glance fall 2007

{ a publication for the CCA Community }

California College of the arts

san franCisCo & oakl and

FAll 2007 : : Volume 16, no. 1

Contents

2 IndustryCollaborationsEnhancetheStudentExperience

8 AlumniProfiles:

CharlesGlaubitz,MiriamWilson,GregangeloHerrera

14 WattisInstituteSpringExhibitions

16 CentennialCampaignUpdate

17 CentennialExhibitions

18 NewPrograms,Faculty& Staff

20 CentennialGala&ThreadsFashionShow

26 PresidentialSearchUpdate&NewTrustees

28 Awards&Accolades

32 FacultyNotes

37 Bookshelf

40 AlumniNotes

48 InMemoriam

49 BackwardGlance

GlanceFAll 2007 : : Volume 16, no. 1

Director of Publicationserin l ampe

Editorlindsey Westbrook

Managing EditorJ im norrena

Contributorssusan avil a

stephen beal

Chris bliss

hannah eldredge

Cl aire fitzsimmons

kim lessard

sheri mckenzie

marguerite rigoglioso

brenda tuCker

lindsey Westbrook

Designsputnik CCa

a student design team

Faculty Advisorbob aufuldish

Designerportia monberg

Photo creditsall artworks are reproduced with the kind permission of the artists and/or their representatives, copyright the artists.

all images appear courtesy the artists unless noted otherwise:

Cover, back cover, pp. 2, 6 (top), 7: portia monberg; p.4 (left): karl petzke; pp. 4 (top), 5, 31: fuseproject; p. 6:

oblio Jenkins; p. 17 (top): oakland museum of California, gift of the art guild and the reichel trust; p. 17 (bottom):

© estate of robert arneson / licensed by vaga, new york, ny, collection of the fine arts museums of san francisco,

gift of manuel neri, printed by timothy berry, published by landfall press inc., Chicago; pp. 20–21: stevan nordstrom

productions; p. 22: thomas Jon gibbons; p. 24: (1, 2) robert adler photography, (3) swanda & schindler digital

photography, (4, 5, 6) drew altizer photography, courtesy san francisco museum of modern art; p. 25: (1) robert

adler photography, (2) stuart brinin photography, (3, 4) drew altizer photography, courtesy san francisco museum

of modern art; p. 32 (top): published by Crown point press, san francisco; p. 34 (bottom): sibila savage; p. 35: courtesy

intersection for the arts, san francisco; p. 36 (bottom left): collection of the san francisco museum of modern art,

gift of the artist and paule anglim; p. 40: courtesy rena bransten gallery, san francisco; p. 41: courtesy Johansson

projects, oakland; p. 49: courtesy the archives of California College of the arts, meyer library, oakland.

Glance is published twice a year by the

CCa Communications department

1111 eighth street

san francisco Ca 94107

Write to us at [email protected]

Change of address? please notify

CCa advancement office

5212 broadway

oakland Ca 94618

or email [email protected]

printed by st. Croix press inc.

new richmond, Wisconsin

Letter from the Chair

Dear alumni and friends of CCA,

We have much to be proud of at California College of the Arts. This year we

welcome 200 new first-year students—the largest freshman class ever. And

our centennial celebration continues with a major retrospective exhibi-

tion at the Oakland Museum of California as well as shows at the de Young

and other local museums and galleries (see page 17 for details).

The Board of Trustees is conducting a national search for the school’s

next president. While at this stage we must maintain confidentiality,

we can report that we are very pleased with the level of interest and the

high caliber of the candidates. Updates on this process are available at

www.cca.edu/about/president, and we welcome your input at every stage

of the search process.

Trustees and alumni are working to secure the final $2.4 million to

complete CCA’s $27.5 million Centennial Campaign. This campaign provides

critical support for our most important priorities: improved facilities,

increased scholarship funds, and seed money for new academic programs.

Two extraordinary challenge grants have been made in conjunction with

the campaign to inspire new donors, and you can read more about them

on page 16. For those who value the role of artists, architects, designers,

writers, and scholars in shaping the world’s future, there is no better time

than now to support the college’s dynamic vision.

Funds raised through the Centennial Campaign are already making a

difference. Construction is complete on the third phase of the San Fran-

cisco campus’s new Graduate Center, which includes media labs, studios

for 100 Fine Arts graduate students, and classrooms that are already booked

solid with graduate and undergraduate courses. More than 20 new named,

endowed scholarship funds have been created and will exist in perpetu-

ity to help deserving students. The Oakland campus is enlivened this fall

by the first class of students enrolled in the Animation Program. And we

are actively planning for the fall 2008 launch of two new programs in San

Francisco: the Graduate Program in Film and the MBA in Design Strategy.

Thank you for your thoughtful interest in CCA.

Sincerely,

Ann Hatch

Chair, Board of Trustees

1 { Glance Fall 2007}

2

iNDUStrY CollaboratioNS Enhance the Student Experience

essential component of a CCA education in architecture or design involves

working with outside companies. These relationships expose students to

real-world projects and give them a taste of professional life. Some programs

of study require internships, and all of them encourage it. And lately,

more and more outside companies are coming to the college to meet the

students on their own turf.

Sponsored studio courses give students the opportunity to concep-

tualize product design within the context of a particular brand. They also

give manufacturers access to the fresh perspectives of next-generation

designers. Recent sponsored collaborations have included a sustainability

studio with the international design firm IDEO, a pet product studio with

the Turkish company Gaia & Gino, and a studio with the South Korean

cell phone manufacturer Pantech.

studio partNerShipS | page No. 3 { paNtech & mcsweeNey’s }

story by Kim lessard,

lindsey Westbrook

& hannah eldredge{ }

ONE


Pantech SpoNSoreD StUDio

In the fall 2006 studio sponsored by Pantech, Industrial Design students

took on the future of mobile communications, and specifically the idea of

emotional networking, guided by program chair Yves Béhar and instruc-

tor Noah Reinhertz. The results included such designs as Kristina Lee’s

Inhealth cell phone, which encourages exercise and uses NASA’s ENose

technology to track dietary needs, and Cubby Golden’s Nike+ cell phone,

which uses social-networking technology to allow users to compete in real

time while running in different locations.

Student Chip Beal remarks, “The most valuable thing I learned came

from working with the model shop in Korea. We had to specify, to the

minutest detail, each and every material and color choice. It taught me a

lot about the importance of clear communication when putting together

a prototype. The challenge is to be true to your vision and rigorous about

backing it up with solid visuals and a story.” Another interesting discovery,

he says, was the fact that design doesn’t have to happen over the course of

a semester, or on a computer screen. “You learn more by doing,” he says,

“and design does not need to be a drawn-out, torturous affair. It can be

playful. And sometimes your best idea is your first idea.”

At the end of the course, four students selected for their outstanding

work—Gregory Davis, Kristina Lee, Seth Murray, and Cecilia Nguyen—

flew to Pantech’s headquarters in Seoul to present the cell phone designs

on behalf of the entire class. It was Lee’s first-ever trip abroad, she says,

and “a great opportunity to work with both a large corporation and other

design students from across the world. The communication barrier created

a new experience that was fun and full of charades and misinterpretations.”

Nguyen agrees that it was a great course: “The kind of pressure that

comes from a high-profile class is different, because you know you’re going

to get attention. It’s scary and somehow more real. I had never thought

of a cell phone as a design process from the inside out before. There is

so much fashion and techno-excitement involved with people’s choice of

phones, and I was worried that a project like this might not hold my inter-

est because my point of view is always concept driven rather than about

coolness. But it turned out to be perfect, because that’s what we were

asked to do: to innovate a new concept.”

studio partNerShipS

opposite page, from top: tirshathah huNter, Conduit, 2006

KristiNa Lee, Inhealth, 2006

seth murray, Flirt, 2006

industrial Design chair yves Béhar and his

students brainstorm the next big thing in cell

phone design in the pantech sponsored studio.

4

McSweeney’s DeSiGN bUilD

Design Build is a different kind of studio, intended specifically for

advanced Architecture students, and the 2006–7 Design Build course,

taught by Oblio Jenkins and Mabel Wilson with Dwell magazine as the

media sponsor, was the most ambitious one yet. The project: a complete

remodeling of the San Francisco offices of the literary journal McSweeney’s.

“A Design Build course is very different from a regular studio,” says

student Flavia Giraldo. “You experience all the phases of a project and

understand how complex it is. It was really exciting to see it all come

together at the end just like we designed it.”

Dave Eggers, editor of McSweeney’s, met with the 15-student class at

the beginning of the project and described the company’s need for new

shelving, lighting, a conference room, and flexible work spaces. The

students then spent time interviewing the magazine’s seven full-time

employees and observing the office in action in order to design the best

solutions (in the first semester) and build them (in the second).

“The idea was that the students would maximize this space, make

something really unusual and singular, and that we would serve as

clients,” says Eggers. “It’s been a phenomenal project. The students are

geniuses. We were blown away by how good they were and how well

they problem solved every little thing.”

Since McSweeney’s is a nonprofit, it was important to keep costs down,

and the students found creative ways to recycle and reuse materials. They

incorporated the tops of existing desks into the new work pods, which

have small platforms on movable arms that allow the sitter to shift piles

of paper around easily while keeping the main desk surface clear. They

turned a sailboat sail into operable baffles on the building’s skylights to

cut down glare, and they even created a phone booth so employees could

make calls in privacy.

The project ended up stretching into the summer, partly because it was

so ambitious, and also because of unexpected delays in city permitting and

complications in sponsor funding. “We faced a few problems along the way

that were characteristic of a real-world architecture project,” says Giraldo.

Student-made models of new office architecture

for McSweeney’s

studio partNerShipS

6

Student Mary Desing agrees: “I don’t think any of us realized how long

it would take not only to design, but to construct this project. Just coming

up with the shelving details took a great deal of time. We started with a

loose concept and as we developed it, the next challenge was to physically

make what we had designed in a simple and expedient way, down to the

details of the hardware and plywood size.

“I think some of the best ideas came out of group charettes where

we would divide up and tackle a component of the project and then come

together and talk about what we all came up with. When you work in

groups, there is a need for leadership, and everyone has to take a part to

work on. The more diplomatic you can be, the better! I really enjoyed

collaborating with my classmates.”

a sailboat sail transformed into skylight baffles at the McSweeney’s office


She’s massive, rotund, winged. Her vagina spews forth quarks, those

infinitesimally small particles that come in and out of existence a million

times a second. She’s the Soft Machine, and she’s the visual creation of

Charles Glaubitz.

Or is she?

Glaubitz himself is not entirely sure whether, as a painter, illustrator,

and installation artist, he’s the author of new worlds or merely a reporter of

unseen realms. He suspects that, at different times, he’s both.

Whatever the case, Glaubitz takes the calling seriously. By giving form

to cosmic principles—and hinting that earthly problems such as environ-

mental destruction and warfare may have much deeper, otherworldly

causes and roots—he hopes his work will stimulate epiphanies of con-

sciousness in others. “Like the artist Alejandro Jodorowsky,” Glaubitz says,

“I believe art is for healing.”

The uncanny realms of the esoteric get star billing in Glaubitz’s draw-

ings. His psychedelic imagery, rendered variously in pen and ink or acrylic,

depicts forces such as greed and consumerism clashing with justice and

humanity. These energies are personified as eerie, fantastical figures that

make multiple appearances in his ongoing series.

Glaubitz’s play with duality is apparent in every aspect of his work,

including his sources of inspiration. “I particularly like comic books,

because they contain all the great mythologies from around the world,”

he says. He also looks to Joseph Campbell, Deepak Chopra, Grant Morrison,

Hayao Miyazaki, George Noory, cave art, and quantum physics.

The hybridity of Glaubitz’s art has its source in his own biography.

Growing up in Mexico with a German American father and a Mexican

mother, he learned how to bounce between worlds. That journey has

included countless literal trips across the border between Tijuana and

San Diego over the last 12 years as he has pursued his career as an artist

and graphic designer.

Glaubitz came to CCA to find his artistic vision. “I had been drawing

and painting since I could remember, but I didn’t know how to tell a story,

how to structure an image, how to communicate a concept. I didn’t feel I

was saying anything,” he reflects. “Teachers such as Dugald Stermer, Barron

Storey, and Vince Perez taught me how to look at things conceptually and

find a way to express my ideas through my art.”

Glaubitz’s messages are both political and spiritual. In one recent

series, more than 100 individual works tell the story of a clash between

an evil, Mickey Mouse–like Capitalist King character and the Gardener,

CharleS Gl aUbitz

Born in 1973 in Tijuana, Mexico

Illustration Program,

graduated in 2001

Lives in Playas de Tijuana, works in Tijuana and San Diego

CUrreNt oCCUpatioN

Artist, illustrator, designer

iNFlUeNCeS at CC a

Mark Bartlett, Vince Perez, Dugald Stermer, Barron Storey

WebSite

www.mrglaubitz.com

crossiNg Borders

Charles Glaubitz

alumni proFileS | page No. 8 { artists & their work }

{ story by Marguerite rigoglioso }

8

a sympathetic defender of nature. For the artist, the story is no mere

fantasy but a depiction of actual machinations on multiple planes of

reality—including our own. “The idea of using consciousness to direct

quarks’ journeys in and out of existence is also a story that teaches us

about the power literally to create reality with our thoughts,” he says.

Now married with two children and living in Tijuana, Glaubitz illus-

trates for the likes of Rolling Stone and Nickelodeon magazines, and he

has had numerous group and solo exhibitions in Mexico, the United States,

and Spain (at such venues as the Museo de Arte Carrillo Gil in Mexico City

and the Museum of Contemporary Art San Diego). He also teaches graphic

design at San Diego City College. But he spends more than half of his time

rendering other worlds. “For me,” he says, “it’s less about commercial

success than about helping people awaken.”

charLes gL auBitz, The Soft Machine, 2007

charLes gLauBitz, Secret Societor, detail, 2006


aNimatiNg the offBeat

Miriam WilsonDid you know that the average person, while asleep, unknowingly eats at

least four spiders over the course of his or her lifetime? That gruesome

statistic is the inspiration for Ignorance Is Bliss, Miriam Wilson’s comedic

animated short, which made it into the Cannes Film Festival this past May.

When Wilson received the news from her coproducers that their

three-minute film—about a girl who learns in the afterlife that God has a

twisted sense of humor—was chosen over thousands of other entries, she

thought they were joking. But, indeed, not only was the piece shown along

with 900 other shorts in France, but it will appear in the Dingle Film Fes-

tival in Ireland this fall, and it may even make a showing in Spain. “This

film is traveling to places I’ve never been and can’t afford to go,” observes

Wilson, wryly. “I’m actually jealous of it.”

Her foray into short films—she has another one about a pesky health

condition characterized by the sudden intrusion into your personal space

of a bagpipe-playing Scotsman in full regalia—is just the latest develop-

ment in an already impressive creative career. It also pulls together a

background that includes illustration, photography, graphic design, and

comedy sketch writing.

Some of those interests were cemented while she was in the Illustra-

tion Program at CCA. “Bob Ciano rekindled an interest in film I’d had since

my days watching Disney movies and LucasArts video games,” she says.

“Juvenal Acosta made me realize I enjoy writing as much as visual art.”

Wilson’s earlier sources of inspiration include her father, who, she

says, “has a way of making everything that comes out of his mouth

funny,” and her mother, who encouraged her prolific drawing talent from

an early age. “I used to wall myself up in my attic bedroom filling multi-

tudes of sketchbooks with my own cartoon characters.” So impressed was

CCA with her portfolio that the school offered her a Creative Achievement

Award merit scholarship on the spot during her admission interview.

Since graduating with distinction (one of her final projects was a

human-powered bicycle machine that puts sprinkles on cupcakes), she has

had a number of offbeat gigs, such as sketchwriter for the Killing My Lob-

ster comedy troupe in San Francisco. She also has a more straightforward

day job as a graphic artist for Madeleine Corson Design.

Wilson’s main goal now is for her production company, Animated State,

formed last year with her husband and another comedy colleague, to get a

second film into Cannes: “I want to be able to go this time and experience

firsthand the glory of making people giggle in a whole other country.”

MiriaM WilSoN

Born in 1983 in Oakland

Illustration Program,

graduated in 2005

Lives in Oakland, works in San Francisco

CUrreNt oCCUpatioN

Production artist, Madeleine Corson Design

iNFlUeNCeS at CC a Juvenal Acosta, Bob Ciano, Mark Eanes, Robert Hunt, John C. Rogers, Barron Storey

WebSiteS www.themiriam.com

www.animatedstate.net

alumni proFileS

opposite page: miriam wiLsoN,

Satan’s Secret Admirer, 2005

{ story by Marguerite rigoglioso }


high veLocity

Gregangelo Herrera

alumni proFileS

GreGaNGelo herrera

Born in 1966 in San Francisco

Individualized Major,

graduated in 1989

Lives and works in San Francisco

CUrreNt oCCUpatioN Artist

iNFlUeNCeS at CC a Harry Critchfield, Gail Fredell

WebSite www.gregangelo.com

Walking through Gregangelo Herrera’s front door is a little like stepping

through Alice’s looking glass. From the Solstice Room to the Eclipse Room

to the Midnight Hall, the whole thing is decorated down to the smallest

detail in Winchester Mystery House–meets–Ali Baba style. Like the pro-

ductions he puts on with his arts and entertainment troupe, Gregangelo

and Velocity Circus, there’s some history there, as well as some fine art,

some fantasy, and some pure, unadulterated ambition to entertain.

The house is actually a museum, and people pay to tour it, with all the

money going to a nonprofit youth arts organization that the artist founded

in 2003. It’s also the headquarters for his business, which employs about

a dozen full-time staff, 70 artists who work as many as three or four of his

events every week, and another 100 or so artists who are on call as needed.

“Some of them are really specialized,” he says. “We might hire a scientist

to create an illuminator, which will light fiber optics, which will become a

tapestry, which is part of a costume, which will go onto an athlete, who’s

on skates as part of a larger ensemble.” The basement is a combination

wardrobe and prop storage facility, costume shop, and office; it hums with

sewing machines, computers, and general activity. He shows off a project

they’re doing for Ghirardelli, creating costumes and headdresses for

chocolate-themed characters.

Herrera takes great pride in the fact that he is not dependent on a

particular gallery or the whims of a couple of important patrons. “We are

all about sustainability in the arts. Most art students come out of college

not knowing what to do, or having very idealistic and impractical visions.

The politics and the business of art are important parts of interdisciplin-

ary knowledge. The core group of our artists are all sustaining themselves,

buying homes.” Many of them have been with the company 15 or 20 years,

and part of his role, he says, is to keep pushing them to develop and ex-

pand what they can do.

His clients range from nonprofits to Fortune 500s to major media

giants, but he doesn’t make corporate art. More and more lately, in fact,

the companies that hire him for their events ask only that he create some-

thing amazing. “They give us carte blanche: ‘Just make it spectacular!’”

And he is constantly pushing the envelope of spectacular. “What we do is

intended to be entertaining, but also very ornate and complex—encrypted

and layered with all kinds of mysticism, stories, and legends. The audi-

ence doesn’t necessarily get every single reference, but they come away

knowing the experience has been more than just pretty.”

{ story by lindsey Westbrook }

12

Herrera seems to run in extremely high gear, partly because he’s one

of those people who doesn’t need much sleep, but also because of the

stimulation that comes from surrounding himself with so many creative

people. His CCA experience, he says, was the same way. He had been

involved in art groups and theater since childhood, but CCA offered the

opportunity to engage with a huge number of artistically inclined indi-

viduals who were passionate about a wide array of pursuits. “Everybody

is inspired by their environment,” he says. “At CCA I enjoyed learning the

foundations of various disciplines, I enjoyed the facilities, the instructors.

But the really important part was learning from the experiences of others.

Seeing who’s succeeding, who’s failing, who’s serious, who’s not serious.”

Art making can be a very introverted process, and the stereotypical artist

is not always inclined to collaborate. In Velocity Circus, however, “we’re

not only bringing different artists together, with their different egos and

passions, but we’re working right on top of each other.”

gregaNgeLo herrera, performance as an illuminated Soul Seeker, 2006

gregaNgeLo herrera, Whirling Dervish, palace of Fine

arts, San Francisco, 1995


the WattiS | page No. 14 { contemporary art at cca}

In 2007 the CCA Wattis Institute for Contemporary Arts set out to develop

a radically different concept for programming an art institution. Recently

appointed director JeNS hoFFMaNN and his curatorial team, Cl aire

FitzSiMMoNS and StaCeN berG, launched their new program in Sep-

tember with a diverse range of projects, making an in-depth investigation

of curatorial practice while continuing the Wattis Institute’s reputation as

a challenging, ambitious contemporary art venue. The lineup for spring is

equally exciting:

Apocalypse Now: The Theater of War, opening November 30 and cocurated

by Hoffman and the politically engaged artists JeNNiFer allora and

GUillerMo C alzaDill a, features a number of contemporary artists

whose works deliberately block, resist, and repel the audience. The exhibi-

tion defines war as a universal condition—a language and iconography

of struggle embedded in our social consciousness, personal behaviors, and

everyday realities.

Three permanent exhibitions continue over the winter and spring.

In the constantly transforming Passengers, a number of international

contemporary artists, including ShaNa lUtKer, aNNette KelM, and

the collaborative duo João Maria GUSMão and peDro paiva, present

their first American solo shows. Another ongoing exhibition featuring the

Berlin-based conceptual artist tiNo SehGal will eventually present all

of Sehgal’s existing works to date as well as new works configured specifi-

cally for the Wattis Institute galleries. Americana, an ambitious project

coorganized with CCA’s Graduate Program in Curatorial Practice, is taking

an alphabetical tour of the United States via artworks, historical artifacts,

and other elements.

The Vancouver-based tiM lee is the Wattis Institute’s next Capp Street

Project resident artist. His project, opening January 9, is based on an

intriguing coincidence in San Francisco’s pop-cultural history: the nearly

simultaneous recordings of Steve Martin’s comedy album Let’s Get Small and

Neil Young’s hybrid electric/acoustic record Rust Never Sleeps.

Opening February 8 is part one of Paul McCarthy’s Low Life by the acclaimed

Los Angeles artist paUl MCC arthY. This “total” artwork, presented in a

custom installation environment, will reflect both McCarthy’s own oeuvre

and the diverse range of other artists who have been his collaborators and

inspirations over the past four decades.

Amateurs, opening April 18 and curated by ralph rUGoFF, is the first

major exhibition of recent artworks that embrace amateurism as a critical

aesthetic strategy. Amateurs will reflect on the history of this tendency and

its continuing value in pushing the envelope of art practice.

{ Viewing guide }. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

apoC alYpSe NoW: the theater oF War

November 30, 2007–January 26, 2008

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

paSSeNGerS

ongoing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

tiNo SehGal: artiSt oF the CeNtUrY

ongoing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

aMeriC aNa

ongoing (through May 31, 2012)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

C app Street proJeCt: Mario Ybarra Jr.

ongoing (through September 6, 2008)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

C app Street proJeCt: tiM lee

January 9, 2008–January 10, 2009

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

paUl McC arthY’S loW liFe

February 8–April 5, 2008

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

aMateUrS

April 18–June 14, 2008

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

WattiS iNStitUte

Spring Exhibitions

14

tim Lee, Untitled (Steve Martin 1972), 2005

Lead sponsorship for Capp Street Project: Tim Lee and Capp Street Project: Mario Ybarra Jr. is provided by the Nimoy foundation.

Lead sponsorship for Apocalypse Now: The Theater of War is provided by the american center foundation.

Amateurs is made possible by an emily hall tremaine exhibition award.

founding support for cca wattis institute for contempo-rary arts programs has been provided by phyllis c. wattis and Judy and Bill timken.

generous support provided by the phyllis c. wattis foundation, grants for the arts / san francisco hotel tax fund, ann hatch and paul discoe, and the cca curator’s forum.


support CC a | page No. 16 { donate}

To expand and enhance its facilities, launch new programs, and honor its

commitment to making education accessible through scholarships, CCA

has launched the Centennial Campaign, the most ambitious fundraising

effort in the school’s history. CCA is just $2.4 million away from reaching

its campaign goal of $27.5 million. The campaign will strengthen the col-

lege and prepare it for its next 100 years of excellence.

Two extraordinary challenge grants have been made to inspire new

donors to invest in CCA. Trustee Barclay Simpson has offered the Simpson

Challenge, which promises $1.85 million to the Centennial Campaign if

CCA can raise an additional $3.7 million in new gifts. And the Reuben &

Muriel Savin Foundation has pledged $500,000 for CCA scholarships if the

college can secure 500 new donors to the campaign between July 15, 2007,

and December 31, 2008.

Your tax-deductible gift will help leverage these significant challenge

grants and provide vital support for the school’s most pressing needs.

Tuition alone does not cover the cost of running a college. CCA is a private,

nonprofit, charitable institution. Only with generous giving by parents,

alumni, and friends can we maintain the quality of our programs.

You can make a gift by sending in this form or by using the envelope

inserted in this issue of Glance. Thank you.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Name

address

city state zip

phone email

my check for $

made payable to CaliForNia ColleGe oF the artS is enclosed.

please charge my visa mastercard in the amount of $

card Number exp

signature

please contact me with information on how to make a stock transfer to cca.

i wish to pledge my gift and will pay the pledge on the following date:

Yes, I will support the cca ceNteNNiaL campaigN!

I would like to make a tax-

deductible gift in the amount of

$

Thank you!Please return this form and your donation in the enclosed envelope, or you can mail or fax it to:

CCA Advancement Department5212 BroadwayOakland CA 94618

Fax: 510.594.3665Tel: 510.594.3787

* Gifts over $50 are eligible to match the Savin Foundation challenge.

Please Give to the CC a CeNteNNial C aMpaiGN

16

The centennial celebration contin-

ues into 2008 with these and other

exhibitions at Bay Area museums

and galleries. For a complete listing

of centennial events and programs,

visit www.cca.edu/100.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

artiStS oF iNveNtioN:

a CeNtUrY oF CC a

through March 16

oaKl aND MUSeUM oF C aliForNia

1000 oak street, oakland

wed.– sat. 10 a.m. – 5 p.m.

suN. NooN – 5 p.m. 510.238.2200 | www.museumca.org

This extensive historical survey of

more than 120 works chronicles a

century of achievements by artists

associated with CCA, including

Robert Arneson, Squeak Carnwath,

John Coplans, Richard Diebenkorn,

Kota Ezawa, Viola Frey, Charles Gill,

David Ireland, Nathan Oliveira,

Leslie Shows, Hank Willis Thomas,

and Peter Voulkos. A section

devoted to 1987–2007, curated by a

peer committee, specifically traces

recent artistic strategies. Curato-

rial consultant Lee Plested joins

acclaimed exhibition designer Ted

Cohen and the Oakland Museum’s

chief curator, Philip Linhares,

to form an all-alumni exhibition

team. A full-color book accompa-

nies the show.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CelebratiNG a CeNteNNial:

CoNteMporarY priNtMaKerS

at CC a

through April 20

De YoUNG MUSeUM

golden gate park, san francisco

tues.– suN. 9:30 a.m. – 5:15 p.m.

fri. opeN uNtiL 8:45 p.m.

415.750.3600 | www.thinker.org

Approximately 25 prints by CCA

alumni and faculty, including

Robert Bechtle, Roy De Forest,

David Ireland, George Miyasaki,

Manuel Neri, Raymond Saunders,

Peter Voulkos, Stan Washburn, and

Paul Wonner. This show of works

from the de Young’s collection is

organized by Karin Breuer, curator

of contemporary graphic art.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

C ChaNGe: CraFt iN oUr FUtUre

through January 27

MUSeUM oF CraFt aND FolK art

51 yerba Buena Lane, san francisco

tues.– fri. 11 a.m.– 6 p.m.

sat.– suN. 11 a.m.– 5 p.m.

415.227.4888 | www.mocfa.org

Distinguished faculty from CCA’s

craft-related departments have

selected works by recent graduates

that best represent the cutting

edge of contemporary craft. Come

and witness the innovative and

creative work being done today

in wood, metal arts, ceramics,

textiles, and glass.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SJMa ColleCtS CC a:

WorKS oN paper FroM the

perMaNeNt ColleCtioN

through February 3

SaN JoSe MUSeUM oF art

110 south market street, san Jose

tues. – suN. 11 a.m.– 5 p.m.

408.271.6840 | www.sjmusart.org

A selection of works on paper by

CCA alumni and faculty, including

Squeak Carnwath, Laurie Reid, and

Richard Diebenkorn.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

C aliForNia ColleGe oF the artS Centennial Exhibitions

at the oakland museum of california: david ireL aNd, Harp, 1991

at the de young museum: roBert arNesoN, California Brick, 1975

CC a at 100 | page No. 17 { Bay area museums }


The program’s unique residency structure—five

once-a-month, four-day weekends on campus with

online and networked study in between—offers maxi-

mum flexibility to working professionals from all over

the country, allowing them to maintain their careers

while participating in the program.

For more information or to apply, please visit

www.cca.edu/designmba.

Art in Education teaChiNG iNStitUte

This fall, CCA’s Center for Art and Public Life began

offering the Art in Education Teaching Institute, ad-

dressing a growing need for credentialed art teachers.

This comprehensive, year-round development program

is open to K–12 generalist teachers as well as teaching

artists. Its purpose is to help them better understand

how to teach art and how to integrate it successfully

into other courses, such as reading or math.

Says aNN WettriCh, the center’s associate direc-

tor of arts education, “The AIE Teaching Institute gives

teaching artists the insight, understanding, and skills

they need to collaborate successfully with schools,

providing engaging art and art-integrated lessons that

promote learning across all areas of the curriculum.”

Teaching artists are professionally trained artists

who receive funding from third-party organizations to

teach art in K–12 schools. They often present a solu-

tion for schools whose budget constraints have forced

them to cut art programming. Given the recent deci-

sion by the California governor and state legislature to

allocate $105 million in new annual funding to restore

arts education to the state’s public schools, there will

soon be increased demand for qualified instructors.

For more information about courses or to register,

see www.cca.edu/aie.

new proGraMS | page No. 18 { facuLty & staff}

MBA iN DeSiGN StrateGY CCA’s new MBA in Design Strategy program will admit

its first students in fall 2008. This unique program, the

first of its kind in the United States, unites the study

of design, marketing, finance, and organizational

management to address today’s complex and intercon-

nected market.

“The program is intended to help designers become

business leaders, not merely design leaders,” explains

program chair NathaN SheDroFF, “and create

meaningful, sustainable change in the world. We also

welcome experienced business professionals without

design backgrounds. Both groups will gain the tools

necessary to drive lasting growth in a variety of

organizations through innovative, customer-focused

practices.”

Shedroff, an experienced strategist, author, and

speaker, has assembled an advisory council of business

leaders, including Sara beCKMaN (of UC Berkeley’s

Haas School of Business) and tiM broWN (chief

executive officer of IDEO), to help guide the program.

Brown observes: “Business is a uniquely power-

ful force for change in the world, and designers have

never had more opportunity to create positive impact

by influencing what business does. The more designers

understand about business, the more influential they

will be.”

The program offers an approach to design that

encompasses performance, strategy, and innovation.

Each semester, students develop individual and team

solutions to a variety of economic and social chal-

lenges using design techniques (such as user-centered

research, prototyping, and critique) as well as business

metrics. Sponsored projects allow students to work

with leading businesses. Seminars address traditional

business and organizational issues such as finance,

economics, operations, and marketing, always incorpo-

rating design approaches and processes. Students can

also take advantage of electives in CCA’s other gradu-

ate programs.

18

New teNUre-traCK FaCUltY

The nationally recognized architect and educator

il a berMaN has been named chair of CCA’s under-

graduate and graduate Architecture programs. Berman

comes from Tulane University, where she was associate

dean of the School of Architecture and director of the

graduate program. She initiated URBANbuild, a Tulane

program that is helping revitalize hurricane-damaged

areas of New Orleans. Berman holds a doctorate in

design and a master of design studies in architecture

from Harvard University.

tirza trUe l atiMer is the new chair of the

Graduate Program in Visual and Critical Studies. She

received her PhD in art history from Stanford Univer-

sity in 2003. Latimer publishes work from a lesbian

feminist perspective on a range of topics in the fields

of visual culture, sexual culture, and criticism.

Other new tenure-track faculty members include

aiMee phaN, a Vietnamese American author whose

first book, We Should Never Meet (St. Martin’s Press,

2004), was a Kiriyama Prize notable book and a finalist

for the Asian American Literacy Award. Phan joins

the Writing and Literature faculty. New to the Commu-

nity Arts Program are JohN leañoS, a media artist

who focuses on the convergence of memory, history,

social space, and aesthetics, and SaNJit Sethi, a

sculptor whose works center around ideas of nomad-

ism, national identity, labor, and interdisciplinary

collaboration. Joining the Architecture Program are

aNDreW KUDleSS, who is gaining an international

reputation for his investigations of architecture,

engineering, biology, and computation, and DaviD

GiSSeN, who focuses on the intersection of architec-

ture and nature. JoSeph taNKe is the new Chalsty

Professor of Aesthetics and Philosophy; he recently

received his PhD from Boston College. ColiN oWeN,

CCA’s first tenure-track hire in Industrial Design,

has executed impressive contract work with Nokia;

Skidmore, Owings and Merrill, LLP; Biodesign; and

Wireless Generation.

VP For StUDeNt aFFairS

paMel a D. JeNNiNGS was appointed this past

summer to the newly created position of vice presi-

dent for student affairs. This cabinet-level role was

established to help create the best possible student

experience at CCA, and it is especially important given

the dramatic growth in enrollment in recent years.

Jennings now oversees such areas as student activities,

career services, residential life, counseling, advising,

disability resources, international student affairs,

and student exhibitions.

She comes to CCA from UC Berkeley, where she was

director of admissions, student affairs, and alumni

affairs for the Graduate School of Journalism from

2005 to 2007. Prior to that she spent 10 years as the

director of outreach, retention, and diversity affairs

for UC Berkeley’s graduate division. She has an MFA

in film and television from UCLA and a BA in mass

communications from UC Berkeley.

Staff appoiNtMeNtS

ShaWN briCK: director of financial aid

Noel Dahl: director of graduate admissions

lYNDa SaNJUrJo rUtter: associate vice

president for advancement, individual giving


The suggested dress was “up” and 720 guests came duly clad for an evening

of food and fashion. The CCA Centennial Gala and Threads Fashion Show,

held on April 25, exceeded all expectations by bringing in more than

$600,000 in support of the college’s scholarship programs.

The vast Festival Pavilion at Fort Mason Center was beautifully trans-

formed by the designer StaNlee Gatti. The dinner was prepared by

Taste. Renowned San Francisco retailer WilKeS baShForD was honored

with the CCA Fashion Industry Award, and CCA Fashion Design student

ChriStopher WeiSS was announced the winner of the Surface Emerg-

ing Talent Award. The evening culminated with a runway fashion show

featuring designs by CCA’s graduating Fashion Design students.

The college thanks Gala cochairs KaY KiMptoN WalKer and

alliSoN Speer for their vision, leadership, and hard work. Many thanks

also to honorary chair eMilY C arroll and the gala honorary committee

for making this one of our most successful events to date. CCA is especially

grateful to the evening’s lead sponsors.

Centennial Gala & Threads Fashion Show

a rUN{a}WaY SUCCeSS

opposite page:eva KathLeeN garcia,

Modern Interpretation of

Nouveau Deco Glamour, 2007

this page: maggie servais, Fresh Silk

Print Mix, detail, 2007

dress Up | page No. 21 { supportiNg cca }


1. Kay KimptoN waLKer & michaeL KrasNy at the Centennial Gala preparty at the home of Norah & NormaN stoNe

2. aLLisoN speer & wiLKes Bashford at the Gala preparty

3. amBer marie & christopher BeNtLy at the Centennial Gala and Threads Fashion Show

4. Norah & NormaN stoNe at the Gala

dress Up

5. carLie wiLmaNs at the Gala preparty

6. Jeffrey fraeNKeL & aNdrew fisher at the Gala preparty

7. gary & o. J . shaNsBy at the Gala

6 7

543

21

22

leaD SpoNSorS 24-Karat {$10,000}Amber Marie and Christopher Bently

C. Diane Christensen

Chris Columbus and Monica Devereux

Suzanne Diamond

Nancy and Pat Forster

Mimi and Peter Haas Fund

Raoul and Martha Kennedy

Byron Kuth and Liz Ranieri

Tony and Celeste Meier

Nicola Miner and Robert Mailer Anderson

Tim Mott and Ann Jones

F. Noel Perry

Michael S. Roth and Kari Weil

Dorothy and George Saxe

Charles and Helen Schwab

Barclay and Sharon Simpson

Bill and Judy Timken

Kay Kimpton Walker and Sandy Walker

Carlie Wilmans

Anita and Ronald Wornick

Janice and Jonathan Zakin

Anonymous

18-Karat {$7,500}Claudia Belcher and Robert Tjian

De La Rosa & Co.

Lorna Meyer and Dennis Calas

Helen Hilton Raiser

Phil Schlein

Mary and Harold Zlot

Anonymous

14-Karat {$5,000}Wilkes Bashford

Kimberly and Simon Blattner

Boucheron

Tecoah and Thomas Bruce

Susan Cummins and Rose Roven

Dwell Magazine

James M. Ford

Ann Hatch and Paul Discoe

The Hellman Family

Hermes

Nancy and Timothy Howes

Beth and Joe Hurwich

Brenda and George Jewett

John and Tina Keker

Sandra Lloyd and Douglass Smith

Leigh Sherwood Matthes

Elaine McKeon

Eileen and Peter Z. Michael

Nancy and Steven Oliver

Mark Petersen and Dana Whitaker

Ronald and Karen Rose

Norma Schlesinger

Ruth and Alan Stein

Cathy and Ned Topham

Christopher E. Vroom

Jack and Susy Wadsworth

Brooks Walker Jr.

{$1,000–$3,500} Linda Allen

Sher Amos

Gretchen and John Berggruen

Frances Bowes

Rena Bransten

Michael E. Broach and Nancy Clark

Heidi and Caley Castelein

City National Bank

Simone Coxe

Bridget Crowe

Karen and John Diefenbach

Andrew Fisher and Jeffry Weisman

Ann and Bob Fisher

Laura and Marshall Front

Emma and Fred Goltz

George Gund III

Kate Harbin and Adam Clammer

Hood & Strong

Linda and Lawrence Howell

Adriane Iann and Christian Stolz

Wallace Jonason

Matthew Kelly and Diane Chapman

Wanda Kownacki and John Holton

Gretchen and Howard Leach

Mark and Kelly Macy

Chris McCutcheon

Alex Mehran

Lisa and John Miller

Deborah Minor

Michael and Robyn Muscardini

Mr. William D. B. Olafsen, ASID

Yurie and Carl Pascarella

Andy and Mary Pilara

Allyson Rusu

O. J. and Gary Shansby

Sotheby’s

Norah and Norman Stone

Laura and Joe Sweeney

Roselyne C. Swig

Francesca Vietor and Mark Hertsgaard

Susan Swig Watkins

Amelia and Brandt Williams

Mrs. Alfred Wilsey

Annie Robinson Woods and Montgomery Woods

{$500–$850} Abercrombie & Fitch

Chris Boskin

Alexandra Bowes and Stephen Williamson

Michael Brennan

Gerry and Bill Brinton

Barbara Brookins-Schneider

Ann Moller Caen

Mei and Herald Chen

John and Mary Conlin

Daniel and Susan Daniloff

Juliette and André de Baubigny

Dixon and Carol Doll Family Foundation

Jennifer Emerson

fuseproject

Ebersole Gaines

Ellene Gurtov-Smith

Haines Gallery

Julie Harkins

Lisabell Heida

Gary Hutton Design

Annalise Hyllmon and C. W. Sattler

Carol and Richard Hyman

Jensen Architects

Richard and Pamela Kramlich

Leddy Maytum Stacy Architects

Kathryn Leighton

Maryon Davies Lewis

Moldaw Family Foundation

Ms. Ann Morhauser

Sally and Robert Nicholson, parents of Bobby Nicholson

John Perez

Cathy and Mike Podell

Laurie Reid

Joan E. Roebuck

Megin Scully

Michael and Mary Servais

Eve Simon

Ron H. Tanovitz and Eve Marie Steccati-Tanovitz

Jay and Susie Tyrrell

Barbara Vermut

Valerie Wade

Kirby Walker and Paul Danielson

Jill Weed

Ann Winblad

Richard and Sue Wollack

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Osterweis Capital Management is delighted to have been a lead sponsor of CCA’s Centennial Gala and Threads Fashion Show for the third consecutive year. We are pleased to join this celebration of the college’s 100-year legacy of educating its students through the practice and study of the arts. Through this investment in CCA’s scholarship program, we have an opportunity to support the designers, architects, artists, and writers of tomorrow.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Levi Strauss Signature® is pleased to have been a lead sponsor of CCA’s Centennial Gala and Threads Fashion Show. Levi Strauss & Co. and CCA share a long history of design leadership in the San Francisco Bay Area, and we are honored to join in celebrating 100 years of CCA.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Saturn was a proud sponsor of the 2007 Centennial Gala and Threads Fashion Show and dis-played the Saturn SKY and the 2007 North American Car of the Year, AURA, on-site at the event. In 2006 Saturn began a major revitalization of its portfolio and now has five new models, includ-ing the OUTLOOK Crossover SUV, the ASTRA Sport Compact, the VUE Compact SUV, the SKY Roadster, and the AURA Sport Sedan as well as two affordable hybrid models, the VUE and AURA Green Line. Saturn recognizes the importance of design innova-tion and is proud to partner with California College of the Arts, which is a leader among American colleges in design education.


opeNiNGS & reCeptioNS | page No. 24 { supportiNg cca }

Spotlight

5 6

43

21

24

opposite page: 1. susaN miLLer, susaN swig watKiNs,

Larry suLtaN & NeLLie KiNg soLomoN

at the Wattis institute opening

2. phiL LiNhares & ByroN meyer at the Wattis institute opening

3. sharoN & BarcL ay simpsoN at the Simpson award reception with award winners

reggie stump, patricia esquivias &

gaBrieLLe teschNer

4. JaN zaKiN at SFMoMa’s reception for the exhibition California College of the Arts at 100

5. heLeN hiLtoN raiser & christiNe

murray at SFMoMa’s CCA at 100 reception

6. doLLy & george chammas at SFMoMa’s CCA at 100 reception

this page: 1. JeNNifer BiederBecK & charLot te

wiNtoN at the Wattis institute opening

2. honorary doctorate recipients triN miNh ha

& roBert BechtLe with aNN hatch,

chair of CCa’s board of trustees, at the 2007 commencement reception

3. BarBara & roN KauffmaN with

roseLyNe c. swig at SFMoMa’s CCA at 100 reception

4. miKe & cathy podeLL at SFMoMa’s CCA at 100 reception

43

21


update from the boarD | page No. 26 { weLcome new trustees }

Presidential SearCh UpDate

aNN hatCh, chair of the Board of Trustees, reports that the search for

CCA’s next president is progressing well.

Over the summer, members of the search committee met with staff and

faculty on each campus to answer questions about the search and to solicit

input on the expectations for and the desired characteristics of the next

president. Student representatives have organized forums in Oakland and

San Francisco to update students on the process and ask for their input.

The search has attracted a strong, diverse pool of candidates. Eight to

ten first-round interviews will take place in November. Once finalists have

been identified, we hope to be able to offer opportunities for the CCA com-

munity to meet them.

As always, the committee welcomes your ideas, which may be sent

to [email protected]. For the latest information about the search, visit

www.cca.edu/about/president.

New trUSteeS

Deborah ChalStY is the executive director of the Chalsty Foundation,

which is dedicated to supporting artistry and craftsmanship in wood- and

metalworking. She and Maria McVarish, an architect and faculty member

in CCA’s Graduate Program in Design, are business partners in a real estate

development firm. Chalsty is also an emeritus advisory board member of

the Crucible, a nonprofit educational arts collaborative based in Oakland.

She graduated from Harvard Business School and is a former investment

banker. Her hobbies include working with wood and metal.

The Chalsty family recently gave CCA a $300,000 endowed gift to

support the Chalsty Aesthetics and Philosophy Initiative. The grant has

enabled the college to develop new public programs, enhance its librar-

ies, fund faculty development, support research, and create an annual

scholarship award. There is also a new endowed professorship: Joseph

Tanke is the new Chalsty Professor of Aesthetics and Philosophy and began

teaching this fall.

trUSteeS

Diane Christensen, cochair

Raoul Kennedy, cochair

Simon J. Blattner Jr.

Tim Brown

Tecoah Bruce

Susan Cummins

Ann Hatch

Steven H. Oliver

Alan Stein

Judy Timken

FaCUltY

Kim Anno, assistant chair of the Painting/Drawing Program

Barry Katz, president of the Faculty Senate

Emily McVarish, chair of the Appointments, Promotions, and Tenure Committee

StaFF

Julia Rowe, associate dean of students

Helen Frierson, executive assistant, Office of the President

StUDeNtS

Jessica Brier, Graduate Program in Curatorial Practice

Liana Chavarin, Individualized Major

Adam Green, Glass Program

{ Search c o m m i t t e e }

26

CharleS GUiCe is an art dealer and the director of Charles Guice Con-

temporary. He specializes in modern and contemporary art by nationally

and internationally recognized visual artists, and he has sold to important

museums and private collectors throughout the United States and abroad.

Guice is a trustee of the Museum of the African Diaspora (MoAD) in San

Francisco and a member of the Photographs Council at the J. Paul Getty

Museum in Los Angeles. He also serves on the nominating committee for

the Aperture West Book Prize.

Guice represents three artists affiliated with the college: Carrie Mae

Weems, who received an honorary doctorate from CCA in 1999 and served

on the faculty in 1991, Hank Willis Thomas (MFA 2003, MA Visual and

Critical Studies 2004), and Jessica Ingram (MFA 2003).

Prior to his career in art, Guice was an executive in the health care

industry, focusing on workers’ compensation, medical malpractice, and

general liability. He holds a BA in psychology from Trinity College and an

MBA from Golden Gate University. He is also a writer and curator, and

he has collected art for 20 years.

MarK peterSeN is a partner in the law firm Farella Braun + Martel LLP.

He joined the firm in 1983 and has a broad-based litigation and mediation

practice emphasizing complex biotechnology issues, consumer fraud

claims, construction, entertainment, and general business litigation. He

has represented a professional football team, a professional baseball team,

and a nationally recognized recording artist as well as prominent biotech,

software, and financial companies. He serves as a mediator for various

courts, and he is a judge pro tem in San Francisco for resolution of cases

about to go to trial.

Petersen served on the Capp Street Project board of trustees from 1992

until 1998, when the organization became part of CCA. During his tenure

he served as treasurer and board chairman, and Capp Street presented

memorable new works by Mona Hatoum, Glen Seator, Janine Antoni, and

many other notable artists.

Petersen received his BS degree from the United States Naval Academy

in 1974 and served in the navy as a nuclear submarine engineer until 1980.

He earned his JD from Hastings College of the Law in 1983.


Awards & AccoladesC aveh zaheDi (Media Arts

faculty) has won the prestigious

2007–8 Rome Prize from the

American Academy in Rome. He

plans to use the fellowship to

write a screenplay adaptation of

Ulysses, James Joyce’s epic work

of experimental literature,

devoting an hour of screen time

to each of the book’s 18 chapters.

rob epSteiN, chair of the new

Graduate Program in Film, has

received two awards—a $35,000

Rockefeller Foundation Media Arts

Fellowship and a $10,000 Sundance

Institute Documentary Fund

grant—for his newest project,

Howl, a documentary film memo-

rializing the publication of Allen

Ginsberg’s groundbreaking 1955

Beat poem of the same name.

JiM GolDberG (Photography fac-

ulty) received a 2007 Henri Cartier

Bresson Award for his project The

New Europeans, about refugees and

immigrants journeying to Europe

from war-torn and economically

devastated countries. He will use

the ¤30,000 prize to travel to his

subjects’ countries of origin and

tell their root stories of migration.

Goldberg also recently received a

Soros Foundation OSI Documentary

Award and an Aftermath Award.

haNK WilliS thoMaS (MFA

2003, MA Visual and Critical

Studies 2004 ) and CCA Photogra-

phy professor ChriS JohNSoN

have received a $35,000 Media Arts

fellowship from Renew Media,

funded by the Rockefeller Founda-

tion, for Question Bridge: Black Male,

a documentary film that explores

critically divisive issues within the

African American male community.

hope MeNG (Graphic Design

2007) and her fellow cofounders of

San Francisco’s Stitch Lounge, the

country’s first drop-in cut-and-sew

space, were honored at the Women’s

Initiative Gala in May 2007. Stitch

Lounge’s unique concept has also

been featured on NBC’s Nightly

News and in the Wall Street Journal.

The San Francisco Foundation

Fund for Artists awarded

taraNeh heMaMi (MFA 1991,

Community Arts faculty) a $5000

commission for her 2007 production

of Most Wanted at Intersection for

the Arts. Hemami also received a

$10,000 individual artist commis-

sion from the San Francisco Arts

Commission Cultural Equity Grant

for the research and production of

the new multimedia documentary

project One Day, focusing on the

exchange of stories of everyday

people in Iran and San Francisco.

l aUreN elDer (Community Arts

faculty) has received a $5000 plan-

ning grant from the city of Oakland

for a landscape and edible garden at

New Highland Elementary School.

The school district has allocated

$20,000 to implement the design.

C arl aUGe (Painting/Drawing

2003, MFA 2005) received the

Pollock-Krasner Foundation Award

in 2006–7. This individual artist’s

grant is intended to assist in the

creation of new work over the

course of one year.

SoNia baSSheva MañJoN,

executive director of CCA’s Center

for Art and Public Life, is the 2007

arts and culture inductee into the

Alameda County Women’s Hall of

Fame. The award recognizes her

work with the center, the Com-

munity Arts Program, and the 100

Families Oakland project.

In summer 2007 MariaNNe

roGoFF (Writing and Literature

faculty) won the fiction contest

organized by Tiferet: A Journal of

Spiritual Literature for her series of

stories inspired by Manuel Alvarez

Bravo’s photographs.

lYNDa GroSe (Fashion Design

faculty) recently received a

$10,000 California project grant for

her Sustainable Design course, part

of CCA’s Fashion Design Program.

aNNe-C atriN SChUltz

(Architecture faculty) has received

a Berkeley Architectural Heritage

Preservation Award for a remodel

of the Rankin House in Berkeley.

The Leland Stanford Mansion State

Historic Park preservation and

restoration project has won two

awards: one from the Victorian

Society in America and one from

the California Preservation Foun-

dation. haNK DUNlop (Interior

Design and Visual Studies faculty)

was the project’s historic interior

and furniture consultant.

noteworthy aChieveMeNtS | page No. 28 { puBLic recognition }

28

The AIA California Council has

named Min | Day (principal e. b.

MiN is an Architecture faculty

member) an emerging talent in

Northern California. Min | Day

will present at the AIA California

Council’s Monterey Design Confer-

ence in October.

CraiG SCott (Architecture

faculty), with IwamotoScott Archi-

tecture, won the 2007 I.D. Design

Distinction award and a citation in

the 2007 San Francisco AIA annual

design awards for Jellyfish House.

Jellyfish House has also been featured

in I.D. magazine’s 53rd Annual De-

sign Review; the New York Times; the

Los Angeles Times; Wired.com; and

the websites of Architectural Record

and Domus.

Several 2007 MFA grads won

awards upon graduation this

spring: DaviD GUrMaN received

the $10,000 Toby Devan Lewis Fel-

lowship and the 2007–8 Graduate

Studio Award from Headlands Center

for the Arts in Sausalito. patriCia

eSqUiviaS, reGGie StUMp, and

Gabrielle teSChNer each won

a $2,500 Barclay Simpson Fine

Arts Scholarship. rYaN pierCe

received $15,000 from the Joan

Mitchell Foundation. And l aCeY

JaNe robertS won a $5,000

Craft Research Fund award from

the Center for Craft, Creativity,

and Design.

ChriStopher WeiSS (Fashion

Design 2007) won the Surface

Emerging Talent Award at the

Centennial Gala and Threads Fashion

Show this past May. It includes a

trip to New York and the oppor-

tunity to collaborate with Surface

staff on a photo shoot featuring his

designs; the pictures appeared in a

fall issue of Surface.

Current senior Kali leWiS

(Architecture) is one of only 11

students nationwide this year to

receive the prestigious Donghia

Foundation Interior Design Schol-

arship. The scholarship covers

tuition, board, and maintenance as

well as books and other materials.

Several faculty and students in

CCA’s craft programs have received

awards. MarilYN Da Silva

(Jewelry / Metal Arts faculty) is an

Jim goLdBerg, Scars, 2006


American Craft Council Fellow; the

designation signifies an artist of

outstanding ability who has worked

25 years or more in the discipline.

In summer 2007, General Motors

awarded trevor MaNtKUS,

now a senior in Ceramics, a highly

competitive internship to work in

its model sculpting operations unit

in Detroit. DereK WeiSberG

(Ceramics 2005) is one of 15 Ameri-

can Craft Council Searchlight

Artists; they showed their work in a

special section of the American Craft

Show in Baltimore in February.

JaMeS KeNNeY (Graphic Design

1998, Graphic Design faculty) won

a 2006 Insight Award from the

National Association of Film and

Digital Media Artists for the intro

and title sequence of the docu-

mentary film Soul of Justice: Thelton

Henderson’s American Journey.

The American Institute of

Graphic Arts has given MiChael

vaNDerbYl (Graphic Design

1968, Graphic Design faculty) a

2007 Fellow Award. This award

recognizes mature designers who

have made significant personal

and professional contributions to

the field.

CCA’s design students have been

making a mark: KerrY boGUS

(Interior Design) received a $6,000

Honor Awards Scholarship in

spring 2007 from the Northern

California chapter of the Inter-

national Interior Design Associa-

tion for her Love Chair; she made

the chair, which is composed

entirely of recyclable, biodegrad-

able, sustainable materials, in a

course taught by Brian Kane. Nate

ribbeNS (Industrial Design) was

a finalist in the Microsoft Next-

Gen design competition for his

Horizon personal computer, which

connects otherwise isolated people

to the global marketplace. reMY

l abeSqUe (Industrial Design

2006) received an award for design

distinction in I.D. magazine’s

student competition for Urban

Shelter_SF, a wearable hammock/

shelter for urban dwellers.

The first annual Spark! Awards,

presented in June 2007 in Pasa-

dena, honored two CCA faculty

members and one alum. aNthoNY

MarSChaK (Wood/Furniture 2003)

received a Gold Spark Award for

his bamboo Spring Chair. With his

firm, Volume Inc., eriC heiMaN

(Graphic Design 1996, Graphic

Design faculty) received awards

for the SFMOMA film series poster

Fidelity and Betrayal: Variations on

the Remake and for the books Heath

Ceramics: The Complexity of Simplicity

and Readymade: How to Make (Almost)

Everything. Industrial Design chair

YveS béhar (with fuseproject)

received awards for the Danese

Kada Chair, Aliph Jawbone Bluetooth

Headset, Herman Miller LEAF Lamp,

and XO Laptop.

YveS béhar and fuseproject have

won several other awards recently,

including a Gold IDEA (Interna-

tional Design Excellence Award)

from BusinessWeek magazine for the

Aliph Jawbone packaging and a silver

IDEA for Herman Miller Leaf Strategy.

BusinessWeek recently featured the

noteworthy aChieveMeNtS

remy LaBesque, Urban Shelter_SF, 2006

James KeNNey, Soul of Justice, stil ls, 2005

30

firm as the number-two overall

IDEA award winner in the last five

years. fuseproject presented a

booth on the One Laptap Per Child

XO Laptop at Art Basel, Switzerland.

The laptop, a flexible, ultra-low-

cost, power-efficient, durable

computer designed collaboratively

by experts from both academia and

industry, has won one of five 2007

INDEX awards. These ¤100,000

awards are the biggest in the

design world, rewarding projects

that take an interdisciplinary

approach and cross conventional

design categories. I.D. magazine

The March–April 2007 issue of STEP

Inside Design featured the top 100

designs from the magazine’s annual

competition. Thirteen of the winning

projects had ties to CCA Graphic

Design faculty and alumni:

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

judges’ pick

No Plot? No Problem! Novel-Writing Kit

Design: Rise-and-Shine Studio,

MeliSSa tioleCo-CheNG (2002)

Art Direction: Chronicle Books,

MiChael MorriS (2004)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

catalogs

RADAR: Selections from the Collection

of Vicki and Kent Logan

Design: Aufuldish & Warinner,

bob aUFUlDiSh (faculty)

Uneasy Nature

Design: Volume Inc., eriC

heiMaN (1996, faculty), aMber

reeD (2005), MaDhavi JaGDiSh

(2004)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

editorial

Harry Callahan: The Photographer

at Work

Design: Aufuldish & Warinner,

bob aUFUlDiSh (faculty)

ReadyMade: How to Make

(Almost) Everything

Design: Volume Inc., eriC

heiMaN (1996, faculty),

elizabeth FitzGibboNS

(2005), aKiKo ito (2004)

Love Hotels

Design: Chronicle Books, Sara

SChNeiDer (1998)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

identity

SINO Restaurant

Design: Public, toDD ForeMaN

(former faculty), NaNCY thoMaS

(2002)

Fuego Grill

Design: Pentagram, eriK

SChMitt (1992)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

reader’s choice /exhibit design

Fuego North America

Design: Pentagram, eriK

SChMitt (1992)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

posters

The Shins; SFMOMA College Night;

The Books

Design: The Small Stakes, JaSoN

MUNN (faculty)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

miscellaneous

Paint by Number Kit

Design: Chronicle Books, alethea

MorriSoN (1998)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

BoB aufuLdish, RADAR, 2006

yves Béhar, XO Laptop, 2007

has given the Herman Miller LEAF

Lamp a Best of Consumer Products

award. fuseproject’s Morpheus

Chandelier and Danese Kada Chair both

won Red Dot Design Awards,

Fly-Bench Global Edition Collection

received a NeoCon Gold Award, and

DXL Helmet won a D&AD Award.

PCWorld named the Aliph Jawbone

Bluetooth Headset one of the 100 best

products of 2007.


Faculty NoteS

eXhibitioNS & pUbliC atioNS | page No. 32 { Noteworthy achievements }

DoUG aKaGi

group show: The Graphic Imperative:

International Posters for Peace, Social

Justice, and the Environment, 1965–

2005, Massachusetts College of Art,

Boston, Sept.–Nov. 2005 (traveled to

the Design Center at Philadelphia

University and the AIGA National

Design Center, New York; the show

is currently in San Diego and will

also be presented in Saint Louis,

Missouri; Boca Raton, Florida; and

Boone, North Carolina).

KiM aNNo

solo show: Kim Anno, Marcia

Wood Gallery, Atlanta, Mar.–Apr.

2007. group shows: Banzai &

Godzilla, SFMOMA Artists Gallery,

San Francisco, June 2007; Stop

Pause Foward, Patricia Sweetow

Gallery, San Francisco, May–June

2007. work featured: Twentieth

Century Asian American Artists,

Greenwood Press, 2007.

CUrtiS h. ariMa

group shows: Metal Works North,

Grace Hudson Museum, Ukiah,

California, July–Oct. 2007; Necklaces,

Aaron Faber Gallery, New York,

June–Aug. 2007.

JohN Chiara

work featured: “Imperfect

Beauty: A Conversation with John

Chiara,” Article, summer 2007; “The

Last Word: West Coast Writers and

Artists,” ZYZZYVA, spring 2007.

CeleSte CoNNor

essay contributions to exhibition catalogs: Oltre

(Beyond), Palazzo Panni, Galleria

Civica Segantini, Arco, Italy, 2007;

Paging through Dreamland: The Tablet

Project, Permanent Press, Oakland,

2007. publications: “Just Say No,

Thanks,” Antinomy, summer 2007;

“In Advance of Some Non-Standard

Stoppages: On the State of Art Criti-

cism in the San Francisco Bay Area,”

Stretcher.org, Feb. 2007. award: Language Learning Grant, Istituto

Italiano di Cultura, summer 2007.

MarilYN Da Silva

solo show: Second Nature: A Bird’s-

Eye View, Mobilia Gallery, Cambridge,

Massachusetts, Sept.–Oct. 2006.

group shows: Metal Works North,

Grace Hudson Museum, Ukiah,

July–Oct. 2007; Exhibition in Print,

Metalsmith, Aug. 2007; Challenging

the Chatelaine! Selected Works:

2002–2006, Designmuseo, Helsinki,

Sept. 2006–Jan. 2007 (exhibition is

traveling internationally through

2009).

rob epSteiN

Jurist at the 2007 Los Angeles Film

Festival.

JeaNNe FiNleY

group show: 3x3: Napa Solano

Sonoma, di Rosa Preserve, Napa,

California, July–Sept. 2007.

liNDa FleMiNG

award: Peter S. Reed Foundation

grant, June 2007.

Gloria FrYM

publications: The Lost Sappho

Poems, Effing Press, 2007; Solution

Simulacra: Poetry, United Artists

Books, 2006; other poems recently

published in Coconut, Origin 4,

Parthenon West Review, Golden

Handcuffs Review, and Zen Monster.

readings: Saint Mark’s Church

Poetry Project, New York, Feb. 2007;

Bowery Poetry Club, New York, Feb.

2007; San Francisco State Universi-

ty Poetry Center, Mar. 2007; Uni-

versity of Arizona / Chax Press,

Tucson, Mar. 2007; Moe’s Books,

JohN chiara, 24th at Carolina (Center), 2006

duNcaN house, Counting the Days #2, 2006

32

Berkeley, May 2007; Beyond

Baroque Literary Arts Center,

Venice, California, July 2007.

award: Faculty development grant

for research in Andalusia, 2007.

liNDa GearY

group show: 7.07, b. sakata

garo, Sacramento, May–June 2007

(curated by Hung Liu and reviewed

in Artweek, July 2007). residency: Art Omi International Artists

Residency, July 2007.

JiM GolDberG

solo show: Raised by Wolves, Art

Gallery of Western Australia,

Perth, Feb.–June 2007. group shows: 60 Years of Magnum, Les

Rencontres, Arles, France, July–

Sept. 2007; Turkey by Magnum,

Istanbul Museum of Modern Art,

Feb.–May 2007.

doug aKagi, Save San Francisco Bay, 1991

aliSa GolDeN

solo show: Threads of Thought:

New Books by Alisa Golden, Donna

Seager Gallery, San Rafael, Califor-

nia, June 2007. group show: A

Poetic Coup D’Etat: Mallarmé’s Influence

on Artists’ Books, Denison Library,

Scripps College, Claremont,

California, Jan.–Mar. 2007.

eriC heiMaN (with Volume Inc.)

group shows: California College of

the Arts at 100: Innovation by Design,

San Francisco Museum of Modern

Art, Mar.–Aug. 2007; TDC53, Type

Directors Club, New York, July

2007. publications: Graphis

Annual Reports 2006; Design Life Now;

Typography 27; Applied Arts Design and

Advertising Annual, Nov.–Dec. 2006;

“How,” 2007 International Design

Annual, Apr. 2007; “Step Inside

Design,” 2007 Step 100, Mar.–Apr.

2007. lectures: AIGA 50 Books/

50 Covers panel discussion, San

Francisco Center for the Book, Nov.

2006; “Intelligent Design,” Univer-

sity of California, Davis, Nov. 2006;

“Design What You Love,” AIGA Los

Angeles, Jan. 2007; “What Is ‘Pas-

sion’ Anyway?” Creative Summit,

San Marcos, Texas, Mar. 2007.

GleN helFaND

essay contributions to exhibition catalogs: Hung

Liu: ZZ (Bastard Paintings), Nancy

Hoffman Gallery, New York, 2007;

Georgia June Goldberg, Swarm Gallery,

Oakland, 2007.

taraNeh heMaMi

solo show: Most Wanted, Inter-

section for the Arts, San Francisco,

May–June 2007. group shows: Global Eyes, Siggraph International

Exhibition, San Diego, Aug. 2007;

Stitches in Time II: Identity Imprinted,


Richmond Health Center, California,

June–Sept. 2007; Intimate Bodies

Public Spaces, Mina Dresden, San

Francisco, Mar. 2007.

toDD hiDo

group shows: ELOI: Stumbling

Toward Paradise, UCR / California

Museum of Photography, Riverside,

Jan.–Apr. 2007; POV: Photography

Now and the Next 30 Years, Photo-

graphic Resource Center, Boston

University, Nov. 2006–Jan. 2007.

work featured: Eyemazing, Jan.

2007; American Photo, Feb. 2007.

SteveN SKov holt

featured: “The Edgar Lanpher

Effect,” Wall Street Journal, Apr. 2007.

DUNC aN hoUSe

group shows: CCA Sculpture

Selections, Sculpturesite Gallery,

San Francisco, Jan.–Apr. 2007;

CCA: A Legacy in Studio Glass, San

Francisco Museum of Craft and

Design, Jan.–Apr. 2007; Americana,

Main ARTery Gallery, Benicia,

California, May–July 2007; Go

Figure, Main ARTery Gallery,

Benicia, Feb.–Apr. 2007; American

Craft Council CCA Juried Alumni

Exhibition, Fort Mason, San Fran-

cisco, Aug. 2006; The Family of Clay:

CCACeramics 1950–2005, CCA Oliver

Art Center, Oakland, Jan.–Feb.

2006; Glass Now auction, National

Liberty Museum, Philadelphia,

Oct. 2006.

JorDaN KaNtor

group shows: Very Abstract and

Hyper Figurative, Thomas Dane

Gallery, London, Mar.–Apr. 2007;

Image Processor: Kota Ezawa / Chris

Finley/ Jordan Kantor, Lombard-Freid

Projects, New York, Apr.–May 2007.

barrY Katz

visiting faculty: Bezalel Acad-

emy of Art and Design, Jerusalem,

May 2007; Haystack Mountain

School of Crafts, Deer Isle, Maine,

July 2007. faculty leader: Stanford Alumni Travel/Study

Program, China, June–July 2007.

publications: “Ideology and En-

gineering in the Tennessee Valley”

in The Tennessee Valley Authority:

Design and Persuasion, Princeton

Architectural Press, 2007; “1927:

Bucky’s annus mirabilis” in New Views

on R. Buckminster Fuller, Stanford

University Press, 2007; “Intelligent

Design,” Technology and Culture, Apr.

2006; “Manifesto Destiny,” Dwell,

May 2007; “Then and Now,” Dwell,

Mar. 2007.

JaMeS KeNNeY

Faculty mentor at the Cannes Film

Festival, May 2007. Codirector of

SF Shorts: The San Francisco Inter-

national Festival of Short Films,

Aug. 2007. Kenney’s film My Dad’s

Hair was screened at Rooftop Films,

New York, in July 2007 and was the

Independent Film Channel film of

the day on July 3, 2007.

ChriStiNa l a Sal a

residency: Elsewhere, Greens-

boro, North Carolina, Aug. 2007.

elizabeth leGer

solo show: Fragments: Liz Leger,

Deirdre White, City Art Gallery, San

Francisco, Oct.–Nov. 2006. group show: Just Charcoal, SFMOMA

Artists Gallery, San Francisco,

Feb.–Mar. 2007.

MarGaret MacKeNzie

group shows: West Marin Icons,

Toby’s Gallery, Point Reyes Station,

California, May 2007; Wild Book

Show, Point Reyes Books, Point

Reyes Station, July 2007; Box Show,

Gallery Route One, Point Reyes

Station, July–Sept. 2007. invited presentations: Indulgences

art salon, San Rafael, California,

Mar. 2007; Alchemy art salon,

San Rafael, June 2007.

ari MarCopoUloS

group show: In the Alps, Kunst-

haus Zurich, Oct. 2006–Jan. 2007.

raFFi MiNaSiaN

award: Educators Who Make a

Difference award from the Yuba

Kim aNNo, Wind, 2007

aLisa goLdeN, Antenna, 2007

eXhibitioNS & pUbliC atioNS

34

County Office of Education, for

Minasian’s support of the Automo-

tive Academy, May 2007. Keynote

speaker at the Blackhawk Museum

docent graduation ceremony, 2007.

philip MorSberGer

publication: Philip Morsberger:

A Passion for Painting, Merrell, 2007

(by Christopher Lloyd, former

curator of the Queen’s art collec-

tion). award: elected honorary

fellow of Saint Edmond Hall,

Oxford, England, in recognition

of his distinguished career.

KierSteN MUeNChiNGer

lectures: “MTRL: Material on

New Materials” (with ASM, the

Materials Information Society),

Institute of Design, Chicago,

July 2007, and Hotel Adagio,

San Francisco, Aug. 2007.

CliFForD raiNeY

group show: 3x3: Napa Solano

Sonoma, di Rosa Preserve, Napa,

California, July–Sept. 2007.

MariaNNe roGoFF

Fiction judge for the 2007 Jessamyn

West Creative Writing Contest,

Napa Valley College, California.

zaCK roGoW

written work: La Vie en Noir:

The Art and Life of Léopold Sédar

Senghor, based on the work of the

West African writer and political

figure (read at the Lit&Lunch

reading series, San Francisco,

Mar. 2007, in collaboration with

the Lorraine Hansberry Theatre).

KC roSeNberG

award: Alameda County Art

Commission purchase award, 2006.

MiChael SChNeiDer

publications: the final two in

the five-part series of Constructing

the Universe Activity Books, devoted

to mathematics, nature, and art

(these accompany Schneider’s

A Beginner’s Guide to Constructing the

Universe, HarperPerennial, 1994,

now in its 28th printing).

MitChell SChWarzer

publications: “The Architecture

of Patronage,” ArcCA, May and Sept.

2007; “Windows on the World:

Anne Fougeron’s Houses,” California

Homes, Jan.–Feb. 2007. lectures: “The Tourism Zone,” Things That

Move: Material Worlds of Tourism

and Travel symposium, Leeds

Metropolitan University, England,

July 2007; “Secondhand Sight,”

College Art Association annual

conference, New York, Feb. 2007.

CraiG SCott

(with IwamotoScott Architecture)

group shows: Open House:

Architecture and Technology for Intel-

ligent Living (organized by Vitra

Design Museum, Weil am Rhein,

Germany), Art Center College

of Design, Pasadena, California,

Mar.–July 2007; Exceptional Houses,

Architecture Gallery, Brno, Czech

Republic, May–July 2007; Young

Architects Program 2007 (exhibition

of P.S.1 outdoor courtyard competi-

tion finalists), Museum of Modern

Art, New York, June–Sept. 2007

(IwamotoScott’s competition entry,

REEF, has also been featured online

at Wired, Inhabitat, Bldg Blog, and

dezeen). presentations: Archi-

tectural League, New York, Mar.

2007; guest studio critic, Southern

California Institute of Architec-

ture, Los Angeles, summer 2007.

elizabeth Sher

group shows: Museum without Walls,

New York, July 2007; Artists’ Books

Exhibition, Cuesta College, San Luis

Obispo, California, June–July 2007.

MarY SNoWDeN

curated: CCA at 100: Alumni Looking

Forward, Braunstein/Quay Gallery,

San Francisco, Mar.–Apr. 2007.

taraNeh hemami, Most Wanted, installation view, 2007


FeDeriCo WiNDhaUSeN

lectures: “Paul Sharits and

the Active Spectator” and “Real-

ism in New Argentine Cinema,”

Society for Cinema and Media

Studies annual conference,

Chicago, Mar. 2007; “Paul Sharits

and the Problem of Structure,”

Documentation, Demonstration,

Dematerialization: American Art &

Cinema of the Late 1960s and 1970s,

University of California, Berkeley,

Apr. 2007. panelist: “Matthias

Müller: Multimedia Poet,” Boston

University, Oct. 2006. With CCA

funding, Windhausen traveled to

Buenos Aires this past summer to

complete research for a book on

recent Argentine cinema and shoot

a documentary with cinematogra-

pher Rubén Guzmán in the north-

ern province of Salta.

thoMaS WoJaK

group shows: CCA 100th Anniver-

sary Alumni Exhibit, GarageGallery,

San Francisco, Apr.–June 2007;

Impressions: The Printed Image,

El Camino College Art Gallery,

Torrance, California, Aug.–Sept.

2007. award: certificate of ap-

preciation from the city of Vallejo

for his artistic contribution to the

Veterans Memorial Monument

restoration, 2007.

eUGeNe YoUNG

work featured: ImagineFX,

Aug. 2006. This semester Young is

a digital illustration instructor at

City College of San Francisco.

JohN zUrier

solo show: John Zurier: Paintings,

Peter Blum Gallery, New York,

Mar.–May 2007. group shows: The Good, the Bad, and the Ugly, New

Langton Arts, San Francisco, Jan.–

Feb. 2007; Contemporary Art, Colby

College Museum of Art, Waterville,

Maine, July–Oct. 2007; Selections

from Concrete, H. Paxton Moore Fine

Art Gallery, Dallas, June–Sept.

2007; Some, Larry Becker Contempo-

rary Art, Philadelphia, June–Aug.

2007. acquisitions: Arabella,

2005, by the San Francisco

Museum of Modern Art; other

paintings by the Colby College

Museum of Art, Waterville, Maine,

and the Farnsworth Art Museum,

Rockland, Maine.

eLizaBeth sher, Bella, Bella, still, 2007

JohN zurier, Arabella, 2005

craig scott, REEF Anemone Cloud Model 2, detail, 2007

eXhibitioNS & pUbliC atioNS

36

published WorKS | page No. 37 { teXt, art & desigN }

artiStS oF iNveNtioN: a CeNtUrY oF CC a

california college of the arts, 2007paperback, 184 pages, $29.95

Published in conjunction with the major retrospective

at the Oakland Museum of California, this companion

volume presents a vivid portrait of Bay Area artists

and art movements associated with CCA over the last

century. It includes new essays, interviews, historical

texts, biographies of more than 100 artists, and more

than 100 color plates.

the heart oF WhiteNeSS: NorMal SeXUalitY

aND raCe iN aMeriC a, 1880–1940

By JUliaN b. C arter

duke university press, 2007

hardcover, 240 pages, $74.95 paperback, 219 pages, $21.95

Julian Carter (Critical Studies faculty) examines how

cultural discourses of whiteness and heterosexuality

fused in the early twentieth century to form a new

concept of the “normal” American. Carter draws from

an array of popular texts, including children’s sex-

education books and marital advice books for adults.

bUilD thiS boNG: iNStrUCtioNS aND

DiaGraMS For 40 boNGS, pipeS,

aND hooKahS

By raNDY StrattoN

chronicle Books, 2007paperback, 107 pages, $12.95

Randy Stratton (Jewelry / Metal Arts 2002) presents

detailed DIY instructions for building 40 bongs—

some classics, some his own original designs—using

common household goods such as melons, coconuts,

snow globes, and teapots. Projects range from a standard

gravity bong to a rubber-ducky hookah and a state-of-

the-art vaporizer.

philip MorSberGer: a paSSioN For paiNtiNG

By ChriStopher lloYD

merrell, 2007

hardcover, 128 pages, $49.95

This large-scale, well-illustrated monograph presents

the lively, witty work of Philip Morsberger (professor

emeritus), whose career as a painter began in the 1950s

and has ranged from realism to abstraction and the

American comic-strip tradition. It includes eight “appre-

ciation” texts by the artist’s contemporaries and friends.

the virGiN’S GUiDe to MeXiCo

By eriC b. MartiN

macadam/cage, 2007hardcover, 350 pages, $25

Eric B. Martin’s (Writing and Literature faculty) fictional

novel tells the story of a teenage girl who runs away

from wealthy, suburban Texas to Mexico City, where she

disguises herself and encounters a series of eccentric

characters. Her parents follow close behind in their SUV,

swerving around cacti and herds of wild pigs.

Up above aND DoWN beloW

By SUe reDDiNG

chronicle Books, 2006hardcover, 32 pages, $14.95

Sue Redding (Industrial Design faculty) writes and

illustrates this colorful children’s book (recently

published in France by Seuil as DesSus and DesSous) that

juxtaposes whimsical scenes taking place simultane-

ously above and below ground: in a house, a theater, a

picnic spot, the Antarctic, and other locations.

“the l aSt MaN,” iN the apoC alYpSe reaDer

By aDaM NeMett

thunder’s mouth press, 2007paperback, 336 pages, $15.95

This anthology of 34 doomsday scenarios features

“The Last Man” by current MFA Writing student Adam

Nemett alongside short stories by such contemporary

greats as Joyce Carol Oates, Ursula LeGuin, and Rick

Moody as well as past luminaries Nathaniel Hawthorne,

Edgar Allan Poe, and H. P. Lovecraft.

Bookshelf


UNCle toM’S C abiN aS viSUal CUltUre

By Jo-aNN MorGaN

university of missouri press, 2007hardcover, 240 pages, $39.95

Jo-Ann Morgan (Painting 1969) reveals how prints

and paintings of Uncle Tom and other characters in

Harriet Beecher Stowe’s famous novel shaped public

perceptions of slavery in the years following the

novel’s publication in 1852. She examines illustrations

in various editions of the book, advertisements for

stage productions, and even sheet music.

the Year oF FoG

By MiChelle riChMoND

delacorte press, 2007hardcover, 383 pages, $20paperback, 496 pages, $5.99

This San Francisco Chronicle bestseller by Michelle

Richmond (Writing and Literature faculty) traces a

traumatic year in the life of a young photographer

after she loses her fiancé’s six-year-old daughter while

walking on the beach in San Francisco. Panic and fear

soon lead to exhaustion and emotional shutdown as

the search for the missing girl continues.

bUrNiNG booK: a viSUal

hiStorY oF bUrNiNG MaN

desigNed By MartiN veNezKY

simon spotlight entertainment, 2007hardcover, 368 pages, $28.95

Martin Venezky (Graphic Design faculty) designed this

image-laden volume commemorating the history of

Burning Man, which began in 1986 on San Francisco’s

Baker Beach and now transforms Nevada’s Black Rock

Desert into a bustling city for one week each year. The

book explores the festival’s unique ethos and art

installations as well as its distinctive landmarks,

pranks, lore, and gift-based economy.

the 5 ps : proper pl aNNiNG preveNtS

poor perForMaNCe

By liz CoheN

onestar press, 2007

paperback, 150 pages, $21.95

“I’ve been building a car at Elwood Bodyworks for a

couple of years. Bill Cherry’s my mentor. He lets me

use his tools and constantly reminds me of the 5 Ps:

Proper Planning Prevents Poor Performance. These

are Bill’s tools.” —Liz Cohen (MFA 2000)

it eNDeD SaD, bUt i loveD Where it beGaN

By J iM GolDberG

these Birds walk, 2007

paperback, 40 pages, $75

Jim Goldberg (Photography faculty) engulfs and engages

readers with beautiful prose and images addressing

timeless notions of love, loss, and pain. This hand-

numbered, limited-edition book is part of a subscription

series (which next year will feature faculty members

Todd Hido and Abner Nolan).

betWeeN the tWo

By toDD hiDo

Nazraeli press, 2006

hardcover, 76 pages, $75

Todd Hido (Photography faculty) weaves photographs of

abandoned houses together with portraits of anonymous

models in motel rooms. The rooms have seen better

days, and the pictures evoke both seediness and internal

beauty. The 35 photographs are printed on matte art

paper and bound in an oversize format.

SeeiNG beYoND SiGht

desigNed By JUlia Fl aGG

chronicle Books, 2007

hardcover, 152 pages, $24.95

This book, designed by Julia Flagg (MFA Design 2002),

features 136 photographs by blind teenagers, accom-

panied by the photographers’ own words about the

creative process, self-expression, and the visual world.

published WorKS

38

CoUSiN WaSh preSeNtS:

the FooD CoNveNtioN

iLLustrated By eUGeNe YoUNG

Les Lurn publishers, 2007hardcover, 32 pages, $16.95

Eugene Young (Graphic Design 2001, Graphic Design

faculty) illustrates this children’s book based on an

original folktale by the celebrated storyteller Curtis N.

Hunt. Characters such as Mr. Corn and Mr. Stringbean

help doctors and educators in the fight against child-

hood obesity, diabetes, and other diet- and exercise-

related issues.

the reviSioNiSt

By MiraNDa MelliS

calamari press, 2007paperback, 82 pages, $12

Miranda Mellis (Writing and Literature faculty)

describes an apocalyptic, detached, distorted world

populated by mutant children, a centenarian with

iguanas beneath her dress, brooding frigate birds, a

terrorist curator, and other fantastic characters. The

story is of a nuclear-age weather reporter who operates

out of an abandoned lighthouse and conducts covert

surveillance on a city.

SolUtioN SiMUl aCra

By Gloria FrYM

united artists Books, 2006

paperback, 74 pages, $14

Gloria Frym’s (Writing and Literature faculty) col-

lection of poems captures the difficulties of a culture

characterized by war and little tolerance for dissent.

The writer and critic Ammiel Alcalay observes: “Like

in the aftermath of a ‘mesmerizing theater of opera-

tions,’ Gloria Frym’s solutions tread the water of a

flood inundating what we once considered our life.”


after CC a | page No.

40 { Noteworthy achievements }

Alumni NoteS

{ 1939 }

ira l atoUr

screening: The documentary

Through the Lens of Ira Latour, at

California State University, Chico,

May 2007.

{ 1950 }

JohN berrY

solo show: One Man Show, River-

land Community College, Austin,

Minnesota, Sept. 2007, and Minne-

sota West Community and Technical

College, Worthington, Oct. 2007.

{ 1956 }

StaNleY GroSSe

group shows: Exploring Multiple

Dimensions, Albuquerque Museum

of Art and History, July–Oct. 2007;

Manheim Gallery, Cottonwood,

Arizona, Oct. 2007. Selected artist

by Larson-Juhl line of framed art.

Signed with Grand Image, Seattle.

{ 1961 }

eDWarD bohoN

group show: Boca Grande Art

Alliance National Exhibition, Florida,

Mar.–Apr. 2007.

{ 1962 }

patriCia taveNNer

group show and lecture: Multiplicity/Multiplicidad: MailArt &

Artistamps, SomArts Cultural

Center, San Francisco, July 2007.

{ 1965 }

elizabeth Kavaler

group show: A Living Legacy: The

Arts and Crafts Cooperative Inc. 50th

Anniversary Celebration, ACCI Gallery,

Berkeley, May 2007.

DeNNiS oppeNheiM

solo show and lecture: Alternative Land Art, Gallery 1600,

Savannah College of Art and

Design, Atlanta, May–Aug. 2007.

{ 1972 }

patriCia FriSCher

curated: SD Art Prize: Domestic

Deviation, L Street Fine Art, San

Diego, Mar.–June 2007.

CharleS valoroSo

group show: City Life, SFMOMA

Artists Gallery, Mar.–Apr. 2007.

{ 1974 }

SUSaN GWiN

residency: Jentel Artist Resi-

dency Program, Aug.–Sept. 2007.

C arol SKiNGer

speaker: Pennsylvania Art

Education Association conference,

Oct. 2006. Created cover art for the

Truro Center for the Arts at Castle

Hill, Massachusetts, summer 2006

catalogue.

Dale Wilhite

group show: Mind’s Eye, Infusion

Gallery, Los Angeles, May 2007.

{ 1975 }

elleN eaGle

solo shows: Concordia College,

Bronxville, New York, Aug.–Oct.

2004; Lyme Academy College of

Fine Arts, Old Lyme, Connecti-

cut, Dec. 2003–Feb. 2004. work featured: “Inside Ellen Eagle’s

Studio,” Pastel Journal, June 2006;

The Classical Drawing Atelier,

Watson Guptill, 2006. awards: two Elizabeth Greenshields Foun-

dation grants; residency fellowship

at the Vermont Studio Center.

MarC KataNo

group shows: 18 Painters, Visual

Arts Gallery, Mount Hood Com-

munity College, Gresham, Oregon,

Feb. 2007; CCA Alumni and Faculty

Show, Stephen Wirtz Gallery, San

Francisco, Aug. 2007; Paintings on

Paper 1998–2006, Costello/Childs

Contemporary Fine Art, Phoenix,

Mar. 2006; 3 Painters, Tadu Contem-

porary Art, Santa Fe, July 2006;

Black and White, Pulliam Deffen-

baugh Gallery, Portland, Oregon,

Aug.–Sept. 2006.

rYaN l. WeiDeMaN

reviewed: Artforum, Feb. 2007.

{ 1976 }

MarK boWleS

solo show: Abstract Landscapes,

Pamela Skinner/Gwenna Howard

Contemporary Art, Sacramento,

Apr.–May 2007.

eriK D’azeveDo

acquisitions: two paintings

by the Oakland Museum of

California, 2007.

tara tucKer, Venus in Furs, 2007

40

{ 1978 }

JaMie brUNSoN

group show: New Abstraction,

Robischon Gallery, Denver,

Mar.–May 2007.

{ 1979 }

SUSaN JUe

Nominated to the board of directors

of the Northern California chapter

of the International Interior Design

Association in the role of philan-

thropy lead, 2007. Cochair of the

IIDA renovation project committee

for Multi Services Center South, a

homeless shelter, in partnership

with Mayor Gavin Newsom and the

city of San Francisco, 2007. Nomi-

nated to the board of directors of

the Summit Bank Foundation, 2007.

{ 1981 }

JaN WatteN

group show: Alameda on Camera,

Frank Bette Center for the Arts,

Alameda, California, Apr. 2007.

betSY WeiS

solo show: Photography, Anelle

Gandelman Fine Art, Larchmont,

New York, June–July 2007.

{ 1982 }

eleaNor DiCKiNSoN

solo show: The Fires Within,

Peninsula Museum of Art,

Belmont, California, May–July

2007. publication: History of

the Women’s Caucus for Art” in

Blaze: Discourse on Art, Women, and

Feminism, Cambridge Scholars Press,

2007. speaker: National Women’s

Studies Association annual confer-

ence, Chicago, June 2007.

{ 1983 }

SaDiKiSha Collier

curated: An Evolving Tradition,

Medgar Evers College, Brooklyn,

and Danny Simmons’s Corridor

Gallery, Brooklyn, July–Aug. 2007.

DaNiel GottSeGeN

group show: Thoreau Reconsidered,

Glyndor Gallery, Bronx, New York,

June–Aug. 2007.

{ 1987 }

eriK aDiGarD

solo show: Dual Term (with Chris

Salter), Terminal Zero One, Pearson

International Airport, Toronto, and

Secondlife.com, July 2007–Jan. 2008.

CharleS broWNiNG

group shows: Promised Land,

Morgan Lehman Gallery, New

York, June–Aug. 2007; Story Rede-

fined, Poietis Gallery, Poet’s Den Art

Center, New York, Apr. 2007; Art

Chicago, featured artist of Schro-

eder Romero Gallery, Apr. 2007.

DiaNe MeNzieS

solo show: The Passing, Joan

Lukas Rothenberg Gallery, Syra-

cuse, New York, May–June 2007.

aNN Weber

solo show: Ann Weber, Oakland

Museum of California Sculpture

Court, Aug.–Nov. 2007. com-missions: Infinite Possibilities, a

sculpture at César Chávez Library,

Phoenix, 2007; Promenade, a sculp-

ture at Skyline Park, Denver, 2006.

{ 1988 }

WeNDY bell

solo shows: Art Meets Technol-

ogy, Schaefer Business Solutions,

Berlin, June–Nov. 2007; The Right

Side, offices of Schäfer, Thieme, and

Hermel, Berlin, July–Dec. 2007.

commission: Meuer’s Fröhlichkeit,

a mural at Sayn, Germany, Aug.

2007. Designed costumes for

Avalancha, a video installation by

Sergio Belinchón, shot in Bad

Sooden / Allendorf, Germany,

July 2007.

patriCia olYNYK

Named director of the graduate

school of art (part of the Sam Fox

School of Design and Visual Arts) at

Washington University, Saint Louis.

CYNthia GUilD Stoetzer

solo show: Fresh Lands, Muse Gal-

lery, Jackson, Wyoming, Mar. 2007.

amaNda hugheN, Consumptia, 2007


after CC a

{ 1990 }

MiStY GaMble

group show: Cream: From

the Top, Arts Benicia, California,

July–Aug. 2007.

aMY KaUFMaN

solo shows: Recent Work, Tray-

wick Contemporary, Berkeley,

Apr.–June 2007, Amy Kaufman /

Daniel Reneau, 101 California, San

Francisco, Feb.–Mar. 2007; Just

Charcoal, SFMOMA Artists Gallery,

San Francisco, Feb.–Mar. 2007.

MiChele preD

Curated and participated in the

group shows Code Switching (with

Quorum SF), Red House Gallery,

Los Angeles, and Swarm Gallery,

Oakland, Aug.–Nov. 2007; and Blood

for Art (with Quorum SF), Scope

Miami, Florida, Dec. 2006.

{ 1991 }

bobaK etMiNaNi

solo show: Evolution of Form and

Idea in Paintings of Bobak Etminani,

Imam Ali Religious Arts Museum,

Tehran, Iran, June–July 2007.

liSa KoKiN

solo show: Fruit of the Broom,

Jenkins Johnson Gallery, New

York, Mar.–Apr. 2007. group show: Childish Things, 301 Bocana,

San Francisco, June–July 2007.

JoaNN SeliSKer

performance: Begin with a Box,

ODC Theater, San Francisco, May

2007. residency: ODC Theater,

San Francisco.

{ 1992 }

MarleNe aroN

solo show: The Presence of Now,

Gallery Route One, Point Reyes

Station, California, June–July

2007. group show: Arcadia: Artists

Celebrate Trees, California Modern

Gallery, San Francisco, Apr. 2007.

taught: “Seeing the Divine:

The Spirituality of Vincent Van

Gogh,” First Unitarian Universalist

Society of San Francisco, Apr. 2007.

lecture: “The Life and Work of

Vincent Van Gogh,” San Francisco

Public Library, Bernal Heights

branch, July 2007.

JaNe GriMM

solo show: Hearts: Homage to

Saint Valentine, Ruby’s Clay Studio,

San Francisco, Jan.–Feb. 2007.

group shows: Pacific Rim Sculptors

Group Summer Members Exhibition,

Richmond Art Center, California,

June–Aug. 2007; AWA in Paris, Espace

Chalet, Paris, May 2007; Artfest, Gal-

lery One, San Francisco, May 2007;

Follow The Line, Pence Gallery, Davis,

California, Apr.–June 2007; Four

Generations of Women at CCA, 871 Fine

Arts, San Francisco, Apr.–June

2007; Inaugural Show, Terra Gallery,

Columbus, Ohio, Mar.–Apr. 2007;

Ceramic Abstraction, Creative Arts

Workshop, New Haven, Connecti-

cut, Mar.–Apr. 2007; Plane, Chicago

Art Source, Mar.–Apr. 2007; The

Alliance of Women Artists, Asylum Gal-

lery, Sacramento, Jan.–Feb. 2007.

SteveN Miller

Designer for the San Francisco

Designer Showcase, Pacific Heights

mansion dining room, Apr.–

May 2007.

gregory gaviN, Riveropolis, 2006

42

JereMY SteNGer

group show: Pattern vs. Decoration,

Hosfelt Gallery, San Francisco and

New York, June–Aug. 2007.

{ 1997 }

tia FaCtor

solo show: Spaceball Ricochet,

Keys That Fit Gallery, Oakland,

Apr.–June 2006. group shows: Alumni at the Centennial, Oliver Art

Center, CCA, Oakland, Jan.–Feb.

2007; Oakland: East Side Story, Yerba

Buena Center for the Arts, San

Francisco, Oct.–Dec. 2006.

Stell a l ai

group show: Girls Just Wanna

Have Fun!, International Female Artists

Exhibition, Artspace, Shanghai,

July–Aug. 2007.

JohN roGerS

solo show: Crazy Train to the Land

of Pure Imagination, Blankspace,

Oakland, June–Aug 2007.

{ 1993 }

GreGorY GaviN

public art project: Riveropolis,

Oakland, Oct. 2006.

{ 1994 }

ChaNDra Cerrito

curated: Still, Contemporary

Quarterly.com, 2007; Inaugural

Exhibiton, Chandra Cerrito Contem-

porary, Oakland, 2007.

FaiN haNCoCK

group show: Mythologies, Hang

Annex, San Francisco, Mar. 2007.

aaroN JohNSoN

group show: The Last Open Studios

in Tribeca, New York, Apr. 2007.

l aWreNCe l abiaNC a

group show: Faithfully, Bucheon

Gallery, San Francisco, Feb.–

Mar. 2007.

JeaNNe loreNz

group show: Nothing But Space,

Bucheon Gallery, San Francisco,

June–Aug. 2007.

tara tUCKer

solo show: Friend and Foe, Rena

Bransten Gallery, San Francisco,

Apr.–May 2007.

{ 1995 }

l aWreNCe azerraD

Designed artwork for new Wilco

CD Sky Blue Sky, 2007.

{ 1996 }

C arl a alleN

group shows: Our Cyborg Future,

Discovery Museum, Newcastle

upon Tyne, England, Aug.–Oct.

2007; Second Skin, organized by the

Cooper-Hewitt National Design

Museum (traveled to Kaohsiung

Museum of Fine Arts, Taiwan, and

Museum of Contemporary Art,

Taipei, Taiwan), Mar.–Aug. 2007;

Stars and Starlets Fashion Show,

Second Skin, Essen, Germany, Aug.

2006. work featured: “Fashion-

able Technology,” XXmagazine.org,

Jan. 2007; Entry Paradise: New Worlds

of Design, Birkhäuser Basel, 2006.

Gioia FoNDa

founded: Tangent, an artist-run

alternative gallery space and studio

in Sacramento, July 2007.

Mel aNie hoFMaNN

group show: Animals and Sea

Creatures, Expressions Gallery,

Berkeley, June–Aug. 2007.

aNthoNY pearSoN

solo show: Anthony Pearson,

Shane Campbell Gallery, Chicago,

Feb.–Mar. 2007. group shows: Stuff, Museum of Contemporary

Art Detroit, May–July 2007; Radiant

City, Cherry and Martin, Los

Angeles, June–Aug. 2007; Aspects,

Forms, and Figures, Bellwether

Gallery, New York, Feb.–Mar. 2007.

doN porceLLa, Artist Colony, 2005


JUlia Shirar

solo show: New Paintings, Rowan

Morrison Gallery, Oakland, Mar.–

Apr. 2007.

{ 1998 }

JUleS De baliNCoUrt

group show: CCA at 100: Alumni

Looking Forward, Braunstein/Quay

Gallery, San Francisco, Mar.–

Apr. 2007.

StephaNie DeaN

solo show: Sleeping Men, Armit-

age Gallery, Chicago, July–Aug.

2007. group shows: Craftsmanly

Conceptualism, Johnsonese Gallery,

Chicago, May–June 2007; Bridge

Art Fair, Chicago, 2007; Cook

County Women’s History Month,

Chicago City Hall, Mar.–Apr. 2007.

work featured: F-Stop: The First

Four Years, Free Milk Press, 2007.

paMel a DerNhaM

group show: Wired, Mowen

Solinsky Gallery, Nevada City,

California, June–July 2007.

DaviD hUFFMaN

group show: Graphic: New Bay

Area Drawing, di Rosa Preserve,

Napa, California, Jan.–Mar. 2007.

robert olSeN




Apr. 2007.

ChriStopher rUSSell

solo show: Together, Acuna-Hansen

Gallery, Los Angeles, Jan.–Feb. 2007.

{ 1999 }

aMaNDa hUGheN

solo show: Between Above

and Below, Electric Works, San

Francisco, June–July 2007.

raJKaMal KahloN

group shows: What F Word?,

Cynthia Broan Gallery, New York,

Feb.–Mar. 2007; The Big Picture,

Nathan Cummings Foundation,

New York, Feb.–May 2007; CCA

at 100: Alumni Looking Forward,

Braunstein/Quay Gallery, San

Francisco, Mar.–Apr. 2007.

{ 2000 }

liz CoheN

group shows: 50,000 Beds,

Artspace, New Haven, Connecticut,

and Aldrich Contemporary Art

Museum, Ridgefield, Connecticut,

July–Sept. 2007; Picturing Immi-

gration, Galería de la Raza, San

Francisco, Aug.–Sept. 2007; Chopped,

Chromed, and Customized, Center

for Contemporary Arts, Santa Fe,

Aug.–Oct. 2007; Fuoriuso: Are You

Experienced?, WAX (ex MEO), Buda-

pest, Hungary, and the National

Museum of Contemporary Art,

Bucharest, Romania, May–Aug. 2007.

aleXaNDra GraNt

solo show: MOCA Focus: Alexandra

Grant, Museum of Contemporary

Art, Los Angeles, Apr.–Aug. 2007.

lee WaltoN

public art project: Life/Theater

Project, SoEx Off-Site, Southern Ex-

posure, San Francisco, Mar. 2007.

{ 2001 }

JeaNette boKhoUr

group show: TechArt III, South

Shore Art Center, Cohasset, Mas-

sachusetts, Apr.–May 2007.

JUlie ChaNG

group show: Cream: From the Top,

Arts Benicia, California, July–Aug.

2007.

lilY CoX-riCharD

solo show: At Stake and Rider,

Civilian Art Projects, Washing-

ton DC, June–July 2007. group shows: Company Picnic, Metro

Space Gallery, Richmond, Virginia,

May 2007; Introducing the Common-

wealth Bricoleurs, Off Grounds Gal-

lery, Charlottesville, Virginia, Mar.

2007. award: 2007 Jacob K. Javits

Commended Scholar.

JoSe Mar



Gallery, San Francisco, Mar.–Apr.

2007.

viviaNa pareDeS

group show: Nuevo Arte: Colección

Tequila Don Julio, organized by the

Mexican Museum, San Francisco

(traveled to White Box, New York;

New World Museum, Houston;

Aldo Castillo Gallery, Chicago; Los

Angeles Contemporary Exhibitions

[LACE]), Jan.–Aug. 2007. The collec-

tion is being gifted to the Mexican

Museum in San Francisco.

after CC a

edith garcia, Diablo, 2007

44

DoN porCell a

group show: Road Trip, Mixed

Greens Gallery, New York, July–

Aug. 2007.

MarCia WeiSbrot

group show: Pulp Function, Fuller

Craft Museum, Brockton, Massa-

chusetts, May 2007–Jan. 2008.

{ 2002 }

KatheriN MCiNNiS

solo show: Excavations of the

Recordable World (a presentation of

the digital films Landscapes in Alpha-

betical Order; Predictions; Suspicious

Activity; Open; elevations; A Clear Story;

San Quentin, CA 94964; Model Prisoner;

and new work), Yerba Buena Cen-

ter for the Arts, May 2007. group shows: Terra Incognita III, New

Langton Arts, San Francisco, July

2007; International Panorama, Festi-

val Pocket Films, Centre Pompidou,

Paris, June 2007; San Francisco

International Film Festival, Apr.–

May 2007; Alternate Soundtrack City

Tours, Southern Exposure, San

Francisco, Mar. 2007. visiting artist: Conceptual/Information

Arts program, California State

University, San Francisco, fall 2007.

{ 2003 }

KiM CUrtiS

publication: Volume 4,

True-Eye.net, July 2007.

aNJee helStrUp-alvarez

guest curator: Ancient Roots /

Urban Journeys: Expressions for Días

de los Muertos, Oakland Museum of

California, Oct.–Dec. 2007. Associate

director and curator, Movimiento

de Arte y Cultura Latino Americana

(MACLA), San Jose.

FraNCiS Mc ilveeN

group shows: California Clay Com-

petition Exhibition, The Artery, Davis,

California, Apr.–June 2007; Handy-

men and Girly Boys: Masculinity, Craft,

and Culture, Sherry Leedy Contem-

porary Art, Kansas City, Missouri,

Apr.–June 2007; Artist/Teacher,

Teacher/Artist, Richmond Art Center,

California, Apr.–June 2007.

KirStYN rUSSell

group show: Allusive Moments,

Rena Bransten Gallery, San

Francisco, Mar.–Apr. 2007.

haNK WilliS thoMaS

publication: Photo essay, Mother

Jones, June 2007.

elizabeth WalSh

group show: Systems & Transmuta-

tions, Root Division, Gallery 3175,

San Francisco, Feb. 2007.

{ 2004 }

JohN Chiara

solo show: John Chiara (spon-

sored by Gen Art and Johnny

Walker), Club Sportiva, San

Francisco, Mar. 2007. group show: Visual Alchemy, Oakland

Art Gallery, Feb.–Mar. 2007.

DaviD FoUGht

group show: The Most Curatorial

Biennial of the Universe, Apexart,

New York, July–Aug. 2007.

eDith GarCia

group shows: Six McKnight Art-

ists, MacRostie Art Center, Grand

Rapids, Minnesota, and Owatonna

Arts Center, Minnesota, May–

Sept. 2007; Contemporary Monsters at

Wunderkammer: A Cabinet of Curiosities,

Bluecoat Display Centre, Liverpool,

England, July–Aug. 2007. work featured: Breaking the Mould: New

Approaches to Ceramics, Black Dog

Publishing, 2007; Confrontational

Ceramics, A&C Black, 2007.

fraNcis mciLveeN, Sleipnir: Optimistic: Doomed, 2007


MarY YoUNKiN

solo show: One Thousand Words,

Luka’s Taproom and Lounge,

Oakland, May–June 2007.

{ 2005 }

lori aUFFhaMMer

group show: You Can Have It All:

New York, Salvation Gallery, New

York, Feb.–Mar. 2007.

C arl aUGe

solo show: Between You and Me,

Rowan Morrison Gallery, Oakland,

May–June 2007. group shows: Red Ink Studios, San Francisco,

Feb. 2007; CCA 100th Anniversary

Alumni Exhibit, GarageGallery, San

Francisco, Apr.–June 2007.

CharleS beroNio

group shows: SELF 2.0, Vertex-

List, Brooklyn, June–July 2007;

New American Talent: The 22nd

Exhibition, Arthouse, Austin, June–

Aug. 2007 (traveling through 2009).

MileS epSteiN

solo show: The Waste Stream—

Art/Furniture, Thoreau Center for

Sustainability, San Francisco,

June–Sept. 2007.

after CC a

Sarrita hUNN

group shows: Optimism: A Natural

Vector, Hardware Store Gallery, San

Francisco, May–June 2007; The

Collective Foundation, Yerba Buena

Center for the Arts, San Francisco,

Apr.–July 2007; CCA at 100: Alumni



Apr. 2007.

raChel KaYe

group show: Glamour, Glory,

and the Good Old Days, Paul Morris

Gallery, New York, July–Aug. 2007.

FreDeriCK looMiS

group show: Headlands Center

for the Arts open house, Sausalito,

California, Apr. 2007. work featured: Leonardo magazine

cover, Feb. 2007.

eileeN MoDerbaCher

group show: The Most Curatorial

Biennial of the Universe, Apexart,


brittaNY poWell

solo show: Mucho Más, Boise Art

Museum, Idaho, June–Oct. 2007.

baYeté roSS SMith

solo show: Passing, Blue Room


Apr. 2007.

MiChele theberGe

group shows: Childish Things,

301 Bocana, San Francisco, June–

July 2007; Best Friends Forever, Space

Gallery, San Francisco, June 2007;

Faculty Exhibition, Coffee Gallery,

Fort Mason campus, City College of

San Francisco, May–July 2007.

aNGel a heNNeSSY

solo show: Party Cloudy, Amper-

sand International Arts, San

Francisco, Apr.–May 2007. group show: Breaking Ice: Bay Area Artists

Consider the African Diaspora, Artwork

SF, San Francisco, May–June 2007.

Kari MorriS

curated: Glamour, Glory, and the

Good Old Days, Paul Morris Gallery,


{ 2006 }

valerie brittoN

solo show: Near and Far, 301

Bocana, San Fancisco, Mar.–Apr.

2007. group shows: Time Lines,

Mina Dresden Gallery, San Francisco,

Feb. 2007; Excavations, Johansson

Projects, Oakland, May–June 2007.

aliKa Cooper

solo show: Alika Cooper, Mark

Wolfe Contemporary Art, San

Francisco, July–Aug. 2007. group show: Glamour, Glory, and the Good

Old Days, Paul Morris Gallery, New

York, July–Aug. 2007.

Katie leWiS

group shows: Systems & Transmu-

tations, Gallery 3175, San Francisco,

Feb. 2007; Time Lines, Mina Dresden

Gallery, San Francisco, Feb. 2007;

Introductions3, Irvine Contemporary,

Washington DC, Aug.–Sept. 2007.

DaviD MaiSel

solo shows: Black Maps, Nevada

Museum of Art, Reno, Apr.–July

2007; Oblivion, Haines Gallery, San

Francisco, Apr.–May 2007. group shows: Comfort Zone, Santa Fe Art

Institute, June–Aug. 2007; Re-SITE-

ing the West, Los Angeles County

Museum of Art, Mar.–June 2007;

eugeNe youNg, Cousin Wash Presents:

The Food Convention, detai l , 2007

46

Global Anxieties: Nine Perspectives on a

Changing Planet, College of Wooster

Art Museum, Ohio, Mar.–May 2007.

interview: Studio 360, Public

Radio International, Mar. 2007.

lecture: College of Wooster Art

Museum, Apr. 2007. lecture and workshop: Santa Fe Art Insti-

tute, June 2007.

liNDSeY MUSC ato

group show: Glamour, Glory,

and the Good Old Days, Paul Morris

Gallery, New York, July–Aug. 2007.

Job piStoN

solo show: An Unsung Rhythm

in a Colonnade of Stars, Silverman

Gallery, San Francisco, Mar.–Apr.

2007. group shows: Evidence of

Things Unseen, Peninsula Museum of

Art, Belmont, July–Oct. 2007; Our

World (with PhotoAlliance), SFAC

City Hall, San Francisco, June–

Sept. 2007; A Kingdom for a Horse,

Peles Empire / MAK Center for Arts

and Architecture, Los Angeles,

June–July 2007; In a New Direction,

Wall Space, Seattle, Jan.–Feb. 2007.

work featured: Self Service, sum-

mer and fall 2007; San Francisco Bay

Guardian, Aug. 2007; Artweek, June

2007; Artforum.com, Mar. 2007.

DaNiel reNeaU

solo show: Daniel Reneau, 101

California Street, San Francisco,

Feb.–Mar. 2007.

WeStoN terUYa

group show: Graphic: New Bay

Area Drawing, di Rosa Preserve,

Napa, California, Jan.–Mar. 2007.

{ 2007 }

JeSSalYN haGGeNJoS barr

group show: Zonal Confluence,

Swarm Gallery, Oakland, June–

Aug. 2007.

reNee Gertler



Aug. 2007.

CUbbY GolDeN

featured: “The Life of a Nike

Shoe Designer,” Buckets, July 2007.

DaviD GUrMaN



Aug. 2007.

elizabeth MooNeY



Aug. 2007.

KareN olSeN-DUNN



July–Aug. 2007.

rYaN pierCe

group show: Introductions3,

Irvine Contemporary, Washington

DC, Aug.–Sept. 2007.

ChriStiNe WoNG Yap

group shows: Ship Launch!,

Galleon Trade, Oakland, and

Mag:net Galleries / Green Papaya

Art Projects, Quezon City, the

Philippines, June–Aug. 2007;

Beats per Minute: Contemporary

Artists Influenced by Craft and Folk

Art Practices, Museum of Craft

and Folk Art, San Francisco,

Mar.–Apr. 2007. Affiliate artist

at Headlands Center for the

Arts, 2007–8.

JeNNiFer zito



July–Aug. 2007.

Drop US a liNe

Tell us about your creative and scholarly work: exhibitions, publica-tions, screenings, performances, lectures, appointments, promotions, and awards. Please include all relevant dates (including months!), titles, venue names, and locations as well as your name and year of graduation.

Send us images of your artworks as well (preferably JPGs, 300 dpi and at least 4 inches across). Include the title and date for each artwork. Email to [email protected] or [email protected] or send to:

at teNtioN aLumNi Notes / facuLty Notes

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saN fraNcisco ca 94107

Notes are featured on a space-available basis. We cannot return slides and photographs, so please do not send your original copies!


FacultyroY De ForeSt died May 18, 2007, in Vallejo at age 77. De Forest was a

lecturer at CCA in the mid-1960s, he participated in Founders’ Weekend

in the 1980s, and he juried the Hamaguchi Printmaking Scholarship

competition in 2000. His paintings frequently showed jungle-like land-

scapes populated by dogs and wide-eyed humans. He was inspired by the

Bay Area Figurative style that became influential in the 1950s, but he

always took his own, distinctive approach. His wife, Gloria De Forest, is

a CCA alumna.

MartiN Metal, a sculptor who taught at CCA in the mid-1950s and

early 1960s, died in Berkeley on February 28, 2007, at age 88. His projects

included the 70-foot-tall campanile at Saint Bartholomew’s Church in

San Mateo, the curving metal gates at the original entry to the Berkeley

Repertory Theatre courtyard, the voluptuous 10-foot-long nude that

reclined above the bar at the old Narsai’s restaurant in Kensington, and

the abstract iron horse head outside the San Ramon Office Depot.

Alumnilee boUSiaN BFA, Advertising, 1935 Fowler, California January 14, 2007

GorDoN D. C aNNoN BFA, Industrial Design, 1966 Aptos, California October 11, 2006

toNY G. C aNtaliNi BFA, Interior Architecture, 1993 Palm Springs, California November 11, 2006

viviaN J. ChiverS BFA, 1946 Hemet, California 2007

WilliaM r. DaNCh BFA, Ceramics, 1973 January 9, 2007

Stell a M. epperSoN BFA, Painting, 1966 Orinda, California October 15, 2006

JohN J. eSKriDGe Certificate, Commercial Art, 1948 Berkeley, California April 2006

Martha r. GorDoN BAEd, Art Education, 1936 Grass Valley, California March 13, 2007

KriStiN GUDJoNSDottir BFA, Sculpture, 1995 Chapel Hill, North Carolina April 21, 2007

JaNiCe l. hUNtooN BAEd, Art Education, 1941 Murphys, California May 4, 2006

tobiaS lee Industrial Design, 2003 Truckee, California April 18, 2006

harriet e. MiDDletoN BAEd, Art Education, 1939 Walnut Creek, California September 10, 2006

JohN MiNaSiaN BFA, Painting, 1950 Cupertino, California February 9, 2006

SUNNY S. NiShKiaN Interdisciplinary Fine Arts, 1979 Orinda, California August 26, 2006

DorothY p. rooS BFA, Interdisciplinary Fine Arts, 1973 Orinda, California April 20, 2007

JohN a. rUStiNG Certificate, Applied Arts and Advertising, 1948 Alameda, California March 2, 2007

DiaNa K. vavra BFA, Printmaking, 1961 Loma Linda, California July 24, 2007

loreNzo vill aCorta BFA, Painting, 1975; MFA, 1977 Turin, Italy August 5, 2007

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Please inform us of deaths of

alumni and faculty by sending

information, including newspaper

obituaries, to [email protected] or:

GlanceCCA Communications Department1111 Eighth StreetSan Francisco CA 94107

In Memoriam

48

BackwardGlAnCe

After purchasing what was to become CCA’s new Oakland campus in 1922,

Frederick Meyer and his students spent innumerable hours transforming

the weed-infested parcel into beautiful gardens that included specimens

from all over the world. Many of the trees and plants had botanical labels

so that students could identify them properly while sketching around cam-

pus. Plant Analysis, Outdoor Sketching, Nature Drawing, and Landscape

Painting were all required courses during the school’s first few decades.

Meyer’s reputation as a horticulturalist spread; often he would be

invited to come and remove whatever plants he wished when a local house

was being torn down. Former student Leah Beall Reagg recalled in later

years: “Mr. Meyer used to call me at the most awful times, like 6:30 a.m.

or so, to tell me to please hurry over to the school (I was working for my

room and board) because a night-blooming cereus was just coming into

bloom and would I please draw and paint it before the sun touched it.”

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glance fall 2007

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