Glance Spring 2006

Artists Without Borders

Taking CCA Beyond the Bay

Strong Ties:

Sponsored Studios at CCA

California College of the Arts

San Francisco | Oakland

Spring 2006 | Volume 14 | No. 2

A publication for the CCA communityglance

glance

Spring 2006

Volume 14 No. 2

Director of PublicationsErin Lampe

EditorErica Olsen

Managing EditorMegan Carey

ContributorsSusan Avila

Chris Bliss

Joseph Bryant

Jason Engelund

Camille Gerstel

Erica Holt

Barbara Jones

Rebecca Katz

Jessica Russell

DesignSputnik CCA, a student design team

Design DirectorBob Aufuldish

DesignersHope Meng

Robert Van Horne

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 the CCA Advancement Office,

5212 Broadway, Oakland, CA 94618, or email

[email protected].

Printed in Iceland by Oddi Printing

contents

2 Artists Without Borders Taking CCA Beyond the Bay

6 Strong Ties Sponsored Studios at CCA

8 Alumni Profiles: Generations A Family Tradition

10 At the Center for Art and Public Life National Community Arts Symposium

The VALUES Project

11 At the Wattis Fall 2006 Exhibition Preview

The Bulletin Board

12 CCA Views Scholarship Winners, CCA Events, New Trustees, and more

18 Faculty Notes

23 CCA Bookshelf

24 Alumni Notes

31 In Memoriam

32 A Backward Glance

glance | spring 2006

In 1907, Frederick Meyer founded the school that would become California

College of the Arts with 3 teachers, 3 classrooms, 43 students, and $45 in cash.

Nearly a century later, our numbers have changed considerably. The original

3 classrooms have turned into campuses in Oakland and San Francisco. Our

faculty, full-time and part-time, comprises more than 400 artists, architects,

designers, writers, and scholars. And this year, we welcomed a record number of

new students. Our total enrollment now stands at more than 1,600 students.

In recent years, both our undergraduate and graduate programs have

expanded. Our newest programs—graduate architecture and curatorial practice,

and undergraduate community arts, visual studies, and writing and literature—

are attracting talented students from across the country and around the world.

With these changes, of course, come increasing demands on the college. We are

adding studio space and upgrading facilities and technology. We are also expand-

ing student services, especially in the areas of career services and administrative

support for our increasing number of international students.

We dream big, but throughout this process, we have made sure that our

growth is sustainable. This model of growth depends on more than the college’s

ability to attract the best students. It depends also on the generosity of our sup-

porters. Sponsored studios are proving to be an innovative means of support,

bringing industry resources and real-world design challenges into the classroom.

For a look at our recent sponsored studios with Gaia & Gino and Simpson

Strong-Tie Co., turn to page 6. And thanks to our many generous donors, the col-

lege is able to provide crucial fi nancial aid in the form of scholarships to talented,

hardworking students. In this issue of Glance, you will meet some of this year’s

scholarship recipients.

Today, CCA is an institution with a long history and a national reputation.

It is inspiring, and instructive, to look back at its origins. It was the day-to-day

decisions of the founders and those pioneering fi rst students and teachers that

sustained the fl edgling institution. Likewise, a decision today—whether a recent

alum’s fi rst gift to the Annual Fund or an innovative studio sponsorship—can

have large consequences for the future of our school.

We have grown, and we embrace a broader defi nition of the arts than the

college’s founders could have imagined, but our core mission remains the same:

to prepare students for lifelong creative work.

Michael S. RothPresident

Dear Friends,

1

ArtistsWithoutBordersTaking CCA Beyond the Bay

For some students and faculty at California College of the Arts, a passport is as

essential as their college ID. Undergraduates can study printmaking in Osaka,

painting in Berlin, or graphic design in Vancouver—at CCA, the traditional semes-

ter abroad translates into a world of art-making opportunities at more than 20

international schools of art and design. Students can also live and work in another

culture through CCA’s own summer study abroad courses. And the college is

attracting an increasing number of international students, particularly from Asia.

In this issue of Glance, we look at a half-dozen ways in which the CCA community

extends far beyond the Bay Area.


Art in Translation

Asia and Latin America have become

classrooms for grad students in curato-

rial practice. In spring 2005, students

traveled to Tokyo (thanks to a gener-

ous grant from the W. L. S. Spencer

Foundation) for a full schedule of visits

with contemporary artists and curators.

Student Jessica Martin writes:

As I navigated my way through Tokyo

for the fi rst time, I was continually

struck by how different my percep-

tion of the city was from how it was

depicted in books, in fi lms, in the

stories friends told after their own

travels…I discovered that the neighbor-

hoods are extremely varied in appear-

ance and spirit; the architecture can be

human-scaled and intimate; there are

narrow streets that wind past rows of

small houses and boutique storefronts.

If one strays away from the crowded

boulevards and commute times, one

can actually fi nd a place of hushed

solace, almost like entering a sleepy

town… When we describe a place, we

are not only speaking of a physical

environment—we are also describing

the people, cultures, and histories that

inhabit that place. Perhaps the most

important aspect of the process of

evoking place is that we are ultimately

describing ourselves …

Increasing International

Presence

CCA took its fall recruitment to Asia

for a second year. Lark Cratty, assistant

director for international admissions,

met with prospective students at col-

lege fairs in Japan, South Korea, China,

Taiwan, Thailand, and India. Nine

percent of fi rst-year students now come

from outside the United States. China,

Egypt, Hong Kong, Indonesia, and

the United Kingdom are just some of

the countries represented in the 2005

entering class.

1 Sooah Choi, Blue into the Body

Form, 2002. Photo: Sangtaek Oh,

2004

2–4 Courtesy Curatorial Practice

Program

5 College fair in Taipei, Taiwan,

2005. Courtesy of Enrollment

Services

“We are a product of our cultural milieu. Learning how to operate in a different one is an invaluable tool.” Sandra Vivanco

2 4

3

5

ArtistsWithoutBorders

Thesis Goes Global

For graphic design students Albert

Ignacio ’05, Marcelo Viana Neto,

and Yaeger Moravia Rosenberg, their

required thesis turned into a collabora-

tive project that took them around the

world during the summer of 2005. They

write:

Our lives take place here, in the United

States, while our families’ histories

live in the Third World, in Brazil, the

Philippines, and Haiti. We are those

who are able to jump through the

cracks of the system, and those who so

easily fall through the holes. While we

attend a private college in the richest

and most powerful country the world

has ever seen, we also carry with us the

legacies of our forebears and our lands.

… We are mediators and facilitators for

the dissemination of visual and verbal

information and ideas. This is how

we can best take part in making great

changes to our society. This is how we

will work as designers.

The three returned to campus in fall

2005 to produce their thesis as a book,

including the three images reproduced

above.

Peru Summer Studio: Lima

and CuzcoStudy abroad is essential for designers

and artists, says Sandra Vivanco, asso-

ciate professor of architecture. “We are

a product of our cultural milieu. Learn-

ing how to operate in a different one is

an invaluable tool.”

During the Peru Summer Studio,

while students open their eyes to new

surroundings, Vivanco—who was born

and raised in Peru—fi nds her own

take on her native land altered. Some

memorable moments: “Watching the

students’ expressions the fi rst time

they see Macchu Picchu from a peak

we’ve just climbed—a mix of exhaus-

tion and accomplishment. Observing

them negotiate design and installa-

tion strategies with their Peruvian

peers. But most memorable are those

moments in which I learn something

from the students. It reminds me

of how important it is to be a keen

observer of cultural and physical

phenomena.”

6

7

98


5

6 Students in Cuzco, Peru

7–9 Courtesy Albert Ignacio, Marcelo

Viana Neto, and Yaeger Moravia

Rosenberg

10 Courtesy Sooah Choi

(with Minja Kim, Jisoo Ha,

Minsun Lee)

11 Photo courtesy of the archives of

California College of the Arts,

Meyer Library, Oakland

Winning DesignsSooah Choi ’98 began her associa-

tion with CCA early—in high school

in Moraga, CA, she attended the Pre-

College Program. Born in Seoul, Choi

is a permanent resident of the United

States but currently works and attends

graduate school in Korea. She says

school in the States is different from

Korea. “You learn to be independent,

to be responsible. No one really tells

you what to do…” As part of the design

team that created uniforms for Korea’s

Olympic Committee, the fashion major

helped Korean athletes look good in

recent international competition.

A History of Cultural

Exchange

In March 1932, faculty gathered for a

luncheon in honor of Yoshida Sekido, a

visiting artist from Japan. Front row (L

to R): Yoshida Sekido, Miriam Callahan,

and two friends of the Japanese guests.

Back row (L to R): college founder

Perham W. Nahl, S. Minokoshi, Babs

Meyer, founder and president Frederick

H. Meyer, and Roy Overstreet.

The CCA-Japan connection

continues today. In February 2006,

the college hosted the second annual

Osaka University of Arts—CCA Print

Exchange. Students from Japan were

in attendance. The print exchange

Alumni Around the WorldCCA graduates can be found

across the globe, from Algeria to

Venezuela. Outside the United

States, the countries with the

most CCA alums are:

Japan (62)

Canada (43)

South Korea (28)

Hong Kong (24)

Taiwan (16)

is spearheaded by Mikae Hara ’86,

who teaches at Osaka University of

Arts, and is funded by the Hamaguchi

Endowment.

7

9

10

11

6 Simpson Connections Studio

Simpson Manufacturing, founded by

CCA trustee Barclay Simpson, is an

industry leader in the manufacturing

and marketing of building products.

Its subsidiary Simpson Strong-Tie

Company, Inc., designs, engineers, and

manufactures connectors for buildings.

Every architect knows and counts on

these products, and most weekend

home improvers have used them to

solve one problem or another. So

when Simpson Strong-Tie’s CEO, Tom

Fitzmyers, suggested a Simpson/CCA

collaboration, there was immediate and

enthusiastic interest from the college’s

architecture and design faculty.

The result was the fall 2005 Simp-

son Connections Studio, led by archi-

tecture faculty members Peter Pfau,

AIA, principal of Pfau Architecture, and

Stephanie Felch, principal of PRAXIS

Architects. The studio recognized that

despite media promotion of prefabri-

cation, the reality of the construction

industry is that stick framing remains

the dominant home building method.

More0ver, the fact that stick framing

is itself a form of prefabrication (and

a hard one to compete with) has been

overlooked.

The challenge for the students

was to bridge the gap between good

design and the realities of the Ameri-

can housing marketplace by inventing

new types of connectors to be used in

on-site prefabrication.

The StudioStudents undertook this challenge

through research and analysis of

systems for connecting structural

members; invention of a new system

of connectors, in collaboration with

industrial design students; a char-

rette leading to a tract house design

in Cotati, California, that applied each

student’s system; design revisions and

creation of large-scale models; and

synthesis of work into a comprehensive

presentation.

Strong Ties Sponsored Studios at CCA

Top: CJ Kulp, 2005

Right: Mary Desing, 2005

Opposite: Jennifer Olsen, Blue Bone

Chew Toy, 2005


7During the studio, students

investigated historical and state-of-the-

art practices, from traditional post and

beam construction to Renzo Piano’s

timber and stainless steel Tjibaou

Cultural Center in New Caledonia.

Simpson Manufacturing provided

a behind-the-scenes tour of its San

Leandro plant, where the fabrication

process begins with sheet metal and

ends, 14 stamping steps later, with the

origami-like folded metal connectors

that the company is famous for.

The ResultsThe ideas that emerged from the

studio range from simple connectors

and panel systems to full building

components larger than anything cur-

rently available. A hinge concept allows

builders to “unfold” a house on site.

A “thick wall” delivers kitchen, bath,

and bedroom shear walls that carry

prefab components for storage, plumb-

ing, and electrical. A “folded corner”

combines with stick framing and exist-

ing products to make enclosure and

construction easier.

In connecting Simpson Strong-

Tie with CCA, architects with industrial

designers, and students with a problem

to be solved, strong ties have been

forged all around.

Design Goes to the Dogs

In fall 2005, 26 fourth-year industrial

design students participated in a studio

sponsored by Gaia & Gino, an up-

and-coming Turkish design company.

Based in Istanbul, Gaia & Gino works

with designers and manufacturers

worldwide; its products are available at

numerous design shops in the United

States, including those at MOMA and

SFMOMA. The company used to focus

solely on home decor products. Plan-

ning to expand into the dog accessory

market, they looked to CCA students

for design assistance.

The studio was the brainchild of

ID chair Yves Béhar, who set up the

partnership. The students, Béhar, and

Gaia & Gino founder Gaye Cevikel

spent the semester collaborating on

design of a doggie brand and product

line. (The name Gaia & Gino refers to

Gaye and her dog, a golden retriever.)

This kind of studio work demands

not only artistic talent but also techni-

cal production skills from the student

designers. For Gaia & Gino, the

projects included stylish food bowls

and cozy beds. “It is easy for student

projects to exist entirely in ‘conceptual

land’ and never be brought back to

Earth in quite the same way as when

working with a client,” says Matthew

Gale, a student in the course. Student

In today’s competitive job market, more than ever, experience counts. Lately, CCA students have been picking up plenty of real-world experience—right in the classroom, through industry-sponsored studios.

Joanna Manders agrees. “Working

with a client is what we will be doing

in our jobs every day. We aren’t just

designing for ourselves. I think it’s

invaluable [experience].” Students had

the opportunity to go beyond concept

and possibly see some of their designs

manufactured. A few joined Gaia &

Gino in exhibiting their designs at the

International Furniture Fair in Milan.

Kiersten Muenchinger, assistant

chair of the ID Program, comments

that a studio such as this provides nec-

essary experience for students entering

the job market. “We think giving the

extra edge, the industry experience, is

important, and unique to CCA.”

Strong Ties Sponsored Studios at CCA

Generations A Family Tradition

Sally Maxwell and

Meagan Geer

Sally Maxwell

Born in 1946 in Stockton, CA

Lives in Emeryville, CA

BAEd ’68, Teaching Credential ’69

Current occupation:

Yoga teacher, commercial property

manager

Infl uences at CCA:

Harry Krell, Walter Menrath, Carol

Purdie, Marty Streich, Hugh Wiley

Meagan GeerBorn in 1978 in Berkeley, CA

Lives in Portland, OR

BFA ’02, Printmaking

Current occupation:

Printmaker/event designer

www.meagangeer.com

Infl uences at CCA:

Jack Ford, Ken Rignall, Barron Storey

As a child, Meagan Geer remembers going to CCA alumni barbecues with her

mom, Sally Maxwell. Meagan also grew up hearing her mother’s stories about

CCAC in the 1960s, including the time Jim Morrison came to Sally’s poetry class

to read poetry with Michael McClure. When it came time to choose a college,

these childhood memories helped infl uence her decision. “I would be part of a

community that I already felt comfortable with, because I pretty much grew up on

the campus.”

Sally fi rst discovered CCA through summer art classes in high school. She

wanted to be a teacher, and at the time CCA offered a bachelor of art in education.

Her favorite teachers taught her much more than art. She credits drawing teach-

ers Carol Purdie and Harry Krell with teaching her about perspective and focus,

and from lifelong friend and teacher Marty Streich, she says, “I learned about life

and about making yourself accessible as a teacher.”

After student teaching at Berkeley High School, Sally changed careers, going

into banking. She still speaks of the effect CCA had on her career and her life. “My

education really made me more sensitive to people,” she explains. “Your artistic

talents can help you express yourself in whatever you’re doing. Who you are is

defi nitely cultivated in art school.”

Sally passed these lessons on to Meagan, whose own experience at CCA

was just as positive. As a printmaking major, Meagan found a mentor in Ken

Rignall. She recalls, “He was really good about getting into the heads of each of

his students and fi guring out what made them want to create art. Then he would

make you question it.” In one studio, he brought in paper, Pepto-Bismol, and

brown caulk and forced her to make something really ugly to prove to her that art

didn’t have to be beautiful.

Mother and daughter both continue to use lessons learned at CCA. Sally,

now retired from banking, uses her teaching skills to teach yoga to seniors.

Meagan was recently in a juried print exhibition at the Los Angeles Printmaking

Society. In Portland, she is starting a printmaking company.

—Jessica Russell

8


The Torres Family

Louis TorresBorn in 1952 in Oakland, CA

Lives in Richmond, CA

BFA ’74, Ceramics

Current occupation:

Owner, El Cerrito Florist

Infl uence at CCA:

Viola Frey

Julie TorresBorn in 1953 in Modesto, CA


BFA ’74, Ceramics

Current occupation:

Owner, El Cerrito Florist

Infl uences at CCA:

Vernon Coykendall, Viola Frey, Art

Nelson

Jason TorresBorn in 1978 in Berkeley, CA


BArch ’02

Current occupation:

Designer, Vanderbyl Design

Infl uences at CCA:

Victor Carrasco, Larissa Sand

Julie and Louis Torres met during their fi rst year at CCA in the 1970s. “It was an

incredible school. I had the most fun in my life at that time,” Julie says. Working

closely with noted teachers such as Vernon Coykendall, Julie remembers doing

very precise throwing work, while Louis looked to teachers such as Viola Frey to

infl uence his sculptures. The two continue to be infl uenced by CCA, even after

giving up ceramics to run the family fl ower business. And when their son, Jason,

was looking for a strong architecture program, they knew CCA would be the right

fi t, ensuring another generation of CCA alumni in the Torres family.

Julie and Louis passed their passion for both art and sports on to their

son. An avid skier, Jason would sketch the buildings he passed on the way to ski

competitions. When it was time to apply for college, his parents’ experience at

CCA infl uenced his decision. “They met great people, and they loved the hands-on

experiences of going to school there,” Jason explains. His fi rst visit to the San

Francisco campus clinched the deal. “I liked how open it was. You could see what

everyone was working on.”

What advice did Julie and Louis have for their son as he started his time

at CCA? “I told him the hardest thing were the critiques,” Julie says, “but they

were benefi cial, and the teachers were supportive.” For Jason, those supportive

teachers included professors such as Larissa Sand and Victor Carrasco. Sand’s

attention to detail indulged Jason’s interest in industrial design, and Carrasco’s

hands-on drawing approach was a nice change from the computer design

required in his other courses.

Now working for Vanderbyl Design, Jason designs furniture and showrooms

and is proud to have just completed a showroom for interior designer Barbara

Barry. Julie and Louis continue to run the family fl ower business. They ski and sail

any chance they get—and Julie hopes to get back into her studio soon and return

to her fi rst love, ceramics. —JR

9

Opposite page: (Center) Meagan

Geer and Sally Maxwell; (R) Sally’s

husband, Dean Santner; (L) Dean’s

son, Claude Santner

This page: (L to R) Louis, Jason, and

Julie Torres

The Center for Art and Public Life will

host a national symposium on com-

munity arts in higher education this

fall. The symposium—titled “Crafting a

Vision for Art, Equity, and Civic Engage-

ment”—will take place November

2–4, 2006. It will be an opportunity

for artists, students, scholars, and

community activists to experience and

exchange best practices in the fi eld of

community arts.

Panel discussions will address

service-learning pedagogies, civic

engagement in community, identity

The Center for Art and Public Life, Alameda County Offi ce of Education, and

Project Zero at the Harvard Graduate School of Education are collaborating to

promote arts learning in public schools through the VALUES Project.

This arts learning initiative encompasses more than art itself. The VALUES

Project investigates creative cognitive processes and supports best practices

developed from this research in K–12 education. What is studio thinking? What

are the habits of mind that take place during the creative process? What do stu-

dents and teachers experience when creating art, and how do these experiences

support the development of understanding? How can these practices best be

learned and applied to education at large?

Through the project, K–12 teachers in all subjects are receiving professional

development in the arts and are able to apply their learning to classroom practice.

The Center’s professional development and teaching artist programs are provid-

ing key services in support of this initiative.

The Center’s Teaching Institute continues this summer, offering profes-

sional development for generalist teachers who are integrating the arts into their

curricula. Growing from last year’s attendance of 20, the institute will reach 100

teachers this summer.

Center to Host National Community Arts Symposium

At the Center for Art and Public Life

The VALUES Project

and representation, and community

partnerships. Performances, spoken-

word events, installations, and exhibi-

tions will also be scheduled.

Participants in the symposium

will address theoretical, practical, and

policy-related issues such as: What are

best practices that incorporate art and

civic engagement? Does democratiza-

tion of art practices address diversity?

How is higher education addressing

issues of changing demographics?

What are methods for achieving diver-

sity in art colleges through community

participation? How does one develop

reciprocal approaches to curricular and

community building through the arts?

Space will be reserved for new

and emerging voices in the fi eld,

particularly students, young artists,

and new scholars. Scholarships will be

available.

“Crafting a Vision for Art, Equity, and Civic Engage-

ment” is cosponsored by the Association of

Independent Colleges of Art and Design (AICAD)

and Massachusetts College of Art. The symposium

is funded by the Nathan Cummings Foundation and

AICAD. For more information, call 510.594.3757.

10


In fall 2006 the CCA Wattis Institute

will present exhibitions curated by its

fi rst two visiting curators.

Will Bradley has put together a

group show opening in September

that looks at the convergence of radical

politics, computer culture, and the

counterculture in the Bay Area in the

1970s. Bradley, a cofounder and former

director of the Modern Institute in

Glasgow, was curator in residence

in fall 2005. During his time at CCA,

Bradley also brought Amy Balkin’s

project This Is the Public Domain to

the Wattis Bulletin Board space. (See

above.) Using land she purchased near

Tehachapi, California, Balkin is attempt-

ing to create an international commons

via legal transfer of ownership to the

global public. For the Wattis, Balkin

produced a series of posters in the

tradition of 19th-century broadsides.

Opening in November 2006

is Magali Arriola’s survey of artists

whose work looks at predictions and

prophecies as guidelines that assess

the development of history. Arriola, the

spring 2006 curator in residence, was

formerly chief curator for the Museo

Carrillo Gil in Mexico City. During her

residency, she also collaborated with

Kate Fowle, chair of the Curatorial

Practice Program, on “the backroom”

at New Langton Arts in San Fran-

cisco. Copresented by San Francisco

Camerawork, “the backroom” was a

temporary archive that provided access

to the source materials—objects,

videos, data, ephemera—that inform

the practice of a varied lineup of artists.

The show was on view in January and

February 2006.

The Wattis will also present new

work by Michael Stevenson for the

Capp Street Project exhibition opening

in November. Stevenson’s works push

the boundaries of institutional critique

and social sculpture, often uncovering

unexpected links between art history,

social history, and economics. His

Capp Street Project will take off from

his ongoing research into the history

of the Moniac, a hydraulic machine

devised in the 1940s for charting and

calculating national income fl ows.

Stevenson was born in New Zealand

in 1964 and has shown his work

internationally, including in the 2002

Biennale of Sydney and the 2003 Ven-

ice Biennale.

The Wattis Bulletin Board may be San

Francisco’s tiniest exhibition space.

Located outside the Logan Galleries,

the Bulletin Board—just what it sounds

like—puts art right at the entrance

of the 1111 Eighth Street building. In

recent semesters, students on their

way to class could take in projects such

as Jim Jocoy’s Polaroid diary or Monte

Cazazza’s look at the productions of

record label Sordide Sentimental. Each

semester, artists and cultural practi-

tioners are invited to create temporary

projects for the four-by-six-foot board

that may be notational in form, rather

than discrete works of art. The Bulletin

Board was launched in 2003 with the

support of a grant from Art for Art’s

Sake, New York.

Photo: Michael Cappabianca

Fall 2006 Exhibition Preview

11

At the Wattis

12

Scholarship Students

CCA extends heartfelt thanks to the

many alumni, parents, and friends

of California College of the Arts who

made gifts to student scholarships in

2005. Over $70,000 was raised for

named and endowed scholarships,

and an additional $20,000 was raised

for pooled funds supporting Architec-

tural Studies, Design, Fine Arts, and

Collegewide scholarships. Profi led here

are just a few of the students who have

received scholarship support this year.

Collegewide Scholarship

Kerry Bogus Junior, Interior Design

“I love CCA—you can get a great

fi ne art background and combine it

with the conceptual side of design,”

Kerry says. “What’s great is the

work of other artists in the school.

You can walk around and see it

everywhere. I’m trying to establish

my design philosophy, experiment-

ing as much as possible while I’m in

school, to gather lots of ideas and

ways of working.” After graduation,

Kerry would like to work in San

Francisco or New York for a small

independent fi rm.

Lyndsey Ellis 1st Year, MFA in Writing

Lyndsey received her BA in English

from the University of Missouri,

Columbia, prior to coming to CCA.

“I wanted to pursue novel writing

and screenplays. I’m working on

my fi rst novel, and it’s my fi rst

semester as a teacher’s assistant.

It’s everything I could have dreamed

of, and more. I love that CCA is

small enough that you can meet

with everyone and learn about their

craft. And I love the classroom size;

most of my undergraduate classes

were lectures.”

Alexandra FischerSophomore, Photography

Alexandra found CCA through her

husband, an alum. “I knew a lot of

people who’d graduated, and they’re

all actively doing art—I thought

that was a good sign. At CCA I love

the close community. I love how

everyone treats each other like fam-

ily.” In Germany, Alexandra interned

in fi lm. In addition to photography,

she would like to make documenta-

ries “with concrete issues that help

to change things, even if it’s just

people’s ideas.”

eddie gesso Junior, Individualized Major

“The individualized major and the

Center for Art and Public Life were

big pulls,” explains eddie, who is

interested in teaching, nonprofi t arts

management, and possibly an MA

in visual criticism. “The classes were

original and unique—in theory, in

looking at counterculture and poli-

tics, and in encouraging alternative

ways of thinking.” About scholar-

ship, he says, “I wouldn’t be here if I

didn’t have the scholarship. Straight

up. I’m still taking out loans, but

without the scholarship, there is no

way fi nancially I could be here.”

Architectural Studies

Scholarship

Airason HeardSenior, Architecture

“I transferred from the New School

of Architecture—I was looking

for more of an interdisciplinary

approach to architecture, and a

theory-based approach to educa-

tion, which I’ve gotten at CCA,” says

Airason. He plans to pursue his

interest in mass-produced housing

and hopes to return to CCA for his

MArch. Airason wants scholarship

donors to know that “someday

they’ll see something tangible from

their gifts. They will be used in the

best interests of the profession.”

Kameron Ishikata Senior, Architecture

Kameron, a native San Franciscan,

transferred from an East Coast col-

lege. He was working for the Forest

Service, which has a federal program

that allowed Kameron to enroll at

CCA while working in their architec-

ture department. “One of the things

I really like about CCA is that it’s not

just an architecture school, it’s also

an art school. We see other studies

that might not directly relate to

architecture—interior design, paint-

ing, illustration—but they inspire

our practice.”

Fine Arts Scholarship

Ana Fernandez 2nd year, MFA in Painting/Drawing

Ana received her BFA in painting

from the San Francisco Art Institute,

then worked as an artist in Ecuador

before coming to CCA. “I really

liked the combination of theory and

studio practice offered. The profes-

sors are passionate about their

subjects. I feel like I’ve been given

a box of tools that will serve me in

the future. My vision has grown to

envelop many resources—writing,

In Their Own Words


performance.” Ana has offers to

teach at Ecuador’s Central University

and to work with an independent art

space there.

Erik Scollon 1st year, MFA in Ceramics

Erik’s BFA comes from Albion

College in Michigan. In addition to

study in ceramics, his undergradu-

ate work was multimedia instal-

lation, incorporating sculpture,

photography, and video. CCA was

an appealing choice for graduate

school because of the interdisciplin-

ary nature of the Fine Arts program.

Erik says, “I love being at a school

with a rich history of craft but enjoy

the fl uid exchange between artistic

mediums.”

Design Scholarship

James Penalacia Junior, Graphic Design

James transferred from the Academy

of Art University. “Coming from a

15-year retail career, I didn’t return to

college looking for a job. I love the

magic of ink on paper and graphic

design, and now I’m in Sputnik

[CCA’s student design team]. I am

fulfi lling my dream—in 2007 I will

be the fi rst person in my family to

graduate from college. I look forward

to being an alum, and, like you

[scholarship donors], giving back.”

Over 80 percent of CCA students

qualify for scholarship aid. Each schol-

arship gift is an investment in future

generations of creative leadership. The

college seeks to provide fi nancial aid

to those talented students who could

not otherwise afford a CCA education.

As CCA’s reputation grows, so does

the student body. And as the college

celebrates record-high enrollment,

we need your help to ensure that all

students who qualify for aid receive

it. In addition to pooled scholarship

funds, CCA offers the opportunity to

create named scholarships. To make

a gift or learn more about scholar-

ships at CCA, please contact Camille

Gerstel, individual giving manager, at

510.594.3787 ([email protected]), or

use the envelope enclosed in this issue

of Glance.

—Camille Gerstel

1 James Penalacia

2 Airason Heard

3 eddie gesso

4 Alexandra Fischer

5 Ana Fernandez

6 Kameron Ishikata

7 Erik Scollon

1 2

3

4 5

6

7

13

16

Spotlight on CCA

6

1

3 4

2

5

1 Trustee Tony Meier, Rose Roven, and

Susan Cummins at the home of Celeste

and Tony Meier. Will Bradley, curator in

residence at the CCA Wattis Institute,

spoke at this Curator’s Forum event.

Dec. 2005.

2 Bob Bransten and Norman and Norah

Stone at the home of Daphne and Bob

Bransten. Matthew Higgs, director of

White Columns, New York, spoke at this

Curator’s Forum event. Sept. 2005.

3 Krystal Newmark (junior, painting/

drawing), recipient of the Sheila Sullivan

Memorial Scholarship, with Marguerite

Sullivan and Cynthia Riccomini.

Scholarship Dinner, Dec. 2005.

4 Raymie Iadevaia (junior, painting/

drawing), Shelley Post Gardner, and

Allison Ramirez (junior, photography) at

the Scholarship Dinner. Both students

are recipients of the George Post

Memorial Scholarship.

5 Susan Shawl ’63 with Heath Kessler

(junior, graphic design), recipient of

the Louis Shawl Scholarship, at the

Scholarship Dinner.

6 Steve Lotspeich with Alexandra Milokhin

(junior, wood/furniture), recipient of

the Albertina “Nina” Zanzi Scholarship,

and Linda Lotspeich at the Scholarship

Dinner.

All photos this page by Arrowood

Photography


7 Jack Mendenhall MFA ’70 and Kim

Mendenhall ’70 at Flashback, a

gathering for alumni classes 1965–2005.

Oakland campus, Sept. 2005.

8 Jeffrey Plotkin ’92, Louise Bird ’83, and

Jill Gardner ’88 at Flashback.

9 Jocelyn Moss ’03, Benjamin Belknap ’03,

and RaShell Shumate ’03 at Flashback.

10 Yvonne Mouser (L) and Courtney Skott

(R) with trustee Ronald Wornick at the

Wornick reception, Nov. 2005. Wood/

furniture students Mouser and Skott

received the Ronald and Anita Wornick

Award.

11 Arthur Velador ’01, Rhode Montijo ’95,

and Mark Giglio ’97 at Flashback.

12 Board chair Ann Hatch, Lucinda

Reinhold, and Ken Cochrane at Fraenkel

Gallery for a Curator’s Forum event.

Dean of Graduate Studies Larry Rinder

and CCA Wattis Institute Director Ralph

Rugoff addressed the group. Jan. 2006.

Photos 7–9 and 11 by Ken Friedman; photo

10 by Barbara Jones; photo 12 by Arrowood

Photography

987

6

11

10

12

6

4

2

New Trustees Join CCA BoardCalifornia College of the Arts welcomed four new trustees to its Board of Trustees in January 2006: Nancy Howes, Laurene Powell Jobs, F. Noel Perry, and Phil Schlein.

Nancy Howes received her BFA in metal arts with high distinction from CCA

in 2005. Her most recent work will soon be on permanent display at the Maui

Ocean Center. Prior to her work as an artist, Howes enjoyed a successful 20-year

career in the high-tech industry, holding key management and technical positions

at @Home Networks, BBN Planet, Texas Instruments, and Raytheon Co. She

has been active in several philanthropic and cultural organizations, including

Drawbridge: An Arts Program for Homeless Children, SFJAZZ, and the Redwood

City Sequoia High School technology program.

Laurene Powell Jobs is the cofounder and president of the board of College

Track, an after-school program providing comprehensive support to high school

students who have the desire but lack the resources to attain higher education.

Ms. Powell started her career at Merrill Lynch and Goldman Sachs. In 1991, she

cofounded Terravera, a natural foods company. She then turned her attention

to nonprofi t entrepreneurship, with a particular focus on education, women’s

human rights, and the arts. Currently, her board and advisory affi liations include

the board of directors of Global Fund for Women, KQED (PBS), EdVoice, and

New America Foundation; and the advisory board, Stanford Graduate School of

Business. She holds two degrees from the University of Pennsylvania and an MBA

from Stanford University.

F. Noel Perry is the founder and managing director of Baccharis Capital, Inc.,

a private venture capital fi rm in Menlo Park. He is also a founding director and

former vice-chairman of Conservation International, an organization devoted to

conserving ecosystems worldwide. He is the founder of two community organiza-

tions: NextTen, an organization that aims to educate, engage, and empower

Californians to improve the economy and quality of life in the state, and 100

Families Oakland, a neighborhood art project in partnership with the CCA Center

for Art and Public Life. He is a trustee of the Nueva School and board director of

the Woodside Community Foundation. Perry is also an artist.

Since 1985 Phil Schlein has been a partner at U.S. Venture Partners (USVP),

a venture capital fi rm in Menlo Park. Prior to joining USVP, he spent 30 years

in the retail industry, including 11 years as CEO of Macy’s California. Under his

leadership, Macy’s became the dominant department store in California. He cur-

rently sits on a number of business advisory boards, including Sound ID, Catalist,

Specialty’s, AuctionDrop, and Oakville Grocery. He serves on two other nonprofi t

boards: San Francisco Botanical Garden and the di Rosa Preserve in Napa, where

he is currently vice president of the board.

“Our new trustees bring a wealth of experience and a high level of commitment and

energy to the college. They are joining us at an important time in the college’s history,

as we continue to build on CCA’s reputation as one of the strongest art and design

schools in the country.” Ann Hatch, Chair of the Board of Trustees

16


Awards and Accolades

Larry Rinder Wins National Art Critics Award

An exhibition curated by Larry Rinder, dean of graduate studies, was awarded

fi rst place in the category “Best Monographic Museum Show in New York City”

by the U.S. chapter of the International Association of Art Critics (AICA/USA).

The annual awards are given in recognition of excellence in gallery and museum

shows across the country. Rinder’s winning exhibition was Tim Hawkinson, a

midcareer retrospective on view last year at the Whitney Museum of American Art

and the Los Angeles County Museum of Art.

With more than 400 members, AICA/USA is the nation’s largest art critics

organization and the only group to formally recognize excellence in this cultural

arena. The annual AICA awards are the art world equivalent to those given by the

New York Film Critics Circle or the Drama Desk.

The 2004–5 awards recognized 20 winners in 13 categories.

Harrell Fletcher ’94 Receives Alpert Award

Harrell Fletcher received a 2005 Alpert Award in the Arts from the Herb Alpert

Foundation. Established in 1994, the Alpert Award provides fi ve $50,000 fellow-

ships each year to “early midcareer” artists in dance, fi lm/video, music, theater,

and visual arts. Each fellowship includes a weeklong residency at California

Institute of the Arts, which administers the award.

Ten nominators in each discipline recommend two artists each, for a total of

100 nominations. The award recipients are then selected by independent review

panels. Fletcher won in the visual arts category.

Fletcher’s work was included in the 2004 Whitney Biennial. His ongoing col-

laboration with Miranda July, www.learningtoloveyoumore.com, was recently on

view in Baja to Vancouver: The West Coast and Contemporary Art at the CCA Wattis

Institute and three other West Coast venues. Fletcher received an MFA from the

college in 1994.

Mindy JaspersonDirector of Administrative Computing

Nina SadekDean of Special Programs

ID Student Takes Tupperware

Top Prize

Tony Meredith, an undergraduate

industrial design major, was named

the U.S. winner of the Translations in

Tupperware global design contest in

December 2005. His entry, Tupper Rose

Window, is a beautifully lit and shot

photograph that uses multicolored and

multitextured, vintage and contempo-

rary Tupperware bowls, coasters, and

tumblers to replicate a stained-glass

window.

The contest invited consumers

and designers from around the world

to create a piece of art or functional

product inspired by Tupperware prod-

ucts. Entries from the United States,

Greece, Brazil, and Indonesia took top

prizes. The winning entries are on view

in an exhibition that features more

than 30 pieces of Tupperware-inspired

artwork, from delicate purses and

dresses to 7-foot-high Indian gods and

panoramic city landscapes.

The prize package for the four

winners included a trip for two to New

York City, a $5,000 cash prize, and

inclusion of their work in the exhibi-

tion, which is touring internationally

in 2006. The winning pieces were

selected from more than a thousand

worldwide entries by a panel of judges

from the design industry and media.

Staff Appointments

17

Opal Palmer Adisaselected for a two-month Sacatar

Foundation Fellowship on the island of

Itaparica, Brazil, 2005.

Alfonso Alvarezgroup show, Illuminated Corridor (ben-

efi t for 21 Grand’s fi fth anniversary),

Oakland Ironworks, Oakland, Sept.

2005.

Curtis Arimawork featured, Penland Book of Jewelry

(Lark Books, 2005) and Teapots: Makers

and Collectors (Schiffer, 2005).

Michael S. Roth, Presidentpublished: articles, “Ordinary Film,” Raritan, fall 2005; “Trauma: A

Dystopia of the Spirit,” Thinking Utopia (Berghahn Books, 2005); reviews:

“Reagan: ‘Impossible not to like the man,’” review of President Reagan:

The Triumph of Imagination by Richard Reeves, San Francisco Chronicle, Jan.

2006; “Recurring Subjects Become the Dialogue of Photography,” review

of The Ongoing Moment by Geoff Dyer, SF Chronicle, Dec. 2005; “Revisit-

ing Yosemite’s Iconic Imagery,” review of Yosemite in Time by Mark Klett,

Rebecca Solnit, and Byron Wolfe, SF Chronicle, Dec. 2005; “Out of Ruins,

a New Identity,” review of Postwar: A History of Europe Since 1945 by Tony

Judt, SF Chronicle, Oct. 2005; “Trying to Defi ne the Meaning of Sanity,”

review of Going Sane: Maps of Happiness by Adam Phillips, Los Angeles

Times, Oct. 2005; “Race, Crime, and Penalties for GIs in WWII,” review

of The Interpreter by Alice Kaplan, LA Times, Sept. 2005; “Oh, the Gloire

of It All,” review of La Belle France, A Short History by Alistair Horne and

The Essence of Style by Joan DeJean, SF Chronicle, Sept. 2005; “America’s

First Display of Remorse,” review of Judge Sewall’s Apology: The Salem

Witch Trials and the Forming of the American Conscience by Richard Francis,

SF Chronicle, Aug. 2005; lecture, “Why Freud Haunts Us,” Freud Festival,

Jewish Community Center, San Francisco, May 2006; colloquium partici-

pant, “Mining Memory: The Work of Filmmaker Peter Forgacs,” Magnes

Museum, Berkeley, CA, Oct. 2005; panel moderator, “Can Culture Save

Urban Centers?,” Grantmakers in the Arts 2005 conference, Los Angeles,

Oct. 2005.

Cary Bernsteinresidential work published in City Interi-

ors (TeNeus/Loft Publications, 2005).

Natasha Boaslectures: “Gary Hill: Mediated

Media,”�SFMOMA, May 2005; “Dada

Après-Tout,” Ecole des Beaux Arts,

Paris, Nov. 2005; published,�“Jim

Isermann in Conversation,” Dwell, May

2006; “Art Collecting,”�Dwell, June

2006.

Tammy Rae Carland lecture, UCLA Dept. of Art, Los Ange-

les, Oct. 2005.

Celeste Connorpublished, two-part essay, “Glossed

Over: The Artist’s Book,” Artweek, Mar.

and May 2005.

Lia Cookgroup show, Transformations: The

Language of Craft, National Gallery of

Australia, Canberra, Nov. 2005–Jan.

2006.

Betty Jo Costanzogroup show, There Is Nothing to See,

LoBot Gallery, Oakland, Jan.–Feb.

2006.

Jean Craig-Teerlinkwork published, Graphis�Letterhead 6

International Annual, Nov. 2004.

Tim Culvahousevisiting critic, Master of Architecture

Program, Carleton University, Ottawa,

Canada, winter 2006.

Jack da Silvawork featured, Penland Book of Jewelry

(Lark Books, 2005) and Teapots: Makers

and Collectors (Schiffer, 2005).

Marilyn da Silvagroup show, Transformations: The



2006;�published, “Icing on the Cake”

(on use of gesso and colored pencil

on metal) in Penland Book of Jewelry

(Lark �Books, 2005); work featured,

Teapots: Makers and Collectors (Schiffer,

2005).

Hank Dunloppublished, article, “The Brune-

Reutlinger House, San Francisco,” The

Magazine Antiques, Aug. 2005.

Faculty Notes

18


Mark Eanesappointed, chair of visual arts, Cali-

fornia State Summer School for the

Arts—InnerSpark (at CalArts), 2005.

Carol Elkovichtwo-person show, Recent

Paintings,�Erickson Fine Art Gallery,

Healdsburg, CA, Sept.–Oct. 2005;

group show,�Elins Eagles-Smith Gallery

at�Los Angeles Art Fair,�Sept. 2004.

Ammar Eloueiniwith AEDS, completed retail spaces for

fashion designer Issey Miyake in Berlin

(received AIA Chicago Chapter Design

Excellence Awards: Interior Architecture

and Divine Detail, Oct. 2005), Perpig-

nan, France, and Paris (2004–6); work

published, CoReFab (ORO Editions)

with support of Graham Foundation for

the Arts; presented, 8th International

Architectural Festival: Beyond Media,

Florence, Italy, Dec. 2005.

Thom Fauldersgroup shows: SAFE: Design Takes on

Risk, Museum of Modern Art, New

York, Oct. 2005–Jan. 2006; Altered

Practice, AIA, San Francisco, Oct.–Nov.

2005; award, Honorable Mention

for Chromogenic Dwelling, “Pos-

sible Futures: Bienal Miami + Beach”

competition, Dec. 2005;�presenter and

moderator, “Critical Practices,” www.

linemag.org, AIA San Francisco, 2005. �

Lisa Findleyserving as interim chair of architecture,

spring 2006; current projects include

a book on the work of SMWM and

introduction for books on the recent

work of STUDIOS.

Jeanne Finleyartist talk, UC Berkeley Art Museum

and Pacifi c Film Archive, Oct. 2005.

Linda Flemingsolo show, Brainstorm: Works, Ephem-

era, Process, Arts Benicia, Benicia, CA,

May–June 2005, in conjunction with

public art installation at Harbor Walk,

Benicia, June 2005.

Donald Fortescuegroup show, Transformations: The



2006.

Mark Foxdesigned new identity for University of

California Press; work published in:�The

Design of Dissent (Rockport, 2005);

Logo, Font & Lettering Bible (How

Design Books, 2004); Letterhead and

Logo Design 9 (Rockport, 2005).

Gloria Frympublished: essay, “David Meltzer, On

Whom Nothing Is Lost,” Big Bridge,

Jan. 2006; poems in: Feminist Studies

Quarterly, 2006; Gowanus Milk City,

Oct. 2005; New American Writing,

summer 2005; House Organ, summer

2005; prose in Nocturnes, fall 2005;

lecture for Robert Creeley memorial,

San Francisco, Nov. 2005; reading and

workshop, Western Connecticut State

University, Nov. 2005.

Jordan Geigerpublished, “You Are Here,” exhibition

catalog essay; project included in group

show, Altered Practice, AIA San Fran-

cisco, Oct.–Nov. 2005; producing event

space for San Francisco Arts Commis-

sion annual fundraiser, of light and

digitally milled materials realized with

assistance of Andre Caradec’s Studio

Under Manufacture.

Roy Tomlinson, Ground Fire 2, 2005

19

Jim Goldbergsolo shows: Galeria Antonio de Bar-

nola, Barcelona, Spain, Nov. 2005; In

the Open See, Stephen Bulger Gallery,

Toronto, Canada, Sept.–Oct. 2005;

group show, Rrose Sélavy, Stephen

Wirtz Gallery, San Francisco, July–Aug.

2005; producing photo book with Steidl

about current body of work on Greek

immigrants and refugees.

Todd Hido solo show, Inman Gallery, Houston,

TX, 2005; group shows: I © the ’Burbs,

Katonah Museum of Art, Katonah, NY,

2006; Camera Sacra: Capturing the Soul

of Nature, Israel Museum, Jerusalem,

2005; work acquired: Art Institute of

Chicago; Museum of Fine Arts, Boston;

Museum of Fine Arts, Houston;

Whitney Museum of American Art (all

2005).

Barbara Holmesgroup show, Bay Area Furniture Art

2005, Blue Room Gallery, San Fran-

cisco, Oct.–Nov. 2005.

Stephen Skov Holtpublished: essay, in America: Constantin

Boym (Birkhäuser, 2005), exhibition

catalog, MUDAC, Lausanne, Switzer-

land; review of IMAX movie Robots,

I.D. magazine, June 2005; profi led in

Stanford magazine, July/Aug. 2005.

Geoff Holtonwith his fi rm, GHA: Merit Award in

2005 San Francisco Prize Infi ll Housing

Competition; two projects included in

2005 East Bay Build-It-Green Home

Tour (one received an award for Out-

standing Small House Renovation).

Matthew Iribarne profi led, San Francisco Examiner “Why I

Write” column, Aug. 2005.

James Kenneyfi lm title sequence for Rare Bird, 2006;

fi lm titles and graphics for Men Having

Babies, broadcast on Discovery Chan-

nel, 2006, and The Fall of Fujimori, Offi -

cial Selection, Sundance Film Festival,

2005; fi lm titles for Wilderness Survival

for Girls, 2005; motion graphic projects

published in Type in Motion 2 (Thames

& Hudson, 2005) and Complete Guide

to Digital Graphic Design, 2nd ed.

(Thames & Hudson, 2005).

Lynn Marie Kirby presented, “An Evening with Lynn

Marie Kirby,” MediaScope 2006,

Museum of Modern Art, NY, Jan. 2006;

screening, “Kirby + Fletcher Side x

Side,” San Francisco Cinematheque,

Nov. 2005.

Stella Laisolo show, I See Your Problem, But

I Don’t See You, Lizabeth Oliveria,

Oct.–Dec. 2005; artist residency, Chi-

nese Arts Centre, Manchester, England,

July–Oct. 2005.

Ben LernerLibrary Journal recently named his The

Lichtenberg Figures (Copper Canyon

Press) one of the 12 best poetry books

of 2004.

Margaret Mackenziesolo shows and performances, Hur-

ricanes Human, Toby’s Barn, Point

Reyes, CA, Oct. 2005; group show, Wild

Book Show, Point Reyes Books, CA,

May 2005; published, review, “Diversity

in Art,” Point Reyes Light, Oct. 2005;

interviews about artwork on KWMR

radio, Feb. and May 2006.

Michael McClurespoken word CDs, Rebel Lions and

Ghost Tantras, produced by Birkbeck

College of University of London and

Optic Nerve, 2005; CD collaboration

with Terry Riley, I Like Your Eyes Liberty

(Sri Moonshine Records), fall 2005;

published: Portuguese trans., Scratch-

ing the Beat Surface (Azougue Press,

Brazil), 2005; Spanish trans., GRAHHR

(Campania Press, Mexico); speaker,

symposium on Robert Creeley, Stanford

University, Nov. 2005.

Eric Heimandesigned ReadyMade: How to Make

(Almost) Everything (Clarkson Potter,

2005); interviewed (with Adam Brod-

sley, partner in Volume), STEP Inside

Design, Sept.–Oct. 2005.

John Herseypublished, illustrations (including cover

illustration), Mother Jones, Dec. 2005.

Neal Schwartz, Wisconsin Street

Residence, 2005. Photo: Matthew

Millman


Julian Myerspublished: “If it need be termed

surrender, then let it be so, or: Trisha

Donnelly in parallax,” Afterall, winter

2005; reviews in Frieze, fall 2005;�lec-

ture, “Riot Show,” The Backroom, Los

Angeles, Nov. 2005, and CCA Wattis

Institute, Jan. 2006.

Abner Nolanpublic art project, Here and Now, San

Francisco Arts Commission�Art on

Market Street kiosk posters, Jan.–May

2006.

Sandra Percivalappointed, executive director, New

Langton Arts, San Francisco, 2005.

Mariella Polico-curated, City of Walls, City of

People, exchange exhibition from CCA

and University IUAV (Venice, Italy),

Oakland�Craft & Cultural Arts Gallery,

Oct. 2005.

Renny Pritikincurated: Paper Pushers, Richard L.

Nelson Gallery, UC Davis, Davis,

CA,�Sept.–Dec. 2005; Joint Venture (co-

curated with photographer Matthias

Geiger), Richard L. Nelson Gallery, UC

Davis, Davis, CA, and Pence Gallery,

Davis, CA, Jan.– Mar. 2006.

Marianne Rogoffpublished, story, “Raven,” in Best�Travel

Writing 2006 (Travelers’ Tales, 2006).

Zack Rogowtranslation from the French of Marcel

Pagnol’s play Marius produced, Aurora

Theatre, Berkeley, CA, Nov.–Dec. 2005.

K. C. Rosenbergtwo-person show, Los Medanos College

Art Gallery, Pittsburg, CA, Nov.–Dec.

2005.

Raymond Saundersgroup show, Rrose Sélavy, Stephen


2005.

Neal Schwartzwork featured and fi rm Schwartz and

Architecture profi led, San Francisco

magazine, Dec. 2005.

Mitchell Schwarzerpublished, articles: “Stanley Saitowitz’s

Houses: A Lens onto Landscape,”

California Home Magazine (Jan./Feb.

2006); “Architecture and Mass Tour-

ism,” in Architourism: Authentic, Exotic,

Escapist, Spectacular (Prestel Verlag,

2005); lecture, “Use and Abuse of His-

toric Preservation,” International Bar

Association conference, Prague, Czech

Republic, Sept. 2005.

Elizabeth Shergroup shows: Pacifi c Center for the

Book at SF Main Library, Jan.–Mar.

2006 (artist talk, Mar. 2006); Berkeley

Art Center, Berkeley, CA, Jan.–Feb.

2006.

Mary Snowdenartwork published, ZYZZYVA, winter

2005.

Larry Sultangroup show, Rrose Sélavy, Stephen


2005.

Stella Lai, Untitled, 2005

Kate Fowle is the new chair of the

MA Program in Curatorial Practice.

Formerly, Fowle served as cochair of

the program.

Joseph Lease will become the new

chair of the MFA Program in Writing in

fall 2006, succeeding Ann Joslin

Williams. His third book of poems,

Broken World, is forthcoming from

Coffee House Press. He has taught at

CCA since 2003.

James Kenney, My Dad’s Hair (still), 2005

21

Tina Takemotolectures: “Conversation with Tina Take-

moto (on Theresa Hak Kyung Cha),”

Berkeley Art Museum, Berkeley, CA,

Dec. 2005; “Rock, Scissors, Paper: Art

School Orientalism,” American Studies

Association, Washington, DC, Nov.

2005; “Looking Matters: Visual Culture,

Pedagogy, and Asian American Stud-

ies,” Association for Asian American

Studies, Los Angeles, Apr. 2005.

Bruce Tombgroup show, Altered Practice, AIA

San Francisco, through Nov. 2005;

(de)Appropriation Project featured, San

Francisco Chronicle, July 2005; project

for second-story addition to 1954

modern residence attributed to Henry

Hill, including fi berglass composite

monocoque bath pod, presented at

Northern California chapter of DOCO-

MOMO (scheduled for construction

spring 2006).

Roy Tomlinsongroup shows: Three Views, College of

Marin Art Gallery, Kentfi eld, CA, Oct.–

Nov. 2005; Contemporary Abstracts,

Alameda Art Center, Alameda, CA,

summer 2005.

Sandra Vivancogroup show, Small Firms Great Projects,

San Francisco Design Center, Jan.

2006; work featured: Building Northern

California (Imprint Publications, 2006);

published: “Trope of the Tropics, The

Neo-Baroque in Brazilian Modern-

ism,” in Baroque New Worlds (Duke

UP, 2006); “Trope of the Tropics, The

Baroque in Modern Brazilian Architec-

ture, 1940–1950,” in Transculturation,

Cities, Spaces, and Architectures in Latin

America (Rodopi, 2005).

CCA faculty collaborated to produce the ScrapHouse—built entirely from

scrap and salvaged material, with volunteer labor and design—on San

Francisco’s Civic Center Plaza in conjunction with World Environment Day

2005. The ScrapHouse was later featured in Dwell and Sierra magazines and

on NPR’s Living on Earth.�Participating faculty:�John Cary; John Peterson,

Peterson Architects/Public Architecture; Andrew Dunbar, Interstice Archi-

tects; Jordan Geiger, Ga Ga; Mark Jensen, Jensen & Macy Architects; Jane

Martin, Shift Design Studio; Jeremy Mende, MendeDesign; and Cinthia

Wen ’93, Design at Noon. Miles Epstein ’05 and Chris Kalos of Jensen &

Macy also worked on the project.

Victoria Wagner group show, Botanica, Sebastopol

Center for the Arts, Sebastopol, CA,

Sept.–Oct. 2005; shows: First Empire,

Vena-Mondt, Sebastopol, CA, Nov.

2005; Flying Goat, Healdsburg, CA,

Oct. 2005.

Patricia Walsh (emerita)solo show, Mepkin Abbey, Charleston,

SC, Feb.–Mar. 2006; two-person show,

Thacher Gallery, University of San

Francisco, Sept. 2004.

Kari Weilpublished: “Men and Horses: Circus

Studs, Sporting Males, and the

Performance of Purity in Fin de Siècle

France,” French Cultural Studies, forth-

coming; “French Feminism’s Ecriture

Féminine,” Cambridge Companion to

Feminist Literary Theory, 2006; lectures:

“Géricault’s Spurs: Painting History

with a Horse,” 19th-Century French

Studies Colloquium, fall 2005; “Living

Like a Dog: Animal Being in Coetzee,”

Society for Literature, Science, and the

Arts, fall 2005.

Ann Joslin Williamsaward, Spokane Prize in Short Fiction,

for The Woman in the Woods, to be

published by Eastern Washington

University Press in fall 2006.

Susan E. Woodwork featured, Penland Book of Jewelry

(Lark Books, 2005).

Sandra Vivanco, Menlo Park Residence

(front elevation), 2005. Photo: Sharon

Risedorph

22

23

The Last Time

I Saw Amelia Earhart

By Gabrielle CalvocoressiPersea Books, 2005

Paperback, 80 pages, $13.95

From a circus fi re in Hartford, CT, to

the oversize bodies that fi ll the screens

in “From the Adult Drive-In,” these

poems juxtapose spectacle with private

moments, collective experience with

individual voices. Calvocoressi received

the Paris Review’s Conners Prize for

“Circus Fire, 1944,” which appears in

this collection, her fi rst. She teaches in

the MFA Program in Writing.

Drawing from the Modern,

1975–2005

By Jordan KantorMuseum of Modern Art, 2005

Hardcover, 229 pages,

180 color illus., $39.95

Kantor situates contemporary drawings

as the production of “a younger gen-

eration of artists literally trying to draw

themselves out” of the art movements

of the 1960s. They did so not only

with ink, charcoal, and pencil, but also

with Cover Girl Thick Lash mascara

(Janine Antoni) and human hair tied

onto paper (Mona Hatoum). Kantor,

an associate professor in the Paint-

ing/Drawing Program, was formerly an

assistant curator in the department of

drawings at MOMA.

The Wild Creatures: Collected

Stories of Sam D’Allesandro

Edited by Kevin KillianSuspect Thoughts Press, 2005

Paperback, 160 pages, $12.95

Poet, novelist, and Visual Criticism

faculty member Killian edited this

posthumous collection of stories

by Sam D’Allesandro, who died of

AIDS in 1988. Killian’s introduction

places D’Allesandro in the context

of the “new narrative” writers of San

Francisco in the 1980s (Killian was

among them). There are 18 stories

here, including long out-of-print work

from D’Allesandro’s previous books,

and previously unpublished pieces that

Killian transcribed from the author’s

notebooks.

Mah-Jongg: From Shanghai

to Miami Beach

By Christina Cavallaro and

Anita Luu ’97Chronicle Books, 2005

Hardcover, 176 pages, 100 illus. (color

and b/w), $14.95

“Mah-jongg is seductive,” the authors

write. Photographs of hand-carved

bone tiles from the Qing Dynasty

hint at why. In this illustrated hand-

book—with contents ranging from

rules for play and strategy to recipes for

pot stickers and kugel—the authors’

love for the traditional Chinese game

spreads out to encompass its history

and the communities that its players

form. Coauthor Luu (BFA, graphic

design) also designed the book.

The Face of Poetry:

Portraits

Edited by Zack RogowUniversity of California Press, 2006

Paperback, 370 pages,

49 b/w photos, $29.95

Portraits of poets by photographer

Margaretta K. Mitchell, inspired by the

Lunch Poems Reading Series at UC

Berkeley, which Rogow coordinates. He

teaches in the MFA Program in Writing.

The Return Message

By Tessa Rumsey ’02W. W. Norton, 2005

Hardcover, 99 pages, $24.95

“Does glass count as a wall?” asks

Rumsey, a poet and a graduate of

the MA Program in Visual Criticism.

With doubled titles, the pages of this

beautifully designed book both mirror

and distort each other. There is space

for long lines, and for silence. Rumsey

received the 2004 Barnard Women

Poets’ Prize, judged by Jorie Graham,

for this collection, her second.

Faculty and alumni: Please send

notice of your book publications to

[email protected].

CCA Bookshelf


Alumni Notes

From the Alumni Association

It has been another busy school year for the CCA Alumni Association. Our

staff and alumni volunteers are working hard to bring you more opportuni-

ties to network with fellow alumni, mentor students, fi nd career resources,

show your work, and much more.

Did you take advantage of everything the Alumni Association had to offer

this year? Perhaps you returned to campus for one of our reunions or con-

nected with New York alumni over wine at the Marlborough Chelsea Gallery.

You may have spoken to graduate students about your career experiences or

advised transfer students on how to survive college. Was your work accepted

into our alumni booth at the American Craft Council show or Aesthetics of

Ecology, our fall 2005 alumni exhibition? Or did you use our online job board

to search for a new career path?

Whatever the opportunity, we hope we helped you fi nd an old friend, learn

something new, make a connection, or make a difference. And it’s never too

late to get involved. Just go to www.cca.edu/alumni to learn how you can

take advantage of everything we have to offer!

Joseph Terrell Bryant

President, Alumni Council

BArch ’99

P.S. Keep in touch! Update your address at www.cca.edu/alumni.

1950

John W. Berry group show, Lucky 13 National Small

Works, Fine Arts Center, Mesquite, NV,

Nov.–Dec. 2005.

Horst B. Trave group show, Art of the Beat Generation,

John Natsoulas Gallery, Davis, CA,

Nov.–Dec. 2005.

1951

Robert S. Neuman solo show, Robert S. Neuman: Fifty

Years (retrospective), Allan Stone Gal-

lery, New York, Jan.–Mar. 2006.

1953

David Ireland solo show, Moody Gallery, Houston,

Dec. 2005–Jan. 2006.

1965

Harry Weisburdgroup show, MIAD international art

exhibition, Argentina, 2006.

1967

Stan Taft

two-person show, STILL, Second Street

Gallery, Charlottesville, VA, Feb. 2006.

1970

Susan S. Weller solo show, John Wayne Airport, Orange

County, CA, Apr.–July 2005; group

shows: Aurora Project, Grafi che Aurora,

Verona, Italy, Dec. 2005; Il Segno Essen-

ziale, Palazzo Menghini, Castiglione

delle Stiviere, Mantova, Nov. 2005;

Altre View: Tra I Segni e I Colori, Incor-

niciarte, Verona, Oct. 2005; website,

www.susanweller.com.

Life after CCA?

Complete our Alumni Career Survey at www.cca.edu/alumni.

Help us to create a picture of what students do once they leave CCA. Please take

a few minutes to tell us what you’ve been up to. The results will be compiled

(without names) for use with students, faculty, and alumni.

24


1972

Thomas E. Noy YAKTRAX included in group show,

SAFE: Design Takes on Risk, Museum of

Modern Art, New York, Oct. 2005–Jan.

2006, and in MOMA’s permanent

collection.

1973

Ramona L. Irvinesolo show, Developing Drawings: Mono-

types and Paintings, Guerneville, CA,

winter 2005.

Lori Wakefi eldwebsite, lwakefi eldartist.com.

1974

Jane W. Lackey

solo show, Roy Boyd Gallery, Chicago,

Dec. 2005–Jan. 2006; shows: Pages,

I Space, Chicago, Oct. 2005; Map

Room, Lemberg Gallery, Ferndale, MI,

Sept.–Oct. 2005; Textile/Future Expres-

sion, Contemporary Art Space, Osaka,

Aug. 2005; work purchased, Wellcome

Trust, London (opening permanent

public exhibition, 2006).

1978

Jamie Brunson group show, Ornamentation: The Art of

Desire, San Jose Institute of Contempo-

rary Art, San Jose, CA, Nov. 2005–Jan.

2006.

James Jermantowicz solo show, A Day at the Concours, Sara-

toga Automobile Museum, Saratoga

Springs, NY, Apr.–June 2006.

1979

Ruth Boerefi jnsolo show, Fresno Art Museum,

Fresno, CA, Jan.–Mar. 2006; show,

SFMOMA Artists Gallery, Fort Mason,

San Francisco, June–July 2006; residen-

cies: Djerassi Resident Artists Program,

Woodside, CA, Sept. 2006; Klaustrid,

Skriduklaustur, Iceland, Aug. 2005.

1981

Hulleah Tsinhnahjinnie panelist, “Representation and Iden-

tity: Who Owns the Image of Native

Americans?,” Eiteljorg Fellowship for

Native American Fine Art Symposium,

Eiteljorg Museum of American Indians

and Western Art, Indianapolis, IN, Nov.

2005.

1984

Randall G. Dixonsolo shows: Monterey Peninsula Col-

lege, Monterey, CA, Feb.–Mar. 2006;

Oakland Museum of California at City

Center, Aug.–Nov. 2005; Gregory Lind

Gallery, San Francisco, July–Aug. 2005;

website, www.randydixonart.com.

1985

Alisa Goldenvisiting faculty, CCA, spring 2005;

bookmaking instructor, CCA Ninth-

Grade Atelier, summer 2005; group

shows (all 2005): Art of the Book, CFA

Gallery, San Anselmo, CA; Members’

Showcase, Richmond Art Center, CA;

Artists’ Books, Hunt + Gather, Santa Fe,

NM; published, Expressive Handmade

Books (Sterling, 2005); website, www.

neverbook.com.

1986

Amy E. McClure solo show, 22 Clay Canvases, Magic

Theatre, San Francisco, 2005; group

shows: Poetry and Its Arts, California

Historical Society, San Francisco, 2005;

30 Ceramic Sculptors, John Natsoulas

Gallery, Davis, CA, 2005; Opposition,

Joyce Gordon Gallery, Oakland, 2005;

work featured, Ceramics Monthly, Oct.

2005.

Alexandra D. White group shows: Albany Arts Commission,

CA, Dec. 2005; Fairfi eld Visual Arts

Association, CA, Nov. 2005; represent-

ed by Main Element Gallery, Napa and

Calistoga, CA, Jan. 2006; instructor,

Albany Adult School and ASUC Art Stu-

dio at UC Berkeley, Jan. 2006; website,

www.alexwhite-artworks.com.

1987

Yoshitomo Saitowork featured, Sculpture magazine,

Jan.–Feb. 2006.

Ann Webersolo show, Fresno Art Museum, Fresno,

CA, Apr.–June 2006.

Patricia Olynyk, Sight, Sound, and Taste, 2005

25

1988

Donna Fenstermakergroup show, Print 2, June Steingart Art

Gallery, Oakland, Oct. 2005.

Patricia Olynyksolo shows: Sensing Terrains, National

Academy of Sciences, Washington, DC,

Feb.–June 2006; Lessedra Contempo-

rary Art Projects, Sofi a, Bulgaria, 2005;

residencies, Banff Center for the Arts,

Banff, Canada, May and June 2005.

Cleo Papanikolaspublished, book, Cook Until Desired

Tenderness, 2005 (www.cleops.net);

profi led, San Francisco Chronicle, Dec.

2005.

Laura Sue Phillipscurated, Transparent Opaque, Paintings

on Paper, Leubsdorf Art Gallery, Hunter

College, New York, Jan.–Mar. 2006.

Gabrielle Thormanngroup show, An Array of Small Works,

Crockett Contemporary Art, Crockett,

CA, Dec. 2005.

1989

Susan Y. Danis work featured in review on

www.jeffgreenwald.com.

German Herrerasolo show, A Book of Mirrors, traveling

to Centro Fotográfi co Alvarez Bravo,

Oaxaca, Mexico, Nov. 2005; work

purchased for artist books collection,

Stanford University Dept. of Special

Collections.

1990

Cynthia L. Harper group show, Drawing: Tradition and

Innovation, Arlington Arts Center,

Arlington, VA, Nov.–Jan. 2006.

Amy Kaufman group show, Bay Area Bazaar, Pul-

liam Deffenbaugh Gallery, Portland,

OR, Sept.–Oct. 2005; website, www.

amykaufman.net.

Jean M. Millerchair of Art Dept., Towson University,

Towson, MD; elected to board of direc-

tors, National Council of Art Adminis-

trators, 2005.

1991

Lisa Kokintwo-person show, Los Medanos College

Art Gallery, Pittsburg, CA, Nov.–Dec.

2005; group show, Image as Object,

Sesnon Art Gallery, Porter College, UC

Santa Cruz, CA, Jan.–Mar. 2006.

1992

Marlene Aron group shows: Annual Members’

Showcase, Berkeley Art Center, Berkeley,

CA, Jan.–Feb. 2006; My Country, Right

or Left: Artists Respond to the State of

the Union, L. H. Horton Jr. Gallery,

San Joaquin Delta College, Stockton,

CA, Nov.–Dec. 2005; commission for

group show/silent auction, Tori-no-ichi,

Theatre of Yugen, San Francisco, Dec.

2005.

Giorgio Baravalle

featured in I.D. Forty, Jan.–Feb. 2006.

China Bluegroup show, Once Upon a Time 1,

NURTUREart Non-Profi t, Brooklyn, NY,

Jan.–Mar. 2006.

Susan Goldsmithsolo shows: Robert Mondavi Win-

ery, Oakville, CA, Mar.–Apr. 2007;

Takada Gallery, San Francisco, Apr.

2006; group show, SVMA Biennial

2005, Sonoma Valley Museum of Art,

Sonoma, CA, Nov.–Dec. 2005; show,

Natural Process, William Torphy Fine

Arts, San Francisco, Sept.–Nov. 2005;

digital paint and rotoscope artist,

Chronicles of Narnia.

Steven Miller California Home + Design magazine

Achievement Award for outstanding

furniture and product design (work fea-

tured, Feb. 2006 issue); website, www.

stevenmillerdesignstudio.com.

Susan Goldsmith, No. 64, 2005

26

29


1993

Lauren Arigroup shows: Ink and Clay 32, Kellogg

Gallery, Pomona, CA, Jan.–Feb. 2006;

Artscape Gallery, Walnut Creek, CA,

2006; Laughter Is the Best Medicine,

Artschange, Richmond Health Center,

Sept. 2005; Local Voice, Walnut Creek,

Sept. 2005.

Mingwei Leesolo shows: Queensland Gallery of

Modern Art, Brisbane, 2006; Sherman

Gallery, Sydney, Nov.–Dec. 2006;

Lombard-Freid Projects, New York,

Oct.–Nov. 2006; group shows: 2006

Shanghai Biennial, China, Sept.–Nov.

2006; Liverpool Biennial, England,

Sept.–Nov. 2006; Madison Museum

of Contemporary Art, Madison, WI,

Apr.–June 2006.

Morgan Schmidt-Feng

premiere, Sacred New World, Mill Valley

Film Festival, CA, Oct. 2005.

1994

Harrell Fletcher show, New Works: 05.3, Artpace, San

Antonio, TX, Jan. 2006; screeening,

“Kirby + Fletcher Side x Side,” SF Cin-

ematheque at Yerba Buena Center for

the Arts, San Francisco, Nov. 2005.

Fain Hancock solo show, Old Family Name, Hang Art,

San Francisco, Oct. 2005.

1995

Gaby Brink

lecture (with Joel Templin), hosted by

Watermark Press, AIGA SF, San Fran-

cisco, Nov. 2005.

Nicholas R. Lampertrecipient, Nohl Fellowship (award of

$15,000 for a Milwaukee artist), 2005.

1996

Geoff Chadseysolo shows: Contemporary Museum,

Honolulu, Dec. 2006; Jack Shainman

Gallery, New York, Sept. 2005; second-

year winter fellow, Fine Arts Work

Center, Provincetown, MA, 2005–6.

Michael Hall group show, Strange Histories, Heather

Marx Gallery, San Francisco, Dec. 2005.

Melanie Hofmann solo show, Renewal, Edward Jones

Investments, Oakland, Oct.–Dec. 2005.

Jesse Simon solo show, Patricia Faure Gallery, Los

Angeles, fall 2005; two-person show,

Gallery Paule Anglim, San Francisco,

Jan. 2006; group show, Sonoma State

University Art Gallery, Rohnert Park,

CA, Feb. 2006.

1997

Kent Alexander solo show, Rorschach Tests, Solo-

mon Dubnick Gallery, Sacramento,

Oct.–Nov. 2005.

Andrew Phares

group show, 2005 Pink Week Show,

Cricket Engine Studio and Gallery, Oak-

land, Nov. 2005; profi led, Contra Costa

Times, Nov. 2005.

1998

Jules de Balincourt

solo shows: Arndt and Partner, Berlin,

2006; This Is Our Town, Zach Feuer

Gallery (LFL), New York, 2005; group

shows: Greater New York, PS1/MOMA

Queens, New York, 2005; Trunk of

Humors, Deitch Projects, New York,

2004.

1999

Desiree Holman solo shows: Lisa Boyle Gallery, Chicago,

2006; YYZ Artists’ Outlet, Toronto,

2006; Troglodyte, Queens Nails Annex,

San Francisco, Nov.–Dec. 2005; web-

site, www.desireeholman.com.

Roxanne A. Lo

launched bike company, IBIS, 2005

(www.ibisbicycles.com).

Rommel Taylorcurated group show, Public Works: Art

and Architecture, Architecture in the City

Series sponsored by AIA San Francisco,

Oct. 2005.

Steven Miller, San Francisco

Decorators Showcase, 2005

Geoff Chadsey, Herring Cove Manhunt,

2005

2001

Tommy Beckervideo piece and performance, TART,

San Francisco, Dec. 2005–Jan. 2006.

Libby Blackartwork published, ZYZZYVA, winter

2005.

Jeanette Bokhour

group shows: Photography: Daguerreo-

types to Digital, St. Louis Artists’ Guild,

Clayton, MO, 2005; pureABSTRAC-

TION, Flash Gallery/Working with

Artists, Lakewood, CO, 2005; New

Prints/Autumn, International Print

Center, New York, and Columbia

College, Chicago, 2005; Silicon Sands,

Las Cruces Museum of Fine Art, Las

Cruces, NM, 2005.

Jessica A. Daviesgroup shows: MAG 2005: An Exhibi-

tion of Metal Art, Oakland Museum

of California Collector’s Gallery, Nov.

2005–Jan. 2006; 27th Annual Celebra-

tion of Craftswomen, Fort Mason, San

Francisco, Nov. 2005; The Empty Bowls

Project, Houston Center for Contempo-

rary Craft, Houston, Mar. 2005.

Charles Glaubitztwo-person show, Varnish Fine Art,

San Francisco, Dec. 2005–Jan. 2006;

group show, A Strange New World, San

Diego Museum of Contemporary Art,

May 2006.

Joshua Gorchov

featured, Step Emerging Design Talent

issue, 2006.

Heather L. Johnsonsolo show, Women and Their Work,

Aug.–Sept. 2006; group shows: 22 to

Watch, Austin Museum of Art, Aug.–

Oct. 2005, Austin, and Galveston Art

Center, Galveston, TX, Nov. 2005–Jan.

2006; Temporary Dividers, Ars Ipsa

Gallery, Austin, Nov.–Dec. 2005; Some-

where Outside It, Schroeder Romero

Gallery, New York, June–July 2005.

Arthur Krakower

residencies: San Gregorio Ranch, CA,

July 2006; Otranto Foundation, Italy,

June 2006.

Jessamyn Lovell

solo show, Catastrophe, Crisis, and

Other Family Traditions, In Color II, San

Francisco, 2006, and Buzz Gallery,

Oakland, 2005; group shows: Joint

Venture, Nelson Gallery, UC Davis, CA,

2006; En Masse: Member’s Exhibition,

SF Camerawork, San Francisco, 2005;

award, Review Santa Fe Scholarship,

Photo Santa Fe, 2005.

Briana E. Tiberti with Sun West Custom Homes

builder-designer team partner Sannene

Garehime, won Best Interior and Best

of Show in biennial Street of Dreams

luxury home show, Las Vegas, NV, July

2004.

Marcia Weisbrotgroup shows: Bookworks, San Francisco

Public Library, Jan.–Mar. 2006; Hunt +

Gather, Santa Fe, NM, Jan.–Feb. 2006;

cracks in the pavement.com, 2005.

Pepe Mar

solo show, You Are Made of Stars,

Freight and Volume, New York, May

2006; group shows: Searching for Love

and Fire, David Castillo, Miami, Apr.

2006; NADA Art Fair (Locust Projects),

Miami, Dec. 2005.

Curtis D. Popp

work published, Interior Design maga-

zine, Mar. 2006.

Harriet G. Salmon

class of 2006, MFA program (sculp-

ture), Yale University, New Haven, CT.

2002

Caitlin Atkinson solo show, Chapters, Foley Gallery, New

York, Jan.–Mar. 2006.

Christopher S. Corwin presented, New Views international

design conference, London, England,

Oct. 2005; founding chair, graphic

design program, University of San

Francisco.

Andrew Junge, Styrofoam Hummer, 2005

28


Christopher R. Duncan

group show, Hot & Cold in the Zine

Unbound: Kults, Werewolves, and Sarcas-

tic Hippies, Yerba Buena Center for the

Arts, San Francisco, Oct.–Dec. 2005.

Linsey Silver full-time associate professor of design,

American University, Washington, DC.

2004

Jill M. Bliss

solo show, Scenic Dive, National Prod-

uct, San Francisco, Sept.–Oct. 2005;

founder, Jill Bliss Art + Design (clients

include Chronicle Books).

Maggie A. Fost

full-time Designer in Residence award,

North Carolina State University, 2004;

currently designer for Merge Records,

creating CD packaging for bands

including Spoon, the Arcade Fire, and

Magnetic Fields.

Debra Glass

presented, New Views international

design conference, London, England,

Oct. 2005.

Todd M. Laby

group show, Bay Area Furniture Art



Anna Maltz

group show, Kala Fellowship Exhibi-

tion, Kala Art Institute, Berkeley, CA,

Sept.–Oct. 2005.

Alumni with work in Elder Arts 2005

at the de Young Museum, Oct.–Nov.

2005:

Leonard S. Breger ’63

Violet Y. Chew-MacLean ’63

Truman Fisher ’60

Chloe E. Fonda ’69

Michael N. Grbich ’62

John J. Nicolini ’59

Benjamine M. Morrison work published (all 2005): Coupe Maga-

zine Design Annual, New York Festivals

Annual of Advertising, Black Book AR

100; awards (all 2005): ARC Grand

Award (show, Museum of Art and Com-

merce, Hamburg, Germany), London

International Awards, Global Awards.

Alex P. Panasik cofounder and principal designer of

studio, Grand Object.

Josh Singer work published, CMYK; teaching

design at San Jose State University and

San Francisco Art Institute.

Michael S. Slane featured, Step Emerging Design Talent

issue, 2006.

Vincent Sol

group show, Bay Area Furniture Art



Work by alumni in ceramics from the

past 50 years was presented in The

Family of Clay: CCACeramics 1950–2005,

a major exhibition at the Oliver Art Cen-

ter on the Oakland campus, on view

Jan.–Feb. 2006.

Andrew B. Junge artist in residence, SF Recycling and

Disposal, summer 2005; Styrofoam

Hummer, created during the residency,

on view at San Francisco Arts Commis-

sion, Nov. 2005–Jan. 2006.

Katherin McInnis group shows: New Experimental Works,

Other Cinema, San Francisco, Dec.

2005; Shorts: Art, Film Arts Festival at

the Roxie, San Francisco, Nov. 2005;

Evidence Is Everywhere, PlaySpace, CCA

San Francisco campus, Oct. 2005.

Jennifer L. Sonderby

awards: Print magazine “Big Event

Award,” 2004; New York Bookbuild-

ers Award, 2004; curated, RISD San

Francisco Biennial, Gallery Lux, San

Francisco, 2005.

2003

Nazgol Ansarinia published, photos, Frieze and I.D.,

2004; teaching at Tehran Al-Zahra Uni-

versity; member of editorial and design

boards, Manzar magazine; served

as consultant for Tehran Museum of

Contemporary Art.

G. Dan Covert featured, Step Emerging Design Talent

issue, 2006.

Lindsay A. Daniels featured, Step Emerging Design Talent

issue, 2006.

Jeanette Bokhour, Theatrics 2, 2005

29

Alumni Volunteers for 2005

CCA wishes to thank the many alumni who dedicated their time, talents,

and energy to the CCA community in 2005. Alumni serve on the CCA Board

of Trustees, host local and regional alumni events, help to recruit new

students, serve on the Alumni Council, sit on career panels, and participate

in many other activities.

Alumni volunteers are a vital part of CCA’s success. If you want to connect

with fellow alumni, experience campus life, develop leadership skills, or

share your knowledge with the next generation of artists, be a CCA alumni

volunteer. To learn more, go to www.cca.edu/alumni or call 510.594.3788.

Kent Alexander, MFA ’97

Calvin Anderson, ’46

Gale Antokal, MFA ’84

Curtis Arima, ’98

Caitlin Atkinson, ’02

Lawrence Azerrad, ’95

China Blue, ’92

Alexis Brayton, MFA ’04

Gloria Brown Brobeck, ’58

Tecoah Bruce, ’79

Joseph Bryant, ’99

Gina Carducci, ’04

Valeri Clarke, ’98

Pamela Cobb, MFA ’98

Steve Compton, ’95

Lindsay Daniels, ’03

Pam Dernham, MFA ’98

Patrick Dintino, MFA ’01

Donna Fenstermaker, MFA ’88

Sarah Garber, ’00

Meagan Geer, ’02

Linda Geiser, ’97

Max Geiser, ’97

Trish Henry, MFA ’03

Sylvi Herrick, MFA ’99

Melanie Hofmann, ’96

Nancy Howes, ’05

Carole Jeung, MFA ’97

George Jewett, ’96

Kika Jonsson, ’03

Kurt Kiefer, MFA ’92

Carol Ladewig, MFA ’91

Dale Lanzone, MFA ’71

Katherine McKay, MFA ’87

Melanie Miller, ’02

Steven Miller, ’92

Ann Morhauser, ’79

Michaela Peters, MFA ’97

K. C. Rosenberg, ’87

Doug Sandberg, ’78

Eve Steccati-Tanovitz, ’69

Arlene Streich, ’66

Ron Tanovitz, ’69

Sharon Wilcox, MFA ’65

Kamomi T. Solidum

currently working as design assistant

for international typography magazine,

Baseline.

Maiko Sugano solo show, Lisa Dent Gallery, San Fran-

cisco, Jan. 2006.

2005

Andre K. Andreev featured, Step Emerging Design Talent

issue, 2006.

Charles E. Beronio

curated, Material World, Alliance

Française, San Francisco, 2006; solo

show, Economy & Commerce, Gallery

Lui Velazquez, Tijuana, Mexico, 2005;

group shows: Truth and Lies, Mission

17, San Francisco, 2005; Consume/d:

Creative Critical Acts in the San Francisco

Bay Area, Tbilisi, Republic of Georgia,

2005.

Angela Hennessy group show, Exit Biennial II: Traffi c, Exit

Art, New York, Oct.–Dec. 2005.

Christine Pyers group show, Bay Area Furniture Art



Dan D. Shafer

group show, Catalog, Soil Art Gal-

lery, Seattle, Dec. 2005; presented,

AIGA design education conferences,

Pasadena, CA, Mar. 2005, and Chicago,

Oct. 2004; adjunct professor at Seattle

University, Cornish College of the Arts,

and Seattle Pacifi c University.

Rachel A. Weeks three-person show, Three New Pho-

tographers, Steven Wirtz Gallery, San

Francisco, Jan.–Feb. 2006.

Please contact the alumni offi ce at

415.703.9595 or [email protected] to

report any errors or omissions in the list

of volunteers.

Angela Hennessy, Evidence (detail), 2005

30


In Memoriam

Alumni

Kenneth Addison, ’88Baltimore, MD

November 8, 2005

Bill Akers, ’90 Vashon, WA

January 8, 2006

Gary E. Albright, ’70September 4, 2005

Shi-ling Chen Hsiang, ’75Pittsford, NY

November 27, 2005

Dale Allen MillerOakland, CA

December 5, 2005

John Nash, ’69Desert Hot Springs, CA

December 19, 2005

Jeffrey Blake OwingsOakland, CA

November 29, 2005

Timo Tauno Pajunen, MFA ’71 Crockett, CA

June 27, 2005

Tom Reese, MFA ’49St. Petersburg, FL

January 19, 2006

Terrence RogersSanta Monica, CA

June 17, 2005

Peter Fenn Samuelson, MFA ’61 Ross, CA

November 2005

Victor CarrascoVictor Carrasco died on November 24,

2005. He had taught at the college

since 1988 in the Architecture, Interior

Design, Industrial Design, Humanities

and Sciences, and Wood/Furniture

Programs. His colleagues and students

remember him as a passionate, intel-

ligent, astute, and sympathetic teacher

and critic. The rigor, passion, and high

expectations Carrasco expressed in

his architecture studio courses always

resulted in excellent work from his students. He was a generous teacher, an

inspiring colleague, and a dear friend. In keeping with his wishes, there was no

funeral or memorial service.

Faculty

Student

Sienna Elise MorrisSan Francisco, CA, and Seattle, WA

November 12, 2005

Please let us know of the deaths of alumni by sending information, including news-

paper obituaries, to Glance, CCA Communications Department, 1111 Eighth Street,

San Francisco, CA 94107 or [email protected].

Photos: (top) Libby McMillan; (bottom)Todd Hido

31

Ken Rignall, ’58, MFA ’68Ken Rignall died on October 10, 2005.

He was a professor in the Printmaking

Program and had served on the faculty

since 1969. Rignall was a key fi gure in

the college’s print shop. His expertise

in silkscreen and woodcut techniques

was well-known and much appreci-

ated by his students and fellow faculty

members. He created the Monotype

class, which has been one of the most

popular courses at the college. As a

teacher and colleague, Rignall inspired

generations of artists. A memorial

gathering and exhibition took place on

the Oakland campus in March.

Friend

Elizabeth M. SchaufelSan Leandro, CA

February 27, 2006

34

A Backward Glance

The Not So Famous Basketball Team, late 1940s. Back row, far left:

Robert (Bob) Daskam ’49. Front row, second from left: Bill Micka ’49;

second from right, John W. Berry BAA ’49, MFA ’50. Photo courtesy of John

W. Berry, who recalls the team as “a bunch of art students who got together to

have fun.” They played in the Oakland city league. Berry was in a different kind

of uniform when he fi rst arrived on campus. Discharged after World War II, he

registered for spring 1946 classes while still wearing his military uniform. Retired

from teaching at San Bernardino Valley College, Berry is back in his hometown of

Wayne, Nebraska, where he serves as adjunct faculty at Wayne State College.

Athletics addendum: Ceramic artist Robert Arneson ’56 once recalled, “They used

to have tennis courts and basketball courts at Arts and Crafts. All that’s been

bulldozed out now for a dormitory” [the former Irwin Hall, now Irwin Student

Center].—Oral history, Smithsonian Archives of American Art

Readers are invited to submit their photographs of campus life to this column. Email

us at [email protected], or send a photocopy or description of your picture by regular

mail. Please do not send originals; CCA is not responsible for items lost in the mail.

Drop Us a Line

Please email your news and high-resolution images to

[email protected] or [email protected], or com-

plete and return this form to:

Communications Department

California College of the Arts

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Attention: Alumni Notes/Faculty Notes

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including exhibitions, publications, screenings, perfor-

mances, and lectures, as well as appointments, promo-

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Documents

Glance Spring 2006