Art Faculty on Main

ART FACULTY ON MAIN

A RT FAC U LT Y O N M A I N Art Space on Main Department of Art School of the Arts California State University Stanislaus

250 copies printed Art Faculty on Main Art Space on Main 135 W. Main St. Turlock, CA 95380 University Art Gallery School of the Arts California State University Stanislaus One University Circle Turlock, CA 95382

This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University Stanislaus

Copyright Š 2014 California State University Stanislaus All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.

Catalog Design: Nic Webber, School of the Arts, California State University, Stanislaus Catalog Printing: Claremont Print, Claremont, CA

ISBN: 978-1-940753-04-1

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C ON TE N TS

Director’s Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Introduction.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Faculty Images and Statements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

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D IRECTO R ’S FO R E WORD

Art Faculty on Main represents an opportunity to view the amazing artworks of the talented Department of Art Faculty of California State University, Stanislaus. This is the first exhibition in our new facility “Art Space on Main“ located in downtown Turlock.

For the last few years, the faculty in the Department of Art have been working on the idea of an Art Center located in our downtown area. With a wonderful collaboration of our community partners the Art Center is finally here. We are extremely excited to have this new space, as it will allow us to expand our exhibition program and allow our dedicated patrons to enjoy the works of talented artists for many years to come.

The Art Department Faculty would like to thank the many colleagues and community partners that have been instrumental in presenting this exhibition. We would also like to thank the participating artists for the opportunity to exhibit their wonderful work, David Olivant for the astute essay, the College of the Arts, Humanities and Social Sciences, California State University, Stanislaus for the catalog design and Claremont Print and Copy for the printing of this catalog.

We are also grateful and extend our appreciation to the Instructionally Related Activities Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue.

Dean De Cocker, Director University Art Gallery Art Space on Main California State University, Stanislaus

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I N T ROD U C TIO N: A B OUT TH E A RTIST S

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In the essay that follows, an attempt has been made to discern common links among the great variety of styles, concepts and media on display in this exhibit and to demonstrate how these intersect with or transgress broader contemporary cultural norms, most notably postmodernism. In its orthodox manifestations postmodernism is seen as an involvement with multi-culturalism, a tendency to conflate high and low culture, a cavalier attitude to tradition, stylistic heterogeneity, the undermining of a stable ego or artistic personality, relativism rather than absolutism, subversion of traditional modes of display or presentation, and locating the source of meaning(s) in the viewer more than the artist or the art object.

Gordon Senior was chairman of the Art Department at CSU Stanislaus for six years. A Yorkshireman in central California, he is a culturally displaced artist. For thirty years, he responded to issues in the history of English landscape and agriculture, and utilized in his art the very materials of the landscape. It comes as no surprise that such an artist, in being transplanted to a foreign soil, would grasp the opportunity to use the one environment to comment on the other, or to employ the tools and materials of the new environment for satiric effect.

For Gordon, the westward transatlantic move eleven years ago fermented a crisis, albeit a fertile one, in which the meditations on land-use and the sense of placement and connection with the earth were supplanted by a vision of disruption and fragmentation and a poignant sense of loss and even betrayal.

We notice a substantial reframing of the significant experiences that inform Senior’s practice. New memories have taken precedence, like the crowded cattle-market, in “Cows and Heads” and in the process the past has been reinterpreted through the lens of the present colored by mass-consumerism and environmental devastation. Land use history has expanded to include a wider human history, a history steeped in greed, squandering and alienation from nature. The work is rescued from propaganda by the deep immersion of these postulations in its very materials and forms. Where symbols are present they emerge directly from the daily encounter with diverse materials salvaged from the earth, not from some dictionary of pre-established meanings. The moral dignity and force of this work is embedded and embodied in this insistent materiality.

Equally imbued with material specificity are the wall-sculptures of Dean De Cocker, an artist whose background, education and exhibition activity are strongly rooted in the west coast of California, particularly the LA area. In this work the relationship between production processes and finished article is largely transparent but denuded of any traces of the artist’s activity in a homage to industrial manufacturing techniques. This might place such sculpture squarely within a Formalist aesthetic were it not for the veiled personal associations that come through. Dean’s work operates on two distinct levels. On the one hand it takes quasi-geometrical structures from the immediate environment of factory-built objects and conceptualizes them into purely formal solids, thus purging them of any sense of utility and identity the originals might possess. On the other hand, these forms evoke a subtle range of associations (often nostalgic) connected with meanings present in the objects or production methods that serve as their inspiration. (The fact that the associations are often embedded in nostalgia for World War II military scenarios creates a type of poignancy based on a discord between the essentially comforting nature of rumination on a distant past and its disruption by the distressing content of that past.) In this way Dean’s sculptures read as a sort of confession, where the art reveals something beyond its formalist posture, where irony is at least approached, largely through the tension between the severely impersonal methods of manufacture and the personal associations that seep out despite them.

The sculptures of freshly appointed Dan Edwards seem postmodernist to an almost doctrinaire degree and straddle a perilous but exhilarating divide between French Salon art of the mid 19th Century (which most living artists are willing to consign to the also-rans of art history) and the more recent but now flagging resources of Pop Art, supported by the fetishisation of Andy Warhol. A more abrupt collision of high and low culture is hard to imagine and the apparently effortless transference of Dan’s intimidating repertoire of technical resources (skill) from clay and bronze to virtual tools and media has intensified the impact. It is no exaggeration to say that his sculpture fuses the neoclassical composure of someone like Canova with the attention grabbing visual and conceptual gymnastics of Jeff Koons. This impact is clearly visible in his recent for-

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ays into relief sculpture, which conflate representations of Disney icons with graffiti, other types of signage and all the ancient cultural baggage that goes with low relief slabs. In most of his oeuvre Edwards has sought to systematically deconstruct not just the high-low dialectic and the museum-street dialectic but also the entire edifice of art commerce and publicity. He exploits Sculptris and its software cousins to undermine our confidence in sculptural materials. His image in this publication is deliberately labeled without a reference to its medium and, if questioned on this, he would probably side-step our curiosity and suggest with some diffidence that the medium is currently ink on paper! He has been similarly heterodox about self-promotion to such a degree that his preference for the Associated Press and other national media outlets over any given gallery space as the primary forum for his sculpture reminds us of Murakami whose entire process seems an assault on the norms of promoting art.

While David Olivant, currently the longest serving full time studio faculty member in the art department, has spent much of his career acting out the methodology and pictorial dynamics of an Expressionist, always seeking a hidden content, in the last decade or so the emotional urgency of his earlier efforts has been supplemented by an ironic distance and sense of satire.

There is almost nothing in his working process that allows for any kind of prediction of the end result and he has indulged corrupted versions of automatism for longer than he cares to remember. Somewhere along the way it seems that the characters, thus extracted from what he hypothesized to be a collective unconscious, have begun to act to all intents and purposes as if they occupied a life outside of the particular picture in which they appeared. In addition they rapidly became aware of the symbolic, archetypal burdens of meanings Olivant was inflicting upon them and either cooperated or rebelled, as their mood suited. His embarrassment at such a usurpation of his role as creator has recently been furthered by the characters’ insistence on pre-empting his symbolic interpretations before they have been fully extracted from the chaos of marks that precedes their inception. This has tended to play havoc with his creative process causing him to all but tear up the Freudian/Jungian script that he has worked with for so long.

Works completed in the last five years have wedded sculptures to painted images in a marriage of inconvenience that acts as a metaphor for the ontological questioning and uncertainty of the characters that evolve from this synthesis. We are never quite sure if the characters painted in the illusory pictorial space can escape into the space of the viewer or if others, attempting to exit the viewer’s space, can make contact with those trapped in the picture’s surface.

In the art of Jessica Gomula the post-modern hybridization of genre and style is second nature, virtually a reflex, and irony is such a staple item of the artistic diet that it passes through the digestive tract without so much as a hiccup. The computer screen is the melting pot for this cocktail, which I feel perfectly justified in using mixed metaphors to describe!

Jessica’s website, until recently, was the most obvious portal through which the neophyte viewer might approach her intermedia projects, Many of these intermedia installations explore the socio-political issues that chaperone sexual intimacy.The layering and stylistic heterogeneity are reminiscent of Polke and Salle, though the mood is sweeter. Significant is the sheer quantity of different media layered into a seamless whole, which underplays, if not suppresses, the irony, as if there could be nothing more natural than the overlay of painted images, video montage, photographic stills, text, and sound. The superabundance of it all seems a spoof on sexual innocence. The sense of nostalgia only sweetens this further and we are cajoled into tacit acceptance of the dichotomy between the pictorial flatness of the animations, the floating montaged sexual nicknames and the modified projection of live video footage of the bemused viewer lost in the installation space.

This dichotomy seems symbolic of the central contradiction in Jessica’s work between the casual, gentle humor of the presentation with its ap-

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parent good-natured innocence and the taboos surrounding the erotic subject matter. It is this dynamic that activates our reactions to works like Sigmund’s Laundry which profiles a lingerie clad performer ironing, silhouetted from one side of a bed sheet. Around her, against a blue background, are floating images of embryos at an early stage of development and lady’s underpants, intermingling in the space of the performer. In the centre of this blue area is a large three-bladed washing machine agitator seen from above.

With the recalibration of this artist’s recent focus to a re-imagining of Modesto as something of a cultural Mecca and the inevitable jump in scale and abandonment of a more intimate format, one wonders whether Jessica’s earlier preoccupation with diverse aspects of human sexuality can crawl beneath the radar of local outlook that tends to be conservative, whether indeed it can re-tune this mindset to a more curious and responsive frequency.

Subtler allusions to femininity, expanded to include maternity pervade the delicate, understated assemblages of Ellen Roehne. These are invariably made from tiny found objects and illustrations and often named after popular sayings, “don’t count your chickens…”, “be careful what you wish for”.The worlds of childhood and motherhood are somehow conflated as if the innocent vision of the former state is somehow transmitted from child to mother in a reversal of the normal flow of genetic inheritance. This juxtaposition of childhood symbols with loosely anthropomorphic forms that evoke animistic rituals manages to avoid the clichéd collision of cuteness and disgust beloved by adolescents and the much over-hyped Yoshitomo Nara and instead evokes a seemingly endless but fertile chain of associations.

Many works, like Head over Heels, feature a peduncular head mounted precariously above an ossuary-like box. Sometimes this contains intestinal mainsprings and has suspended from it a pendulum of sorts in the form of silk-worm, butterfly or child, suggesting novel parallels between the female body and antique clocks. The pendant child hangs from the fallopian tubes that hatch their lifetime ration of eggs with lunar precision and in this sense at least you really could count your chickens before they have actually hatched, as the picture of the girl implies. All of the pieces are legless, if we discount those of the depicted child, but what they lack in ambulatory capacity they make up for in the engine room, prioritizing the complex sequence of transactions: peristaltic, systaltic, osmotic and synaptic that animate the organism over those that merely translate it from point A to point B. The recent work of James Deitz occupies an arresting, though constantly shifting, territory, in which he succeeds in synthesizing memory and observed images in a style that is able at once to preserve the particularities of any experience while also transforming it into an icon stripped to its essentials, often to the point of almost complete abstraction. As a latter-day Saint Anthony, a would-be iconoclast, James has often successfully evicted images from his cave and has watched them slink off with their tails between their legs into the Albertian vanishing point on the distant horizon. It is a Pyrrhic victory however, as the battleground has shifted to the paint itself. The enemy is now incapable of being exorcized, as it is the very stuff from which the painting is made, and by extension physicality, substance itself, the stuff of life. Ultimately the artist must wrestle with the angel of his own materiality through which he is embodied but through which he also perishes. This, I feel, is the ultimate source of Deitz’s ambivalence, of his importance as a painter, of his iconography of doubt.

He has embraced influences as diverse as Morandi, Tamayo, Hopper, Guston and Rothenberg along the way. I am sure that it is in some part his ability to straddle the apparent divide between the empirical and the structural or the phenomenological and the archetypal that lends such range and depth to his teaching Tinna Harter Savini shares Deitz’s confidence in the ability of paint to give continued expression to our existential plight and in a manner that accepts the primary resources of modernism as a base camp from which an ascent might be attempted. These two painters seem undaunted

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by the presence of pioneers like Motherwell and De Kooning who occupy a lofty summit from which the continued assaults of first pop art and now post modernism seem unable to completely topple them. I am in total admiration of their bravery and their self-belief because I have myself retreated from such a difficult path. Tinna, while retaining a sophisticated and nuanced awareness of her connections with other art, has never allowed this to drift towards an ironic or allusion-congested response in the manner of Kitaj or Larry Rivers.

Her work constantly risks elegance and in this she is extravagant, continuing to compose in a major key at least with regard to color harmonies, surface texture and a languid, assured linearity consistently eschewing the flamboyant, decorative effects of someone like Sam Francis. For me, Harter Savini continually but unwittingly courts decadence, a fin de siècle over-ripeness, the twilight of abstract expressionism. Her painted, chalked diaphanous veils approximate those of Strauss’s Salome. The work’s tempo is ultra-largo; the interest in Tachisme and oriental calligraphy is exotic in the same way as Salome’s dance music. If Klimt, Rossetti or Knopff had gone abstract they might have done so in a manner that resembles Torchlight Red on Sweaty Faces, not a bad alternative title for Salome’s dance!

Tinna’s work is paralleled in some ways by that of Craig Iwo whose accomplishments in diverse media represent the flip side of Orientalist decadence. His complex multi-cultural, multi-media extravaganza is also over-ripe, mixing the languor of Whistler with the histrionics of Boris Vallejo. Superficially considered his productions merge high and low in a manner that has affinities with his colleague Dan Edwards, but the effect is not, in my view, remotely postmodern. Like much recent Chinese painting, by which he has been strongly influenced, the melding of an ancient Asiatic and, largely calligraphic tradition with western modernism has yielded, beneath the assured handling, the complex layered surfaces, the enhanced optical fidelity, an unexpected naïveté. Thus he rightly describes his work as “fantastical” and I am reminded of “Crouching Tiger, Hidden Dragon”. It is as if the Orientalist is forced to take a long, hard look into the mirror and in doing so enters a topsy-turvy world where now the erstwhile mute exotic returns his questioning gaze, converts him from subject to object, from conqueror to conquered and his art from the symbolist reverie of “In Xanadu…” to its glossy re-branding as part of the latest cultural revolution.

This is not to say that Craig would endorse this polemic, his own position is uniquely nuanced. His ability to move through the gears of representation, to negotiate nearly the entire repertoire of western and eastern genres, to fuse unlikely episodes in the cultural narrative of each is to be marveled at, but at the same time the flower of my admiration, surely a chrysanthemum, is so perfect that I wonder if it might be made of silk…

At first glance the work of a graphic designer/illustrator might be thought to stand apart from many of the issues explored in this essay but, upon closer examination, the work of Chad Hunter responds to the same range of cultural trends that are reflected in the work of his colleagues.

In Chad’s illustrations there is a subtle awareness of the contrast between the digital and the manual, most obvious in his use of hand-lettering but also in the informality of his drawing style. Chad adeptly inflects this slight dissonance according to his target audience. In this way a single illustration works on different levels for different members of its audience. For instance in Spring, the lambs and ducks will be read ‘straight’ by children as the cute, cuddly creatures they really are, but an older audience will notice the robotic qualities of the ducks whose emphatic “quack” seems more a deliberate attempt to prove their duckhood than the natural language of a living, breathing waterfowl. These automata don’t really “sing” nor are they particularly “sweet” as the title caption suggests.The disruption is never disturbing, the dominant tone is still playful, but the conflation of childhood innocence with adult circumspection offers an armchair version of the more in-your-face postmodern posturing of contemporary artists like Yoshitomo Nara, Hikari Shimoda, Tang Zhigang or Mike Kelly, all of whom generate dissonance by subverting our notions of childhood and adolescence. Illustration as manipulated by Hunter is a perfect genre for these explorations as compared with most genres, its audience is uniquely likely to consist simultaneously of adults and children, with often the one group reading aloud to the other.

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This short essay has tentatively navigated a path through a terrain of differently inflected attitudes to postmodernism: the superimposition of disparate cultures (Senior, Iwo); the contradiction between a factory-formalist aesthetic and the personal associations it evokes (De Cocker); the blatant conflation of high and low and materiality with virtuality (Edwards); the attempt to express the unconscious personality and the sabotaging of that attempt by the supposed inhabitants of the unconscious (Olivant); the absorption of contradiction into the fabric of the artistic statement as a rhetorical norm (Gomula); a re-thinking of our attitudes to childhood (Hunter) and femininity (Roehne); the conjunction of the archetypal and the empirical (Deitz); and of the decadent with Abstract Expressionism (Harter Savini).The severest differences among this group of artists result from whether they choose to suppress or exploit irony and contradiction. All of them share a heightened awareness of the possible range of interplay between process, procedure and product, and it is this more than the historical accident of their resemblance to a given artistic trend that marks their work as contemporary.

David Olivant, Professor Department of Art CSU Stanislaus

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FAC ULTY IM AG E S A N D S TATE M ENT S

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D ean D e Co c ker

M y wo r k i s pa r t o f a c o n t inu in g s er i es, “Blue J ackets R etur n.” F r om the fir st w i n ged s h a pe d st r u c t u re s t o t h e c u r re n t wor k, I have been explor i ng my inter est in for m al e le m e n t s by t r a n s fo r min g f la t , t wo - dimensi onal sur faces into thr ee- dimensi onal ob j ects.

I d e r i ve mu ch o f my in s pir a t io n fr om ever yday obj ects such as mailboxes, ai r cr af t s t r u c t u r e s, win g s a n d pro pe lle r s , heavy machiner y and ar chi tectur al wor ks. T h ese o b j ec t s b e c o me c o n c e pt u a l e le me nts, w hi ch I tr ansfor m fi r st i nto dr aw ings. Th en , vi a tec h n i q u es o f a irc r a f t c o n s t r u c t io n, I have fabr i cated objects of inner str uctur es an d o u t e r cover i ng s t h a t c re a t e d vo lu metr i c encl osur es. R ecently, my inter est in r acecar fabr i ca t i on a nd fin is h in g a n d c o lle c ting vi ntage BMX bicycl es fr om the 1970’s has l ed to s u b t l e ch a n g e s in s t r u c t u re a n d c o l or. 2009 has lead me to a r etur n to painting. T h ese p a i n t i n g s r ef l e c t my pre o c c u pa t io n w i th str i pes.

T h e t i t l e s of my wo r k s h ave n o re a l meani ng, but due to my i nter est i n the constr u cti on tec h n i q u es of Wo r ld Wa r II a irc r a ft, I take my ti tles fr om the Wor l d War I I ba ttl es i n th e S o u t h Pa c ific .

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Fear or Fury, 2012, acrylic paint, carboard, metal and powder coat, 41” x 38” x 14” 13

EDUC ATION 1989 Claremont Gr aduate Univer sity, Claremont, C A, M.F.A. 1987 Califor nia State Polytechnic Univer sity, Pomona, C A, B .A. 1980 Don Bosco Technical Institute , Rosemead, C A, A.S. in Offset Lithogr aphy Color Separ ation TEACHING 2003 - Present Professor, Depar tment of Ar t

Califor nia State Univer sity, Stanislaus, Tur lock, C A 2002 Adjunct Professor, Sculpture , Depar tment of Ar t

Califor nia State Univer sity, San Ber nardino, San Ber nardino, C A 1997 - 2003 Adjunct Professor in Studio Pr actices/Theor y in Sculpture , Painting and Dr awing,

Depar tment of Ar t, Claremont Gr aduate Univer sity, Claremont, C A 1990 - 2003 Shop Pr actices and Galler y Methods, Depar tment of Ar t

Claremont Gr aduate Univer sity, Claremont, C A SELECTED SOLO EXHIBITIONS 2013 “Lightning Str ikes,” Char treuse Muse , Modesto, C A 2012 “Running at Full Tilt,” JAYJAY, Sacr amento, C A 2011 “On the Way to Sulfer Island,” Beaver Street Galler y, Flagstaff, AZ

”Made in the Pacific ,” Center for Contempor ar y Ar t, Sacr amento, C A 2010 “Pacific Winds,” Skinner Howard Ar t, Sacr amento, C A

“Oahu before Dawn,” Fr umkin Galler y, Santa Monica, C A

“Dean De Cocker, Wor ks for the President,” The President’s Galler y

Califor nia State Univer sity, Stanislaus, Tur lock, C A 2009 “High Tide” Limn Galler y, San Fr ancisco, C A

“3rd Annual Califor nia Centered: pr intmaking, Featured Annual Honorees

Solo Pr int Show” Merced Multicultur al Center, Merced, C A 2008 “Retur n to Pear l” 643 A Project Space , Ventur a, C A

“Battle of a Shallow Sea,” John Stuar t Rodger s Faculty Development Center,

Califor nia State Univer sity, Stanislaus, Tur lock, C A 2007 “Sources of Victor y,” Limn Galler y, San Fr ancisco, C A

“Retur n of the Black Cat,” Beaver Street Galler y, Flagstaff, AZ

“Like the Yor ktown,” Ventur a College Galler y, Ventur a, C A 2006 “Extended Order s,” Univer sity Ar t Galler y Califor nia State Univer sity, Stanislaus, Tur lock, C A SELECTED GROUP EXHIBITIONs 2012 “In Pr aise of Collecting,” Car negie Ar t Center, Tur lock, C A

“Ar t Auction 2012,” Crocker Ar t Museum, Sacr amento, C A 2011 “Ar t Auction 2011,” Crocker Ar t Museum, Sacr amento, C A 2010 “For Roland,” BunnyGunner, Pomona, C A

“Benefit Ar t Auction,” Huntington Beach Ar t Center, Huntington Beach, C A

“Ar t Auction 2010,” Crocker Ar t Museum, Sacr amento, C A

“Faculty Exchange ,” Fir st Street Galler y,

Humboldt State Univer sity, Humboldt, C A 2009 “Lust for Machines, Dean De Cocker and Matt Fur manski,”

Santa Ana College Main Ar t Galler y, Santa Ana, C A

“Benefit Ar t Auction,” Huntington Beach Ar t Center, Huntington Beach, C A

“Ar t Auction 2009,” Crocker Ar t Museum, Sacr amento, C A 2008 “2332” Huntington Beach Ar t Center, Huntington Beach, C A

“Benefit Ar t Auction,” Huntington Beach Ar t Center, Huntington Beach, C A 2007 “Research from the Depar tment of Ar t @ John Stuar t Rodger s Faculty

Development Center,” Califor nia State Univer sity, Stanislaus, Tur lock, C A

“Benefit Ar t Auction,” Huntington Beach Ar t Center, Huntington Beach, C A 2006 “Eight Hour s Difference ,” Peter Scott Galler y, Lancaster Univer sity, UK

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SELECTED LECTURES 2013 “Lightning Str ikes,” Char treuse Muse , Modesto, C A 2012 “In Pr aise of Collecting,” Car negie Ar t Center, Tur lock, C A 2011 “On the Way to Sulfer Island,” Beaver Street Galler y, Flagstaff, AZ

”Made in the Pacific ,” Center for Contempor ar y Ar t, Sacr amento, C A 2010 “Sonoma State Univer sity, Be My Guest, Visiting Ar tist Lecture Ser ies,”

Sonoma State Univer sity, Rohner t Par k, C A 2009 “From Pear l to the Sea” RSC A Week,

Califor nia State Univer sity, Stanislaus, Tur lock, C A 2008 “Retur n to Pear l” 643 A Project Space , Ventur a, C A 2007 “Sources of Victor y,” Limn Galler y, San Fr ancisco, C A

“Retur n of the Black Cat,” Beaver Street Galler y, Flagstaff, AZ

“Like the Yor ktown,” Ventur a College Galler y, Ventur a, C A SELECTED AWARDS 2012 Research, Scholar ship and Creativity Activity Gr ant,

Califor nia State Univer sity, Stanislaus, Tur lock, C A 2011 Research, Scholar ship and Creativity Activity Gr ant,

Califor nia State Univer sity, Stanislaus, Tur lock, C A 2009 Finalist for City of Reno Public Ar t Commission, Reno, Nevada

Research, Scholar ship and Creativity Activity Gr ant,

Califor nia State Univer sity, Stanislaus, Tur lock, C A 2008 Research Sabbatical, Califor nia State Univer sity, Stanislaus, Tur lock, C A 2007 Research, Scholar ship and Creativity Activity Gr ant,

Califor nia State Univer sity, Stanislaus, Tur lock, C A 2005 Solo Exhibit, Main Galler y, Tr uckee Meadows Community College , Reno, NV

Research, Scholar ship and Creativity Activity Gr ant,

Califor nia State Univer sity, Stanislaus, Tur lock, C A

Solo Exhibit, Car negie Ar t Center, Tur lock, C A

Solo Exhibit, Ridley Galler y, Sier r a College , Rocklin, C A SELECTED BIBLIOGRAPHY 2010 Dalkey, Victor ia. “Dean De Cocker’s ‘icily elegant’ sculptures on display at Skinner/Howard Galler y.”

Sacr amento Bee Apr il 18, 2010 2007 “Pulse .” Flagstaff Live May 3 – 9, 2007

Jerome . “Ar t Beat.” The Noise , ar ts and news May 7, Number 72 2006 Olivant, David. “Made in China.” “Eight Hour s Difference ,” Peter Scott Galler y

Lancaster Univer sity, U.K. 2005 Vagner, Kr is. “Ar tistic Community.” Reno News and Review 15 Dec . 2005.

Mor r is, Barbar a. “Beyond Plastic .” Ar tweek 36:8 (2005).

Roth, David. “Dean De Cocker at Ridley Ar t Galler y.” Ar tweek 36:4 (2005).

Millegan, Lisa. “Boiling Point.” Modesto Bee 11 Feb. 2005.

Tor nquist, Kar a. “The Pacific Boils Over.” Tur lock Living Jan./Feb. 2005.

SELECTED COLLECTIONS The Crocker Museum, Sacr amento, C A Rober t V Fuller ton Ar t Museum, San Ber nardino, C A Laguna Beach Museum, Laguna, C A Or ange County Museum of Ar t, Newpor t Beach, C A River side Ar t Museum, River side , C A Natomas Char t er School, Sacr amento, C A Bank of Sacr amento, Mer idian Plaza, Sacr amento,C A Mer r ill Lynch, Sacr amento, C A Spr int, Santa Clar a, C A

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James D ie tz

M y wo r k i s my s t a t e me n t .

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Breathe, 2014, oil on canvas, 15.5” x 15.5” 17

E D U C AT I O N 1 9 86, M .F.A. Dr awin g an d Pain tin g, Uni ve r s i t y o f Wa s h i n g t o n , S e a t t l e , WA 1 9 84, B .F.A. Dr awin g an d Pain tin g, Un i ve r si t y o f N o r t h D a ko t a , G r a n d F o r k s, N D V I SI T I N G ARTIST: 2 0 06- 2014 Califo r n ia State Un iver si t y, S t a n i s l a u s , Tu r l o c k , C A 2 0 03 Pi er ce Co llege , Lakewo o d , WA 1 9 92 U ni ver sity o f No r th D ako ta, Gr a n d F o r k s, N D S O LO 2 0 13 2 0 11 2 0 10 2 0 10 2 0 08 2 0 06 2 0 04 2 0 03 2 0 02 2 0 00 1 9 99 1 9 98 1 9 97 1 9 96 1 9 94 1 9 93 1 9 91 1 9 90 1 9 90 1 9 89 1 9 87

EX HI B ITIONS: J am es Deitz, Ch ar treu se Mu se G a l l e r y, Mo de s t o, C A J am es Deitz Pain tin gs, Ver millio n G a l l e r y, S e a t t l e WA J am es Deitz, Califo r n ia S tate Un i ve r si t y, S t a n i s l a u s A r t G a l l e r y, C A J am es Deitz, Pain tin gs an d Pr in t C o l l a g e s , F r a n c i n e S e de r s G a l l e r y, S e a t t l e , WA Seattl e: L an d , Water, Sky, Up sta i r s G a l l e r y, F r a n c i n e S e de r s G a l l e r y, S e a t t l e , WA Pai nti ngs, Upstair s Galler y, Fr an c i n e S e de r s G a l l e r y, S e a t t l e , WA J am es Deitz Dr awin gs, Th e Ced a r, N e w Yo r k , N Y J am es Deitz, Fin e A r ts G aller y, Pi e rc e C o l l e g e , L a ke wo o d, WA N ew Wo r k, A r t Cen ter G aller y, S e a t t l e Pa c i fi c U n i ve r s i t y, S e a t t l e , WA Di al ogue , Fr an c in e Sed er s G alle r y, S e a t t l e , WA I nter i or s, Upstair s Galler y, Fr an c i n e S e de r s G a l l e r y, S e a t t l e , WA Toys, U pstair s Galler y, Fr an c in e S e de r s G a l l e r y, S e a t t l e , WA J am es Deitz Pain tin gs, Fin e A r ts G a l l e r y, Pi e rc e C o l l e g e , Ta c o m a , WA M exi co, Fr an c in e S ed er s G aller y, S e a t t l e , WA Dr aw i n gs, Upstair s Galler y, Fr an c i n e S e de r s G a l l e r y, S e a t t l e , WA N ew Wo r k, Fr an c in e Sed er s G a l l e r y, S e a t t l e , WA An I ntro d u c tio n , Up stair s G alle r y, F r a n c i n e S e de r s G a l l e r y, S e a t t l e , WA Pai nti ngs, Kin g Co u n ty A r ts Co mm i ss i o n G a l l e r y, S e a t t l e , WA R ecent Wo r k, Blake G aller y, Sea t t l e , WA Dr aw i n gs, Ro ber t A llman Galler y, S e a t t l e , WA I nk Dr awin gs, Brown in g A r ts, Gr a n d F o r k s , N D

S ELECT ED GROUP E XH IBITIONS: 2 0 12 Ar t of Ju stic e , S tan islau s Family Ju st i c e C e n t e r, C h a r t re u se Mu se , Mo de st o, C A 2 0 12 I n Pr ai se o f Co llec tin g, Car n egie A r t s C e n t e r, Tu r l o c k , C A 2 0 10 Ar t F acu lty E xh ib it, Un iver sity Ar t G a l l e r y, C S U G a l l e r y, Tu r l o c k , C A 2 0 08 Ar t F acu lty E xh ib it, Jo h n S tu ar t R o g e r s Bu i l di n g , C S U, S t a n i s l a u s , Tu r l o c k , C A 2 0 08 O n the Wall, S teele Galler y, Ga g e A c a de my o f A r t , S e a t t l e , WA 2 0 05 Dr aw i n gs: James Deitz, Gail G r i n n e l l , C a r y n F r i e dl a n de r,

Fr an c in e Sed er s G aller y, S e a t t l e , WA 2 0 02 N or th Dako ta Mu seu m o f A r t An nu a l , N o r t h D a ko t a Mu se u m o f A r t , G r a n d F o r k s , N D 2 0 00 4 x 4: Fo u r Dec ad es o f S c h o o l o f A r t A l u m n i , Ja c o b L awre n c e G a l l e r y, S e a t t l e , WA 1 9 95 T he Pain ted Table , S eattle , WA 1 9 94 R etr ospec tive , AG47 Galler y, Se a t t l e , WA 1 9 93 Hands Of f Wash in gto n , Cro c o d i l e C a fe , S e a t t l e , WA 1 9 93 T he N e w E n glan d Fin e A r t In sti t u t e , S t a t e o f t h e A r t ‘ 9 3 , N e w E n g l a n d A r t E x p o 1 9 93 Ar t Wor ks fo r A id s, S eattle Cen t e r Pav i l i o n , S e a t t l e , WA 1 9 92 12th N o r th west In ter n atio n al, W h a t c o m Mu s e u m , Be l l i n g h a m , WA 1 9 92 N ew Ar tists to th e Galler y, Su m m e r S h ow, F r a n c i n e S e de r s G a l l e r y, S e a t t l e , WA 1 9 92 34th N o r th Dako ta Pr in t an d D r awi n g A n nu a l , N o r t h D a ko t a Mu s e u m o f A r t 1 9 91 T he Ar tist in th e A r t: S elf Po r tr a i t s , Bu m be r sh o o t F e s t i v a l , S e a t t l e C e n t e r, S e a t t l e , WA 18

1 9 91 25th Ann iver sar y E xh ibitio n s: T h e L a t e r Ye a r s 1 9 8 6 - 1 9 9 0 ,

Fr an c in e Sed er s G aller y, S e a t t l e , WA 1 9 90 Seven S eattle A r tists, AG47 Studi o G a l l e r y, S e a t t l e , WA 1 9 90 N ever Befo re Fu n d ed Sh ow, S ea t t l e A r t s C o m m i s s i o n , S e a t t l e C e n t e r, S e a t t l e , WA 1 9 90 W PA ( Wo r ker s P ro d u c e A r t), Ga l l e r i a Po t a t o h e a d, S e a t t l e , WA 1 9 88 30th N o r th Dako ta Pr in t an d D r awi n g A n nu a l , N o r t h D a ko t a Mu s e u m o f A r t 1 9 86 M aster s o f Fin e A r ts E xh ibitio n , H e n r y A r t G a l l e r y, U n i ve r si t y o f Wa s h i n g t o n , Se a t t l e 1 9 85 Wor ks in Pro gress, D ep ar tmen t o f F i n e A r t s, U n i ve r si t y o f Wa sh i n g t o n , S e a t t l e , WA 1 9 85 U ni ver sity Bo o ksto re Invitatio na l Ju r i e d S h ow, S e a t t l e , WA 1 9 84 B achel or o f Fin e A r ts E xh ib itio n, H u g h e s F i n e A r t s G a l l e r y,

Un iver sity o f No r th D ako t a , G r a n d F o r k s , N D 1 9 83 N or th Dako ta Gover n o r’s S h ow, O n e - Ye a r To u r, S e l e c t e d C i t i e s S ELECT ED PERMA NE NT P UBL IC COLL E C T IO N S : 4 C ul tur e , K i ng Co u n ty A r ts Co mmissio n , S e a t t l e , WA S eattl e Ar ts C o mmissio n Z e venber gen Capital, S eattle , WA S tate of Wash in gto n : Wash in gto n S tate ’s A r t i n Pu bl i c Pl a c e s Pro g r a m , Ma t t awa , WA ,

Aubur n , WA R E V I EWS: 2 0 00 Sti l l l i fe s with twists, Matth ew Ka n g a s, A r t i n A m e r i c a , (S pe c i a l t o t h e S e a t t l e Ti m e s ) 1 9 94 Law r enc e exh ib it is th is mo n th ’s s t a r a t g a l l e r i e s , R o bi n U pdi ke , T h e S e a t t l e T i m e s 1 9 92 Two ar t ists tu r n f r agmen ts in to wh o l e s, R e g i n a H a c ke t t , T h e S e a t t l e Po s t - In t e l l ig e n c e r 1 9 90 Gal l er y Review, 911 COC A , (C e n t e r o n C o n t e m po r a r y A r t ), S e a t t l e , WA

19

D an iel E d w ar ds

T h o u g h l i fe- se s s io n po r t r a it u re re m ains the most pur e for m of sculptur al exp r essi on fo r m e , I a m re a lly e n joy in g o t h e r m ethods for expl or i ng por tr aitur e .

A ch i l d o f t h e c iv il r ig h t s e r a , I came of age as a sculptor in the er a of p ol i ti cal c o r r ec t n e ss. A t a t ime wh e n I was cr eating public sculptur e commissions, I fel t th at i t w a s my ca llin g t o a c t a s a n a r t ist w ho tr uly r epr esents politi cal cor r ectness . As an av i d v i si t o r t o t h e Na t io n a l Po r t r a it Galler y at the Smi thsoni an, I noticed the col l ecti on w a n t i n g o f Af r ic a n -A me r ic a n de pic tion. I decided that I would cr eate sculpted p or tr ai ts o f h i st o r i ca l A f r ic a n -A me r ic a n s t h at would meet the cr i ter i a for the National Por tr ai t G a l l er y’s p o t e n t ia l a c qu is it io n . Th e only r eal r equir ement is that the por tr aits sh ou l d b e d o n e f r o m life . Ove r a t e n -year per i od, I have scul pted appr oximately 5 0 su ch p o r t r a i t s.

Ye a r n i n g t o s pe a k a bo u t s o c io -pol i tical topics thr ough my wor k, I decided to tu r n my pr o c e ss o n it s h e a d a n d be g a n doi ng mor e pr ovocati ve wor k. T he wor k h as b een c o n si de r e d c o n t rove r s ia l, le s s po litically cor r ect ( but w i th social conscience) , an d th e d e pi ct i o n s a r e n e ve r do n e f ro m life of peopl e and subjects accessed fr om the I n ter n et an d m e di a . I o f t e n t h in k o f my c ur r ent wor k as politi cal ly i ncor r ect monumen ts an d p u bl i c scu l pt ure wit h t h e In t e r n e t as my galler y.

20

Untitled, 2010, relief, 22”x20” 21

E D U C ATIO N M FA, Dr aw i ng an d S c u lptu re , New Yo r k A c a de my o f A r t , N e w Yo r k , N Y. (2 0 0 1 ) B FA Scul ptur e , H er ro n Sc h o o l o f A r t, In di a n a U n i ve r s i t y, In di a n a po l i s, IN . (1 9 9 4 ) M FA Pr ogr am , New Yo r k A c ad emy o f A r t , Wa rh o l S c h o l a r sh i p f ro m E s t a t e o f A n dy Wa r h o l .

(1988- 90) T E ACHI N G EXPE RIE NCE Cal i for ni a State Un iver sity, S tan islau s 2 0 1 2 - pre s e n t .

Vi si ti ng L ec tu rer/A ssistan t P ro fe ss o r o f S c u l pt u re N ew Yor k Acad emy o f A r t, New Yo r k, N Y 2 0 0 8 - 2 0 1 2

Adj unct Fac u lty /sc u lp tu re L ym e Academy Co llege o f Fin e A r t, Old L y m e , C T 1 9 9 9 – 2 0 0 5 A s s i s t a n t Pro fe ss o r o f Sc u l p t u r e , Anatomy, and S en io r

Pr oj ects (f u ll time) H er r on School o f A r t an d Design , In d ia n a U n i ve r si t y Pu rdu e U n i ve r si t y In di a n a po l i s 1 9 9 4 – 1 9 9 7

Adj unct Fac u lty /sc u lp tu re S ELECT ED EXH IBITIONS (* S o lo E xh ibi t ) 2 0 12 ScarJo with Zo mbies (S c arZo ): T h e Zo m bi e R i g h t s Me m o r i a l , N o r m a n Mu s i c F e s t i v a l , N or m an, O K .

2 0 12 T he Wic ked Twin s: Fame & No t o r i e t y, T h e Pa u l R o be so n G a l l e r i e s, R u t g e r s U n i ve r s i t y, N ew ar k, N J .

2 0 11 * Mogul (Jay -Z Oc c u pies Oc c u py Wa l l S t re e t ), a k a T h e S c ro o g e To t e m Po l e , C o r y A l l e n Contem por ar y A r t.

2 0 11 * Memo r ial Po r tr ait fo r A my Wi n e h o u se , C o r y A l l e n C o n t e m po r a r y A r t .

2 0 11 * Al l ego r y o f a Teen Sex S y mb o l (Ju s t i n Bi e be r), C o r y A l l e n C o n t e m po r a r y Ar t , N e w F i ne Ar ts, Dal las, TX. 2 0 11 * J usti n an d Selen a as On e , Co r y A l l e n C o n t e m po r a r y A r t , N e w F i n e A r t s, D al l a s , T X .

2 0 11 * K nut Watc h es Over G er many, C o r y A l l e n C o n t e m po r a r y A r t .

2 0 11 * R ehab o r Rest in Peac e: A To m bst o n e fo r C h a r l i e , C o r y A l l e n C o n t e m po r a r y A r t .

2 0 10 * Patr on Sain t o f th e Gu lf , IAO G a l l e r y, O k l a h o m a C i t y, O K. 2 0 09 B r angelin a Fo rever, Ph an to m F i n a n c i a l , O k l a h o m a C i t y, O K. 2 0 09 DE$IRE , H o lster P ro jec ts, Lo n do n , E n g l a n d.

2 0 09 * Landmar k fo r Breastfeed in g , Ma i n s i t e C o n t e m po r a r y A r t , N o r m a n , O K a n d H o l s t e r P roj ects, Londo n .

2 0 09 W hat So P ro u d ly We Hail, H o l st e r Pro j e c t s, L o n do n , E n g l a n d.

2 0 09 * O cto mo m: S tr in g o f Babies, G u y H e pn e r C o n t e m po r a r y, L o s A n g e l e s, C A .

S ELECT ED PUBL IC SCUL PTURE 2 0 09 W i l dcat , over life-size bro n ze , Le x i n g t o n , KY. 2 0 07 M other an d Ch ild, life-size bro n ze , C a r m e l , IN .

2 0 02 W m . DeHar t Hu bb ard, Oly mp ia n , 6 ’ x 8 ’ bro n ze re l i e f , S o u t h we st O h i o R e g i o n a l Tr a n s i t Author i ty, Cin c in n ati, OH. 2 0 01 M r. and Mr s. Cox Memo r ial, li fe - si ze bro n ze , H a m i l t o n C o u n t y Pa r k s a n d R e c r e a t i o n D e pt, Car m el , IN. 2 0 00 Senator Wen d ell Fo rd , b ro n ze , t wi c e l i fe - si ze , We n de l l F o rd Mu s e u m , O we n s bor o, K Y. S ELECT ED COMMIS S IONS 2 0 04 T he B l aisin g f amily c h ildren an d pe t s , bro n ze l i fe - si ze , Bl a i s i n g f a m i ly, In di a n a pol i s , I N .

2 0 04 O lym pi an s o f th e New Yo r k A th l e t i c C l u b, bro n ze , N e w Yo r k A t h l e t i c C l u b, N e w Yo r k , N Y. 2 0 00 Young Th o ro u gh b red with Ch ild, bro n ze l i fe - si ze , Bu c k i n g h a m C o m pa n i e s , In dia n a p o l i s , IN.

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CO LLECT I O NS Marc Ecko Golden Palace Casino New Yor k Athletic Club, New Yor k, NY National Ar t Museum of Spor t, Indianapolis, IN. City of Har r isbur g, Har r isbur g, PA. Las Vegas Ar t Museum, Las Vegas, NV. Indiana Statehouse , Indianapolis, IN. Geor gia Institute of Technology, Atlanta, GA.

Mr. and Mr s. Steve Hilber t, Car mel, IN. Mr. and Mr s. Sen. Bar r y Goldwater, Phoenix, AZ. Mr. Dick Cheney Dr. Henr y Kissinger Mr. Donald Rumsfeld Mr. Geor ge Schultz Robin Greenspun, Las Vegas, NV. Mr. and Mr s. Br ad Chamber s, Indianapolis, IN.

S ELECT ED B OOKS wh ic h referen c e D a n i e l E dwa rds ’s wo r k M cCal l um , J ack an d Wer th eim, Jo n (20 1 2 ). S po r t s Il l u st r a t e d Bo o k o f t h e A po c a ly p s e : Two D e cades of Spo r ts A b su rdity. Diver sion Bo o k s, 2 0 1 2 . IS BN 1 9 3 8 1 2 0 1 5 9 , 9 7 8 1 9 3 8 1 2 0 15 2 .

Abe , Donyal e (2012). Called to th e Ch i l dbi r t h Pro fe s s i o n : O ppo r t u n i t i e s fo r D o u l a s , B i r t h E d ucator s, and Yo u . D reams2L ife Pu bli sh i n g . IS BN - 1 0 : 0 6 1 5 5 7 8 1 2 8 . IS BN - 1 3 : 9 7 8 - 0 6 1 5 5 7 8 1 2 5 .

L i n tott, Shei l a an d S an d er-S tau dt, Mau re e n , E di t o r s (2 0 1 1 ). Ph i l o s o ph i c a l In qu i r i e s i n t o Pr e g n a n c y, Chi l dbi r th, and Mo th er in g: Mater n al Su bj e c t s . R o u t l e dg e S t u di e s i n C o n t e m po r a r y Ph i l o s o p hy.

[Har dcover ] I SBN-10: 0415891876. IS BN - 1 3 : 9 7 8 - 0 4 1 5 8 9 1 8 7 5 . E di t i o n : 1 U rban, O tto M. Cu r ato r (2011). D ec ade n c e N ow: V i s i o n s o f E x c e s s . A r t e f a k t /A rbo r V i t a e . I S B N 9 7 8- 80871646 00.

S m i t, Chr i stoph er R. (2011). Th e E xile o f Br i t n e y S pe a r s : A Ta l e o f 2 1 st C e n t u r y C o n s u m p t i o n .

In tel l ect, Li m i t ed . IS BN 978184150410 0 .

G ar son, Hel en S . (2011). Op r ah Win f re y : A Bi o g r a phy (G re e n wo o d Bi o g r a ph i e s). A B C - C L I O, In cor por ated. IS BN 9780313358326.

R e ese , J enny (2011). Of f th e Rec o rd G u i de t o t h e L i fe a n d Po l i t i c a l C a re e r o f H i l l a r y R o d h a m Cl i nton. Webster’s Digital Ser vic es. IS BN - 1 0 : 1 2 4 1 1 2 9 4 4 4 IS BN - 1 3 : 9 7 8 - 1 2 4 1 1 2 9 4 4 6 .

AU T HO R ED WORK E d w ar ds, Daniel (2010). BL UE S H E A D S : Po r t r a i t s o f A m e r i c a n R o o t s Mu si c . A ppl e Pa r r o t . 9 7 8 1 4 52891989.

F ILMS and F I LM FE STIVA L S D OMEST I C B LISS (2012). Vac an t E r a F i l m s , di re c t e d by D ave S m i t h .

C A ST RO I N CE NTRA L PA RK (2006). Mi a m i In t e r n a t i o n a l F i l m F e st i v a l O f fi c i a l S e l e c t i o n 2 0 0 7 .

G oodni ght F i l ms, d irec ted by A .D. Calvo.

H I LLARY ’S B UST (2006). Qu een s In ter n a t i o n a l F i l m F e s t i v a l O f fi c i a l S e l e c t i o n 2 0 0 6 . G oo d n i g h t F i l m s, di r ected by A .D. Calvo.

T H E SEV ER AL SE VE RE D HE A D S OF DA N IE L E DWA R D S (2 0 0 5 ). Ja c k s o nv i l l e F i l m F e s t i v a l O f fi c i a l S el ecti on 200 7, Co n n ec tic u t Film Fes t i v a l O f fi c i a l S e l e c t i o n 2 0 0 6 , N e w H ave n U n de r g r o u n d F i l m F esti val Of fic ial S elec tio n 2006. Go o dn i g h t F i l m s , di re c t e d by A . D. C a l vo.

S ELECT ED DUBIOUS DIS TINCTIONS S tar Magaz i ne’s S tar Weekly Awards (2 0 1 3 ), “ Mo s t D i s t u rbi n g A r t ” fo r t h e fe t a l po r t r a i t s o f

K i m K ard ash ian ’s an d Kate Midd l e t o n ’s u n bo r n ba bi e s .

M axi m Magaz in e’s S exiest Th in gs in A me r i c a (2 0 1 2 ), fo r “ S e x i e s t S c u l pt u re o f Te e n Idol s :

J usti n an d Selen a as On e”.

M ost Annoyi ng Peo ple 2009. Pro du c ed by S h i n e fo r BBC T V 4 . BBC L o n do n ’s l i s t o f t h e “ 1 0 0

m ost an n oy in g p eo p le o f 2009”. L i st e d a t nu m be r 6 3 , be t we e n Be r n a rd Ma do ff a n d

Char l i e Sh een .

T h e Ar t N ew spaper’s “Bar tlebo o th Aw a rd” (2 0 0 5 ), L o n do n . To n g u e - i n - c h e e k awa rd gi ve n t o

ten ar tists f ro m aro u n d th e wo r l d, wh o m a de a r t t h a t pu s h e d t h e bo u n dr i e s .

S por ts I l l ustr a ted’s “Th is Week’s S ign o f t h e A po c o ly ps e ” (2 0 0 5 ). D u bi o u s di st i n c t i o n g i ve n by S por ts I l l ustr a ted fo r Th e Ted Williams Me m o r i a l D i s pl ay.

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Jessica G o mu la

M y v i su a l a r t s re s e a rc h e x plo re s t he r el ati onship between the immedi ate envi r on m en t, th e a u di en ce a n d t h e a r t is t , a s in ter active media and DI Y cul tur e conti nues to bl u r th o se r el a t i o n s h ips . My g o a l is t o cr eate collabor ati ve inter media ar twor k in d i ver se p u bl i c sp a ce s , wh ic h a ddre s s e s s o c ial ly conscious subj ect matter.

T h r o u g h l a r g e s c a le v ide o a n d a n imation pr ojections, live per for mances, and r esp on si ve s y st em s, my pro je c t s c re a t ive ly respond to the physi cal and social char acte r of an e nv i r on m en t , wo r k in g t o a n ima t e public and pr i vate spaces, i n an effor t to br i ng d i ver se p e o pl e t og et h e r t o in s pire , a n d be i nspi r ed.

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11 Dimensions, 2014, multimedia 25

ED UC ATI ON 2 0 0 0 M a st er o f Fin e A r t s , Illin o is State U niver sity, Nor mal, I L 1 9 9 6 B a ch el or o f Fin e A r t s , A t la n ta College of Ar t, Atlanta, GA S OL O E X H I BITIONS 2 0 1 4 M o de sto 2034. Tr a n s me dia and si te specific i nstallation. Modesto Ar t Mu seu m an d M ode st o In t e r n a t io n a l A rc h it ectur e F estival. T hr oughout dow ntow n Mode sto, C A. Inv i t a t i on a l i n s t a lla t io n 2 0 1 1 M e e t Yo u r Ne ig h bo r pu blic ar t i nstallation. Modesto Ar t Museum. T hr ough ou t

down t own Mo de s t o, incl udi ng over 35 stor efr onts. Modesto, C A 2 0 0 9 S e m a n t ic Fro t t a g e , s o lo v ide o instal l ati on. Modesto Ar t Museum / Mi stlin Gal l er y, Mo de s t o, C a lifo r n ia 2 0 0 8 L i fe ’s Ta n t r ic Love Tr ia n g le s . 21 Gr and Galler y, O akland, Califor ni a

B . O. O. B . (B re a s t fe e din g Ou t si de O ur Bedr ooms) . Austi n, Texas

I n fi n i t e Tr a n s fo r ma t io n s o f Desi r e . U ni ver sity Galler y, CSU, Stanislaus Tu r lo c k , C a lifo r n ia 2 0 0 7 L ove ’s Re c e ipt s . Pr in t / Ph o t o Gal l er y, Tr uckee Meadow s Community Col l ege ,

Tr u c ke e M e a dows , Ne vada 2 0 0 0 Tr a n sfo r ma t io n s . Un ive r s it y Galler i es, I llinois State U niver sity, Nor mal, I l l i n oi s.

S E L E C T E D G RA NTS A ND AWA RDS 2 0 1 3 Ou t st a n din g C o mmu n it y Se r vice Pr ofessor aw ar d. CSU Stanislaus.

C a mpu s -le ve l awa rd

Re sea r c h , Sc h o la r s h ip G r a n t , CSU Stani sl aus. $4,850.

C a mpu s -le ve l c o mpe t iti ve aw ar d

C A H S S D e a n ’s Te a c h in g In it iati ve aw ar d. $500. Col l ege-level competiti ve aw ar d

K E C K Fo u n da t io n g r a n t . $250 ,000. Cor e team member.

Na t io n a lly c o mpe t it ive aw ar d 2 0 1 2 Pr e si de n t ’s H o n o r Ro ll Fa c u l ty aw ar d. Campus-level aw ar d.

C SU St a n is la u s Of fic e of Ser vi ce Lear ning

Re sea r c h , Sc h o la r s h ip G r a n t , CSU Stani sl aus. $4,955.

C a mpu s -le ve l c o mpe t iti ve aw ar d.

A r t Pl a c e G r a n t . $176, 000. A r tPlace Amer i ca. National ly competiti ve aw ar d

Re sea r c h , Sc h o la r s h ip G r a n t , CSU Stani sl aus. $2,500

C a mpu s -le ve l c o mpe t iti ve aw ar d.

Re sea r c h , Sc h o la r s h ip G r a n t , CSU Stani sl aus. $2,323

C a mpu s -le ve l c o mpe t iti ve aw ar d

C r ea t i ve Wo r k Fu n d G r a n t . $ 16,950. Cr eati ve Wor k Fund.

Re g io n a lly c o mpe t it ive aw ar d S E L E C T E D C OLLA BORATIV E PE RFO R MANCES D ou bl e V i si o n In t e r me dia Pe rfo r mance Gr oup 2 0 1 3 M a ke r Fa ire , Ve r mo n t 2 0 1 2 Qu en ch A r t Spa c e , Wa it s fie ld , Ver mont.

E a st e r n Blo c , M o n t re a l, C a n ada

C D F S , Mo n t pe lie r, Ve r mo n t 26

2 0 1 1 I o n i o n C e n t e r fo r t h e A r t s and Cul tur e , Kefalonia Gr eece

POP Re vo lu t io n Fe s t iv a l, Le cce , I taly

Pr o A RT S Fe s t iv a l 2011 & In t er national Chor eogr aphic Pl atfor m,

Br n o a n d Pr a g u e , C ze ch R epublic

M ov i n g Ho u s e Fo u n da t io n / Flor i an Wor kshop i n Budapest, Hungar y

OZU, Mo n t e le o n e Sa bin o, o utsi de R ome , I taly.

Re c u r sive Th in g s . Ju lia n Sc o t t Memor i al Galler y. Montpel i er, Ver mont 2 0 1 0 M ay D ay. C o u n t e rPu ls e . Sa n F r ancisco, C A. 2 0 0 9 C S T I n s t it u t e fo r C o mpu t e r Music and Sound Technol ogy, Zur i ch

M u se u m s Qu a r t ie r W ie n , V ie nna, Austr i a

I n st i t u t In t e r mé dií, Pr a g u e , Czech r epubl i c

H y pn a g o g ia . C lima t e Th e a t re . San F r anci sco, C A

I n n ov a tive Pe rfo r ma n c e s fo r Tr adi tional Needs. Mr. Smi th’s, San Fr ancisco, C A Inv i t a t i on a l Gro u p E x h ibit io n s , Pe rfor mances, Scr eeni ngs 2 0 1 4 M o de sto M o de r n is m. D e lt a Kappa Gamma Soci ety I nter national . Modesto, C A.

I nv i t a t io n a l film s c re e n in g 2 0 1 3 E a m e s: Th e A rc h it e c t a n d t h e Painter + Modesto Moder nism.

C a r n e g ie A r t s C e n t e r. Tur l ock, C A. I nvi tational film scr eeni ng

M o de sto M o de r n is m. Mo de s to I nter national Ar chitectur e F i l m Festi val ,

St a t e Th e a t re . Mo de s t o, C A. I nvitati onal fi l m scr eening.

C h a l k Wa lk o f A r t . Pu blic A r t Pr oj ect. LOVE Modesto. Modesto, C A 2 0 1 2 Ze r o 1 A r t a n d Te c h n o lo g y Bi enni al, Emer ging Ar tist Networ k, San J ose , C A.

Inv it a t io n a l pe rfo r ma n ce . 2012.

I n P r a i s e o f C o lle c t in g . C a r n egi e Ar t Center, Tur l ock, C A. I nvi tational exhi b i ti on .

RAW 2012. D e e p Ro o t D a n ce Col l ecti ve . Gar age . San Fr ancisco, C A. Inv it a t io n a l pe rfo r ma n ce

D r ea m G a rde n . Pu blic A r t Pr oject. LOVE Modesto. Modesto, C A. S E L E C T E D C URATION A ND ORGANI ZAT I O N O F EXHI BI T I O NS 2 0 1 3 I m a g i n a t io n Film Fe s t iv a l. C o-Cur ator. State T heatr e . Modesto, C A

A c t i o n : Th e C e n t r a l Va lle y Film Community. Cur ator.

Bu ildin g Ima g in a t io n C enter, Modesto, C A.

A r t a n d t h e A u t o mo bile . C u r ator. Buildi ng I maginati on Center, Modesto, C A.

A i m i n g fo r C h a n g e . C u r a t o r. Bui l ding I magi nation Center, Modesto, C A

S a m sa r a . C u r a t o r. B u ildin g Im aginati on Center, Modesto, C A

M a n i fe s t . A R. C u r a t o r. B u ilding I maginati on Center, Modesto, C A

A n O bs o le t e D ia lo g . C u r a t o r. Bui l ding I magi nation Center, Modesto, C A

Pr e sco t t Jr. Hig h Ro a dr u n n e r s. Cur ator. Bui l ding I magi nation Center, Mo de s t o, C A 2 0 1 2 M e c c a . C u r a t o r. Bu ildin g Ima ginati on Center, Modesto, C A

Un cl e Ha r t wic k . C u r a t o r. Bu il ding I magi nation Center, Modesto, C A

Pr o l on g E x pre s s io n . C u r a t o r. Bui l ding I magi nation Center, Modesto, C A

Ou t si de t h e Pic ke t Fe n c e . C ur ator. Bui l ding I magi nation Center, Modesto, C A. 2 0 1 1 C S U Me dia A r t s Fe s t iv a l. Ju ror. Ful l er ton, C A

27

Ch ad H u n te r

On e of my g o a ls is t o ma ke my v is ual communi cation r i cher and mor e enj oyable as wel l as t o co n t i nu e t o de ve lo p a n d e x plor e “illustr ati on- design” by incor por ati ng my gr ap h i c d e si g n a n d i l lu s t r a t io n s k ills .

M y m o r e c u r re n t wo r k h a s t a ke n an unantici pated tur n: images w ith hand let ter i n g. I w a s t a u g h t i n s c h o o l t h a t if a n illu str ati on needs to have type to communi cate i t i sn ’t s t r on g en ou gh o n it s own . I’ ve le ar ned type ( or hand letter i ng) can be a fas ci n ati n g w ay o f a ddi n g a ddit io n a l in fo r ma t ion, textur e and a si de note or descr i pti on. Ma ny h ave i nc o r po r a t e d t h is be fo re , bu t I be lieve my dir ection i s unique and has its own voi ce .

M y i n t en t i s t o c o n t inu e t o pu s h incor por ati ng design and i l l ustr ati on i n this di r ecti on .

28

Spring, 2014, mixed media, 10.625” x 15.375” 29

ED UC ATI ON 2 0 1 2 M . F. A . V is u a l A r t s wit h e mph asis i n Gr aphic Desi gn

Ma r y wo o d Un ive r s it y, Scr anton, PA 2 0 0 2 I l l u st r a t io n /Fin e A r t C o u r s e wor k, Academy of Ar t U ni ver si ty, San F r ancisc o, C A 1 9 9 6 - 1 9 9 7 Illu s t r a t io n C o u r s e wor k, Syr acuse U niver si ty, Syr acuse , NY 1 9 9 5 B . F. A . I llu s t r a t io n , Min o r : St u dio Ar t, Br i gham Young U ni ver sity, Pr ovo, U T EM P L OY M E NT H ISTORY 2 013 - pr esen t FT Te mpo r ar y L e c tu r e r, Califor nia State Univer sity, Stanislaus, Tur lock, C A 2 0 1 3 - p r e sen t On lin e A dju n c t In s tr uctor, Br i gham Young U niver si ty I daho, R exbu r g, I D 2 0 1 3 - 2 0 1 3 A dju n c t In s t r u c t o r, C al i for nia State U ni ver si ty, Stani sl aus, Tur l ock, C A 2 0 1 2 - 2 0 1 3 A dju n c t In s t r u c t o r, A r t I nsti tute , San F r ancisco, C A 2 0 1 1 - p r e sen t A dju n c t In s t r u c t o r, Ar t I nstitute , Sacr amento, C A 2 0 0 5 - p r e sen t Fre e la n c e Gr a ph ic Desi gner /I l l ustr ator,

C h a d Hu n t e r St u dio, Manteca, C A 2 0 0 5 - 2 0 1 1 V P o f M a r ke t in g / A dve r tising Manager,

Fin a n c ia l C e n t e r C re di t U nion, Stockton, C A 2 0 0 1 - 2 0 0 4 C re a t ive D ire c t o r/So le Pr opr i etor, Chad Hunter Studi o, Manteca, C A 1 9 9 7 - 2 0 0 1 G r a ph ic D e s ig n e r/ C re ati ve Dir ector, Ander mahr & Company, Stockton , C A 1 9 9 5 - 1 9 9 7 Gr a ph ic Pro du c t io n Sp ecial i st, Cor por ati on of the Pr esi dent,

Sa lt La ke C it y, UT 1 9 9 3 - 1 9 9 5 Gr a ph ic /Se n io r D e s ig ner, Br i gham Young U ni ver si ty Student Life C r eati ve , Provo, UT G UE S T L E C TURE S 2 0 1 4 I nv i t e d Spe a ke r, “Th e Ma s h U p,” Ar t Depar tment, CSU Stanislaus, Tur l ock, C A, 2 0 1 3 I nv i t e d Spe a ke r, “D e s ig n in g w ith I l l ustr ation,” Vi sual Ar ts Depar tment,

A n n e A r u n de l C o mmu ni ty College , Ar nol d, MD,

I nv i t e d Spe a ke r, “A r t is t Ta lk ,” Depar tment of Ar t, Austin Peay State U ni ve r si ty, C la r k s v ille , TN,

I nv i t e d Spe a ke r, “D e s ig n in g w ith I l l ustr ation,”

Sc h o o l o f V is u a l C o mmuni cation Design, Kent State U ni ver sity, Kent, O H,

I nv i t e d Spe a ke r, “A r t is t Ta lk ,” Ar t Depar tment, Chemeketa Communi ty C ol l ege , Sa le m, OR, 2 0 1 2 M FA T h e s is e x h ibit a n d le c t ur e , “Desi gni ng w ith I l l ustr ati on,” Mahady Gall er y,

Ma r y wo o d Un ive r s it y, Scr anton, PA,

I nv i t e d Spe a ke r, “Ty po g r a phy : the R omantic and the Techni cal ,” Depar tme n t of

V is u a l C o mmu n ic a t io n s, Si ncl air Communi ty College , Dayton, O H,

I nv i t e d Spe a ke r, “Fo llowin g Vi sual Lines,” Depar tment of Vi sual Communicati on s,

Lo n e St a r C o lle g e - Kingwood, Kingwood, T X ,

I nv i t e d Spe a ke r, “Th e Ma s h U p,” Depar tment of Communicati on Desi gn,

Un ive r s it y o f Ho u s t o n -Victor i a, Victor ia, T X ,

I nv i t e d Spe a ke r, “A r t is t Ta lk ,” Depar tment of Ar t & Desi gn,

Mis s is s ippi Un ive r s it y for Women, Columbus, MS, Apr i l

I nv i t e d Spe a ke r, “D ig it a l A r t s,” Divi si on of F i ne Ar ts, Young Har r i s College ,

Yo u n g Ha r r is , GA

I nv i t e d Spe a ke r, “Ty po g r a phy : the R omantic and the Techni cal ,” Ar t & Des i gn 30

Pro g r a m, C u lve r-St o c k ton, Canton, MO, 2 0 1 1 I nv i t e d Spe a ke r, D e pa r t me n t of Gr aphic Desi gn, Ar t I nsti tute , Sacr amento, C A, 2 0 0 8 B o o k m ak in g Wo r k s h o p, LD S Youth O r ganization, Manteca, C A C O M M UN I TY SE RV IC E E XPE RIE NCE 2 0 1 4 S h a kes pe a re Fe s t iv a l de s ig n er- i l l ustr ator, CSU Stani sl aus

Re g i o n a l Ju dg e , C a lifo r n ia A r t Pr oj ect 2 0 1 2 - 2 0 1 3 St u de n t Po r t fo lio R eview s, Ar t I nsti tute of Cal i for nia - San F r an ci sco, 2 0 1 1 - p r e sen t Vo lu n t e e r, Ma n t eca Stake Young Men’s Pr esi dency, T he Chur ch of

Je s u s C h r i st of Latter- day Saints

I n st r u ct o r, C e n t e r fo r Pro fe s si onal and Conti nuing Educati on,

Un ive r s it y o f t h e Pa c ifi c , 2 0 0 6 - 2 0 1 0 V o lu n t e e r C u b Ma s t e r/Den Leader, Boy Scouts of Amer i ca, 2 0 0 4 - 2 0 0 5 V o lu n t e e r Hig h Sc h o o l I nstr uctor,

Th e C h u rc h o f Jesus Chr i st of Latter-day Sai nts 2 0 0 3 V i si t i n g A r t is t Le c t u re r, Ma n teca High School , 1 9 8 9 - 1 9 9 1 V o lu n t e e r Re pre s e n t a tive , Teacher /Tr ainer /Leader, T he Chur ch of J esu s

C h r is t o f La t t e r- day Saints, Centr al & Souther n O hio, S E L E C T AWA RD S, HONORS, E XHI BI T I O NS & PU BLI C AT I O NS 2 0 1 2 D esi g nin g wit h Illu s t r a t io n , MFA T hesis, sel f-publ i shed, 176 pages

M FA T h e s is E x h ibit io n , Ma h a d y Galler y, Mar ywood U ni ver si ty, Scr anton, PA 2 0 1 1 J u r y fo r G o lde n Mir ro r Awa r ds, Cr edi t U nion Executi ve Society ( CU ES) 2 0 1 0 I nv i t a t io n a l A lu mn i Illu s t r a t ion Exhi biti on, Br i gham Young U niver sity, Pr ovo, U T 2 0 0 8 G o l d M e da l fo r A n nu a l Re por t, Mar keting Association of Cr edit U ni ons (M AC) 2 0 0 7 G o l d M e da l fo r C o o rdin a t e d Campai gns, CU ES

G o l d M e da l fo r A n nu a l Re por t, Mar keti ng Associ ati on of Cr edi t U nions ( M AC) 2 0 0 6 B e st o f Sh ow fo r C o o rdin a t ed Campai gns, CU ES

G o l d M e da l fo r C o o rdin a t e d Campai gns, CU ES

G o l d M e da l fo r D ire c t Ma il, CU ES

G o l d M e da l fo r A n nu a l Re por t, Mar keti ng Associ ati on of Cr edi t U nions ( M AC)

1 st P l a c e , Ple in A ire C o mpe ti tion, Tur lock CVB 2 0 0 0 D el i c a to A r t Sh ow, 2000 Ju r ied, Manteca, C A 1 9 9 9 G o l d M e da l fo r C o o rdin a t e d Campai gns, CU ES

G a l l o A r t Sh ow, Ju r ie d, M o desto, C A

M ayor A r t Sh ow, Ju r ie d, La t hr op, C A

1 st P l a c e Oils & A c r y lic s , Pe opl e Choi ce Aw ar d, Ci ty of Lathr op Ar t Show

Pr i v a t e Fu n din g Awa rd, Ha g g in Museum R egional Ar t Show 1 9 9 8 G o l d M e da l fo r Lo g o, MAC

B e st o f Sh ow, H a g g in M u s e u m R egi onal Ar t Show 1 9 9 4 B e st o f Sh ow, Th e a t e r Po s t e r Desi gn, Br i gham Young U ni ver sity 1 9 8 5 E a g l e Sc o u t , B oy Sc o u t s o f Amer i ca

31

Cr aig Iwo

I c r e a t e m i xe d me dia a r t wo r k s thr ough painting, dr aw ing and conceptual cr eated ar t wor k s. I n t h e wo r ld o f mixe d m edia ar t: these meti cul ously planned wor ks r esou n d an d r eson a t e wit h ima g e s c u lle d f ro m the fantastical r ealm of imaginati on. By inves ti gati n g l an g u a g e o n a me t a -le ve l, I c re a t e wor k in w hi ch a fasci nation w i th the clar i ty of con ten t an d a n u n c o mpro mis in g a t t it u de tow ar ds conceptual ar t can be found. T he wor k i s al o o f a n d sys t e ma t ic a n d a c o o l a n d neutr al i mager y is used.

32

And She Dreams of Things to Be, 2014, mixed media, 40” x 56” 33

ED UC ATI ON 1 9 9 8 Rh ode Is la n d Sc h o o l o f D e s ign / Pr ovi dence R I 1 9 9 4 - 9 6 Ta m a r in d Sc h o o l o f Lit h o gr aphy / Al buquer que NM 1 9 8 0 - 8 3 C a l ifo r n ia St a t e Un ive r s it y, Stani sl aus / Tur l ock C A 1 9 8 0 F r esn o C it y C o lle g e / Fre s n o C A P RO F E S S I ONA L E XPE RIE NC E 2 0 1 2 - P r e sen t Le c t u re r AY/ A r t Fa culty / Ar t Depar tment / CSU Stanislaus

Tu r l oc k C A 2 0 0 2 - 1 2 M a s t e r Pr in t e r / Pa pe r ma ker / Atel i er East Moon / U S / Nanning CHN 1 9 9 8 - 0 2 M a s t e r Pr in t e r / Sh o p St ew ar d / S2 Edi tions / SoHo NY C 1 9 9 7 - 9 8 P r i nt e r / A t e lie r E t t in g e r / SoHo / SoHo NY C 1 9 8 4 - 9 7 I n st r u c t io n a l Su ppo r t Te c h I I / Ar t Depar tment CSU Stani sl aus / Tur lo ck C A 1 9 7 5 - 8 2 M a s t e r Pr in t e r / Pr a ir ie A nchor Pr ess / Car mel C A / Santa Fe NM R E L ATE D T E AC H ING E XPE RIE NC ES AND WO R KSHO PS 2 0 1 0 T h e A r t o f Uk iyo e / Pr in t Se r i es / Bei j i ng CHN 2 0 0 8 T h e A r t o f St o n e Lit h o g r a phy and Ser i gr aphy / Nanning CHN 2 0 0 7 - 1 1 R e si de n t A r t is t / Na n n in g CHN 2 0 0 2 - 1 0 T h e A r t o f Pa pe r ma k in g / Atel i er Eastmoon / C A / CHN 2 0 0 2 - 1 0 T h e A r t o f St o n e Lit h o g r aphy / Atel i er Eastmoon / C A / CHN 1 9 9 8 - 0 2 Tea ch a n d t r a in g r a du a t e students / Pr oducti on pr i nti ng / SoHo NY C 1 9 9 7 - 9 8 Tea ch in t e r n s a s a ppre n t ices / Lithogr aphy shop pr ocess / SoHo NY C 1 9 9 0 T h e a r t o f “Te r r a Sig ” fir in g / U C Santa Cr uz / Santa Cr uz C A 1 9 8 9 T h e fi n e a r t o f Pa pe r ma k in g / CSU Stani sl aus / Tur lock C A 1 9 8 4 G u est pr in t e r / In k o n Pa pe r / Pacfi c Pr i nts Exhibi tion / Ber kel ey C A 1 9 7 6 A ssi st a n t t o / St e ph e n D e St abler / Paul Sol dner / CSU F/ F CC / F r esno C A 1 9 7 4 A ssi st a n t t o / Ko s e i M a t s u i, Toshiko Takaesu / Li ving Legend Ser i es / SF C A 1 9 7 2 A ssi st a n t t o / To s h u Ya ma mo to, Koichi Tamur a / Livi ng Tr easur e Ser i es / SJ C A 1 9 7 1 A ssi st a n t t o / St e ph e n de St aebl er / Clay As For m / Santa Cl ar a C A S E L E C T E D E X HIB ITIONS 2 0 1 0 M o t h e r o f a ll A s ia / Tr ave lin g Exhi biti on / Shenzhen CHN 2 0 0 9 Pr i n t B i e n n a le / Be ijin g 15t h I nter national / Bei j i ng CHN 2 0 0 9 B e h i n d t h e Re d D o o r / So lo Exhibi tion / Beijing CHN 2 0 0 9 2 n d G u a n la n In t e r n a t io n a l Pr i nt Biennial / Shenzhen CHN 2 0 0 6 M a st er Pr in t e r C r a ig Ju n Iwo / Solo Show / Shanghai CHN 2 0 0 6 B e h i n d t h e Re d D o o r / So lo Exhibi tion / Hong Kong / SAR CHN 2 0 0 5 S pi r i t u a l Jo u r n e y / Sh a n g h a i CHN 2 0 0 5 A r t i st s o f t h e Pa c ific Rim / Gr oup Show / Shenzen CHN 2 0 0 4 T h e a r t is t s o f Re d Ho o k / G roup show / Br ooklyn, NY 2 0 0 4 B e t we e n t h e Pa g e s , Bo o k a s Ar t / Center of the Ar ts / New Yor k, NY 2 0 0 3 1 7 t h Ple in A ir In t e r n a t io n a l Exhi biti on / R oanoke VA 2 0 0 1 West C o a s t Sc u lpt u re / To g o non gal l er y / San Fr ancisco C A 2 0 0 0 A r t e C on H u e vo s / D ia D e Los Muer tos Exhi biti on / Sacr amento C A 2 0 0 0 F r om I n s ide Ou t / Th e A r t G roup / Ber gamot Stati on / Santa Monica C A 2 0 0 0 W h a t R e a lly Re ma in s / So lo Show / Togonon Galler y / San Fr ancisco C A 34

2000 2000 2000

2000 1999 1999 1997 1997 1997 1997 1996 1996 1994 1993 1992 1991 1991 1989 1988 1986 1985 1985 1982 1980

Tr u t h o r Lie s / Tr it o n M u s e u m / Santa Clar a C A N e w Wo r k s / To g o n o n Ga lle r y / San F r ancisco C A D r aw i n g o n D ive r s it y / A t t o r ney Gener al O ffice / C A Ar ts Counci l / S a cr a m e n t o C A 1 2 A r t is t s / B a r t o n G a lle r y / Sacr amento C A Of t h e H e a r t / E a s t Sa c A r t Gar age / Sacr amento C A G r o u p Sh ow / E a s t Sa c A r t Gar age / Sacr amento C A N e w S t u dio s E x h ibit io n / B rooklyn NY F i n a l i st s E x h ibit io n / Lit t le Big Hor n Nati onal Monument / LBHNM MO Ta st e o f A s ia / C a s t Iro n G a ller y / New Yor k NY N e w A c qu is it io n s / C e n t e r o f T he Ar ts / NY C M a t e r i al-Imma t e r ia l / C SU Stani sl aus Ar t Gal l er y / Tur l ock C A Wa k aya ma Pr in t B ie n n a le / Museum of Contempor ar y Ar t / Wakayama J P N 2 n d K o c h i In t e r n a t io n a l E x h ibiti on of Pai nti ngs U ni v of Tokyo / Tokyo J PN A r t i n a Va c u mn / M o de s t o C A T h e Pr in t C lu b 67t h In t e r n a t ional Annual Exhi biti on / Phi l adel phi a PA Pa r k si de 6t h Na t io n a l Sma ll Pr i nt Exhibi tion/ U niv. Wisconsi n / Kenosha WS E ye o n So c ie t y Pr in t Sy mpo s ium / San Fr ancisco C A B a C a 4 t h A n nu a l Na t io n a l E x hi biti on / Ber keley Ar t Center / Ber kel ey C A S t oc k t o n Na t io n a l 88 / Ha g g in Museum / Stockton, C A Pa c i fi c Pr in t s Bie n n a le / St a n for d U ni ver si ty / Pal o Alto C A 1 6 t h N a t io n a l Wo r k s o n Pa per / Minot State U ni ver sity / Minot ND L A P S o c ie t y Inv it a t io n a l / UCLA / Los Angeles C A Pe n i n su la A r t A s s o c ia t io n “Wor ks on Paper ” / SC AC / San Car l os C A 2 n d A n nu a l Wo r k s o n So c ia l I mager y / U C San F r ancisco / San F r ancisco C A

S E L E C T E D AWA RD S 1 9 9 6 Pu r ch a s e Awa rd / M u s e u m o f Contempor ar y Ar ts / Wakayama J PN 1 9 9 4 Pu r ch a s e Awa rd / 2n d Ko c h i I nter national Exhibi t of Paintings / Tokyo J PN 1 9 9 2 Pu r ch a s e Awa rd / Th e Pr in t Cl ub 67th I nter n/ Annual Exhibi t / Philadelph i a PA 1 9 8 9 Pu r ch a s e Awa rd / B a C a 4t h Annual Nati onal Exhi biti on 89/ BaCa / Ber kel ey C A 1 9 8 6 Pu r ch a s e Awa rd / Pa c ific Pr ints Bi ennale/ Stanfor d U niver si ty / Pal o Alto C A 1 9 8 5 J . B u r st e in Me mo r ia l Awa rd / LAP Soci ety / Los Angel es C A 1 982 Purchase Award / Ar t Association/ Wor ks on Paper / SC Ar t Center / San Car los C A 1 9 8 0 Pu r ch a s e Awa rd / In t e r n a t io nal Pr int Symposium / CSU F / Fr esno C A S E L E C T E D RE V IE WS A ND PUB LIC AT I O NS 2 0 0 1 A r t i n A me r ic a A r t is t s t o be seen / Ber i n Golonu /Ar t i n Amer i ca / NY C 2 0 0 0 W h a t R e a lly Re ma in s /Be r in Gol onu / Ar t Week / San F r ancisco C A 1 9 9 8 L a st i n g Sa n ds / A me r ic a n A s ian Poets / Har cour t and Bai nes / NY C 1 9 9 7 T h e E p iph a ny / NYU Pu blic a t i on /NY C 1 9 9 6 - 9 2 Pe numbr a / C SU St a n is la us Publicati on / Tur l ock C A 1 9 9 1 - 8 8 Am a po la / C SU St a n is la u s Publicati on / Tur l ock, C A 1 9 8 6 C a l i fo r n ia Pr in t ma k in g So c ie t y / San Fr ancisco C A

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D avid O livan t

T h e exchange between th e sc u lptu r al a n d t h e pi c t o r i a l e l e m e n t s i n my a r t m i g h t be a me t a p h o r fo r contact between seemin gly alien wo r l ds. T h i s c o n t a c t c a n be c a su a l , c a u sa l , fo r m a l , conver sati onal, o pp o sitio n al, sexu al, hy pe r- s e x u a l , c o i t a l , po st - c o i t a l , se n s a t i o n a l , i n qu i s i t o r i a l , s upposi ti onal , esc h ato lo gic al, c r itic al, hy po c r i t i c a l , ly r i c a l , t r a g i c a l , c o m i c a l , pa s t o r a l , c o m i c a l p a stor al , com ic al-pasto r al-h isto r ic al …

T h i s quasi - m eteo r ic imp ac t h as c au s e d si g n i fi c a n t se di m e n t a r y s l i ppa g e a n d u ph e av a l , t h e r u ptur i ng of th e pic tu re su rf ac e an d i t s re pre se n t a t i o n a l s c a f fo l di n g a n d t h e f r a c t u r i n g o f s cul ptur al vol u mes. In so me wo r ks th e sc u l pt u r a l f r a g m e n t a t i o n i s pre - e m pt e d a n d t he fi g u r e s are hatched al read y bu c kled o r d ismembe re d, a s i f s a l v a g e d f ro m s o m e pre v i o u s c o l l i s i o n t o b e s pl i ced i nto new seq u en c es.

T h i s fr agm enta tio n h as y ielded add ition a l l aye r s o f m e t a ph o r t h a t i m prov i s e o n t h e d o m i n a n t them e of col l i sio n an d c o n tac t. Th e d i s c re t e pi e c e s o f wh i c h t h e pro t a g o n i st s a re c o ns t r u c t e d are often themselves r ip ped u n timely f ro m a m o re f u n c t i o n a l c o n t e x t , wh e t h e r a s pa r t o f a h a i r d r yer, N er f gun , mo del r ailway, ven etia n bl i n d, e a se l , c e l l ph o n e , t re e , pi a n o ke y bo a rd , m a nu a l typew r i ter, pr u n in g saw, spade , kettle , po t a t o m a s h e r, L e g o se t , c e i l i n g f a n , c u r t a i n rod , s u g a r b ow l , el ectr i cal c o n d u it, b ath mat, b ic y c l e , c a n dl e st i c k , ro t a r y saw, a i r- c o n di t i o n i n g u n i t , s l i d e car ousel , chai r leg, mixin g b owl, ir r igati o n s y s t e m , pi c t u re f r a m e , l i g h t fi t t i n g , h e a d ph o ne s , r i ve r b e d, r ock face , own ar two r k, o th er’s ar t wo r k , wh e e l e d c a r t , o r da r t bo a rd. T h u s a ny g i ve n p a r t m i ght functi on simu ltan eo u sly as p en is a n d ve n e t i a n bl i n d c o rd re s t r a i n e r, h u m a n e l b ow a n d p l asti c pl um bi ng p ipe elbow, h aird r yer f a n a n d ro t a r y pa ddl e m e c h a n i s m o f s t e a m bo a t , h u m a n tor so and deco r ated glass ligh t c ove r, c o ppe r pi a n o wi re s a n d e pa u l e t t e f r i n g e , t yp e w r i t e r r i bbon spool an d h u man c alf mu sc le .

T h i s dense l ayer in g o f metap h o r h as c o m e t o re pl a c e t h e e ro de d t e m po r a l n a r r a t i ve w i t h a m or e spati a l n ar r ative an d th is is r e f l e c t e d i n t h e f a c t t h a t t h e m a i n pro t a g o n i st s o f a ny gi ven pi ece ten d to f ac e o u tward at t h e spe c t a t o r, t e n d t o be l e s s di re c t ly h i s t r i o n i c a n d l e s s i n ter acti ve w i th th eir c o -c o n spir ato r s. T h e m o de o f a ddre ss i s t h u s re l o c a t e d di re c t ly t ow a r d s the spectator ’s wo r ld so th at h e o r s h e be c o m e s o n e m o re e l e m e n t o r a n o t h e r s e r i e s o f f r agm ents i n th is in san e mo saic . Th e t e m po r a l n a r r a t i ve , t h e e ve n t s n a r r a t i ve , t h e b e d - t i m e s tor y i s now u su r p ed by th e in ter p lay o f m e t a ph o r s , t h e way i n wh i c h c o m po n e n t s w h e t h e r s ol i d or fl at wh ic h f u n c tio n as f r agm e n t s o f a fi g u re o r a bu i l di n g a l so t e n d t o re ta i n t h e i r ow n i denti ty as sh ell, wh eel, su gar bowl l i d, da r t bo a rd o r c e l l ph o n e c i rc u i t bo a rd w h i l e a l s o s uggesti ng a r an ge o f sec o n d ar y id e n t i t i e s, sh e l l - e a r- v a g i n a , wh e e l - pl a n e t - c a l f mu s c l e , s u g a r b ow l l i d- br a c u p s, c ell ph o n e c irc u it bo a rd, h i g h - r i s e bu i l di n g e t c .

T h e pr i m ar y disc u r sive th r u st is n ow e m ph a t i c a l ly i n a n d o u t , fo rwa rd a n d ba c k (n o t t o p t o b o ttom or l eft to r igh t). It u n fo lds b e t we e n t h e pi c t o r i a l s u rf a c e a n d i t s i m pl i e d pe ne t r a t i o n “ back” i nto i l l u so r y spac e an d its ac tu a l pe n e t r a t i o n “ o u t ” i n t o re a l spa c e . T h e s e di m e n s i o n s a r e f u sed because th e p ic to r ial f r agmen ts e n g a g e wi t h t h e sc u l pt u r a l f r a g m e n t s wh i c h e n g a g e w i t h the i m pl i ci tly f r agmen ted au dien c e , wh o t h e m s e l ve s e n g a g e wi t h t h e s e e l e m e n t s i n a n e n d l e s s bu t fr agm ented lo o p. L o ts o f en gageme n t h e re …

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Black as the Ace of Spades, 2013, mixed media on wood, 36.5” x 22” 37

ED UC ATI ON 1 9 8 4 M . A. Pain t in g . Roya l C o lle g e of Ar t, London/U K 1 9 7 7 B . A. A r t . Fa lmo u t h Sc h o o l o f Ar t, England/U K AWARD S 1 9 8 9 - 9 0 B r i t is h C o u n c il t r ave l awa r d, Stockholm/Sweden 1 9 8 6 - 8 8 C o mmo n we a lt h Sc h o la r s hi p, Lalit Kal a Akademi , New Delhi /I ndi a 1 9 8 4 - 8 5 C h elt e n h a m Fe llows h ip, E ngl and/GB S OL O E X H I BITIONS 2 0 1 1 N a r r a t ive D r if t . Fir s t St re e t Gal l er y, Humboldt State U niver sity, C A/U SA 2 0 1 0 S t u di o Le it mo t if s . Ro be r t V F uller ton Museum,

C a lifo r n ia St a t e Un ive r si ty, San Ber nar dino/U SA 2 0 0 8 C a de n z a . Un ive r s it y A r t G a ller y Califor nia State U ni ver sity Stanislaus/USA 2 0 0 7 C a de n z a . Ja n ze n G a le r ie , Wupper tal , Ger many.

C er a m ic Sc u lpt u re s . Ve r g a s Galler y, Mission Col l ege , Santa Clar a /U SA

Th ose Ima g e s Th a t Ye t ‌, Tr uckee Meadow s J unior College , R eno/U SA 2 0 0 1 Tow a r ds t h e D o o r We Ne ve r O pened, U niver sity Ar t Galler y,

C a l i fo r n ia St a t e Un ive r s it y Stanislaus/U SA 1 9 9 9 Wor l d No t Wo r ld, Fre s n o A r t Museum, Cal i for nia/U SA 1 9 9 6 Un i ve r s it y A r t G a lle r y, C a lifor nia State U ni ver si ty Stani sl aus/U SA

A r t H e r it a g e G a lle r y, Ne w Delhi /I ndi a 1 9 9 4 Wa t e r c o lo r s f ro m t h e A s pe n Ser i es, Stephen Solovy Fine Ar t, Chicago/USA 1 9 9 2 S t eph en So lov y Fin e A r t , C h icago/U SA 1 9 9 1 S t eph en So lov y Fin e A r t , C h icago/U SA 1 9 9 0 C en t e r fo r In t e r n a t io n a l C o ntempor ar y Ar t, New Yor k/U SA 1 9 8 7 A r t H e r it a g e G a lle r y, Ne w Delhi /I ndi a S E L E C T E D GROUP E XH IBITIONS 2 0 1 2 C S U S t a n is la u s A r t D e pa r t m ent faculty exhibi tion,

C a r n e g ie A r t C e n t e r, Tur lock C A 2 0 1 0 C a l i fo r n ia St a t e Un ive r s it y Stanislaus F aculty Exchange Exhibi tion,

Fir s t St re e t Ga lle r y, H umbol dt State U ni ver si ty/U SA 2 0 0 8 I n t e r n at io n a l a r t f a ir, a r t Ka r lsr uhe , Kar l sr uhe/Ger many

(re pre s e n t e d by Ja n ze n Galer i e ,Wupper tal ) 2 0 0 6 E i g h t Ho u r s D if fe re n c e , La n caster U niver si ty/ Engl and.

2 0 0 2 A r t D epa r t me n t Fa c u lt y : Va lley View, U ni ver si ty Ar t Gal l er y,

C a lifo r n ia St a t e Un ive r si ty Stani sl aus/U SA 1 9 9 9 L a st D re a ms o f t h e M ille n n ium, Ar t Museum, U ni ver sity of Haw aii, Honol u l u ;

Ty le r Mu s e u m o f A r t , Tyler /U SA; Cal i for nia State U ni ver sity, Ful l er ton / U SA;

C a lifo r n ia St a t e Un ive r si ty, Stani sl aus/U SA 1 9 9 7 Two F r o m B r it a in , C a lifo r n ia State Polytechnic , Pomona Ar t Gal l er y/U SA 1 9 9 5 A r c h er M . H u n t in g t o n A r t G aller y, U ni ver si ty of Texas, Austi n/U SA 1 9 9 3 H a g g er t y A r t Mu s e u m, M a rquette U niver si ty, Milw aukee/U SA 1 9 9 0 F r en ch In s t it u t e , St o c k h o lm/Sweden

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WORK I N PUB LIC C OLLE C TIONS R o be r t V F u l le r t o n Mu s e u m, C a lifor nia State U ni ver sity, San Ber nar dino/U SA Ar c h er M . H u n t in g t o n A r t G a lle r y, U niver sity of Texas, Austin/U SA Ar t I n st i t u t e o f C h ic a g o /USA B r i t i sh C o u n c il, Lo n do n /G B H a g g er t y M u s e u m o f A r t , M a rqu e t te U ni ver si ty, Milw aukee/U SA B I B L I OG RA PH Y Ala n A r t n er, “ Two Se t s o f D r awin g s fr om O l i vant, Both of them Str ong and Am b i ti ou s,”

C h i ca g o Tr ibu n e , A pr il 5, 199 1 K r i sh n a C h a i ta nya , “Oliv a n t ’s Ima g es of Chaos,” T he Hindustan T i mes, Feb 2, 19 8 7 C a t hy C u r t i s, “Va le n t in e f ro m E n g land,” T he Los Angeles T imes, F eb 10, 1998 S h a n t o D a t t a , “Fro m E x is t e n c e t o Entr opy,” T he Pioneer, J an 18, 1996 K e n J oh n son , “D av id Oliv a n t a t C IC A,” Ar t in Amer i ca, O ct 1990 K ay L a r son , “ Tr u e Br it ,” Ne w Yo r k , Mar ch 12, 1990 P. M a g o, “ D avid’s C h a o t ic Se a o f M ar ks,” T he Patr i ot, Feb 7, 1987 N av a S e m e l , “ Th e Voya g e f ro m t h e Figur e to Abstr act,” Studio Ar t Magazi ne , May 1 9 9 0 L e o S t u t z i n , “ A Se e ke r’s A r t a t St a n State ,” Modesto Bee , Dec 8, 1996 L e o S t u t z i n , “ Br it is h A r t is t s Fin d A ppr eciation,” Modesto Bee , Nov 20, 1997 D a n i e l l a Wa l s h , “Ro ma n t ic V is io n s for Moder n T imes,”

Or a n g e C o u n t y Re g is t e r, Ma r ch 1, 1998 C U RATORI A L E XPE RIE NC E 1 9 9 9 - 2 0 0 0 “La s t D re a ms o f t h e Mi l l enni um” Gr oup exhibi tion of contempor ar y B r i ti sh ar t i n t h e co lle c t io n o f t h e St e ph e n Sol ovy Foundation. CSU Stanislaus, CSU F u l l er ton , Ty l e r M u se u m o f A r t , Te x a s , A r t Museum of Haw aii, Honolul u C ATA L OG E SSAYS “A m b a d a s” P u blis h e d by C SU St a nislaus 1998 “L a st D r e a m s o f t h e Mille n n iu m” P ubl i shed by Stephen Sol ovy Ar t F oundati on 1 9 9 9 “Ra n bi r K a l ek a : Iro n is t o f t h e Ima g inati on.” Published by Bose Paci a Galler y,

N e w Yor k , 2005 “S o ph i e C h a r do n n e t ” Pu blis h e d by Ar t Vietnam Gal l er y 2006 “L i fe G a m es” Pu blis h e d by C SU St anislaus 2008 “G o r do n S en io r : To o ls o f Un k n own U se and O ther Wor ks” Published by

H u m b o ldt St a t e Un ive r s it y 2 008 R E V I E W S O F OTHE R A RTISTS “M u l t i ply i n g th e Va r ia t io n s : D av id Olivant on R obin Hill,” ar tcr i tical.com 2006 “S t a n d i n g O n E a r t h : D av id Oliv a n t on Gor don Seni or ”, ar tcr i tical.com 2006 “E l e a n o r Woo d- mixe d Me dia o n Paper : Davi d O l i vant on Eleanor Wood”

a r t cr i t ic a l. c o m 2007 “D av i d Ol i v a n t o n Ta k a s h i Mu r a k a m i at the Geffen” ar tcr i tical.com 2008 “Jo a n M o m e n t @ Limn a n d Jay Jay ” squar ecyl i nder.com 2009 “Pi ck i n g u p t h e Pie c e s ” D av id Oliv ant on J ulie Heffer nan, ar tcr i tical.com 2010

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E llen R oe h n e

Alt h o u g h muc h o f my wo r k is c o mpr i sed of a var iety of medi a ther e is a com m on th r e a d o f t h e n a r r a t ive t h ro u g h o u t. F or me , the act of cr eating ar t i s a connec ti on - to th e pa st , t o n a t u re , t o o t h e r s , t o beauty and to spir i t. T he ar t wor k is the stor y, h owever o b scu r e , t h a t t ie s t h e s e e le me n t s together, weavi ng pi eces of my life in a co l l ecti on o f v i su a l st or ie s . Fin din g be a u t y in the small insi gni fi cant thi ngs, l i ving w ith a sen se o f awe a n d g r a t it u de a t t h e in fin ite potential of natur e- i n essence to see th e wor l d w i t h t h e eyes o f a c h ild, t h a t is my goal as an ar ti st. T hese common human expe r i en ces i nfor m t h e co n t e n t o f e a c h pie c e of ar twor k. I str i ve to make wor k that r esonates w i th vi e wer s, g i v i n g e a c h pie c e a pre s e nce beyond the physi cal limitati ons of the ma ter i al s.

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Head Over Heel, 2012, mixed media, 2” x 5.5” x 1” 41

ED UC ATI ON 1 9 9 8 J o h n F. Ke n n e dy Un ive r s it y, Ber keley, C A, M.F.A. 1 9 9 3 C a l i fo r n ia St a t e Un ive r s it y, C hico, Chi co, C A, B .F.A 1 9 8 7 Ro m e r ike Fo lke h oy s ko le , Je s shei m, Nor w ay, Mi xed Media Studi o Ar t T E AC H I N G 2 0 0 3 - p r e sen t C a lifo r n ia St a t e Un iver si ty, Stani sl aus, Tur l ock, C A- Adj unct Pr ofessor

i n S t u dio A r t 2 0 0 2 - p r e sen t Th e C h a r t re u s e Mu s e Ar t School , Modesto, C A- Ar t Di r ector /I nstr u ctor 2 0 0 0 - p r e sen t La ke wo o d E le me n t a r y School , Modesto, C A- Ar t Dir ector /I nstr uctor 2 0 0 0 - 2 0 0 3 Ce n t r a l C a lifo r n ia A r t League , Modesto, C A- Ar t Di r ector /I nstr ucto r 2 0 0 0 - 2 0 0 3 Ca lifo r n ia A r t s C o u n c il, Stanislaus County, C A- Ar tist in R esidence 1 9 9 9 - 2 0 0 0 Mo de s t o Hig h Sc h o o l, Modesto, C A- Visiti ng Ar ti st 1 9 9 9 - 2 0 0 0 L a Lo ma Ju n io r H ig h School , Modesto, C A- Vi si ting Ar tist 1 9 9 8 - 2 0 0 3 S TA RS, St a n is la u s C o u nty, C A- Ar tist in R esidence 1 9 9 8 - 2 0 0 0 Mo de s t o Ju n io r C o lle g e , Modesto, C A- Community Educati on Ar t

I n st r u ct o r in C e r a mic s , Pa in t ing, Dr aw ing, Mi xed Medi a Scul ptur e , Bookm aki n g 1 9 9 8 - 2 0 0 0 Gu a rdia n Re h a bilit a t io n Center, Modesto, C A- Ar t I nstr uctor 1 9 9 8 H a r vey M ilk C e n t e r, Sa n Fr a nci sco, C A- Ar t Dir ector /I nstr uctor 1 9 9 6 - 1 9 9 8 L EA P, Sa n Fr a n c is c o, C A- Ar ti st i n R esi dence 1 9 9 4 - 1 9 9 8 Ka t h e r in e M ic h a e l’s Sc hool , San F r ancisco, C A- Ar t Dir ector /I nstr uctor S OL O E X H I BITIONS 2 0 0 7 “ L o st a nd Fo u n d” Un ive r s it y Ar t Gal l er y, Cal i for nia State U ni ver si ty, Stani sl au s,

Tu r l oc k , C A 2 0 0 5 “ Th e Mu s e ” Th e C h a r t re u s e Muse Galler y, Modesto, C A 1 9 9 9 “ A n i m a l Ta le s ”- pe rfo r ma n c e and i nstallation, O akl and Museum, O akland, C A 1 9 9 9 “ N e w Wo r k ” C C A L Ga lle r y, Modesto, C A 1 9 9 8 “ G i r l s, Boy s a n d Toy s ” A r t A n nex Galler y, Ber keley, C A 1 9 9 8 “ L a b e l s” Jo h n F. K e n n e dy Un iver si ty Gal l er y, Ber keley, C A 1 9 9 7 “ Te a D re a ms ” Th e A r t E x plo si on Gal l er y, San Fr ancisco, C A 1 9 9 3 “ F i g u r e s o n t h e Wa ll” Le w Oliver Galler y, Chico, C A 1 9 9 3 “ D r ea m s ” Un ive r s it y G a lle r y, Califor nia State U ni ver si ty, Chi co, Chico, C A 1 9 9 2 “ E l e m e n t s ” Ph o e n ix G a lle r y, Chi co, C A 1 9 9 1 “ Th e F i g u re ” Sie n n a G a lle r y, Chi co, C A S E L E C T E D C OLLA BORATIV E E XHI BI T I O NS 2 0 1 1 “ F ou n d A g a in ” Th e C h a r t re u se Muse Gal l er y, Modesto, C A 2 0 0 9 “ 2 M u se” Th e C h a r t re u s e Mu se Galler y, Modesto, C A 2 0 0 7 “ Ope n i n g ” Th e C h a r t re u s e Muse Gal l er y, Modesto, C A 2 0 0 4 “ Wom e n ’s Wo r k ” Th e C h a r t reuse Muse Gal l er y, Modesto, C A 2 0 0 1 “ Ou t si de t h e Box ” Mo de s t o Ar t Center Gal l er y, Modesto, C A 2 0 0 1 “ Th r ee Wo me n Sc u lpt o r s ” C ar negie Ar t Galler y, Tur l ock, C A 2 0 0 0 “ Th e A r t o f Re c y c lin g ” St a n is l aus County F air gr ounds, Tur l ock, C A S E L E C T E D GROUP E XH IBITIONS 2 0 1 2 “ Th e Ma ny Fa c e s o f C lay ” Mistlin Gal l er y, Modesto, C A 2 0 1 0 “ Pe t s a nd Th e ir Pe o ple ” Th e Char tr euse Muse Galler y, Modesto, C A 2 0 0 9 “ G a m es Pe o ple Play ” Th e C h ar tr euse Muse Galler y, Modesto, C A 42

2008 2006 2004 2004 2004

2003 2002

“ B e a u t y fo r A s h e s ” Th e C h a r tr euse Muse Galler y, Modesto, C A “ S pr i n g ” Th e C h a r t re u s e M u se Gal l er y, Modesto, C A “ H i l de g a a rd Fe s t iv a l” C a lifo r nia State U ni ver sity, Stanislaus, Tur lock, C A “ A l u m n i E x h ibit io n ” Jo h n F. Kennedy U ni ver sity Galler y, Ber kel ey, C A “ F a c u l t y Sh ow” Un ive r s it y Galler y, Califor nia State U ni ver sity, Stani sl aus, Tu r l oc k , C A “ B e g i n nin g s ” Th e C h a r t re u s e Muse Gal l er y, Modesto, C A “ G r a n d Ope n in g ” Th e C h a r t reuse Muse Gal l er y, Modesto, C A

S E L E C T E D P UB LIC A RT WORK S 2 0 0 0 “ Woo d Sc u lpt u re G a rde n ” St ani sl aus County F air gr ounds, Tur l ock, C A 2 0 0 0 “ D u t ch er D o ph in s ” St a n is la u s County Ar ts Council Mur al,

D u t ch er E le me n t a r y Sc h o o l, Tur l ock, C A 2 0 0 0 “ Y 2 K i c k t h e Ha bit ” Pro je c t Alive Mur al, Modesto High School , Modesto, C A 1 9 9 9 “ D on ’ t Le t Yo u r Life G o Up in Smoke” Pr oj ect Al i ve Scul ptur e ,

M o de sto Hig h Sc h o o l, Mo de sto, C A 1 9 9 9 “ D on ’ t Smo ke ” Pro je c t A live Mosaic , La Loma J uni or Hi gh School, Modesto, C A 1 9 9 9 “ S u m m er” C e n t r a l C a lifo r n ia Ar t League Mur al, Modesto, C A 1 9 9 9 “ Th r ou gh t h e E ye s o f a C h ild” STAR S Mur al, J ulien El ementar y School ,

M o de sto, C A 1 9 9 8 “ O u r S ch o o l” LE A P Mu r a l, Jo hn Yehal l Chin Elementar y School, San F r ancisco, C A G RA N TS / AWA RD S/RE SID E NC IE S 2 0 0 0 - 2 0 0 3 Ar t s E n r ic h me n t G r a n t , Centr al Cal i for nia Ar t League , Modesto, C A 1 9 9 9 - 2 0 0 2 Ca lifo r n ia A r t s C o u n c il Gr ant, Ar ti st i n R esi dence , Stani sl aus Count y, C A 1 9 9 9 - 2 0 0 0 P ro je c t A live G r a n t , St anislaus County Ar ts Counci l , Modesto, C A 1 9 9 8 S u sa n Se ddo n B o u le t Awa rd, Ber kel ey, C A 1 9 9 8 Aw a r d o f Me r it , Th e Fla me , Ber kel ey, C A 1 9 9 2 S u m m er A r t s Sc h o la r s h ip, C a lifor nia State U ni ver sity, Humboldt, Ar cata, C A 1 9 8 6 F i r st P la c e D r awin g , Te h a ma County Ar t Competi tion, R ed Bl uff, C A 1 9 7 7 F i r st P la c e E a s t e r D e s ig n , H a ll mar k, R ed Bl uff, C A S E L E C T E D B IBLIOGRA PHY 2 0 0 9 “ Th ei r O wn Mu s e : Ga lle r y Owner s Show T heir Wor ks” T he Modesto Bee , Sep tem b er 11, 2009 2 0 0 8 “ B e a u t y fo r A s h e s ” Life win d Publ i cations, O ctober 2008 2 0 0 7 “ L ost a nd Fo u n d” E x h ibit io n Catalog, Cal i for nia State U ni ver si ty, Stani sl aus, Tu r l ock, CA 2 0 0 5 Pe t h o u d , K a t h i. “G a lle r y Ha s Had a Hand” T he Modesto Bee , O ctober 2, 2 0 0 5 2 0 0 5 M i l l eg a n , Lis a . “Th e C h a r t re u se Muse” T he Modesto Bee , September 16, 2 0 0 5 2 0 0 3 H i l l , D av id. “A Wo r k o f A r t for Tr i o” T he Modesto Bee , Febr uar y 2, 2003 2 0 0 2 M i l l eg a n , Lis a . “D own t own Modesto” T he Modesto Bee , December 22, 20 0 2 2 0 0 1 S t u t z i n , Le o. “Ou t s ide t h e B ox” T he Modesto Bee , O ctober 5, 2001 2 0 0 1 “ Th r ee Wo me n Sc u lpt o r s ” Ta lkAr ts, Summer 2001 2 0 0 1 “ A r t i st ’s Re c e pt io n ” Tu r lo c k Jour nal, J uly 27, 2001 2 0 0 0 H o l m es , M a r k . “Th e A r t s in Education” Tal kAr ts, Winter 2000 2 0 0 0 F l a n de r s , Ju lin e . “A r t is t in Re si dence” TalkAr ts, Winter 2000 2 0 0 0 “ Re c y c le d A r t Tre a s u re s A bo und” Tal kAr ts, Summer 2000 2 0 0 0 “ A r t S h ow” Tu r lo c k Jo u r n a l, Apr i l 19, 2000 43

T in n a H ar ter-Savin i

The wor ks offe r ed her e d em o nst r a t e my c o n t i nu e d i n t e re s t i n t r y i n g t o m a ke v i s i bl e t h e e th e r e al t opics that pre sent t hem sel ves j ust b e yo n d t h e ‘ s e e n ’ wo r l d. T h e s e e x pl o r a t i o n s a re e n able d by t he use of a co nsi st ent fo r m a t w hi c h r e l i e s o n t h e we l l - e s t a bl i s h e d a r t h i s t o r i c a l t r a di t i o n of th e h o r izontal or ient a t i o n o f a n i m a g e a s b ein g u s e d t o re pre s e n t l a n ds c a pe , wh i l e t h e u s e o f t h e ve r tical or ientation wo ul d b e i nd i c a t i ve o f p o r t r a i t u re , o r a h u m a n pre s e n c e . W h i l e t h e fo r m a t pr ovide s a consistent or ie nt a t i o n fo r t he wo r k , t he i m a g e s a re be g u n i n v a r i o u s way s . I u s e s t i l l l i fe obje cts , or natur al landsc a p es a s t he c o nc r et e fo r m s f ro m wh i c h I de v i a t e a n d de ve l o p a n i m a g e t h r ou gh an or ganic process o f evo l ut i o n a nd a b st r a c t i o n . A t o t h e r t i m e s , t h e i m a g e s be g i n a s m a r k s , c o lor s an d shapes that have no ext er na l so ur c e o f di re c t o bs e r v a t i o n . R e ly i n g o n t h e fo r m a l o r i e n t a tion of an image allows a c er t a i n a sp ec t o f t he c o n t e n t t o be fo u n d i n t h e fo r m a t i t s e l f , e a s i n g t h e w ay for making the pic t ur es fr o m l ess c o nc r et e s o u rc e m a t e r i a l , wh i l e s t i l l m a k i n g t h e m l e g i bl e w ith on e ’s modest under s t a nd i ng o f v i sua l t r a d i t i o n s a n d pre c e de n t s .

With this notio n o f t he fo r m a t a nd p r oc e s s i n m i n d, pre v i o u s wo r k s h ave be e n m a de o f a diptych , ‘ combination fo r m a t ’ , m ea ni ng t ha t I use t wo i m a g e s , s i de - by - s i de , a dj o i n i n g t h e m t o c re a t e a s in gle finished wor k. By j uxt a p o si ng i m a g es i n t h i s way, t h e c o n t e n t o f a n i n di v i du a l i m a g e i s e x pan de d to culminate in a m o r e c o m p l ex r el a t i o nshi p be t we e n t h e pa r t s a n d t h e wh o l e , i n c l u di n g a m e t aph or ical meaning of the i neffa bl e i n t he hum a n s pi r i t a n d fo r m , s o o f t e n po r t r aye d i n re l i g i o u s i c o n ogr aphy of ear lier centur i es. The m et a p ho r i c a l a l l u s i o n t o t h e i c o n o g r a phy t h a t h a d be e n i n f l u e n cin g my wor k became m o r e o bv i o us w hen t he pi c t o r i a l fi e l d (l i t e r a l ly ) ro t a t e d, a n d t h e pre v i o u s ly e ith e r h o r izontal or ver t i c a l fo r m a t s b ec a m e bo t h , fo r m i n g e qu i l a t e r a l c ro s s s h a pe s .

To rchlight Re d o n S weaty Fac es i s a r ec en t wo r k wh o s e t i t l e a t t e m pt s t o s u g g e s t t h e my s t e r ial place f rom whence the i m a g e c a m e . The wo r ds o f t h e t i t l e a re t a ke n f ro m a T. S. E l i o t po e m w h ich in t he appropr iati o n o f i t , a s wel l a s t he c re a t i o n o f my o t h e r t i t l e s , I h o pe t o o r i e n t t h e vie we r to t he visual, and hi d d en c o nnec t i o ns b et we e n t h e c o l o r s (a n d t h e i r a s s o c i a t i o n s ), t h e fo r mat ( an d it s implications) a nd t he i m a g er y ( so s u r re a l a n d a bs t r a c t ) s o t h a t t h e i m a g e fe e l s e x p e r ie n tial a nd not liter al , a k i n t o t he w ay t ha t p o e t r y s pe a k s o f re a l t h i n g s t h a t a re n o t t h e l i t e r al wor ds w r itten. “Torchl i g ht … .” b eg a n a s a si ng l e pi c t u re t h a t wa s di v i de d, ro t a t e d a n d re u n i t e d t o for m th e e quilater al cross w ho se l i m b s r ea c h si d e t o s i de (o r e a s t t o we s t ) a n d wh o s e ‘ t r u n k ’ re a c h es h e ave n t o ear th (or no r t h t o so ut h) . Desp i t e t h e e m ph a t i c n a t u re o f t h e c ro s s s h a pe t h e s e wo r ks ar e n ot meant as liter al ly r el i g i o us i m a g es exc ep t i n t h e bro a de s t s e n s e o f t h e my s t i c s o r pi l g r i m ’s path ; a path of hide and seek t ha t m oves i n a n d o u t , u p a n d down a s i t re c o rds t h e j o u r n e y o f tr yin g to u nite the human so ul a nd b o d y, a s wel l a s t h e a l c h e my be t we e n s u c h di s pa r a t e t h i n g s . T hou gh th e images use the v i sua l ver na c ul a r o f ‘ a b s t r a c t i o n ’ , I do n o t c o n s i de r t h e m s o l e ly ‘ a bs t r a c t ’ be cau s e t hey are not de r i ved fr o m a sp ec i fi c fo r m o r i de a t h a t pro g re s s i ve ly t r a n s fo r m s t o s o m e t h in g oth e r t han its source . The i m a g es a r e ‘ r ea l ’ a s e m e r g e n t e v i de n c e o f j o u r n e y s t a ke n .

I n the newest wo r k , t he fo r m a t ha s b ec o m e l e s s e m ph a t i c t h a n t h e e qu i l a t e r a l c ro s s , bu t th e r e is st ill intention in my a sso c i a t i ng t he t hr e e - pa n e l e d- pi e c e s wi t h t h e v i s u a l a n d c o n t e x t u a l tr adition of Chr istian ic o no g r a p hy. The t r i p t y c h pa n e l s t r u c t u re i s a t r a di t i o n a l fo r m t h a t s u ppo r ts a w ay of reading an i m a g e t ha t i nc l ud es a c e n t r a l fo c u s a n d s u ppl e m e n t a l c o n t e n t t h a t i s g e ne r al, ye t par ticular when i n t he c o nt ext o f i t s p ar t s . I a m u s i n g t h i s t r a di t i o n a l fo r m a t a s o n e t o o r ie n t an d r e ference mean i ng i n how p a r t s r el a t e t o t h e wh o l e , a n d h ow ‘ be t we e n ’ t h o s e t h i n g s o u r e xpe r ie n ce of them is know n. F o r exa m p l e , K r on os C o r o na i s a n i m a g e o f t h re e pa r t s , wh o s e t wo wo rd title is meant to sugge st a c o nt ext fo r seei ng th a t i s s i mu l t a n e o u s ly c o n c re t e (t h e T i t a n t i m e ) a n d f u gitive ( an aur a of plasm a ) , a s we exp er i enc e i t v i s u a l ly.

44

Torchlight Red on Sweaty Faces, 2012, graphite and pastel on paper, 12.5� x 12.75�

45

S E L E C T E D E XHIB ITIONS a n d RE V I EWS 2012-14 Fa c u lt y s h ows a t C SU Stanislaus, Modesto J unior College 2 0 1 3 G ro u p Sh ow C a r n e g ie Center for the Ar ts 2010-11 Un ive r s it y A dv a n c e me nt O ffice , CSU, Stani sl aus, Tur l ock, C A 2 0 1 0 G ro u p s h ow, Mo de s t o J unior College , Media & Per for mi ng Ar ts bui l d i n g, Mo de s t o, C A 2 0 1 0 Fa c u lt y Sh ow, Mo de s t o J uni or Col l ege , Modesto, C A 2 0 1 0 Bie n n ia l A lu mn i E x h ibiti on, CSU S, Tur l ock, C A 2 0 1 0 Spr in g Ju r ie d Tu r lo c k Ci ty Ar ts Commission, J ur y Aw ar ded pr i ze for d r aw i n g 2 0 1 0 Two Pe r s o n Sh ow, MJC ART Galler y, Modesto, C A, Dr aw ings show n 2 0 0 9 G ro u p Sh ow, A n nu a l Mi niatur es, Fir st Str eet Gal l er y, Tur l ock, C A 2 0 0 9 Fa c u lt y E x h ibit io n , M o d esto J uni or Col l ege , paintings and dr aw ings sh ow n 2 0 0 9 A r t is t ’s Re t re a t /C o n fer ence , S.N.A.R .L., Mammoth Lakes, Califor nia 2 0 0 9 G ro u p s h ow, G a llo C e nter for the Ar t, Modesto, Cal i for nia 2 0 0 9 Spr in g Ju r ie d Tu r lo c k Ci ty Ar ts Commission, J ur y Aw ar ded pr i ze for d r aw i n g 2 0 0 8 On e pe r s o n Sh ow M a r i posa Wi ne Company, Mader a, Cal i for nia, Pa in t in g s s h own 2 0 0 8 G ro u p s h ow, Tu r lo c k Ci ty Ar ts Commission, J ur y

Awa rde d pr ize for pastel dr aw ing 2 0 0 7 Fir s t St re e t Ga lle r y, g r oup show, dr aw ings show n 2 0 0 7 G ro u p s h ow/ D r awin g d onation to ci ty of Tur l ock Ar ts Commi ssi on 2 0 0 7 Fa c u lt y E x h ibit io n , M o d esto J uni or Col l ege , dr aw ings show n 2 0 0 6 Fa c u lt y E x h ibit io n , M o d esto J uni or Col l ege , paintings and dr aw ings sh ow n 2 0 0 5 ‘ A r t is t Sav in i C re a t e s Defi niti on in Abstr act’,

Fe a t u re A r t ic le by Li sa Mi l l egan, Modesto Bee 2 0 0 5 So lo E x h ibit io n , Mis t lin Galler y, Modesto, Cal i for nia 2 0 0 4 Fa c u lt y E x h ibit io n , ‘ Va lley Vi ew s’, U niver sity Ar t Gal l er y, Tur l ock, C A 2 0 0 4 G ro u p E x h ibit io n , C a lifor nia State Fai r, ‘Aw ar d of Mer i t’, Sa c r a me n t o, C a li for nia 2 0 0 4 Inv it a t io n a l Gro u p E x hi biti on: ‘WO R KS’ Galler y, San J ose , C A, 2 0 0 4 Ju r ie d G ro u p E x h ibit ion: Car negi e Center for the Ar ts 2003 A r t is t s ’ H ig h Sie r r a Pa ck Tr i p, Yosemite National Par k, Califor nia 2 0 0 3 G ro u p E x h ibit io n , C a lifor nia State Fai r, Sacr amento, Califor nia 2 0 0 3 G ro u p s h ow, H ilde g a rd F estival of Women i n the Ar ts, C a lifo r n ia St a t e U niver si ty ED UC ATI ONA L PROFILE C ol l e g e D eg r e e s , Sc h o la r s h ips , & Aw ar ds 1 9 9 6 Ma s t e r s o f Fin e A r t s , P i ctor i al Ar ts, San J ose State U ni ver si ty 1 9 9 6 Ra n da ll Sa dle r Sc h o la r ship, aw ar ded by the San J ose State U niver si ty 1 9 9 6 Ka t h r y n C a r r Sc h o la r s hi p for O utstandi ng U ni ver si ty Women, aw ar d ed by

t h e Tr u s t e e s o f the Califor nia State U ni ver sity system,

s t a t e -wide po o l of appl i cants 1990-91 C a lifo r n ia St a t e Un ive r si ty, Stani sl aus, Post- Gr aduate study in painti n g 1989-90 Th e Un ive r s it y o f C h icago, M.F.A. pr ogr am, attended on tui tion schol ar sh i p 1 9 8 9 Ba c h e lo r o f A r t s , Fin e Ar t / Phi l osophy, Summa Cum Laude ,

C a lifo r n ia St a t e U niver si ty, Stani sl aus, minor i n Phi l osophy 46

1988-89 Le o po ld Sc h e pp Fo u n d ation, Nati onal Scholar shi p Competi tion,

awa rde d by e s s ay & inter view 1987-88 Ma rjo r ie H . Br ig h t Sc h olar ship, CSU Stani sl aus,

Un ive r s it y -wide essay & i nter vi ew competiti on 1 9 8 8 Na t io n a l C o lle g ia t e A r t Mer i t Aw ar d, U ni ver sity facul ty r ecommend ati on 1 9 8 7 C a lifo r n ia St a t e Un ive r si ty, Stani sl aus,

s c h o la r s h ip awa r d for academi c excellence 1 9 8 7 & 8 6 C a lifo r n ia St a t e Un ive r si ty, Stani sl aus, Ar t Depar tment Scholar shi p,

awa rde d fo r o u tstanding ar tisti c achievement T E AC H I N G a n d PRE SE NTATION 2 0 1 4 Le c t u re r C SU St a n is la us; Ar t Appr eci ati on, Moder n Ar t

A dju n c t Fa c u lt y Mo de sto J unior College , Dr aw ing, Ar t Appr eci ati on .

2 0 1 3 Le c t u re r C SU St a n is la us; Ar t Appr eci ati on

A dju n c t Fa c u lt y Mo de sto J unior College , Dr aw ing 2 0 1 1 My s t ic a l Ro o t s o f a n Abstr act Tr ee , Lectur e Pr esentati on In t e r n a t io n a l Pe n Women 2 0 0 6 - 2 0 1 1 Adju n c t Fa c u lt y : M o de sto J uni or Col l ege , cour ses in Begi nni ng Dr aw i n g 2 0 0 9 - 2 0 1 1 Adju n c t Fa c u lt y : M o de s to J uni or Col l ege , taught cour ses i n Ar t Appreci ati on 2 0 0 6 “V is u a l In t e llig e n c e a n d the Sense of Ar t”,

D e live re d pa pe r /l ectur e Symposium Ar t & Philosophy 2 0 0 4 - 2 0 0 5 Le c t u re r in St u dio & Ar t Histor y:

D r awin g – C o mpositi on, I ntr oducti on to Studio, Ar t Appr eciati on ,

Fin e A r t s (In t e rdi scipl i nar y Lectur e: Ar t, Musi c , & T heatr e) 2 0 0 3 - 2 0 0 5 A dju n c t Fa c u lt y : M o de sto J uni or Col l ege , cour ses in Begi nni ng Dr aw i n g 2 0 0 2 G u e s t Le c t u re r, C o lle ge of the Sequoias 2 0 0 1 In t e r n a t io n a l So c ie t y of Pen Women, Featur ed Speaker 1 9 9 9 Le c t u re r : A r t H is t o r y, Cal i for nia State U ni ver si ty, Stani sl aus 1 9 9 6 Le c t u re r Po s it io n , Sc h ool of Ar t & Design,

C a lifo r n ia St a t e U niver si ty, San J ose , Studi o cour ses on

C o lo r- pr actical and theor eti cal aspects ( Spr i ng and Fa l l ) P RO F E S S I ONA L/ PE RSONA L D E V ELO PMENT ACT I VI T I ES 2 0 1 3 Sile n t Re t re a t ; E n t e r in g the Mi nd of Chr i st, w i th J ames Finl ey, PhD, Lo s A n g e le s , C A 2 0 1 2 C ME D, St u die s in H u man consci ousness and Ar chetypes w i th Car ol i n e M yss 2 0 1 1 C ME D, St u die s in H u man consci ousness and Ar chetypes w i th Car ol i n e M yss 2 0 1 1 Sile n t Re t re a t , C o n t e mplative Heal i ng, w ith J ames F i nley 2 0 1 0 Sile n t Re t re a t , Fo llowing the Mystics T hr ough the Nar r ow Gate ,

wit h Ja me s Fin ley, PhD, San Damiano, Aubur n, Cal i for nia 2 0 1 0 Sile n t Re t re a t , Fo llowing the Mystics T hr ough the Nar r ow Gate ,

wit h Ja me s Fin ley, PhD, San Damiano, Danville , Califor nia 2 0 0 9 C o n fe re n c e o n Spa n is h Mysti cs i n Avila, Spain. Visit the Pr ado Mu seu m ,

Thy s s e n -Bo r n e misza Collection, Museo R eina-Sophi a.

2 0 0 7 Re s e a rc h , t r ave l in Ro m e and Si cily, I taly. Vi si ted Gr eek temple si te s,

a rc h e o lo g ic a l s it es, Byzanti ne chur ches, catacombs, Vatican M u seu m s e t c .

2 0 0 6 Re s e a rc h & D r awin g in I taly 47

G ord on Sen io r

M u ch of my wo r k h a s be e n s t imu l ated by my r elocation fr om Engl and to Ca l i for n i a.

R e c e n t ly pi ec e s h ave e vo lve d f ro m instal l ati ons of multi ple units, to a ser i es of sm al l er m o r e u n i fi e d s c u lpt u re s . Th o u g h I am still pr eoccupi ed w i th jour neys, voyages, an d m i g r a t i on , n ow ma ps , a n ima ls , birds, butter fl i es and snails appear fr equently, an d ti tl es s u ch a s J ou r n e y in t o La n ds c a pe a n d Mi gr ati on, gi ve i nsight into the centr al them es.

T h e r e i s a sen s e o f a u t o bio g r a phy with evocations of the br ow n har e , al ong w i th oth er i ndi g e n ou s Br it is h f a u n a , s t a n din g for self. New expl or ati ons of mi gr ati on in m or e gen er a l t er m s , a s a bio lo g ic a l a n d sociol ogi cal phenomenon, ar e al so suggested , A se r i es of ne w s c u lpt u re s e x plo res contr asti ng mater i als: R e dwoo d i s p la c e d n e x t t o s a n ds t one and al abaster, cast pl aster, and l ayer s of p lywood .

T h e se “ j o u r ne y ” s c u lpt u re s ide n t if y fr ozen moments in ti me and significant pa u ses i n th e m i g r a t o r y pa s s a g e .

In o t h e r sc u l pt u re s la n d is dis c ove red, and her e l aminated plywood i s lai d dow n as str ata re pr e sen t i n g c ro s s s e c t io n s o f t h e ear th itsel f. Pr omontor i es of R edwood and a l ab aster b e c o m e m ou n t a in s in o n e ’s min d. It i s as if the voyages have taken on a ver tical as wel l as h or i zo n t a l dime n s io n , a n d a s if the ear l i er concer ns w i th just ‘getting ther e’ h ave gi ve n w ay t o t h e g e o lo g ic a l is s u e s of r uminati on on actually ‘bei ng’ in a pl ace .

48

Journey into Landscape 4, 2012, wood, alabaster and sky chart, 44” x 11” x 6” 49

S E L E C T E D S OLO E XHIB ITIONS 2 0 0 9 Re si de n c y E x h ibit io n , C o r t ijada Los Gazquez, Velez Bl anco, Almer i a, Spai n .

B u t t er f ly Wo r ld, M JC G a lle r y, Modesto, C A. 2 0 0 8 To o l s o f Un k n own Us e a n d Other Wor ks, Fir st Str eet Gal l er y, Eur eka,

H u m b o ldt St a t e Un ive r s it y, C A. 2 0 0 7 To u ch i n g E a r t h , Ra s mu s s e n Ar t Galler y, Paci fi c Col l ege , Angw i n, C A.

S t a n d i ng o n E a r t h , Tr u c ke e Meadow s Communi ty College , R eno, Nevada.

2 0 0 6 G r o u n dwo r k , Gre e n le a f Ga ller y, Whi tti er College , Whi tti er, C A. 2 0 0 5 A bo u t t h is E a r t h , Un ive r s it y Ar t Galler y,

C a lifo r n ia St a t e Un ive r si ty, Stani sl aus, C A.

G o r do n Se n io r, Pa r k s E x h ibition Center, I dyllw i l d Ar ts, C A. S E L E C T E D GROUP E XH IBITIONS 2 0 1 4 I n spi r ed by B irds , No rwic h Castle , Now ich, U K. 2 0 1 3 I n st a l l a t io n s , D o n So ke r C o n tempor ar y Ar t, San Fr ancisco, C A

F l i g h t o f t h e Spo o n bill, C le y 13 Contempor ar y Ar t, Nor th Nor folk Pr oje ct, U K .

A r t A u c t io n 2013, C ro c ke r Ar t Museum, Sacr amento, C A.

N e w A c qu is it io n s , D o n So ke r Contempor ar y Ar t, San Fr ancisco, C A

Or i g i n s , E le me n t a l Fo r ms in Contempor ar y Scul ptur e , Ber keley Ar t Cent er, C A.

Pa pe r Tt r a il, Jay Jay G a lle r y, Sacr amento, C A. 2 0 1 2 I n P r a i s e o f C o lle c t in g , C a r megi e Ar ts Center, Tur l ock, C A.

A C el ebr a t io n o f t h e M y le s Meehan Galler y, Dar l i ngton Ar ts Center, U K

M a ny Fa c e s o f C lay, C C A A Mistl i n Galler y, Modesto, C A.

G a l l er y A r t is t s , D o n So ke r Contempor ar y Ar t, San Fr ancisco.

A r t A u c t io n 2012, C ro c ke r Ar t Museum, Sacr amento, C A.

S H I N E , Be r ke le y A r t C e n t e r.

2 0 1 1 C on n e c t a n d C o lle c t , Sa n Jo se I nstitute of Contempor ar y Ar t.

4 0 t h A n n ive r s a r y E x h ibit io n , Don Soker Contempor ar y Ar t, San F r anci sco.

A r t A u c t io n 2011, C ro c ke r Ar t Museum, Sacr amento.

F a c u l t y E x h ibit io n , Fa c u lt y Development Center, CSU, Stanislaus.

G r o u p E x h ibit io n , D o n So ke r Contempor ar y Ar t, San F r ancisco.

2 0 1 0 Th e S e ve n t h A n nu a l Min ia t u r e Show, F i r st Str eet Gal l er y, Tur l ock, C A.

F a c u l t y E x h ibit io n , Fa c u lt y Development Center, CSU, Stanislaus.

A r t A u c t io n 2010, C ro c ke r Ar t Museum, Sacr amento, C A.

S a l t h o u s e 10, La n dma r k , Sa lthouse , Nor folk, U K.

F a c u l t y E x c h a n g e E x h ibit io n , Fir st Str eet Galler y, Humbol dt State U ni ver si ty.

2 0 0 9 F a c u l t y E x h ibit io n , Fa c u lt y D evelopment Center, CSU, Stanislaus.

Th e S i xt h A n nu a l M in ia t u re Show, Fir st Str eet Gal l er y, Tur lock, C A.

A r t A u c t io n 2009, C ro c ke r Ar t Museum, Sacr amento.

N e w c a s t le Gro u p, No r t h u mbr i a U niver sity Galler y, New castl e U pon Tyne , U K .

2 0 0 8 S u m m er E x h ibit io n , Jill B is h o p Contempor ar y Ar t, Haleswor th, U K.

S a l t h o u s e Sc u lpt u re Tr a il, Sa lthouse , Nor fol k, U K.

C a st e r s , Un ive r s it y A r t Ga ller y, Califor ni a State U niver si ty Stani sl aus, C A .

I n si d e / o u t Pa r k s E x h ibit io n Center, I dyl lw ild Ar ts, C A. 2 0 0 7 D epa r t me n t o f A r t @ Jo h n Stew ar t R oger s Facul ty Development Center,

C a lifo r n ia St a t e Un ive r si ty, Stani sl aus, Tur l ock, C A.

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S E L E C T E D C OLLE C TIONS T h e C r oc ker Mu s e u m, Sa c r a me n t o, C A. T h e D a r l i n g t o n C o lle c t io n , C o D u rham, U K, N o r t h u m br i a Un ive r s it y, Ne wc a s lt e-U pon- Tyne , U K. Wa kefi el d C i t y A r t Ga lle r y, Wa ke fiel d, U K. L e e ds S ch oo ls Lo a n Sc h e me , Le e ds, U K. T h e F r ed Ol se n Lin e , Ne wc a s t le , U K. K i n g E dw a r d s Ho s pit a l, UK G r i ze da l e C en t re , Gr ize da le , UK. C r ossi n g O pe n G ro u n d by G o rdo n Seni or, 1995, I SBN 1- 872482- 155 (Va r i o u s l i br a r ie s , e t c . in c lu din g t h e Tate Gal l er y ar ti st book collection) .

S E L E C T E D C ATA LOG UE S A ND BRO CHU R ES 2 0 1 2 I n P r a i s e o f C o lle c t in g , C a r n egi e Ar t Center, Tur l ock, C A. ISBN 978-0-9857652-0-0 2 0 1 0 S a l t h o u s e 10 La n dma r k , Sa lt house , Nor fol k, U K.

F a c u l t y E x c h a n g e E x h ibit io n Catal og, Fir st Str eet Gal l er y,

H u mbo ldt St a t e Un iver sity, Ar cata.

2 0 0 9 E n e r g y in t h e A ir t h e Ne wc astl e Gr oup 1984-2009.

2 0 0 8 G o r do n Se n io r : To o ls o f Un know n U se , Humbol dt State U ni ver si ty, ISBN: 0-9802410-0-6 2 0 0 7 D epa r t me n t o f A r t @ Jo h n Stew ar t R oger s Facul ty Development Center, ISBN: 0-9773967-9-7 2 0 0 6 G r o u n dwo r k , Gre e n le a f Ga ller y, Whi tti er College , Whi tti er, Cal i for nia, ISBN 0-9773967-1-1 2 0 0 5 A bo u t t h is E a r t h , Un ive r s it y Ar t Galler y, Stani sl aus State U ni ver sity, ISBN 0-9676803-7-9 S E L E C T E D B IBLIOGRA PHY 2 0 0 7 Re v i e w by D av id Oliv a n t in ar t cr i tical.com of Standi ng on Ear th

a t Tr u c ke e M e a dows Community Col l ege , R eno, Nevada.

2 0 0 7 Re v i e w by D av id Oliv a n t in R evi ew s U nl i mi ted, Ar ti sts New sl etter, U K, of S tan d i n g

o n E a r t h a t Tr u c ke e Meadow s Community Col l ege , R eno, Nevada.

2 0 0 1 V i d e o in t e r v ie w Th e H a re , 2001, Di r ected by Mike Toll, Gysing Ar ts, Sufol k, U K .

2 0 0 1 V i d e o D own t o E a r t h , 2001, Dir ected by Mi ke Tol l , Sal thouse Chur ch,

No r t h No rfo lk , UK .

2 0 0 0 D r aw i n g C o n n e c t io n s , K a n s a s State U niver sity S E L E C T E D C OMMISSIONS, RE SE AR CH AWAR DS AND R ESI DENCI ES. 2 0 0 9 J oya Re s ide n c y, C o r t ija de Los Gazquez, Spain.

2 0 0 8 C om m is io n e d Sc u lpt u re o f E yemann Sculptur e Gar den, I dyllw i l d Ar ts, C A 2 0 0 7 Re sea r c h awa rd C SU St a n is laus.

C om m is io n fo r NE Ss T. 2 0 0 6 C om m is io n e d D r awin g fo r t he Kai ser Per manente Medi cal Center, Modesto, C A

C om m is io n fo r NE Ss T

Re sea r c h awa rd fo r c o lla bo r ative i nter national confer ence “I nspi r ation to O r d er ” .

2 0 0 5 C om m is io n fo r NE Ss T.

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AC K N OW LE D GE M E N TS

California State University Stanislaus

Dr. Joseph F. Sheley, President

Dr. James T. Strong, Provost/Vice President of Academic Affairs

Dr. James A. Tuedio, Dean, College of the Ar ts, Humanities and Social Sciences

Depar tment of Ar t

Dr. Roxanne Robbin, Chair, Professor

Dean De Cocker, Professor

Daniel Edwards, Assistant Professor

Jessica Gomula, Associate Professor

David Olivant, Professor

Gordon Senior, Professor

Richard Savini, Professor

Dr. Staci Scheiwiller, Assistant Professor

Meg Broderick, Administrative Suppor t Assistant II

Andrew Cain, Instructional Technician I

Jon Kithcar t, Equipment Technician II

University Ar t Gallery

Dean De Cocker, Director

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California State University Stanislaus Art Space on Main | 135 W. Main St, Turlock, CA 95380