D I X I E SA L A Z A R “…And homeless near a thousand homes I stood.”
D IX IE S A L A ZA R “…And homeless near a thousand homes I stood.”
300 copies printed Dixie Salazar “…And homeless near a thousand homes I stood.” November 3–December 23, 2016
University Art Gallery Department of Art 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 © 2016 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 and production: Brad Peatross, School of the Arts, California State University, Stanislaus Catalog printing: Claremont Print, Claremont, CA Catalog photography: courtesy of the artist. Photographs included are used under the permission of the artist.
ISBN: 978-1-940753-23-2
CONTE N T S Director’s Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Essay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Poems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Curriculum Vitae. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
D IRE C TO R ’S FO R E WORD “…And homeless near a thousand homes I stood.” represents the chance to view the work of Dixie Salazar. An important artist, writer and activist, Salazar deals with the often hard and tough issues of homelessness and social injustice that can affect a wide range of people, devastating individuals and whole families. Salazar’s work shows the importance of social activists in the lives of the people and how artists can get involved in creating a more just, humane and equitable world. I am very eager to be able to be part of this exhibition and to be able to share Dixie’s work for others to experience. I would like to thank the many colleagues that have been helpful in presenting this exhibition: Dixie Salazar for the chance of exhibiting her brilliant work; the School of the Arts; California State University, Stanislaus for the catalog design; and Claremont Print and Copy for the printing of this catalog. Much appreciation is also extended to the Instructionally Related Activates Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue. Their support is greatly appreciated.
Dean De Cocker, Director, University Art Gallery California State University, Stanislaus
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“…And homeless near a thousand homes I stood.” William Wordsworth Nothing impedes the American dream more than the current explosion of homelessness. Ongoing trends to cut back on social services, affordable housing and other forms of public assistance have forced more and more people onto the streets. Added to this dilemma is the disturbing trend of criminalization through the passage of anti-sitting, sleeping, camping, feeding, and panhandling laws as well as curfews and special police task forces charged with harassing the homeless, creating increasingly more desperate people roving the city in search of the most meager means of existence. These cruel and draconian ordinances do nothing to fix the problems and, in fact, make it even harder for people to change their lives. If you are in constant search of shelter and your belongings are being confiscated repeatedly (including IDs and other personal documents) it is nearly impossible to apply for a job. Also, the vehement hatred directed at homeless communities and individuals by the city government, police, media, and even some homeless service providers (or poverty pimps as some of the homeless call them) pushes them even further undercover. This dehumanization process has continued to get worse with declining economic conditions. One of my goals as an activist, writer and artist is to re-humanize those who are reduced to cowering in the shadows. My work attempts to present visual reminders of humanity in the midst of chaos, to engage the public in dialogue about the homeless plight and maybe change perceptions along the way. I became more fully involved as an activist after touring one of the downtown Fresno encampments around 2002. Struck by the visual panorama of color and pattern the inhabitants incorporated to decorate their spaces by plucking scraps from what others discarded, I was inspired to embark on a photographic art project which was shown at Fresno City Hall in 2009. About forty-five of those photos appear in this show. Since then I have continued to explore homeless-related topics intermittently because working with the homeless has become part of my life. In 2013 I became involved with the Dakota Eco Garden, an environmentally friendly transitional living center. The Dakota Eco Garden started with a house and about 1/3 acre of land bought by Nancy Waidtlow and continues to operate with numerous volunteers and community support (all private, non governmental). We have not seen the prevailing homeless stereotype (degenerates who choose to be homeless) at the Dakota Eco Garden. With the support of people who care, the men and women who walked through our doors have found stability, safety, self-esteem and an opportunity to walk away to a life beyond the streets, finding jobs, continuing education and accessing services for healthier lives. The success stories of our residents abound: B (formerly using drugs, living on the streets in an abusive relationship) is now completing a drug counseling program at City College and working to reunite with her children. BB, kicked out of her home by family members after her husband’s death and a lifetime of abandonment and abuse, is now in counseling and taking the first steps toward self empowerment and a job search. D, once living in his truck, now works at the IRS because he has a place to sleep, shower and access the internet. N, whose mother kicked him out at fifteen, was homeless and stealing food to survive but now holds down two jobs to support his wife and infant son. NH, homeless and in poor health after a job loss, is now the resident caretaker and house mother of the Dakota Eco Garden. All in all, about fifty residents have cycled 5
through the facility, and only about three haven’t transitioned on to a greatly improved lifestyle. The Dakota Eco Garden operates under the nonprofit umbrella of The Eco Village Project, a concept of Art Dyson’s (renowned local architect), creating green, aesthetically pleasing housing in a self-sustaining and uplifting environment: a village offering self-respect and opportunities for self-empowerment. All that is needed is land to build the first eco village. We would love to see Art’s vision of an entire village of Eco houses built and serving many of those now roaming the streets. We would love to see our Dakota Eco Garden model also replicated by others in the city. It all just started with a house, a vision and a lot of people working together. Some words about the artwork in this show: I would describe my work as mostly figurative and expressive. Currently, I am excited about working with collage and have developed a process I call painted collage, using found images from scraps of newspapers, magazines, old scientific journals and my own photos, Xeroxed. After layers of collaged images and scraps are glued down, I try to create cohesion of design and theme by painting with acrylics, watercolors and oils on top. Sometimes other media such as charcoal, pastel or pencil are thrown in. This process is important because it in some ways mirrors the process the homeless use to build and beautify their living spaces, appropriating what is at hand and what works both visually and functionally. Some of the pieces are heavily symbolic and many use irony or humor to explore the ideas behind them. Freddy Fox is Full of Fun and Dolly Sits Outside her Home both use the irony implicit in the found coloring book images. They are both designed and bordered with patterns inspired by quilts, found abundantly in homeless shelters. The quilt holds special meaning for me since my mother was an avid quilter but also because of the associations with hominess and self-reliance and because quilts were an early recycling process, turning discards into a means of keeping warm. They are both functional and beautiful, and also full of memories attached to the scraps gleaned from the discarded clothes of family members. Many quilts also incorporate house-related patterns in their designs. Eggs, nests, and birds are also recurring images going back to The Egg Series about twenty years ago; they carry obvious symbols of home and domesticity, but also an added dimension of feminine empowerment. Homeless Pets refers to the importance of pets in the lives of the homeless for companionship, safety, a sense of domesticity, and even a sense of purpose at times. The irony is that many people give huge amounts of money to animal shelters and organizations that support animals and yet look down on the homeless, treating their own animals better than most of the homeless are treated. One of the reasons many un-housed people can’t go to shelters is because they won’t take pets. I have known many homeless folks who feed their animals first before themselves. Who Killed Big Sue? is a memorial painting for a sometimes politically active homeless woman who helped start Naomi’s House, a faith-based facility that houses women in downtown Fresno. Ironically, Big Sue died on the streets of Fresno on a freezing winter night in front of the Poverello House, a homeless service provider downtown, after her dwelling was bulldozed by the city. In the painting, the blue teeth of the bulldozers approach Sue in the center from both sides. Another homeless advocate, Pam Kincaid is memorialized in the painting, Blue Roses for Pan Kincaid. Her story is even sadder and more disturbing. The lead plaintiff in a successful lawsuit against the city, Pam was beat up and then died in the hospital, after going over a supposedly inaccessible balcony railing. Her case was not investigated by the Fresno police and remains suspiciously unsolved. What is known is that Pam was courageous and heroic, standing up for the rights and dignity of all homeless people and I tried to capture that feeling in the piece. Underwater and Fulfill Your Dreams both allude to the housing crisis and the many foreclosures, following the bursting of the housing bubble and the inflated and illegal banking practices that caused it. In Fulfill Your Dreams I collected drawings from 6
local architects and collaged them onto the background, literally building a house on and of paper. Inside the house are collaged photos that I took, along with one from the Community Alliance, a local progressive newspaper started by Mike Rhodes, a long time homeless activist. That photo shows homeless sleeping on the sidewalk in an encampment just outside of a vacant, boarded up house across the street from the Poverello House. Still Life with Batteries and Party Hat takes a traditional approach to a still life, with a twist, incorporating many of the survival items found in the photos I took of the dwellings found in the encampments. The party hat in this piece stands for hope, a hard commodity to come by if you are homeless. Evicting Mother Nature is a portrait of a feisty, elderly street woman who was called Mother Nature. Mike Rhodes took the picture of her used in this piece as she sobbed, watching her home being destroyed by the city. She died shortly thereafter. I also include a sampling of some poems in this catalogue, most of which have appeared in Altar For Escaped Voices published by Tebot Bach in 2013. A chapbook of additional homeless poems is forthcoming from Miramar Press in 2017. I hope the poems speak for themselves. While searching for a title for the photography show, I ran across the quote from William Wordsworth from Guilt and Sorrow or Incidents Upon Salibury Plain published in 1842.,“…And homeless near a thousand homes I stood.” It is discouraging to think the words still have relevancy to us in 2016. If you are moved by these poems or images and want to get involved in homeless issues or help in any way, I would suggest donating to Western Regional Advocacy Project in San Francisco (www. wraphome.org) a group that continues to work tirelessly to pass a homeless bill of rights. Also the Dakota Eco Garden and The Eco village Project in Fresno can always use financial assistance or volunteers. And get involved in creating a more just, humane and equitable world that, in the words of Paul Boden, “respects and values the humanity of us all.”
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Somebody’s Brother, painted collage, 30” x 40”, 2014 8
Fulfill Your Dreams, painted collage, 48” x 48”, 2014 9
Homeless Pets, painted collage, 40� x 40�, 2014 10
Evicting Mother Nature, painted collage, 22� x 28�, 2016 11
No Stopping Anytime, painted collage, 22� x 28�, 2016 12
Hidden in Plain Sight, painted collage, 30” x 40”, 2016 13
Right to Exist, painted collage, 30” x 30”, 2016 14
Chasing Shadows painted collage, 30� x 40�, 2016 15
Recycling Starry Night, painted collage, 22” x 28”, 2016 16
Top: Who Killed Big Sue?, painted collage, 30” x 40”, 2015 Bottom: Blue Roses for Pam Kincaid, painted collage, 17” x 21”, 2016 17
Still Life with Batteries and Party Hat, painted collage, 30� X 40� 2016 18
Homeless Cat, color photograph, 17” x 21”, 2002 19
Home for the Holidays, color photograph, 17� x 21�, 2002 20
Land of the Free, color photograph, 17” x 21”, 2002 21
Good Housekeeping, color photograph, 17” x 21”, 2002 22
Top: Sunset on H St, color photograph,17” x 21”, 2002 Bottom: Homeless Dog #1, color photograph,17” x 21”, 2002 23
Top: Homeless Altar, color photograph,17” x 21”, 2002 Bottom: Get Your Own, color photograph,17” x 21”, 2002 24
Top: Going Out of Business, color photograph,17” x 21”, 2002 Bottom: God’s House?, color photograph,17” x 21”, 2002 25
POE MS ALTAR FOR THE ALTERLESS “The homeless people that live here are the luckiest homeless in Fresno. They have maid service. We come out and clean up for them about every other week.” —Police Officer Rey Wallace The things they lost in the cleanup: false teeth bicycle sleeping bags laptop computer new shoes blankets insulin family photos Paxil dog food heart medication jewelry small TV sleeping bags birth certificates hand weights tool box inhaler love letters tent with baby kittens inside social security card shampoo military discharge papers service medals birth control pills dog house urn with granddaughter’s ashes
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CONNECT THE DOTS Dark as asphalt, skin shiny as a nugget of coal he pushes a shopping cart down Echo, a cart loaded two feet above the rim topped by a plum stained log cabin quilt, hand stitched-the cart rattles and groans with most likely all he owns. Heat waves crash around him, air surf making visible the hundred plus heat that drowns him and thickens the air he pushes his worldly goods against headed for his cardboard crib, papered with coloring book pages of connect the dots—from broken baby rattle to hand me down dump truck from stinging belt buckle to slamming backyard gate to gavel smacked down on unforgiving oak— to pink slips, eviction notices and final decrees to cardboard windows and doors to the slow unraveling inside him, leaving his core hollow in a night filled with echoes that bump, rattle and disappear, swallowed in connect the dot stars and a pale moon, scribbled over with smoky loops.
OPEN YOUR EYES (After Phil Levine) I found a whole apple pie in the dumpster took it back to share with one of my moms and the rest of the camp. Then I walked through the early evening smoke where dust and smog scribbled the sky a fiery rose and muddy canal waters gathered reds and pinks and spread them out in watery scarves. From behind the silos, stray gulls rose and winged into a sunset that opened wide to darker and deeper purple reds that just screamed louder and louder --look look at this wealth of colors spread over the cracked earth. Open --wider and wider- to streaked skies fall down in the soft dirt-to praise the sun dropping over the rim of the world and breathe in the fire no matter how many curses the man behind food Max screamed after you --no matter how many signs the city has posted evicting you from your absence of a home. There are some things that cannot be found on E-Bay, appraised, amortized stolen or seized by men in orange vests when they come to bulldoze our beds and inventory our weary forks and spoons to store them in bins with the rats and maggots-some things are right and true and cannot be sullied by words dressed up in official seals, the simple joys that don’t break down in either the grind of use or neglect. My second Mom and I came to this, sharing pie with Chuey and Wayne in a patched tent beside a canal open to the raggedy wind. If you don’t believe me… open your eyes and see dark shapes moving through the shadows pushing everything they own from one corner of the city to another- hidden from nothing— not even eyes that attempt to hide open your eyes and also that parched, dry place where you pledge allegiance to money and pat your wallet pocket for reassurance --open your eyes to a skinny bird stripping a carcass quietly in a parking lot as the sun drips down
sharing what’s left of its meager light into clumps of Ailanthus, the tree of Heaven that some say are not even trees. ALTAR WITH BANANA, BROKEN GLASS, AND BALL POINT PEN Business as usual at the AM PM mini-mart— hot coffee mixes with swallows of fog, morning rush of Cheetos and cigarettes, tall Colt 45’s to ease the shakes— rap pounding over the parking lot— leaks from tinted windows—kids grabbing sodas and Twix before the American History—beat goes on—sun straining through beefy clouds above a vacant lot— silver weeds fight to survive the crush of tossed cardboard and wink of broken glass. Business as usual— two cops are beating a homeless man, one holds him down while the other punches his face—bus fumes scatter—the beat goes on—Kanye’s “Heartless”—the man flops like a fish on the dock, while the fist socks into flesh, then bottoms-out in bone, now they have him cuffed, more punches to the head—blur of commerce speeding past, everyone tuned into morning hate of late AM commute to jobs they hate—punching time clocks at Sears and Zacky Farms—the beat goes on. At the press conference- breaking news- they found his weapon a ball-point pen—the chief will say his people will look into his people— investigate—but not too internal— just the usual peek—till this blows over and the radio dials turn back to The Pussy Cat Dolls, business as usual. February 9, 2009: This time the produce man at Von’s— his trunk full of bruised fruit turned on his video cam.
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INTRO TO PHYSICS This morning because little waves of potential heartbeats are bumping together, Sinamen crosses from Winchell’s doughnuts to Denny’s pushing a stroller of Top Ramen, heart pills, everything else the cops haven’t taken yet—topped by a small refrigerator and sock monkey, twerking a red butt to the late for work red light runners—she takes her time, smelling sweet maple buns and burnt tires folded together—hearing a school yard bell ring somewhere nearby, the children spilling out in waves for recess, freed from the lazy, droning Intro to Physics, laughing and smacking a tether ball up to a ghost moon like a fingerprint dusted after a crime-a spree of crimes everywhere-seen and unseen. In her pocket, unspent, the quarters lie quiet and tired in yesterday’s lint, no longer needed for the phone call she thought about this morning when she first woke under the tall shrubs along the railroad tracks and remembered like a lightening bolt to the heart, the cold window where sparrows sing differently now as if they know they are unobserved. ALTAR WITH GEORGE CARLIN ALBUM, FLATTENED TIN CAN, AND DONALD TRUMP’S TOUPEE after Hikmet It’s no crime to be Donald Trump— it’s not a crime even to die for stuff, but it’s a crime to be homeless. If you don’t believe me, try trading your three piece or silk chemise and Jimmy Choos for an army jacket, torn jeans, backpack then walking to dinner with friends on the wrong side of the unblessed street—try diving without scuba gear behind the Radisson 28
or smoking by the railroad tracks without your ID, washing windows without a permit, piling all your stuff in a shopping cart and wheeling it between F and G at the midnight hour, or try sleeping under Perseus showers without a license—try dreaming under an unauthorized trestle—wild stallions, windfall pears, empty bird cages, un-tranquilized lions guarantee a boxcar of un-posted bail. Try the flamingo or child’s pose in Courthouse Park if you’re recognized— if your name is on the list. It’s all a matter of which side of the fence you sleep on—which line you step over—which shiny star you piss off, or maybe just possession of fraudulent zip codes. It’s no crime to be Donald Trump— it’s not a crime to die for stuff unless it’s stuff unsecured by Turner or Yale, a paper cup of felonious poppies, an open container of sorrow, a doghouse with no P.O box. NIGHT MUSIC At night, shopping carts come out with the moon, click clack click clack; rattle and clang—a chain gang of carts bumping over the tracks. Lights wink up and down the street like fireflies dipping into broken glass. When the moon rocks alone in the night, the stars wink out one by one making a music heard only by those covered in fish scales who shake marbles in rusted tin cans, dig through burnt out light bulbs smashed aluminum ham bones and tossed egg shells crowding around open bins, sparring for copper and tin while Bone Thugs, 96 Tears
and Maybe This is Home fade into the night with the bent wail of a train’s last breath. HAPPY HOUR (after Neruda) for Sinamen Just because the canal reveals undigested innards of mud-spoked Big Wheels, shopping carts spangled with hospital bands & lost baby teeth-Just because morning groans the cracked song of an old man’s barnacled spine-none of this means I can’t be happy can’t count the drops of birthday wishes circling in the gutter can’t sing about love and mashed potatoes or watch a burning window collect hot reds from a sunset. “Today let me be happy” allow my feverish feet to skip over the worm castings of sorrow hide from the homeless police float above mosaics of broken glass where the wind is a lucky bump to see me through the saddest hours of home cooked pass the salt wounds with extra helpings of shattered kisses. Allow me to surf through ecstatic smog with my girls around me warning of meteor shark attacks barking at stray memories that come barreling out from under the aqueduct as if to drown this miracle of a day when some official somewhere decides to open the sluice-just let me take wing on the backwash and something close to a song leak through my teeth as if it is enough as if I had some part in the making of this sweet tragedy.
ONE PAYCHECK Once I owned a house in Old Fig-magical garage doors, mirror tiles etched with unicorns sparkly granite counter tops with wall to wall debt and black mold seeping through the baseboards. At work I made coffee for big shots typed up reports, lied to their wives and trolled E Bay by night. It was a good life I thought even with the wobbles. Now I push a wobbly shopping cart filled with all I own—today, that is… before it’s stolen or grabbed by the cops-- pots for boiling Top Ramen, rusted hot plate, ragged toothbrush, stained pillows and a cigar box where I keep my secret stash wrapped in velvet—fish, giraffe, flamingo, octopus, swan all spun from glass and the best one a unicorn-- for when I get really hard up. Yesterday, I traded a seahorse for tampons. Sitting, propped against the cart and morning glories, I watch a soft wind sifting through the car wash, picking up plastic bags and yellowed sales slips from the thrift store think of the rows of used clothes, the racks of shoes, the shelves of dishes, candles and books the stuff of our lives, old and new becoming old before they’re out of the box. I wrap my arms around this old army coat, let the sun swaddle me, soak through the layers embrace all that’s survived-all that’s discarded-
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D IXIE SA LA ZA R - CV 2016 Madera Arts in Agriculture Show, Madera, CA 1st place oils Sept. 2016 One Degree of Separation, Artes Americas, Fresno, CA Group show May, 2016 Lodi Spring Show 3rd place oils, Hon. Mention, oils, Apr. 2016 Orange County Collectives- Laguna Beach, Ca. “How I Identify” Juried Show Mar. 2016 2015 Stanislaus State College, Social Justice Conference (Speaker Homeless Advocacy and the Dakota Eco Village) Poetry Reading, slide show of my artwork October, 2015 Madera Arts in Agriculture Juried show (First Place, oils) Sept. 2015 Orange County Collectives- Laguna Beach, Ca “Celebrating the Abstract” Juried group show May, 2015 Fresno Arts Council Juried Show- Arts in Agriculture- 1st place, honorable mention May, 2015 Orange County Collective- Laguna Beach, Ca “Faces” Juried Group show Mar, Sierra Art Trails – The Figure Revealed- Juried group show – 1st place Feb. 2015 Pacific College Gallery, Fresno CA – One woman show Jan, 2015 2014 Lodi Spring Juried Show, Lodi, CA honorable mention May, 2014 Fresno Arts council Juried group show- Arts and Agriculture- Best of Show, 1st place, 2nd place, May, 2014 Sierra Art Trails, Yosemite Juried Group show, Best of show – Feb. 2014 Pam Foss Fine Art Gallery, St. Michaels, MD invited group show Feb. 2014 Orange County Collectives—Laguna Beach, CA Juried group show 10/2014 Au Naturel Clatsop— Community College—Astoria, Oregon (National Juried Show) Jan 23- Mar 20, 2014 2013 Pam Foss Fine Art Gallery, St. Michaels, MD, Juried invitational show WOMENS’ RIGHTS Nov. 2013 Chris Sorenson Gallery—Nudes in November_ Juried show 2nd place Nov. 2013 Arte Americas, Fresno, CA—INTERCONNECTIONS, One person show painted collage Jul-Sept. 2013 Alliant Business College, Fresno, CA—One person show. Aug. – Dec. 2013 Lodi Spring Juried Show, Lodi, CA. two paintings, 1st place Oils, May 2013 Women’s Caucus for Art, National Steinbeck Center, Salinas, CA, Juried Invitational Show, HIONORING WOMEN’S RIGHTS, Sept. 2012- Jan. 2013 2012 Fresno Regional Foundation, Fresno, CA – One person show, 2012 Fresno Housing Authority, (Public Art Acquisition, triptych and 3 paintings) purchased. 2012 2011 Sierra Art Trails, Oakhurst, CA (OUR WILD LANDS—Juried show, 2nd place) Dec. 2011 Downtown Club, Fresno, CA— One woman show. Jan. 2011 2010 K-Jewel Gallery, Fresno, CA— One woman show. Nov. 2010 St. Paul’s Newman Center, Fresno, CA—HOMELESS IN FRESNO, One woman show photos, Jan. 2010 CBD Gallery, San Francisco, North of Tenderloin group show (ten paintings) Mar. 2010 2009 Coke Hallowell River Center, Fresno, CA—PRIMITIVE DIASPORA, One person show- Apr. 2009 Stellar Gallery sponsored group show, Hornitos, CA—Oct. 2009 Arte Americas, Fresno, CA—ESPADA DE LOS FILOS, Contemporary Latin American Artists from New York to Ca. Dec. 2008-Feb. 2009 2007 Fresno Convention Center, CALIFORNIA SPEAKS, (Artist in Residence creating art piece on site at Health Care Referendum) Aug. 2007 2006 Art Americas ENTRE DOS AGUAS, One woman show Feb. 2006 2005 T.W. Patterson Bldg. ESCAPING GRAVITY, One woman show – oils 10/11/12/ 2005
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Educational Employees Credit Union, Sacramento, CA one woman show (oils) Nov. 2005 Merced Multicultural Arts Center, Merced, CA— ENTRE DOS AGUAS, One woman art show Jan –Mar. 2005 2003 Clark County Library, Las Vegas, Nevada— LA MUJER, WALKING IN TWO WORLDS, One woman show Mar. Alliance for the Arts @ Metropolitan Museum, Fresno, CA. Juried show (Hon. mention) May, 2003 CSUF Lyles Gallery— FLASHES AND SHADOWS, one woman show 2003 CSUF John Wright Theatre Gallery— ABOVE AND BELOW THE SURFACE, one woman show coordinated with Valley State Prison’s inmate’s writings, Feb. 2003 2002 Galeria la Raza, Group show, San Francisco, CA May, 2002 Mission Cultural Arts Center, SOLO MUJERS, juried group show San Francisco, CA Feb. – Mar. 2002 2001 Fresno Art Museum— IMAGINING WATER, One Woman show Oils 9/2001 Sahara West Library , Las Vegas Nev. Group Invitational show 9/2001 HECHO EN CALIFAS: THE LAST DECADE, (juried traveling group show: L.A., San Jose, Richmond, San Diego, Sacramento, Fresno, CA. 1/2000 – 7/2001 Gallery 25, Fresno, CA— BEYOND THE LENS One woman show, 6/2001 1999 Mayana Gallery, New York, NY (one person show) 6/1999 1998 Arte Americas, Fresno, CA— CALIFORNIA CORRIDO, Installation piece. Oct. 1998 Barnes and Noble, Fresno, C—PAINTED WINDOWS, SPAIN. One woman show, 1998 1997 Galerie Govreaux, Fresno, CA— One woman show, 1997 1996 Fresno City Hall, Juried Group Show, Feb. 1996 Fresno Arts Council, Juried Group Show, Nov. 1996 Fresno Metropolitan Museum, Artist in Residence & One Woman Show, with community altar) Nov. 1996 Inside Out Gallery, Fresno, CA— FIGURE IN MOTION, One woman show 1996 CSU Fresno, President’s Gallery, NEW ASSOCIATIONS, One woman show Feb. 1996 1995 Matrix Gallery, Sacramento, CA— Juried Group Show, 1995 1994 Art House Gallery, Fresno, CA— One Person show 1994 1993 Matrix Gallery, Sacramento, CA— WOMEN ARTISTS ’93 (Juried Show) 1993 Fresno City College Art Space Gallery, Fresno, CA— AMBIGUITIES, One woman show of watercolors. Feb. 1993 1992 The Fresno Arts Center, Fresno, CA— DRAWING ON FRESNO Group Show, May 1983 1991 Landmarks Preservation Council Photography Show, Fresno, Ca. (Hand colored photos of Fresno City College Old Administration Building). One person show 1991 Fig Tree Gallery, Fresno, CA— Invitational Group Show 1991 1990 The Fresno Art Museum Rental Gallery, Fresno, CA— WATER FALLS , One woman show of watercolors. 1990 1988 Valley woman Books, Fresno, CA— One woman show, watercolors 1988 1984 Gallery 25 Fresno, CA.— OUT OF THE DARKNESS (slide/sound presentation) July, 1984 The Fresno Art Museum, Fresno, CA. THE GLASS BETWEEN US—(One person show- photography) Nov. 1984 1983 CSU Fresno, Phoebe Connolly Lecture Hall, OUT OF THE DARKNESS (slide/sound presentation-original slides and taped electronic music collaboration) May, 1983 1982 Gallery 25, Fresno, CA— One Woman Show, Oct. 1982 Congressional Arts Invitational, Washington, D.C.— Group show April, 1982 The Fresno Arts Center, Group Color Photography Show. April, 1982 Congressman Tony Coelho’s Office, Sacramento, One Woman Show 1982 1981 Matrix Gallery, Sacramento, CA— Group Juried Show 1981 Gallery 25, Fresno, CA— One Woman Show 1981 Spectrum Gallery, Fresno, CA— Group Photography Show 1981, 1982 The Fresno Art Center, Fresno CA— SIX DIRECTIONS group photography show (Six photographers) Jan. 1981 1980 California State Building, Fresno, CA— One Woman Show 1980 1979 Art Revelations, Fresno, CA-- One Woman Show 197
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AC K NOW LE D GE M E N TS California State University, Stanislaus
Dr. Ellen Junn, 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
Jessica Gomula, Associate Professor
David Olivant, Professor
Gordon Senior, Professor
Richard Savini, Professor
Mar tin Azevedo, Assistant Professor
Daniel Edwards, Assistant 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
Nikki Boudreau, Gallery Assistant
Special Thanks Special thanks to James Tuedio for including me in this most relevant and inspiring conference. Thanks also to Victor Trejo and John Alden for photographic help, my husband Jon for his ongoing suppor t, all the amazing people involved in The Eco Village Project and the Dakota Eco Garden, Mike Rhodes for photo permissions and his tireless work on behalf of the homeless in Fresno, Cynthia Greene for guiding me through the encampments, Sinamen, Nancy, and other homeless friends who inspired the poems. And many thanks to Nikki, Brad, Dean De Cocker and the wonderful staff at CSU Stanislaus in the Ar t Depar tment and the University Ar t Gallery. 32