines, I enjoyed the facilities, the instructors.
But the really important part was learning from the experiences of others.
Seeing who’s succeeding, who’s failing, who’s serious, who’s not serious.”
Art making can be a very introverted process, and the stereotypical artist
is not always inclined to collaborate. In Velocity Circus, however, “we’re
not only bringing different artists together, with their different egos and
passions, but we’re working right on top of each other.”
gregaNgeLo herrera, performance as an illuminated Soul Seeker, 2006
gregaNgeLo herrera, Whirling Dervish, palace of Fine
arts, San Francisco, 1995
13 { Glance Fall 2007}
the WattiS | page No. 14 { contemporary art at cca}
In 2007 the CCA Wattis Institute for Contemporary Arts set out to develop
a radically different concept for programming an art institution. Recently
appointed director JeNS hoFFMaNN and his curatorial team, Cl aire
FitzSiMMoNS and StaCeN berG, launched their new program in Sep-
tember with a diverse range of projects, making an in-depth investigation
of curatorial practice while continuing the Wattis Institute’s reputation as
a challenging, ambitious contemporary art venue. The lineup for spring is
equally exciting:
Apocalypse Now: The Theater of War, opening November 30 and cocurated
by Hoffman and the politically engaged artists JeNNiFer allora and
GUillerMo C alzaDill a, features a number of contemporary artists
whose works deliberately block, resist, and repel the audience. The exhibi-
tion defines war as a universal condition—a language and iconography
of struggle embedded in our social consciousness, personal behaviors, and
everyday realities.
Three permanent exhibitions continue over the winter and spring.
In the constantly transforming Passengers, a number of international
contemporary artists, including ShaNa lUtKer, aNNette KelM, and
the collaborative duo João Maria GUSMão and peDro paiva, present
their first American solo shows. Another ongoing exhibition featuring the
Berlin-based conceptual artist tiNo SehGal will eventually present all
of Sehgal’s existing works to date as well as new works configured specifi-
cally for the Wattis Institute galleries. Americana, an ambitious project
coorganized with CCA’s Graduate Program in Curatorial Practice, is taking
an alphabetical tour of the United States via artworks, historical artifacts,
and other elements.
The Vancouver-based tiM lee is the Wattis Institute’s next Capp Street
Project resident artist. His project, opening January 9, is based on an
intriguing coincidence in San Francisco’s pop-cultural history: the nearly
simultaneous recordings of Steve Martin’s comedy album Let’s Get Small and
Neil Young’s hybrid electric/acoustic record Rust Never Sleeps.
Opening February 8 is part one of Paul McCarthy’s Low Life by the acclaimed
Los Angeles artist paUl MCC arthY. This “total” artwork, presented in a
custom installation environment, will reflect both McCarthy’s own oeuvre
and the diverse range of other artists who have been his collaborators and
inspirations over the past four decades.
Amateurs, opening April 18 and curated by ralph rUGoFF, is the first
major exhibition of recent artworks that embrace amateurism as a critical
aesthetic strategy. Amateurs will reflect on the history of this tendency and
its continuing value in pushing the envelope of art practice.
{ Viewing guide }. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
apoC alYpSe NoW: the theater oF War
November 30, 2007–January 26, 2008
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
paSSeNGerS
ongoing
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
tiNo SehGal: artiSt oF the CeNtUrY
ongoing
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
aMeriC aNa
ongoing (through May 31, 2012)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
C app Street proJeCt: Mario Ybarra Jr.
ongoing (through September 6, 2008)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
C app Street proJeCt: tiM lee
January 9, 2008–January 10, 2009
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
paUl McC arthY’S loW liFe
February 8–April 5, 2008
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
aMateUrS
April 18–June 14, 2008
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
WattiS iNStitUte
Spring Exhibitions
14
tim Lee, Untitled (Steve Martin 1972), 2005
Lead sponsorship for Capp Street Project: Tim Lee and Capp Street Project: Mario Ybarra Jr. is provided by the Nimoy foundation.
Lead sponsorship for Apocalypse Now: The Theater of War is provided by the american center foundation.
Amateurs is made possible by an emily hall tremaine exhibition award.
founding support for cca wattis institute for contempo-rary arts programs has been provided by phyllis c. wattis and Judy and Bill timken.
generous support provided by the phyllis c. wattis foundation, grants for the arts / san francisco hotel tax fund, ann hatch and paul discoe, and the cca curator’s forum.
15 { Glance Fall 2007}
support CC a | page No. 16 { donate}
To expand and enhance its facilities, launch new programs, and honor its
commitment to making education accessible through scholarships, CCA
has launched the Centennial Campaign, the most ambitious fundraising
effort in the school’s history. CCA is just $2.4 million away from reaching
its campaign goal of $27.5 million. The campaign will strengthen the col-
lege and prepare it for its next 100 years of excellence.
Two extraordinary challenge grants have been made to inspire new
donors to invest in CCA. Trustee Barclay Simpson has offered the Simpson
Challenge, which promises $1.85 million to the Centennial Campaign if
CCA can raise an additional $3.7 million in new gifts. And the Reuben &
Muriel Savin Foundation has pledged $500,000 for CCA scholarships if the
college can secure 500 new donors to the campaign between July 15, 2007,
and December 31, 2008.
Your tax-deductible gift will help leverage these significant challenge
grants and provide vital support for the school’s most pressing needs.
Tuition alone does not cover the cost of running a college. CCA is a private,
nonprofit, charitable institution. Only with generous giving by parents,
alumni, and friends can we maintain the quality of our programs.
You can make a gift by sending in this form or by using the envelope
inserted in this issue of Glance. Thank you.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Name
address
city state zip
phone email
my check for $
made payable to CaliForNia ColleGe oF the artS is enclosed.
please charge my visa mastercard in the amount of $
card Number exp
signature
please contact me with information on how to make a stock transfer to cca.
i wish to pledge my gift and will pay the pledge on the following date:
Yes, I will support the cca ceNteNNiaL campaigN!
I would like to make a tax-
deductible gift in the amount of
$
Thank you!Please return this form and your donation in the enclosed envelope, or you can mail or fax it to:
CCA Advancement Department5212 BroadwayOakland CA 94618
Fax: 510.594.3665Tel: 510.594.3787
* Gifts over $50 are eligible to match the Savin Foundation challenge.
Please Give to the CC a CeNteNNial C aMpaiGN
16
The centennial celebration contin-
ues into 2008 with these and other
exhibitions at Bay Area museums
and galleries. For a complete listing
of centennial events and programs,
visit www.cca.edu/100.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
artiStS oF iNveNtioN:
a CeNtUrY oF CC a
through March 16
oaKl aND MUSeUM oF C aliForNia
1000 oak street, oakland
wed.– sat. 10 a.m. – 5 p.m.
suN. NooN – 5 p.m. 510.238.2200 | www.museumca.org
This extensive historical survey of
more than 120 works chronicles a
century of achievements by artists
associated with CCA, including
Robert Arneson, Squeak Carnwath,
John Coplans, Richard Diebenkorn,
Kota Ezawa, Viola Frey, Charles Gill,
David Ireland, Nathan Oliveira,
Leslie Shows, Hank Willis Thomas,
and Peter Voulkos. A section
devoted to 1987–2007, curated by a
peer committee, specifically traces
recent artistic strategies. Curato-
rial consultant Lee Plested joins
acclaimed exhibition designer Ted
Cohen and the Oakland Museum’s
chief curator, Philip Linhares,
to form an all-alumni exhibition
team. A full-color book accompa-
nies the show.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CelebratiNG a CeNteNNial:
CoNteMporarY priNtMaKerS
at CC a
through April 20
De YoUNG MUSeUM
golden gate park, san francisco
tues.– suN. 9:30 a.m. – 5:15 p.m.
fri. opeN uNtiL 8:45 p.m.
415.750.3600 | www.thinker.org
Approximately 25 prints by CCA
alumni and faculty, including
Robert Bechtle, Roy De Forest,
David Ireland, George Miyasaki,
Manuel Neri, Raymond Saunders,
Peter Voulkos, Stan Washburn, and
Paul Wonner. This show of works
from the de Young’s collection is
organized by Karin Breuer, curator
of contemporary graphic art.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
C ChaNGe: CraFt iN oUr FUtUre
through January 27
MUSeUM oF CraFt aND FolK art
51 yerba Buena Lane, san francisco
tues.– fri. 11 a.m.– 6 p.m.
sat.– suN. 11 a.m.– 5 p.m.
415.227.4888 | www.mocfa.org
Distinguished faculty from CCA’s
craft-related departments have
selected works by recent graduates
that best represent the cutting
edge of contemporary craft. Come
and witness the innovative and
creative work being done today
in wood, metal arts, ceramics,
textiles, and glass.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SJMa ColleCtS CC a:
WorKS oN paper FroM the
perMaNeNt ColleCtioN
through February 3
SaN JoSe MUSeUM oF art
110 south market street, san Jose
tues. – suN. 11 a.m.– 5 p.m.
408.271.6840 | www.sjmusart.org
A selection of works on paper by
CCA alumni and faculty, including
Squeak Carnwath, Laurie Reid, and
Richard Diebenkorn.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
C aliForNia ColleGe oF the artS Centennial Exhibitions
at the oakland museum of california: david ireL aNd, Harp, 1991
at the de young museum: roBert arNesoN, California Brick, 1975
CC a at 100 | page No. 17 { Bay area museums }
17 { Glance Fall 2007}
The program’s unique residency structure—five
once-a-month, four-day weekends on campus with
online and networked study in between—offers maxi-
mum flexibility to working professionals from all over
the country, allowing them to maintain their careers
while participating in the program.
For more information or to apply, please visit
www.cca.edu/designmba.
Art in Education teaChiNG iNStitUte
This fall, CCA’s Center for Art and Public Life began
offering the Art in Education Teaching Institute, ad-
dressing a growing need for credentialed art teachers.
This comprehensive, year-round development program
is open to K–12 generalist teachers as well as teaching
artists. Its purpose is to help them better understand
how to teach art and how to integrate it successfully
into other courses, such as reading or math.
Says aNN WettriCh, the center’s associate direc-
tor of arts education, “The AIE Teaching Institute gives
teaching artists the insight, understanding, and skills
they need to collaborate successfully with schools,
providing engaging art and art-integrated lessons that
promote learning across all areas of the curriculum.”
Teaching artists are professionally trained artists
who receive funding from third-party organizations to
teach art in K–12 schools. They often present a solu-
tion for schools whose budget constraints have forced
them to cut art programming. Given the recent deci-
sion by the California governor and state legislature to
allocate $105 million in new annual funding to restore
arts education to the state’s public schools, there will
soon be increased demand for qualified instructors.
For more information about courses or to register,
see www.cca.edu/aie.
new proGraMS | page No. 18 { facuLty & staff}
MBA iN DeSiGN StrateGY CCA’s new MBA in Design Strategy program will admit
its first students in fall 2008. This unique program, the
first of its kind in the United States, unites the study
of design, marketing, finance, and organizational
management to address today’s complex and intercon-
nected market.
“The program is intended to help designers become
business leaders, not merely design leaders,” explains
program chair NathaN SheDroFF, “and create
meaningful, sustainable change in the world. We also
welcome experienced business professionals without
design backgrounds. Both groups will gain the tools
necessary to drive lasting growth in a variety of
organizations through innovative, customer-focused
practices.”
Shedroff, an experienced strategist, author, and
speaker, has assembled an advisory council of business
leaders, including Sara beCKMaN (of UC Berkeley’s
Haas School of Business) and tiM broWN (chief
executive officer of IDEO), to help guide the program.
Brown observes: “Business is a uniquely power-
ful force for change in the world, and designers have
never had more opportunity to create positive impact
by influencing what business does. The more designers
understand about business, the more influential they
will be.”
The program offers an approach to design that
encompasses performance, strategy, and innovation.
Each semester, students develop individual and team
solutions to a variety of economic and social chal-
lenges using design techniques (such as user-centered
research, prototyping, and critique) as well as business
metrics. Sponsored projects allow students to work
with leading businesses. Seminars address traditional
business and organizational issues such as finance,
economics, operations, and marketing, always incorpo-
rating design approaches and processes. Students can
also take advantage of electives in CCA’s other gradu-
ate programs.
18
New teNUre-traCK FaCUltY
The nationally recognized architect and educator
il a berMaN has been named chair of CCA’s under-
graduate and graduate Architecture programs. Berman
comes from Tulane University, where she was associate
dean of the School of Architecture and director of the
graduate program. She initiated URBANbuild, a Tulane
program that is helping revitalize hurricane-damaged
areas of New Orleans. Berman holds a doctorate in
design and a master of design studies in architecture
from Harvard University.
tirza trUe l atiMer is the new chair of the
Graduate Program in Visual and Critical Studies. She
received her PhD in art history from Stanford Univer-
sity in 2003. Latimer publishes work from a lesbian
feminist perspective on a range of topics in the fields
of visual culture, sexual culture, and criticism.
Other new tenure-track faculty members include
aiMee phaN, a Vietnamese American author whose
first book, We Should Never Meet (St. Martin’s Press,
2004), was a Kiriyama Prize notable book and a finalist
for the Asian American Literacy Award. Phan joins
the Writing and Literature faculty. New to the Commu-
nity Arts Program are JohN leañoS, a media artist
who focuses on the convergence of memory, history,
social space, and aesthetics, and SaNJit Sethi, a
sculptor whose works center around ideas of nomad-
ism, national identity, labor, and interdisciplinary
collaboration. Joining the Architecture Program are
aNDreW KUDleSS, who is gaining an international
reputation for his investigations of architecture,
engineering, biology, and computation, and DaviD
GiSSeN, who focuses on the intersection of architec-
ture and nature. JoSeph taNKe is the new Chalsty
Professor of Aesthetics and Philosophy; he recently
received his PhD from Boston College. ColiN oWeN,
CCA’s first tenure-track hire in Industrial Design,
has executed impressive contract work with Nokia;
Skidmore, Owings and Merrill, LLP; Biodesign; and
Wireless Generation.
VP For StUDeNt aFFairS
paMel a D. JeNNiNGS was appointed this past
summer to the newly created position of vice presi-
dent for student affairs. This cabinet-level role was
established to help create the best possible student
experience at CCA, and it is especially important given
the dramatic growth in enrollment in recent years.
Jennings now oversees such areas as student activities,
career services, residential life, counseling, advising,
disability resources, international student affairs,
and student exhibitions.
She comes to CCA from UC Berkeley, where she was
director of admissions, student affairs, and alumni
affairs for the Graduate School of Journalism from
2005 to 2007. Prior to that she spent 10 years as the
director of outreach, retention, and diversity affairs
for UC Berkeley’s graduate division. She has an MFA
in film and television from UCLA and a BA in mass
communications from UC Berkeley.
Staff appoiNtMeNtS
ShaWN briCK: director of financial aid
Noel Dahl: director of graduate admissions
lYNDa SaNJUrJo rUtter: associate vice
president for advancement, individual giving
19 { Glance Fall 2007}
The suggested dress was “up” and 720 guests came duly clad for an evening
of food and fashion. The CCA Centennial Gala and Threads Fashion Show,
held on April 25, exceeded all expectations by bringing in more than
$600,000 in support of the college’s scholarship programs.
The vast Festival Pavilion at Fort Mason Center was beautifully trans-
formed by the designer StaNlee Gatti. The dinner was prepared by
Taste. Renowned San Francisco retailer WilKeS baShForD was honored
with the CCA Fashion Industry Award, and CCA Fashion Design student
ChriStopher WeiSS was announced the winner of the Surface Emerg-
ing Talent Award. The evening culminated with a runway fashion show
featuring designs by CCA’s graduating Fashion Design students.
The college thanks Gala cochairs KaY KiMptoN WalKer and
alliSoN Speer for their vision, leadership, and hard work. Many thanks
also to honorary chair eMilY C arroll and the gala honorary committee
for making this one of our most successful events to date. CCA is especially
grateful to the evening’s lead sponsors.
Centennial Gala & Threads Fashion Show
a rUN{a}WaY SUCCeSS
opposite page:eva KathLeeN garcia,
Modern Interpretation of
Nouveau Deco Glamour, 2007
this page: maggie servais, Fresh Silk
Print Mix, detail, 2007
dress Up | page No. 21 { supportiNg cca }
21 { Glance Fall 2007}
1. Kay KimptoN waLKer & michaeL KrasNy at the Centennial Gala preparty at the home of Norah & NormaN stoNe
2. aLLisoN speer & wiLKes Bashford at the Gala preparty
3. amBer marie & christopher BeNtLy at the Centennial Gala and Threads Fashion Show
4. Norah & NormaN stoNe at the Gala
dress Up
5. carLie wiLmaNs at the Gala preparty
6. Jeffrey fraeNKeL & aNdrew fisher at the Gala preparty
7. gary & o. J . shaNsBy at the Gala
6 7
543
21
22
leaD SpoNSorS 24-Karat {$10,000}Amber Marie and Christopher Bently
C. Diane Christensen
Chris Columbus and Monica Devereux
Suzanne Diamond
Nancy and Pat Forster
Mimi and Peter Haas Fund
Raoul and Martha Kennedy
Byron Kuth and Liz Ranieri
Tony and Celeste Meier
Nicola Miner and Robert Mailer Anderson
Tim Mott and Ann Jones
F. Noel Perry
Michael S. Roth and Kari Weil
Dorothy and George Saxe
Charles and Helen Schwab
Barclay and Sharon Simpson
Bill and Judy Timken
Kay Kimpton Walker and Sandy Walker
Carlie Wilmans
Anita and Ronald Wornick
Janice and Jonathan Zakin
Anonymous
18-Karat {$7,500}Claudia Belcher and Robert Tjian
De La Rosa & Co.
Lorna Meyer and Dennis Calas
Helen Hilton Raiser
Phil Schlein
Mary and Harold Zlot
Anonymous
14-Karat {$5,000}Wilkes Bashford
Kimberly and Simon Blattner
Boucheron
Tecoah and Thomas Bruce
Susan Cummins and Rose Roven
Dwell Magazine
James M. Ford
Ann Hatch and Paul Discoe
The Hellman Family
Hermes
Nancy and Timothy Howes
Beth and Joe Hurwich
Brenda and George Jewett
John and Tina Keker
Sandra Lloyd and Douglass Smith
Leigh Sherwood Matthes
Elaine McKeon
Eileen and Peter Z. Michael
Nancy and Steven Oliver
Mark Petersen and Dana Whitaker
Ronald and Karen Rose
Norma Schlesinger
Ruth and Alan Stein
Cathy and Ned Topham
Christopher E. Vroom
Jack and Susy Wadsworth
Brooks Walker Jr.
{$1,000–$3,500} Linda Allen
Sher Amos
Gretchen and John Berggruen
Frances Bowes
Rena Bransten
Michael E. Broach and Nancy Clark
Heidi and Caley Castelein
City National Bank
Simone Coxe
Bridget Crowe
Karen and John Diefenbach
Andrew Fisher and Jeffry Weisman
Ann and Bob Fisher
Laura and Marshall Front
Emma and Fred Goltz
George Gund III
Kate Harbin and Adam Clammer
Hood & Strong
Linda and Lawrence Howell
Adriane Iann and Christian Stolz
Wallace Jonason
Matthew Kelly and Diane Chapman
Wanda Kownacki and John Holton
Gretchen and Howard Leach
Mark and Kelly Macy
Chris McCutcheon
Alex Mehran
Lisa and John Miller
Deborah Minor
Michael and Robyn Muscardini
Mr. William D. B. Olafsen, ASID
Yurie and Carl Pascarella
Andy and Mary Pilara
Allyson Rusu
O. J. and Gary Shansby
Sotheby’s
Norah and Norman Stone
Laura and Joe Sweeney
Roselyne C. Swig
Francesca Vietor and Mark Hertsgaard
Susan Swig Watkins
Amelia and Brandt Williams
Mrs. Alfred Wilsey
Annie Robinson Woods and Montgomery Woods
{$500–$850} Abercrombie & Fitch
Chris Boskin
Alexandra Bowes and Stephen Williamson
Michael Brennan
Gerry and Bill Brinton
Barbara Brookins-Schneider
Ann Moller Caen
Mei and Herald Chen
John and Mary Conlin
Daniel and Susan Daniloff
Juliette and André de Baubigny
Dixon and Carol Doll Family Foundation
Jennifer Emerson
fuseproject
Ebersole Gaines
Ellene Gurtov-Smith
Haines Gallery
Julie Harkins
Lisabell Heida
Gary Hutton Design
Annalise Hyllmon and C. W. Sattler
Carol and Richard Hyman
Jensen Architects
Richard and Pamela Kramlich
Leddy Maytum Stacy Architects
Kathryn Leighton
Maryon Davies Lewis
Moldaw Family Foundation
Ms. Ann Morhauser
Sally and Robert Nicholson, parents of Bobby Nicholson
John Perez
Cathy and Mike Podell
Laurie Reid
Joan E. Roebuck
Megin Scully
Michael and Mary Servais
Eve Simon
Ron H. Tanovitz and Eve Marie Steccati-Tanovitz
Jay and Susie Tyrrell
Barbara Vermut
Valerie Wade
Kirby Walker and Paul Danielson
Jill Weed
Ann Winblad
Richard and Sue Wollack
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Osterweis Capital Management is delighted to have been a lead sponsor of CCA’s Centennial Gala and Threads Fashion Show for the third consecutive year. We are pleased to join this celebration of the college’s 100-year legacy of educating its students through the practice and study of the arts. Through this investment in CCA’s scholarship program, we have an opportunity to support the designers, architects, artists, and writers of tomorrow.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Levi Strauss Signature® is pleased to have been a lead sponsor of CCA’s Centennial Gala and Threads Fashion Show. Levi Strauss & Co. and CCA share a long history of design leadership in the San Francisco Bay Area, and we are honored to join in celebrating 100 years of CCA.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Saturn was a proud sponsor of the 2007 Centennial Gala and Threads Fashion Show and dis-played the Saturn SKY and the 2007 North American Car of the Year, AURA, on-site at the event. In 2006 Saturn began a major revitalization of its portfolio and now has five new models, includ-ing the OUTLOOK Crossover SUV, the ASTRA Sport Compact, the VUE Compact SUV, the SKY Roadster, and the AURA Sport Sedan as well as two affordable hybrid models, the VUE and AURA Green Line. Saturn recognizes the importance of design innova-tion and is proud to partner with California College of the Arts, which is a leader among American colleges in design education.
23 { Glance Fall 2007}
opeNiNGS & reCeptioNS | page No. 24 { supportiNg cca }
Spotlight
5 6
43
21
24
opposite page: 1. susaN miLLer, susaN swig watKiNs,
Larry suLtaN & NeLLie KiNg soLomoN
at the Wattis institute opening
2. phiL LiNhares & ByroN meyer at the Wattis institute opening
3. sharoN & BarcL ay simpsoN at the Simpson award reception with award winners
reggie stump, patricia esquivias &
gaBrieLLe teschNer
4. JaN zaKiN at SFMoMa’s reception for the exhibition California College of the Arts at 100
5. heLeN hiLtoN raiser & christiNe
murray at SFMoMa’s CCA at 100 reception
6. doLLy & george chammas at SFMoMa’s CCA at 100 reception
this page: 1. JeNNifer BiederBecK & charLot te
wiNtoN at the Wattis institute opening
2. honorary doctorate recipients triN miNh ha
& roBert BechtLe with aNN hatch,
chair of CCa’s board of trustees, at the 2007 commencement reception
3. BarBara & roN KauffmaN with
roseLyNe c. swig at SFMoMa’s CCA at 100 reception
4. miKe & cathy podeLL at SFMoMa’s CCA at 100 reception
43
21
25 { Glance Fall 2007}
update from the boarD | page No. 26 { weLcome new trustees }
Presidential SearCh UpDate
aNN hatCh, chair of the Board of Trustees, reports that the search for
CCA’s next president is progressing well.
Over the summer, members of the search committee met with staff and
faculty on each campus to answer questions about the search and to solicit
input on the expectations for and the desired characteristics of the next
president. Student representatives have organized forums in Oakland and
San Francisco to update students on the process and ask for their input.
The search has attracted a strong, diverse pool of candidates. Eight to
ten first-round interviews will take place in November. Once finalists have
been identified, we hope to be able to offer opportunities for the CCA com-
munity to meet them.
As always, the committee welcomes your ideas, which may be sent
to [email protected]. For the latest information about the search, visit
www.cca.edu/about/president.
New trUSteeS
Deborah ChalStY is the executive director of the Chalsty Foundation,
which is dedicated to supporting artistry and craftsmanship in wood- and
metalworking. She and Maria McVarish, an architect and faculty member
in CCA’s Graduate Program in Design, are business partners in a real estate
development firm. Chalsty is also an emeritus advisory board member of
the Crucible, a nonprofit educational arts collaborative based in Oakland.
She graduated from Harvard Business School and is a former investment
banker. Her hobbies include working with wood and metal.
The Chalsty family recently gave CCA a $300,000 endowed gift to
support the Chalsty Aesthetics and Philosophy Initiative. The grant has
enabled the college to develop new public programs, enhance its librar-
ies, fund faculty development, support research, and create an annual
scholarship award. There is also a new endowed professorship: Joseph
Tanke is the new Chalsty Professor of Aesthetics and Philosophy and began
teaching this fall.
trUSteeS
Diane Christensen, cochair
Raoul Kennedy, cochair
Simon J. Blattner Jr.
Tim Brown
Tecoah Bruce
Susan Cummins
Ann Hatch
Steven H. Oliver
Alan Stein
Judy Timken
FaCUltY
Kim Anno, assistant chair of the Painting/Drawing Program
Barry Katz, president of the Faculty Senate
Emily McVarish, chair of the Appointments, Promotions, and Tenure Committee
StaFF
Julia Rowe, associate dean of students
Helen Frierson, executive assistant, Office of the President
StUDeNtS
Jessica Brier, Graduate Program in Curatorial Practice
Liana Chavarin, Individualized Major
Adam Green, Glass Program
{ Search c o m m i t t e e }
26
CharleS GUiCe is an art dealer and the director of Charles Guice Con-
temporary. He specializes in modern and contemporary art by nationally
and internationally recognized visual artists, and he has sold to important
museums and private collectors throughout the United States and abroad.
Guice is a trustee of the Museum of the African Diaspora (MoAD) in San
Francisco and a member of the Photographs Council at the J. Paul Getty
Museum in Los Angeles. He also serves on the nominating committee for
the Aperture West Book Prize.
Guice represents three artists affiliated with the college: Carrie Mae
Weems, who received an honorary doctorate from CCA in 1999 and served
on the faculty in 1991, Hank Willis Thomas (MFA 2003, MA Visual and
Critical Studies 2004), and Jessica Ingram (MFA 2003).
Prior to his career in art, Guice was an executive in the health care
industry, focusing on workers’ compensation, medical malpractice, and
general liability. He holds a BA in psychology from Trinity College and an
MBA from Golden Gate University. He is also a writer and curator, and
he has collected art for 20 years.
MarK peterSeN is a partner in the law firm Farella Braun + Martel LLP.
He joined the firm in 1983 and has a broad-based litigation and mediation
practice emphasizing complex biotechnology issues, consumer fraud
claims, construction, entertainment, and general business litigation. He
has represented a professional football team, a professional baseball team,
and a nationally recognized recording artist as well as prominent biotech,
software, and financial companies. He serves as a mediator for various
courts, and he is a judge pro tem in San Francisco for resolution of cases
about to go to trial.
Petersen served on the Capp Street Project board of trustees from 1992
until 1998, when the organization became part of CCA. During his tenure
he served as treasurer and board chairman, and Capp Street presented
memorable new works by Mona Hatoum, Glen Seator, Janine Antoni, and
many other notable artists.
Petersen received his BS degree from the United States Naval Academy
in 1974 and served in the navy as a nuclear submarine engineer until 1980.
He earned his JD from Hastings College of the Law in 1983.
27 { Glance Fall 2007}
Awards & AccoladesC aveh zaheDi (Media Arts
faculty) has won the prestigious
2007–8 Rome Prize from the
American Academy in Rome. He
plans to use the fellowship to
write a screenplay adaptation of
Ulysses, James Joyce’s epic work
of experimental literature,
devoting an hour of screen time
to each of the book’s 18 chapters.
rob epSteiN, chair of the new
Graduate Program in Film, has
received two awards—a $35,000
Rockefeller Foundation Media Arts
Fellowship and a $10,000 Sundance
Institute Documentary Fund
grant—for his newest project,
Howl, a documentary film memo-
rializing the publication of Allen
Ginsberg’s groundbreaking 1955
Beat poem of the same name.
JiM GolDberG (Photography fac-
ulty) received a 2007 Henri Cartier
Bresson Award for his project The
New Europeans, about refugees and
immigrants journeying to Europe
from war-torn and economically
devastated countries. He will use
the ¤30,000 prize to travel to his
subjects’ countries of origin and
tell their root stories of migration.
Goldberg also recently received a
Soros Foundation OSI Documentary
Award and an Aftermath Award.
haNK WilliS thoMaS (MFA
2003, MA Visual and Critical
Studies 2004 ) and CCA Photogra-
phy professor ChriS JohNSoN
have received a $35,000 Media Arts
fellowship from Renew Media,
funded by the Rockefeller Founda-
tion, for Question Bridge: Black Male,
a documentary film that explores
critically divisive issues within the
African American male community.
hope MeNG (Graphic Design
2007) and her fellow cofounders of
San Francisco’s Stitch Lounge, the
country’s first drop-in cut-and-sew
space, were honored at the Women’s
Initiative Gala in May 2007. Stitch
Lounge’s unique concept has also
been featured on NBC’s Nightly
News and in the Wall Street Journal.
The San Francisco Foundation
Fund for Artists awarded
taraNeh heMaMi (MFA 1991,
Community Arts faculty) a $5000
commission for her 2007 production
of Most Wanted at Intersection for
the Arts. Hemami also received a
$10,000 individual artist commis-
sion from the San Francisco Arts
Commission Cultural Equity Grant
for the research and production of
the new multimedia documentary
project One Day, focusing on the
exchange of stories of everyday
people in Iran and San Francisco.
l aUreN elDer (Community Arts
faculty) has received a $5000 plan-
ning grant from the city of Oakland
for a landscape and edible garden at
New Highland Elementary School.
The school district has allocated
$20,000 to implement the design.
C arl aUGe (Painting/Drawing
2003, MFA 2005) received the
Pollock-Krasner Foundation Award
in 2006–7. This individual artist’s
grant is intended to assist in the
creation of new work over the
course of one year.
SoNia baSSheva MañJoN,
executive director of CCA’s Center
for Art and Public Life, is the 2007
arts and culture inductee into the
Alameda County Women’s Hall of
Fame. The award recognizes her
work with the center, the Com-
munity Arts Program, and the 100
Families Oakland project.
In summer 2007 MariaNNe
roGoFF (Writing and Literature
faculty) won the fiction contest
organized by Tiferet: A Journal of
Spiritual Literature for her series of
stories inspired by Manuel Alvarez
Bravo’s photographs.
lYNDa GroSe (Fashion Design
faculty) recently received a
$10,000 California project grant for
her Sustainable Design course, part
of CCA’s Fashion Design Program.
aNNe-C atriN SChUltz
(Architecture faculty) has received
a Berkeley Architectural Heritage
Preservation Award for a remodel
of the Rankin House in Berkeley.
The Leland Stanford Mansion State
Historic Park preservation and
restoration project has won two
awards: one from the Victorian
Society in America and one from
the California Preservation Foun-
dation. haNK DUNlop (Interior
Design and Visual Studies faculty)
was the project’s historic interior
and furniture consultant.
noteworthy aChieveMeNtS | page No. 28 { puBLic recognition }
28
The AIA California Council has
named Min | Day (principal e. b.
MiN is an Architecture faculty
member) an emerging talent in
Northern California. Min | Day
will present at the AIA California
Council’s Monterey Design Confer-
ence in October.
CraiG SCott (Architecture
faculty), with IwamotoScott Archi-
tecture, won the 2007 I.D. Design
Distinction award and a citation in
the 2007 San Francisco AIA annual
design awards for Jellyfish House.
Jellyfish House has also been featured
in I.D. magazine’s 53rd Annual De-
sign Review; the New York Times; the
Los Angeles Times; Wired.com; and
the websites of Architectural Record
and Domus.
Several 2007 MFA grads won
awards upon graduation this
spring: DaviD GUrMaN received
the $10,000 Toby Devan Lewis Fel-
lowship and the 2007–8 Graduate
Studio Award from Headlands Center
for the Arts in Sausalito. patriCia
eSqUiviaS, reGGie StUMp, and
Gabrielle teSChNer each won
a $2,500 Barclay Simpson Fine
Arts Scholarship. rYaN pierCe
received $15,000 from the Joan
Mitchell Foundation. And l aCeY
JaNe robertS won a $5,000
Craft Research Fund award from
the Center for Craft, Creativity,
and Design.
ChriStopher WeiSS (Fashion
Design 2007) won the Surface
Emerging Talent Award at the
Centennial Gala and Threads Fashion
Show this past May. It includes a
trip to New York and the oppor-
tunity to collaborate with Surface
staff on a photo shoot featuring his
designs; the pictures appeared in a
fall issue of Surface.
Current senior Kali leWiS
(Architecture) is one of only 11
students nationwide this year to
receive the prestigious Donghia
Foundation Interior Design Schol-
arship. The scholarship covers
tuition, board, and maintenance as
well as books and other materials.
Several faculty and students in
CCA’s craft programs have received
awards. MarilYN Da Silva
(Jewelry / Metal Arts faculty) is an
Jim goLdBerg, Scars, 2006
29 { Glance Fall 2007}
American Craft Council Fellow; the
designation signifies an artist of
outstanding ability who has worked
25 years or more in the discipline.
In summer 2007, General Motors
awarded trevor MaNtKUS,
now a senior in Ceramics, a highly
competitive internship to work in
its model sculpting operations unit
in Detroit. DereK WeiSberG
(Ceramics 2005) is one of 15 Ameri-
can Craft Council Searchlight
Artists; they showed their work in a
special section of the American Craft
Show in Baltimore in February.
JaMeS KeNNeY (Graphic Design
1998, Graphic Design faculty) won
a 2006 Insight Award from the
National Association of Film and
Digital Media Artists for the intro
and title sequence of the docu-
mentary film Soul of Justice: Thelton
Henderson’s American Journey.
The American Institute of
Graphic Arts has given MiChael
vaNDerbYl (Graphic Design
1968, Graphic Design faculty) a
2007 Fellow Award. This award
recognizes mature designers who
have made significant personal
and professional contributions to
the field.
CCA’s design students have been
making a mark: KerrY boGUS
(Interior Design) received a $6,000
Honor Awards Scholarship in
spring 2007 from the Northern
California chapter of the Inter-
national Interior Design Associa-
tion for her Love Chair; she made
the chair, which is composed
entirely of recyclable, biodegrad-
able, sustainable materials, in a
course taught by Brian Kane. Nate
ribbeNS (Industrial Design) was
a finalist in the Microsoft Next-
Gen design competition for his
Horizon personal computer, which
connects otherwise isolated people
to the global marketplace. reMY
l abeSqUe (Industrial Design
2006) received an award for design
distinction in I.D. magazine’s
student competition for Urban
Shelter_SF, a wearable hammock/
shelter for urban dwellers.
The first annual Spark! Awards,
presented in June 2007 in Pasa-
dena, honored two CCA faculty
members and one alum. aNthoNY
MarSChaK (Wood/Furniture 2003)
received a Gold Spark Award for
his bamboo Spring Chair. With his
firm, Volume Inc., eriC heiMaN
(Graphic Design 1996, Graphic
Design faculty) received awards
for the SFMOMA film series poster
Fidelity and Betrayal: Variations on
the Remake and for the books Heath
Ceramics: The Complexity of Simplicity
and Readymade: How to Make (Almost)
Everything. Industrial Design chair
YveS béhar (with fuseproject)
received awards for the Danese
Kada Chair, Aliph Jawbone Bluetooth
Headset, Herman Miller LEAF Lamp,
and XO Laptop.
YveS béhar and fuseproject have
won several other awards recently,
including a Gold IDEA (Interna-
tional Design Excellence Award)
from BusinessWeek magazine for the
Aliph Jawbone packaging and a silver
IDEA for Herman Miller Leaf Strategy.
BusinessWeek recently featured the
noteworthy aChieveMeNtS
remy LaBesque, Urban Shelter_SF, 2006
James KeNNey, Soul of Justice, stil ls, 2005
30
firm as the number-two overall
IDEA award winner in the last five
years. fuseproject presented a
booth on the One Laptap Per Child
XO Laptop at Art Basel, Switzerland.
The laptop, a flexible, ultra-low-
cost, power-efficient, durable
computer designed collaboratively
by experts from both academia and
industry, has won one of five 2007
INDEX awards. These ¤100,000
awards are the biggest in the
design world, rewarding projects
that take an interdisciplinary
approach and cross conventional
design categories. I.D. magazine
The March–April 2007 issue of STEP
Inside Design featured the top 100
designs from the magazine’s annual
competition. Thirteen of the winning
projects had ties to CCA Graphic
Design faculty and alumni:
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
judges’ pick
No Plot? No Problem! Novel-Writing Kit
Design: Rise-and-Shine Studio,
MeliSSa tioleCo-CheNG (2002)
Art Direction: Chronicle Books,
MiChael MorriS (2004)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
catalogs
RADAR: Selections from the Collection
of Vicki and Kent Logan
Design: Aufuldish & Warinner,
bob aUFUlDiSh (faculty)
Uneasy Nature
Design: Volume Inc., eriC
heiMaN (1996, faculty), aMber
reeD (2005), MaDhavi JaGDiSh
(2004)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
editorial
Harry Callahan: The Photographer
at Work
Design: Aufuldish & Warinner,
bob aUFUlDiSh (faculty)
ReadyMade: How to Make
(Almost) Everything
Design: Volume Inc., eriC
heiMaN (1996, faculty),
elizabeth FitzGibboNS
(2005), aKiKo ito (2004)
Love Hotels
Design: Chronicle Books, Sara
SChNeiDer (1998)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
identity
SINO Restaurant
Design: Public, toDD ForeMaN
(former faculty), NaNCY thoMaS
(2002)
Fuego Grill
Design: Pentagram, eriK
SChMitt (1992)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
reader’s choice /exhibit design
Fuego North America
Design: Pentagram, eriK
SChMitt (1992)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
posters
The Shins; SFMOMA College Night;
The Books
Design: The Small Stakes, JaSoN
MUNN (faculty)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
miscellaneous
Paint by Number Kit
Design: Chronicle Books, alethea
MorriSoN (1998)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
BoB aufuLdish, RADAR, 2006
yves Béhar, XO Laptop, 2007
has given the Herman Miller LEAF
Lamp a Best of Consumer Products
award. fuseproject’s Morpheus
Chandelier and Danese Kada Chair both
won Red Dot Design Awards,
Fly-Bench Global Edition Collection
received a NeoCon Gold Award, and
DXL Helmet won a D&AD Award.
PCWorld named the Aliph Jawbone
Bluetooth Headset one of the 100 best
products of 2007.
31 { Glance Fall 2007}
Faculty NoteS
eXhibitioNS & pUbliC atioNS | page No. 32 { Noteworthy achievements }
DoUG aKaGi
group show: The Graphic Imperative:
International Posters for Peace, Social
Justice, and the Environment, 1965–
2005, Massachusetts College of Art,
Boston, Sept.–Nov. 2005 (traveled to
the Design Center at Philadelphia
University and the AIGA National
Design Center, New York; the show
is currently in San Diego and will
also be presented in Saint Louis,
Missouri; Boca Raton, Florida; and
Boone, North Carolina).
KiM aNNo
solo show: Kim Anno, Marcia
Wood Gallery, Atlanta, Mar.–Apr.
2007. group shows: Banzai &
Godzilla, SFMOMA Artists Gallery,
San Francisco, June 2007; Stop
Pause Foward, Patricia Sweetow
Gallery, San Francisco, May–June
2007. work featured: Twentieth
Century Asian American Artists,
Greenwood Press, 2007.
CUrtiS h. ariMa
group shows: Metal Works North,
Grace Hudson Museum, Ukiah,
California, July–Oct. 2007; Necklaces,
Aaron Faber Gallery, New York,
June–Aug. 2007.
JohN Chiara
work featured: “Imperfect
Beauty: A Conversation with John
Chiara,” Article, summer 2007; “The
Last Word: West Coast Writers and
Artists,” ZYZZYVA, spring 2007.
CeleSte CoNNor
essay contributions to exhibition catalogs: Oltre
(Beyond), Palazzo Panni, Galleria
Civica Segantini, Arco, Italy, 2007;
Paging through Dreamland: The Tablet
Project, Permanent Press, Oakland,
2007. publications: “Just Say No,
Thanks,” Antinomy, summer 2007;
“In Advance of Some Non-Standard
Stoppages: On the State of Art Criti-
cism in the San Francisco Bay Area,”
Stretcher.org, Feb. 2007. award: Language Learning Grant, Istituto
Italiano di Cultura, summer 2007.
MarilYN Da Silva
solo show: Second Nature: A Bird’s-
Eye View, Mobilia Gallery, Cambridge,
Massachusetts, Sept.–Oct. 2006.
group shows: Metal Works North,
Grace Hudson Museum, Ukiah,
July–Oct. 2007; Exhibition in Print,
Metalsmith, Aug. 2007; Challenging
the Chatelaine! Selected Works:
2002–2006, Designmuseo, Helsinki,
Sept. 2006–Jan. 2007 (exhibition is
traveling internationally through
2009).
rob epSteiN
Jurist at the 2007 Los Angeles Film
Festival.
JeaNNe FiNleY
group show: 3x3: Napa Solano
Sonoma, di Rosa Preserve, Napa,
California, July–Sept. 2007.
liNDa FleMiNG
award: Peter S. Reed Foundation
grant, June 2007.
Gloria FrYM
publications: The Lost Sappho
Poems, Effing Press, 2007; Solution
Simulacra: Poetry, United Artists
Books, 2006; other poems recently
published in Coconut, Origin 4,
Parthenon West Review, Golden
Handcuffs Review, and Zen Monster.
readings: Saint Mark’s Church
Poetry Project, New York, Feb. 2007;
Bowery Poetry Club, New York, Feb.
2007; San Francisco State Universi-
ty Poetry Center, Mar. 2007; Uni-
versity of Arizona / Chax Press,
Tucson, Mar. 2007; Moe’s Books,
JohN chiara, 24th at Carolina (Center), 2006
duNcaN house, Counting the Days #2, 2006
32
Berkeley, May 2007; Beyond
Baroque Literary Arts Center,
Venice, California, July 2007.
award: Faculty development grant
for research in Andalusia, 2007.
liNDa GearY
group show: 7.07, b. sakata
garo, Sacramento, May–June 2007
(curated by Hung Liu and reviewed
in Artweek, July 2007). residency: Art Omi International Artists
Residency, July 2007.
JiM GolDberG
solo show: Raised by Wolves, Art
Gallery of Western Australia,
Perth, Feb.–June 2007. group shows: 60 Years of Magnum, Les
Rencontres, Arles, France, July–
Sept. 2007; Turkey by Magnum,
Istanbul Museum of Modern Art,
Feb.–May 2007.
doug aKagi, Save San Francisco Bay, 1991
aliSa GolDeN
solo show: Threads of Thought:
New Books by Alisa Golden, Donna
Seager Gallery, San Rafael, Califor-
nia, June 2007. group show: A
Poetic Coup D’Etat: Mallarmé’s Influence
on Artists’ Books, Denison Library,
Scripps College, Claremont,
California, Jan.–Mar. 2007.
eriC heiMaN (with Volume Inc.)
group shows: California College of
the Arts at 100: Innovation by Design,
San Francisco Museum of Modern
Art, Mar.–Aug. 2007; TDC53, Type
Directors Club, New York, July
2007. publications: Graphis
Annual Reports 2006; Design Life Now;
Typography 27; Applied Arts Design and
Advertising Annual, Nov.–Dec. 2006;
“How,” 2007 International Design
Annual, Apr. 2007; “Step Inside
Design,” 2007 Step 100, Mar.–Apr.
2007. lectures: AIGA 50 Books/
50 Covers panel discussion, San
Francisco Center for the Book, Nov.
2006; “Intelligent Design,” Univer-
sity of California, Davis, Nov. 2006;
“Design What You Love,” AIGA Los
Angeles, Jan. 2007; “What Is ‘Pas-
sion’ Anyway?” Creative Summit,
San Marcos, Texas, Mar. 2007.
GleN helFaND
essay contributions to exhibition catalogs: Hung
Liu: ZZ (Bastard Paintings), Nancy
Hoffman Gallery, New York, 2007;
Georgia June Goldberg, Swarm Gallery,
Oakland, 2007.
taraNeh heMaMi
solo show: Most Wanted, Inter-
section for the Arts, San Francisco,
May–June 2007. group shows: Global Eyes, Siggraph International
Exhibition, San Diego, Aug. 2007;
Stitches in Time II: Identity Imprinted,
33 { Glance Fall 2007}
Richmond Health Center, California,
June–Sept. 2007; Intimate Bodies
Public Spaces, Mina Dresden, San
Francisco, Mar. 2007.
toDD hiDo
group shows: ELOI: Stumbling
Toward Paradise, UCR / California
Museum of Photography, Riverside,
Jan.–Apr. 2007; POV: Photography
Now and the Next 30 Years, Photo-
graphic Resource Center, Boston
University, Nov. 2006–Jan. 2007.
work featured: Eyemazing, Jan.
2007; American Photo, Feb. 2007.
SteveN SKov holt
featured: “The Edgar Lanpher
Effect,” Wall Street Journal, Apr. 2007.
DUNC aN hoUSe
group shows: CCA Sculpture
Selections, Sculpturesite Gallery,
San Francisco, Jan.–Apr. 2007;
CCA: A Legacy in Studio Glass, San
Francisco Museum of Craft and
Design, Jan.–Apr. 2007; Americana,
Main ARTery Gallery, Benicia,
California, May–July 2007; Go
Figure, Main ARTery Gallery,
Benicia, Feb.–Apr. 2007; American
Craft Council CCA Juried Alumni
Exhibition, Fort Mason, San Fran-
cisco, Aug. 2006; The Family of Clay:
CCACeramics 1950–2005, CCA Oliver
Art Center, Oakland, Jan.–Feb.
2006; Glass Now auction, National
Liberty Museum, Philadelphia,
Oct. 2006.
JorDaN KaNtor
group shows: Very Abstract and
Hyper Figurative, Thomas Dane
Gallery, London, Mar.–Apr. 2007;
Image Processor: Kota Ezawa / Chris
Finley/ Jordan Kantor, Lombard-Freid
Projects, New York, Apr.–May 2007.
barrY Katz
visiting faculty: Bezalel Acad-
emy of Art and Design, Jerusalem,
May 2007; Haystack Mountain
School of Crafts, Deer Isle, Maine,
July 2007. faculty leader: Stanford Alumni Travel/Study
Program, China, June–July 2007.
publications: “Ideology and En-
gineering in the Tennessee Valley”
in The Tennessee Valley Authority:
Design and Persuasion, Princeton
Architectural Press, 2007; “1927:
Bucky’s annus mirabilis” in New Views
on R. Buckminster Fuller, Stanford
University Press, 2007; “Intelligent
Design,” Technology and Culture, Apr.
2006; “Manifesto Destiny,” Dwell,
May 2007; “Then and Now,” Dwell,
Mar. 2007.
JaMeS KeNNeY
Faculty mentor at the Cannes Film
Festival, May 2007. Codirector of
SF Shorts: The San Francisco Inter-
national Festival of Short Films,
Aug. 2007. Kenney’s film My Dad’s
Hair was screened at Rooftop Films,
New York, in July 2007 and was the
Independent Film Channel film of
the day on July 3, 2007.
ChriStiNa l a Sal a
residency: Elsewhere, Greens-
boro, North Carolina, Aug. 2007.
elizabeth leGer
solo show: Fragments: Liz Leger,
Deirdre White, City Art Gallery, San
Francisco, Oct.–Nov. 2006. group show: Just Charcoal, SFMOMA
Artists Gallery, San Francisco,
Feb.–Mar. 2007.
MarGaret MacKeNzie
group shows: West Marin Icons,
Toby’s Gallery, Point Reyes Station,
California, May 2007; Wild Book
Show, Point Reyes Books, Point
Reyes Station, July 2007; Box Show,
Gallery Route One, Point Reyes
Station, July–Sept. 2007. invited presentations: Indulgences
art salon, San Rafael, California,
Mar. 2007; Alchemy art salon,
San Rafael, June 2007.
ari MarCopoUloS
group show: In the Alps, Kunst-
haus Zurich, Oct. 2006–Jan. 2007.
raFFi MiNaSiaN
award: Educators Who Make a
Difference award from the Yuba
Kim aNNo, Wind, 2007
aLisa goLdeN, Antenna, 2007
eXhibitioNS & pUbliC atioNS
34
County Office of Education, for
Minasian’s support of the Automo-
tive Academy, May 2007. Keynote
speaker at the Blackhawk Museum
docent graduation ceremony, 2007.
philip MorSberGer
publication: Philip Morsberger:
A Passion for Painting, Merrell, 2007
(by Christopher Lloyd, former
curator of the Queen’s art collec-
tion). award: elected honorary
fellow of Saint Edmond Hall,
Oxford, England, in recognition
of his distinguished career.
KierSteN MUeNChiNGer
lectures: “MTRL: Material on
New Materials” (with ASM, the
Materials Information Society),
Institute of Design, Chicago,
July 2007, and Hotel Adagio,
San Francisco, Aug. 2007.
CliFForD raiNeY
group show: 3x3: Napa Solano
Sonoma, di Rosa Preserve, Napa,
California, July–Sept. 2007.
MariaNNe roGoFF
Fiction judge for the 2007 Jessamyn
West Creative Writing Contest,
Napa Valley College, California.
zaCK roGoW
written work: La Vie en Noir:
The Art and Life of Léopold Sédar
Senghor, based on the work of the
West African writer and political
figure (read at the Lit&Lunch
reading series, San Francisco,
Mar. 2007, in collaboration with
the Lorraine Hansberry Theatre).
KC roSeNberG
award: Alameda County Art
Commission purchase award, 2006.
MiChael SChNeiDer
publications: the final two in
the five-part series of Constructing
the Universe Activity Books, devoted
to mathematics, nature, and art
(these accompany Schneider’s
A Beginner’s Guide to Constructing the
Universe, HarperPerennial, 1994,
now in its 28th printing).
MitChell SChWarzer
publications: “The Architecture
of Patronage,” ArcCA, May and Sept.
2007; “Windows on the World:
Anne Fougeron’s Houses,” California
Homes, Jan.–Feb. 2007. lectures: “The Tourism Zone,” Things That
Move: Material Worlds of Tourism
and Travel symposium, Leeds
Metropolitan University, England,
July 2007; “Secondhand Sight,”
College Art Association annual
conference, New York, Feb. 2007.
CraiG SCott
(with IwamotoScott Architecture)
group shows: Open House:
Architecture and Technology for Intel-
ligent Living (organized by Vitra
Design Museum, Weil am Rhein,
Germany), Art Center College
of Design, Pasadena, California,
Mar.–July 2007; Exceptional Houses,
Architecture Gallery, Brno, Czech
Republic, May–July 2007; Young
Architects Program 2007 (exhibition
of P.S.1 outdoor courtyard competi-
tion finalists), Museum of Modern
Art, New York, June–Sept. 2007
(IwamotoScott’s competition entry,
REEF, has also been featured online
at Wired, Inhabitat, Bldg Blog, and
dezeen). presentations: Archi-
tectural League, New York, Mar.
2007; guest studio critic, Southern
California Institute of Architec-
ture, Los Angeles, summer 2007.
elizabeth Sher
group shows: Museum without Walls,
New York, July 2007; Artists’ Books
Exhibition, Cuesta College, San Luis
Obispo, California, June–July 2007.
MarY SNoWDeN
curated: CCA at 100: Alumni Looking
Forward, Braunstein/Quay Gallery,
San Francisco, Mar.–Apr. 2007.
taraNeh hemami, Most Wanted, installation view, 2007
35 { Glance Fall 2007}
FeDeriCo WiNDhaUSeN
lectures: “Paul Sharits and
the Active Spectator” and “Real-
ism in New Argentine Cinema,”
Society for Cinema and Media
Studies annual conference,
Chicago, Mar. 2007; “Paul Sharits
and the Problem of Structure,”
Documentation, Demonstration,
Dematerialization: American Art &
Cinema of the Late 1960s and 1970s,
University of California, Berkeley,
Apr. 2007. panelist: “Matthias
Müller: Multimedia Poet,” Boston
University, Oct. 2006. With CCA
funding, Windhausen traveled to
Buenos Aires this past summer to
complete research for a book on
recent Argentine cinema and shoot
a documentary with cinematogra-
pher Rubén Guzmán in the north-
ern province of Salta.
thoMaS WoJaK
group shows: CCA 100th Anniver-
sary Alumni Exhibit, GarageGallery,
San Francisco, Apr.–June 2007;
Impressions: The Printed Image,
El Camino College Art Gallery,
Torrance, California, Aug.–Sept.
2007. award: certificate of ap-
preciation from the city of Vallejo
for his artistic contribution to the
Veterans Memorial Monument
restoration, 2007.
eUGeNe YoUNG
work featured: ImagineFX,
Aug. 2006. This semester Young is
a digital illustration instructor at
City College of San Francisco.
JohN zUrier
solo show: John Zurier: Paintings,
Peter Blum Gallery, New York,
Mar.–May 2007. group shows: The Good, the Bad, and the Ugly, New
Langton Arts, San Francisco, Jan.–
Feb. 2007; Contemporary Art, Colby
College Museum of Art, Waterville,
Maine, July–Oct. 2007; Selections
from Concrete, H. Paxton Moore Fine
Art Gallery, Dallas, June–Sept.
2007; Some, Larry Becker Contempo-
rary Art, Philadelphia, June–Aug.
2007. acquisitions: Arabella,
2005, by the San Francisco
Museum of Modern Art; other
paintings by the Colby College
Museum of Art, Waterville, Maine,
and the Farnsworth Art Museum,
Rockland, Maine.
eLizaBeth sher, Bella, Bella, still, 2007
JohN zurier, Arabella, 2005
craig scott, REEF Anemone Cloud Model 2, detail, 2007
eXhibitioNS & pUbliC atioNS
36
published WorKS | page No. 37 { teXt, art & desigN }
artiStS oF iNveNtioN: a CeNtUrY oF CC a
california college of the arts, 2007paperback, 184 pages, $29.95
Published in conjunction with the major retrospective
at the Oakland Museum of California, this companion
volume presents a vivid portrait of Bay Area artists
and art movements associated with CCA over the last
century. It includes new essays, interviews, historical
texts, biographies of more than 100 artists, and more
than 100 color plates.
the heart oF WhiteNeSS: NorMal SeXUalitY
aND raCe iN aMeriC a, 1880–1940
By JUliaN b. C arter
duke university press, 2007
hardcover, 240 pages, $74.95 paperback, 219 pages, $21.95
Julian Carter (Critical Studies faculty) examines how
cultural discourses of whiteness and heterosexuality
fused in the early twentieth century to form a new
concept of the “normal” American. Carter draws from
an array of popular texts, including children’s sex-
education books and marital advice books for adults.
bUilD thiS boNG: iNStrUCtioNS aND
DiaGraMS For 40 boNGS, pipeS,
aND hooKahS
By raNDY StrattoN
chronicle Books, 2007paperback, 107 pages, $12.95
Randy Stratton (Jewelry / Metal Arts 2002) presents
detailed DIY instructions for building 40 bongs—
some classics, some his own original designs—using
common household goods such as melons, coconuts,
snow globes, and teapots. Projects range from a standard
gravity bong to a rubber-ducky hookah and a state-of-
the-art vaporizer.
philip MorSberGer: a paSSioN For paiNtiNG
By ChriStopher lloYD
merrell, 2007
hardcover, 128 pages, $49.95
This large-scale, well-illustrated monograph presents
the lively, witty work of Philip Morsberger (professor
emeritus), whose career as a painter began in the 1950s
and has ranged from realism to abstraction and the
American comic-strip tradition. It includes eight “appre-
ciation” texts by the artist’s contemporaries and friends.
the virGiN’S GUiDe to MeXiCo
By eriC b. MartiN
macadam/cage, 2007hardcover, 350 pages, $25
Eric B. Martin’s (Writing and Literature faculty) fictional
novel tells the story of a teenage girl who runs away
from wealthy, suburban Texas to Mexico City, where she
disguises herself and encounters a series of eccentric
characters. Her parents follow close behind in their SUV,
swerving around cacti and herds of wild pigs.
Up above aND DoWN beloW
By SUe reDDiNG
chronicle Books, 2006hardcover, 32 pages, $14.95
Sue Redding (Industrial Design faculty) writes and
illustrates this colorful children’s book (recently
published in France by Seuil as DesSus and DesSous) that
juxtaposes whimsical scenes taking place simultane-
ously above and below ground: in a house, a theater, a
picnic spot, the Antarctic, and other locations.
“the l aSt MaN,” iN the apoC alYpSe reaDer
By aDaM NeMett
thunder’s mouth press, 2007paperback, 336 pages, $15.95
This anthology of 34 doomsday scenarios features
“The Last Man” by current MFA Writing student Adam
Nemett alongside short stories by such contemporary
greats as Joyce Carol Oates, Ursula LeGuin, and Rick
Moody as well as past luminaries Nathaniel Hawthorne,
Edgar Allan Poe, and H. P. Lovecraft.
Bookshelf
37 { Glance Fall 2007}
UNCle toM’S C abiN aS viSUal CUltUre
By Jo-aNN MorGaN
university of missouri press, 2007hardcover, 240 pages, $39.95
Jo-Ann Morgan (Painting 1969) reveals how prints
and paintings of Uncle Tom and other characters in
Harriet Beecher Stowe’s famous novel shaped public
perceptions of slavery in the years following the
novel’s publication in 1852. She examines illustrations
in various editions of the book, advertisements for
stage productions, and even sheet music.
the Year oF FoG
By MiChelle riChMoND
delacorte press, 2007hardcover, 383 pages, $20paperback, 496 pages, $5.99
This San Francisco Chronicle bestseller by Michelle
Richmond (Writing and Literature faculty) traces a
traumatic year in the life of a young photographer
after she loses her fiancé’s six-year-old daughter while
walking on the beach in San Francisco. Panic and fear
soon lead to exhaustion and emotional shutdown as
the search for the missing girl continues.
bUrNiNG booK: a viSUal
hiStorY oF bUrNiNG MaN
desigNed By MartiN veNezKY
simon spotlight entertainment, 2007hardcover, 368 pages, $28.95
Martin Venezky (Graphic Design faculty) designed this
image-laden volume commemorating the history of
Burning Man, which began in 1986 on San Francisco’s
Baker Beach and now transforms Nevada’s Black Rock
Desert into a bustling city for one week each year. The
book explores the festival’s unique ethos and art
installations as well as its distinctive landmarks,
pranks, lore, and gift-based economy.
the 5 ps : proper pl aNNiNG preveNtS
poor perForMaNCe
By liz CoheN
onestar press, 2007
paperback, 150 pages, $21.95
“I’ve been building a car at Elwood Bodyworks for a
couple of years. Bill Cherry’s my mentor. He lets me
use his tools and constantly reminds me of the 5 Ps:
Proper Planning Prevents Poor Performance. These
are Bill’s tools.” —Liz Cohen (MFA 2000)
it eNDeD SaD, bUt i loveD Where it beGaN
By J iM GolDberG
these Birds walk, 2007
paperback, 40 pages, $75
Jim Goldberg (Photography faculty) engulfs and engages
readers with beautiful prose and images addressing
timeless notions of love, loss, and pain. This hand-
numbered, limited-edition book is part of a subscription
series (which next year will feature faculty members
Todd Hido and Abner Nolan).
betWeeN the tWo
By toDD hiDo
Nazraeli press, 2006
hardcover, 76 pages, $75
Todd Hido (Photography faculty) weaves photographs of
abandoned houses together with portraits of anonymous
models in motel rooms. The rooms have seen better
days, and the pictures evoke both seediness and internal
beauty. The 35 photographs are printed on matte art
paper and bound in an oversize format.
SeeiNG beYoND SiGht
desigNed By JUlia Fl aGG
chronicle Books, 2007
hardcover, 152 pages, $24.95
This book, designed by Julia Flagg (MFA Design 2002),
features 136 photographs by blind teenagers, accom-
panied by the photographers’ own words about the
creative process, self-expression, and the visual world.
published WorKS
38
CoUSiN WaSh preSeNtS:
the FooD CoNveNtioN
iLLustrated By eUGeNe YoUNG
Les Lurn publishers, 2007hardcover, 32 pages, $16.95
Eugene Young (Graphic Design 2001, Graphic Design
faculty) illustrates this children’s book based on an
original folktale by the celebrated storyteller Curtis N.
Hunt. Characters such as Mr. Corn and Mr. Stringbean
help doctors and educators in the fight against child-
hood obesity, diabetes, and other diet- and exercise-
related issues.
the reviSioNiSt
By MiraNDa MelliS
calamari press, 2007paperback, 82 pages, $12
Miranda Mellis (Writing and Literature faculty)
describes an apocalyptic, detached, distorted world
populated by mutant children, a centenarian with
iguanas beneath her dress, brooding frigate birds, a
terrorist curator, and other fantastic characters. The
story is of a nuclear-age weather reporter who operates
out of an abandoned lighthouse and conducts covert
surveillance on a city.
SolUtioN SiMUl aCra
By Gloria FrYM
united artists Books, 2006
paperback, 74 pages, $14
Gloria Frym’s (Writing and Literature faculty) col-
lection of poems captures the difficulties of a culture
characterized by war and little tolerance for dissent.
The writer and critic Ammiel Alcalay observes: “Like
in the aftermath of a ‘mesmerizing theater of opera-
tions,’ Gloria Frym’s solutions tread the water of a
flood inundating what we once considered our life.”
39 { Glance Fall 2007}
after CC a | page No.
40 { Noteworthy achievements }
Alumni NoteS
{ 1939 }
ira l atoUr
screening: The documentary
Through the Lens of Ira Latour, at
California State University, Chico,
May 2007.
{ 1950 }
JohN berrY
solo show: One Man Show, River-
land Community College, Austin,
Minnesota, Sept. 2007, and Minne-
sota West Community and Technical
College, Worthington, Oct. 2007.
{ 1956 }
StaNleY GroSSe
group shows: Exploring Multiple
Dimensions, Albuquerque Museum
of Art and History, July–Oct. 2007;
Manheim Gallery, Cottonwood,
Arizona, Oct. 2007. Selected artist
by Larson-Juhl line of framed art.
Signed with Grand Image, Seattle.
{ 1961 }
eDWarD bohoN
group show: Boca Grande Art
Alliance National Exhibition, Florida,
Mar.–Apr. 2007.
{ 1962 }
patriCia taveNNer
group show and lecture: Multiplicity/Multiplicidad: MailArt &
Artistamps, SomArts Cultural
Center, San Francisco, July 2007.
{ 1965 }
elizabeth Kavaler
group show: A Living Legacy: The
Arts and Crafts Cooperative Inc. 50th
Anniversary Celebration, ACCI Gallery,
Berkeley, May 2007.
DeNNiS oppeNheiM
solo show and lecture: Alternative Land Art, Gallery 1600,
Savannah College of Art and
Design, Atlanta, May–Aug. 2007.
{ 1972 }
patriCia FriSCher
curated: SD Art Prize: Domestic
Deviation, L Street Fine Art, San
Diego, Mar.–June 2007.
CharleS valoroSo
group show: City Life, SFMOMA
Artists Gallery, Mar.–Apr. 2007.
{ 1974 }
SUSaN GWiN
residency: Jentel Artist Resi-
dency Program, Aug.–Sept. 2007.
C arol SKiNGer
speaker: Pennsylvania Art
Education Association conference,
Oct. 2006. Created cover art for the
Truro Center for the Arts at Castle
Hill, Massachusetts, summer 2006
catalogue.
Dale Wilhite
group show: Mind’s Eye, Infusion
Gallery, Los Angeles, May 2007.
{ 1975 }
elleN eaGle
solo shows: Concordia College,
Bronxville, New York, Aug.–Oct.
2004; Lyme Academy College of
Fine Arts, Old Lyme, Connecti-
cut, Dec. 2003–Feb. 2004. work featured: “Inside Ellen Eagle’s
Studio,” Pastel Journal, June 2006;
The Classical Drawing Atelier,
Watson Guptill, 2006. awards: two Elizabeth Greenshields Foun-
dation grants; residency fellowship
at the Vermont Studio Center.
MarC KataNo
group shows: 18 Painters, Visual
Arts Gallery, Mount Hood Com-
munity College, Gresham, Oregon,
Feb. 2007; CCA Alumni and Faculty
Show, Stephen Wirtz Gallery, San
Francisco, Aug. 2007; Paintings on
Paper 1998–2006, Costello/Childs
Contemporary Fine Art, Phoenix,
Mar. 2006; 3 Painters, Tadu Contem-
porary Art, Santa Fe, July 2006;
Black and White, Pulliam Deffen-
baugh Gallery, Portland, Oregon,
Aug.–Sept. 2006.
rYaN l. WeiDeMaN
reviewed: Artforum, Feb. 2007.
{ 1976 }
MarK boWleS
solo show: Abstract Landscapes,
Pamela Skinner/Gwenna Howard
Contemporary Art, Sacramento,
Apr.–May 2007.
eriK D’azeveDo
acquisitions: two paintings
by the Oakland Museum of
California, 2007.
tara tucKer, Venus in Furs, 2007
40
{ 1978 }
JaMie brUNSoN
group show: New Abstraction,
Robischon Gallery, Denver,
Mar.–May 2007.
{ 1979 }
SUSaN JUe
Nominated to the board of directors
of the Northern California chapter
of the International Interior Design
Association in the role of philan-
thropy lead, 2007. Cochair of the
IIDA renovation project committee
for Multi Services Center South, a
homeless shelter, in partnership
with Mayor Gavin Newsom and the
city of San Francisco, 2007. Nomi-
nated to the board of directors of
the Summit Bank Foundation, 2007.
{ 1981 }
JaN WatteN
group show: Alameda on Camera,
Frank Bette Center for the Arts,
Alameda, California, Apr. 2007.
betSY WeiS
solo show: Photography, Anelle
Gandelman Fine Art, Larchmont,
New York, June–July 2007.
{ 1982 }
eleaNor DiCKiNSoN
solo show: The Fires Within,
Peninsula Museum of Art,
Belmont, California, May–July
2007. publication: History of
the Women’s Caucus for Art” in
Blaze: Discourse on Art, Women, and
Feminism, Cambridge Scholars Press,
2007. speaker: National Women’s
Studies Association annual confer-
ence, Chicago, June 2007.
{ 1983 }
SaDiKiSha Collier
curated: An Evolving Tradition,
Medgar Evers College, Brooklyn,
and Danny Simmons’s Corridor
Gallery, Brooklyn, July–Aug. 2007.
DaNiel GottSeGeN
group show: Thoreau Reconsidered,
Glyndor Gallery, Bronx, New York,
June–Aug. 2007.
{ 1987 }
eriK aDiGarD
solo show: Dual Term (with Chris
Salter), Terminal Zero One, Pearson
International Airport, Toronto, and
Secondlife.com, July 2007–Jan. 2008.
CharleS broWNiNG
group shows: Promised Land,
Morgan Lehman Gallery, New
York, June–Aug. 2007; Story Rede-
fined, Poietis Gallery, Poet’s Den Art
Center, New York, Apr. 2007; Art
Chicago, featured artist of Schro-
eder Romero Gallery, Apr. 2007.
DiaNe MeNzieS
solo show: The Passing, Joan
Lukas Rothenberg Gallery, Syra-
cuse, New York, May–June 2007.
aNN Weber
solo show: Ann Weber, Oakland
Museum of California Sculpture
Court, Aug.–Nov. 2007. com-missions: Infinite Possibilities, a
sculpture at César Chávez Library,
Phoenix, 2007; Promenade, a sculp-
ture at Skyline Park, Denver, 2006.
{ 1988 }
WeNDY bell
solo shows: Art Meets Technol-
ogy, Schaefer Business Solutions,
Berlin, June–Nov. 2007; The Right
Side, offices of Schäfer, Thieme, and
Hermel, Berlin, July–Dec. 2007.
commission: Meuer’s Fröhlichkeit,
a mural at Sayn, Germany, Aug.
2007. Designed costumes for
Avalancha, a video installation by
Sergio Belinchón, shot in Bad
Sooden / Allendorf, Germany,
July 2007.
patriCia olYNYK
Named director of the graduate
school of art (part of the Sam Fox
School of Design and Visual Arts) at
Washington University, Saint Louis.
CYNthia GUilD Stoetzer
solo show: Fresh Lands, Muse Gal-
lery, Jackson, Wyoming, Mar. 2007.
amaNda hugheN, Consumptia, 2007
41 { Glance Fall 2007}
after CC a
{ 1990 }
MiStY GaMble
group show: Cream: From
the Top, Arts Benicia, California,
July–Aug. 2007.
aMY KaUFMaN
solo shows: Recent Work, Tray-
wick Contemporary, Berkeley,
Apr.–June 2007, Amy Kaufman /
Daniel Reneau, 101 California, San
Francisco, Feb.–Mar. 2007; Just
Charcoal, SFMOMA Artists Gallery,
San Francisco, Feb.–Mar. 2007.
MiChele preD
Curated and participated in the
group shows Code Switching (with
Quorum SF), Red House Gallery,
Los Angeles, and Swarm Gallery,
Oakland, Aug.–Nov. 2007; and Blood
for Art (with Quorum SF), Scope
Miami, Florida, Dec. 2006.
{ 1991 }
bobaK etMiNaNi
solo show: Evolution of Form and
Idea in Paintings of Bobak Etminani,
Imam Ali Religious Arts Museum,
Tehran, Iran, June–July 2007.
liSa KoKiN
solo show: Fruit of the Broom,
Jenkins Johnson Gallery, New
York, Mar.–Apr. 2007. group show: Childish Things, 301 Bocana,
San Francisco, June–July 2007.
JoaNN SeliSKer
performance: Begin with a Box,
ODC Theater, San Francisco, May
2007. residency: ODC Theater,
San Francisco.
{ 1992 }
MarleNe aroN
solo show: The Presence of Now,
Gallery Route One, Point Reyes
Station, California, June–July
2007. group show: Arcadia: Artists
Celebrate Trees, California Modern
Gallery, San Francisco, Apr. 2007.
taught: “Seeing the Divine:
The Spirituality of Vincent Van
Gogh,” First Unitarian Universalist
Society of San Francisco, Apr. 2007.
lecture: “The Life and Work of
Vincent Van Gogh,” San Francisco
Public Library, Bernal Heights
branch, July 2007.
JaNe GriMM
solo show: Hearts: Homage to
Saint Valentine, Ruby’s Clay Studio,
San Francisco, Jan.–Feb. 2007.
group shows: Pacific Rim Sculptors
Group Summer Members Exhibition,
Richmond Art Center, California,
June–Aug. 2007; AWA in Paris, Espace
Chalet, Paris, May 2007; Artfest, Gal-
lery One, San Francisco, May 2007;
Follow The Line, Pence Gallery, Davis,
California, Apr.–June 2007; Four
Generations of Women at CCA, 871 Fine
Arts, San Francisco, Apr.–June
2007; Inaugural Show, Terra Gallery,
Columbus, Ohio, Mar.–Apr. 2007;
Ceramic Abstraction, Creative Arts
Workshop, New Haven, Connecti-
cut, Mar.–Apr. 2007; Plane, Chicago
Art Source, Mar.–Apr. 2007; The
Alliance of Women Artists, Asylum Gal-
lery, Sacramento, Jan.–Feb. 2007.
SteveN Miller
Designer for the San Francisco
Designer Showcase, Pacific Heights
mansion dining room, Apr.–
May 2007.
gregory gaviN, Riveropolis, 2006
42
JereMY SteNGer
group show: Pattern vs. Decoration,
Hosfelt Gallery, San Francisco and
New York, June–Aug. 2007.
{ 1997 }
tia FaCtor
solo show: Spaceball Ricochet,
Keys That Fit Gallery, Oakland,
Apr.–June 2006. group shows: Alumni at the Centennial, Oliver Art
Center, CCA, Oakland, Jan.–Feb.
2007; Oakland: East Side Story, Yerba
Buena Center for the Arts, San
Francisco, Oct.–Dec. 2006.
Stell a l ai
group show: Girls Just Wanna
Have Fun!, International Female Artists
Exhibition, Artspace, Shanghai,
July–Aug. 2007.
JohN roGerS
solo show: Crazy Train to the Land
of Pure Imagination, Blankspace,
Oakland, June–Aug 2007.
{ 1993 }
GreGorY GaviN
public art project: Riveropolis,
Oakland, Oct. 2006.
{ 1994 }
ChaNDra Cerrito
curated: Still, Contemporary
Quarterly.com, 2007; Inaugural
Exhibiton, Chandra Cerrito Contem-
porary, Oakland, 2007.
FaiN haNCoCK
group show: Mythologies, Hang
Annex, San Francisco, Mar. 2007.
aaroN JohNSoN
group show: The Last Open Studios
in Tribeca, New York, Apr. 2007.
l aWreNCe l abiaNC a
group show: Faithfully, Bucheon
Gallery, San Francisco, Feb.–
Mar. 2007.
JeaNNe loreNz
group show: Nothing But Space,
Bucheon Gallery, San Francisco,
June–Aug. 2007.
tara tUCKer
solo show: Friend and Foe, Rena
Bransten Gallery, San Francisco,
Apr.–May 2007.
{ 1995 }
l aWreNCe azerraD
Designed artwork for new Wilco
CD Sky Blue Sky, 2007.
{ 1996 }
C arl a alleN
group shows: Our Cyborg Future,
Discovery Museum, Newcastle
upon Tyne, England, Aug.–Oct.
2007; Second Skin, organized by the
Cooper-Hewitt National Design
Museum (traveled to Kaohsiung
Museum of Fine Arts, Taiwan, and
Museum of Contemporary Art,
Taipei, Taiwan), Mar.–Aug. 2007;
Stars and Starlets Fashion Show,
Second Skin, Essen, Germany, Aug.
2006. work featured: “Fashion-
able Technology,” XXmagazine.org,
Jan. 2007; Entry Paradise: New Worlds
of Design, Birkhäuser Basel, 2006.
Gioia FoNDa
founded: Tangent, an artist-run
alternative gallery space and studio
in Sacramento, July 2007.
Mel aNie hoFMaNN
group show: Animals and Sea
Creatures, Expressions Gallery,
Berkeley, June–Aug. 2007.
aNthoNY pearSoN
solo show: Anthony Pearson,
Shane Campbell Gallery, Chicago,
Feb.–Mar. 2007. group shows: Stuff, Museum of Contemporary
Art Detroit, May–July 2007; Radiant
City, Cherry and Martin, Los
Angeles, June–Aug. 2007; Aspects,
Forms, and Figures, Bellwether
Gallery, New York, Feb.–Mar. 2007.
doN porceLLa, Artist Colony, 2005
43 { Glance Fall 2007}
JUlia Shirar
solo show: New Paintings, Rowan
Morrison Gallery, Oakland, Mar.–
Apr. 2007.
{ 1998 }
JUleS De baliNCoUrt
group show: CCA at 100: Alumni
Looking Forward, Braunstein/Quay
Gallery, San Francisco, Mar.–
Apr. 2007.
StephaNie DeaN
solo show: Sleeping Men, Armit-
age Gallery, Chicago, July–Aug.
2007. group shows: Craftsmanly
Conceptualism, Johnsonese Gallery,
Chicago, May–June 2007; Bridge
Art Fair, Chicago, 2007; Cook
County Women’s History Month,
Chicago City Hall, Mar.–Apr. 2007.
work featured: F-Stop: The First
Four Years, Free Milk Press, 2007.
paMel a DerNhaM
group show: Wired, Mowen
Solinsky Gallery, Nevada City,
California, June–July 2007.
DaviD hUFFMaN
group show: Graphic: New Bay
Area Drawing, di Rosa Preserve,
Napa, California, Jan.–Mar. 2007.
robert olSeN
group show: CCA at 100: Alumni
Looking Forward, Braunstein/Quay
Gallery, San Francisco, Mar.–
Apr. 2007.
ChriStopher rUSSell
solo show: Together, Acuna-Hansen
Gallery, Los Angeles, Jan.–Feb. 2007.
{ 1999 }
aMaNDa hUGheN
solo show: Between Above
and Below, Electric Works, San
Francisco, June–July 2007.
raJKaMal KahloN
group shows: What F Word?,
Cynthia Broan Gallery, New York,
Feb.–Mar. 2007; The Big Picture,
Nathan Cummings Foundation,
New York, Feb.–May 2007; CCA
at 100: Alumni Looking Forward,
Braunstein/Quay Gallery, San
Francisco, Mar.–Apr. 2007.
{ 2000 }
liz CoheN
group shows: 50,000 Beds,
Artspace, New Haven, Connecticut,
and Aldrich Contemporary Art
Museum, Ridgefield, Connecticut,
July–Sept. 2007; Picturing Immi-
gration, Galería de la Raza, San
Francisco, Aug.–Sept. 2007; Chopped,
Chromed, and Customized, Center
for Contemporary Arts, Santa Fe,
Aug.–Oct. 2007; Fuoriuso: Are You
Experienced?, WAX (ex MEO), Buda-
pest, Hungary, and the National
Museum of Contemporary Art,
Bucharest, Romania, May–Aug. 2007.
aleXaNDra GraNt
solo show: MOCA Focus: Alexandra
Grant, Museum of Contemporary
Art, Los Angeles, Apr.–Aug. 2007.
lee WaltoN
public art project: Life/Theater
Project, SoEx Off-Site, Southern Ex-
posure, San Francisco, Mar. 2007.
{ 2001 }
JeaNette boKhoUr
group show: TechArt III, South
Shore Art Center, Cohasset, Mas-
sachusetts, Apr.–May 2007.
JUlie ChaNG
group show: Cream: From the Top,
Arts Benicia, California, July–Aug.
2007.
lilY CoX-riCharD
solo show: At Stake and Rider,
Civilian Art Projects, Washing-
ton DC, June–July 2007. group shows: Company Picnic, Metro
Space Gallery, Richmond, Virginia,
May 2007; Introducing the Common-
wealth Bricoleurs, Off Grounds Gal-
lery, Charlottesville, Virginia, Mar.
2007. award: 2007 Jacob K. Javits
Commended Scholar.
JoSe Mar
group show: CCA at 100: Alumni
Looking Forward, Braunstein/Quay
Gallery, San Francisco, Mar.–Apr.
2007.
viviaNa pareDeS
group show: Nuevo Arte: Colección
Tequila Don Julio, organized by the
Mexican Museum, San Francisco
(traveled to White Box, New York;
New World Museum, Houston;
Aldo Castillo Gallery, Chicago; Los
Angeles Contemporary Exhibitions
[LACE]), Jan.–Aug. 2007. The collec-
tion is being gifted to the Mexican
Museum in San Francisco.
after CC a
edith garcia, Diablo, 2007
44
DoN porCell a
group show: Road Trip, Mixed
Greens Gallery, New York, July–
Aug. 2007.
MarCia WeiSbrot
group show: Pulp Function, Fuller
Craft Museum, Brockton, Massa-
chusetts, May 2007–Jan. 2008.
{ 2002 }
KatheriN MCiNNiS
solo show: Excavations of the
Recordable World (a presentation of
the digital films Landscapes in Alpha-
betical Order; Predictions; Suspicious
Activity; Open; elevations; A Clear Story;
San Quentin, CA 94964; Model Prisoner;
and new work), Yerba Buena Cen-
ter for the Arts, May 2007. group shows: Terra Incognita III, New
Langton Arts, San Francisco, July
2007; International Panorama, Festi-
val Pocket Films, Centre Pompidou,
Paris, June 2007; San Francisco
International Film Festival, Apr.–
May 2007; Alternate Soundtrack City
Tours, Southern Exposure, San
Francisco, Mar. 2007. visiting artist: Conceptual/Information
Arts program, California State
University, San Francisco, fall 2007.
{ 2003 }
KiM CUrtiS
publication: Volume 4,
True-Eye.net, July 2007.
aNJee helStrUp-alvarez
guest curator: Ancient Roots /
Urban Journeys: Expressions for Días
de los Muertos, Oakland Museum of
California, Oct.–Dec. 2007. Associate
director and curator, Movimiento
de Arte y Cultura Latino Americana
(MACLA), San Jose.
FraNCiS Mc ilveeN
group shows: California Clay Com-
petition Exhibition, The Artery, Davis,
California, Apr.–June 2007; Handy-
men and Girly Boys: Masculinity, Craft,
and Culture, Sherry Leedy Contem-
porary Art, Kansas City, Missouri,
Apr.–June 2007; Artist/Teacher,
Teacher/Artist, Richmond Art Center,
California, Apr.–June 2007.
KirStYN rUSSell
group show: Allusive Moments,
Rena Bransten Gallery, San
Francisco, Mar.–Apr. 2007.
haNK WilliS thoMaS
publication: Photo essay, Mother
Jones, June 2007.
elizabeth WalSh
group show: Systems & Transmuta-
tions, Root Division, Gallery 3175,
San Francisco, Feb. 2007.
{ 2004 }
JohN Chiara
solo show: John Chiara (spon-
sored by Gen Art and Johnny
Walker), Club Sportiva, San
Francisco, Mar. 2007. group show: Visual Alchemy, Oakland
Art Gallery, Feb.–Mar. 2007.
DaviD FoUGht
group show: The Most Curatorial
Biennial of the Universe, Apexart,
New York, July–Aug. 2007.
eDith GarCia
group shows: Six McKnight Art-
ists, MacRostie Art Center, Grand
Rapids, Minnesota, and Owatonna
Arts Center, Minnesota, May–
Sept. 2007; Contemporary Monsters at
Wunderkammer: A Cabinet of Curiosities,
Bluecoat Display Centre, Liverpool,
England, July–Aug. 2007. work featured: Breaking the Mould: New
Approaches to Ceramics, Black Dog
Publishing, 2007; Confrontational
Ceramics, A&C Black, 2007.
fraNcis mciLveeN, Sleipnir: Optimistic: Doomed, 2007
45 { Glance Fall 2007}
MarY YoUNKiN
solo show: One Thousand Words,
Luka’s Taproom and Lounge,
Oakland, May–June 2007.
{ 2005 }
lori aUFFhaMMer
group show: You Can Have It All:
New York, Salvation Gallery, New
York, Feb.–Mar. 2007.
C arl aUGe
solo show: Between You and Me,
Rowan Morrison Gallery, Oakland,
May–June 2007. group shows: Red Ink Studios, San Francisco,
Feb. 2007; CCA 100th Anniversary
Alumni Exhibit, GarageGallery, San
Francisco, Apr.–June 2007.
CharleS beroNio
group shows: SELF 2.0, Vertex-
List, Brooklyn, June–July 2007;
New American Talent: The 22nd
Exhibition, Arthouse, Austin, June–
Aug. 2007 (traveling through 2009).
MileS epSteiN
solo show: The Waste Stream—
Art/Furniture, Thoreau Center for
Sustainability, San Francisco,
June–Sept. 2007.
after CC a
Sarrita hUNN
group shows: Optimism: A Natural
Vector, Hardware Store Gallery, San
Francisco, May–June 2007; The
Collective Foundation, Yerba Buena
Center for the Arts, San Francisco,
Apr.–July 2007; CCA at 100: Alumni
Looking Forward, Braunstein/Quay
Gallery, San Francisco, Mar.–
Apr. 2007.
raChel KaYe
group show: Glamour, Glory,
and the Good Old Days, Paul Morris
Gallery, New York, July–Aug. 2007.
FreDeriCK looMiS
group show: Headlands Center
for the Arts open house, Sausalito,
California, Apr. 2007. work featured: Leonardo magazine
cover, Feb. 2007.
eileeN MoDerbaCher
group show: The Most Curatorial
Biennial of the Universe, Apexart,
New York, July–Aug. 2007.
brittaNY poWell
solo show: Mucho Más, Boise Art
Museum, Idaho, June–Oct. 2007.
baYeté roSS SMith
solo show: Passing, Blue Room
Gallery, San Francisco, Mar.–
Apr. 2007.
MiChele theberGe
group shows: Childish Things,
301 Bocana, San Francisco, June–
July 2007; Best Friends Forever, Space
Gallery, San Francisco, June 2007;
Faculty Exhibition, Coffee Gallery,
Fort Mason campus, City College of
San Francisco, May–July 2007.
aNGel a heNNeSSY
solo show: Party Cloudy, Amper-
sand International Arts, San
Francisco, Apr.–May 2007. group show: Breaking Ice: Bay Area Artists
Consider the African Diaspora, Artwork
SF, San Francisco, May–June 2007.
Kari MorriS
curated: Glamour, Glory, and the
Good Old Days, Paul Morris Gallery,
New York, July–Aug. 2007.
{ 2006 }
valerie brittoN
solo show: Near and Far, 301
Bocana, San Fancisco, Mar.–Apr.
2007. group shows: Time Lines,
Mina Dresden Gallery, San Francisco,
Feb. 2007; Excavations, Johansson
Projects, Oakland, May–June 2007.
aliKa Cooper
solo show: Alika Cooper, Mark
Wolfe Contemporary Art, San
Francisco, July–Aug. 2007. group show: Glamour, Glory, and the Good
Old Days, Paul Morris Gallery, New
York, July–Aug. 2007.
Katie leWiS
group shows: Systems & Transmu-
tations, Gallery 3175, San Francisco,
Feb. 2007; Time Lines, Mina Dresden
Gallery, San Francisco, Feb. 2007;
Introductions3, Irvine Contemporary,
Washington DC, Aug.–Sept. 2007.
DaviD MaiSel
solo shows: Black Maps, Nevada
Museum of Art, Reno, Apr.–July
2007; Oblivion, Haines Gallery, San
Francisco, Apr.–May 2007. group shows: Comfort Zone, Santa Fe Art
Institute, June–Aug. 2007; Re-SITE-
ing the West, Los Angeles County
Museum of Art, Mar.–June 2007;
eugeNe youNg, Cousin Wash Presents:
The Food Convention, detai l , 2007
46
Global Anxieties: Nine Perspectives on a
Changing Planet, College of Wooster
Art Museum, Ohio, Mar.–May 2007.
interview: Studio 360, Public
Radio International, Mar. 2007.
lecture: College of Wooster Art
Museum, Apr. 2007. lecture and workshop: Santa Fe Art Insti-
tute, June 2007.
liNDSeY MUSC ato
group show: Glamour, Glory,
and the Good Old Days, Paul Morris
Gallery, New York, July–Aug. 2007.
Job piStoN
solo show: An Unsung Rhythm
in a Colonnade of Stars, Silverman
Gallery, San Francisco, Mar.–Apr.
2007. group shows: Evidence of
Things Unseen, Peninsula Museum of
Art, Belmont, July–Oct. 2007; Our
World (with PhotoAlliance), SFAC
City Hall, San Francisco, June–
Sept. 2007; A Kingdom for a Horse,
Peles Empire / MAK Center for Arts
and Architecture, Los Angeles,
June–July 2007; In a New Direction,
Wall Space, Seattle, Jan.–Feb. 2007.
work featured: Self Service, sum-
mer and fall 2007; San Francisco Bay
Guardian, Aug. 2007; Artweek, June
2007; Artforum.com, Mar. 2007.
DaNiel reNeaU
solo show: Daniel Reneau, 101
California Street, San Francisco,
Feb.–Mar. 2007.
WeStoN terUYa
group show: Graphic: New Bay
Area Drawing, di Rosa Preserve,
Napa, California, Jan.–Mar. 2007.
{ 2007 }
JeSSalYN haGGeNJoS barr
group show: Zonal Confluence,
Swarm Gallery, Oakland, June–
Aug. 2007.
reNee Gertler
group show: Zonal Confluence,
Swarm Gallery, Oakland, June–
Aug. 2007.
CUbbY GolDeN
featured: “The Life of a Nike
Shoe Designer,” Buckets, July 2007.
DaviD GUrMaN
group show: Zonal Confluence,
Swarm Gallery, Oakland, June–
Aug. 2007.
elizabeth MooNeY
group show: Zonal Confluence,
Swarm Gallery, Oakland, June–
Aug. 2007.
KareN olSeN-DUNN
group show: Cream: From
the Top, Arts Benicia, California,
July–Aug. 2007.
rYaN pierCe
group show: Introductions3,
Irvine Contemporary, Washington
DC, Aug.–Sept. 2007.
ChriStiNe WoNG Yap
group shows: Ship Launch!,
Galleon Trade, Oakland, and
Mag:net Galleries / Green Papaya
Art Projects, Quezon City, the
Philippines, June–Aug. 2007;
Beats per Minute: Contemporary
Artists Influenced by Craft and Folk
Art Practices, Museum of Craft
and Folk Art, San Francisco,
Mar.–Apr. 2007. Affiliate artist
at Headlands Center for the
Arts, 2007–8.
JeNNiFer zito
group show: Cream: From
the Top, Arts Benicia, California,
July–Aug. 2007.
Drop US a liNe
Tell us about your creative and scholarly work: exhibitions, publica-tions, screenings, performances, lectures, appointments, promotions, and awards. Please include all relevant dates (including months!), titles, venue names, and locations as well as your name and year of graduation.
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at teNtioN aLumNi Notes / facuLty Notes
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1111 eighth street
saN fraNcisco ca 94107
Notes are featured on a space-available basis. We cannot return slides and photographs, so please do not send your original copies!
47 { Glance Fall 2007}
FacultyroY De ForeSt died May 18, 2007, in Vallejo at age 77. De Forest was a
lecturer at CCA in the mid-1960s, he participated in Founders’ Weekend
in the 1980s, and he juried the Hamaguchi Printmaking Scholarship
competition in 2000. His paintings frequently showed jungle-like land-
scapes populated by dogs and wide-eyed humans. He was inspired by the
Bay Area Figurative style that became influential in the 1950s, but he
always took his own, distinctive approach. His wife, Gloria De Forest, is
a CCA alumna.
MartiN Metal, a sculptor who taught at CCA in the mid-1950s and
early 1960s, died in Berkeley on February 28, 2007, at age 88. His projects
included the 70-foot-tall campanile at Saint Bartholomew’s Church in
San Mateo, the curving metal gates at the original entry to the Berkeley
Repertory Theatre courtyard, the voluptuous 10-foot-long nude that
reclined above the bar at the old Narsai’s restaurant in Kensington, and
the abstract iron horse head outside the San Ramon Office Depot.
Alumnilee boUSiaN BFA, Advertising, 1935 Fowler, California January 14, 2007
GorDoN D. C aNNoN BFA, Industrial Design, 1966 Aptos, California October 11, 2006
toNY G. C aNtaliNi BFA, Interior Architecture, 1993 Palm Springs, California November 11, 2006
viviaN J. ChiverS BFA, 1946 Hemet, California 2007
WilliaM r. DaNCh BFA, Ceramics, 1973 January 9, 2007
Stell a M. epperSoN BFA, Painting, 1966 Orinda, California October 15, 2006
JohN J. eSKriDGe Certificate, Commercial Art, 1948 Berkeley, California April 2006
Martha r. GorDoN BAEd, Art Education, 1936 Grass Valley, California March 13, 2007
KriStiN GUDJoNSDottir BFA, Sculpture, 1995 Chapel Hill, North Carolina April 21, 2007
JaNiCe l. hUNtooN BAEd, Art Education, 1941 Murphys, California May 4, 2006
tobiaS lee Industrial Design, 2003 Truckee, California April 18, 2006
harriet e. MiDDletoN BAEd, Art Education, 1939 Walnut Creek, California September 10, 2006
JohN MiNaSiaN BFA, Painting, 1950 Cupertino, California February 9, 2006
SUNNY S. NiShKiaN Interdisciplinary Fine Arts, 1979 Orinda, California August 26, 2006
DorothY p. rooS BFA, Interdisciplinary Fine Arts, 1973 Orinda, California April 20, 2007
JohN a. rUStiNG Certificate, Applied Arts and Advertising, 1948 Alameda, California March 2, 2007
DiaNa K. vavra BFA, Printmaking, 1961 Loma Linda, California July 24, 2007
loreNzo vill aCorta BFA, Painting, 1975; MFA, 1977 Turin, Italy August 5, 2007
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Please inform us of deaths of
alumni and faculty by sending
information, including newspaper
obituaries, to [email protected] or:
GlanceCCA Communications Department1111 Eighth StreetSan Francisco CA 94107
In Memoriam
48
BackwardGlAnCe
After purchasing what was to become CCA’s new Oakland campus in 1922,
Frederick Meyer and his students spent innumerable hours transforming
the weed-infested parcel into beautiful gardens that included specimens
from all over the world. Many of the trees and plants had botanical labels
so that students could identify them properly while sketching around cam-
pus. Plant Analysis, Outdoor Sketching, Nature Drawing, and Landscape
Painting were all required courses during the school’s first few decades.
Meyer’s reputation as a horticulturalist spread; often he would be
invited to come and remove whatever plants he wished when a local house
was being torn down. Former student Leah Beall Reagg recalled in later
years: “Mr. Meyer used to call me at the most awful times, like 6:30 a.m.
or so, to tell me to please hurry over to the school (I was working for my
room and board) because a night-blooming cereus was just coming into
bloom and would I please draw and paint it before the sun touched it.”
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