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Tom Betthauser
TOM BETTHAUSER b. San Francisco 1987 CONTACT: [email protected] EDUCATION: Yale University, School of Art — MFA, Painting / Drawing 2012 San Francisco Art Institute — BFA, Painting / Drawing 2010 TEACHING / EMPLOYMENT EXPERIENCE: College of Marin, CA – Adjunct Professor, Beginning & Advanced Painting, May 2018 – Present San Francisco Art Institute, CA – Public Education Instructor, Jan 2018 – Present West Valley College, San Jose CA – Adjunct Professor, Studio Art / Art History, 2017 – Present University of California San Diego CA – Visiting Artist (lecture / studio visits) – Nov 2017 Wylie & May Louise Jones Gallery, Bakersfield CA – Chief Gallery Director / Curator, 2014 – 2017 Bakersfield College, CA – Adjunct Professor, Studio Art / Art History, 2014 – 2017 Cerro Coso Community College, CA – Adjunct Prof. Studio Art / Art History, 2013 – 2017 Natural History Museum of Los Angeles – Exhibit Technician (Seasonal) 2015 – 2016 Artvoices Magazine, Los Angeles CA – Contributing Writer, 2014 – 2016 Yale School of Art, New Haven CT – Teaching Assistant to Samuel Messer, 2011 – 2012 Yale School of Art, New Haven CT – Chief Graduate Admissions Coordinator, 2011 – 2012 Yale School of Art, New Haven CT – Art Handler / Installation Assistant, 2011 – 2012 San Francisco Art Institute, CA –Teaching Assistant / Academic Tutor, 2007 – 2010 Exploratorium Museum, CA – Explainer / Tactile Dome / Public Programs, 2006 – 2012 SELECTED GROUP / SOLO EXHIBITIONS: 2015 – PRESENT Crocker Museum of Art, CA – Big Names Small Art Benefit Auction – May -
Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
Amanda Marchand
AMANDA MARCHAND EDUCATION: 2000 M.F.A., photography, San Francisco Art Institute, San Francisco, C.A 1992 Multi-media studies, Emily Carr College of Art & Design, Vancouver, B.C. 1990 B.A., Queen’s University, Kingston, O.N. SELECTED SOLO EXHIBITIONS: 2015 Night Garden, Traywick Contemporary, Berkeley, CA 2012 Night Garden: The Summer Project, http://amandamarchand.com/blog/ 2005 The Density of Air, Bolinas Art Museum, Bolinas, CA 2004 415/514. San Francisco City Hall, Arts Commission Gallery, San Francisco, CA 2003 Amanda Marchand & Dennis McLeod. Traywick Gallery, San Francisco, CA 2002 You Came So Close. The Project Space, Headlands Center for the Arts, Marin, CA 2001 Under his Knowledge, Gallery Petite L.G., Houston, TX SELECTED GROUP EXHIBITIONS: 2015 Front Yard/Backstreet, Palo Alto Art Center, Palo Alto, CA Center Forward, The Center for Fine Art Photography, Fort Collins, CO Curve, CENTER, Santa Fe, NM Mind-scape, (exhibition and book launch), Datz Museum, Seoul, Korea 2012 Materials + Process, Traywick Contemporary, Berkeley, CA 2011 Tomorrow’s Stars: Verge Art Brooklyn, Dumbo, NY Manipulated, Castell Photography, Asheville, NC George Eastman House Panel (see below), Preview Show/Auction, The Metropolitain Pavillion, NY 2010 George Eastman House Preview Show and Auction, Sotheby’s, NY Love Pictures, curated by Will Mebane and Scott Tolmie. 2009 Group Show, Cavallo Point Lodge, Marin, CA. 2008 Arm’s Length in: Ceramics and the Treachery of Objects in the Digital Age. (Catalogue), Scripps College, 64th Annual, Claremont, CA. (collaboration with Jeanne Quinn) 2005 Photo New York. SFAI, Metropolitan Pavilion, New York, NY. Photo-Based. Traywick Contemporary, Berkeley, CA. -
Christine Giles Bill Bob and Bill.Pdf
William Allan, Robert Hudson and William T. Wiley A Window on History, by George. 1993 pastel, Conte crayon, charcoal, graphite and acrylic on canvas 1 61 /2 x 87 '12 inches Courtesy of John Berggruen Gallery, San Francisco, California Photograph by Cesar Rubio / r.- .. 12 -.'. Christine Giles and Hatherine Plake Hough ccentricity, individualism and nonconformity have been central to San Fran cisco Bay Area and Northern California's spirit since the Gold Rush era. Town Enames like Rough and Ready, Whiskey Flats and "Pair of Dice" (later changed to Paradise) testify to the raw humor and outsider self-image rooted in Northern California culture. This exhibition focuses on three artists' exploration of a different western frontier-that of individual creativity and collaboration. It brings together paintings, sculptures, assemblages and works on paper created individually and collabora tively by three close friends: William Allan, Robert Hudson and William T. Wiley. ·n, Bob and Bill William Allan, the eldest, was born in Everett, Washington, in 1936, followed by Wiley, born in Bedford, Indiana, in 1937 and Hudson, born in Salt Lake City, Utah, in 1938. Their families eventually settled in Richland, in southeast Washington, where the three met and began a life-long social and professional relationship. Richland was the site of one of the nation's first plutonium production plants-Hanford Atomic Works. 1 Hudson remembers Richland as a plutonium boom town: the city's population seemed to swell overnight from a few thousand to over 30,000. Most of the transient population lived in fourteen square blocks filled with trailer courts. -
September 2007 Caa News
NEWSLETTER OF THE COLLEGE ART ASSOCIATION VOLUME 32 NUMBER 5 SEPTEMBER 2007 CAA NEWS Cultural Heritage in Iraq SEPTEMBER 2007 CAA NEWS 2 CONTENTS FEATURES 3 Donny George Is Dallas–Fort Worth Convocation Speaker FEATURES 4 Cultural Heritage in Iraq: A Conversation with Donny George 7 Exhibitions in Dallas and Fort Worth: Kimbell Art Museum 8 Assessment in Art History 13 Art-History Survey and Art- Appreciation Courses 13 Lucy Oakley Appointed caa.reviews Editor-in-Chief 17 The Bookshelf NEW IN THE NEWS 18 Closing of CAA Department Christopher Howard 19 National Career-Development Workshops for Artists FROM THE CAA NEWS EDITOR 19 MFA and PhD Fellowships Christopher Howard is editor of CAA News. 21 Mentors Needed for Career Fair 22 Participating in Mentoring Sessions With this issue, CAA begins the not-so-long road to the next 22 Projectionists and Room Monitors Needed Annual Conference, held February 20–23, 2008, in Dallas and 24 Exhibit Your Work at the Dallas–Fort Fort Worth, Texas. The annual Conference Registration and Worth Conference Information booklet, to be mailed to you later this month, 24 Annual Conference Update contains full registration details, information on special tours, workshops, and events at area museums, Career Fair instruc- CURRENTS tions, and much more. This publication, as well as additional 26 Publications updates, will be posted to http://conference.collegeart.org/ 27 Advocacy Update 2008 in early October. Be sure to bookmark that webpage! 27 Capwiz E-Advocacy This and forthcoming issues of CAA News will also con- tain crucial conference information. On the next page, we 28 CAA News announce Donny George as our Convocation speaker. -
DILEXI GALLERY Multi-Venue Retrospective
DILEXI GALLERY Multi-Venue Retrospective Taking place at: Brian Gross Fine Art / San Francisco Crown Point Press / San Francisco Parker Gallery / Los Angeles Parrasch Heijnen Gallery / Los Angeles The Landing / Los Angeles with a related exhibition at: Marc Selwyn Fine Art / Los Angeles The Dilexi Multi-Venue Retrospective The Dilexi Gallery in San Francisco operated in the years and Southern Californian artists that had begun with his 1958-1969 and played a key role in the cultivation and friendship and tight relationship with well-known curator development of contemporary art in the Bay Area and Walter Hopps and the Ferus Gallery. beyond. The Dilexi’s young director Jim Newman had an implicit understanding of works that engaged paradigmatic Following the closure of its San Francisco venue, the Dilexi shifts, embraced new philosophical constructs, and served went on to become the Dilexi Foundation commissioning as vessels of sacred reverie for a new era. artist films, happenings, publications, and performances which sought to continue its objectives within a broader Dilexi presented artists who not only became some of the cultural sphere. most well-known in California and American art, but also notably distinguished itself by showcasing disparate artists This multi-venue exhibition, taking place in the summer of as a cohesive like-minded whole. It functioned much like 2019 at five galleries in both San Francisco and Los Angeles, a laboratory with variant chemical compounds that when rekindles the Dilexi’s original spirit of alliance. This staging combined offered a powerful philosophical formula that of multiple museum quality shows allows an exploration of actively transmuted the cultural landscape, allowing its the deeper philosophic underpinnings of the gallery’s role artists to find passage through the confining culture of the as a key vehicle in showcasing the breadth of ideas taking status quo toward a total liberation and mystical revolution. -
California Modernism After World War Ii
1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years. -
D-L Alvarez B
! D-L Alvarez b. 1966 Lives and works in Berlin, Germany Solo Exhibitions 2015 The Children’s Hour, [2nd Floor Projects], San Francisco, CA 2014 D-L Alvarez and Eileen Maxson, Artadia Gallery, New York, NY 2013 The Unforgiving Minute, Derek Eller Gallery, New York, NY 2012 D-L Alvarez: MATRIX 243, Berkley Art Museum, Berkley, CA 2011 Galeria Casado Santapau, Madrid, Spain 2009 Dusty Hayes, 2nd Floor Projects, San Francisco, CA 2008 Dead Leafs, Galeria Casado Santapau, Madrid, Spain 2007 Parents' Day, Derek Eller Gallery, New York, NY DIG, with Wayne Smith, Derek Eller Gallery (project room), New York, NY 2006 Casper, (with Matthew Lutz-Kinoy), A +B Arratiabeer, Berlin, Germany, 2005 rise, Derek Eller Gallery, New York, NY Ice, Glue, Berlin, Germany 2004 Beausoleil, Derek Eller Gallery, New York, NY 2002 The Road to Hell Less Traveled, Derek Eller Gallery, New York, NY 2000 Sculpture Garden, Derek Eller Gallery, New York, NY ! ! 1999 Chorus, John Berggruen Gallery, San Francisco, CA 1998 Knights Gathering Flowers, Derek Eller Gallery, New York, NY Dust, Th.e (Theoretical Events), Naples, Italy 1995 Dandylion, Jack Hanley Gallery, San Francisco, CA A Shepherd and His Flock, London Projects, London, UK 1994 Night of the Hunter, Kiki, San Francisco, CA 1990 Political Stance, (installation documenting performance), ATA, San Francisco, CA 1989 Elvis Clocked, Les Indes Galantes, Paris, France Group Exhibitions 2017 Drawings from the Collection: 1980 to Today, San Francisco Museum of Modern Art, San Francisco, CA 2016 Subject To Capital, Henry -
Robert Whyte Oral History Transcript
i San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary: ROBERT WHYTE SFMOMA Staff, 1967-1987 Supervisor of Education, 1967- Director of Education, 1980- Interviews conducted by Lisa Rubens in 2006—2007 Copyright © 2008 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Robert Whyte, dated May 18, 2008. This manuscript is made available for research purposes. -
San Francisco 9
300 ©Lonely Planet Publications Pty Ltd See also separate subindexes for: 5 EATING P304 6 DRINKING & NIGHTLIFE P306 3 ENTERTAINMENT P307 7 SHOPPING P307 2 SPORTS & ACTIVITIES P308 Index 4 SLEEPING P309 16th Ave Steps 137 A iDS (Acquired immune Bay Area Rapid Transit, see California Historical Society 22nd St Hill 175 Deficiency Syndrome) BART Museum 86 49 Geary 83 264 Bay Bridge 13, 80, 284, 17 Calistoga 231 77 Geary 83 air travel 286-7 Bay Model Visitor Center car travel 286, 289-90 826 Valencia 151 Alamo Square Park 186, 190 (Sausalito) 224 Carnaval 21, 157 1906 Great Quake & Fire Alcatraz 9, 52-5, 8, 52 Bay to Breakers 21, 23 Cartoon Art Museum 85-6 283-4 alleyways 20 beaches 20, 61, 206 Casa Nuestra (St Helena) 1989 Loma Prieta Quake 284 ambulances 293 Beat movement 118, 119, 229 Amtrak 287 122, 131, 262 Castello di Amorosa Angel island 228 Beat Museum 118 (Calistoga) 229-30 A animals 19-20, 24 beer 30, 32, 270 Castro, the 49, 173-82, accommodations 336 Belden Place 93 239-52, see also AP Hotaling Warehouse 82 accommodations 241, 251 Sleeping subindex Aquarium of the Bay 58 Benziger (Glen Ellen) 236 drinking & nightlife 174, Avenues, the 252 Aquatic Park 57 Berkeley 217-20, 218 177, 180-1 Castro, the 251 architecture 19, 191, 279-82, Bernal Heights 171 entertainment 181 Chinatown 248-9 5, 190-1 bicycling 41, 74, 87, 113, 214, food 174, 176-7 Civic Center & the area codes 296 232, 238, 291 highlights 173-4 Tenderloin 243-7 arts 273-5 bike-share program 291 shopping 174, 181-2 Downtown 243-7 Asian Art Museum 81 bisexual travelers 36-7 -
An Exceptional Inclusion: on Moma's Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian
An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art Kathleen Ditzig Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 1, Number 1, March 2017, pp. 39-80 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2017.0002 For additional information about this article https://muse.jhu.edu/article/646477 [ Access provided at 26 Sep 2021 16:50 GMT with no institutional affiliation ] An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art KATHLEEN DITZIG The exhibition of the First Southeast Asia Art Conference and Competition in Manila in 1957 was one of the first post-war events that sought to bring together the then contemporary art from the region.1 What is unusual and worthy of study about this exhibition is that not only was it the first survey exhibition of Southeast Asia, it also included the Museum of Modern Art (MoMA) International Program’s travelling exhibition, Recent American Prints in Color.2 Little is known of the history behind the First Southeast Asia Art Conference and Competition. There have been no studies which recount in detail how the conference and competition came to be, who it served and what it represented.3 Even less is known about how the MoMA exhibition came to be included in this unprecedented platform. However, its inclusion as a participant in the one-room survey exhibition complicates an indigenous art organisation’s attempt to present Southeast Asia as a cultural region within an exhibitionary frame. -
Get Smart with Art Is Made Possible with Support from the William K
From the Headlines About the Artist From the Artist Based on the critics’ comments, what aspects of Albert Bierstadt (1830–1902) is Germany in 1830, Albert Bierstadt Bierstadt’s paintings defined his popularity? best known for capturing majestic moved to Massachusetts when he western landscapes with his was a year old. He demonstrated an paintings of awe-inspiring mountain early interest in art and at the age The striking merit of Bierstadt in his treatment of ranges, vast canyons, and tumbling of twenty-one had his first exhibit Yosemite, as of other western landscapes, lies in his waterfalls. The sheer physical at the New England Art Union in power of grasping distances, handling wide spaces, beauty of the newly explored West Boston. After spending several years truthfully massing huge objects, and realizing splendid is evident in his paintings. Born in studying in Germany at the German atmospheric effects. The success with which he does Art Academy in Düsseldorf, Bierstadt this, and so reproduces the noblest aspects of grand returned to the United States. ALBERT BIERSTADT scenery, filling the mind of the spectator with the very (1830–1902) sentiment of the original, is the proof of his genius. A great adventurer with a pioneering California Spring, 1875 Oil on canvas, 54¼ x 84¼ in. There are others who are more literal, who realize details spirit, Bierstadt joined Frederick W. Lander’s Military Expeditionary Presented to the City and County of more carefully, who paint figures and animals better, San Francisco by Gordon Blanding force, traveling west on the overland who finish more smoothly; but none except Church, and 1941.6 he in a different manner, is so happy as Bierstadt in the wagon route from Saint Joseph, Watkins Yosemite Art Gallery, San Francisco.