Inside Out Issue 18

Inside | Out

T h e M useu m o f us Oa k l a n d m useu m o f ca li fo rn ia

STATE OF FLUX A changing California inspires OMCA to forge new connections

UNEARTHED: Found + Made / Artworks derived from landscapes and cityscapes New at the OMCA Store / Quality prints from the Museum’s collections winter 2016

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welcome

Dear Friends and Members “California is a place in which a boom mentality and a sense of Chekhovian loss meet in uneasy suspension; in which the mind is troubled by some buried but ineradicable suspicion that things better work here, because here, beneath the immense bleached sky, is where we run out of continent.” —Joan Didion

Lori Fogarty Director and CEO

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odell husse y p hotogra p h y

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f there is one constant throughout the history of California, it is change. California has always been marked by flux—new waves of people seeking opportunity, new industries springing up and taking root, new technologies that start up here and become pervasive worldwide. We experience a new “boom” at least once every generation. In recent years, while the California dream has become increasingly questioned and seemingly more elusive, there still persists the sense of possibility, the hope for reinvention, and the expectation that here, at this edge of the continent, we do things differently.

In these pages, you’ll read about Californians who are working to make a difference in our state in groundbreaking ways.

From Rue Mapp, who connects her community to California’s extraordinary landscape through her organization Outdoor Afro, to change agents championing transgender rights, increasing access to technology for low-income youth, or documenting the impacts of climate change, California continues to inspire.

Here at the Museum, we recognize both the opportunities and challenges of a changing state. We embrace what California native and author Joan Didion called the “uneasy suspension”—the dynamic potential afforded by new people, new technologies, and new ways of experiencing the world—and, at the same time, the tensions these changes bring about.

We explore these tensions in a number of upcoming exhibitions, particularly this spring with Altered State: Marijuana in California. This exhibition, the first of its kind in a museum, takes on an issue that will likely be on the state ballot in 2016 and is enormously complex. We hope the project will encourage our visitors to learn more, dig deeper, and engage in dialogue about something that will surely change our state in the years ahead.

Similarly, we are reinstalling a section of the Gallery of California History devoted to the Japanese internment, a chapter of our state’s history that has particular resonance for those of Japanese ancestry. We hope that all who visit will come away with more compassion and understanding.

These are interesting times for museums and cultural institutions. We are grateful to you, our Members and supporters, for being part of this journey with us and for joining us in advancing our mission to “inspire all Californians to create a more vibrant future for themselves and their communities.” The year ahead will be an exciting one for us and for California.

Eureka!

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A firefighter looks at the 2009 La Brea fire in the Los Padres National Forest, which was started by equipment in an illegal marijuana operation.

A Changing California An evolving state means an evolving Museum—learn

how OMCA is engaged in reaching, serving, and partnering with the community on the issues that matter most. Plus: A sneak preview of OMCA’s upcoming exhibition Altered State:

T O P : A n d r e w L e e , U . S . A i r F o r c e ; b o t t o m : Cou r t e s y of t h e a r t i s t a n d S usa n n e V i e l m e t t e r L os A n g e l e s P r o j e c t s

Marijuana in California.

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UNEARTHED: Found + Made

departments

Works by contemporary artist Jedediah Caesar

take everyday materials and give them new meaning­—an

4 Thought Leader

illuminating pairing with the ancient Japanese art of suiseki.

A conversation with Outdoor Afro founder Rue Mapp.

14 Gallery News Reimagined installations on the Japanese American

On the cover: Sam Rodriguez, C3P-YO! Instagram: @samrodriguezart

internment experience during WWII, celebrating urban birds, and an acquisition in which guerilla art meets craft.

16 Retail Tales Visitors can now browse the Museum’s collection through the OMCA Print Shop and order beloved works at the OMCA Store or at home.

18 Calendar A guide to OMCA’s exhibitions, events, and programs.

Jedediah Caesar, XX, 2001.

Inside Out is published three times a year by the Oakland Museum of California, 1000 Oak Street, Oakland, CA 94607 museumca.org © 2016 Editor: Kelly A. Koski

Contributors: Lori Fogarty, Sarah Kimmerle, Rebecca Kirkpatrick, Linda Larkin, Claudia Leung, Maggie R. Pico, Lisa Sasaki, Michael Silverman Photography: Terry Lorant Produced by: Diablo Custom Publishing dcpubs.com

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thought leader

A Conversation with Rue Mapp The founder of Outdoor Afro—which brings African Americans together in nature—has set her sights on achieving even larger cultural shifts

It’s no secret Oakland is changing. From its ethnic makeup to its natural landscape, the city’s story is constantly evolving. That’s why, according to Rue Mapp, Oakland needs organizations that can bring people together in the places they call home. That’s the central mission of Mapp’s nonprofit, Outdoor Afro, which uses volunteers and social media to organize outdoor excursions for a nationwide network of some 10,000 members of all ages. OMCA recently partnered with Outdoor Afro to integrate outdoor experiences with the Museum's valuable natural sciences resources. Inside Out spoke with Mapp about building community and connecting people with place.

What was the impetus for starting Outdoor Afro?

I was born and raised in Oakland, but my parents had a ranch in Lake County, so it was like I lived in two worlds. That really set me up to have a unique childhood. Fast-forward many years, and I’d gone back to UC Berkeley to complete a neglected degree in art history, studying artistic representations of the American forests. I was thinking about nature and representation and community: Who’s out there, and who’s engaging with the outdoors? A mentor asked me about my next move, and I said I’d like to start a website to connect African Americans with the outdoors. I was on the cutting edge of using social media to reach people broadly.

What was the initial reaction?

People were hungry for a new narrative. They wanted to be seen in nature, but weren’t. And when you see yourself in nature, there’s an embedded invitation. You feel like, This is my place.

You eventually transitioned to leading people on outdoor trips. What have you learned from that?

Having this platform for ordinary people to not just experience nature, but to lead in nature is the most important pivot we’ve made. We now have thirty team leaders across the country.

We’re trying to develop leaders who are already in our midst;

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“ In urban spaces, people are getting out and enjoying what pockets of nature they have. Look at Lake Merritt: Every hour of every day, there are throngs of people out there. It looks like the United Nations— every demographic is represented.”

to help people make connections to one another and to nature; and to build a sense of place and belonging.

What do you find when you’re able to take people out of the city and into nature?

We make a lot of assumptions about people in nature. In fact, in urban spaces, people are getting out and enjoying what pockets of nature they have. Look at Lake Merritt: Every hour of every day, there are throngs of people out there. It looks like the United Nations—every demographic is represented.

Do people enjoy the opportunity to disconnect in nature?

Yes; when you get into a natural environment, it gives you a chance to exhale. That said, I’ve also found that technology can help enhance the experience. When I use my cellphone to

share a picture of a sunset or a moment of camaraderie, it gets people excited­—it goes back to that visual representation idea.

And you can help raise people’s environmental awareness.

When we’re engaged with these places, we see the changes to the landscape. I can point out: There would be a creek here, but there’s no rain! But it’s never about hitting people over the head with environmental values; it’s about helping them develop a relationship with nature. If there’s just some little shift that makes you more attentive, that’s a measure of success.

What role do institutions like OMCA play in developing this kind of community relationship?

OMCA is a great model for how to be a good community partner. I’m working on a program that the Museum is hosting

to celebrate urban birds, and I’m really energized by that. We learn from each other and leverage our resources to create a relevant community program. It’s about developing a true partnership that benefits both sides—a real relationship.

Finally, what’s the next step for Outdoor Afro?

In the future, I don’t want what we’re doing to even be a thing.

I want to see people enjoying and protecting their natural resources in proportion to their population and opportunity, and have it not be a big deal. We’re pushing toward that, and we’re closer than ever before.

Outdoor Afro is collaborating with OMCA to present Celebrate Urban Birds in the Gallery of California Natural Sciences. See page 15 to learn more.

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Changing

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At a time when the state is experiencing dramatic transformations of all kinds, the Oakland Museum of California is taking bold steps to inspire and connect its communities

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alifornia has always been associated with radical transformation. Consider the dream factory of Hollywood. Gamechanging social movements in Oakland like the Black Panther Party. The digital revolution initiated in Silicon Valley. The locavore food movement in Berkeley championed by Alice Waters.

The visionary environmentalism of John Muir and his successors.

Today’s California is no different. The state is experiencing changes—environmental, technological, demographic, and cultural—at breakneck speed. And to truly be the Museum of California, OMCA is looking at new ways to be relevant, inspiring, inclusive, and trailblazing in the midst of all these changing dynamics.

Lori Fogarty, OMCA’s director and CEO, says the Museum isn’t just a place people visit and passively receive information. It has increasingly become a community resource, an interactive place for public discourse, and an activist organization dedicated to social justice.

“I often get asked, ‘Are you a museum or a cultural center?’” Fogarty says. “And I say yes.

Because we are both, and I don’t think there’s a conflict in being both.”

Demographic Shifts One of the ways OMCA has achieved this is by welcoming people who aren’t considered “traditional” museumgoers. California’s demographics are much different than they were even a few years ago, with the growing Latino population, the aging baby boomers, the huge number of millennials, and the reconceived definitions of what constitutes a family. OMCA has made it a top priority to connect with these changing populations, often by reaching them in their own communities, beyond the Museum’s walls.

“We are addressing these demographic shifts in many ways,” Fogarty says. “We create inclusive social experiences, such as Friday Nights @ OMCA; we offer multilanguage materials in our galleries; and we have increased accessibility

“ I often get asked, ‘Are you a museum or a cultural center?’

And I say yes. Because we are both, and I don't think there’s a conflict in being both.” ­— lori fogarty, Director and CEO

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Agents of Change: Kris Hayashi

Leading the charge for transgender rights Kris Hayashi is the executive director of the Transgender Law Center, a national organization headquartered in Oakland.

Are attitudes toward the transgender community changing in California?

Definitely. Twenty years ago, when I was first starting to understand myself as a transgender person, it was a vastly different place than it is today. Even in the past year or two, we’ve seen an incredible increase in the visibility of transgender and gender-nonconforming people, particularly in popular culture: Laverne Cox on the cover of Time magazine, Janet Mock on the best-seller list, Caitlyn Jenner coming out. Five years ago, that would not have seemed possible. But the majority of transgender people are still really struggling with unemployment, homelessness, poverty, and high rates of violence.

What role do public institutions like OMCA have in advancing the movement?

Public institutions play a huge role in increasing public understanding of the trans community and the wide range of issues and injustices it faces. They play a key role in educating Californians about who really lives here. Public institutions advance public understanding in critical ways.

How can California push for further change?

It’s important to remember that while there has been a tremendous increase in visibility in the media, transgender people have been part of California forever, particularly in the Bay Area and in L.A., where we’ve had an incredible movement. Remember, this was the site of Compton’s Cafeteria rebellion, a historic moment of resistance. We’ve had transgender leaders throughout California for decades advocating for justice. But there’s still much to do as far as increasing the public understanding of transgender people—we go to school, we have families—as well as understanding the injustices and struggles people face.

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for all by reducing the cost barrier through our monthly Free First Sundays program and the new Museums for All program.” Additionally, OMCA partners with community organizations including the Oakland Asian Cultural Center and the YMCA of the East Bay to bring cultural experiences into different neighborhoods and increase civic engagement.

New Directions in Education and Technology Education in California is evolving, too. With the implementation of the Common Core Standards, the knowledge, concepts, and skills that K–12 students require have undergone a major transformation. By moving away from standardized testing and toward performance-based assessments, the Common Core Standards are encouraging more interdisciplinary, project-based courses of study.

OMCA, which has been a leading resource to schools for decades, is well positioned to meet the changing needs of educators and students.

The Museum encourages visitors to experience its offerings as an integrated whole, not as separate silos of art, history, and natural sciences.

To ensure it continues to serve the educational community, OMCA is working closely with the Alameda County Office of Education (ACOE) to find new ways to encourage participatory experiences for students and teachers. These initiatives involve new school programming, increased attention paid to digital outreach, and the incorporation of engaging and interactive technology in the galleries.

These efforts have been tremendously successful. Louise Music, the ACOE executive director of integrated learning, says students increasingly feel as if OMCA is their museum.

“The Museum invites kids to touch things and make things,” she says. “The fact that OMCA welcomes the thoughts and perspectives of kids alongside artists, scholars, scientists, and historians sends a huge message that artists are everywhere, even among children. OMCA is saying, ‘We can be a place of solution-finding and connections.’ It’s opening its doors and arms. We can survive and achieve anything as long as we are connected, and OMCA is helping us to see that.”

A Call to Action OMCA is using its expertise and resources to be a force of change. One way it’s doing so is by inspiring others to be forces for change, too. The Gallery of California Natural Sciences educates visitors on climate change, the state’s epic drought, and diminished wildlife habitats.

By encouraging visitors to get involved with citizen science projects like ZomBee Watch or

“ OMCA is saying, ‘We can be a place of solution-finding and connections.’

It’s opening its doors and arms. We can survive and achieve anything as long as we are connected, and OMCA is helping us to see that.” ­— louise music, ACOE's executive director of integrated learning

Agents of Change: Susan Mernit Hacking into the job market

Susan Mernit is co-founder of Hack the Hood, a nonprofit organization that teaches web skills to low-income youth of color in Oakland.

Why did you co-found Hack the Hood?

By 2012, it was clear the dynamics in Oakland were changing. I saw my neighbors getting frustrated and resentful of the tech buses—they felt they were being shut out. It was like they were taking those buses to the moon. I thought there should be a program to expose young people to tech careers so they could understand them and see themselves doing that work.

How can cities bridge that disconnect?

One of the things about many tech companies is this feeling that they live in the Internet, not in a place. They hadn’t really started looking at how to give back to their community. Once you understand you’re not living in the interwebs but in a location where your employees live and you pay taxes and go out for beers, isn’t the logical next step to create career pathways for people in that community?

How would you like to see the tech sector evolve?

I’d like to see city governments offer incentives to tech companies for hiring local residents. It would be fantastic to have people recognize the economic benefit of bringing in people who work here and went to college here. I’m not sure it’ll happen. But from a policy standpoint, how do we encourage companies to diversify? Prepare people to join the workforce, and then step up to receive them.

What’s the next step for Hack the Hood?

We’ve seen we can do a good job of getting young people of color excited about technology and helping them identify careers and train for them. Now we’re focused on partnering with companies so we can make that sense of “otherness” go away. Paid, part-time internships with hands-on experience—that’s where we want to go.

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Agents of Change: Daniel Swain

Why California’s drought points to a very different-looking future Daniel Swain is a climate scientist in Stanford University's Department of Earth System Science and author of the California Weather Blog.

Is drought the new normal for California?

Certainly, California is no stranger to drought. But what we see now is that the likelihood of another drought like the one we’re experiencing has increased dramatically due to climate change. Temperatures have already risen, and they increase the risk of extreme drought, regardless of precipitation levels.

So the lack of rain isn’t the most important factor?

It’s hard to say what will happen with precipitation. It’s easier [to predict] temperature, and we know temperature alone can drive the likelihood of drought higher. That’s why we have a high confidence that the future holds more drought. At the moment, the best evidence is that on average, California won’t get a lot wetter or drier, but that the character of that precipitation is changing. The risk of seeing extremely dry years and extremely wet years is going up.

What does California look like in the future, then?

One thing that’s already visible is our changing relationship with water. We’re already seeing a lot of efficiencies on the individual level: fewer green lawns, more low-flow fixtures. But the larger-scale changes we need have more to do with agriculture, which takes up 70 to 80 percent of our water usage. What do we plant and where—and what do we do in the bad years? Also, we’re not talking about living with perpetual drought: The risk of drought is going way up, but we’re also likely to get a lot of really wet years, and that presents problems, too. So thoughtful management of floodplains and groundwater aquifers should be a key part of how we plan for the future. It likely won't be a barren wasteland, but it will be a different California.

the Great Sunflower Project, OMCA is helping communicate the urgency of environmental stewardship among community members.

But to be a truly catalyzing force for change, OMCA is rethinking its role as a local institution. It has started working with LeaderSpring, an Oakland-based organization dedicated to leadership development for nonprofit entities primarily committed to social justice causes. “At OMCA, we think about issues of power, privilege, and equity,” Fogarty says. “We see ourselves as a social justice organization as well as a museum. So we’re learning fresh ways to realize our goals of mobilizing social change. And this is always done in partnership with the community, never by imposing upon it. The intent is to create unforgettable experiences, invite differences of opinion, and foster civic pride.”

Renato Almanzor, LeaderSpring’s senior director of programs, echoes that sentiment. “OMCA gets that it’s not enough to house artifacts,” he says. “They want to be co-partners in the storytelling.They want to produce opportunities for the community’s expertise to flourish. And they’re doing it consciously and compassionately.”

“ OMCA gets that it’s not enough to house artifacts. ... They want to produce opportunities for the community’s expertise to flourish.

And they’re doing it consciously and compassionately.” ­— renato almanzor, leaderspring’s senior director of programs

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Altered State An upcoming OMCA exhibition will explore evolving attitudes toward marijuana

C lockwise from top left : S O N Y A Y R U E L , C ourtesy of D rug P olicy A lliance ; T h omas Hawk

Left: Cannabis flowers on display at a dispensary.

Right: Neon signs in the window of a medical cannabis club on Haight Street in San Francisco.

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unny cigarettes. The devil’s lettuce. Reefer madness.

There are as many perspectives on its use as there are names for its flower. But whether Californians support it, smoke it, abhor it, or ignore it, marijuana holds a special—and evolving—place in our state’s history.

Beginning in April 2016, OMCA will unveil Altered State: Marijuana in California, a new cross-disciplinary exhibition that explores the historical, scientific, and social implications of cannabis in California both today and for the future. Set against the backdrop of a probable ballot measure in 2016 to legalize marijuana’s recreational use, the exhibition is arranged around ten viewpoints of cannabis, including Medical Marijuana, Sacred Ganja, Politically Loaded, and Youth and Marijuana.

Altered State, the first-ever museum exhibition focused directly on the impact of marijuana in California, will feature artwork, political documents and posters, scientific displays, and interactive exhibits meant as much to provoke questions and conversations as to inform visitors.

Kelly McKinley, director of the OMCA Lab, says now is the time to consider marijuana’s place in California. From the hippie movement to Proposition 19—the failed 2010 initiative to partially legalize marijuana use—the state has long played an important role in the plant’s history.

“Being an institution with a focus on history doesn’t mean you only talk about history that’s already been written,” McKinley says. “This is history in action.”

In addition to exploring changing attitudes toward

marijuana, Altered State represents an evolution in the Museum’s role within its community. This past July and August, in preparation for the exhibit, OMCA curators invited visitors into a prototyping space in the gallery where early concepts had been blocked out on butcher paper, to react and discuss their views on the show—many of which have been incorporated into the final exhibition.

“This is a slightly different take on an exhibition,” McKinley says.

“We’re asking people to decide for themselves by posing questions.”

Sneak Peeks of Altered State: Marijuana in California Donor Forum Preview Thursday, April 14, 2016, 6–9 pm Get a first look at the groundbreaking new exhibition, converse with the Museum staff who created it, and enjoy an in-gallery cocktail reception. To RSVP, contact Amanda at rsvp@museumca.org or call 510-318-8502.

Member Preview Friday, April 15, 2016, 11 am–9 pm Enjoy Members-only viewing hours. Join the conversation in a Member lounge and dialogue space, and after 5 pm, enjoy all that Friday Nights @ OMCA has to offer.

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Found + Made he art of suiseki, practiced in Japan since the fourteenth century, involves the collection, preparation, and contemplation of stones that resemble mountains, waterfalls, and other natural features found in the landscape. Artists gather these stones in the wild—in riverbeds, fields, and other natural environments—then clean and rub them to convey their unique character and sheen. Suiseki practitioners mount and display the stones on platforms, trays, and carved wooden bases that are designed to enhance how the pieces affect the imagination.

OMCA’s new exhibition UNEARTHED: Found + Made pairs suiseki displays by local groups with the contemporary sculptures of Oakland-born artist Jedediah Caesar, who now lives in Los Angeles.

His works are inspired by the geologic

Mas Nakajima, Fuji-san, circa 1990.

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A member of the San Francisco Suiseki Kai examines a stone.

process and sometimes involve gathering loose materials, like bits of wood, plastic, cardboard, and cloth, and then mixing them with liquid resin. When the aggregations harden, he slices them into sculptural blocks or panels, which can resemble canyon walls or cross-sections of stone.

“When you first see his work, it can be hard to tell if it’s found or made,” says Christina Linden, OMCA’s associate curator of painting and sculpture. “Caesar takes natural and man-made materials from the landscape, then compresses and recombines them into new forms that recall geodes, fossil beds, or

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archaeological strata,” she says.

When asked to describe the process behind his creations, Caesar says, “It’s like destroying the meaning of a thing and reengaging with another meaning of it at the same time.”

By juxtaposing Caesar’s sculptures with collections from two Bay Area suiseki clubs, UNEARTHED creates a dynamic mash-up of ideas and sensibilities.

“The exhibition highlights the fact that beauty can be found in and made from very humble, everyday materials,” Linden says. “It draws connections between distinct works, creative processes, and the careful practice of looking and consideration.”

T o p : V ince M onasterio ; B ottom : C ollection of J anet R ot h and M as N akajima

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Courtesy of the artist and Susanne Vielmetter Los Angeles Projects (2); Top: Robert wedemeyer

A new exhibition contrasts works by contemporary artist Jedediah Caesar with the ancient Japanese art of suiseki

Comparisons and Contrasts The exhibition includes six new works

by Caesar, who has exhibited widely and been included in many group exhibitions, including the 2008 Whitney Biennial and Abstract America: New Painting and Sculpture at the Saatchi Gallery in London. He is currently the director/curator of the Todd Madigan Gallery at Cal State Bakersfield.

The exhibition also features twenty-one works by members of the San Francisco Suiseki Kai and the California Suiseki Society. The San Francisco Suiseki Kai was founded in 1981 by a group of issei (firstgeneration) Japanese Americans, and its first teacher, Keiseki Hirotsu, helped introduce suiseki to California in the 1960s.

Above: Jedediah Caesar, Butyl benzyl phthalate + 4,4’ Methylene bis (phenylisocyanate)“California” chili-curcuma longa (terra merita)nickel silver/ Butyl benzyl phthalate + 4,4’ Methylene bis (phenylisocyanate) -curcuma longa (terra merita)-nickel silver, 2013.

Below: Jedediah Caesar, Gleaner Stones, 2008–2011.

The club hosts several stone-collecting trips each year throughout northern California and holds regular meetings at the Lake Merritt Garden Center in Oakland.

Every August, it puts on an exhibition at the Japan Center in San Francisco.

The California Suiseki Society (founded in 1993) also hosts group stone-collecting trips, monthly meetings, and an annual exhibition, which is also held at the Lake Merritt Garden Center, for both newcomers and lifelong enthusiasts.

“On a recent stone-collecting trip with the San Francisco Suiseki Kai, one of the members said that when she’s out searching, she tries not to look for anything. She simply looks,” Linden recalls.

“We hope that UNEARTHED will reward visitors with the experience of finding something new as they look at the intriguing works on view. We also hope it will generate conversation across communities as they draw their own connections between these compelling art forms.”

UNEARTHED: Found + Made is on view in the Gallery of California Art through April 24, 2016.

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Dorothea Lange, Japanese Children with Tags, Hayward, CA, 1942.

Check out what’s been happening in OMCA’s galleries

New installations, acquisitions, and exhibits A newly reimagined exhibit sheds light on a shameful chapter in U.S. history When OMCA reinstalled its Gallery of California History four years ago, the Sent Away exhibit concerning the Tanforan Assembly Center in San Bruno, where over seven thousand Japanese Americans were held before being sent to internment camps, struck a deep chord for many visitors. It had particular resonance for those of Japanese ancestry, many of whom had firsthand knowledge of this dark moment in our history.

For many others, the internment of Japanese Americans during World War II was a largely unfamiliar subject. “We realized we needed to put more emphasis on the emotional tem-

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perature and provide more grounding for what happened,” says Suzanne Fischer, OMCA’s associate curator of contemporary history and trends.

The Museum will reopen the display on Feb. 27. The content, which includes photographs and original artwork, has been broadened to further portray the prewar Japanese American experience in California, detailing the effects upon those imprisoned by federal orders.

The exhibit will feature works by Mine Okubo, a California artist who was incarcerated in Tanforan and Topaz War Relocation Center in Utah, and a vase for ikebana made in Topaz by Haruko Obata.

“We want to display this story in an immersive way, to give visitors a sense of claustrophobia—a sense of what the camps were like,” Fischer says. “We want visitors to not just understand but to have a deep emotional sense of injustice about what was done. And we hope they will reflect on connections to social injustices happening today.”

C ollec t ion of O M C a , g if t of P aul S . Ta y lor

Sent Away but Not Forgotten

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Birds of a Feather OMCA and Outdoor Afro team up to track urban bird populations L.J. Roberts, untitled (& Crafts installed on the California College of Arts and Crafts building), 2005.

Craft in Action

top: Collection of OMCA, gif t of the Oakland Museum Women's Board; Bot tom: Odell Hussey Photography

Guerilla art meets rebellious student In 2003, the nearly 100-year-old California College of Arts and Crafts was renamed to be simply California College of the Arts.

At least, for a while.

It wasn’t long after the college had updated its marquee, however, that textile artist L. J. Roberts, then a student, reattached the former descriptor. Roberts knit fluorescent orange yarn covers for giant Plexiglass letters spelling out “&CRAFTS.” Early one morning in 2005, the artist glued them back to the façade.

Although Roberts had to tear down the original lettering, destroying it in the process, the artist has now produced new letters and covers so &CRAFTS could become part of the OMCA collection. The artwork, which also includes an oral history and photo documentation, is one of OMCA’s latest acquisitions and will go on display in 2016 in the Gallery of California Art. Roberts reflects, “I wanted to create a humorous and powerful impetus for people to talk about the word ‘craft’ and all that is behind it. The word encompasses a lot of different kinds of practices. People try to define it, and I think that’s the wrong way to go because it makes it very static, keeps it from evolving, mutating. People keep going back to wanting to make things and to be really deliberate about it—to having a lot of concept behind the way things are made, the materials used, the way the work is displayed.”

The conversation about the role of craft and other arts continues ten years after Roberts’s rebellious act—giving this work a particular relevance today.

Pigeons, robins, and finches are certainly no strangers to city dwellers. But when talk turns to bird conservation, most of the attention tends to be paid to the more exotic—or at least less common—avian species than to our own urban neighbors.

Yet appreciating more common species is exactly the aim of a new project organized by the Cornell Lab of Ornithology; OMCA; and Outdoor Afro, an Oakland-based nonprofit that encourages African Americans to embrace nature, the outdoors, and conservation. The Celebrate Urban Birds project encourages city residents to monitor sixteen common—but important—bird species.

A new display on these urban bird specimens is in OMCA’s Bird Lab space, located in the Gallery of California Natural Sciences, featuring taxidermied birds and artwork depicting common urban birds in their metropolitan habitats. Visitors are given a checklist to encourage them to try to survey the Museum gardens for the species and then to report their data to the Cornell Lab of Ornithology. Scientists will then analyze the crowdsourced data to study how environments influence the prevalence and location of urban birds.

Outdoor Afro will also use this new lab space by providing innovative programming to supplement what’s in the gallery, such as organizing outdoor hikes and using the lab as a teaching tool. The hikes circle Lake Merritt, where participants can try their hand at spying birds and learning about their local habitats.

For more information, please visit outdoorafro.com or celebrateurbanbirds.org.

“ I wanted to create a humorous and powerful impetus for people to talk about the word ‘craft’ and all that is behind it.” — L.J. Roberts, ARTIST

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re tail tales

Prints Charming

The OMCA Store now offers custom reproductions from the Museum’s collections

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ant to bring a piece of OMCA home with you? The OMCA Store now offers high-quality prints of some its most beloved artworks, including iconic works by artists such as Dorothea Lange, Richard Diebenkorn, and Arthur and Lucia Mathews.

The Store’s new Print Shop features a touchscreen kiosk that allows visitors to browse the Museum’s collections and select the image of their choice. Shoppers can customize their prints by choosing among two mediums (giclée on canvas and archival paper), three sizes (12 x 16 in., 17 x 22 in., and 20 x 30 in.), and six framing options. The reproductions range from $25 to $395 apiece; all take two to three weeks from placing your order to doorstep delivery.

Not in the Bay Area?

Visit the OMCA Store at museumca.org/shop to order your print online!

Prints of these images and more are now available through the OMCA Store. Above: Dorothea Lange, White Angel Bread Line, San Francisco, 1933. Right: Selden Connor Gile, Stinson Beach, 1919. Below: Edward H. Mitchell (editor), untitled (postcard), circa 1910.

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OAKLAND MUSEUM OF CALIFORNIA

clock wise from top: collection of OMCA , gif t of paul S. Tay lor; collection of OMCA , gif t of Mrs. D obie Jenkins and Mr. Richard H. Bradshaw III in memory of Ysabel Bradshaw Nebel; Collection of OMCA , museum purchasE

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ADVANCEMENT

Deborah C. Smith with her grandchildren Max and Bianca Chiappone in the Gallery of California Natural Sciences.

Create a Lasting Legacy

OMCA supporters like Deborah C. Smith help to ensure the Museum’s bright future

F

or Deborah C. Smith, visiting OMCA is a family tradition.

In fact, Smith, a longtime Docent in the Gallery of California Natural Sciences and a member of the Oakland Museum Women’s Board, first began volunteering at OMCA more than forty years ago. After years of leading school group tours and bringing her own children to explore the galleries, Smith has seen firsthand what an important role the Museum plays in local education. “I raised my kids at OMCA, and now they’re raising their kids there,” says Smith, who also works tirelessly for the annual White Elephant Sale held by the Women’s Board. “I was lucky to find a place I could devote my life to and an organization I believe in.”

That’s why Smith says she’s made sure to include OMCA in her estate planning, helping to ensure the Museum’s future for years to come. “I want the next generation, and the generation after that, to be exposed to and excited about the wonders of the natural world, history, and art. By including OMCA in my will, I can help ensure that the things that matter to me now will endure into the future.”

“ I was lucky to find a place I could devote my life to and an organization I believe in.”

The Power of Planned Giving Help a child discover the joy of creating.

Open up the infinite wonders of the natural world. Ensure that the next generation stays abreast of our changing state.

By including OMCA in your estate plans, you will help the Museum continue to engage and inspire for years to come.

Make a difference to the future of California, and name OMCA as a beneficiary of your will, living trust, 401(k), IRA, retirement fund, or life insurance plan. If you have already provided for the Museum in your estate plans, please let us know.

We’d like to say thank you!

For more information, contact Linda Larkin at 510-318-8516 or visit museumca.org/support.

­— deborah C. Smith, DOCENT

winter 2016

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calendar

Check out the full lineup of events and programs at museumca.org.

SPECIAL EXHIBITIONS Yo-Yos & Half Squares: Contemporary California Quilts Through Feb. 21, 2016 | Gallery of California Art UNEARTHED: Found + Made Through April 24, 2016 | Gallery of California Art Bees: Tiny Insect, Big Impact Through July 24, 2016 | Gallery of California Natural Sciences Altered State: Marijuana in California Opening April 16, 2016 | Great Hall

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OAKLAND MUSEUM OF CALIFORNIA

Studio Visit with Hung Liu Thursday, Jan. 21, 2016, 6 pm Preview a new series of in-progress works and paintings based on the photographs of Dorothea Lange by internationally acclaimed artist Hung Liu. This event is open to Curator-level Members of OMCA’s Donor Forum. For more information, contact donorforum@museumca.org.

OMCA Family Drop-in: Musical Masterpieces Sunday, Jan. 31, 2016, 1–4 pm A special workshop celebrates Dr. Martin Luther King, Jr. and Black History Month. Paint as you listen for rhythms and patterns in music.

No reservations required. All ages welcome.

Lunar New Year Celebration and Other Asian Traditions: Year of the Monkey Sunday, Feb. 14, 2016, noon–4:30 pm Welcome in the Year of the Monkey and celebrate Valentine’s Day at OMCA. Enjoy arts, crafts, food, music, dance, and more. Explore connections between diverse Asian cultures in California. Favorites like lion and dragon dances, and new presentations of Mongolian dancing and Okinawan drumming make this a can’t-miss event!

Heritage Society: History Behind the Scenes Tuesday, Feb. 23, 2016, 4–6 pm Heritage Society Members and guests enjoy a private reception in the Gallery of California History with Lori Fogarty, OMCA's director and CEO, and Louise Pubols, OMCA's senior curator of history.

Leader Lunch: Story Addiction Tuesday, March 15, 2016 Good stories are simply addictive. Join Glynn Washington, creator of NPR’s Snap Judgment, and other story addicts for a midday dose of amazing storytelling. This ticketed event is open to Members of OMCA's Donor Forum. To learn more, contact donorforum@museumca.org.

Member for a Day Saturday, March 19, 2016 OMCA Members can enjoy reciprocal admission at over ten Bay Area cultural institutions. For more information, visit museumca.org/ member-for-a-day-2016.

collec t ion of eli leon

special events

exhibitions, events, and programs

Friday Nights @ OMCA: An All-new Season! some exciting changes are in the works: We’re growing: You showed up, and we made it happen!

To accommodate its increasing popularity, Friday Nights @ OMCA is expanding onto Oak Street starting in April of 2016. Look for more food trucks, new activities, and a whole block party every week.

Snag a spot: Reserve a picnic table or two for your party at a low cost. Check out museumca.org/picnic for more.

Acoustic space: Enjoy multilayered performances in the galleries and on the grounds during this special Friday Nights @ OMCA on Feb. 19 and May 13.

Friday Nights @ OMCA: Season 4 Launch Friday, Jan. 8, 2016, 5–9 pm Oakland’s popular weekly nighttime market is back for a fourth season of fun and festivities. Everything you love is back, including Off the Grid food trucks and the Blue Oak beer garden; pop-up markets with artisans from the OMCA Store; the Makers & Tasters series; late hours in all the galleries; hands-on art activities for kids; and DJs, live music, and dancing.

CAAMFest: Don't miss the world premiere of the film MELE MURALS on March 18, with special Member tickets.

Pop-up talks: Save the date for these always-intriguing programs on Feb. 19, March 18, and April 15.

Presented in partnership with Off the Grid: Lake Merritt @ OMCA. Made possible in part by generous support from Bank of America, the Oakland Museum Women’s Board, The William and Flora Hewlett Foundation, and the Koret Foundation.

OMCA TOURS

Top: odell husse y photogr aphy; Bot tom: Shaun roberts

Architecture Tour First Sundays, 1 pm California Art Tour Saturdays and Sundays, 2 pm California History Tour First and third Sundays, 3 pm California Natural Sciences Tour Second and fourth Sundays, 1 pm

Museum Hours

OMCA Highlight Tour Fridays and Saturdays, 1 pm

Monday Closed Tuesday Closed Wednesday

11 am–5 pm

Thursday

11 am–5 pm

Friday

11 am–9 pm

Saturday

10 am–6 pm

Sunday

10 am–6 pm

winter 2016

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NONPROFIT ORG U.S. POSTAGE

PAID

SALT LAKE CITY, UT PERMIT NO.6563

Northern California’s biggest and best rummage sale is back!

Don’t miss a chance to support OMCA’s biggest fundraiser.

Preview Sale Sunday, Jan. 31, 2016, 10 am–4 pm Tickets: $15 in advance, $20 at the door White Elephant Sale Saturday, March 5 & Sunday, March 6, 2016, 10 am–4 pm Free admission White Elephant Sale Warehouse 333 Lancaster Street, Oakland Enjoy the free shuttle to and from Fruitvale BART

ode l l h u sse y p h oto g rap h y

Organized and presented by the Oakland Museum Women’s Board.

WhiteElephantSale.org

Oakland Museum of California 1000 Oak Street Oakland, CA 94607-4820