Glance | Fall 2005

California College of the Arts San Francisco/Oakland Fall 2005 Volume 14 No. 1 A publication for the CCA community

In this issue: Sustainable Design 100 Families: Art and Social Change

Glance Fall 2005 Volume 14, No. 1

Director of Publications

contents

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ecologies of design: How CCA Designers Are Redefining Good Design

By Kim Lessard

Erin Lampe

Editor Erica Olsen

managing Editor

6

alumni profiles: Speaking the Artist’s Language

By Jessica Russell

Megan Carey

Contributors Susan Avila Chris Bliss Joseph Bryant

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100 families oakland: Art and Social Change

By Jeff Hunt

Kathy Butler Camille Gerstel Erica Holt Jeff Hunt Barbara Jones

10 at the center for art and public life

Rebecca Katz Lisa Kitchen Kim Lessard

11 at the wattis

Ashley Lomery Leigh Markopoulos Jessica Russell

12 CCA Views: New board chair,

Threads Fashion Gala, and more

Design Sputnik CCA, a student design team

26

faculty notes

31

cca bookshelf

32

alumni news and notes

39

in memoriam

40

a backward glance

Design Director Bob Aufuldish

Designers Heath Kessler Alice Sladek Glance is published twice a year by the CCA Communications Department, 1111 Eighth Street, San Francisco, CA 94107.

Write to us at glance@cca.edu.

Change of address?

Please notify the CCA Advancement Office, 5212 Broadway, Oakland, CA 94618, or email bjones@cca.edu.

Printed in Iceland by Oddi Printing

Cover: Samples, CCA New Materials Resource Center

Creating Community Goal 3: Strengthen Internal and External Community Relations —CCA’s 2004–9 Strategic Plan Dear Friends, If you type the word “community” into Google, a host of entries compete for your attention. There are geographic locations; business associations; online support groups; ethnic, cultural, and religious entities; scientific and social organizations; and community colleges and services.

Clearly the idea of community is not limited to a single dimension, such as our neighborhood or our family heritage. We add richness to our lives by building our own communities—alliances based on commonalities, defined by shared needs and goals, and shaped by participation. The best of these communities offer us opportunities to find meaning in contributing to purposes larger than ourselves.

Nearly 100 years ago, the college’s founders formed their own community—an art school based on the principles of the Arts and Crafts movement. What they shared was a belief in the unity of the arts, that all creative endeavor—whether it was called art, architecture, craft, or design—can enrich our lives. Their larger purpose was to educate students who would have the skills, the courage, and the wisdom to make creative contributions to the world.

Reaching out beyond the walls of CCA has always been a part of our educational experience. Today the CCA Center for Art and Public Life carries on this legacy. A wonderful example of the Center’s work is the 100 Families project, which is using art to strengthen families and neighborhoods in Oakland. (See page 8.)

Interaction with the cities to which we belong, with other communities, completes our cycle of teaching and learning. But just as important is creating a strong internal community of students, faculty, alumni, trustees, and staff. When we come together, or commune, in the spirit of participation and openness, and with shared goals and ideals, we strengthen each other and our college.

Thank you for being a part of our community.

Michael S. Roth President

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ECOLOGIES OF DESIGN HOW CCA DESIGNERS ARE REDEFINING GOOD DESIGN

By Kim Lessard

The delicate synthesis of aesthetics and function has long been a primary challenge of “good design.” Today, there is an increasing call for designers to seek innovative ways to make design “sustainable” as well—to design products that minimize or eliminate negative social and environmental impacts.

As CCA’s newly appointed industrial design chair Yves Béhar said in a recent interview with ID magazine, “I do not see sustainability as a separate piece of the process, but instead as a part of a whole toolbox.” With his firm, Fuseproject, Béhar has designed numerous environmentally friendly products, such as underwear with packaging made entirely of cornstarch (instead of sitting in a landfill, the wrapper dissolves in the wash)—an innovation that garnered a 2005 design distinction award in ID’s annual design review.

Faculty Leaders A number of CCA faculty members are at the forefront of the

which emphasizes students’ understanding of how their design

sustainable design movement—what some prefer to call eco-

decisions affect the environment and the people making the

design, environmental design, or e-design. Jay Baldwin,

product.

adjunct professor of industrial design, was a protégé of the late

CCA’s programs also emphasize the interdisciplinary nature

Buckminster Fuller and has been working in the field for more

of e-design education. Classes such as Redding’s Design

than 50 years. Baldwin worked with Stephen Skov Holt during

and Culture encourage collaborations among students in the

Holt’s term as chair of industrial design to make sustainability

industrial design, fashion, architecture, and graphic design

a priority in the program. The ID faculty includes design

programs, fostering a broad understanding of design and

leaders—among them Kiersten Muenchinger, Sue Redding, and

manufacturing processes. Such an understanding, many in

Leslie Speer—who have developed groundbreaking curriculum

the industry feel, is an important part of inspiring solutions for

standards within the profession while raising the bar for what is

sustainable design.

considered good design.

An additional resource at CCA is the New Materials Resource

In Fashion Design, adjunct professor Lynda Grose has pushed

Center, located on the San Francisco campus. A comprehensive,

designers and consumers alike to adhere to the same values

interdisciplinary collection of samples useful to designers in a

that have spurred the growing demand for organic foods. Grose

variety of fields, it is one of the few centers of its kind at a U.S.

spearheaded Esprit’s organic cotton Ecollection in the early

art school. The resource center has a special interest in eco-

1990s. (A line before its time, Ecollection became a casualty of

friendly materials.

the company’s financial troubles in the mid-’90s.) Today, with her Sustainable Cotton Project, Grose works to reduce the impact of the fashion industry on the environment and workers’ health.

She has influenced many mainstream retailers—including IKEA, Timberland, and even Sam’s Club, a division of megastore WalMart—to offer organic cotton products.

Sustainability in the Curriculum

Looking to the Future The greening of design is just one facet of a paradigm shift that is also being embraced by business schools and small and large corporations. Sustainability has moved well beyond just being about public relations or the manufacture of niche-market eco-goods. There are real incentives for mass producers to find ways to make their businesses more environmentally friendly.

To factor in the social and environmental impact of design

As the limitations of the planet’s natural resources become more

requires that designers have a macro view of the process in

apparent, industries are taking stock of how their decisions will

which they, as “makers,” play such a pivotal role. At CCA,

impact the longevity and profitability of their businesses.

industrial design students are gaining this broad perspective

Today, global giants such as Nike and Hewlett-Packard

with required coursework in ecology, ethics, and biology, and

have long-term goals for sustainability. Hewlett-Packard is

courses such as Applied Biology for Designers and Artists. The

working to minimize environmental impact throughout product

Fashion Design Program is one of very few programs in the

life cycles, including design, packaging, and recycling. Nike

country that has incorporated such issues into its curriculum.

has begun recycling post-consumer and flawed athletic shoes

This fall, Grose is teaching Fashion Design 3: Sustainability,

into new sport surfaces such as running tracks and tennis 3

Page 2: Christine Miller, Acorn manual coffee grinder, 2005 IDEA award winner This page: Material world. Top and bottom: Farm harvest waste composite becomes a hanger by sophomore Nathan Whipple; sophomore Wayne Huck crafts footwear from industrial waste materials. Both from “Trash to Cash” project, ID Studio 2, taught by Leslie Speer, 2003 and 2004. Photos courtesy ID Program. Center: Spring Chair

by Anthony Marschak ’03, Adapt Design, 2005. It’s made of bamboo, a fast-growing renewable resource (after harvest, the unharmed root system will produce more shoots). The chair is on view this fall in Aesthetics of Ecology at the Oliver Art Center, CCA Oakland campus. Photo: Robert Kong.

Opposite page: Reduce, reuse, look fabulous. Dress of reclaimed sweatshirt pieces, by Amity Hewitt, senior in fashion design. UN World Environment Day eco-fashion show, San Francisco. Photo © 2005 Patrick Yuen.

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“There is an increasing demand for entrepreneurial or ‘intrapreneurial’ leaders skilled in working with a diverse team on issues of sustainability.”

— Sue Redding

courts. While many would argue that not all companies have

an interdisciplinary group show (on view at the Oliver Art Center

the purest of intentions when touting their commitment to the

on the CCA Oakland campus through December 8). The college

environment, one thing is clear: companies need designers who

is exploring additional degree or certificate programs that focus

can create innovative products that are sustainably designed as

on this important area.

well as functionally and aesthetically superior. As Sue Redding

And in the future? When asked how she would make use

notes, “There is an increasing demand for entrepreneurial or

of a hypothetical endowment earmarked for e-design, Lynda

‘intrapreneurial’ leaders skilled in working with a diverse team

Grose envisions a CCA lab in which students could experiment

on issues of sustainability.”

with earth-friendly alternatives for dye and other industries. Jay

California College of the Arts has its roots in the Arts and

Baldwin imagines a venture reaching beyond CCA: “I think what

Crafts movement, an era in which those charged with the

is very badly needed is for all ID departments, here and abroad,

making of things took on the forces of culture and economics to

to organize their students into a team each semester to do one

argue the importance of how things are made. Thus, it seems no

week of research into materials, assessing each material’s

coincidence that the college’s faculty, students, and alumni are

ecological and social ‘footprint’ so that intelligent decisions can

taking on the challenges of e-design. As the college approaches

be made.”

its hundredth anniversary, the members of its design community

CCA trustee Tim Brown is CEO of IDEO, a firm that has

are a driving force behind a movement that will likely help shape

been a leader in seeking solutions for environmentally sensitive

how we live in the 21st century.

design. Brown reflects, “It is clear from the work we are doing

Last year, the college hosted a design summit that brought

with clients around the world that sustainability—doing more

together business and education leaders to discuss directions

with fewer resources—is steadily increasing in importance. It is

in this field. This fall, the Alumni Exhibition Series is presenting

inconceivable to me that this won’t be one of the most important

Aesthetics of Ecology: Occupying Space for Sustainable Living,

criteria for design in the future.”

An eye for sustainability has brought CCA students success in recent national and international design competitions.

Just this year, ID students Brandon Warren, Isamu Yoda, Jennifer Olsen, and Christine Miller took first, second, and third place in “An Eye for Why,” a prestigious national student design competition, cosponsored by Dyson and the Industrial Designers Society of America (IDSA). The competition considered energy conservation and/or waste reduction as contributors to the overall creativity and success of the design. Miller also won a bronze award for her Acorn manual coffee grinder in the 2005 IDEA awards, cosponsored by IDSA and Business Week. The IDEA awards are judged on design innovation, benefit to the user, benefit to the client/business, ecological responsibility, and appropriate aesthetics and appeal.

Fashion design students Joey Chan and Amity Hewitt were the only students to present work alongside professionals in “Catwalk on the Wild Side,” an eco-fashion show that was part of the UN World Environment Day forum held in San Francisco in June 2005. The students’ designs went down the runway alongside Bono’s new Edun line of organic clothing and the work of established designers such as Margaret O’Leary and Linda Loudermilk.

According to Jay Baldwin, these achievements have not gone unnoticed. “The notable success of our students at the Western IDSA annual student show for the past three or four years has caused many other schools to wake up and add some sustainability content [to their own programs].”

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By Jessica Russell

Alumni Profiles: Speaking the Artist’s Language Born in 1965 in Omaha, NE BFA 1987, Interdisciplinary Fine Arts/Ethnic Art Studies Lives and works in Indianapolis, IN Other Education Graduate studies in arts administration, 1987–90, Indiana University Current Occupation Executive director, Indiana Museum of African American History Influences at CCA Angela Davis, Charlie Gill, Malaquias Montoya

Rita C. Organ Rita C. Organ has over two decades of museum experi-

Wright Museum of African American History in Detroit;

ence, and she credits CCA with giving her the tools to

and the Children’s Museum of Indianapolis. She is cur-

excel in her career. As an interdisciplinary fine arts ma-

rently executive director of the Indiana Museum of Afri-

jor, Organ had the opportunity to take classes in almost

can American History, a new museum scheduled to open

every program at the college. “My CCA education helps

in downtown Indianapolis in 2009.

me to this day,” she says. “In the museum world I have

Organ enjoys starting museums from the ground up.

to deal with all kinds of artists, and I can speak their

“I’m leading the charge,” she says. “I was the first staff

language, so it paid off for me.”

member, and there’s still only two of us. We’re really

Among those at CCA who influenced Organ was ac-

doing this from scratch.” Organ must monitor all aspects

tivist, author, and academic Angela Davis. “She is the

of the project, from architecture, construction, exhibit de-

person I hold responsible for getting me into museums,”

sign, and installation to raising money, increasing staff,

Organ says. Davis encouraged Organ to apply for an

and planning events. She sees the museum as a 21st-

internship at the Smithsonian. For two summers Organ

century experience, balancing hands-on, interactive

worked with Bernice Johnson Reagon, founder of the

exhibits with more traditional storytelling and artifacts.

Smithsonian Institution’s Program in African American

There will be areas highlighting genealogy, Indiana’s

Culture and singing group Sweet Honey in the Rock.

African American music and performing arts legacies,

Through the Smithsonian internship, Organ realized that

and a theater.

she had an administrative mind. This insight led to her ultimate career.

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When asked what’s next, this busy arts administrator says that she might stay put for a while. “I love my job,”

Organ has curated and coordinated the development

Organ says. “I’ve been moving from museum to museum

of more than 90 exhibitions. She has served as director

for the last 20 years, but I’ve actually just bought a house.

of exhibits and collections at the National Underground

I love it here, it’s a great city, and I plan to be on this

Railroad Freedom Center in Cincinnati; the Charles H.

project for quite a while. Finally I’m going to settle in.”

Born in 1969 in Oakland, CA MFA 1996, Ceramics Lives and works in Oakland, CA Other education BA 1993, Fine Art/Art History, UC Santa Cruz Current occupation Executive director, Alameda County Art Commission Influences at CCA Douglas Sandberg, Mark Thompson, John Toki

Rachel Osajima Alameda County residents are lucky to have a CCA grad-

the community—on individuals interested in art, but also

uate looking out for them. As executive director of the

others who may not have an interest or exposure to art

Alameda County Art Commission, Rachel Osajima uses

but who could be enriched from seeing art in a public

her art school education for the public good. “I was born

space.” When the position with the Alameda County Art

and raised in Oakland. I really wanted to work in the

Commission opened up, Osajima knew it would be a

East Bay and support the arts community,” she says.

perfect match for her skills and experience.

Now Osajima directly oversees grants, public art, and

One of the art commission’s programs is a public

arts education programs impacting East Bay schools,

art project at the new Alameda County Juvenile Justice

nonprofit organizations, and communities.

Center, which opens in early 2007. The project includes

After receiving her BA from UC Santa Cruz, Osajima

multiple commission opportunities for permanent public

looked to CCA for her graduate degree in ceramics.

artwork, new works from Alameda County artists, and

The network she developed at CCA is still strong today.

artist-in-residence programs at the center.

“I met a lot of instructors there whom I’ve worked with

“We hope the art programs will be transformative,”

over the years as exhibitors or jurors on projects focused

says Osajima, envisioning the positive effect on people

on crafts or Bay Area artists,” says Osajima. “Over the

using the Juvenile Justice Center, particularly families

last 10 years, the relationships I’ve made with people

visiting youth and the youth themselves. She’s looking

connected to CCA have been a really important part of

forward to getting that project off the ground, while ensur-

my career growth.”

ing that the art commission continues to be a strong and

With experience volunteering as director of a student

effective resource for artists and for Alameda County.

arts group at UC Santa Cruz and working at the Richmond Art Center while at CCA, Osajima saw a career in arts administration as a natural fit. She explains, “I wanted to work for an organization that has a broad impact on

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100 families oakland Art and Social Change

By Jeff Hunt

25 families in 4 Oakland neighborhoods spend 10 weeks making art

A horde of boys and girls, ranging in age from three to eight, are running around, laughing, in the Edward W. Chin Auditorium of the Oakland Asian Cultural Center. As their teacher begins speaking to them in their native Cantonese, they come to attention. Some of the kids are already picking up colored pencils, while others inspect the stubby brushes poking out of cups on the table.

It’s the summer of 2005, and the fourth week of the Chinatown phase of 100 Families Oakland: Art & Social Change, a project conceived and funded by Bay Area venture capitalist F. Noel Perry and facilitated by the CCA Center for Art and Public Life. The yearlong project is bringing together 25 families from each of four different Oakland neighborhoods to spend 10 weeks making art and building a stronger sense of community. Professional artists and CCA students serve as workshop leaders.

Perry came up with the idea after seeing a disturbing work of art in 2003. It was a map of Oakland by local artist Mildred Howard that showed over 100 homicides in the city the previous year, including the locations of the murders and the victims’ names. Perry, a resident of Palo Alto, thought long and hard about how to combat such violence. He came to realize that art can be a powerful force, a means of personal and community healing.

“If we can strengthen the family,” Perry says, “maybe we can strengthen the neighborhood, then maybe the city, and have less of this type of violence.”

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“That’s what 100 Families is all about— creating a feeling of family.” —Anne Huang, Executive Director, Asian Cultural Center

Through contacts at the Oakland Museum of California, where Howard’s artwork was on view, Perry met Sonia BasSheva Mañjon, director of the CCA Center for Art and Public Life. “I loved the [100 Families] idea and thought it would be a perfect partnership with the Center,” Mañjon says. Reflecting on the project thus far, Mañjon adds, “We’ve seen the project create stronger connections within and between families. We hope this experience encourages all families to work together to address challenges that affect the greater community.”

The project began in April 2005 in East Oakland, with weekly workshops held at the East Oakland Youth Development Center, where Jimi

Project exhibition Opening January 2007 Oakland Museum of California Artwork created by all 100 families will be on view.

Evins ’73 served as one of the lead artists. Ten weeks of art making and community building culminated in June with a well-received exhibition at the Oakland City Center’s Gallery 555.

Christine Wong Yap ’98 was one of four artists leading the Chinatown workshops. Wong Yap has a background in community art but still faced some challenges in working with the families, challenges that underscore the importance of the project. At first, many parents seemed to be there to help or encourage their kids, not to make art themselves. How did Wong Yap get the parents involved? In one of the early sessions, she asked kids and their parents to draw each other. “It worked out really well,” she says. “The kids had to really look at their parents and get a good sense of the details of their faces.” The parents, too, found themselves looking at their kids in new ways.

For the families, that initial hesitation about making art gradually turned into creative freedom. Midway through the 10-week Chinatown session, says project artist Nicole Chan, “families were really putting their heads into the art. They knew what they needed to do.” (As is typical for a Center for Art and Public Life project, 100 Families draws on the strengths of community partners and individual artists. Chan, a fine arts graduate student at John F. Kennedy University in Berkeley, brought an important skill to the Chinatown site: she speaks fluent

Below and opposite: In the studio.

Cantonese in addition to English.)

Above: A painting from the Chinatown workshop.

At one of the Asian Cultural Center workshops, the families’ new-

Photos courtesy of Center for Art and Public Life.

found strength was evident in the interaction between one little boy and his father. The two were considering a self-portrait the boy was creating. The father asked his son to write his last name next to the portrait. After some deliberation, together they selected different colors of markers for the boy to use.

It seems like a simple moment, but it’s the kind of hands-on interaction that the project planners had in mind. As Anne Huang, executive director of the cultural center, says, “That’s what 100 Families is all about—creating a feeling of family.”

Work by the 25 Chinatown families was unveiled in conjunction with the Chinatown Streetfest in August and was on view at the Oakland Asian Cultural Center through late September. The 100 Families project is continuing in fall 2005 with workshops at the Unity Council Senior Center in Oakland’s Fruitvale neighborhood and in conjunction with Art Esteem in West Oakland.

100 Families Oakland: Art & Social Change is sponsored

by KPFA-AM and KPIX-TV/CBS5.

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At t h e C en t er fo r A r t and publi c l i f e

Center Student Grants: Changing Lives Through the Arts

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Community arts organizations rely on strong partner-

traveled to El Salvador to engage in art making with

ships to address issues of social justice, diversity,

the town of Perquin. They designed individual projects

equity, and education. Through the Center Student

while partnering with the School of the Arts/Open

Grant program, the Center for Art and Public Life helps

Studio, a program run by CCA faculty member Claudia

students participate in such partnerships. Launched in

Bernardi, developed to facilitate, implement, and teach

2002, the program funds projects that fourth-year and

art projects reaching children and adults living in

graduate students create themselves.

Morazán, El Salvador.

Working in close collaboration with a community-

In 2002, Jake Mackenzie ’03 led a team of volun-

based organization, students create art that is mutually

teers to the remote community of Chacala in Nayarit,

beneficial and responsive to its setting, including the

Mexico, to help rebuild their hurricane-damaged

cultural expressions of diverse ethnic and racial groups.

beachfront and begin creating a community center.

Projects in the Bay Area In 2002, CCA students Unity Lewis ’05, David Battaglia ’04, and Bayete Ross-Smith ’04 partnered with Far West School in Oakland to create a course that explored hip-hop as a cultural and artistic movement, examining its social norms, values, politics, history, and practice.

The project “allowed me to connect with the community and be creative in a way that was actually relevant to the world,” says Ross-Smith.

Other projects have ranged from a media literacy course at Far West School to a writing and art workshop for Arab and Muslim youth at the Arab Cultural and

After graduating, Mackenzie was hired to continue work on the project. The first building of the community center opened in 2004.

Miranda Bergman’s project in 2004 at a junior high school in Yelapa, Mexico, engaged students, parents, and the village community in the creation of a large, colorful mural at the school. Teachers were trained in the mural-making process, so that successive years of students might enjoy the experience—a sustainable legacy for the project. Bergman recollects, “The project planted deep seeds of connection that continue to sprout. While we were there, working with the youth of the Escuela Telesecondaria to paint their wonderful

Community Center in San Francisco.

mural about ecology, my assistant Susy Lundy and I

Projects Abroad

ing class.” In Mexican culture, that honor is not taken

Many of the student grant recipients work internation-

were named the madrinas (godmothers) of the graduatlightly and implies an ongoing relationship.

ally—with two projects in Mexico, one in El Salvador,

Erica Holt

and one in Ecuador—to accomplish artistic and com-

For more information about Center Student Grants, contact Jason Engelund at 510.594.3765 or jengelund@cca.edu. The Center Student Grants program receives generous support from the Nathan Cummings Foundation. Fundable projects are identified through a highly selective application process for which students must provide a detailed plan, budget, and relevant experience.

munity-building goals that might be impossible otherwise. Over the past summer, students Gardner Goetze, Thia Jennings, Daniel Panko, and Christina Samuelson

Eye on Contemporary Art

for two exciting and very different exhibitions, both on view November 30–February 21. Capp Street Project artist in residence Jeanne Dunning has created a dynamic new installation. And in the upstairs gallery a group exhibition, A Brief History of Invisible Art, presents—as the title hints—a selection of perceptually and conceptually challenging artworks.

Jeanne Dunning elaborates on her continuing investigation of representations of formlessness that evoke disturbing corporeal associations. Her project centers around a series of large-scale photographs depicting a monochrome color field (composed of smashed stewed tomatoes). The installation explores boundaries

Wattis Hosts Visiting Curators We extend a very warm welcome to our visiting curators, Will Bradley (August 2005–January 2006) and Magali Arriola (January–July 2006). A cofounder and former director of the Modern Institute, Bradley comes to us from Glasgow, Scotland. He has curated numerous exhibitions, most recently Art & Social Change at the Van Abbemuseum in Eindhoven, the Netherlands.

Arriola is a freelance curator and art critic. Formerly chief curator for the Museo Carrillo Gil in Mexico City, Arriola has organized a series of exhibitions, including

At t he Wat t i s

This fall and winter, we hope to see you at the Wattis

Congo-Bravo: Pablo Vargas Lugo, Inappropriately Drawing, and Art Club 2000.

between the sublime and the grotesque, while playing

Leigh Markopoulos, Deputy Director

on our (mis)perceptions of images connoting physical

CCA Wattis Institute

vulnerability.

A Brief History of Invisible Art, curated by Wattis director Ralph Rugoff, brings together artworks from the past four decades that place a pronounced emphasis on the conceptual and communicative possibilities of the work of art, while bypassing its seeming requirements of visibility and materiality. Spanning a range of aesthetic practices, the exhibition features works by

Thomas Hirschhorn, UTOPIA, UTOPIA = ONE WORLD, ONE WAR, ONE ARMY, ONE DRESS. Installation detail, ICA Boston, 2005.

Photo: Leigh Markopoulos

seminal figures in the history of conceptual art, as well as by more recent artists who are responding to their legacy. Artists include Art & Language, Michael Asher, Robert Barry, James Lee Byars, Maurizio Cattelan, Jay Chung, Trisha Donnelly, Carsten Höller, Bethan Huws, Bruno Jakob, Yves Klein, Glenn Ligon, Jonathan Monk, Gianni Motti, and Andy Warhol.

On View in Spring 2006 From March 9 to May 13, 2006, the Wattis will present Thomas Hirschhorn’s UTOPIA, UTOPIA = ONE WORLD, ONE WAR, ONE ARMY, ONE DRESS. The conceptual leaping-off point for the exhibition is the prevalence of “camouflage” in contemporary culture and politics—as a fashion insignia and as an emblem of battle. The militarization of the self that triggers Hirschhorn’s investigation is dramatized in the sprawling exhibition, which incorporates traditional display elements from museums of art, history, technology, fashion, and war. Coorganized by the Institute of Contemporary Art, Boston, and on view in Boston through January 16, 2006.

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ANN M. HATCH: ADVOCATE FOR THE ARTS interview by Chris Bliss

How did you come to know California College of the Arts?

In the late 1990s, the Capp Street Project board was looking for ways to associate the program more closely with an educational institution. We had talked about forming a partnership

C CA VIEWS

with other colleges in the Bay Area, and CCA quickly became interested, largely because of Larry Rinder being hired as the director of the new CCA Institute [now the CCA Wattis Institute]. Originally, we wanted to give the [Capp Street] house to an educational institution to preserve the physical legacy of the project.

In 1983 you founded Capp Street Project (which became part of CCA in 1998). Tell us more about that.

A friend introduced me to [CCA alumnus] David Ireland, who was selling his house at 65 Capp Street in San Francisco.

At this point in my life I was immersed in the family applegrowing business and was not active in the arts scene. David introduced me to his art world, and I began to see a real void in public support for artists. As I began exploring what would

education can learn to read an MRI better. I believe that art school

be the best use of the house, the idea of a residency program

doesn’t have to bind people to becoming artists. Creativity is not

gradually surfaced. The premise for Capp Street Project was,

limited to the arts—there are interesting connections to be made

What would happen if we gave artists all the things they

between art and science, art and technology, art and business.

need: a stipend, a place to live, supplies, and an environment in which to work and create? We would then have a public exhibition and professionally document the entire process in a

Originally I was asked to sit on the board for a year to ensure a

catalog. This was the right idea at the right time. It worked well

smooth transition for Capp Street. Now, seven years later, I find

right from the beginning. It’s amazing to think that more than

myself chair of the board! While I didn’t actively seek the position,

100 artists have participated in Capp Street since its inception.

I was delighted to be asked to move into this role. I believe in arts

Capp Street has always been a flexible and experimental insti-

education and being an advocate for the arts. I have been pretty

tution, and it has changed over the years, including changing

effective in bringing ideas together with people and their resources.

locations several times. I’ve been delighted to see it continue

And I’m not shy about asking for things, which is probably a good

to evolve as part of the CCA Wattis Institute.

quality for a chair!

You’ve been involved with many other arts organizations,

What excites you about this job?

including founding the Oxbow School. Why is arts education important?

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What special qualities do you bring to the job of board chair?

California College of the Arts is one of those institutions that makes the Bay Area a better place. The college has wonderful local and

An arts education allows students to develop a highly tuned

regional visibility and is quickly gaining in national prominence.

visual language that helps them find creative solutions to

We have a tremendous group of trustees, all of them committed to

complicated problems. It builds multisensory awareness that

advancing the college’s mission. I enjoy being a part of develop-

can translate to any field. For example, a doctor with an arts

ing a campus for such a dynamic and growing organization. There

Ann M. Hatch became chair of the CCA Board of Trustees in June 2005, succeeding Simon Blattner.

Hatch was the founder of Capp Street Project, a nationally recognized artist residency program now housed at the CCA Wattis Institute for Contemporary Arts. With Robert and Margrit Mondavi, she also cofounded the Oxbow School, an independent high school for the arts in Napa, CA. Hatch is a native San Franciscan and a philanthropist.

have been wonderful new hires in many programs, and the

for Art and Public Life are spreading the college’s influence

graduate programs are growing. At this point, I feel that with a

to a much broader audience. CCA’s visiting artists and scholars

great plan, a great deal is possible.

contribute further to the creation of a vibrant and dynamic

What is the role of the Board of Trustees at the college?

Our focus is on long-range planning, making decisions today that will have a huge impact on the college tomorrow. I tell my fellow trustees that if they show up and pay attention, the priorities will become clear.

What are your top priorities as chair?

arts community. Among the 3,000-plus nonprofit arts organizations in the Bay Area, California College of the Arts is a bright spot.

What would you tell a prospective student about CCA? Check out the college thoroughly to make sure it’s a match.

Once here, take advantage of all that the college has to offer.

However, it’s important to focus and not get too scattered.

I want to keep the trustees engaged in the life of the college.

Make alliances with the faculty—they are here to guide you.

We are committed to raising more funds for scholarships,

This is not “art camp.” This is a once-in-a-lifetime opportunity

facilities, and programmatic initiatives. A robust financial aid

that you should take seriously.

program is essential to creating a diverse and dynamic student body. We also are making an effort to reconnect with the alumni of the college—a very important constituency.

What is the college’s role in the community?

Describe CCA 10 years from now.

In the next few years, as we determine how to provide the best possible educational experience for our students, decisions will be made that will affect the school for years to come. Cer-

With 1,600 students, 400 faculty members, and thousands of

tainly we hope for financial security, top-notch facilities, high

alumni, the college already makes a large impact on the Bay

educational standards, and successful and productive alumni

Area. The programs of the CCA Wattis Institute and the Center

and faculty.

13

CCA Announces New Faculty

Internationally recognized designer Yves Béhar is the new chair of industrial design.

Béhar is the founder and principal of fuseproject, a San Francisco–based design studio. He brings to the college a collaborative, integrative approach to the design process, combined with extensive knowledge of contemporary design practice. Béhar’s work encompasses areas as diverse as technology, sports, lifestyle, and fashion, for Birkenstock, Herman Miller, MINI, Toshiba, and other industry giants. The New York Times has written that Béhar’s “user-friendly creations are quietly transforming modern product design.”

Artist Brian Conley is the new chair of the MFA Program in Fine Arts. Conley’s artistic practice—from radio performance to sculptural and sound-based installations—operates along the divide between science and art. His work—shown widely throughout the United States and Europe—employs a range of disciplines to explore perceptions of humanity, nature, technology, language, and consciousness. Conley holds an MFA in sculpture and a PhD in philosophy from the University of Minnesota. In addition to his art practice, he is the founding coeditor of Cabinet magazine.

New Hires in Painting Program

department of drawings at the Museum of

The Painting Program welcomes four

1975–2005, on view this fall.

the exhibition Drawing from the Modern,

new tenure-track faculty members. Linda

In addition, prominent painters John

Geary’s work has been seen in numerous

Zurier and Christopher Brown were ap-

solo and group exhibitions, including Bay

pointed eminent adjunct professors.

Area Now 3 at Yerba Buena Center for the Arts. James D. Gobel comes to CCA from CSU San Bernardino, where he was an assistant professor of painting and director of three university galleries. His work has been shown widely, in venues including the group show 100 Artists See God at the Contemporary Jewish Museum in San Francisco. David Huffman (BFA ’86, MFA ’98) has had recent solo shows at Lizabeth Oliveria Gallery in Los Angeles and the de Saisset Museum at Santa Clara University. His work in the group shows Black Belt and Freestyle at the Studio Museum of Harlem received wide critical acclaim. Jordan Kantor was formerly an assistant curator in the

14

Modern Art in New York, where he curated

News from Media Arts

Visiting Artists A number of distinguished visiting artists are teaching at the college this fall, including New York performance artist Andrea Fraser, award-winning writer Julie Orringer (How to Breathe Underwater), and sculptors Jane Bruce and Mary Shaffer.

Richard La Trobe Bateman—furniture maker, critic, educator, and designer

Artist Kota Ezawa joined the faculty this

and builder of bridges—is the Wornick

fall. Ezawa was recently honored at the

Distinguished Visiting Professor in Wood

Shanghai Biennale for his work in digital

Arts this fall.

animation, investigating recent history and current events. Acclaimed nonfiction film director Rob Epstein is teaching as a visiting faculty member and assisting the program in exploring curricular innovation. Epstein won his first Oscar for the documentary The Times of Harvey Milk, and a second for Common Threads: Stories from the Quilt.

Awards and Accolades

Architecture Honors

Shows, and Murphy awards to Michele

CCA website, saying, “The large horizontal

Faculty member Douglas Burnham and

Carlson, Alika Cooper, Lacey Jane Roberts,

graphics communicate the creativity and

Susan Schultz, Weston Teruya, and Kirsten

spirit of the college with an artistic flair that

Tradowsky.

is hard to ignore.” The web graphics are

alumni Robert Pei ’02 and Chris Weir ’01, of Envelope A+D Architects in Oakland, received one of two $10,000 first-place prizes, awarded by the San Francisco

also designed by Sputnik.

Graphic Design Stars

Mayor’s Office and San Francisco Prize,

The CCA undergraduate catalog, designed

ID Awards

for their Octavia Boulevard housing design

by Vanderbyl Design (Michael Vanderbyl

CCA was well represented in the 2005

proposal. The California Architectural Foun-

’68, dean of design) won a national gold

IDEA awards, cosponsored by the Industrial

dation awarded a Mel Ferris Scholarship

award at the 20th annual Admissions

Designers Society of America (IDSA) and

to student Lincoln Lighthill. The 2005 AIA

Advertising Awards, sponsored by Admis-

Business Week. The CCA Graduate Center

San Francisco Design Awards recognized

sion Marketing Report. Graphic Design

(Jensen & Macy Architects) received a sil-

work by trustee Steven Oliver; trustee

USA honored the catalog and five other

ver award in the Environments category. ID

and faculty member Byron Kuth; faculty

CCA publications; kudos to faculty member

chair Yves Béhar and his firm, fuseproject,

members Douglas Burnham, Rodolphe

Bob Aufuldish, alum Zaldy Serrano ’01,

picked up five awards for designs including

el-Khoury, Mark Horton, Jim Jennings,

and students Albert Ignacio, Matt Jervis,

the Toshiba Red Transformer laptop and

and Craig Scott; and alums Todd Aranaz

Wyeth Koppenhaver ’05, Kyle McDonald,

Swarovski Nest Chandelier. Bronze awards

’95, Steve Const ’98, Gary Hutton ’75,

Kristy McKoy, Lisa Mishima, David Riofrio,

in the student category went to Christine

Robert Pei ’02, and Chris Weir ’01. And the

Yaeger Moravia Rosenberg, and Marcelo

Miller and Evelyne Chaubert ’04 (now a

Architectural Foundation of San Francisco

Viana Neto (all on the Sputnik student

faculty member). Trustee Tim Brown, CEO

honored CCA students in the Architecture +

design team).

of IDEO, saw his company selected for

Music collaboration program for outstand-

Graphis: New Talent Design Annual

ing service in bringing architecture to Bay

2005 features 2003–4 work by students

Area children.

Andre Andreev ’05, G. Dan Covert ’04, Michael Coyne, Nissa Ellison, Connal

News from Graduate Studies

Hughes, Andrew Kinzer, Mabel Liang, Mar-

McSweeney’s accepted a story by first-year

Shin, and Anjel Van Slyke. Faculty member

writing student Katie Wudel—her first

James Kenney ’98 reports that students

published story. A record number of fine

Jonathan Burkett ’05, Nicholas Macias,

arts students received fellowships from the

and Makiko Tatsumi Orser have projects

San Francisco Foundation; Cadogan awards

in Motion Design (RotoVision SA, 2004).

went to Nikolai Moderbacher and Leslie

And the Design EDU Awards recognized the

celo Viana Neto, Dennis Pasco (designer, fall 2003 Glance), Wishmini Perera, Sumi

seven awards.

Trustee Receives Award Simon Blattner, former chair of the CCA Board of Trustees, was awarded an appointment as a visiting scholar at the American Academy in Rome. During his stay, Blattner will be working on a project about the introduction of paper into western civilization. He will resume his trusteeship at the college on his return.

Staff Appointments Melanie Corn Associate Dean of Undergraduate Studies Deborah Feldman Chief Facilities Officer David Meckel Director of Research and Planning Denise Pate-Pearson Associate Director, Operations—Center for Art and

Public Life

Robynne Royster Director of Undergraduate Admissions Pete Sutton Director of Facilities and Operations, Oakland campus Brenda Tucker Director of Public Relations Christina Turner Associate Director of Graduate Admissions Michael Welch Director of Facilities and Operations, San Francisco campus

15

Gifts and Grants California College of the Arts is grateful for the very generous support of the alumni, parents, and friends who made gifts during the spring and summer of 2005.

The James Irvine Foundation renewed its leadership support

We thank the generous donors to the CCA Wattis Institute.

of CCA with a three-year grant of $450,000. This award will

The Phyllis C. Wattis Foundation awarded a $150,000 grant

underwrite mentorship classes, the Pre-College summer pro-

in support of the CCA Wattis Institute’s exhibitions and public

gram, a new Community Arts major, and student scholarships.

programs, and the Nimoy Foundation gave a grant of $25,000

The CCA Center for Art and Public Life received a tremen-

for Capp Street Project residencies in 2005–6. The CCA Wattis

dous gift of $365,000 from F. Noel Perry, CFA. Mr. Perry is

Institute received a $7,730 grant from the Institute of Museum

working in collaboration with the Center to implement 100

and Library Services to undertake a conservation assessment.

Families: Oakland, a public art project involving families from

Mary and Andrew Pilara joined the Curator’s Forum with a gift

four different Oakland neighborhoods. The Clorox Company

of $5,000.

Foundation renewed its support of the Center with a grant

A total of $40,000 in unrestricted support was given by

of $10,000. California Campus Compact/Corporation for

trustees Carla Emil, George F. Jewett III, Byron Kuth, and

National and Community Service: Learn and Serve America

Chris Vroom. Parents Barry Friedberg and Charlotte Moss

Higher Education awarded the Center a $9,000 grant.

made a gift of $10,000 in support of the Annual Fund, and

California College of the Arts received two awards from the

Mr. and Mrs. Robert Nicholson gave $5,000 in support of stu-

National Endowment for the Arts: a $40,000 Learning in the

dent scholarships. The college also received a gift of $5,252

Arts for Children and Youth grant to underwrite curriculum and

from the estate of alumni Grace and Louis Macouillard.

professional development for teachers at the Center’s partner

California College of the Arts received a $50,000 grant

schools in Oakland, and a $20,000 Access grant to digitize

from the Simpson Strong-Tie Company, Inc., to sponsor a

the Capp Street Project archive.

collaborative studio in architecture and an $11,000 grant

The college received a $100,000 grant from the Fletcher

from the Barbro Osher Pro Suecia Foundation in support of

Jones Foundation to create the Fletcher Jones Endowed Schol-

Scandinavian: Traveling Lecture Series and Exhibition Project.

arship. OgilvyOne created the OgilvyOne Endowed Scholarship

Members of the Bay Area architecture and design community

with a gift of $26,250 to support students in graphic design

contributed $5,550 to the Architecture Lecture Series.

and writing. The Richard and Rhoda Goldman Fund renewed

We thank Landis Communications for its very generous

its support of the Presidential Scholarship with a grant of

contribution of services to assist California College of the Arts

$15,000. Chong Partners Architecture gave $5,000 for the

with public relations efforts.

Master of Architecture Inaugural Scholarship.

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sponsored studios FueL college-industry partnership

Sponsored studios are courses that combine CCA’s academic

Working collaboratively, the students developed concepts

culture of inquiry and discovery with a company’s industry-

for Ascend, a new airline. The concepts included Brandon

related goals. Through sponsored studios, industry partners

Warren’s security enhancements involving boarding passes

work with faculty and students to participate in shaping the

and other elements of check-in (top), home baggage check-in

future of professional practice. A great benefit of such studios

service (bottom left) by David Baur (with Justin Butler), and

is the exchange of ideas and energy between students, faculty,

Isamu Yoda’s RFID baggage tag and reader (bottom right).

and professionals. Industry representatives participate in a

The students presented their concepts to IDEO designers, who

variety of ways, including special presentations and critiques on

shared aspects of their own research processes and participated

campus and off-site at a company’s plant or office.

in critiques throughout the semester. For more information, visit

Past partners have included Steelcase Inc., Samsung Design

the studio website at http://sites.cca.edu/ascend.

America, and Tupperware Worldwide. Studios have investigated

In fall 2005, Simpson Strong-Tie Company, Inc., is

topics ranging from office products that respond to the needs

sponsoring the Simpson Connections Studio, led by architecture

of new business environments, to patterns of behavior in the

faculty member Peter Pfau, AIA. Developed in collaboration

domestic sphere.

with company leaders, the students in this upper-division

Recently, in partnership with IDEO, industrial design

studio are investigating new ways to connect materials and

students worked with Ian Coats MacColl (founder of Inventures

create building components.

Product Development Inc.) and Nathan Shedroff (author

Sponsored studios provide a rich learning environment for

of Experience Design 1 and cofounder of vivid studios) to

CCA students, who go on to apply their experience in the field.

investigate four pillars of design: experience, sustainability,

They also bring an infusion of creative energy for industry

meaning, and business needs. The students were challenged

partners. If your company is interested in sponsoring a studio

to apply their design skills to the air travel experience, taking

at CCA, please contact Lisa Kitchen, Foundation, Corporate

into consideration the perspectives of travelers, airlines, and

and Government Giving Manager, at 510.594.3663 or

employees of airports and airlines.

lkitchen@cca.edu.

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Join the Founders Legacy Society

In 1907, California College of the Arts was founded by individuals with a desire to provide the finest arts education. That dream was realized through the contributions and hard work of the founders.

As we approach the college’s centennial, we invite you to help us build upon this legacy of success.

Founders Legacy Society members make estate or bequest gifts

cash, retirement plans, life insurance policies, charitable remainder

to CCA, ensuring that future generations of deserving students

or lead trusts, real estate, or stock/securities. Planned gifts can be

will benefit from the college’s tradition of excellence. Donors

revocable—a charitable bequest in your will, for example—or they

may benefit from making a planned gift, as some of the best

can be irrevocable, just as outright gifts are, so that you benefit

gifts can also improve the donor’s financial and tax situation.

from an immediate tax deduction.

Planned gifts appeal to donors who want to support CCA

Many alumni and friends support CCA through planned gifts. We

but prefer to retain their assets in the present to ensure that

asked three of them to share their stories. In each, you will see a

they can meet their financial needs. These donors use estate

recurring theme: the desire to give back to CCA in gratitude for all

planning to support the college through the allocation of gifts of

the college has given them and the community.

Diane Oles, Alumna I graduated from the college in 1984 with a BFA in interior architecture. After working in interiors for a number of years, I now own a personal image consulting company. While making my estate plans, I decided to include a donation to CCA because the school has made such great strides over the years, especially since President Michael S. Roth arrived. CCA has become the kind of school that many different types of artists can benefit from. I have chosen to make a gift of cash toward scholarship support. I received scholarship aid as a student. As we know, tuition is very expensive, and I wanted to return the favor. My advice to someone considering a planned gift is this: No matter what the amount, include a gift to CCA in your estate planning. It may seem like a drop in the bucket, but combined with other gifts, it will ensure that the institution remains healthy and vibrant.

Photos: this page and opposite, top: Suzanne LaGasa

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Shepard Pollack, Trustee I joined the CCA Board of Trustees in 1993. To me, one thing that characterizes nonprofit board membership is full intellectual and emotional commitment to that institution. I also feel that it is crucial to provide for that institution as much as possible, and that your support should not stop after your death. This is why I have made a bequest in my will to California College of the Arts. My gift is for endowment, and I chose not to restrict the gift beyond that. I want the future administration of CCA to have the flexibility to use my gift as they see fit. My advice to those considering a planned gift would be to speak with your lawyer, and to consider the balance between restricting your gift for a single purpose and general support of the institution. I find it rewarding to know that my decision to make a planned gift to CCA will benefit future generations of students.

Kenneth Goss, Friend My association with CCA goes back to 1980, when I met my life partner, Armando A. Rocha, while he was a student at the college. Armando had a deep passion for interior architecture and a natural ability in the field. The CCA faculty recognized these traits in him and nurtured his talents. After graduation, Armando took a job with Gensler in Washington, DC. He quickly moved up the ladder and had a number of high-profile clients before his passing from a lengthy illness in 1998. Armando could never have completed his studies at CCA without financial assistance. I have made a bequest in my will to thank CCA for what it did for Armando. I want to ensure that another student like Armando, who came from a poor family, has the opportunity to soar to greatness, to realize his or her full potential, and to have a better life. In my small way, I am helping to make sure there is that possibility for the next generation of graduates.

I encourage you to join me in making a planned gift to CCA.

If you would like more information, or have already included CCA in your estate plans, please return the enclosed envelope. You may also contact Ashley Lomery, Associate Vice President for Individual Giving, at 510.594.3662 or alomery@cca.edu to learn more about making a planned gift.

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S POT L IGHT ON

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1

3

20

5

4

6

CCA 7

1 Diane Blattner, Simon Blattner, and Kimberly Blattner at the dinner in honor of Simon Blattner’s tenure as board of trustees chair. May 2005.

2 Tecoah Bruce ’74, ’79, Andrew Fisher ’78, Jennifer

8

Biederbeck, and Jeffry Weisman at the pre-party for the fashion gala. Mar. 2005.

3 Mary Foust and Brad Shafer at the pre-party for the fashion gala.

4 Matthew Higgs, curator (left), and Tim Mott, trustee and exhibition sponsor, at the opening reception for General Ideas: Rethinking Conceptual Art, 1987– 2005, at the CCA Wattis Institute. Sept. 2005.

5 Sandy Walker and Kay Kimpton, exhibition sponsors, at the General Ideas opening reception.

6 Barclay Simpson, trustee; Samella Lewis, artist and art historian; Michael McClure, professor and poet, recipients of the honorary doctorate, at the 98th annual commencement. May 2005.

9

7 Ruby Young ’52, Charles Wilson ’59, and Marion Wilson at Remember When, a gathering for alumni from the college’s first 50 years. Oakland campus. Apr. 2005.

8 Paul Wonner ’41, Harriet Middleton ’39, and Jack Bousian ’42 at Remember When.

9 Richard McLean ’58, George Miyasaki ’58, Darlene McLean, Elaine Gill, Charlie Gill ’55, Virginia McNett ’44, and Jean Loomis ’44 at Remember When.

10 Lowell Herrero ’49 and Stanley Cohen ’52 at Remember When.

All photos L to R. Photos: (1, 6) Stuart Brinin; (2, 4) Douglas Sandberg; (3, 5, 7–10) Ken Friedman

10

1

2

T h r e a ds

5

6 1 Ron Kaufman, Barbara Kaufman,

4 Mary Robinson, Pat Wilson, and Anne Robinson Woods

Kimberly Blattner, and Simon Blattner

5 Mary-Louise Adlercreutz, Andrew Zenoff, and Kimberly Bini

2 CCA President Michael Roth, John Osterweis,

6 Gardner Robinson, Kendall Robinson, Frances Bowes,

and Barbara Ravizza

and John Bowes

3 Ann Fisher, John Miller, and Lisa Miller

7 Catherine Podell and Helen Hilton Raiser 8 Dana Whitaker and Joske Thompson

The suggested attire was “fashionista,” and 475 guests came

ous bursts of applause. After the show, several guests were seen

duly clad for a fabulous evening celebrating California College of

scribbling down the designers’ contact information—perhaps a

the Arts. Threads, the inaugural fashion and fundraising gala on

commission for a gown to wear to next year’s gala?

April 28, 2005, exceeded all expectations, bringing in $245,000

The college is grateful to Osterweis Capital Management and

in support for the scholarship program. Many donors contributed

members of the gala and honorary committees for their vision,

to this success, but lead sponsor Osterweis Capital Management

leadership, and generosity. Our thanks go to the fashion students,

made it all possible with its gift of $25,000.

faculty, and staff, who organized an exceptional show. CCA also

Threads cochairs Kimberly Blattner and Anne Robinson Woods

thanks lead in-kind sponsor Annieglass for providing lovely glass

led the effort to create CCA’s first fundraising gala in seven years

bowls as gifts for attendees. In addition, we thank our media

and turned it into the college’s most successful event to date.

sponsor, Surface magazine.

Guests enjoyed wine donated by Robert Mondavi Family of Wines and a delectable dinner prepared by Paula LeDuc Fine Catering.

We’ve already begun preparations for next year’s gala, to be held at Fort Mason Festival Pavilion on May 10, 2006. Lorna Meyer

The centerpiece of the evening was the runway fashion show,

and Lisa Miller have graciously agreed to serve as cochairs. We’re

featuring the collections of 11 young designers in the class of

working on an exciting event with the goal of raising even more

2005. With music thundering and lights flashing, professional

for CCA student scholarships. Watch your mail for a “save the

models sauntered down the 80-foot runway, inspiring spontane-

date” announcement!

3

4

Fashion Gala

7 9 The scarf explodes into a dramatic floor-length dress, by Marjorie Harris ’05 All photos L to R. Photos: (1–8) Tom Gibbons Photography; (9) Robert Adler

8

9 23

threads fashion gala The college extends its warmest

Donors $500 to $2,000

appreciation to the following donors.

$2,000 Catherine and Michael Podell Jack and Susy Wadsworth

Lead Sponsor Osterweis Capital Management Haute Couture Patrons Diane Christensen and Jean Pierret Carla Emil and Rich Silverstein Anita and Ronald Wornick Nouvelle Couture Patrons Kimberly and Simon Blattner Tom and Jan Boyce Tecoah Bruce ’74, ’79, and Thomas Bruce E. J. De La Rosa & Co., Inc. Lois Gordon and Robin Strawbridge Mary Green Leigh Hudson Eve and Harvey Masonek Tony and Celeste Meier Lorna F. Meyer and Dennis Calas Timothy Mott Steven and Nancy Oliver David and Mary Robinson Karen and Ronald Rose Michael S. Roth and Kari Weil Dorothy and George Saxe Phil Schlein Barclay and Sharon Simpson Alan and Ruth Stein Judy and Bill Timken Kay and Frank Woods Mary and Harold Zlot Table Patrons City National Bank Mary Foust and Brad Shafer Ann Hatch and Paul Discoe Mrs. Charles H. Hine Hood & Strong LLP CPAs Brenda and George F. Jewett III Anne Robinson Woods and Montgomery Woods Mr. and Mrs. William Wilson III

$1,250 Stephen Beal and Elizabeth Hoover Mr. Mark Dwight David and Deborah Kirshman $1,000 Mr. and Mrs. John G. Bowes Ellen and Drew Bradley Bob and Daphne Bransten Rena Bransten Mr. and Mrs. Donald G. Fisher Joe and Beth Hurwich Mr. Mark Jensen Ms. Jane Metcalfe and Mr. Louis Rossetto Mr. and Mrs. Robert Mondavi JaMel and Tom Perkins John and Lisa Pritzker Robert and Elizabeth Reed Ms. Catherine Schmidt and Mr. Robert Karp Sharalyn and Garen Staglin Roselyne Chroman Swig Ms. Barbara Waldman $750 David Friedman and Paulette Meyer Ms. Ann Morhauser Ms. Elise Wen $500 Richard and Darla Bastoni William and Susan Beech Mr. Andrew Belschner Douglas and Jennifer Biederbeck Nicolo and Kimberly Bini Bill and Gerry Brinton April and Glen Bucksbaum Mr. and Mrs. Oliver Caldwell Ronald and Libi Cape Andrew G. Fisher ’78 and Jeffry Weisman

Dr. and Mrs. Wallace Friedman Robert and Michelle Friend Mr. Richard Goldman Dr. and Mrs. Gilbert Gradinger Steve and Nancy Grand Susan and John Hoganson Ms. Stacy Holzman Carol and Richard Hyman Arline Klatte and Jon Ennis Dr. and Mrs. Hal Korol Bo and Kathryn Lasater Ms. Rebecca Lee Roseann and Al Levitt Ms. Jane Lurie Leigh and Bill Matthes Dare and Themistocles G. Michos Lisa and John Miller Mr. and Mrs. Stuart Moldaw Judy and Jay Nadel Ms. Courtney Norris Mary and Andrew Pilara Edward and Linda Plant Ms. Lisa Podos Shepard Pollack and Paulette Long Therese and Malcolm Post Dr. and Mrs. Roger Pyle Donald and Patricia Ravitch Ms. Jill Fritschi Reese Gardner Robinson and Kendall W. Robinson Dr. and Mrs. Milton Rosenberg Ms. Andrea Schwartz and Mr. Steve Dolan Dr. Edward Shonfeld and Mrs. Marcia Shonfeld Mr. Jonathan Straley Craig and Maureen Sullivan Mr. and Mrs. Matthew Tunney Mr. and Mrs. Michael J. Vartain Mr. and Mrs. Steve Vermut Dr. Janice H. Zakin, MD, and Mr. Jonathan Zakin Mr. Andrew Zenoff and Ms. Marie-Louise Adlercreutz

Telefund Raises Vital Support 550 individuals who responded to the

In March and June 2005 California College of the Arts conducted two very successful telefund appeals, thanks to the generosity of the college’s alumni, parents, and friends, and the work of our enthusiastic student callers. The effort raised $35,000 in critical support for scholarships.

As CCA enrollment grows, so do requests for financial aid. We thank the more than

24

The telefund is also a positive experience

telefund with a scholarship donation. Your

for our supporters. Donor Dennis Moran ’61

gifts help students in all majors. We’ll tell you

comments, “The caller was very personable,

more about the scholarship recipients in the

warm, and enthusiastic. It was nice to hear

next Glance.

from the college and to know that there are

The telefund presents a wonderful op-

good people going there.” Parent Lisa White

portunity for student callers to speak with

says, “I liked getting the call explaining that

alumni, parents, and friends of the college,

any size gift helps. It was helpful to have

many of whom shared their experiences

someone to talk to, and the student was so

and thoughts with the students. Caller

informative.”

Amanda Kennedy, a fourth-year student in

If you receive a call from CCA, please take

ceramics, says, “It’s encouraging to connect

a moment to speak with our student callers.

with people who have been working in the

They very much appreciate your time, and

art field for a while and still love what they

CCA needs your support. If you would like

do.” Erin Weber, a third-year media arts

to make a donation, please use the envelope

student, adds, “It was great to talk to alumni

enclosed in this issue of Glance or contact

and parents who believe in and support a

Camille Gerstel in the Advancement Office at

CCA education.”

510.594.3787 or cgerstel@cca.edu.

Honor Roll of Donors California College of the Arts thanks the following donors whose gifts to the college in honor of and in memory of individuals were recorded between January 1, 2004, and December 31, 2004. Alumni are identified by actual or expected year of graduation, when known. Due to space constraints, these gifts were not included in the Honor Roll of Donors in the spring 2005 issue of Glance.

Gifts in Memory

Donor

Ms. Julia Almestad ’44 Lilica and Kinsey Anderson Mr. Louis Bland Philip and Sally Chapman Mr. Joe Bushkin Philip and Sally Chapman Mr. Peter Chapman ’86 John and Pamela Goode Ms. Marcella Cleese John S. Osterweis and Barbara Ravizza Mr. Enrico Donate Philip and Sally Chapman Mr. Charles Fiske Mr. and Ms. John A. Nelson ’77, ’80 Ms. Viola Frey ’55 Mr. Dean Freeman ’59

Ms. Margaret Gordon ’76

Ms. May T. Kawamoto ’69, ’85

Mr. Richard Nagler ’72 and Ms. Sheila Sosnow

Mr. and Ms. John A. Nelson ’77, ’80

Ms. Judith E. Oroshnik ’83

Ms. Elizabeth Schaufel

Nancy and Steve Selvin

Mr. Patterson Sims and Ms. Katharine A. Homans

Ms. Roselyne C. Swig

Ms. Patricia Walsh

Bobbi and Herb Wiltsek Mr. Richard F. Groshong ’71 Dick and Lorene Groshong Ms. June Heald Philip and Sally Chapman Mr. Alan Herrick ’95 Tracy and Maie Herrick Hunter Land Philip and Sally Chapman Walter and Josephine Landor Ms. Susan Landor Keegin Mr. Wolfgang Lederer Ms. Sara Anderson ’81

Jack Mills ’64

Steve Reoutt ’61 Mr. Dennis Leon ’93 Ms. Linda G. Corbett ’87 Ms. Marian T. McGee ’58 Marie and Angelo Parrinella Mr. Walter J. Menrath Thomas Wojak ’92 and Misty L. Youmans ’96 Ms. Leta Nelson Philip and Sally Chapman Mr. Lloyd H. Oliver Barre Shlaes and Mario Taravelli Mr. George Post Mr. Elvin Fowler Mr. Robert Ralls Mr. Timothy J. Schmitt Mr. Steve Renick Leslie Becker

Mr. Todd Cary and Ms. Corol Ann Fontana Cary

Dennis Crowe, Vehicle

Melanie Doherty ’78

Mark Fox | BlackDog

Mr. and Ms. Dennis Furby

David Meckel

Ms. Alysha Naples and Mr. Brian Huffines

Ms. Jean Orlebeke

Katherine Renick

Mr. Frank Tavaszi

Michael Vanderbyl ’68, Vanderbyl Design

Mr. Karl W. Wieser ’98 Ms. Gertrude Schaufel Andrew G. Fisher ’78 and Jeffry Weisman

Ms. Elizabeth Schaufel

Anonymous Mr. Lundy Siegriest ’49 Annabelle Shelly ’58 and William Shelly

Laurellee Westaway

Suzanne Westaway Mr. Kinnear Smith Philip and Sally Chapman

Gifts in Memory

Donor

Mrs. Alva Steccati Ana K. Wilson ’68 Mr. Hugo J. Steccati ’38 Ms. Lidia M. Bidinost

The Byron Family—Walt, Yvonne, Leslie and Margaret

Ms. Erika Celestre

Companion Care

Ms. Frances S. Daugherty

Ms. Marya Getreu

Paul and Patricia Giacoletti

Ms. Susan Landor Keegin

Landmark Hotels, Inc.

Jane F. Malmgren ’39

Ms. Michele C. Rappaport

Ms. Joan Reynolds

Eve M. Steccati-Tanovitz ’69 and Ron H. Tanovitz ’69, Steccati Tanovitz

Ms. Helen A. Tonti

Alvin and Rena Tormanen

Sharon and Clement Viano

Ana K. Wilson ’68

Helena S. Wolf and E. Harry Wolf Mrs. Shelley Jurs Steccati Ms. Frances S. Daugherty

Ms. Michele C. Rappaport

Hugo Steccati ’38*

Eve M. Steccati-Tanovitz ’69 and Ron H. Tanovitz ‘69, Steccati Tanovitz Mr. Henry Y. Sugimoto ’28 Stanley and Lynne Ogi

Mr. Norman Sugimoto, Norman Sugimoto Photography Mrs. Albertina “Nina” Zanzi Ms. Linda Lotspeich

Gifts in Honor

Donor

Mrs. Eleanor C. Dickinson ’82 Mr. Thomas Goetzl Ms. Helen Frierson Douglas C. Sandberg ’78 and Kristine Sandberg Mr. Joe Hurwich Zolla Family Foundation Mr. and Mrs. Arthur J. Mr. and Mrs. Scott Carey Krakower ’01 Ms. Delia J. Ehrlich

Constance and Albert Eisenstat

Mr. and Mrs. Hugo M. Friend Jr.

Mr. Richard Goldman

Mr. and Mrs. Leonard Greenwold

Mr. and Mrs. Stuart Moldaw

Roslyn and Mr. Mervin Morris

Mrs. Sylvia Sackman

Dorothy and George B. Saxe

Mr. and Mrs. Donald H. Seiler

Barbara Silverman

Mr. and Mrs. Morton V. Slater

Mr. and Mrs. Goodwin B. Steinberg

Dr. and Mrs. Jack Werner Jr. Ms. Lorna F. Meyer and Simon and Kimberly Blattner Mr. Dennis Calas Dr. and Mrs. Michael Butcher

Dr. Michael S. Roth and Dr. Kari Weil Ms. Ashley B. Neese Mr. and Mrs. Alonzo A. Neese Jr. Mr. Shepard Pollack Mr. Steven Come and Ms. Ann K. Lambert

*Deceased

25

FACULTY NOTES Michael S. Roth, President

Jean Cacicedo

published: “Fear and Freedom When Darkness Fell,” review of At Day’s Close by

Pro Arts Open Studio, Berkeley, CA,

A. Roger Ekirch, San Francisco Chronicle, June 2005; “Book of Jay,” review of

June 2005.

Songs of Experience by Martin Jay, Bookforum, Apr.–May 2005; review of Stranded in the Present: Modern Time and the Melancholy of History by Peter Fritzsche, American Historical Review, Apr. 2005; “Stargazing for the Sake of Dreams,” review of Twentieth Century Fox: Inside the Photo Archive and The Bad and the Beautiful: Photographs by Ellen Graham, Los Angeles Times, Feb. 2005; “The Pursuit of Happiness Shouldn’t Have a Price Tag,” review of American Mania by Peter C. Whybrow, San Francisco Chronicle, Feb. 2005; moderator of panel, “From Page to Screen,” Los Angeles Times 2005 Festival of Books, Apr. 2005; panelist, “Making Sense of Today’s Art World,” Commonwealth Club of California, San Francisco, Apr. 2005; joined board of California Museum of History, Women, and the Arts.

Lia Cook solo show, Nancy Margolis Gallery, New York, Feb. 2006; group shows (all 2005): Cheongju International Biennale 120 Definitions of Temptation, Cheongju City, Korea; Transformations: The Language of Craft, National Gallery of Australia, Canberra; High Fiber, Smithsonian Museum of American Art, Renwick Gallery, Washington, DC; Recursion: Material Expression of Zeros

Kim Anno

Claudia Bernardi

group shows: Miami Basel International

group show, Blueprints: Intersection’s

Art Expo, Dec. 2005; Varosi Museum,

40th Anniversary Exhibition, Intersection

Hungary, Aug. 2005; Fleishhacker

for the Arts, San Francisco, June–July

award exhibition, Berkeley Art Museum,

2005; Perquin, El Salvador, art school

CA, June–Aug. 2005; performance

project featured in San Francisco

in Anne Carson’s Lots of Guns at City

Chronicle, July 2005.

Arts and Lectures, Herbst Theatre, San Francisco, May 2005 (KQED radio presentation of same work aired June

Rebekah Bloyd

GA, and touring; 5th International Kaunas Textile Art Biennial, National Museum of Art, Kaunas, Lithuania; Strong Ties—Diverse Directions, Art Works Downtown, San Rafael, CA; Go Figure, JET Artworks, Washington, DC; Artists/Friends—Dialogues, City Art Gallery, City College of San Francisco, CA; Transitions/Translations:

published: poems in Graphite, 2005,

Innovations in Fiber, GalleryOne,

and Five Fingers Review, 2004; essay

Washtenaw Community College, Ann

in Sou’Wester Review, Dec. 2004,

Arbor, MI; Hypertextiles, SoFA Gallery,

was nominated for a Pushcart Prize;

Indiana University, Bloomington, IN;

presented, “Identifying with America:

Contemporary Textile Art International

performances (all 2004): LEM festival,

Student Perceptions and Receptions

Open, Ormeau Baths Gallery,

Barcelona, Spain; Sounding Taipei

of Ethnic American Literature in the

Belfast, Northern Ireland; panelist,

Festival, Taipei, Taiwan; and Sounding

Czech Republic and the United States,”

“Contemporary Fiber Art: Perspectives

Guangzhou Festival, Guangzhou, China;

National Association for Ethnic Studies

from the Inside”; recipient, Master of the

installation of Static Room, Eyebeam

conference, Chicago, IL, Mar. 2005;

Medium Award, American Craft Masters

Gallery, New York, 2005; honorable

workshop leader, Fir Acres Workshop

Weekend 2005, James Renwick

mention, Digital Music, Prix Ars

in Writing & Thinking, Lewis & Clark

Alliance, Washington, DC, Apr. 2005.

Electronica, 2005.

College, Portland, OR, July 2005, and

2005); published new print at San Francisco State University, May 2005.

Scott Arford

experimental writing workshop, Xavier

Lesley Baker residency, Arts/Industry Program at Kohler, sponsored by Kohler Arts Center, Sheboygan, WI, 2005.

University, Cincinnati, OH, Mar. 2005; workshop co-leader, Institute for Writing & Thinking network meeting, Bard College, Annandale-on-Hudson, NY, Dec. 2004; served as expert reviewer

Betty Jo Costanzo butohdrawing dance performance (with Tom White), CG di Arie Vineyard & Winery, Mt. Aukum, CA, June 2005.

for Czech Fulbright Commission, Prague,

Tim Culvahouse, AIA

Czech Republic, May 2005; with support

launched Culvahouse Consulting Group

as chair of IDSA Fellowship Committee,

of Faculty Development Grant and to

(www.culvahouse.com); continues to

announced newly selected IDSA

further develop biographical essay,

edit arcCA (Architecture California), the

members chosen to join IDSA

conducted interviews in Czech Republic

quarterly journal of the AIA California

Academy of Fellows, IDSA conference,

regarding poet and immunologist

Council.

Washington, DC, Aug. 2005.

Miroslav Holub, summer 2005.

Betty Baugh

26

and Ones, Museum of Design, Atlanta,

Betsy Davids

readings, Berkeley Repertory Theater,

Eric Heiman ’96

open studio, Dream Bookworks,

Modern Times Books, Diesel Bookstore;

group show (with Mende Design),

Berkeley, CA, July 2005; group show,

guest curator, Muse Apprentice Guild

California Design Biennial 05, Pasadena

New Editions Books: Old, New, Digital,

(online), Sept. 2004.

Museum of California Art, CA, June–Aug. 2005; work published: Graphis Design

O’Hanlon Center for the Arts, Mill Valley, CA, Apr. 2005 (served as juror for competitive section of show).

Kota Ezawa

Guillermo Galindo premiere, “Post-Colonial Discontinuum” (for chamber ensemble and cyber-totemic devices), Earplay Ensemble, May 2006;

Annual 2005; California Design 05; nominated for 2006 Design Award of Federal Republic of Germany.

solo show, Lennon Sontag Beuys,

premiere, “Trade Routes” (for orchestra,

Todd Hido ’96

Murray Guy, New York, Sept.–Oct.

full choir, and spoken word; text and

solo shows: Sheppard Fine Arts Gallery,

2005; group show, Bay Area Bazaar,

live spoken word by San Francisco poet

University of Nevada, Reno, Aug.–Sept.

Pulliam Deffenbaugh Gallery, Portland,

laureate devorah major), Oakland East

2005; Karyn Lovegrove Gallery, Los

OR, Sept.–Oct. 2005.

Bay Symphony Orchestra and Choir,

Angeles, CA, Mar.–Apr. 2005; group

Paramount Theater, Oakland, Nov. 2005;

show, Bay Area Bazaar, Pulliam

performance, San Francisco Electronic

Deffenbaugh Gallery, Portland, OR,

Music Festival, SomArts Cultural Center,

Sept.–Oct. 2005; lecture, Photo San

San Francisco, Aug. 2005.

Francisco: 6th Annual International San

Thom Faulders group shows: permanent collection exhibition, Soft City Drawings 1989–91,

Francisco Photographic Art Exposition,

San Francisco Museum of Modern Art,

Fort Mason, San Francisco, July 2005.

2005; SF Prize: Octavia Boulevard Design Competition Exhibition, CCA San Francisco campus, 2005; seven recent

Carolyn Kastner

design projects featured in Architecture

published, “Fusing Cultural Traditions

+ Culture Magazine, Seoul, Korea, Jan.

and Individual Creativity,” with Roslyn

2005; work featured in New Residential

Tunis, in Changing Hands: Art Without

Architecture, Princeton Architectural

Reservation 2, Contemporary Native

Press, 2005, and Transmaterial,

American Art from the West, Northwest,

www.transstudio.com; juror, AIASF

and Pacific, Museum of Arts & Design,

Awards: Unbuilt Category, SanFrancisco,

2005; co-curated show, Fusing

2005; session moderator, ASCA

Traditions: Transformations in Glass

National Conference, Chicago, IL, 2005.

by Native American Artists, which has traveled to eight museums and closes at University of Washington in Dec. 2005.

Donald Fortescue group shows: National Gallery of Australia, Canberra, opening Nov. 2005; Convergence, Oceanside Museum of Art,

James Gobel, No One to Surround You, 2004

and Design and SOFA Chicago; work acquired for permanent collection of Museum of Arts & Design, New York.

Gloria Frym published: poems in New American Writing, Van Gogh’s Ear, Black Box, House Organ, and Berkeley Addison Street Poetry Walk Anthology, and prose in Nocturnes; essay, “Lorine Niedecker’s Plain (Language),” accepted for publication by University of Iowa Press;

forthcoming articles and book chapters: “The History of Technology and

San Diego, CA, Apr.–June, and touring to San Francisco Museum of Craft

Barry Katz

Linda Geary group show, Bay Area Bazaar, Pulliam Deffenbaugh Gallery, Portland, OR, Sept.–Oct. 2005.

Ryan Harty

the Future of Design: An Extended Postscript,” review essay in Technology and Culture; “1927: Bucky’s annus mirabilis,” in Hsaio-Yun Chu, ed., Reassessing R. Buckminster Fuller, Stanford University Press; “The Dematerialization and

short story, “Why the Sky Turns Red

Rematerialization of Everyday Life,” in

When the Sun Goes Down,” featured,

Candido Mendes and Enrique Larreta,

Selected Shorts, WNYC, Mar. 2005;

eds., Subjectivity at the Threshold of

reading, with Julie Orringer, Hammer

the Digital Culture; “New Design for the

Readings: New American Writing, UCLA

New Deal,” in Tim Culvahouse, ed.,

Hammer Museum, Los Angeles, May

Design and Persuasion: The Tennessee

2005.

Valley Authority; published, articles in 27

360, May 2005; arcCA, Jan. 2005; and

Moore, and the Art of Resistance,”

Methods for an Irreversible Alteration

InCA, winter 2005; lectures: “Innovation

Queer Cultural Festival, GLBTQ

of Money, Trafo Gallery, Budapest,

and Diversity: An Input-Output

Community Center, San Francisco, June

Hungary, Oct. 2004; Exquisite Corpse,

Model,” Copenhagen Business School,

2005; “Theater of Resistance,” Magnes

87 Sparkhall, Toronto, Oct. 2004.

Denmark, June 2005; “Narrative

Museum, Berkeley, May 2005; “Entre

Prototyping,” University of Otago,

Nous: Between Claude Cahun and

Dunedin, New Zealand, May 2005;

Marcel Moore,” Creative Partnership

“History and Mystery of Design,” Iowa

Conference, UC Berkeley, Apr. 2005;

State University, Ames, IA, Feb. 2004;

organized, Creative Partnership

“Interface Degree Zero: Visual Culture

Conference, UC Berkeley, Apr. 2005.

Melissa Leventon curated, group show: ArtWear: Fashion and Anti-Fashion, Legion of Honor, San Francisco, May–Oct. 2005.

and (post-)Industrial Design,” First International Visual Studies Conference, Madrid, Spain, Feb. 2004.

Sandra Kelch launched new design collective, www.designpoolstudio.com, 2005.

James Kenney producer/director, My Dad’s Hair, official selection, Rome International Film Festival, 2005.

Stella Lai solo show, Let’s Stop Pretending, Arizona State University Art Museum, Tempe, AZ, Sept.–Nov. 2005.

Kathleen Larisch solo shows: Blossom Series, Sloan Miyasato, San Francisco, June–July 2005; New Work, b. sakata garo, Sacramento, CA, Jan. 2005; rerelease of CD, Kathy and Carol (originally on Elektra Records), Collector’s Choice Music, summer 2004; performance, California Autoharp Gathering, Squaw Valley, CA, May 2005.

Deborah Valoma, Twelve Tears, 2003

Ahree Lee

Rick Lewis

screenings (all 2004) of film, Me,

honorable mention, international A Door

Silverlake Film Festival, Los Angeles;

to Paradise competition, organized by

Los Angeles International Short Film

Designboom.

Festival; and Film Fest New Haven, CT; 30-second clip of Me licensed by Sundance Channel as part of 24 Frame Project series; group show, MULTI-, Arts+Literature Gallery, New Haven, CT, May 2005; Artist Fellowship Award

lecture, Sonoma State University Art Dept., Rohnert Park, CA, Sept. 2005.

in film/video, Connecticut Commission

Nathan Lynch

on Culture and Tourism, Jan. 2005;

solo show, Sweetspot, Sun Valley Center

curated, Acting Out: Claude Cahun

collaborated with dance company Adele

for the Arts, Ketchum, ID; Santa Ana

and Marcel Moore, Magnes Museum,

Myers and Dancers on video components

College, Santa Ana, CA; Museum of

Berkeley, CA, Apr.–July 2005; Frye

for some of their repertoire, with

Contemporary Art at Luther Burbank

Museum, Seattle, Aug. 2005–Jan.

performances at Artspace, New Haven,

Center for the Arts, Santa Rosa, CA.

2006; Jersey Museum, Channel Islands,

CT, June 2005, and Merce Cunningham

Jan.–Mar. 2006; National Museum of

Studio, New York, Apr. 2005.

Tirza True Latimer

Modern Art, Edinburgh, Apr.–July 2006; current projects: organizing Unexpected Developments, a queer photography exhibition, PlaySpace Gallery, CCA San Francisco campus, Jan. 2006; award, Beatrice Bain Research Fellowship, UC Berkeley, 2004–5, renewed 2005–6; lectures: “From the Bedroom to the Barricades: Claude Cahun, Marcel 28

Jessamyn Lovell ’01

Elizabeth Leger

Margaret Mackenzie group shows: Box Show, Gallery Route One, Point Reyes Station, CA, Aug.

group shows: Texas National, Stephen F.

2005; California Currents: Handmade

Austin State University, Nacogdoches,

Books, July 2005; Toby’s, Point

TX, Apr. 2005; Paper in Particular,

Reyes, CA, Feb. and May 2005; solo

Columbia College, Columbia, MO, Feb.

performance, Toby’s, Point Reyes,

2005; Night of a Thousand Drawings,

CA, Feb. and May 2005; published,

Artists Space, New York, Nov. 2004;

translation of Rilke poem, In Our Practice, Zen Center, Murphys, CA,

Jan. 2005; “Artifacts: News, Views,

Peony Quan

K. C. Rosenberg

and Interviews on the Arts” and other

project (with Rebecca Sternberg,

group shows: Sublime, SCG Projects

programs on KWMR public radio, 2004;

cofounder of M.A.S.), International

Gallery, Pomona, CA, 2005; Pareidolia,

interviews in documentaries, The Weight

Architecture Biennale, Rotterdam,

Orange County Center for Contemporary

of Obesity and Ethics in Life History.

Netherlands, May–June 2005.

Art, Santa Ana, CA, 2004; Contemporary American Abstracts, Alameda Art Center, Alameda, CA, 2004; promoted, chair

Emily McVarish

Emily Raabe ’03

solo show, 871 Fine Arts, San

published, poems in Alaska Quarterly

Francisco, Nov.–Dec. 2005; published:

Review, forthcoming; Gulf Coast, spring/

artist’s book, Flicker, Granary Books,

summer 2005; Crab Orchard Review,

May 2005; “Existential Textuality:

spring/summer 2005; Antioch Review,

Galya Rosenfeld

Engagement in the Form of a Letterpress

fall 2004.

group shows: SAFE: Design Takes on

of first-year program and associate professor, CCA.

Book, John Crombie’s So,” Visible

Risk, Museum of Modern Art, New

Language, Mar. 2005.

York, Oct. 2005–Jan. 2006; Beaten Gold: Israeli Jewelry 3, Eretz Israel Museum, Tel Aviv, Israel, July–Nov.

Elizabeth Moy

2005; ArtWear: Fashion and Anti-

group show, Photo San Francisco: 6th

Fashion, Legion of Honor, San Francisco,

Annual International San Francisco

May–Oct. 2005; GlamMore, PlaySpace

Photographic Art Exposition, Fort

Gallery, CCA San Francisco campus,

Mason, San Francisco, July 2005.

Apr.–May 2005; installation/debate, “Fashion and Textile Futures,” San

Kiersten Muenchinger

Francisco, Nov. 2005; garments featured

participant, MIT Summer Institute in

in performance, Less Sylphides, ODC

Materials Science and Material Culture,

Theater, Sept.–Oct. 2005, and Yerba

a National Science Foundation–

Buena Gardens Festival, Aug. 2005.

sponsored program on teaching combined materials science, art, and archaeology courses, summer 2005.

K. C. Rosenberg, Shadow of Doubt (installation detail), 2005

Noah Murphy-Reinhertz created a diverse team to found warehouse1310, a space for art and design incubation and collaboration (www.warehouse1310.com).

Julie Orringer contributor, The Paris Review Book of People with Problems, Picador, 2005.

Ahndraya Parlato group show, Photo San Francisco: 6th

Sue Redding board member of Biomimicry Guild, a business research group.

Mason, San Francisco, July 2005.

Renny Pritikin appointed, permanent director of

group show, January Juried Show, Gallery Route One, Point Reyes Station, CA, Jan.–Feb. 2005; AIGA SF design history lecture series, “The British Are Coming!”, CCA San Francisco campus,

Ted Purves award, Creative Capital Foundation Project Grant, Interdisciplinary, New

Gallery, San Francisco, Aug. 2005.

Neal Schwartz promoted, associate professor, CCA Architecture Program; commissioned to (ORO Editions); joined board of directors of National AIDS Memorial Grove, and serving as co-chair of committee to build memorial project selected last year in national competition; Wisconsin Street residence project included in SF AIA

Feb.–Mar. 2005.

2005 Home Tours.

Larry Rinder

Mitchell Schwarzer

featured in 2005 film, 9/11/03: A Day in the Life of New York, which documents the lives of New Yorkers on

published: “How the West was Won,” in Jeremy Blake: Winchester, ed. Benjamin Weil, Mitchell Schwarzer, and Jeremy

the second anniversary of 9/11.

Blake, SFMOMA, 2005; “Form Follows

Marianne Rogoff

De Young Museum,” in The Architecture

Portuguese translation of book, Silvie’s

Ketchum, Thames and Hudson,

Richard L. Nelson Gallery and Fine Arts Collection at UC Davis.

group show, Paper! Awesome!, Pigman

work on book, Indoor Swimming Spaces

Steve Reoutt ’61

Annual International San Francisco Photographic Art Exposition, Fort

Jovi Schnell

Life, forthcoming from Gradiva Editions, Lisbon, Portugal.

Friction: The Struggle to Build the New of the De Young Museum, ed. Diana 2005; “Forms of the Grid,” in Chicago Architecture: Histories, Revisions, Alternatives, ed. Charles Waldheim

York, 2005.

29

and Katerina Ruedi Ray, University of

Photography, Oakland Art Gallery, Aug.–

group show, Paper Cuts, Again, Fetterly

Chicago Press, 2005; pieces in LINE:

Sept. 2005; Friesen Gallery, Seattle,

Gallery, Vallejo, CA, Sept.–Oct. 2005.

AIA San Francisco’s Design Journal,

Feb. 2005; work published in Eleven

summer 2005, and LOG 5, spring/

Eleven, spring 2005, and ZYZZYVA,

summer 2005.

winter 2004.

Elizabeth Sher

Pamina Traylor

installation, Counting Sheep in Times of

solo shows: Material Matters: Three

Design Museum, NY, July 2005;

Stress, Joyce Gordon Gallery, Oakland,

Masterful Approaches to Fiber, Wood,

“Adulthood, Improvisation, and

July 2005; co-curated (with Madelaine

and Glass, Museum of Craft & Folk

Democracy,” Approaching the Reggio

Shellaby), group show, New Editions

Art, San Francisco, Sept.–Nov. 2005;

Emilia Philosophy Institute, Lesley

Books: Old, New, Digital, O’Hanlon

Micaela Gallery, San Francisco,

University, Cambridge, MA, Apr. 2005;

Center for the Arts, Mill Valley, CA, Apr.

June–July 2005; group shows: Glass

advisor/documenter, Making Learning

2005 (DVD catalog of show available at

Weekend, Snyderman Gallery, Creative

Visible Institute, Project Zero, Harvard

CCA Oakland library and other libraries

Glass Center of America, Wheaton

Graduate School of Education, Aug.

across the country).

Village, NJ, July 2005; The Fellows:

2005; “20/20” presenter, AIGA Design

Works in Cast Glass, The Gallery of Fine

Conference, Boston, MA, Sept. 2005;

Craft, Wheaton Village, NJ, May–July

seminars: “Collaboration in the Domain

2005; Art in Party, Galerie Vee, Hong

of the Creative,” Cooper-Hewitt National

Kong, May–June 2005.

Design Museum, New York, Nov.

Chris Smith design director of lighting company, Blackbird (www.blkbrd.com), launching

Deborah Valoma Sewing Circle, McColl Center, Charlotte,

of CCA and UC Berkeley students,

NC, Nov. 2004–Jan. 2005.

“Migrant Workers/Communities in conference, Washington, DC, 2005.

Peter Stathis group show, Victoria & Albert Museum,

Rachel Weeks

Rashid’s Evolution, Rizzoli, 2004; work featured, San Francisco Chronicle Magazine, Feb. 2005; juror, Consumer Products Category, Industrial Designers Society of America IDEA Awards, 2005.

Barron Storey solo show, Black Iraq, Anno Domini, San Jose, CA, June 2005.

Tina Takemoto lecture, “Sick, Exotic, and Outta Control: Ecstasies of Queer Performance,” Gender, Technology, Performativity conference, Lancaster University, Lancaster, UK, June 2005.

Roy Tomlinson solo show, San Francisco Zen Center, June 2005; group shows: Photoo: The Subversion and Subvention of 30

Critique,” Conference of Independent Schools, Atherton, CA, Apr. 2005.

Kelli Yon group show, Bay Area Bazaar, Pulliam Deffenbaugh Gallery, Portland, OR, Sept.–Oct. 2005.

group show, Photo San Francisco: 6th Annual International San Francisco Photographic Art Exposition, Fort Mason, San Francisco, July 2005.

London, England, June–Aug. 2005; published, introduction to Karim

Institute, Cooper-Hewitt National

group show, Needle Art: A Postmodern

presented work from her joint class

California’s Central Valley,” IDSA national

Digital/Nondigital,” Summer Design

2005; “Meaningful Assessment: Studio

fall 2005.

Leslie Speer

Linda Yaven lectures: “Documentation and the

Michelle Wempe

John Zurier group show, Bay Area Bazaar, Pulliam Deffenbaugh Gallery, Portland, OR, Sept.–Oct. 2005.

received the inaugural IIDA-NC Chapter Honor Award for Leadership in the interior design community; three $3,000 scholarships will be given in her name.

Tom White solo show, Paginas Ibercias, and butohdrawing dance performance (with Betty Jo Costanzo), CG di Arie Vineyard & Winery, Mt. Aukum, CA, June 2005.

Ann Joslin Williams published, short story, “Cold-Fire,” Iowa Review, Dec. 2005.

Thomas Wojak ’92 group shows: Altered Scores, Fetterly Gallery, Vallejo, CA, May–July 2005; New Perspectives: Art and Artifact, Vallejo Naval and Historical Museum, Vallejo, CA, Mar.–June 2005; curated,

Lesley Baker, Faceted

CCA BOOKSHELF

1 Women Together/Women Apart: Portraits of Lesbian Paris

By Tirza True Latimer Rutgers University Press, 2005 Paperback, 211 pages, illus. $24.95 Tirza True Latimer, a visiting assistant professor in the Visual Studies Program, explores the revolutionary period between World War I and World War II when lesbian artists working in Paris began to shape the first visual models that gave

1

lesbians a collective sense of identity and allowed them to recognize each other.

2 Art Life: Selected Writings 1991–2005

By Lawrence Rinder Gregory R. Miller & Company, 2005 Paperback, 160 pages, 150 illus. (b/w and color) $20.00 An entertaining, lyrical, and informative selection of essays by Lawrence Rinder, dean of graduate studies. Informed by history, philosophy, and popular culture,

2

these essays provide keys to understanding a broad range of contemporary practices, from painting and drawing to net art and video installation.

3 ArtWear: Fashion and Anti-Fashion

By Melissa Leventon Fine Arts Museums of San Francisco with Thames & Hudson, 2005 Paperback, 160 pages, 200 color illus. $29.95 A richly illustrated history of wearable art, this catalog accompanies the exhibition of the same title at the Legion of Honor in San Francisco, on view from May

3

through October 2005. Melissa Leventon, an adjunct professor in the Fashion Design Program, puts the genre in context as the latest in the long line of aesthetic dress reforms that began with the Arts and Crafts movement.

4 Eleven Eleven CCA MFA Program in Writing $10.00 (available at select bookstores, or order from eleveneleven@cca.edu) Eleven Eleven is the annual journal of literature and art published by the MFA

4

Program in Writing. For the 2005 issue, coeditors Youmna Chlala ’04 and Brent Foster Jones ’04—and close to 20 graduate students—selected works by Victor LaValle, Peter Orner, Wangechi Mutu, and others. The journal features fiction, nonfiction, poetry, visual art, and criticism.

5 Traffic Small Press Traffic $10/issue; $15/two-year subscription Traffic is the new journal of Small Press Traffic, the literary arts center housed

5

at CCA. The premier issue features poetry, drama, reviews, interviews, and essays from our New Experiments series, plus cover art by CCA student Allegra Gibson. For more information see www.sptraffic.org.

Faculty members: To be included in CCA Bookshelf columns, please send notice of your book publications to glance@cca.edu.

31

Alumni news and notes

Rebecca Katz We’ve Got You Covered!

The CCA Alumni Office has doubled its staff with the addition of its very first alumni relations associate, Rebecca Katz. Rebecca is a recent CCA graduate, having received her MFA in printmaking in 2004. In addition to her background in studio art, Rebecca holds a BA in art history from Duke University. Originally from Baltimore, MD, and a New Yorker for eight years, Rebecca has worked in publishing and in education at the American Museum of Natural History. Together with alumni relations manager Jessica Russell, Rebecca is working to expand the scope and visibility of alumni programs and benefits. We are delighted to add her to our team and to have an advocate for alumni on the San Francisco campus. You

Alumni with work in

can find Rebecca in the Student Center at 80 Carolina Street.

Bay Area Now 4 at

to do even more for CCA alumni, whether you live in the Bay Area

Yerba Buena Center

programs, or volunteer opportunities, or simply want to express your

With staff on both campuses, the Alumni Association will be able or beyond. If you would like more information on alumni benefits, ideas related to the Alumni Association, please contact Rebecca at

for the Arts,

rkatz@cca.edu or 415.703.9595.

July–Nov. 2005:

An Online Directory for Alumni

Tommy Becker ’01

Have you lost touch with someone from your class? We are thrilled

Libby Black ’01

log in is an email address. Visit www.cca.edu/alumni to locate your

to announce our new and improved online directory. All you need to classmates.

Liz Cohen ’00 Frederick Loomis ’04

Joseph Terrell Bryant

Kate Pocrass ’01

BArch ’99

Alumni Council President

Hank Willis Thomas ’03 Anna Von Mertens ’00

1952

Bruce Lauritzen

1962

Nathan Oliveira

solo show (retrospective), Evolution of

Ruby Katayama

work included in Selections: The San Jose Museum of Art Permanent Collection (San Jose Museum of Art, 2004).

1957

Nancy Derr cover illustrations for several books published in the UK, 2004–5.

32

an Artist 1965–2005, four decades of paintings, California Modern Gallery, San Francisco, May–June 2005.

1960

James Burpee solo show (retrospective, 1960–2004, with accompanying catalog), California Building Gallery, Minneapolis, Feb.–Apr. 2005.

solo show, Around the Peninsula and Beyond, Pacific Grove Art Center, Pacific Grove, CA, July–Aug. 2005.

1969

Roger Kast solo show, Recent Works, New York Mills Regional Cultural Center, MN, Feb.–Apr. 2005.

1971

Stanley Chan

Thomas Gehrig

group show, Untitled (2), Jack Fischer Gal-

solo show, View from the Surreal, D’Adamo/Woltz, Seattle, Mar. 2005.

1972

Deborah Corsini two-person show, Lucid Dreams, Fabrications, San Jose Museum of Quilts & Textiles, May–Aug. 2005; group shows: Small Expressions 2005, Mable House Cultural Center, Mableton, GA, Oct.–Nov. 2005; Coming Home, Claudia Chapline Gallery, Stinson Beach, CA, Sept.–Oct. 2005.

Patricia Frischer two-person show, Borders of Intimacy, Mary Ogilvie Gallery, St. Anne’s College, Oxford University, UK, Oct.–Nov. 2005; San Diego Mesa College Art Gallery, Mar.–Apr. 2005; group show, Dawn of the Living Pixel, Digital Art Guild, Poway Center for the Performing Arts, Poway, CA, Oct. 2005.

Margaret Goodwill

lery, San Francisco, June 2005.

Hale’iwa Arts Festival, Oahu, HI, July 2005; North Shore Artists Studio Tours, Oahu, HI, Apr. 2005.

Magdalene Larsen Arts and Perception, issue 54.

1973

Fern Barker group shows: Somebody: An Exhibition Celebrating the Figure, Alameda Art Center, CA, June 2005; A “Chairity” Event,

1976

Mark Bowles

solo show, Flower Realms, Fort Creativity

solo show, Art Foundry Gallery, Sacra-

Center, Oakland, Apr. 2005.

mento; group shows: Osceola Gallery, Emeryville, CA; Marion Meyers, Laguna

Genevieve Olson nominated for 2005 Arkansas Living Treasure Award for spinning and weaving,

by Arkansas Arts Council and Dept. of Arkansas Heritage, 2005.

Wayne Wang directed, Because of Winn-Dixie, 2005.

Beach, CA; Yosemite National Park Museum; permanent collection, Crocker Art Museum, Sacramento; Crocker-Kingsley 74th Exhibition, Crocker Art Museum, Sacramento.

Richard Posner solo show, GWOTBOTS / Global War on Terror Robots, Galerie Blickensdorff, Berlin, Aug.–Sept. 2005; current projects: “The

1975

Bottle Hymn of the Republic,” singing bottle

Noble Golden group show, Looking Forward/Glancing Back: Northwest Designer Craftsmen at 50, Bellevue Art Museum, Bellevue, WA; Contemporary Crafts Museum, Portland, OR; Wenatchee Valley Museum, Wenatchee,

wall between villages of Sorge (anxiety) and Elend (misery) along the former East/West German border; recent awards: fellow, Blue Mountain Center Artist Colony, NY, July 2005; visiting Fulbright professor, architecture, Technical University, Berlin,

WA, all 2005.

Feb.–Apr. 2005.

Marc Katano

1977

solo shows: Paintings, Tadu Contemporary Art, Santa Fe, NM, Oct. 2005; Large Canvases, Anderson Contemporary Art, Santa

Herb Ranharter current project: continuing a series of artists’ video interviews in California.

Fe, NM, Oct. 2005; Stephen Wirtz Gallery, San Francisco, June–July 2005.

solo show, Staying Afloat, Solomon-Dubnick Gallery, Sept.–Oct. 2005; featured, Ceramic

ists, 2005.

Susan Gage

group show/public art, Path of the Bighorn, Coachella Valley, CA; Eighth Annual

Award, San Diego Museum of Living Art-

Gary Ruddell solo shows: Greenwood Chebithes Gallery, Laguna Beach, CA, 2005; Dolby Chadwick Gallery, San Francisco, 2004; group shows: Gallery Henoch, New York, 2005; Falkirk Center of the Arts, Marin County,

1978

Jamie Brunson group shows: Neo Mod: Recent Northern California Abstraction, Monterey Museum of Art, Monterey, CA, May–Aug. 2005; SFMOMA Artists Gallery, Fort Mason, San Francisco, May–June 2005.

CA, 2005; Frank Collection, University of Maryland, 2004; recipient, Hoffman Trust

sponsored by San Francisco Architectural Heritage, Feb. 2005.

M. Louise Stanley, BFA ’67, MFA ’69, received an Adolph and Esther Gottlieb Foundation grant of $25,000.

33

James Jermantowicz solo show, Larz Anderson Auto Museum, Brookline, MA, Aug.–Nov. 2005; also

Painter Sarah Walker, BFA ’85, received this year’s

redesigning the museum’s gallery space with translucent and historic automobile

$20,000 Rappaport Prize, the largest annual award

color panels.

given by a public institution to an individual artist in

1979

Massachusetts. Walker is chair of visual and performing

Jean Hansen

arts at Clark University.

appointed, president of Northern California chapter of International Interior Design Association, 2005; founding member, American Academy of Healthcare Interior Designers, 2005.

1986

German Herrera

1982

Mikae Hara

shows, Centro de la Imagen, Mexico City,

Jennifer Bain

solo show, Gallerie Petites Forme, Osaka,

new website: www.jenniferbain.com.

1984

Gale Antokal solo show, Couturier Gallery, Los Angeles, Feb.–Mar. 2005; as assistant professor, School of Art and Design, received the College of the Humanities and Arts Dean’s Award for Distinguished Artistic Activity, San Jose State University.

Japan, Sept.–Oct. 2005.

1987

Katherine McKay

July–Aug. 2005; Fresno Art Museum, Fresno, CA, June–Aug. 2005.

Gregangelo Herrera performance, Gregangelo & Velocity Circus in Heliosphere Jr., Yerba Buena Center for

open studios, June 2005; taught work-

the Performing Arts Theater, San Francisco,

shops in: Japanese printmaking, Pacific

May 2005.

Art League, Apr. 2005, and UC Santa Cruz Extension, July 2005; pastel, June 2005, colored pencil, May 2005, and watercolor, Mar.–June 2005, all at Richmond Art Center; matting/framing, Richmond Art Center, Davis Art Center, and Pacific Art League, spring 2005.

1988

Lampo Leong solo shows (all 2005): Chapman Friedman Gallery, Louisville, KY; North Central Missouri College, Trenton, MO; Armstrong Atlantic State University, Savannah, GA;

1990

Steven Dye performances, as member of film performance group Wet Gate: Revelation Film Festival, Perth, and Liquid Architecture Festival of Sound Arts, Melbourne, Australia, July 2005; Aurora Picture Show’s 2nd Annual Media Archeology-Live Cinema Festival, Houston, TX, Apr. 2005; 21st Annual Olympia Film Festival, Olympia, WA, Nov. 2004.

group shows (both 2005): Changliu Art

Amy Kaufman

Museum, Taiwan; Galeria de Exposicoes

solo show, Traywick Contemporary, San

Temporarias, Macao; awarded tenure and

Francisco, Mar.–Apr. 2005; group shows:

promoted to associate professor of art,

NeoMod: Recent Northern California

University of Missouri-Columbia.

Abstraction, Monterey Museum of Art, Monterey, CA, June–Aug. 2005; Monotype

1989

Susan Danis solo show, Pleasure, Berkeley Art Center, Walnut Creek, CA, Sept.–Oct. 2005.

Lampo Leong, Expression, 2005

34

Marathon, San Jose Institute of Contemporary Art, San Jose, June–July 2005.

Claudia Middendorf group shows: Sol Koffler Gallery, Rhode Island School of Design, Providence, July– Aug. 2005; Rhode Island School of Design Graduate Exhibition, RISD Museum, June 2005; Concepts Translated, Sol Koffler

Sacramento, May 2005; lecture and workshop, The Jewish Home, San Francisco, July 2005.

China Blue sound piece, Negative Torque; In Optical Simulations, Yellow Bird Gallery, New-

Koffler Gallery, Apr. 2004.

burgh, NY, Sept.–Nov. 2005.

Michele Pred

Jane Grimm

Art, San Francisco, July–Aug. 2005.

Susan Mark marksearch team (Sue Mark and Bruce

Gallery, May 2005; Works on Paper, Sol

solo show, (re)collections, Brian Gross Fine

1994

solo shows: The Chess Set, Oakland Museum Sculpture Court, Apr.–Aug. 2005;

Douglas) used their tandem bike to draw west-east lines showing the longitude in downtown Oakland during the 2005 Bayennale opening event, July 2005.

Geordie Stephens lecture, “Move” motion graphics/storytelling conference, 2005.

Enigma Gallery, Essex, VT, May–June

Kathryn Van Dyke solo show, Recent Paintings, Stephen Wirtz Gallery, San Francisco, Apr.–May 2005.

1991

Inger Hogstrom

2005; group shows: Pots: Objects of Virtue, Bedford Gallery, Selections 2005, LIMN Gallery, San Francisco, May–July 2005; ACGA Comes to Oakland, Oakland

Media arts alum

Craft & Cultural Arts Gallery, May–July

Chihcheng Peng ’04

2005; International Women Artists, Galleria Tondinelli, Rome, Italy, Mar.–Apr. 2005.

received a 2004–5

published, photograph of Big Sur, National Geographic Adventure, Sept. 2005.

Bonnie Kaplan reading, Melt in Your Mouth: Writers Reading and Performing, Secret Rose Theater, North Hollywood, CA, Mar. 2005.

Michael Paré

production artist fel-

solo show, Blissed out, atm gallery, New

lowship at Eyebeam,

York, Sept.–Oct. 2005.

a media arts organiza1993

tion in New York City.

Amber Eagle solo show, Kerrigan Campbell Fine Arts,

Lisa Kokin group show, Dress: Clothing as Art, Richmond Art Center, CA, Sept.–Oct. 2005; lecture, Contemporary Jewish Museum, San

New York, Dec. 2004–Feb. 2005; group show, Fotofest, Houston, April 2005; residency, McColl Center for the Arts, Charlotte, NC, Jan.–Mar. 2005.

Francisco, July 2005; artwork featured on

1995

Mingwei Lee

K. Tobias Fifield

solo shows (all 2006): Chicago Cultural

currently in Seoul, Korea; completed

Center, Chicago; Sherman Gallery, Sydney,

postgraduate certificate in TESOL through

Australia; Queensland Gallery of Modern

UCSC/GSNU University of California Santa

Art, Brisbane, Australia; group show, This

Cruz Extension, Silicon Valley/ Gyeongsan

Storm Is What We Call Progress, Arnolfini

University, teaching language/visual arts

lery, Seattle, Sept. 2005.

Gallery, Bristol, England, Sept. 2005.

to second-language learners, Dept. of

1992

Stephen Sheffield

Marlene Aron

two-person show, Primary Emotion, Judi

Kirby Jones

Rotenberg Gallery, Boston, June–July 2005;

show, Yum Gallery, Hood River, OR, 2005;

permanent fine art commission for Eastern

group show, Northwest Craft Biennial,

Standard Restaurant, Boston, 2005.

Hoffman Gallery, 2005; adjunct professor,

cover, Fiberarts magazine, summer 2005; new website: www.lisakokin.com.

Anne Stevens solo show, New Work in Oil/New Digital Drawings and Paintings, Fountainhead Gal-

Language Education, Jinju, Korea.

group show, Ghosts of Little Boy: Artists for Peace, National Japanese American Historical Society, San Francisco, Aug. 2005; lectures: “Life and Work of Vincent Van Gogh,” Rhoda Goldman Plaza, San

wood department, Oregon College of Art & Craft.

Francisco, Aug. 2005, and Waldorf School, 35

Bruce McAllister

1996

Sayumi Yokouchi

solo show, Pamela Skinner Gallery,

Carla Allen

group show, Psionic Distortion, Plum

Sacramento, June–July 2005; new website, www.brucemcallister.com; included in Who’s Who in America, 2006.

(with Peter Allen) solo show, ReForm, Orange County Museum, CA, Feb. 2006; residency, Eyebeam, 2004.

C. J. Grossman group shows: Book Arts and Parts, World Council for Cultural Affairs, Herbst Exhibition Hall; New York BookFest, Manhattan College, NY; Unfolded, Drawing Works Gallery, San Francisco; Stand and Deliver, Florida Atlantic University; Women of the

Blossoms Gallery, New York, Apr. 2005; accepted into ALCHIMIA Contemporary Jewellery School, Florence, Italy, for intensive summer workshop, July 2005.

Misty Youmans group shows: Altered Scores, Fetterly Gallery, Vallejo, CA, May–July 2005; New Perspectives: Art and Artifact, Vallejo Naval and Historical Museum, Vallejo, CA, Mar.–June 2005.

Book, Rutgers University, NJ; The Calendar Show, San Francisco Center for the Book.

Melanie Hofmann group show, Below the Surface, Fly Trap Don Porcella ’01, Burning Trailer

Alice Park-Spurr group shows: Kimono Dreams, Yukon Arts Centre Grotto Gallery, Canada, Sept.–Oct. 2005; The Art of Change: Works from the Yukon Permanent Art Collection, Yukon Arts Centre Grotto Gallery, Canada, May–Aug. 2005.

Gallery, Sacramento, Apr. 2005.

Rosalyn Myles solo show, The Forgiveness Project, Gallery 825, Los Angeles, Oct. 2005; group show, Art Over Your Head, Armory Center for the Arts, Pasadena, CA, Mar. 2005; recipient, grant for installation project, Left Behind, One Colorado, Pasadena, CA, in partnership with Armory Center for the Arts.

Laurie Reid solo show, Stephen Wirtz Gallery, San Francisco, Sept.–Oct. 2005.

1997

Rodney Artiles curated, group show, Oppositions, Joyce Gordon Gallery, Oakland, July 2005.

Steven Barich group show, Patterns.Composites. Outcomes, Voorburgstraat Studios, Rotterdam, Netherlands, May 2005; lecture/presentation, “The Others II,” Het Wilde Weten, Rotterdam, May 2005; published, “Open Issues” interviews, De Player, FGA Rotterdam, June 2005; residency, USF Vertreft, Bergen, Norway, Sept.–Nov. 2005.

Tim Evans solo show, Parts of Nowhere, The Proposition, New York, Apr.–May 2005; curated, Psionic Distortion, Plum Blossoms Gallery, New York, Apr. 2005 (covered in ARTiT, spring/summer 2005; Art Asia Pacific, spring 2005; Village Voice, Apr. 2005; A.M. New York, Apr. 2005).

Four MFA ’05 graduates in fine arts were accepted into the 2005 residency program of the prestigious Skowhegan School of Painting and Sculpture. Matt Gerring, Angela Hennessy, Isaac Lin, and Sarah Wagner were selected from 1,400 applicants worldwide. Gerring also received the Headlands studio award.

Sian Oblak solo show, Gallery Paule Anglim, San Francisco, July 2004; group show, Bay Area Bazaar, Pulliam Deffenbaugh Gallery, Portland, OR, Sept.–Oct. 2005.

Andrew Phares two-person show, 21 Grand Gallery, Oakland, June–July 2005; group show, People Don’t Care About Ideas, They Just Like Cool Objects, Brooklyn, NY, July 2005.

36

1998

1999

Soo-Ah Choi

Desiree Holman

group show, International Art to Wear

digital video, Ravel and Unravel, www.

Exhibition, Gwangju Biennale, 2004; PhD

refusalon.com, Mar. 2005; artist talk in

candidate, Clothing & Textile Dept., Seoul

connection with solo show, Breath Holes,

National University; currently working as

San Francisco Arts Commission Gallery,

designer, Sae-A Trading co., Ltd.; general

Mar. 2005.

secretary, Korea Fashion & Culture Association, 2004–5; recent projects include graduation gown for Korea University and uniform designs for Korea Olympic Committee.

Stephanie Dean solo show, Hall Branch, Chicago, IL,

Rajkamal Kahlon solo show, Unbound, Provisions Library, Washington, DC, Sept.–Oct. 2005; accompanying symposium, “Re-Orient: Text, Image, and Subtext in Postcolonial Art,” Sept. 2005.

Mar.–Apr. 2005; group shows: Baseball Art Show, Ten Cat, June–Oct. 2005; Opposition, Joyce Gordon Gallery, Oakland, June

2000

2005; Women Photo II Competition (honor-

Jeremy Drucker

able mention), Dreambox Gallery, Chicago,

new business venture, 49 Mile Design &

Mar. 2005; residency, Balaton, Hungary,

Development.

June–July 2005.

Alexandra Grant solo show, Museum of Contemporary Art, Los Angeles (MOCA Focus series), Apr.–July 2007.

2001

Libby Black

solo shows: Braunstein Quay Gallery, San Francisco; Kidder Smith Gallery, Boston, MA, 2005; Ruth Bachofner Gallery, Los Angeles, 2005; Pamela Skinner Gallery, Sacramento, 2004; group shows: Neo Mod: Recent Northern California Abstraction, Crocker Art Museum, Sacramento, and Monterey Museum of Art, Monterey, CA, 2005.

June–July 2005; group show, Medium, Area 405, Baltimore, MD, July–Aug. 2005; residencies: Elsewhere Arts, Greensboro, NC, 2005; Vermont Studio Center, VT, 2005.

solo show, Caught Up in the Moment,

Joshua Gorchov

Heather Marx Gallery, San Francisco,

group show, Museum of American Illustra-

Sept.–Oct. 2005; group show, Take Shape,

tion, New York, Nov. 2005; recent awards:

Rena Bransten Gallery, San Francisco,

Communication Arts Illustration Annual;

July–Aug. 2005; profiled, San Francisco

New York Society of Illustrators; American

magazine, 2005.

Illustration; recent clients include New York Times, Playboy, Rolling Stone, Village

Sian Oblak ’97, Untitled, 2004

Aaron Petersen

Lily Cox-Richard ’01, Magic Moments (installation detail), 2005

Jeanette Bokhour group shows: 14th Havre de Grace International Juried Art Exhibition, Riverview

Voice, Southwest Airlines, and Red Bull Energy Drink.

Gallery, Havre de Grace, MD, July–Aug.

Carly Haffner

2005; New Prints 2005/Spring, Interna-

group shows: The Symbolic Defeat of Phi

tional Print Center, New York, Apr.–June

Slamma Jamma, Melody Weir Gallery, New

2005; Digital Art Extravaganza, Limner

York, Aug. 2005; Bonac Tonic, Ashawagh

Gallery, Phoenicia, NY, Apr.–June 2005.

Hall, East Hampton, NY, July 2005.

Lily Cox-Richard

Jennifer Hung

solo show, magic moments: celebrate

currently working at VH1, doing motion

treasure dream, Soap Factory, Minneapolis,

graphics for the on-air department.

July–Aug. 2005; two-person show, Right of Way, Archinofsky Gallery, Las Vegas, NV,

37

Tonic, Ashawagh Hall, East Hampton, NY, 2005; GO FIGURE!, JetArtworks, Washington, DC., 2005; Reality Check, Spike Gallery, New York, 2004; nominee for 2005 Dedalus Foundation MFA Fellowship in Painting; Hunter College Artist Exchange Program, Netherlands, 2004–5.

Marcia Weisbrot solo show, Mixed Media, Mixed Metaphors, Mill Valley Library, CA, Apr.–May 2005; group show, Iconography & Transformation, Frederick Loomis ’04, Direct Optical Interface into DIOS

Sharon Jue

Space 743, Harrison Gallery, San Fran-

Art Institute, SFMOMA Artists Gallery, San Francisco, July 2005; Transitions, Pacific Art League, Palo Alto, CA, May 2005.

Amy Lam Aug.–Sept. 2005; designed graphics for

ing Connections: Career Waitresses of San Francisco,” San Francisco City Hall, Apr.–July 2005.

Teresa Walsh play, Body Revolution: From Harlem to Havana (written and performed by the author), El Teatro de la Esperanza, San Francisco, Sept.–Oct. 2005.

2003

Aid Artists Speak,” Yerba Buena Center for

G. Dan Covert

the Arts, San Francisco, May 2005; San Francisco Center for the Book, Feb. 2005.

Rebecca Woodhouse

poster in collection of Center for the Study of Political Graphics, Los Angeles.

group shows: The Terrible Twos, Viveza

Christopher Edwards

Gallery, Seattle, Aug.–Sept. 2005; Studios:

hired as senior designer/art director, Sage

Part 2: International District, Seattle Art

Communications, Vienna, VA.

Museum Rental/Sales Gallery, Sept.–Oct. 2005.

group show, Legacy: Women’s Art Exhibit, Dublin Heritage Center, Dublin, CA,

multimedia oral history project, “Mak-

cisco, July–Aug. 2005; lectures: “Visual

group shows: Thirty Something: Three Decades of Innovative Work from the Kala

Candacy Taylor

2002

Francisca Jonsson group show, Peeing in the Sandbox, Mixed Use Gallery, San Francisco, Apr.–May 2005.

APAture: A Window on the Art of Young

Ellen Babcock

Asian Pacific Americans, Kearny Street

solo show, Convection, Atelier Gallery,

Francis McIlveen

Workshop/SomArts Cultural Center, San

Berkeley, CA, May 2005; two-person show,

two-person show, B. Sakata Garo, Sacra-

Francisco, Sept. 2005.

Somnambulisms, Pigman Gallery, San

mento, June–July 2005.

Francisco, Sept. 2005.

Jessamyn Lovell group show, En Masse: Photographs by

Mike Farruggia

Camerawork Members, SF Camerawork,

panelist, “Salvage Artists: From Trash to

Mar.–Apr. 2005.

Treasure,” Sierra Summit, San Francisco, Sept. 2005.

Pepe Mar

solo show, Lisa Dent Gallery, San Francisco, Sept.–Oct. 2005.

David Whitcraft awards (for work at konnectDesign, Santa

solo shows: Guanajuato, Rocket Projects,

Katherin McInnis

Miami; op-ish, Samson Projects, Boston,

group shows: OneTwo, Kala Art Institute,

2005 and Kansas City Art Directors Club,

2005.

Berkeley, CA, Sept.–Oct. 2005; Thirtysome-

for identity system for Austin Walsh, pho-

thing, SFMOMA Artists Gallery, June–July

tographer; Altpick, for campaign for Virgin

2005; work shown at San Francisco

Entertainment.

Hector Dio Mendoza group show, ECO: Art About the Environment, International Center for the Arts, San Francisco State University, Sept.–Oct. 2005.

Don Porcella

38

Shane Selzer

Monica): Print magazine design annual

Cinematheque, MadCat Film Festival; video project commissioned by Exploratorium for centennial celebration of A Trip Down

2004

Market Street, 1905; public screening Sept.

Gina Carducci

2005 and DVD release.

currently working as film technician in printing dept., Monaco Labs, Video and Digital

solo show, Planaria Gallery, New York,

Services, San Francisco; curated, Lie Back

June–July 2005; group shows: Bonac

and Enjoy It, experimental film program for

Canyon Cinema, San Francisco, May 2005; screening committee, MadCat Women’s International Film Festival, summer 2005.

2005

Eleanor Harwood

Andre Andreev

group shows: Bay Area Bazaar, Pulliam

poster included in ID Design Annual, thesis

David Fought solo show, Mills College Art Museum, Oct. 2004; group show, Bay Area Bazaar,

project in Student Design Annual, and two websites in Interactive Design Annual.

Pulliam Deffenbaugh Gallery, Portland, OR,

Charles Beronio

Sept.–Oct. 2005.

group show, Bay Area Bazaar, Pulliam Deffenbaugh Gallery, Portland, OR,

Gwendolyn Meyer group show, Kala fellowship show, Kala Institute, Berkeley, CA, July 2005.

Sept.–Oct. 2005.

Eileen Starr Moderbacher Francisco, May–Aug. 2005.

Caleb Rogers as curator of Oakland’s LoBot Gallery, fea-

Oct. 2005; Up and Coming, Hang Gallery, San Francisco, July 2005; as Adobe Books gallery curator, featured, “Best Eye for Talent,” San Francisco magazine, July 2005.

Portia Wells work selected for on-line exhibition and show in Milan, through “Rethink and

Solidad Decosta published, poem, Shampoo issue 24,

two-person show, City Picture Frame, San

Deffenbaugh Gallery, Portland, OR, Sept.–

Reuse” competition, sponsored by Designboom and Macef, 2005; also on view at Designmart, ICFF, May 2005.

summer 2005.

Matthew Gerring

Tanya Zimbardo currently working as curatorial associate,

group show, Bay Area Bazaar, Pulliam

media arts, San Francisco Museum of

Deffenbaugh Gallery, Portland, OR,

Modern Art.

Sept.–Oct. 2005.

tured, San Francisco magazine, July 2005.

In Memoriam Alumni James Robbins “Bob” Gardiner Grass Valley, CA

Charles “Chuck” Warner Davis, CA Class of 1970 July 23, 2005

Class of 1972 April 21, 2005

Mary Helen Nadeau Silverton, OR Class of 1950 June 3, 2005

Faculty Gaza Bowen Santa Cruz, CA Textiles Program May 27, 2005

Kirke “P. J.” Sonnichsen

Please let us know of the deaths of alumni by sending

Menlo Park, CA

information, including newspaper obituaries, to Glance,

BFA 1992

CCA Communications Department, 1111 Eighth Street, San

February 16, 2005

Francisco, CA 94107 or glance@cca.edu.

39

A BACKWARD GLANCE

40

After the college’s founder and first president, Frederick Meyer,

As the college approaches its centennial in 2007, we are

bought the Treadwell estate at Broadway and College Avenue

looking back at some of the people, places, and events of our

in Oakland, students, faculty, alumni, and the Meyer family

first 100 years. What’s in your attic (or on your flash drive)?

helped transform the property into a campus. Meyer did the

Readers are invited to submit their photographs of campus life

landscaping himself. Here, students Minerva Hogadone (left)

to this column, which will be an ongoing feature of Glance.

and Letitia Archambault get down to work. Labor Day, 1923.

Email us at glance@cca.edu, or send a photocopy or descrip-

Photo courtesy of the archives of California College of the Arts,

tion of your picture by regular mail. Please do not send

Meyer Library, Oakland.

originals; CCA is not responsible for items lost in the mail.

GRAPHIC DESIGN PROGRAM PRESENTS

February 13–18, 2006 San Francisco campus

Sputnik

X

DROP US A LINE Deadline for the next Glance is January 15, 2006.

We welcome news of your creative and scholarly work, including exhibitions, publications, screenings, performances, and lectures, as well as appointments, promotions, and awards. Please include all relevant dates, titles, and locations.

Slides should be labeled on the back with your name and year of graduation, along with the medium, dimensions, and date of the piece (include a stamped, self-addressed envelope for return). Alumni and faculty notes are featured on a space-

This group show celebrates the 10th anniversary of Sputnik, the college’s award-winning student design team. With presentations by 10 Sputnik alumni on February 18.

Name Phone number Email address Website Alum Faculty

Year

Degree

Program

Exhibition title Solo show Group show Gallery/museum/other venue and location

available basis.

Please email your news and high-resolution images to

Dates of exhibition

alumninotes@cca.edu or facultynotes@cca.edu, or complete and return this form to:

Exhibition title Solo show

Communications Department California College of the Arts 1111 Eighth Street San Francisco, CA 94107-2247 Attention: Alumni Notes/Faculty Notes

Group show Gallery/museum/other venue and location

Dates of exhibition

Application by mail

Application online

Full name of alum (please print)

Full name of applicant (please print)

Alumni Referral $50 application fee waiver

Services Office (admissions).

form with their application. Online applicants should mail the form to the Enrollment

referred by a CCA alum may waive the $50 application fee when they submit this

Encourage a student to apply to California College of the Arts! Applicants who are

HELP SHAPE THE FUTURE

1111 Eighth Street San Francisco, CA 94107-2247

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