Inside | Out
a n e w stat e o f m i n d at t h e Oa k l a n d m useu m o f ca li fo rn ia
M ag i ca l E n co u n t e r M a r k Di o n ’ s s p e l l b i n d i n g n e w p r o j ec t
pixar OMCA celebrates the creative spirit of our hometown phenomenon
Vivo!
A sneak preview of o u r a n n ua l day s of the de ad show
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welcome
Dear Fellow Creative Spirits and California Makers:
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he months ahead are filled with exhibitions and experiences that celebrate the creative process in California. As you receive this—the second edition of Inside Out—we are celebrating the first special exhibition to open since OMCA’s transformation: PIXAR: 25 Years of Animation. This comprehensive exhibition of artwork created by Pixar’s artists returns home to the Bay Area after a worldwide tour that began at the Museum of Modern Art in New York. We are delighted to be the only other host in the United States of this presentation of a quintessentially California phenomenon: bringing together art and technology in the service of creativity.
While many of us think of the creative process as an individual endeavor, all these projects share a deeply collaborative spirit. Pixar films are collaborations—between artists, animators, and technology gurus—that result in films of wonder and delight. Mark Dion’s project is a manifestation of the partnership between our collections staff and the artist. VIVO: Days of the Dead 2010 is a collaboration between artists, staff, and community members, who together transform the Museum into a sacred creative space. Our hope is that you are inspired to become not just a creative observer but a creative participant. At OMCA, we offer many ways for you to become a creator, whether through our new evening programs or our “Family Explorations.” Too often we forget that the creative impulse is in all of us, and that it is at the heart of the California experience. We hope you will visit us in the next few months and tap into your own creativity—again and often! Lori Fogarty Executive Director
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OAKLAND MUSEUM OF CALIFORNIA
t o p t o b o t t o m : A b i g ai l H u l l e r ; g r e g ha b i b y i m a g e s
This fall, we will open two additional special exhibitions: The Marvelous Museum: A Project by Mark Dion and our annual Days of the Dead show. Artist Mark Dion has delved into the Museum’s collections to convert little-shown treasures into installations that tell the fascinating story of the Museum’s history. And we look forward to welcoming visitors back to the Days of the Dead exhibition, a beloved tradition at the Museum as well as an important reflection of the Mexican practice of acknowledging life’s passing.
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features 6
Pixar Comes Home
PIXAR: 25 Years of Animation is an intriguing look at the artistic and technical genius behind such beloved films as the Toy Story trilogy, Finding Nemo, Ratatouille, and Up. Plus: an inside look at how these timeless movies are produced right here, in our very own neighborhood.
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State of Wonder
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VIVO!
OMCA’s collections contain countless “orphans,” which artist Mark Dion draws upon to create provocative installations and interventions that reflect the evolving role that museums play in our lives.
This fall, we celebrate the creativity, humor, and life-affirming spirit of Days of the Dead with a new exhibition curated by Jaime Cortez.
ON THE COVER: Bob Pauley, Buzz, Toy Story, 1995. Pencil. © Disney/Pixar.
departments 4 Opening Events
© D I S N EY / P I X A R ; david m ais e l
A look at the special festivities surrounding OMCA’s grand reopening in May.
5 Retail Tales
17 Member Spotlight
The OMCA Store offers a tempting variety of artistic, fun, and educational items that tell the narratives of California.
Three creatively inclined OMCA members explain their decisions to join the Museum.
16 38 Million Stories
18 Calendar
Environmentalist Jennifer Stock is passionate about raising awareness of the Bay Area’s glorious marine ecosystem.
A guide to the Museum’s exhibitions, events, and programs.
The Story of California. The Story of You.
Oakland Museum of California
Inside Out is published three times a year by the Oakland Museum of California, 1000 Oak Street, Oakland, CA 94607. www.museumca.org. ©2010.
Contributors: Lori Fogarty, Maggie R. Pico, Sunny Green, Gail Bernstein, Rue Flaherty Produced by Diablo Custom Publishing dcpubs.com
Editor: Ann Dickson
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opening events
1. Lion dancers escort campaign donors to the new galleries.
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Scene and be seen The entire community joined us to celebrate our grand reopening in May. To see more photos of the festivities, please visit www.myomca.net and click on the Opening Celebrations link. 2 2. Congresswoman Barbara Lee addresses the crowd at the Opening Celebration on May 1. 3. Visitiors enjoy the Jukebox Lounge in the Gallery of California History.
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5. Dance lessons at the Nonstop Bhangra Bollywood Party. 6. A tour of OMCA’s grounds with landscape architect Walter Hood. 7. Fun with bubbles on the OMCA terraces.
There is still time to be part of California’s story and to join the community of donors that are making OMCA’s transformation possible. To find out more about the Museum of California Campaign, please contact Linda Larkin at 510-238-2918 or lalarkin@museumca.org. Opening Season Sponsors:
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Ph o t o g ra p h y : ( 1 ) D r e w A l i t z e r ; ( 2 , 5 ) D ani e l K o kin ; ( 3 , 4 ) Gr e g H a b i b y I m a g e s ; ( 6 , 7 , b o t t o m ) D in o M o rr o w .
4. Golden Gala guests check out the Gallery of California Art.
Retail tales
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Shop Talk The new OMCA Store is a don’t-miss emporium of unique, beautifully designed, and educational items that reflect the stories of California
New and Noteworthy at the OMCA Store - PIXAR: 25 Years of Animation Relive the enchantment of the exhibition with the new edition of this lavishly illustrated catalog, which features several special OMCA exclusives.
g r e g ha b i b y i m a g e s
- Bags by Elbow Grease Designs Berkeley designer Jenny Hurth, of Elbow Grease Designs, transforms exhibition banners into one-of-a-kind tote bags and other colorful household items.
- Fun for the Whole Family The store carries fun and educational items for kids of all ages, including activity books, puzzles, and a unique line of locally made, recycled playthings called Green Toys.
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isitors to the new OMCA Store are in for a treat. Here, in the store’s inviting new location, they can browse a distinctive selection of items that evoke the Golden State—whether literally or by conjuring the thrilling sense of discovery that California is all about. Located on the building’s second level, the 2,000-square-foot store features an ever-changing mix of products that relate to OMCA’s art, history, and natural sciences collections, as well as its special exhibitions. The store—which does not require Museum admission to visit—also includes a designated area for exhibitions of works by California artists and artisans and a flexible space for events such as book signings, artist demonstrations, and children’s storytelling. “The store responds to current events, cultural trends, and customer needs very quickly,” says Howard Thornton, general manager of retail and visitor experience. “We showcase edgy, culturally diverse, and relevant art; just-released books by Californians; and state-of-the-art research in the natural sciences and ecology.” For parents, the store offers a trove of family-friendly items. In addition to a well-chosen array of books, postcards, toys, and games, the store carries things visitors would be hard-pressed to find elsewhere, including OMCA’s own guides to Bay Area creeks and watersheds, and a folding commuter bicycle (“very Californian in its eco-friendly spirit,” adds Thornton). “California is a melting pot of cultures,” says Thornton. “Telling their stories is what the Museum is all about, and I try to reflect that in the store.”
For more information and to shop online, visit www.museumca.org/store.
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Teddy Newton, Miscellaneous superhero, The Incredibles, 2004. Collage. © Disney/Pixar.
pixa Robert Kondo, Remy in the kitchen, Ratatouille, 2007. Digital painting. © Disney/Pixar.
Behind the Blockbusters If there’s an experience that can rival the
development of their creations: the concept
ing hours, and all visitors will enjoy hands-on
fun, inspiration, and sheer fascination
drawings; paintings in acrylic, gouache, and
activities and demos, tours by Pixar artists,
of watching a film from world-renowned
watercolor; and sculptures that underlie
and a special OMCA film series, drawing on
Pixar Animation Studios, it is the chance to
Pixar’s computer-animated movies, and
Pixar’s feature and short films. For details,
glimpse works in progress of the Emeryville-
define story lines, characters, and scenery.
visit www.museumca.org.
based enterprise, up front and personal. That’s exactly what’s in store at PIXAR:
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The exhibition comes to Oakland after
—
a world tour that began at New York’s
PIXAR: 25 Years of Animation is made
25 Years of Animation, a major exhibition at
Museum of Modern Art in 2005 and wended
possible in part by generous support from
the Oakland Museum of California that runs
its way to venues from Finland to Japan to
the Oakland Museum Women’s Board and
from July 31, 2010, through January 9, 2011.
Australia. During PIXAR’s Bay Area engage-
the OMCA Art Guild.
The show celebrates Pixar’s artists and the
ment, OMCA will offer members-only view-
OAKLAND MUSEUM OF CALIFORNIA
“The art challenges technology, and the technology inspires the art.” —John Lasseter, chief creative officer, Walt Disney and Pixar Animation Studios; principal creative advisor, Walt Disney Imagineering
ar Ralph Eggleston, Sequence pastel: First day, Finding Nemo, 2003. Pastel. © Disney/Pixar.
Bob Pauley, Buzz, Toy Story, 1995. Pencil. © Disney/Pixar.
Get a behind-thescenes taste of Ratatouille, find Nemo’s seafaring companions, and witness the birth of Woody in THIS new exhibition, back from a whirlwind world tour.
comes home Don’t miss this RARE Chance to view the human artistry that informs and enlivens Pixar’s computeranimated wizardry.
Tony Fucile, Edna Mode (aka “E”), The Incredibles, 2004. Marker and pencil. © Disney/Pixar.
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That’s the number of Academy Awards© won by Pixar Animation Studios to date. Prior to the release of Toy Story 3 in June 2010, Pixar’s ten feature films had grossed more than $5 billion at the worldwide box office.
Peter Docter; Sullivan and Mike; Monsters, Inc.; 2001. Marker. © Disney/Pixar.
“How does creativity work? It’s not something you can do on demand, in a box, and immediately get it right. It’s not formulaic; it’s a process of exploration. … We’re constantly reviewing work. You have to check your ego at the door and hear everyone’s responses and ideas. It’s an iterative process.” —Elyse Klaidman, director of Pixar University and Archives
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Demystifying the Creative Process “You can’t rush art,” the old man repairing Woody tells the fidgety toy collector, Al, in a scene from Toy Story 2 . That’s also how the folks at Pixar describe their own production process, in which films progress painstakingly through four stages: development, preproduction, production, and postproduction. The PIXAR exhibition offers a revealing perspective on the studio’s intentionally collaborative creative process; most of the featured art reflects concept design and story development. “Without a fabulous story, it doesn’t matter how beautiful a film is or how technologically advanced,” says Elyse Klaidman, director of Pixar University (the studio’s in-house education and training department) and Archives. “We spend an enormous amount of time on story. It’s an iterative process that can continue through a significant chunk of the four to five years that it takes to make one of our films. Within that story, you have to have characters that are compelling, characters that you care about. And they have to exist in a world that’s unique to the story and to those characters.”
Bud Luckey, Woody, Toy Story, 1995. Mixed media. © Disney/Pixar.
Jerome Ranft, Sullivan, Monsters, Inc., 2001. Cast urethane resin. © Disney/Pixar. Tia W. Kratter, Sullivan fur pattern studies, Monsters, Inc.; 2001. Mixed media. © Disney/Pixar.
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Q: What’s changed and what’s remained constant at Pixar since you joined the studio in 1994? A: It’s obviously grown exponentially since I started. I think there were 120 people when I came in, and there are almost 1,100 or 1,200 now. It was a mom-and-pop grocery store of a building in Point Richmond, and now we have this beautiful building, and we’re building another one to accommodate all the space and the people and the ideas. And it’s more visible. But the thing that has stayed the same, and we’re very proud of this, is we just make movies that we want to see. As big as Pixar has become, we’ve managed somehow to hang on to that. Q: How have changes in technology impacted Pixar’s work? A: Technology has gotten so much better; at Pixar, we tend to eat those gains immediately. As soon as there’s a jump in technology, the ideas and the creative desire seem to surpass it instantly. Actually, it’s no faster today to render these films than it was in the ’90s, even though the machines are a million times faster and everything is better. We just make bigger and better ideas that require all that. Q: What are other characteristic aspects of Pixar’s creative process? A: The thing that’s unique at Pixar is we all rely on each other a lot to take an idea and “plus” it. Everyone feels like he or she is relying on the team downstream to take the work and set it up even higher. Nobody is overprotective of his or her work; we want to hand it off and have it get better.
Oakland resident Jonas Rivera says his role as producer of Oscarwinner Up was “two parts air traffic controller and one part head coach. My job was to take the director’s concept and help flesh it out, get it into script form, manage the process of getting it storyboarded, and build the team that actually produced the animation.” Here, Rivera chats with Inside Out about how he and his colleagues create their unique brand of movie magic.
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leagues to know that your work is being shown at OMCA and in museums around the world? A: The word is “pride.” It felt really, really special to be in these great museums. It just made us feel proud that the stuff held up at that level. I’m just thrilled that the exhibit is in Oakland and that it’s home. This is where I’m taking all my friends and family to see it.
© D I S N E Y/ P I X A R
A Producer’s Life
Q: How does it feel for you and your col-
500
That’s a rough count of the artworks in the PIXAR exhibition— some never before on display. Also featured: footage of Pixar’s creative process and interviews with artists.
Tia Kratter, The Offering Stone, A Bug’s Life, 1998. Acrylic. © Disney/Pixar.
The Quintessential California Enterprise There’s a good reason that Lori Fogarty,
studio carries on the state’s legacy of ani-
OMCA executive director, regards Pixar
mation, particularly Walt Disney Animation
Walt Disney to fuel growth in the field.
Animation Studios as “the ideal unifica-
Studios’ pioneering work. John Lasseter,
created films that have pushed the limits of
tion of art and technology, the hallmark of
Pete Docter, Andrew Stanton, and others
traditional animation artistry and computer
California innovation.” Located on a 22-acre
in the Pixar brain trust attended California
applications. Today, Pixar is a wholly owned
campus just a few miles from OMCA, the
Institute of the Arts, the school created by
subsidiary of The Walt Disney Company.
From its founding in 1986, Pixar has
For Members Only: Viewings and Mash-ups with Pixar Artists The PIXAR exhibition is reserved for members-only viewing beginning opening day, July 31, and continuing every Saturday morning from 9 to 11 a.m. through October 30. Get insights into animation production from Pixar artists on August 21, September 11, and October 16: Learn about early concept design, character and story development, and finished film sequences. For details on other PIXAR events at OMCA, see pages 18 and 19.
John Lasseter, Luxo, Luxo Jr., 1986. Pastel. © Disney/Pixar.
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The odd. The orphaned. The overlooked. In an exciting new project, Mark Dion explores the intriguing treasures in OMCA’s collections, creating a series of magical encounters.
“A museum is where the spark of inspiration happens. It lights the fuse and motivates knowledge.” —Mark Dion
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“M
useums began as places for the marvelous,” says sculptor and installation artist Mark Dion. “They offered encounters with the extraordinary, the spectacular. Wonder was the key to intellectual investigation.” In The Marvelous Museum: A Project by Mark Dion, opening on September 11, Dion recaptures that sense of wonder by drawing on rarely seen treasures from OMCA’s collections. His goal: to do a deep dive into the Museum’s holdings and find resonant objects that, for various reasons, would never otherwise be shown in the Galleries. Dion calls such items “orphans,” and OMCA has a vast quantity of them. Because the Museum was originally formed by the union of three very different institutions—the Oakland Art Gallery, the Oakland Public Museum, and the Snow Museum of Natural History—many items no longer neatly fit the Museum’s mission and thus fall between the cracks. “Lots of things were left high and dry when OMCA was founded,” explains Dion. “Things like carved hornbills’ beaks, taxidermied animals, and cordage. I looked for orphans that illuminate the Museum’s history and embody the stories of how we got where we are now. They all have to be visually compelling, and they have to tell stories.” On many levels, The Marvelous Museum examines the role museums did, do, and perhaps should play in our culture. In nearly 20 interventions, Dion introduces
car v ed h orn b ill ’ s b eak , da v id maisel ; mark dion , n h m
State of Wonder
elep h ant from snow museum of N atural Histor y , 1 9 3 6 , da v id maisel ; T u b b s cordage , da v id maisel
unexpected objects into the Gallery of California Art, asking viewers to see them in thought-provoking contexts. To the Gold Rush Gallery, for example, he adds a giant stone coin from the Micronesian island of Yap, raising questions about the arbitrariness of our value systems. A sweet-faced giraffe in the midst of the Portraiture Gallery, says Dion, “begs the question, What is personhood?” As part of this self-described effort “to turn the Museum inside out,” Dion has created and installed three “offices” that reflect the Museum’s different disciplines and eras. These include the office of a nineteenth-century natural sciences curator, complete with scientific specimens; a museum registrar’s desk from 1976, when the United States celebrated its bicentennial; and a contemporary art curator’s workspace, which uses the actual furnishings from the office of OMCA Senior Art Curator René de Guzman. Visitors can expect to be surprised by what they encounter, which is precisely the artist’s intention. “It’s giving people the opportunity for wonder,” says Dion. “People gain knowledge through direct encounters with things—and that’s what museums are all about.” — The Marvelous Museum: A Project by Mark Dion is made possible in part by generous support from the Andy Warhol Foundation for the Visual Arts, the FOR-SITE Foundation, Sheila Duignan and Michael Wilkins, and the OMCA Art Guild.
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Soul of the Dead, by Jesse Hernandez, participating artist in VIVO: Days of the Dead 2010.
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gifted writer, artist, and curator, Jaime Cortez is rarely at a loss for words. But when he was invited to curate Oakland Museum of California’s 2010 Days of the Dead (Días de los Muertos) exhibition, he struggled to find a single word to name the show that would capture the many dimensions of the Mesoamerican celebration. The challenge proved enormous because Days of the Dead means many things to many people: joy, sorrow, love, humor, faith, creation, the passage of time, the continuum of life. Over the centuries, Days of the Dead has continued to evolve, fusing pre-Hispanic traditions with Catholic symbolism. Today, the holiday is widely observed on November 1 and 2 in Latin America and by Latinos in the United States as a way to remember deceased family members and friends. Altars, or ofrendas,
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are made for departed loved ones and typically include sugar skulls, marigolds, candles, and the deceased’s favorite foods and drinks.
Shades of Meaning With so many facets to consider, Cortez drew up a long list of words that, in one way or another, connote Days of the Dead. After much reflection, he chose vivo—a Spanish word with almost as many layers of meaning as Days of the Dead itself. “In creating this show, I felt like I must contend with tradition, roots, and spirituality, and at the same time ask: How can we move forward in a new direction?” says the Oakland-based Cortez, who also curated OMCA’s Days of the Dead exhibition in 2005. “I chose vivo because it means ‘I live,’ an affirmation that is an essential aspect of Days of the Dead. But vivo also
VIVO: Days of the Dead 2010 will be on view in Open Space 3 in the Gallery of California Art from October 6 through December 5, 2010.
VIVO! This fall, curator Jaime Cortez presents OMCA’s annual Days of the Dead show, illuminating the many layers of meaning behind the beloved Mesoamerican tradition
means ‘living’ and ‘vivid,’ which correlate to the intense emotions and bright colors that characterize the altars. “And vivo has yet another meaning. When I was a kid, my grandmother used to say to me, ‘no seas vivo’—which loosely means, ‘don’t be such a trickster.’ This connects with the trickster spirit that infuses Days of the Dead, with its satiric poems, fancy-dress skeletons, and chummy familiarity with death.”
Points of Departure When VIVO opens on October 6, visitors will experience this multiplicity of meanings firsthand. The nine artists Cortez selected work in vastly different styles yet have created pieces that share the qualities he sought to capture: sensuality, playfulness, color, warmth, and surprise. The artists are mostly of Latino descent, have ties to the Bay Area, and will be exhibiting
at OMCA for the first time. Cortez encouraged them to think about the word vivo as they developed their works, which range from installations and paintings to spray art and plant design. One prominent installation, a ten-foot pyramid by Jesse Hernandez and Cristianne Dugan-Cuadra, combines elements of graffiti art with indigenous themes. “The pyramid is about pulling from the past and moving to the present,” says Cortez. “It was inspired by the Gallery’s new high-ceilinged exhibition space, which we wanted to maximize. “I hope visitors will come to VIVO and see the humor that lies at the heart of Days of the Dead,” he continues, “because there’s something funny about trying to fight death. People always try, through plastic surgery or denying their age, or in a million other ways. But death is always with us. Life and death are always coexisting.”
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3 8 Million stories
Steward of the Sea Raising awareness of California’s fragile marine ecosystem is top priority for environmentalist Jennifer Stock
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ike many of us, Jennifer Stock was filled with “sadness and anger” upon learning of the recent BP Gulf Coast oil spill. But, as Education and Outreach Coordinator at the Cordell Bank National Marine Sanctuary, near Point Reyes, Stock also can relate the disaster to her own work. “It’s a reality we have outside the Golden Gate, with the huge ships coming in,” she says. “There have been spills in the past, and there probably will be again.” The sanctuary—529 square miles of ocean centered on its namesake undersea rock formation—will be featured in OMCA’s Gallery of California Natural Sciences, set to open in 2012. Cordell Bank’s food-rich waters attract hundreds of species of fish, invertebrates, marine mammals, and seabirds. “It’s like a little city, twenty miles off the coast,” Stock says. A similar plethora of marine wildlife extends up and down the Golden State. “The entire coast of California is unique, in that we have the California Current that generates incredibly productive areas for wildlife and feeding,” says Stock. “The combination of this current being so productive and the diverse topography of the sea floor makes unique feeding areas for different types of marine wildlife.” Stock is excited about the upcoming Cordell Bank exhibits within the Natural Sciences Gallery, which she hopes will raise awareness of this hidden network of species and incredible undersea habitat. Considering that well over three-quarters of all ocean debris originates from land-based sources, educating landlubbers makes sense and is critical to the future of the ocean’s health. “Any trash or candy wrapper that makes it to the ground—unless it is picked up and put in the garbage—will find its way to a storm drain, then to a creek, which will drain to the Bay, and then to the ocean,” Stock says. “If there’s one thing humans can do to be great ocean stewards, it’s to keep their trash off the ground.” The consequences of marine habitat degradation—whether by massive oil spill, global warming, or tiny Twinkie wrappers—are real, says Stock. “If we lose habitat due to any type of destructive practices, we miss out because a large population relies on the ocean for food for at least a part of its diet. If you take away the habitat, you lose the potential for life to exist.”
“My hope is for people to feel connected to every creek and path of water that goes into the Bay and drains into our beautiful, productive marine environments.” 16
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member spotlight
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Interactive Instincts: Arsenio Santos, Individual Member
A Sculptor’s POV: Ama Torrance, Patron Member “I appreciate OMCA’s celebration of local talent like Joan Brown, David Ireland, and Squeak Carnwath,” says Ama Torrance, a sculptor who creates large, toylike animals and trees. “I am particularly excited to see the new directions [Senior Curator of Art] René de Guzman will bring in the future.”
background p h oto b y tim griffit h
“As an artist and Oakland resident, I feel strongly about supporting local arts organizations.”
“When I went to OMCA on the reopening weekend, I was struck by how fresh it is. Most museums take a do-not-touch-anything approach, but not OMCA,” says Arsenio Santos, an engineering lead at Digg, a social news website. “The combination of interactivity and creativity is something I respond to, and I like what OMCA is doing in that respect.”
Why I Joined Three members give Inside Out the inside story
Supporting a Local Gem: Natalie Compagni Portis, Donor Forum Member “I’ve always loved OMCA and have been bringing my son here ever since he could crawl. Last year, it hit me after seeing the wonderful Squeak Carnwath exhibit that I wanted to support this gem of a museum,” says Natalie Compagni Portis, a psychotherapist who is involved with many local arts groups. “As a new member, I look forward to members’ previews and to interacting with artists.”
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calendar
exhibitions, events, and programs Join us on the second Friday of each month for O Zone, our new evening program featuring music, presentations, and other explorations of our collections and exhibitions. This season, we are featuring the theme of “Creative Process” as we investigate what creativity entails—from dynamic collaborations at Pixar to wondrous installations by Mark Dion to spiritual pursuits in honor of the Days of the Dead. All ages welcome.
August Aug. 13 • O Zone: Second Fridays at OMCA It’s all about Bugs! So buzz over to OMCA for dance music, in-gallery explorations, and fun activities based on PIXAR: 25 Years of Animation. 5–9 p.m. Aug. 14 • Members-only viewing hours of PIXAR 9–11 a.m. Aug. 15 • Family Explorations! Finding Nemo in California Observe fish, talk with a fish expert, and make your own sea
creatures. Chat with Pixar animators. Made possible by Chevron. 1–4 p.m.
Sept. 5 • Free First Sunday Admission free to visitors all day. Made possible by Wells Fargo.
Aug. 21 • Members-only viewing hours of PIXAR and mash-up with a Pixar artist 9–11 a.m.
Sept. 10 • O Zone: Second Fridays at OMCA It’s all about Adventure! Dance music, in-gallery explorations, and fun activities. 5 p.m.–12 a.m.
Aug. 28 • Members-only viewing hours of PIXAR 9–11 a.m.
September
Sept. 11 • Exhibition: The Marvelous Museum: A Project by Mark Dion Through March 6, 2011.
Sept. 4 • Members-only viewing hours of PIXAR 9–11 a.m.
Sept. 11 • Members-only viewing hours of PIXAR 9–11 a.m.
Sept. 18 • Members-only viewing hours of PIXAR and mash-up with a Pixar artist 9–11 a.m. Sept. 19 • Family Explorations! Scouting California Inspired by Pixar’s Up, we invite you to scout around the Galleries to find new favorite characters. Participate in activities to earn an OMCA badge. Made possible by Chevron. 1–4 p.m. Sept. 25 • Members-only viewing hours of PIXAR 9–11 a.m.
Museum Guild Trips Explore California and the world of art, history, and natural sciences. OMCA’s volunteer guilds provide an amazing array of day trips as well as national and international tours. All trips are open to guild members, who must also be OMCA members. Join the Natural Sciences Guild for Sierra Nevada and the White Mountains (Sept. 10–12) and A Volcanic Trip to the California Cascades (Oct. 7–10). The History Guild is offering a trip to the Historic Hudson River Valley (Oct. 5–11), and the Art Guild is presenting Tahoe: The Gem of the Sierras and Nevada’s Art Capital, Reno (Sept. 12–17); China: Yesterday, Today and Tomorrow (Sept. 14–30, with an optional extension to Taipei from Sept. 30 to Oct. 4); and Art in the Heart of America: Omaha and Des Moines (Oct. 4–10). For more information, visit www.museumca.org.
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Far left: Young visitors enjoy OMCA’s reopening. Left: Virgo Paraiso, sketch for Viva la Vida. Featured in VIVO: Days of the Dead 2010.
October Oct. 2 • Members-only viewing hours of PIXAR 9–11 a.m. Oct. 3 • Free First Sunday Admission free to visitors all day. Made possible by Wells Fargo. Oct. 6 • Exhibition: VIVO: Days of the Dead 2010 Through Dec. 5, 2010. Oct. 8 • O Zone: Second Fridays at OMCA It’s all about Incredibles! Incredible objects, incredible you! 5–9 p.m. Oct. 8 • VIVO: Days of the Dead 2010 Gallery Talk 7 p.m.
greg Habib y images ; v irgo paraiso
Oct. 9 • Members-only viewing hours of PIXAR 9–11 a.m. Oct. 14 • Film: The Legend of Pancho Barnes and the Happy Bottom Riding Club The OMCA History Guild presents a film about a woman who became a stunt pilot in 1930. 1 p.m. Oct. 16 • Members-only viewing hours of PIXAR and mash-up with a Pixar artist 9–11 a.m.
Oct. 17 • VIVO: Days of the Dead 2010 Gallery Talk 2 p.m. Oct. 23 • Members-only viewing hours of PIXAR 9–11 a.m. Oct. 23 • Community Celebration for Days of the Dead In its 16th year, this family event features food, music, dance, and more. Included with Museum admission. 12–4:30 p.m. Oct. 30 • Members-only viewing hours of PIXAR 9–11 a.m.
November Nov. 4 • VIVO: Days of the Dead 2010 Gallery Talk 6:30 p.m. Nov. 7 • Free First Sunday Admission free to visitors all day. Made possible by Wells Fargo. Nov. 12 • O Zone: Second Fridays at OMCA 5–9 p.m Nov. 12 • VIVO: Days of the Dead 2010 Gallery Talk 7 p.m. Nov. 14 • VIVO: Days of the Dead 2010 Gallery Talk 2 p.m. Nov. 18 • Curator’s Talk Louise Pubols, chief curator of history, will discuss her book,
The Father of All: The de la Guerra Family, Power, and Patriarchy in Mexican California. Presented by the OMCA History Guild. 1 p.m. Nov. 21 • Family Explorations! Tales and Traditions of California Indians Explore the heritage of California’s First Peoples. Enjoy handson activities and meet artist in residence Linda Yamane. Made possible by Chevron. 1–4 p.m.
Ongoing Events Architecture Tour by the Council on Architecture First Sunday of every month at 1 p.m. Docent Tours of the Gallery of California Art Saturdays and Sundays at 2 p.m.
Docent Tours of the Gallery of California History Sundays at 3 p.m. Oakland on Two Wheels Explore Oakland with our biketripping docents. Participants must be 12 years of age or older. Bring your own bikes, helmets, and repair kits. Meet at Oak Street entrance. Third Sunday of every month at 10 a.m. Free. Reservations: docentcenter@ museumca.org or 510-238-3514. OMCA Highlight Tour Visit the Galleries and Gardens with docents. Wednesdays and Saturdays at 1 p.m. Note that events and programs are subject to change. For updated listings, please visit www.museumca.org.
Museum Hours Monday
Closed
Tuesday
Closed
Wednesday
11 a.m.–5 p.m.
Thursday
11 a.m.–8 p.m.
Friday
11 a.m.–8 p.m.
Saturday
11 a.m.–5 p.m.
Sunday
11 a.m.–5 p.m.
Second Friday of Month
11 a.m.–9 p.m.
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NONPROFIT ORG U.S. POSTAGE
PAID
Oakland Museum of California 1000 Oak Street Oakland, CA 94607-4892
SALT LAKE CITY, UT PERMIT NO.6563
Set aside a
special time Need more time with Woody, Nemo, and the Pixar crew?
just for you the exhibition is reserved exclusively for members-only viewing every Saturday morning from 9 to 11 a.m. through October 30. The Story of California. The Story of You.
Oakland Museum of California www.museumca.org