Glance | Spring 2006

Artists Without Borders Taking CCA Beyond the Bay

glance

California College of the Arts San Francisco | Oakland Spring 2006 | Volume 14 | No. 2 A publication for the CCA community

Strong Ties: Sponsored Studios at CCA

glance Spring 2006 Volume 14 No. 2

Director of Publications

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Editor

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Erica Olsen

Managing Editor Megan Carey

Contributors Susan Avila Chris Bliss Joseph Bryant Jason Engelund Camille Gerstel Erica Holt Barbara Jones Rebecca Katz Jessica Russell

Strong Ties Sponsored Studios at CCA

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Alumni ProďŹ les: Generations A Family Tradition

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At the Center for Art and Public Life National Community Arts Symposium The VALUES Project

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At the Wattis Fall 2006 Exhibition Preview The Bulletin Board

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CCA Views Scholarship Winners, CCA Events, New Trustees, and more

Design Sputnik CCA, a student design team

Artists Without Borders Taking CCA Beyond the Bay

Erin Lampe

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Faculty Notes

Bob Aufuldish

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CCA Bookshelf

Designers

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Alumni Notes

Hope Meng Robert Van Horne

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In Memoriam

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A Backward Glance

Design Director

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 OfďŹ ce, 5212 Broadway, Oakland, CA 94618, or email bjones@cca.edu.

Printed in Iceland by Oddi Printing

Dear Friends, In 1907, Frederick Meyer founded the school that would become California College of the Arts with 3 teachers, 3 classrooms, 43 students, and $45 in cash.

Nearly a century later, our numbers have changed considerably. The original 3 classrooms have turned into campuses in Oakland and San Francisco. Our faculty, full-time and part-time, comprises more than 400 artists, architects, designers, writers, and scholars. And this year, we welcomed a record number of new students. Our total enrollment now stands at more than 1,600 students.

In recent years, both our undergraduate and graduate programs have expanded. Our newest programs—graduate architecture and curatorial practice, and undergraduate community arts, visual studies, and writing and literature— are attracting talented students from across the country and around the world.

With these changes, of course, come increasing demands on the college. We are adding studio space and upgrading facilities and technology. We are also expanding student services, especially in the areas of career services and administrative support for our increasing number of international students.

We dream big, but throughout this process, we have made sure that our growth is sustainable. This model of growth depends on more than the college’s ability to attract the best students. It depends also on the generosity of our supporters. Sponsored studios are proving to be an innovative means of support, bringing industry resources and real-world design challenges into the classroom.

For a look at our recent sponsored studios with Gaia & Gino and Simpson Strong-Tie Co., turn to page 6. And thanks to our many generous donors, the college is able to provide crucial financial aid in the form of scholarships to talented, hardworking students. In this issue of Glance, you will meet some of this year’s scholarship recipients.

Today, CCA is an institution with a long history and a national reputation.

It is inspiring, and instructive, to look back at its origins. It was the day-to-day decisions of the founders and those pioneering first students and teachers that sustained the fledgling institution. Likewise, a decision today—whether a recent alum’s first gift to the Annual Fund or an innovative studio sponsorship—can have large consequences for the future of our school.

We have grown, and we embrace a broader definition of the arts than the college’s founders could have imagined, but our core mission remains the same: to prepare students for lifelong creative work.

Michael S. Roth President

glance | spring 2006

Artists Without Borders 1

Taking CCA Beyond the Bay

For some students and faculty at California College of the Arts, a passport is as essential as their college ID. Undergraduates can study printmaking in Osaka, painting in Berlin, or graphic design in Vancouver—at CCA, the traditional semester abroad translates into a world of art-making opportunities at more than 20 international schools of art and design. Students can also live and work in another culture through CCA’s own summer study abroad courses. And the college is attracting an increasing number of international students, particularly from Asia.

In this issue of Glance, we look at a half-dozen ways in which the CCA community extends far beyond the Bay Area.

“We are a product of our cultural milieu.

Learning how to operate in a different one Sandra Vivanco is an invaluable tool.”

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Increasing International Presence

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Art in Translation Asia and Latin America have become classrooms for grad students in curatorial practice. In spring 2005, students traveled to Tokyo (thanks to a generous grant from the W. L. S. Spencer Foundation) for a full schedule of visits with contemporary artists and curators.

Student Jessica Martin writes: As I navigated my way through Tokyo for the first time, I was continually struck by how different my perception of the city was from how it was depicted in books, in films, in the stories friends told after their own travels…I discovered that the neighborhoods are extremely varied in appearance and spirit; the architecture can be

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human-scaled and intimate; there are narrow streets that wind past rows of small houses and boutique storefronts.

If one strays away from the crowded boulevards and commute times, one can actually find a place of hushed solace, almost like entering a sleepy town… When we describe a place, we are not only speaking of a physical environment—we are also describing the people, cultures, and histories that inhabit that place. Perhaps the most important aspect of the process of evoking place is that we are ultimately describing ourselves …

CCA took its fall recruitment to Asia for a second year. Lark Cratty, assistant director for international admissions, met with prospective students at college fairs in Japan, South Korea, China, Taiwan, Thailand, and India. Nine percent of first-year students now come from outside the United States. China, Egypt, Hong Kong, Indonesia, and the United Kingdom are just some of the countries represented in the 2005 entering class.

Sooah Choi, Blue into the Body Form, 2002. Photo: Sangtaek Oh, 2004 2–4 Courtesy Curatorial Practice Program

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College fair in Taipei, Taiwan, 2005. Courtesy of Enrollment Services

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Peru Summer Studio: Lima and Cuzco Study abroad is essential for designers and artists, says Sandra Vivanco, associate professor of architecture. “We are a product of our cultural milieu. Learning how to operate in a different one is an invaluable tool.”

During the Peru Summer Studio, while students open their eyes to new surroundings, Vivanco—who was born and raised in Peru—finds her own take on her native land altered. Some memorable moments: “Watching the students’ expressions the first time they see Macchu Picchu from a peak we’ve just climbed—a mix of exhaustion and accomplishment. Observing them negotiate design and installation strategies with their Peruvian peers. But most memorable are those moments in which I learn something from the students. It reminds me of how important it is to be a keen observer of cultural and physical phenomena.”

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Thesis Goes Global For graphic design students Albert Ignacio ’05, Marcelo Viana Neto, and Yaeger Moravia Rosenberg, their required thesis turned into a collaborative project that took them around the world during the summer of 2005. They write: Our lives take place here, in the United States, while our families’ histories live in the Third World, in Brazil, the Philippines, and Haiti. We are those who are able to jump through the cracks of the system, and those who so easily fall through the holes. While we attend a private college in the richest and most powerful country the world

has ever seen, we also carry with us the legacies of our forebears and our lands. … We are mediators and facilitators for the dissemination of visual and verbal information and ideas. This is how we can best take part in making great changes to our society. This is how we will work as designers.

The three returned to campus in fall 2005 to produce their thesis as a book, including the three images reproduced above.

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6 Students in Cuzco, Peru 7–9 Courtesy Albert Ignacio, Marcelo Viana Neto, and Yaeger Moravia Rosenberg 10 Courtesy Sooah Choi (with Minja Kim, Jisoo Ha, Minsun Lee) 11 Photo courtesy of the archives of California College of the Arts, Meyer Library, Oakland

Winning Designs

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Sooah Choi ’98 began her association with CCA early—in high school in Moraga, CA, she attended the PreCollege Program. Born in Seoul, Choi is a permanent resident of the United States but currently works and attends graduate school in Korea. She says school in the States is different from Korea. “You learn to be independent, to be responsible. No one really tells you what to do…” As part of the design team that created uniforms for Korea’s Olympic Committee, the fashion major helped Korean athletes look good in recent international competition.

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A History of Cultural Exchange

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In March 1932, faculty gathered for a luncheon in honor of Yoshida Sekido, a visiting artist from Japan. Front row (L to R): Yoshida Sekido, Miriam Callahan, and two friends of the Japanese guests.

Back row (L to R): college founder Perham W. Nahl, S. Minokoshi, Babs Meyer, founder and president Frederick H. Meyer, and Roy Overstreet.

The CCA-Japan connection continues today. In February 2006, the college hosted the second annual Osaka University of Arts—CCA Print Exchange. Students from Japan were in attendance. The print exchange

is spearheaded by Mikae Hara ’86, who teaches at Osaka University of Arts, and is funded by the Hamaguchi Endowment.

Alumni Around the World CCA graduates can be found across the globe, from Algeria to Venezuela. Outside the United States, the countries with the most CCA alums are: Japan (62) Canada (43) South Korea (28) Hong Kong (24) Taiwan (16)

Strong Ties Sponsored Studios at CCA Simpson Connections Studio

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Simpson Manufacturing, founded by CCA trustee Barclay Simpson, is an industry leader in the manufacturing and marketing of building products.

Its subsidiary Simpson Strong-Tie Company, Inc., designs, engineers, and manufactures connectors for buildings.

Every architect knows and counts on these products, and most weekend home improvers have used them to solve one problem or another. So when Simpson Strong-Tie’s CEO, Tom Fitzmyers, suggested a Simpson/CCA collaboration, there was immediate and enthusiastic interest from the college’s architecture and design faculty.

The result was the fall 2005 Simpson Connections Studio, led by architecture faculty members Peter Pfau, AIA, principal of Pfau Architecture, and Stephanie Felch, principal of PRAXIS Architects. The studio recognized that despite media promotion of prefabrication, the reality of the construction

Top: CJ Kulp, 2005 Right: Mary Desing, 2005 Opposite: Jennifer Olsen, Blue Bone Chew Toy, 2005

industry is that stick framing remains the dominant home building method.

More0ver, the fact that stick framing is itself a form of prefabrication (and a hard one to compete with) has been overlooked.

The challenge for the students was to bridge the gap between good design and the realities of the American housing marketplace by inventing new types of connectors to be used in on-site prefabrication.

The Studio Students undertook this challenge through research and analysis of systems for connecting structural members; invention of a new system of connectors, in collaboration with industrial design students; a charrette leading to a tract house design in Cotati, California, that applied each student’s system; design revisions and creation of large-scale models; and synthesis of work into a comprehensive presentation.

In today’s competitive job market, more than ever, experience counts. Lately, CCA students have been picking up plenty of real-world experience—right in the classroom, through industry-sponsored studios.

During the studio, students investigated historical and state-of-theart practices, from traditional post and beam construction to Renzo Piano’s timber and stainless steel Tjibaou Cultural Center in New Caledonia.

Simpson Manufacturing provided a behind-the-scenes tour of its San Leandro plant, where the fabrication process begins with sheet metal and ends, 14 stamping steps later, with the origami-like folded metal connectors that the company is famous for.

The Results The ideas that emerged from the studio range from simple connectors and panel systems to full building components larger than anything currently available. A hinge concept allows builders to “unfold” a house on site.

A “thick wall” delivers kitchen, bath, and bedroom shear walls that carry prefab components for storage, plumbing, and electrical. A “folded corner” combines with stick framing and existing products to make enclosure and construction easier.

In connecting Simpson StrongTie with CCA, architects with industrial designers, and students with a problem to be solved, strong ties have been forged all around.

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Design Goes to the Dogs In fall 2005, 26 fourth-year industrial design students participated in a studio sponsored by Gaia & Gino, an upand-coming Turkish design company.

Based in Istanbul, Gaia & Gino works with designers and manufacturers worldwide; its products are available at numerous design shops in the United States, including those at MOMA and SFMOMA. The company used to focus solely on home decor products. Planning to expand into the dog accessory market, they looked to CCA students for design assistance.

The studio was the brainchild of ID chair Yves Béhar, who set up the partnership. The students, Béhar, and Gaia & Gino founder Gaye Cevikel spent the semester collaborating on design of a doggie brand and product line. (The name Gaia & Gino refers to Gaye and her dog, a golden retriever.)

This kind of studio work demands not only artistic talent but also technical production skills from the student designers. For Gaia & Gino, the projects included stylish food bowls and cozy beds. “It is easy for student projects to exist entirely in ‘conceptual land’ and never be brought back to Earth in quite the same way as when working with a client,” says Matthew Gale, a student in the course. Student

Joanna Manders agrees. “Working with a client is what we will be doing in our jobs every day. We aren’t just designing for ourselves. I think it’s invaluable [experience].” Students had the opportunity to go beyond concept and possibly see some of their designs manufactured. A few joined Gaia & Gino in exhibiting their designs at the International Furniture Fair in Milan.

Kiersten Muenchinger, assistant chair of the ID Program, comments that a studio such as this provides necessary experience for students entering the job market. “We think giving the extra edge, the industry experience, is important, and unique to CCA.”

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Generations A Family Tradition

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Sally Maxwell and Meagan Geer Sally Maxwell Born in 1946 in Stockton, CA Lives in Emeryville, CA BAEd ’68, Teaching Credential ’69 Current occupation: Yoga teacher, commercial property manager Influences at CCA: Harry Krell, Walter Menrath, Carol Purdie, Marty Streich, Hugh Wiley

Meagan Geer Born in 1978 in Berkeley, CA Lives in Portland, OR BFA ’02, Printmaking Current occupation: Printmaker/event designer www.meagangeer.com Influences at CCA: Jack Ford, Ken Rignall, Barron Storey

As a child, Meagan Geer remembers going to CCA alumni barbecues with her mom, Sally Maxwell. Meagan also grew up hearing her mother’s stories about CCAC in the 1960s, including the time Jim Morrison came to Sally’s poetry class to read poetry with Michael McClure. When it came time to choose a college, these childhood memories helped influence her decision. “I would be part of a community that I already felt comfortable with, because I pretty much grew up on the campus.”

Sally first discovered CCA through summer art classes in high school. She wanted to be a teacher, and at the time CCA offered a bachelor of art in education.

Her favorite teachers taught her much more than art. She credits drawing teachers Carol Purdie and Harry Krell with teaching her about perspective and focus, and from lifelong friend and teacher Marty Streich, she says, “I learned about life and about making yourself accessible as a teacher.”

After student teaching at Berkeley High School, Sally changed careers, going into banking. She still speaks of the effect CCA had on her career and her life. “My education really made me more sensitive to people,” she explains. “Your artistic talents can help you express yourself in whatever you’re doing. Who you are is definitely cultivated in art school.”

Sally passed these lessons on to Meagan, whose own experience at CCA was just as positive. As a printmaking major, Meagan found a mentor in Ken Rignall. She recalls, “He was really good about getting into the heads of each of his students and figuring out what made them want to create art. Then he would make you question it.” In one studio, he brought in paper, Pepto-Bismol, and brown caulk and forced her to make something really ugly to prove to her that art didn’t have to be beautiful.

Mother and daughter both continue to use lessons learned at CCA. Sally, now retired from banking, uses her teaching skills to teach yoga to seniors.

Meagan was recently in a juried print exhibition at the Los Angeles Printmaking Society. In Portland, she is starting a printmaking company.

—Jessica Russell

Opposite page: (Center) Meagan Geer and Sally Maxwell; (R) Sally’s husband, Dean Santner; (L) Dean’s son, Claude Santner This page: (L to R) Louis, Jason, and Julie Torres Julie and Louis Torres met during their first year at CCA in the 1970s. “It was an incredible school. I had the most fun in my life at that time,” Julie says. Working closely with noted teachers such as Vernon Coykendall, Julie remembers doing very precise throwing work, while Louis looked to teachers such as Viola Frey to influence his sculptures. The two continue to be influenced by CCA, even after giving up ceramics to run the family flower business. And when their son, Jason, was looking for a strong architecture program, they knew CCA would be the right fit, ensuring another generation of CCA alumni in the Torres family.

Julie and Louis passed their passion for both art and sports on to their son. An avid skier, Jason would sketch the buildings he passed on the way to ski competitions. When it was time to apply for college, his parents’ experience at CCA influenced his decision. “They met great people, and they loved the hands-on experiences of going to school there,” Jason explains. His first visit to the San Francisco campus clinched the deal. “I liked how open it was. You could see what everyone was working on.”

What advice did Julie and Louis have for their son as he started his time at CCA? “I told him the hardest thing were the critiques,” Julie says, “but they were beneficial, and the teachers were supportive.” For Jason, those supportive teachers included professors such as Larissa Sand and Victor Carrasco. Sand’s attention to detail indulged Jason’s interest in industrial design, and Carrasco’s hands-on drawing approach was a nice change from the computer design required in his other courses.

Now working for Vanderbyl Design, Jason designs furniture and showrooms and is proud to have just completed a showroom for interior designer Barbara Barry. Julie and Louis continue to run the family flower business. They ski and sail any chance they get—and Julie hopes to get back into her studio soon and return

The Torres Family

to her first love, ceramics. —JR

Current occupation: Designer, Vanderbyl Design

Louis Torres Born in 1952 in Oakland, CA Lives in Richmond, CA BFA ’74, Ceramics Current occupation: Owner, El Cerrito Florist Influence at CCA: Viola Frey

Julie Torres Born in 1953 in Modesto, CA Lives in Richmond, CA BFA ’74, Ceramics Current occupation: Owner, El Cerrito Florist Influences at CCA: Vernon Coykendall, Viola Frey, Art Nelson

Jason Torres Born in 1978 in Berkeley, CA Lives in Richmond, CA BArch ’02

Influences at CCA: Victor Carrasco, Larissa Sand

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At the Center for Art and Public Life

Center to Host National Community Arts Symposium

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The Center for Art and Public Life will host a national symposium on community arts in higher education this fall. The symposium—titled “Crafting a Vision for Art, Equity, and Civic Engagement”—will take place November 2–4, 2006. It will be an opportunity for artists, students, scholars, and community activists to experience and exchange best practices in the field of community arts.

Panel discussions will address service-learning pedagogies, civic engagement in community, identity

and representation, and community partnerships. Performances, spokenword events, installations, and exhibitions will also be scheduled.

Participants in the symposium will address theoretical, practical, and policy-related issues such as: What are best practices that incorporate art and civic engagement? Does democratization of art practices address diversity?

How is higher education addressing issues of changing demographics?

What are methods for achieving diversity in art colleges through community

participation? How does one develop reciprocal approaches to curricular and community building through the arts?

Space will be reserved for new and emerging voices in the field, particularly students, young artists, and new scholars. Scholarships will be available.

“Crafting a Vision for Art, Equity, and Civic Engagement” is cosponsored by the Association of Independent Colleges of Art and Design (AICAD) and Massachusetts College of Art. The symposium is funded by the Nathan Cummings Foundation and AICAD. For more information, call 510.594.3757.

The VALUES Project The Center for Art and Public Life, Alameda County Office of Education, and Project Zero at the Harvard Graduate School of Education are collaborating to promote arts learning in public schools through the VALUES Project.

This arts learning initiative encompasses more than art itself. The VALUES Project investigates creative cognitive processes and supports best practices developed from this research in K–12 education. What is studio thinking? What are the habits of mind that take place during the creative process? What do students and teachers experience when creating art, and how do these experiences support the development of understanding? How can these practices best be learned and applied to education at large?

Through the project, K–12 teachers in all subjects are receiving professional development in the arts and are able to apply their learning to classroom practice.

The Center’s professional development and teaching artist programs are providing key services in support of this initiative.

The Center’s Teaching Institute continues this summer, offering professional development for generalist teachers who are integrating the arts into their curricula. Growing from last year’s attendance of 20, the institute will reach 100 teachers this summer.

At the Wattis

Fall 2006 Exhibition Preview

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In fall 2006 the CCA Wattis Institute will present exhibitions curated by its first two visiting curators.

Will Bradley has put together a group show opening in September that looks at the convergence of radical politics, computer culture, and the counterculture in the Bay Area in the 1970s. Bradley, a cofounder and former director of the Modern Institute in Glasgow, was curator in residence in fall 2005. During his time at CCA, Bradley also brought Amy Balkin’s project This Is the Public Domain to the Wattis Bulletin Board space. (See above.) Using land she purchased near Tehachapi, California, Balkin is attempting to create an international commons via legal transfer of ownership to the global public. For the Wattis, Balkin produced a series of posters in the tradition of 19th-century broadsides.

Opening in November 2006 is Magali Arriola’s survey of artists whose work looks at predictions and prophecies as guidelines that assess the development of history. Arriola, the spring 2006 curator in residence, was formerly chief curator for the Museo Carrillo Gil in Mexico City. During her residency, she also collaborated with glance | spring 2006

Kate Fowle, chair of the Curatorial Practice Program, on “the backroom” at New Langton Arts in San Francisco. Copresented by San Francisco Camerawork, “the backroom” was a temporary archive that provided access to the source materials—objects, videos, data, ephemera—that inform the practice of a varied lineup of artists.

The show was on view in January and February 2006.

The Wattis will also present new work by Michael Stevenson for the Capp Street Project exhibition opening in November. Stevenson’s works push the boundaries of institutional critique and social sculpture, often uncovering unexpected links between art history, social history, and economics. His Capp Street Project will take off from his ongoing research into the history of the Moniac, a hydraulic machine devised in the 1940s for charting and calculating national income flows.

Stevenson was born in New Zealand in 1964 and has shown his work internationally, including in the 2002 Biennale of Sydney and the 2003 Venice Biennale.

The Wattis Bulletin Board may be San Francisco’s tiniest exhibition space.

Located outside the Logan Galleries, the Bulletin Board—just what it sounds like—puts art right at the entrance of the 1111 Eighth Street building. In recent semesters, students on their way to class could take in projects such as Jim Jocoy’s Polaroid diary or Monte Cazazza’s look at the productions of record label Sordide Sentimental. Each semester, artists and cultural practitioners are invited to create temporary projects for the four-by-six-foot board that may be notational in form, rather than discrete works of art. The Bulletin Board was launched in 2003 with the support of a grant from Art for Art’s Sake, New York.

Photo: Michael Cappabianca

Scholarship Students In Their Own Words

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CCA extends heartfelt thanks to the many alumni, parents, and friends of California College of the Arts who made gifts to student scholarships in 2005. Over $70,000 was raised for named and endowed scholarships, and an additional $20,000 was raised for pooled funds supporting Architectural Studies, Design, Fine Arts, and Collegewide scholarships. Profiled here are just a few of the students who have received scholarship support this year.

Collegewide Scholarship Kerry Bogus Junior, Interior Design “I love CCA—you can get a great fine art background and combine it with the conceptual side of design,” Kerry says. “What’s great is the work of other artists in the school.

You can walk around and see it everywhere. I’m trying to establish my design philosophy, experimenting as much as possible while I’m in school, to gather lots of ideas and ways of working.” After graduation, Kerry would like to work in San Francisco or New York for a small independent firm.

Lyndsey Ellis 1st Year, MFA in Writing Lyndsey received her BA in English from the University of Missouri, Columbia, prior to coming to CCA. “I wanted to pursue novel writing and screenplays. I’m working on my first novel, and it’s my first semester as a teacher’s assistant.

It’s everything I could have dreamed of, and more. I love that CCA is small enough that you can meet with everyone and learn about their

craft. And I love the classroom size; most of my undergraduate classes were lectures.”

Alexandra Fischer Sophomore, Photography Alexandra found CCA through her husband, an alum. “I knew a lot of people who’d graduated, and they’re all actively doing art—I thought that was a good sign. At CCA I love the close community. I love how everyone treats each other like family.” In Germany, Alexandra interned in film. In addition to photography, she would like to make documentaries “with concrete issues that help to change things, even if it’s just people’s ideas.”

eddie gesso Junior, Individualized Major “The individualized major and the Center for Art and Public Life were big pulls,” explains eddie, who is interested in teaching, nonprofit arts management, and possibly an MA in visual criticism. “The classes were original and unique—in theory, in looking at counterculture and politics, and in encouraging alternative ways of thinking.” About scholarship, he says, “I wouldn’t be here if I didn’t have the scholarship. Straight up. I’m still taking out loans, but without the scholarship, there is no way financially I could be here.”

Architectural Studies Scholarship Airason Heard Senior, Architecture “I transferred from the New School of Architecture—I was looking

for more of an interdisciplinary approach to architecture, and a theory-based approach to education, which I’ve gotten at CCA,” says Airason. He plans to pursue his interest in mass-produced housing and hopes to return to CCA for his MArch. Airason wants scholarship donors to know that “someday they’ll see something tangible from their gifts. They will be used in the best interests of the profession.”

Kameron Ishikata Senior, Architecture Kameron, a native San Franciscan, transferred from an East Coast college. He was working for the Forest Service, which has a federal program that allowed Kameron to enroll at CCA while working in their architecture department. “One of the things I really like about CCA is that it’s not just an architecture school, it’s also an art school. We see other studies that might not directly relate to architecture—interior design, painting, illustration—but they inspire our practice.”

Fine Arts Scholarship Ana Fernandez 2nd year, MFA in Painting/Drawing Ana received her BFA in painting from the San Francisco Art Institute, then worked as an artist in Ecuador before coming to CCA. “I really liked the combination of theory and studio practice offered. The professors are passionate about their subjects. I feel like I’ve been given a box of tools that will serve me in the future. My vision has grown to envelop many resources—writing,

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performance.” Ana has offers to teach at Ecuador’s Central University and to work with an independent art space there.

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Erik Scollon 1st year, MFA in Ceramics Erik’s BFA comes from Albion College in Michigan. In addition to study in ceramics, his undergraduate work was multimedia installation, incorporating sculpture, photography, and video. CCA was an appealing choice for graduate school because of the interdisciplinary nature of the Fine Arts program.

Erik says, “I love being at a school with a rich history of craft but enjoy the fluid exchange between artistic mediums.”

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Design Scholarship

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James Penalacia Junior, Graphic Design James transferred from the Academy of Art University. “Coming from a 15-year retail career, I didn’t return to college looking for a job. I love the magic of ink on paper and graphic design, and now I’m in Sputnik [CCA’s student design team]. I am fulfilling my dream—in 2007 I will be the first person in my family to graduate from college. I look forward to being an alum, and, like you [scholarship donors], giving back.”

Over 80 percent of CCA students qualify for scholarship aid. Each scholarship gift is an investment in future generations of creative leadership. The college seeks to provide financial aid to those talented students who could not otherwise afford a CCA education.

glance | spring 2006

As CCA’s reputation grows, so does the student body. And as the college celebrates record-high enrollment, we need your help to ensure that all students who qualify for aid receive it. In addition to pooled scholarship funds, CCA offers the opportunity to create named scholarships. To make a gift or learn more about scholarships at CCA, please contact Camille Gerstel, individual giving manager, at 510.594.3787 (cgerstel@cca.edu), or use the envelope enclosed in this issue of Glance.

—Camille Gerstel

1 James Penalacia 2 Airason Heard 3 eddie gesso 4 Alexandra Fischer 5 Ana Fernandez 6 Kameron Ishikata 7 Erik Scollon

Spotlight on CCA

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5 1 Trustee Tony Meier, Rose Roven, and Susan Cummins at the home of Celeste and Tony Meier. Will Bradley, curator in residence at the CCA Wattis Institute, spoke at this Curator’s Forum event.

Dec. 2005.

2 Bob Bransten and Norman and Norah Stone at the home of Daphne and Bob Bransten. Matthew Higgs, director of White Columns, New York, spoke at this Curator’s Forum event. Sept. 2005.

3 Krystal Newmark (junior, painting/ drawing), recipient of the Sheila Sullivan Memorial Scholarship, with Marguerite Sullivan and Cynthia Riccomini.

Scholarship Dinner, Dec. 2005.

4 Raymie Iadevaia (junior, painting/ drawing), Shelley Post Gardner, and Allison Ramirez (junior, photography) at the Scholarship Dinner. Both students are recipients of the George Post Memorial Scholarship.

5 Susan Shawl ’63 with Heath Kessler (junior, graphic design), recipient of the Louis Shawl Scholarship, at the Scholarship Dinner.

6 Steve Lotspeich with Alexandra Milokhin (junior, wood/furniture), recipient of the Albertina “Nina” Zanzi Scholarship, and Linda Lotspeich at the Scholarship Dinner.

All photos this page by Arrowood Photography

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7 Jack Mendenhall MFA ’70 and Kim Mendenhall ’70 at Flashback, a gathering for alumni classes 1965–2005.

Oakland campus, Sept. 2005.

8 Jeffrey Plotkin ’92, Louise Bird ’83, and Jill Gardner ’88 at Flashback.

9 Jocelyn Moss ’03, Benjamin Belknap ’03, and RaShell Shumate ’03 at Flashback.

10 Yvonne Mouser (L) and Courtney Skott (R) with trustee Ronald Wornick at the Wornick reception, Nov. 2005. Wood/ furniture students Mouser and Skott received the Ronald and Anita Wornick Award.

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11 Arthur Velador ’01, Rhode Montijo ’95, and Mark Giglio ’97 at Flashback.

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12 Board chair Ann Hatch, Lucinda Reinhold, and Ken Cochrane at Fraenkel Gallery for a Curator’s Forum event.

Dean of Graduate Studies Larry Rinder and CCA Wattis Institute Director Ralph Rugoff addressed the group. Jan. 2006.

Photos 7–9 and 11 by Ken Friedman; photo 10 by Barbara Jones; photo 12 by Arrowood Photography

New Trustees Join CCA Board California College of the Arts welcomed four new trustees to its Board of Trustees in January 2006: Nancy Howes, Laurene Powell Jobs, F. Noel Perry, and Phil Schlein.

Nancy Howes received her BFA in metal arts with high distinction from CCA in 2005. Her most recent work will soon be on permanent display at the Maui Ocean Center. Prior to her work as an artist, Howes enjoyed a successful 20-year career in the high-tech industry, holding key management and technical positions at @Home Networks, BBN Planet, Texas Instruments, and Raytheon Co. She has been active in several philanthropic and cultural organizations, including Drawbridge: An Arts Program for Homeless Children, SFJAZZ, and the Redwood City Sequoia High School technology program.

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Laurene Powell Jobs is the cofounder and president of the board of College Track, an after-school program providing comprehensive support to high school students who have the desire but lack the resources to attain higher education.

Ms. Powell started her career at Merrill Lynch and Goldman Sachs. In 1991, she cofounded Terravera, a natural foods company. She then turned her attention to nonprofit entrepreneurship, with a particular focus on education, women’s human rights, and the arts. Currently, her board and advisory affiliations include the board of directors of Global Fund for Women, KQED (PBS), EdVoice, and New America Foundation; and the advisory board, Stanford Graduate School of Business. She holds two degrees from the University of Pennsylvania and an MBA from Stanford University.

F. Noel Perry is the founder and managing director of Baccharis Capital, Inc., a private venture capital firm in Menlo Park. He is also a founding director and former vice-chairman of Conservation International, an organization devoted to conserving ecosystems worldwide. He is the founder of two community organizations: NextTen, an organization that aims to educate, engage, and empower Californians to improve the economy and quality of life in the state, and 100 Families Oakland, a neighborhood art project in partnership with the CCA Center for Art and Public Life. He is a trustee of the Nueva School and board director of the Woodside Community Foundation. Perry is also an artist.

Since 1985 Phil Schlein has been a partner at U.S. Venture Partners (USVP), a venture capital firm in Menlo Park. Prior to joining USVP, he spent 30 years in the retail industry, including 11 years as CEO of Macy’s California. Under his leadership, Macy’s became the dominant department store in California. He currently sits on a number of business advisory boards, including Sound ID, Catalist, Specialty’s, AuctionDrop, and Oakville Grocery. He serves on two other nonprofit boards: San Francisco Botanical Garden and the di Rosa Preserve in Napa, where he is currently vice president of the board.

“Our new trustees bring a wealth of experience and a high level of commitment and energy to the college. They are joining us at an important time in the college’s history, as we continue to build on CCA’s reputation as one of the strongest art and design schools in the country.”

Ann Hatch, Chair of the Board of Trustees

Awards and Accolades Larry Rinder Wins National Art Critics Award An exhibition curated by Larry Rinder, dean of graduate studies, was awarded first place in the category “Best Monographic Museum Show in New York City” by the U.S. chapter of the International Association of Art Critics (AICA/USA).

The annual awards are given in recognition of excellence in gallery and museum shows across the country. Rinder’s winning exhibition was Tim Hawkinson, a midcareer retrospective on view last year at the Whitney Museum of American Art and the Los Angeles County Museum of Art. With more than 400 members, AICA/USA is the nation’s largest art critics organization and the only group to formally recognize excellence in this cultural arena. The annual AICA awards are the art world equivalent to those given by the New York Film Critics Circle or the Drama Desk.

The 2004–5 awards recognized 20 winners in 13 categories.

Harrell Fletcher ’94 Receives Alpert Award Harrell Fletcher received a 2005 Alpert Award in the Arts from the Herb Alpert Foundation. Established in 1994, the Alpert Award provides five $50,000 fellowships each year to “early midcareer” artists in dance, film/video, music, theater, and visual arts. Each fellowship includes a weeklong residency at California Institute of the Arts, which administers the award.

Ten nominators in each discipline recommend two artists each, for a total of 100 nominations. The award recipients are then selected by independent review panels. Fletcher won in the visual arts category.

Fletcher’s work was included in the 2004 Whitney Biennial. His ongoing collaboration with Miranda July, www.learningtoloveyoumore.com, was recently on view in Baja to Vancouver: The West Coast and Contemporary Art at the CCA Wattis Institute and three other West Coast venues. Fletcher received an MFA from the college in 1994.

Staff Appointments Mindy Jasperson Director of Administrative Computing

Nina Sadek Dean of Special Programs

glance | spring 2006

ID Student Takes Tupperware Top Prize Tony Meredith, an undergraduate industrial design major, was named the U.S. winner of the Translations in Tupperware global design contest in December 2005. His entry, Tupper Rose Window, is a beautifully lit and shot photograph that uses multicolored and multitextured, vintage and contemporary Tupperware bowls, coasters, and tumblers to replicate a stained-glass window.

The contest invited consumers and designers from around the world to create a piece of art or functional product inspired by Tupperware products. Entries from the United States, Greece, Brazil, and Indonesia took top prizes. The winning entries are on view in an exhibition that features more than 30 pieces of Tupperware-inspired artwork, from delicate purses and dresses to 7-foot-high Indian gods and panoramic city landscapes.

The prize package for the four winners included a trip for two to New York City, a $5,000 cash prize, and inclusion of their work in the exhibition, which is touring internationally in 2006. The winning pieces were selected from more than a thousand worldwide entries by a panel of judges from the design industry and media.

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Faculty Notes Celeste Connor

Michael S. Roth, President

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published: articles, “Ordinary Film,” Raritan, fall 2005; “Trauma: A Dystopia of the Spirit,” Thinking Utopia (Berghahn Books, 2005); reviews: “Reagan: ‘Impossible not to like the man,’” review of President Reagan: The Triumph of Imagination by Richard Reeves, San Francisco Chronicle, Jan. 2006; “Recurring Subjects Become the Dialogue of Photography,” review of The Ongoing Moment by Geoff Dyer, SF Chronicle, Dec. 2005; “Revisiting Yosemite’s Iconic Imagery,” review of Yosemite in Time by Mark Klett, Rebecca Solnit, and Byron Wolfe, SF Chronicle, Dec. 2005; “Out of Ruins, a New Identity,” review of Postwar: A History of Europe Since 1945 by Tony Judt, SF Chronicle, Oct. 2005; “Trying to Define the Meaning of Sanity,” review of Going Sane: Maps of Happiness by Adam Phillips, Los Angeles Times, Oct. 2005; “Race, Crime, and Penalties for GIs in WWII,” review of The Interpreter by Alice Kaplan, LA Times, Sept. 2005; “Oh, the Gloire of It All,” review of La Belle France, A Short History by Alistair Horne and The Essence of Style by Joan DeJean, SF Chronicle, Sept. 2005; “America’s First Display of Remorse,” review of Judge Sewall’s Apology: The Salem Witch Trials and the Forming of the American Conscience by Richard Francis, SF Chronicle, Aug. 2005; lecture, “Why Freud Haunts Us,” Freud Festival, Jewish Community Center, San Francisco, May 2006; colloquium participant, “Mining Memory: The Work of Filmmaker Peter Forgacs,” Magnes Museum, Berkeley, CA, Oct. 2005; panel moderator, “Can Culture Save Urban Centers?,” Grantmakers in the Arts 2005 conference, Los Angeles, Oct. 2005.

Opal Palmer Adisa

Cary Bernstein

selected for a two-month Sacatar Foundation Fellowship on the island of Itaparica, Brazil, 2005.

residential work published in City Interiors (TeNeus/Loft Publications, 2005).

Alfonso Alvarez

lectures: “Gary Hill: Mediated Media,”�SFMOMA, May 2005; “Dada Après-Tout,” Ecole des Beaux Arts, Paris, Nov. 2005; published,�“Jim Isermann in Conversation,” Dwell, May 2006; “Art Collecting,”�Dwell, June 2006.

group show, Illuminated Corridor (benefit for 21 Grand’s fifth anniversary), Oakland Ironworks, Oakland, Sept.

2005.

Curtis Arima work featured, Penland Book of Jewelry (Lark Books, 2005) and Teapots: Makers and Collectors (Schiffer, 2005).

Natasha Boas

Tammy Rae Carland lecture, UCLA Dept. of Art, Los Angeles, Oct. 2005.

published, two-part essay, “Glossed Over: The Artist’s Book,” Artweek, Mar. and May 2005.

Lia Cook group show, Transformations: The Language of Craft, National Gallery of Australia, Canberra, Nov. 2005–Jan. 2006.

Betty Jo Costanzo group show, There Is Nothing to See, LoBot Gallery, Oakland, Jan.–Feb. 2006.

Jean Craig-Teerlink work published, Graphis�Letterhead 6 International Annual, Nov. 2004.

Tim Culvahouse visiting critic, Master of Architecture Program, Carleton University, Ottawa, Canada, winter 2006.

Jack da Silva work featured, Penland Book of Jewelry (Lark Books, 2005) and Teapots: Makers and Collectors (Schiffer, 2005).

Marilyn da Silva group show, Transformations: The Language of Craft, National Gallery of Australia, Canberra, Nov. 2005–Jan. 2006;�published, “Icing on the Cake” (on use of gesso and colored pencil on metal) in Penland Book of Jewelry (Lark �Books, 2005); work featured, Teapots: Makers and Collectors (Schiffer, 2005).

Hank Dunlop published, article, “The BruneReutlinger House, San Francisco,” The Magazine Antiques, Aug. 2005.

Mark Eanes appointed, chair of visual arts, California State Summer School for the Arts—InnerSpark (at CalArts), 2005.

Carol Elkovich two-person show, Recent Paintings,�Erickson Fine Art Gallery, Healdsburg, CA, Sept.–Oct. 2005; group show,�Elins Eagles-Smith Gallery at�Los Angeles Art Fair,�Sept. 2004.

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Ammar Eloueini with AEDS, completed retail spaces for fashion designer Issey Miyake in Berlin (received AIA Chicago Chapter Design Excellence Awards: Interior Architecture and Divine Detail, Oct. 2005), Perpignan, France, and Paris (2004–6); work published, CoReFab (ORO Editions) with support of Graham Foundation for the Arts; presented, 8th International Architectural Festival: Beyond Media, Florence, Italy, Dec. 2005.

Thom Faulders group shows: SAFE: Design Takes on Risk, Museum of Modern Art, New York, Oct. 2005–Jan. 2006; Altered Practice, AIA, San Francisco, Oct.–Nov. 2005; award, Honorable Mention for Chromogenic Dwelling, “Possible Futures: Bienal Miami + Beach” competition, Dec. 2005;�presenter and moderator, “Critical Practices,” www. linemag.org, AIA San Francisco, 2005. �

Lisa Findley serving as interim chair of architecture, spring 2006; current projects include a book on the work of SMWM and introduction for books on the recent work of STUDIOS.

Jeanne Finley artist talk, UC Berkeley Art Museum and Pacific Film Archive, Oct. 2005.

glance | spring 2006

Roy Tomlinson, Ground Fire 2, 2005

Linda Fleming

Gloria Frym

solo show, Brainstorm: Works, Ephemera, Process, Arts Benicia, Benicia, CA, May–June 2005, in conjunction with public art installation at Harbor Walk, Benicia, June 2005.

group show, Transformations: The Language of Craft, National Gallery of Australia, Canberra, Nov. 2005–Jan. 2006.

published: essay, “David Meltzer, On Whom Nothing Is Lost,” Big Bridge, Jan. 2006; poems in: Feminist Studies Quarterly, 2006; Gowanus Milk City, Oct. 2005; New American Writing, summer 2005; House Organ, summer 2005; prose in Nocturnes, fall 2005; lecture for Robert Creeley memorial, San Francisco, Nov. 2005; reading and workshop, Western Connecticut State University, Nov. 2005.

Mark Fox

Jordan Geiger

Donald Fortescue

designed new identity for University of California Press; work published in:�The Design of Dissent (Rockport, 2005); Logo, Font & Lettering Bible (How Design Books, 2004); Letterhead and Logo Design 9 (Rockport, 2005).

published, “You Are Here,” exhibition catalog essay; project included in group show, Altered Practice, AIA San Francisco, Oct.–Nov. 2005; producing event space for San Francisco Arts Commission annual fundraiser, of light and digitally milled materials realized with assistance of Andre Caradec’s Studio Under Manufacture.

Jim Goldberg

Todd Hido

Lynn Marie Kirby

solo shows: Galeria Antonio de Barnola, Barcelona, Spain, Nov. 2005; In the Open See, Stephen Bulger Gallery, Toronto, Canada, Sept.–Oct. 2005; group show, Rrose Sélavy, Stephen Wirtz Gallery, San Francisco, July–Aug. 2005; producing photo book with Steidl about current body of work on Greek immigrants and refugees.

solo show, Inman Gallery, Houston, TX, 2005; group shows: I © the ’Burbs, Katonah Museum of Art, Katonah, NY, 2006; Camera Sacra: Capturing the Soul of Nature, Israel Museum, Jerusalem, 2005; work acquired: Art Institute of Chicago; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Whitney Museum of American Art (all 2005).

presented, “An Evening with Lynn Marie Kirby,” MediaScope 2006, Museum of Modern Art, NY, Jan. 2006; screening, “Kirby + Fletcher Side x Side,” San Francisco Cinematheque, Nov. 2005.

Barbara Holmes group show, Bay Area Furniture Art 2005, Blue Room Gallery, San Francisco, Oct.–Nov. 2005.

Stephen Skov Holt published: essay, in America: Constantin Boym (Birkhäuser, 2005), exhibition catalog, MUDAC, Lausanne, Switzerland; review of IMAX movie Robots, I.D. magazine, June 2005; profiled in Stanford magazine, July/Aug. 2005.

Geoff Holton with his firm, GHA: Merit Award in 2005 San Francisco Prize Infill Housing Competition; two projects included in 2005 East Bay Build-It-Green Home Tour (one received an award for Outstanding Small House Renovation).

Matthew Iribarne Neal Schwartz, Wisconsin Street Residence, 2005. Photo: Matthew Millman

profiled, San Francisco Examiner “Why I Write” column, Aug. 2005.

Eric Heiman

film title sequence for Rare Bird, 2006; film titles and graphics for Men Having Babies, broadcast on Discovery Channel, 2006, and The Fall of Fujimori, Official Selection, Sundance Film Festival, 2005; film titles for Wilderness Survival for Girls, 2005; motion graphic projects published in Type in Motion 2 (Thames & Hudson, 2005) and Complete Guide to Digital Graphic Design, 2nd ed.

(Thames & Hudson, 2005).

designed ReadyMade: How to Make (Almost) Everything (Clarkson Potter, 2005); interviewed (with Adam Brodsley, partner in Volume), STEP Inside Design, Sept.–Oct. 2005.

John Hersey published, illustrations (including cover illustration), Mother Jones, Dec. 2005.

James Kenney

Stella Lai solo show, I See Your Problem, But I Don’t See You, Lizabeth Oliveria, Oct.–Dec. 2005; artist residency, Chinese Arts Centre, Manchester, England, July–Oct. 2005.

Ben Lerner Library Journal recently named his The Lichtenberg Figures (Copper Canyon Press) one of the 12 best poetry books of 2004.

Margaret Mackenzie solo shows and performances, Hurricanes Human, Toby’s Barn, Point Reyes, CA, Oct. 2005; group show, Wild Book Show, Point Reyes Books, CA, May 2005; published, review, “Diversity in Art,” Point Reyes Light, Oct. 2005; interviews about artwork on KWMR radio, Feb. and May 2006.

Michael McClure spoken word CDs, Rebel Lions and Ghost Tantras, produced by Birkbeck College of University of London and Optic Nerve, 2005; CD collaboration with Terry Riley, I Like Your Eyes Liberty (Sri Moonshine Records), fall 2005; published: Portuguese trans., Scratching the Beat Surface (Azougue Press, Brazil), 2005; Spanish trans., GRAHHR (Campania Press, Mexico); speaker, symposium on Robert Creeley, Stanford University, Nov. 2005.

Kate Fowle is the new chair of the MA Program in Curatorial Practice.

Formerly, Fowle served as cochair of the program.

Joseph Lease will become the new chair of the MFA Program in Writing in fall 2006, succeeding Ann Joslin Williams. His third book of poems, Broken World, is forthcoming from Coffee House Press. He has taught at CCA since 2003.

James Kenney, My Dad’s Hair (still), 2005

Julian Myers

Marianne Rogoff

Elizabeth Sher

published: “If it need be termed surrender, then let it be so, or: Trisha Donnelly in parallax,” Afterall, winter 2005; reviews in Frieze, fall 2005;�lecture, “Riot Show,” The Backroom, Los Angeles, Nov. 2005, and CCA Wattis Institute, Jan. 2006.

published, story, “Raven,” in Best�Travel Writing 2006 (Travelers’ Tales, 2006).

group shows: Pacific Center for the Book at SF Main Library, Jan.–Mar. 2006 (artist talk, Mar. 2006); Berkeley Art Center, Berkeley, CA, Jan.–Feb. 2006.

Abner Nolan public art project, Here and Now, San Francisco Arts Commission�Art on Market Street kiosk posters, Jan.–May 2006.

Sandra Percival appointed, executive director, New Langton Arts, San Francisco, 2005.

Mariella Poli co-curated, City of Walls, City of People, exchange exhibition from CCA and University IUAV (Venice, Italy), Oakland�Craft & Cultural Arts Gallery, Oct. 2005.

Renny Pritikin curated: Paper Pushers, Richard L. Nelson Gallery, UC Davis, Davis, CA,�Sept.–Dec. 2005; Joint Venture (cocurated with photographer Matthias Geiger), Richard L. Nelson Gallery, UC Davis, Davis, CA, and Pence Gallery, Davis, CA, Jan.– Mar. 2006.

glance | spring 2006

Zack Rogow translation from the French of Marcel Pagnol’s play Marius produced, Aurora Theatre, Berkeley, CA, Nov.–Dec. 2005.

K. C. Rosenberg two-person show, Los Medanos College Art Gallery, Pittsburg, CA, Nov.–Dec. 2005.

Raymond Saunders group show, Rrose Sélavy, Stephen Wirtz Gallery, San Francisco, July–Aug. 2005.

Neal Schwartz work featured and firm Schwartz and Architecture profiled, San Francisco magazine, Dec. 2005.

Mitchell Schwarzer published, articles: “Stanley Saitowitz’s Houses: A Lens onto Landscape,” California Home Magazine (Jan./Feb. 2006); “Architecture and Mass Tourism,” in Architourism: Authentic, Exotic, Escapist, Spectacular (Prestel Verlag, 2005); lecture, “Use and Abuse of Historic Preservation,” International Bar Association conference, Prague, Czech Republic, Sept. 2005.

Mary Snowden artwork published, ZYZZYVA, winter 2005.

Larry Sultan group show, Rrose Sélavy, Stephen Wirtz Gallery, San Francisco, July–Aug. 2005.

Stella Lai, Untitled, 2005

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Victoria Wagner CCA faculty collaborated to produce the ScrapHouse—built entirely from scrap and salvaged material, with volunteer labor and design—on San Francisco’s Civic Center Plaza in conjunction with World Environment Day 2005. The ScrapHouse was later featured in Dwell and Sierra magazines and on NPR’s Living on Earth.�Participating faculty:�John Cary; John Peterson, Peterson Architects/Public Architecture; Andrew Dunbar, Interstice Architects; Jordan Geiger, Ga Ga; Mark Jensen, Jensen & Macy Architects; Jane Martin, Shift Design Studio; Jeremy Mende, MendeDesign; and Cinthia Wen ’93, Design at Noon. Miles Epstein ’05 and Chris Kalos of Jensen & Macy also worked on the project.

group show, Botanica, Sebastopol Center for the Arts, Sebastopol, CA, Sept.–Oct. 2005; shows: First Empire, Vena-Mondt, Sebastopol, CA, Nov. 2005; Flying Goat, Healdsburg, CA, Oct. 2005.

Patricia Walsh (emerita) solo show, Mepkin Abbey, Charleston, SC, Feb.–Mar. 2006; two-person show, Thacher Gallery, University of San Francisco, Sept. 2004.

Kari Weil 22

Tina Takemoto

Roy Tomlinson

lectures: “Conversation with Tina Takemoto (on Theresa Hak Kyung Cha),” Berkeley Art Museum, Berkeley, CA, Dec. 2005; “Rock, Scissors, Paper: Art School Orientalism,” American Studies Association, Washington, DC, Nov. 2005; “Looking Matters: Visual Culture, Pedagogy, and Asian American Studies,” Association for Asian American Studies, Los Angeles, Apr. 2005.

group shows: Three Views, College of Marin Art Gallery, Kentfield, CA, Oct.– Nov. 2005; Contemporary Abstracts, Alameda Art Center, Alameda, CA, summer 2005.

Bruce Tomb group show, Altered Practice, AIA San Francisco, through Nov. 2005; (de)Appropriation Project featured, San Francisco Chronicle, July 2005; project for second-story addition to 1954 modern residence attributed to Henry Hill, including fiberglass composite monocoque bath pod, presented at Northern California chapter of DOCOMOMO (scheduled for construction spring 2006).

Sandra Vivanco group show, Small Firms Great Projects, San Francisco Design Center, Jan. 2006; work featured: Building Northern California (Imprint Publications, 2006); published: “Trope of the Tropics, The Neo-Baroque in Brazilian Modernism,” in Baroque New Worlds (Duke UP, 2006); “Trope of the Tropics, The Baroque in Modern Brazilian Architecture, 1940–1950,” in Transculturation, Cities, Spaces, and Architectures in Latin America (Rodopi, 2005).

Sandra Vivanco, Menlo Park Residence (front elevation), 2005. Photo: Sharon Risedorph

published: “Men and Horses: Circus Studs, Sporting Males, and the Performance of Purity in Fin de Siècle France,” French Cultural Studies, forthcoming; “French Feminism’s Ecriture Féminine,” Cambridge Companion to Feminist Literary Theory, 2006; lectures: “Géricault’s Spurs: Painting History with a Horse,” 19th-Century French Studies Colloquium, fall 2005; “Living Like a Dog: Animal Being in Coetzee,” Society for Literature, Science, and the Arts, fall 2005.

Ann Joslin Williams award, Spokane Prize in Short Fiction, for The Woman in the Woods, to be published by Eastern Washington University Press in fall 2006.

Susan E. Wood work featured, Penland Book of Jewelry (Lark Books, 2005).

CCA Bookshelf

The Last Time I Saw Amelia Earhart

By Gabrielle Calvocoressi

The Wild Creatures: Collected Stories of Sam D’Allesandro Edited by Kevin Killian

Persea Books, 2005 Paperback, 80 pages, $13.95 From a circus fire in Hartford, CT, to the oversize bodies that fill the screens in “From the Adult Drive-In,” these poems juxtapose spectacle with private moments, collective experience with individual voices. Calvocoressi received the Paris Review’s Conners Prize for “Circus Fire, 1944,” which appears in this collection, her first. She teaches in the MFA Program in Writing.

Suspect Thoughts Press, 2005 Paperback, 160 pages, $12.95 Poet, novelist, and Visual Criticism faculty member Killian edited this posthumous collection of stories

by Sam D’Allesandro, who died of AIDS in 1988. Killian’s introduction places D’Allesandro in the context of the “new narrative” writers of San Francisco in the 1980s (Killian was among them). There are 18 stories here, including long out-of-print work from D’Allesandro’s previous books, and previously unpublished pieces that Killian transcribed from the author’s notebooks.

Drawing from the Modern, 1975–2005

By Jordan Kantor Museum of Modern Art, 2005 Hardcover, 229 pages, 180 color illus., $39.95 Kantor situates contemporary drawings as the production of “a younger generation of artists literally trying to draw themselves out” of the art movements of the 1960s. They did so not only with ink, charcoal, and pencil, but also with Cover Girl Thick Lash mascara (Janine Antoni) and human hair tied onto paper (Mona Hatoum). Kantor, an associate professor in the Painting/Drawing Program, was formerly an assistant curator in the department of drawings at MOMA.

glance | spring 2006

Mah-Jongg: From Shanghai to Miami Beach

By Christina Cavallaro and Anita Luu ’97 Chronicle Books, 2005 Hardcover, 176 pages, 100 illus. (color and b/w), $14.95 “Mah-jongg is seductive,” the authors write. Photographs of hand-carved bone tiles from the Qing Dynasty hint at why. In this illustrated handbook—with contents ranging from rules for play and strategy to recipes for pot stickers and kugel—the authors’ love for the traditional Chinese game spreads out to encompass its history

and the communities that its players form. Coauthor Luu (BFA, graphic design) also designed the book.

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The Face of Poetry: Portraits Edited by Zack Rogow University of California Press, 2006 Paperback, 370 pages, 49 b/w photos, $29.95 Portraits of poets by photographer Margaretta K. Mitchell, inspired by the Lunch Poems Reading Series at UC Berkeley, which Rogow coordinates. He teaches in the MFA Program in Writing.

The Return Message

By Tessa Rumsey ’02 W. W. Norton, 2005 Hardcover, 99 pages, $24.95 “Does glass count as a wall?” asks Rumsey, a poet and a graduate of the MA Program in Visual Criticism.

With doubled titles, the pages of this beautifully designed book both mirror and distort each other. There is space for long lines, and for silence. Rumsey received the 2004 Barnard Women Poets’ Prize, judged by Jorie Graham, for this collection, her second.

Faculty and alumni: Please send notice of your book publications to glance@cca.edu.

Alumni Notes

From the Alumni Association It has been another busy school year for the CCA Alumni Association. Our staff and alumni volunteers are working hard to bring you more opportunities to network with fellow alumni, mentor students, find career resources, show your work, and much more.

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Did you take advantage of everything the Alumni Association had to offer this year? Perhaps you returned to campus for one of our reunions or connected with New York alumni over wine at the Marlborough Chelsea Gallery.

You may have spoken to graduate students about your career experiences or advised transfer students on how to survive college. Was your work accepted into our alumni booth at the American Craft Council show or Aesthetics of Ecology, our fall 2005 alumni exhibition? Or did you use our online job board to search for a new career path?

Whatever the opportunity, we hope we helped you find an old friend, learn something new, make a connection, or make a difference. And it’s never too late to get involved. Just go to www.cca.edu/alumni to learn how you can

1950 John W. Berry group show, Lucky 13 National Small Works, Fine Arts Center, Mesquite, NV, Nov.–Dec. 2005.

Horst B. Trave group show, Art of the Beat Generation, John Natsoulas Gallery, Davis, CA, Nov.–Dec. 2005.

1951 Robert S. Neuman solo show, Robert S. Neuman: Fifty Years (retrospective), Allan Stone Gallery, New York, Jan.–Mar. 2006.

1953

take advantage of everything we have to offer!

David Ireland

Joseph Terrell Bryant President, Alumni Council BArch ’99

solo show, Moody Gallery, Houston, Dec. 2005–Jan. 2006.

P.S. Keep in touch! Update your address at www.cca.edu/alumni.

Harry Weisburd

1965 group show, MIAD international art exhibition, Argentina, 2006.

1967 Life after CCA?

Stan Taft

Complete our Alumni Career Survey at www.cca.edu/alumni.

two-person show, STILL, Second Street Gallery, Charlottesville, VA, Feb. 2006.

Help us to create a picture of what students do once they leave CCA. Please take a few minutes to tell us what you’ve been up to. The results will be compiled (without names) for use with students, faculty, and alumni.

1970 Susan S. Weller solo show, John Wayne Airport, Orange County, CA, Apr.–July 2005; group shows: Aurora Project, Grafiche Aurora, Verona, Italy, Dec. 2005; Il Segno Essenziale, Palazzo Menghini, Castiglione delle Stiviere, Mantova, Nov. 2005; Altre View: Tra I Segni e I Colori, Incorniciarte, Verona, Oct. 2005; website, www.susanweller.com.

1972 Thomas E. Noy YAKTRAX included in group show, SAFE: Design Takes on Risk, Museum of Modern Art, New York, Oct. 2005–Jan. 2006, and in MOMA’s permanent collection.

1973 Ramona L. Irvine solo show, Developing Drawings: Monotypes and Paintings, Guerneville, CA, winter 2005.

Lori Wakefield website, lwakefieldartist.com.

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1974 Jane W. Lackey

Patricia Olynyk, Sight, Sound, and Taste, 2005

solo show, Roy Boyd Gallery, Chicago, Dec. 2005–Jan. 2006; shows: Pages, I Space, Chicago, Oct. 2005; Map Room, Lemberg Gallery, Ferndale, MI, Sept.–Oct. 2005; Textile/Future Expression, Contemporary Art Space, Osaka, Aug. 2005; work purchased, Wellcome Trust, London (opening permanent public exhibition, 2006).

1981

1986

Hulleah Tsinhnahjinnie

Amy E. McClure

panelist, “Representation and Identity: Who Owns the Image of Native Americans?,” Eiteljorg Fellowship for Native American Fine Art Symposium, Eiteljorg Museum of American Indians and Western Art, Indianapolis, IN, Nov. 2005.

solo show, 22 Clay Canvases, Magic Theatre, San Francisco, 2005; group shows: Poetry and Its Arts, California Historical Society, San Francisco, 2005; 30 Ceramic Sculptors, John Natsoulas Gallery, Davis, CA, 2005; Opposition, Joyce Gordon Gallery, Oakland, 2005; work featured, Ceramics Monthly, Oct. 2005.

1978 Jamie Brunson group show, Ornamentation: The Art of Desire, San Jose Institute of Contemporary Art, San Jose, CA, Nov. 2005–Jan. 2006.

James Jermantowicz solo show, A Day at the Concours, Saratoga Automobile Museum, Saratoga Springs, NY, Apr.–June 2006.

1979 Ruth Boerefijn solo show, Fresno Art Museum, Fresno, CA, Jan.–Mar. 2006; show, SFMOMA Artists Gallery, Fort Mason, San Francisco, June–July 2006; residencies: Djerassi Resident Artists Program, Woodside, CA, Sept. 2006; Klaustrid, Skriduklaustur, Iceland, Aug. 2005.

glance | spring 2006

1984 Randall G. Dixon solo shows: Monterey Peninsula College, Monterey, CA, Feb.–Mar. 2006; Oakland Museum of California at City Center, Aug.–Nov. 2005; Gregory Lind Gallery, San Francisco, July–Aug. 2005; website, www.randydixonart.com.

1985 Alisa Golden visiting faculty, CCA, spring 2005; bookmaking instructor, CCA NinthGrade Atelier, summer 2005; group shows (all 2005): Art of the Book, CFA Gallery, San Anselmo, CA; Members’ Showcase, Richmond Art Center, CA; Artists’ Books, Hunt + Gather, Santa Fe, NM; published, Expressive Handmade Books (Sterling, 2005); website, www. neverbook.com.

Alexandra D. White group shows: Albany Arts Commission, CA, Dec. 2005; Fairfield Visual Arts Association, CA, Nov. 2005; represented by Main Element Gallery, Napa and Calistoga, CA, Jan. 2006; instructor, Albany Adult School and ASUC Art Studio at UC Berkeley, Jan. 2006; website, www.alexwhite-artworks.com.

1987 Yoshitomo Saito work featured, Sculpture magazine, Jan.–Feb. 2006.

Ann Weber solo show, Fresno Art Museum, Fresno, CA, Apr.–June 2006.

1988 Donna Fenstermaker group show, Print 2, June Steingart Art Gallery, Oakland, Oct. 2005.

Patricia Olynyk solo shows: Sensing Terrains, National Academy of Sciences, Washington, DC, Feb.–June 2006; Lessedra Contemporary Art Projects, Sofia, Bulgaria, 2005; residencies, Banff Center for the Arts, Banff, Canada, May and June 2005.

Cleo Papanikolas published, book, Cook Until Desired Tenderness, 2005 (www.cleops.net); profiled, San Francisco Chronicle, Dec. 2005.

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Laura Sue Phillips

Susan Goldsmith, No. 64, 2005

curated, Transparent Opaque, Paintings on Paper, Leubsdorf Art Gallery, Hunter College, New York, Jan.–Mar. 2006.

Gabrielle Thormann group show, An Array of Small Works, Crockett Contemporary Art, Crockett, CA, Dec. 2005.

1989 Susan Y. Danis work featured in review on www.jeffgreenwald.com.

German Herrera solo show, A Book of Mirrors, traveling to Centro Fotográfico Alvarez Bravo, Oaxaca, Mexico, Nov. 2005; work purchased for artist books collection, Stanford University Dept. of Special Collections.

1990 Cynthia L. Harper group show, Drawing: Tradition and Innovation, Arlington Arts Center, Arlington, VA, Nov.–Jan. 2006.

Amy Kaufman group show, Bay Area Bazaar, Pulliam Deffenbaugh Gallery, Portland, OR, Sept.–Oct. 2005; website, www. amykaufman.net.

Jean M. Miller chair of Art Dept., Towson University, Towson, MD; elected to board of directors, National Council of Art Administrators, 2005.

1991 Lisa Kokin two-person show, Los Medanos College Art Gallery, Pittsburg, CA, Nov.–Dec. 2005; group show, Image as Object, Sesnon Art Gallery, Porter College, UC Santa Cruz, CA, Jan.–Mar. 2006.

1992 Marlene Aron group shows: Annual Members’ Showcase, Berkeley Art Center, Berkeley, CA, Jan.–Feb. 2006; My Country, Right or Left: Artists Respond to the State of the Union, L. H. Horton Jr. Gallery, San Joaquin Delta College, Stockton, CA, Nov.–Dec. 2005; commission for group show/silent auction, Tori-no-ichi, Theatre of Yugen, San Francisco, Dec. 2005.

Giorgio Baravalle featured in I.D. Forty, Jan.–Feb. 2006.

China Blue group show, Once Upon a Time 1, NURTUREart Non-Profit, Brooklyn, NY, Jan.–Mar. 2006.

Susan Goldsmith solo shows: Robert Mondavi Winery, Oakville, CA, Mar.–Apr. 2007; Takada Gallery, San Francisco, Apr. 2006; group show, SVMA Biennial 2005, Sonoma Valley Museum of Art, Sonoma, CA, Nov.–Dec. 2005; show, Natural Process, William Torphy Fine Arts, San Francisco, Sept.–Nov. 2005; digital paint and rotoscope artist, Chronicles of Narnia.

Steven Miller California Home + Design magazine Achievement Award for outstanding furniture and product design (work featured, Feb. 2006 issue); website, www. stevenmillerdesignstudio.com.

1993

Fain Hancock

Lauren Ari

solo show, Old Family Name, Hang Art, San Francisco, Oct. 2005.

group shows: Ink and Clay 32, Kellogg Gallery, Pomona, CA, Jan.–Feb. 2006; Artscape Gallery, Walnut Creek, CA, 2006; Laughter Is the Best Medicine, Artschange, Richmond Health Center, Sept. 2005; Local Voice, Walnut Creek, Sept. 2005.

Mingwei Lee solo shows: Queensland Gallery of Modern Art, Brisbane, 2006; Sherman Gallery, Sydney, Nov.–Dec. 2006; Lombard-Freid Projects, New York, Oct.–Nov. 2006; group shows: 2006 Shanghai Biennial, China, Sept.–Nov. 2006; Liverpool Biennial, England, Sept.–Nov. 2006; Madison Museum of Contemporary Art, Madison, WI, Apr.–June 2006.

Morgan Schmidt-Feng premiere, Sacred New World, Mill Valley Film Festival, CA, Oct. 2005.

1994 Harrell Fletcher show, New Works: 05.3, Artpace, San Antonio, TX, Jan. 2006; screeening, “Kirby + Fletcher Side x Side,” SF Cinematheque at Yerba Buena Center for the Arts, San Francisco, Nov. 2005.

Geoff Chadsey, Herring Cove Manhunt, 2005

1995 Gaby Brink lecture (with Joel Templin), hosted by Watermark Press, AIGA SF, San Francisco, Nov. 2005.

Nicholas R. Lampert recipient, Nohl Fellowship (award of $15,000 for a Milwaukee artist), 2005.

1996 Geoff Chadsey solo shows: Contemporary Museum, Honolulu, Dec. 2006; Jack Shainman Gallery, New York, Sept. 2005; secondyear winter fellow, Fine Arts Work Center, Provincetown, MA, 2005–6.

Michael Hall group show, Strange Histories, Heather Marx Gallery, San Francisco, Dec. 2005.

Melanie Hofmann solo show, Renewal, Edward Jones Investments, Oakland, Oct.–Dec. 2005.

Jesse Simon solo show, Patricia Faure Gallery, Los Angeles, fall 2005; two-person show, Gallery Paule Anglim, San Francisco, Jan. 2006; group show, Sonoma State University Art Gallery, Rohnert Park, CA, Feb. 2006.

1997

Steven Miller, San Francisco Decorators Showcase, 2005

1998 Jules de Balincourt solo shows: Arndt and Partner, Berlin, 2006; This Is Our Town, Zach Feuer Gallery (LFL), New York, 2005; group shows: Greater New York, PS1/MOMA Queens, New York, 2005; Trunk of Humors, Deitch Projects, New York, 2004.

1999 Desiree Holman

solo show, Rorschach Tests, Solomon Dubnick Gallery, Sacramento, Oct.–Nov. 2005.

solo shows: Lisa Boyle Gallery, Chicago, 2006; YYZ Artists’ Outlet, Toronto, 2006; Troglodyte, Queens Nails Annex, San Francisco, Nov.–Dec. 2005; website, www.desireeholman.com.

Andrew Phares

Roxanne A. Lo

group show, 2005 Pink Week Show, Cricket Engine Studio and Gallery, Oakland, Nov. 2005; profiled, Contra Costa Times, Nov. 2005.

launched bike company, IBIS, 2005 (www.ibisbicycles.com).

Kent Alexander

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Rommel Taylor curated group show, Public Works: Art and Architecture, Architecture in the City Series sponsored by AIA San Francisco, Oct. 2005.

2001 Tommy Becker video piece and performance, TART, San Francisco, Dec. 2005–Jan. 2006.

Libby Black artwork published, ZYZZYVA, winter 2005.

Jeanette Bokhour

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group shows: Photography: Daguerreotypes to Digital, St. Louis Artists’ Guild, Clayton, MO, 2005; pureABSTRACTION, Flash Gallery/Working with Artists, Lakewood, CO, 2005; New Prints/Autumn, International Print Center, New York, and Columbia College, Chicago, 2005; Silicon Sands, Las Cruces Museum of Fine Art, Las Cruces, NM, 2005.

Arthur Krakower

Briana E. Tiberti

residencies: San Gregorio Ranch, CA, July 2006; Otranto Foundation, Italy, June 2006.

with Sun West Custom Homes builder-designer team partner Sannene Garehime, won Best Interior and Best of Show in biennial Street of Dreams luxury home show, Las Vegas, NV, July 2004.

Jessamyn Lovell solo show, Catastrophe, Crisis, and Other Family Traditions, In Color II, San Francisco, 2006, and Buzz Gallery, Oakland, 2005; group shows: Joint Venture, Nelson Gallery, UC Davis, CA, 2006; En Masse: Member’s Exhibition, SF Camerawork, San Francisco, 2005; award, Review Santa Fe Scholarship, Photo Santa Fe, 2005.

Marcia Weisbrot group shows: Bookworks, San Francisco Public Library, Jan.–Mar. 2006; Hunt + Gather, Santa Fe, NM, Jan.–Feb. 2006; cracks in the pavement.com, 2005.

Jessica A. Davies group shows: MAG 2005: An Exhibition of Metal Art, Oakland Museum of California Collector’s Gallery, Nov. 2005–Jan. 2006; 27th Annual Celebration of Craftswomen, Fort Mason, San Francisco, Nov. 2005; The Empty Bowls Project, Houston Center for Contemporary Craft, Houston, Mar. 2005.

Charles Glaubitz two-person show, Varnish Fine Art, San Francisco, Dec. 2005–Jan. 2006; group show, A Strange New World, San Diego Museum of Contemporary Art, May 2006.

Joshua Gorchov featured, Step Emerging Design Talent issue, 2006.

Heather L. Johnson solo show, Women and Their Work, Aug.–Sept. 2006; group shows: 22 to Watch, Austin Museum of Art, Aug.– Oct. 2005, Austin, and Galveston Art Center, Galveston, TX, Nov. 2005–Jan. 2006; Temporary Dividers, Ars Ipsa Gallery, Austin, Nov.–Dec. 2005; Somewhere Outside It, Schroeder Romero Gallery, New York, June–July 2005.

Andrew Junge, Styrofoam Hummer, 2005

Pepe Mar solo show, You Are Made of Stars, Freight and Volume, New York, May 2006; group shows: Searching for Love and Fire, David Castillo, Miami, Apr. 2006; NADA Art Fair (Locust Projects), Miami, Dec. 2005.

Curtis D. Popp work published, Interior Design magazine, Mar. 2006.

Harriet G. Salmon class of 2006, MFA program (sculpture), Yale University, New Haven, CT.

2002 Caitlin Atkinson solo show, Chapters, Foley Gallery, New York, Jan.–Mar. 2006.

Christopher S. Corwin presented, New Views international design conference, London, England, Oct. 2005; founding chair, graphic design program, University of San Francisco.

Andrew B. Junge

Christopher R. Duncan

artist in residence, SF Recycling and Disposal, summer 2005; Styrofoam Hummer, created during the residency, on view at San Francisco Arts Commission, Nov. 2005–Jan. 2006.

group show, Hot & Cold in the Zine Unbound: Kults, Werewolves, and Sarcastic Hippies, Yerba Buena Center for the Arts, San Francisco, Oct.–Dec. 2005.

Katherin McInnis group shows: New Experimental Works, Other Cinema, San Francisco, Dec. 2005; Shorts: Art, Film Arts Festival at the Roxie, San Francisco, Nov. 2005; Evidence Is Everywhere, PlaySpace, CCA San Francisco campus, Oct. 2005.

Jennifer L. Sonderby awards: Print magazine “Big Event Award,” 2004; New York Bookbuilders Award, 2004; curated, RISD San Francisco Biennial, Gallery Lux, San Francisco, 2005.

2003 Nazgol Ansarinia published, photos, Frieze and I.D., 2004; teaching at Tehran Al-Zahra University; member of editorial and design boards, Manzar magazine; served as consultant for Tehran Museum of Contemporary Art.

G. Dan Covert featured, Step Emerging Design Talent issue, 2006.

Lindsay A. Daniels featured, Step Emerging Design Talent issue, 2006.

Linsey Silver full-time associate professor of design, American University, Washington, DC.

2004 Jill M. Bliss solo show, Scenic Dive, National Product, San Francisco, Sept.–Oct. 2005; founder, Jill Bliss Art + Design (clients include Chronicle Books).

Benjamine M. Morrison

full-time Designer in Residence award, North Carolina State University, 2004; currently designer for Merge Records, creating CD packaging for bands including Spoon, the Arcade Fire, and Magnetic Fields.

work published (all 2005): Coupe Magazine Design Annual, New York Festivals Annual of Advertising, Black Book AR 100; awards (all 2005): ARC Grand Award (show, Museum of Art and Commerce, Hamburg, Germany), London International Awards, Global Awards.

Debra Glass

Alex P. Panasik

presented, New Views international design conference, London, England, Oct. 2005.

cofounder and principal designer of studio, Grand Object.

Josh Singer

Todd M. Laby

work published, CMYK; teaching design at San Jose State University and San Francisco Art Institute.

Maggie A. Fost

group show, Bay Area Furniture Art 2005, Blue Room Gallery, San Francisco, Oct.–Nov. 2005.

Anna Maltz group show, Kala Fellowship Exhibition, Kala Art Institute, Berkeley, CA, Sept.–Oct. 2005.

Alumni with work in Elder Arts 2005 at the de Young Museum, Oct.–Nov. 2005: Leonard S. Breger ’63 Violet Y. Chew-MacLean ’63 Truman Fisher ’60 Chloe E. Fonda ’69 Michael N. Grbich ’62 John J. Nicolini ’59

glance | spring 2006

Jeanette Bokhour, Theatrics 2, 2005

Michael S. Slane featured, Step Emerging Design Talent issue, 2006.

Vincent Sol group show, Bay Area Furniture Art 2005, Blue Room Gallery, San Francisco, Oct.–Nov. 2005.

Work by alumni in ceramics from the past 50 years was presented in The Family of Clay: CCACeramics 1950–2005, a major exhibition at the Oliver Art Center on the Oakland campus, on view Jan.–Feb. 2006.

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Kamomi T. Solidum currently working as design assistant for international typography magazine, Baseline.

Maiko Sugano solo show, Lisa Dent Gallery, San Francisco, Jan. 2006.

2005 Andre K. Andreev featured, Step Emerging Design Talent issue, 2006.

Charles E. Beronio

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curated, Material World, Alliance Française, San Francisco, 2006; solo show, Economy & Commerce, Gallery Lui Velazquez, Tijuana, Mexico, 2005; group shows: Truth and Lies, Mission 17, San Francisco, 2005; Consume/d: Creative Critical Acts in the San Francisco Bay Area, Tbilisi, Republic of Georgia, 2005.

Angela Hennessy group show, Exit Biennial II: Traffic, Exit Art, New York, Oct.–Dec. 2005.

Christine Pyers group show, Bay Area Furniture Art 2005, Blue Room Gallery, San Francisco, Oct.–Nov. 2005.

Dan D. Shafer group show, Catalog, Soil Art Gallery, Seattle, Dec. 2005; presented, AIGA design education conferences, Pasadena, CA, Mar. 2005, and Chicago, Oct. 2004; adjunct professor at Seattle University, Cornish College of the Arts, and Seattle Pacific University.

Rachel A. Weeks three-person show, Three New Photographers, Steven Wirtz Gallery, San Francisco, Jan.–Feb. 2006.

Please contact the alumni office at 415.703.9595 or alumni@cca.edu to report any errors or omissions in the list of volunteers.

Angela Hennessy, Evidence (detail), 2005

Alumni Volunteers for 2005 CCA wishes to thank the many alumni who dedicated their time, talents, and energy to the CCA community in 2005. Alumni serve on the CCA Board of Trustees, host local and regional alumni events, help to recruit new students, serve on the Alumni Council, sit on career panels, and participate in many other activities.

Alumni volunteers are a vital part of CCA’s success. If you want to connect with fellow alumni, experience campus life, develop leadership skills, or share your knowledge with the next generation of artists, be a CCA alumni volunteer. To learn more, go to www.cca.edu/alumni or call 510.594.3788.

Kent Alexander, MFA ’97 Calvin Anderson, ’46 Gale Antokal, MFA ’84 Curtis Arima, ’98 Caitlin Atkinson, ’02 Lawrence Azerrad, ’95 China Blue, ’92 Alexis Brayton, MFA ’04 Gloria Brown Brobeck, ’58 Tecoah Bruce, ’79 Joseph Bryant, ’99 Gina Carducci, ’04 Valeri Clarke, ’98 Pamela Cobb, MFA ’98 Steve Compton, ’95 Lindsay Daniels, ’03 Pam Dernham, MFA ’98 Patrick Dintino, MFA ’01 Donna Fenstermaker, MFA ’88 Sarah Garber, ’00 Meagan Geer, ’02 Linda Geiser, ’97

Max Geiser, ’97 Trish Henry, MFA ’03 Sylvi Herrick, MFA ’99 Melanie Hofmann, ’96 Nancy Howes, ’05 Carole Jeung, MFA ’97 George Jewett, ’96 Kika Jonsson, ’03 Kurt Kiefer, MFA ’92 Carol Ladewig, MFA ’91 Dale Lanzone, MFA ’71 Katherine McKay, MFA ’87 Melanie Miller, ’02 Steven Miller, ’92 Ann Morhauser, ’79 Michaela Peters, MFA ’97 K. C. Rosenberg, ’87 Doug Sandberg, ’78 Eve Steccati-Tanovitz, ’69 Arlene Streich, ’66 Ron Tanovitz, ’69 Sharon Wilcox, MFA ’65

In Memoriam Alumni

Student

Friend

Kenneth Addison, ’88

Sienna Elise Morris

Elizabeth M. Schaufel

Baltimore, MD November 8, 2005

San Francisco, CA, and Seattle, WA November 12, 2005

San Leandro, CA February 27, 2006

Bill Akers, ’90

Faculty

Vashon, WA January 8, 2006

Gary E. Albright, ’70 September 4, 2005

Shi-ling Chen Hsiang, ’75 Pittsford, NY November 27, 2005

Dale Allen Miller Oakland, CA December 5, 2005

John Nash, ’69 Desert Hot Springs, CA December 19, 2005

Jeffrey Blake Owings Oakland, CA November 29, 2005

Timo Tauno Pajunen, MFA ’71 Crockett, CA June 27, 2005

Tom Reese, MFA ’49 St. Petersburg, FL January 19, 2006

Terrence Rogers Santa Monica, CA June 17, 2005

Peter Fenn Samuelson, MFA ’61 Ross, CA November 2005

Victor Carrasco Victor Carrasco died on November 24, 2005. He had taught at the college since 1988 in the Architecture, Interior Design, Industrial Design, Humanities and Sciences, and Wood/Furniture Programs. His colleagues and students remember him as a passionate, intelligent, astute, and sympathetic teacher and critic. The rigor, passion, and high expectations Carrasco expressed in his architecture studio courses always resulted in excellent work from his students. He was a generous teacher, an inspiring colleague, and a dear friend. In keeping with his wishes, there was no funeral or memorial service.

Ken Rignall, ’58, MFA ’68 Ken Rignall died on October 10, 2005.

He was a professor in the Printmaking Program and had served on the faculty since 1969. Rignall was a key figure in the college’s print shop. His expertise in silkscreen and woodcut techniques was well-known and much appreciated by his students and fellow faculty members. He created the Monotype class, which has been one of the most popular courses at the college. As a teacher and colleague, Rignall inspired generations of artists. A memorial gathering and exhibition took place on the Oakland campus in March.

Please let us know of the deaths of alumni by sending information, including newspaper obituaries, to Glance, CCA Communications Department, 1111 Eighth Street, San Francisco, CA 94107 or glance@cca.edu.

Photos: (top) Libby McMillan; (bottom)Todd Hido

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A Backward Glance

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The Not So Famous Basketball Team, late 1940s. Back row, far left: Robert (Bob) Daskam ’49. Front row, second from left: Bill Micka ’49; second from right, John W. Berry BAA ’49, MFA ’50. Photo courtesy of John W. Berry, who recalls the team as “a bunch of art students who got together to have fun.” They played in the Oakland city league. Berry was in a different kind of uniform when he first arrived on campus. Discharged after World War II, he registered for spring 1946 classes while still wearing his military uniform. Retired from teaching at San Bernardino Valley College, Berry is back in his hometown of Wayne, Nebraska, where he serves as adjunct faculty at Wayne State College.

Athletics addendum: Ceramic artist Robert Arneson ’56 once recalled, “They used to have tennis courts and basketball courts at Arts and Crafts. All that’s been bulldozed out now for a dormitory” [the former Irwin Hall, now Irwin Student Center].—Oral history, Smithsonian Archives of American Art Readers are invited to submit their photographs of campus life to this column. Email us at glance@cca.edu, or send a photocopy or description of your picture by regular mail. Please do not send originals; CCA is not responsible for items lost in the mail.

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Drop Us a Line Please email your news and high-resolution images to alumninotes@cca.edu or facultynotes@cca.edu, or complete and return this form to:

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

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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, selfaddressed envelope for return). Alumni and faculty notes are featured on a space-available basis.

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