A publication for the CCA for the A publication community ARTS THE OF COLLEGE CALIFORNIA San / Oakland Francisco 2015 Fall

CALIFORNIA COLLEGE OF THE ARTS FALL 2015 Glance CONTENTS Fall 2015 FEATURE STORIES COLLEGE NEWS Volume 24, No. 1 2 Game On: How Video Games Are Changing the Way 30 Edith Garcia, 2015–16 Viola Frey Distinguished We Work and Play Visiting Professor Editor Laura Kenney 6 Honorary Exchange: Joan Jonas Pays a Visit 32 New Trustees: Carl Bass and Liam Casey

Contributors 8 Enlivening ’s Market Street 33 Student Spotlight: Renata Cruz (Textiles 2018) Benjamin Austin (MFA Writing 2016) 12 Christopher McCall and : 34 At the CCA Wattis Institute Susan Avila The CCA Legacy Continues Chris Bliss 35 Bookshelf Laura Braun 14 A Sampling of Work from Spring Grad Shows 36 Awards & Accolades Ashley Eva Brock (Fashion 19 Mastering Filmmaking Design 2012) 40 CCA in the Media Troy Covello Renata Cruz (Textiles 2018) LETTER FROM THE PRESIDENT ALUMNI STORIES 41 First-Ever CCA Contingent Marches in Kelly Dawson 20 Debra McGuire (Painting 1974) 2015 Pride Parade Amanda Glesmann Dear Friends, 22 Shannon and the Clams (Shannon Shaw, 41 New Oakland Campus Mural Celebrates Diversity, Glen Helfand In the past several months I’ve presented at some interesting gatherings— Illustration 2007; Cody Blanchard, Writing & Literature; Social Justice Jeremy Joan Hewes Autodesk’s IDEAS: Innovation and Design Series, the 2015 Nueva Innovative Ian Amberson, Painting/Drawing 2008) Laura Kenney Learning Conference, and an “un-conference” at CCA organized by the PHILANTHROPY Jim Norrena (MFA Writing 2013) 24 Hoang and Anh Nguyen (Industrial Design 2009) technology company Globant. These meetings have given me an opportunity 42 Spring Gala: Black Is the New Black Mara Holt Skov to talk with not only educators but also futurists, artists, designers, engineers, Brenda Tucker scientists, technologists, and business leaders. FACULTY STORIES 44 Spotlight 26 JD Beltran & Scott Minneman (Design) Design One common ground for these seemingly disparate groups is innovation, CCA Sputnik, a student design team and it’s clear that there is much to discover at the intersections of art/design 28 Vincent Perez (Illustration) 46 In Memoriam and technology/science. But what these audiences seem to be hungry for is Faculty Advisor something that’s not particularly new. In fact, it’s more than 100 years old— 48 Notes from the Studio: Ashley Eva Brock Doug Akagi the distinctive teaching and learning that occurs at a school like CCA. (Fashion Design 2012) What’s so special about our educational model? Design and Production Manager •• Learning through making. This is where our founding motto, Theory Meghan Ryan & Practice, truly resonates. Our students—regardless of their academic Designers program—learn through iterative, progressive modeling. It’s the founda- Olivia Basic (Graphic Design 2016) tion of the creative process: ideate, make, test, edit, choose, discard, fail, Jireh Datuin (Graphic Design 2017) try again. •• Project-based learning. Art and design students bring particular Glance is a twice-yearly publication of approaches to unraveling complex real-world problems. We encourage California College of the Arts them to collaborate and work in teams—not just within the boundaries 1111 Eighth Street, San Francisco CA of their courses and our campus, but out in the world. 94107-2247 Our students create in an ecosystem that provides a 415.703.9542 •• Culture of critique. [email protected] steady stream of direct feedback. Public critiques build courage and con- fidence, but also allow our students to gain empathy and an appreciation Change of address? Please notify the of diverse views and opinions. CCA Advancement Office Judging from my experience at these conferences, there is growing rec- 5212 Broadway, Oakland CA 94618 ognition of the value of a studio-based education. More and more, business, 510.594.3784 technology, and community leaders are learning from the art school model [email protected] to help propel their organizations forward. Many of them will be looking to CCA for the next leaders in creativity and innovation. Photo credits Printed by Quad Graphics, Inc., on All images of student work appear courtesy the students, copyright California College of the Arts, unless otherwise noted. Images of alumni and faculty 10 percent postconsumer waste paper. work appear courtesy the artists unless otherwise noted. Cover: iStock; inside front cover, pp. 1 (top right), 7 (bottom), 15 (bottom left), 16 (bottom right), Our printer is certified by the Forest Sincerely, 44 (1, 2, 5, 6), 45 (9–11): Alison Yin; 2, 3, 4 (top): Kellyn Borst; pp. 4 (bottom), 8: Joseph Chang; p. 5: T. Jason Anderson; pp. 1 (bottom right), 6, 7 (top), 12, 13 Stewardship Council™ (FSC(R)) and (bottom), 19, 30, 33, 38 (12), 41 (top), 44 (3, 4), 45 (7, 8), 48–49: Jim Norrena; p. 9 (top): CCA Prototyping Mobility Studio; p. 9 (bottom): Future Cities Lab; p. 10: Neal J.Z. Schwartz; p. 11 (top): Gregory Hurcomb; pp. 1 (top left), 11 (bottom): Erik Schmitt; p. 13 (top): Allie Haeusslein; pp. 14 (top right), 17 (bottom the Sustainable Forestry Initiative right): Stevan Nordström; pp. 14 (bottom right), 18 (middle right): Natali Truax; p. 15 (top right): Ang Li; p. 15 (middle left): Mark Serr; p. 16 (top and bottom Stephen Beal (SFI). Printed with inks that contain a left): Owen Smith; pp. 16 (middle right), 18 (bottom left): Anisha Gupta; p. 17 (middle right): James Sinclair; p. 18 (top left): Johnna Arnold; pp. 20–21: Amy minimum (27.3%) by weight renewable President Dickerson; p. 22: Nadia Lee Cohen; p. 24: Luis Ruano; p. 25 (bottom): Paul Vu; p. 26: Sebastien Bachar; p. 28: Vinny Perez; p. 31 (top): Yorkshire Arts Space; content. p. 31 (bottom): courtesy Edith Garcia; p. 32 (left): Autodesk; p. 32 (right): Leslie Williamson; p. 36 (3): Barbara Holmes; p. 37 (5): Variable Projects; p. 37 (6): Wenxin Zhang; p. 37 (8): Irene Suchocki; p. 38 (11): Bruce Damonte; p. 39 (13): Brianna Tadeo; p. 41 (bottom): Claudia Bernardi; pp. 42–43: Claudine Gossett (Drew Altizer Photography); p. 46: courtesy Mara Holt Skov; p. 47: courtesy Sunne Savage. Gaming is storytelling. From a design the game, trapped in a snowstorm. perspective, a good game presents Borst’s vision is still developing. a world that is both accessible and As it stands, the snowdrifts that fantastic; at its center are good impede your movement are white characters. The cross-disciplinary blocks you can disperse by grabbing educational opportunities for gaming onto them or by casting spells, depend- at CCA combine the latest tech with ing on their size. Even in its beta phase, back-to-basics instruction on character Dredkuld is an interesting digital development and world building, with interaction, and you can sense Borst the goal of training designers to create is creating a sort of spiritual successor a fully immersive experience for the to games like Myst and Shadow of the player. From this simple model, infinite Colossus. An Xbox controller moves variation emerges. your avatar forward, backward, and “Animation instruction hasn’t side to side, but there’s an element to really changed since it was taught with the movement that’s not so familiar. In pencils and paper in the 1970s,” says order to cast spells, you must abandon Animation Adjunct Professor Ken the controller in favor of your hands Cope. What has changed is the speed by themselves. at which certain steps in the process can be accomplished and the variations in style afforded artists through digital tools like Photoshop and TV Paint. Cope is a big believer in “going wide”; becoming a jack-of-all-trades, he says, is a good way to ensure steady work. Likewise, he says it’s important to stay current on the latest technology and to think creatively about how to use tools in new ways to tell stories

or add new elements to gameplay. He Animation student Kellyn Borst highlights new technologies like “aug- mented reality,” which takes gameplay off screen and superimposes it onto With the help of a Leap Motion sen- our three-dimensional reality—so the sor, a rectangular device one-quarter baddies that used to scroll from one the size of an iPhone, your real-world side of the screen are able to leap at hands are recognized and digitally players from the walls in their living represented on screen. So when you room, not just with goggles, but with open your fingers to let fly a bit of smartphones. magic, you can see them spread apart

STUDENT CREATES A WORLD WITH in the digital world as you push the NEW TECH TOOLS snow blocks out of your way. In its final form, Borst intends for the game CCA students like Kellyn Borst to operate using the Oculus Rift virtual How Video Games Are Changing (Animation 2016) are already making reality headset, meaning the user will use of these new technologies, as is be in the middle of a 3D environment. the Way We Work and Play evidenced by her prototype, Dredkuld. In the world on screen, everything is ID COURSE TEACHES PLAYFULNESS white. The wind is high, and hidden Digital platforms are where many see

BY BENJAMIN AUSTIN in its howl is the voice of a goddess. the future of games headed, but the All you have to guide you through this reality is something different. Perhaps (MFA WRITING 2016) blizzard are your wits and spells. Your because games are fundamental to avatar is a shaman, a manifestation of human interaction, we crave all kinds the goddess who shares a name with of ways to play. “People learn through

3 FEATURES very unique skill sets that make us a GAMING TOOLS ASSIST ARCHITECTS good team,” Platz says. “Rob handles Unreal and Unity are already influenc- music, coding, and visual design. I’m a ing modern architecture practice by traditional artist with a background in giving architects a more efficient meth- traditional gaming (he’s created inter- od of constructing 3D models. CCA’s active stories and worlds for Dungeons own T . Jason Anderson, associate & Dragons for over 30 years), illus- professor of Architecture, explains how tration, and character modeling. using these programs in the classroom Without Rob, I’d be stuck making a allows for discussions centered on bunch of pretty things that couldn’t do digital perception. “What does it mean anything.” when we engage in these engines?” Hamilton is equally generous to he asks. “How does it change the way his collaborator, saying, “I’ve done a we think about space and architec- lot of graphic and visual work, but I ture?” From a theoretical perspective, can’t touch what Chris can do. Our Anderson believes such technologies classroom is great because we can run call into question certain definitions of around and tag team. I can demon- architecture. Kellyn Borst demonstrates the Leap Motion sensor (in foreground) on the prototype of her An Architecture student trying out the Oculus Rift virtual reality headset video game Dredkuld strate Leap while Chris can teach “They’re tools that allow people the better ways to design environments ability to create their own narrative in and characters.” a space. That’s a very different process digital constructs on top of our regular “And these days you can publish,” play,” says Interaction Design facul- GameLab. She gets gaming, all kinds, Their classroom is future-forward, that opens up the way we perceive the old reality. Platz grins, “more than ever. Make a ty member Catherine Herdlick. and is passing on her knowledge in her as the instructors make sure students design process. We’re able to consider For Borst, the immersive quality prototype and put it out. Games are They’ve been with us a long time in classroom. Like all artistic endeavors, get comfortable using the 3D game more of the entire building or environ- of gameplay offered by a combina- art. You can earn a living at it.” the form of sports, cards, and board making games is a balancing act. “It’s engine programs Unreal and Unity ment than is accessible from a single tion of these technologies has a lot of Hamilton adds, “A two-person team games, but video games are something critically important to train students to and virtual-reality “wetware” like view offered by a picture.” implications for interactive storytelling. in a garage can ship a game world of a shift. They’ve become the prime be socially responsible in their design,” Oculus Rift. Platz and Hamilton agree These engines aren’t just contrib- “We can move games beyond a win or wide overnight.” mover for new ways of thinking about she says. uting to theoretical shifts; they’re also lose format. They can be designed with play, interaction, and game design. GAME DESIGN INSTRUCTORS WITH having an impact on how things are different consequences besides ‘Game Video games have gotten so big that COMPLEMENTARY SKILLS built by allowing faster updates and O v e r.’” the technology used to build them information sharing with clients. “Now Platz talks about being able to sculpt A healthy balance of self-confidence is leaking out into the greater world, we’re getting to the place where we can in a 3D environment using a virtual- and generosity helps game designers pushing the boundaries of what’s pos- put in the hands of the viewer some reality headset while friends in other avoid building a system that, to the sible for individuals and for industry. decisions about what they want the places across the globe do the same players, feels like it’s them versus the They’re at the forefront of design edu- space to look like. Still, I think we’re thing, so they can work on the same designer (a game of control). Having cation being taught across disciplines looking at all this pretty early on,” project simultaneously. “Who knows some distance—and a scientific at CCA. Anderson says. where it’s going to go?” says Platz. approach to the design—is very In Herdlick’s Time Studio 3: Play, a “There’s no predictability beyond the beneficial, but most important is the COLLABORATION IS KEY required course for Interaction Design fun stuff we can do with it.” designer’s sense of empathy. Across disciplines, the consensus majors, students focus on game and Part of the unpredictability is due to Work by (MAAD 2016) from T. Jason This quality becomes especially seems to be that we will not see the full Ahn Vu toy design principles in order to think the market, which encourages exper- Anderson’s digital perception course important with games involving virtual use of these new tools—or their full up ways to incorporate playfulness imentation and diversity of ideas— and augmented reality, like Kellyn potential—for a while. As remarkable in their work. Herdlick is the person Assistant Chair of Animation Chris Platz something Platz and Hamilton stress in Borst’s Dredkuld. The worlds these as the new technology is, we’re only you want to plan your kids’ birthday their classroom. “We tell our students technologies make possible are stun- just scratching the surface. Hamilton parties. She’s the director of the San to go indie. If you want to work at a big ning, and they can have a somewhat that these technologies represent and Platz are optimistic about where Francisco Come Out & Play Festival, studio that’s great, but we encourage hypnotic effect on the user—which is the future—and not just for gaming. things are going, as is their student, an event that converts the city into a students to work together, and see what why CCA students are fortunate to be “Devices like Oculus give users the Kellyn Borst. After years of develop- giant playground featuring all-original happens when they put their skill sets in the hands of faculty members Chris ability to go beyond the two dimen- ment, virtual and augmented reality games for people of all ages. together.” P latz and Rob Hamilton, the self- sions,” Hamilton explains. “Large are finally becoming affordable, with a For Herdlick, fun is serious busi- It’s the element of collaboration that described “good cop, bad cop” tandem data sets represented in 3D may allow host of new devices hitting the market ness. She’s spent 10 years as a creative makes the difference,” Hamilton says. game-design teaching machine. people to sift through, manipulate, and in the near future, promising the ability Opening spread: A screen showing the hand lead in the gaming and the consumer “Being able to do a little of everything of Kellyn Borst’s avatar moving ice blocks in Platz and Hamilton are longtime engage data in new ways.” to visit new worlds and superimpose web industries, working for com- means you can make a prototype.” Dredkuld friends and collaborators. “We have panies like LimeWire, Zynga, and

4 5 FEATURES A POWERFUL PRESENCE At 78, Jonas is a petite, powerful presence who conveys a sense of warmth, focus, and artistic vision. She is confident enough in her work to not have to reveal all its secrets, but she more than communicates her investment in her practice. She offered an enlightening slide presentation detailing her just-finished Venice piece, They Come to Us Without a Word. The project, which New York Times critic Roberta Smith described in her review as “an effortless combination of maturity and freshness,” incorporated each aspect of Jonas’s practice, although the slideshow format perhaps only offered an approximation of the actual experience—which is fitting for her genre of performance and installation. What we could respond to directly was her presence. Lawson-Masi describes in an email about the experience. It was understandable that Jonas had felt like she’d talked “Anytime you can have your work seen by an artist of her enough about herself, so following the luncheon, she gladly standing, it's a thrill. I remember her scanning my instal- took a tour of the just-opened MFA thesis exhibition. As lation before watching one of my video pieces all the way curator of that exhibition, I had the honor of leading her through: at the end she said, ‘it's good.’ A perfect visit, really.” through and of affirming Jonas’s sense of engagement. Lawson-Masi goes on to describe her standing and influ- Often in these situations, a VIP will just want the highlights. ence. “Anyone working in video and performance probably Jonas genuinely wanted to see it all and to get a sense of the owes a debt to Joan Jonas. For me, her video works of the school’s flavor. We started at the beginning, and Jonas took 1970s involving gesture, repetition, and self-examination HONORARY EXCHANGE each work in with calm focus. were significant influences on my own early experiments A PERFECT VISIT with video and performance. I remember seeing Vertical Roll As is often the case, artists were in the house, adjusting their for the first time and admiring the way it seemed to simulta- JOAN JONAS PAYS A VISIT work after exposure to the celebratory crowds at the opening neously deconstruct both the space of the screen and female

BY GLEN HELFAND Joan Jonas is such a figure. She’s an artist who has, reception. The elder artist’s interest in their work comes as identity. Still though, for the majority of my art education since the late 1960s, consistently crossed boundaries an honor—and as a kind of unexpected perk, particularly it was the male conceptual artists of the 1960s—Nauman, and genres, and whose work incorporates performance, when young artists so often reference or even quote artists Acconci, Burden—who were shown to me as exemplars of One of the major perks of being drawing, film, video, sound, and text. She has amassed of previous generations. performance in front of the camera. Being here at CCA this the kind of substantial body of work that brought her the This was perhaps most fitting with the work of Monte year, during the Wattis's focus on Jonas, has been a great involved with an art school is the well-deserved role of U.S. artist representative for the Lawson-Masi, a graduate of the Social Practice emphasis. education on the complexity and longevity of her practice.”

2015 Venice Biennale. His thesis work wittily addresses the distribution, presenta- AN INSPIRATION kind of exchange and dialogue that The depth and groundbreaking nature of Jonas’s work tion, and rhetoric of contemporary art. I introduced them to The work of MFA gradJennifer Klecker involves a perfor- also offered plenty of fodder for the year of “sustained each other and Lawson-Masi gave Jonas an intro to his work, mance for the camera, as well as drawing, so Jonas’s appear- occurs through the presence of artists. attention” that took place at the CCA Wattis Institute smiling warmly at the unexpected high-profile viewer. Jonas ance was particularly resonant. “I also find her inspiring as a as part of their “on our mind” program in 2014–15. Her clamped on a pair of headphones and listened, giving the female artist working in ‘new genres’ before that label existed. Students, faculty, and the community work was discussed and written about by a group of artist a knowing grin. She is the creator, yet she has carefully crafted distance to her esteemed faculty, and by extension it was addressed “Meeting Joan Jonas and being able to guide her through work,” Klecker explains. of supporters are all here for the con- academically in seminars and in less formal discussions my MFA thesis show installation was a bit of serendipity,” “Although the content of our work differs, there are many at CCA. She gave a standing-room-only talk in Timken similarities in our use of landscape and the gesture of draw- versation and access. We honor and Lecture Hall in the fall of 2014, which continued to fuel ing. I admire her experimentation and her sometimes uncon- interest in and awareness of her work. ventional use of the moving image. She uses the camera as appreciate artists for their work, but we She thereby was the perfect choice to receive an more than a frame—as a collaborative tool to her drawing.” honorary doctorate from CCA, as she did this May. Jonas The inspiration Klecker derives from Jonas’s work seems can claim them as part of our commu- made the trip to San Francisco soon after her Venice like a true exchange of ideas. “Every time I encounter her opening, a period of time in which she was in demand work, I learn something new. She gives the viewer space to nity. And all the better when that artist is for interviews and the official duties that come along with enter and make their own associations. In the end, Joan as an such a high-profile international showcase. At a lunch in artist still retains an air of mystery.” someone who has made an important her honor, Jonas spoke to an audience of key figures of “I can only hope I will be taking risks and continue experi- the Bay Area art community as well as a group of gradu- mentation when I am her age.” contribution to culture. ate students who were deeply interested in her work.

6 7 FEATURES for a projection screen stretched between them, as the modules became the site of public talks hosted by CCA Enlivening Architecture faculty and students. Mila Ilieva (BArch 2016) was impressed by how well informed and curious visitors were. “There was no criti- cism, just very well formulated, exhaustive questions from people interested in learning more about the project.” Ilieva’s San Francisco’s favorite idea for a future use for the modules is as “a hydro- ponic vegetable garden deployable station, utilizing screens stretched between the modules to provide shade for the gardener as well as for shade-loving plants like artichokes!”

DATA LANTERNS Market Street Mobile Craft Modules The Market Street blocks captained by CCA included other

BY ANNE FRIEDMAN AND LAURA KENNEY well-received installations, such as the Data Lanterns, The sidewalks of San Francisco’s busiest thoroughfare came designed by Future Cities Lab, the studio of Architecture alive for three days in April at the Market Street Prototyping faculty members Jason Kelly Johnson and Nataly Festival as teams of artists and designers exhibited over Gattegno. The structures, connected to data from local 50 ingenious ideas for potentially permanent installations. transit systems, serve as illuminated civic “totems” that CCA was a partner in the effort to make the sidewalks signal approaching underground trains. Data Lanterns could more vibrant, serving as design captain for one of the five also be adapted to provide other urban data such as pollution districts spread out along a two-mile stretch of the street. levels, weather, transportation, or social media information, CCA’s Digital Craft Lab coordinated the overall effort, with depending on the city’s needs. “Data Lanterns form an intel- Architecture faculty members Jason Kelly Johnson and ligent network of light sculptures that are both beautiful and Adam Marcus taking the lead. informative,” says Gattegno. “They have the ability to become The festival was part of a San Francisco Public Works urban indicators that spatialize information for citizens who project called Better Market Street, which aims to develop can then ‘read’ the city landscape in a more meaningful and ideas to enhance public space in preparation for the street’s impactful way.” redesign in 2018. The temporary installations were chosen

from a large pool of applications, and during the festival Data Lantern members of the public were asked to give input on the proto- types to help determine which of them might become part of the redesign.

MOBILE CRAFT MODULES CCA faculty worked as mentors to student and community participants in the exhibits between First and Second streets. The anchor project was the Mobile Craft Modules, designed and constructed by students in Adam Marcus’s Prototyping Mobility Advanced Architecture Studio. The modules were designed with two purposes in mind: to host a series of CCA exhibitions and events during the festival, and afterward, to return to the San Francisco campus’s Back Lot to serve as mobile workstations for students and faculty working on future design–build projects. The modules are engineered to fit in shipping containers, and the solid construction and wheels make them extremely mobile. The module interiors are flexible; the number of shelves and their placement is configurable based on need. On Market Street, Marcus says “passersby told us they would be ideal for use as toolsheds, emergency medical stations, or even as temporary housing with cots as shelves.” Over the festival weekend the units displayed work by CCA Architecture students; in the evening they served as pillars

8 9 toured them through CCA, and ran brainstorming exercises. I was immediately impressed with how our students interact- ed as naturally with our guests as they would any other peer, and I knew then that it would be a powerful semester.” M artinus Setiawan (BArch 2015) was one of the students who was particularly instrumental in keeping the project on track. “During the festival, I was surprised that people of all ages were so engaged with our prototype. A disabled person went through with his wheelchair without any hesitation. It was interesting how people interacted with our prototype on multiple levels.” According to Adika Djojosugito (BArch 2015), “people were mostly curious to know what the project was, but they were hesitant to take a closer look. They were instantly more interested as soon as I explained that it was a museum.” Just before the start of the festival, the street museum design team learned they had received from CCA’s Center for Art and Public Life an IMPACT Social Entrepreneurship Award, a $10,000 grant that will help the team refine and expand their project. Team member Andrea Tse (BArch 2015) says, “With the IMPACT grant, we are hoping to col- laborate even more closely with Larkin Street by starting an internship program that gives the youth more opportunity to showcase their skills.”

ADAPTIVE PLAYSCAPES Guerrilla Street Museum Industrial and Interior Design students taking part in an ENGAGE seminar led by Gre gory Hurcomb (Architecture/ PORTABLE STREET MUSEUM Interior Design faculty) worked with the nonprofit KIDMob Adaptive Playscape The Guerrilla Street Museum, brainchild of faculty member and local middle school students to build their vision of a Neal J.Z. Schwartz and his Advanced Interdisciplinary collaborative and interactive modular—and mobile—play Architecture Studio students, sat on Market near the Civic space. The result was a popular stop for festival visitors, who Center like a beacon to homeless youth. The portable exhi- hopped, bounced, and balanced on the colorful structures. bition space—museum by day and safe zone for homeless Festivalgoers also took part in a creative brainstorming, youth by night—could be tailored to reflect the particular modeling, and building activity with 2×1’s and zip ties to needs and cultures of different neighborhoods. It was a col- create their own full-scale playscape.

laborative effort between Schwartz and his 11 CCA students STREET SKETCH and young people from Larkin Street Youth Services, an Graphic Design Senior Lecturer Erik Schmitt was instru- organization that provides housing, educational programs, mental in the placement and design of the Street Sketch and medical services to homeless and at-risk youth, many of prototype, a larger-than-life chalkboard that extended over whom are members of the LGBT community. the sidewalk. Schmitt very specifically chose the site, an The project was supported by the ENGAGE program area of Market Street close to the Tenderloin that he feels is and a successful Kickstarter campaign that raised additional challenging and underserved by creative outreach. He was funding. Through a series of workshops, the CCA students pleased that his chalkboards were left intact after hours. collaborated with Larkin Street’s administrators and clients, Pedestrians and homeless people who frequent the neighbor- consulting with them throughout the project and working to hood were exuberant as they drew with the many colors of create a prototype to promote their mission. chalk. In addition to encouraging creativity, ”this structure Each piece of artwork on display was created by youth in creates a barrier between the busy street and pedestrians,” Larkin Street programs. Schwartz reports that the collabora- Schmitt says. “I wanted to create a zone of calm along this tion between the CCA students and the Larkin Street youth heavily trafficked sidewalk.” was eye opening for all involved. “This project has been one of the most fulfilling of my teaching career,“ he relates. “On Inside the Guerrilla Street Museum the very first day of class, we met with the homeless youth, Street Sketch

10 11 FEATURES CHRISTOPHER McCALL & PIER 24 PHOTOGRAPHY: Photography opened in 2010, with McCall explains: “What’s remark- photography students. Past artists McCall heading up all aspects of the able about this [CCA influence] is that include Sophie Calle, Charlotte Cotton, organization. it reflects how one generation of artists Thomas Demand, LaToya Ruby Frazier, influenced the next, and how this Paul Graham, Erik Kessels, Stephen The CCA Legacy Continues CCA’S LEADERSHIP IN PHOTOGRAPHIC ARTS current generation is shaping tomor- Shore, , and Zoe Strauss. BY JIM NORRENA row’s most successful photographers. In addition to Sultan and former CCA MCCALL ON SUCCESS CCA is positioned as an inarguable (MFA WRITING 2013) faculty member Jim Goldberg, whom “I’d say I measure my success by what leader in the photographic arts, pro- McCall praises as his main influencers, I hear guests saying when they visit ducing some of the most celebrated, he credits longtime faculty members Pier 24. We have educators, students, engaging, and talked-about photogra- Su san Ciriclio (who has taught curators, and artists coming through phers working today. color analog for 40 years) and Chris here every week. When they tell me CCA breeds a community of think- Johnson for shaping his success. what we’re doing is right, I know we’re ers—those who are willing to think McCall also praises Dennis successful. And when Andy and Mary creatively and artistically. And these are Leon Professor of Graduate Studies [Pilara] see the great response we today’s problem-solvers, because they (Emeritus) Stephen Goldstine, who receive from the local and interna- are taking what the curriculum offers headed CCA’s graduate program from tional communities—from San and continuing the thought process 1987 to 2003, for being “the reason why Francisco residents to curators from long after the degree.” I came to CCA to study. Stephen’s influ- abroad—I know they consider that a ence is the bedrock upon which the Bay VISITING ARTIST benchmark of our success. Area’s photography community is built. PROGRAM I don’t know if anyone can truly Larry, Jim, myself, and many others are Goldberg worked closely with McCall comprehend the complex impact of indebted to him for his tireless support to establish the Larry Sultan Visiting photography on our culture and the and encouragement.” Artist Program at CCA (currently over- course of our history. But it’s a question Chri stopher McCall (MFA explains ensures a purposeful, quiet you about what he thinks.’” McCall When Goldstine brought Sultan and seen by Photography faculty member we invite our audiences to consider Photography 2003) has spent the last atmosphere where one can bask in sol- describes Sultan with great forethought. Goldberg on board as faculty mem- Abner Nolan, MFA Photography when they visit. . . . That’s our mission: seven years serving as the founding itude and roam the 28,000-square-foot “He wasn’t my mentor . . . necessari- bers, it was during this time, roughly 1998), which is coproduced with Pier 24 to create a space to view and think director at Pier 24 Photography, an pier in contemplative speculation about ly—that doesn’t do it justice. He was 1989–96, that CCA experienced what Photography and SFMOMA to bring about photography and its wider impli- exhibition space on the Embarcadero the art on the walls. my friend, and he was brilliant. . . . Goldberg calls a “golden age” in pho- to campus prominent photographers, cations in our everyday lives.” considered to be the largest in the world According to McCall: “Photogra- We used to meet up for drinks in the tography at the college, for faculty and visual artists, lecturers, and writers dedicated solely to photography. phers have spent a great deal of time Mission, and we’d just talk. Not about alumni alike. Goldberg adds: “They had working in photography-related media This is where the Pilara Foundation looking deliberately through a lens work—I talked enough about my work a lot to do with how we taught and the to give free public presentations, cri- Collection is housed—a collection of to develop their own visual languag- in class—no, we talked about . . . life.” ideas of how to be better artists and tique student work, and participate in more than 4,000 photographs estab- es. As a result, it requires viewers to McCall pauses to reflect: “Everyone practitioners.” events and projects. lished by Andrew and Mary Pilara devote a similar level of concentrated loved Larry. We all wanted to study Those ideas have given rise to The program operates in tandem that spans the history of the medium attention to begin to understand those with him. He had a way of inspiring successful artists like McCall. “I’m with CCA’s undergraduate Photography and its international breadth. Since its languages.” you—of making you look deeper into really proud and happy for him,” says Lecture Series; together the two inception in 2008, Pier 24 Photography FACULTY INSPIRES NEXT the work to contemplate its meaning— Goldberg. “I’m proud of him as a serve as a magnet for prospective has hosted seven exhibitions, includ- GENERATION that is, what it means to you. The MFA student and I know Larry would feel ing shows featuring acclaimed pho- program, much like CCA itself, really the same. He’s very generous to the McCall credits his being “at the right tographers such as Diane Arbus, emphasized education beyond the walls community and CCA.” place at the right time” to his former Richard Avedon, Thomas Demand, Lee of the classroom, encouraging students instructor and friend, renowned pho- FACULTY–ALUMNI CONNECTION Friedlander, Rinko Kawauchi, Henry to collaborate and engage with the tographer L arry Sultan, the former From one generation to the next, the Wessel, Garry Winogrand, and, most wider community around them.” Distinguished Professor of Art who caliber of CCA Photography faculty recently, Paul Graham. Fri sh Brandt (MFA Printmaking joined the college in 1989 and served as members and alumni whose work The Pilaras’ goal was to create a 1979), president of Fraenkel Gallery chair of Photography from 1993 to 1999. has appeared in exhibitions at Pier 24 space that would complement—not in San Francisco, also encouraged the (Sultan succumbed to cancer in 2009.) Photography reflects an undeniable replace—other local arts organizations. Pilaras to recruit McCall, and after “Larry and [CCA President] lineage: Sultan, Goldberg, Kota Ezawa, They wanted to engage the community several meetings the Pilaras enlist- Stephen Beal toured the pier with Catherine Wagner, Hank Willis through exhibitions, publications, and ed McCall to be the organization’s Andy [Pilara] during construction. In T homas (MA, MFA Visual Criticism, public programs. To accomplish this, founding director. After a substantial discussing what the pier might become, Photography 2004); Todd Hido (MFA admission to Pier 24 Photography is two-year remodel of the pier annex Larry suggested, ‘You should bring Photography 1996); John Chiara (MFA free by appointment, which McCall directly beneath the Bay Bridge, Pier 24 Chris McCall down here to talk with Photography 2004).

12 2 Sheri Novak, BFA Jewelry / Metal Arts brian pittman, MFA Fine Arts

Emily Hundley, BFA Fashion Design A Sampling of Work from Haisu Tian, MFA Fine Arts CONGRATS! Spring Grad Shows Jingtao Zhang, BFA Furniture

Meredith Brion, BFA Textiles

kyohei kobayashi, sarah king, Allison Ho, BFA Graphic Design Megan Reed, MFA Fine Arts

Adriana Rabinovitch, MFA Fine Arts Han Gao, BFA Industrial Design

14 15 FEATURES Hayden Barnard, BFA Individualized Megan Chunn, MFA Fine Arts

T aylor Gersbach, BFA Individualized

K elly Airo, BFA Illustration

CLASS Lisa Matthis, BFA Printmaking OF 2015

Dustin Tisdale, Mallory Van Ness, MArch

Mallika Puri, BFA Interaction Design Chiyomi McKibben, MFA Fine Arts

Jessica Hubbard, MFA Fine Arts

cynthia mao, BFA Graphic Design

Hao Dong, BFA Fashion Design

Emma Judd, BFA Illustration

16 17 FEATURES Mastering Filmmaking BY JIM NORRENA

(MFA WRITING 2013) Filmmaker Alex Gibney (left) and film Co-chair Rob Epstein

CCA’s Cinema Visionaries Lecture Series offers a popular “The highlight of the entire Cinema Visionaries series lineup of public screenings and engaging Q&A sessions is the master class for the students in the Film programs,” with today’s most luminary filmmakers. The lecture series is explains Rob Epstein, co-chair of the Film Program and also part of the undergraduate and graduate Film programs’ MFA in Film, and himself a two-time Academy Award– Martin Wong exhibition curated by graduating Sharon Peng, BFA Photography curricula that gives students the invaluable opportunity to winning director. students in the Graduate Program in Curatorial Practice learn from the best directors in the industry. “For these students, to have an intimate session with ample Founded in 2010 with a grant from the Academy of opportunity to ask questions of and be in conversation with Motion Picture Arts and Sciences, the successful lec- someone like Alex Gibney, it’s a once-in-a-lifetime kind of ture series is funded with the generous support of Carla thing. All of our [Cinema Visionaries] guests are at the very Emil and Rich Silverstein. Past guests include Lisa top of their fields and each has so much experience and Cholodenko, Werner Herzog, Michael Moore, Gus Van Sant, knowledge to share. It’s really a great privilege to have them Lucy Walker, and John Waters. on campus for both events.”

Perhaps even more relevant than the on-stage celebrity SF INTERNATIONAL FILM FESTIVAL & ALEX GIBNEY aspect of the Cinema Visionaries Lecture Series is what CCA and the San Francisco Film Society (SFFS) collaborat- happens offstage: Film students have the unique opportunity ed last May at the 58th annual San Francisco International to learn directly from true masters of cinema. CCA master Film Festival (SFIFF), the longest-running film festival in the classes bolster the learning experience for students by giving and an essential showcase for international them access to groundbreaking directors—literally placing filmmakers, by co-presenting a Cinema Visionaries event them in front of their mentors, where they can engage in that featured Academy Award–winning documentarian Alex real-world conversations about practices in the industry. Gibney (hailed by Esquire as “the most important documen- Every Film student has the opportunity to hear directly from tarian of our time”). Michelle On Yu Wu, BFA Industrial Design internationally renowned filmmakers who are at the top of The Cinema Visionaries event took place at the Sundance their field. Kabuki Cinemas on May 24 and featured Gibney in Master class guests typically share how they got started an in-depth career conversation with SFFS Executive in the business—including pitfalls to avoid—and they offer Director Noah Cowan and Epstein. (Gibney’s documen- genuine advice on how to pursue a career in filmmaking. tary Steve Jobs: The Man in the Machine opened the festival.) ROB EPSTEIN ON BENEFITS OF MASTER CLASSES Marissa Bergmann, MFA Fine Arts Known for his cinematic, gripping, and deeply insightful The opportunity to work directly with both Hollywood and documentaries, Gibney has received the following awards: independent heavyweights offers the students studying film Oscar, Emmy, Grammy, Peabody, the DuPont-Columbia, the at CCA an exceptional platform to take their craft to the Independent Spirit, and the Writers Guild of America Award, CCA to name just a few. next level. Gibney’s film Taxi to the Dark Side won the Oscar for Best

Gibney giving a master class Documentary Feature in 2008. His documentary about Lance Armstrong’s spectacular fall from grace, The Armstrong Lie (2013), was short-listed for the 2014 Academy Award. (The documentary was also nominated for the 2014 BAFTA Award, along with his 2013 film We Steal Secrets: The Story of Wikileaks.) Because SFFS champions the world’s finest films and film- makers through programs anchored in and inspired by the sara schneider, nhat vo, BArch spirit and values of the , the collabo- Djinnaya Stroud, BFA Ceramics ration was a natural fit.

18 19 FEATURES ALUMNI STORIES

With her business flourishing, she started to become MAKING LIFE-CHANGING CONNECTIONS interested in fashion design. The first foray into costume Through a friend at Warner Brothers, McGuire rented a design was for a dance theater company in Paris. “That was house in Los Angeles and a found a production assistant DEBRA McGUIRE the first time I did costumes, never thinking I was going to position on a big-budget film. Soon after her arrival, a become a costume designer; it was just like, ‘I’m going to coffee-shop conversation with a production designer led to

BY TROY COVELLO make this art and it’s going to be fantastic.’” their working together on her first movie. She designed cos- JOURNEY OF A COSTUME DESIGNER tumes for 21 movies (movies-of the-week) within that year. She has designed for many David Mamet and Judd Unsure whether she wanted to work in production design Apatow films and projects and has received several Emmy “Fortune favors the brave,” goes or costume design, McGuire spent some time observing the nominations for Best Costume Design. inner workings of the costume department for a Steve Martin “I was doing two or three movies at the same time, which the old saying. A living example movie. She remembers thinking, “People do this for a living?” was fast and furious. In 1993 I met Bright, Kauffman, Crane She was hooked. and did a show for them called Family Album. After that they of that maxim is alumna Debra Costume design must have seemed easy compared to run- hired me to do Friends, and then everything just exploded.” ning her own jewelry business, which she continued doing “I approached costume design on Friends as a painter and McGuire, who found success while she worked on productions in LA by getting to the set so I was looking at it as a two-dimensional surface, as a visual each day at 5 a.m. Introductions to licensing agents in Japan medium; I was interested in them as characters, dressing by continuously changing the had led to a collection of her jewelry there and eventually a them from the inside out rather than the outside (fashion) in. Japanese office and boutiques in the Seibu department stores. It was about the six of them together and the visual tableau trajectory of her life and career as In the late 1980s the economy took a downturn and a lot that they created: color, line, texture, form.” of the department stores she had been working with went McGuire is currently designing costumes for the fifth sea- a fine artist, jewelry maker, fashion bankrupt, leaving vendors like her unpaid. At the height of son of the TV show New Girl, as well as three new shows for the AIDS crisis in Manhattan’s Chelsea neighborhood, she FOX: The Grinder, Fresh Off the Boat, and Cooper Barrett’s designer, and costume designer. sold her loft for a fraction of what it would be worth today Guide to Surviving Life. and moved her family to Los Angeles. “I think an art-school background is really important. My “It was like this incredibly vibrant world of New York, and advice: Go out into the world and just be an artist. Do your my life, and being successful, all of a sudden was like a really work and then decide what to do. Create it!” dark place, and LA looked bright and sunny to me.”

Since she earned her BFA in Painting and teaching creden- “I feel really lucky with my education at CCAC because tials from CCAC in 1974, McGuire has been on a fantastic I was educated in so many different areas,” McGuire says. journey that has taken her from handcrafting jewelry in a She remembers wanting to take a ceramics class with Viola New York City loft to a 10-year run as a costume designer for Frey, whom she thought was fantastic. However, “it was kind the hit show Friends in Los Angeles to her most recent proj- of a no-no to step over the boundary of fine arts to crafts, ect as a costume designer on a big-budget film set in Hawaii. at the time. I know that definitely changed with the devel-

AN EXPLORATION OF MATERIALS THROUGH EDUCATION opment of the school, but this was the early seventies and it was very different.” She ended up sitting in on the class and Through her work with a diversity of materials, McGuire’s loving it. craft first evolved from painting to wearables and jewelry. Continuing her exploration of materials, McGuire took a Her piece at a gallery show in San Francisco that featured goldsmithing class and decided to pursue a master’s degree artists working in unusual materials led to a busy career as a in jewelry at San Francisco State University. But it was when jewelry designer. she moved to New York City in 1980 that her career in jew- McGuire emphasizes that jewelry design was a completely elry would really take off. She landed a huge loft apartment accidental career. After re-creating herself and her careers in Chelsea, where she started throwing dinner parties that four times, she says the secret to the creative process is not turned into “incredible soirées of artists, filmmakers, and to limit yourself to your medium. “I teach young people to designers,” many of whom are still her friends. Within the not limit their vision, to be really open to all opportunities next year her work was appearing on the covers of Vogue that just present themselves.” and Harper’s Bazaar.

20 21 ALUMNI STORIES ALUMNI STORIES

Ian Amberson (Painting/Drawing 2008) got their start play- “It was the first time we went to a real studio and weren’t ing house parties while attending CCA; they became a favor- doing everything ourselves,” says Blanchard. ite in the Bay Area and beyond not long after graduation. Prior to Gone by the Dawn’s release, the band played In 2013, their album Dreams in the Rat House kicked their many tour dates in support of the album. On top of all this, career into high gear; they have since earned rave reviews for Blanchard and Shaw are still staying active in their other their raucous live shows and signature garage-punk-meets- creative endeavors. 1950s-doo-wop sound. Shaw occasionally exhibits her illustrations of idols “We’ve played with Ronnie Spector two times—at Burger like Etta James throughout the Bay Area at offbeat ven- Boogaloo, and then New Year’s Eve in Austin. We also played ues like Vacation in San Francisco’s Tenderloin district, with the Zombies. What a huge inspiration! We played with Redd Kross. I got to nerd out to Steve McDonald about how Redd Kross changed my life and he was as stoked as me! He asked to take a photo with me!” Shaw says of her whirlwind musical career. “We played with Missing Persons, also. They were extremely great. And we got to go to Australia,” Blanchard is quick to add. “I can’t even believe we went. We’re still very excited and appreciative, and I can’t believe we’re playing music and getting money for it,” says Shaw.

ART SCHOOL CONFIDENTIAL Blanchard and Shaw first met at CCA in 4D, a core studio class. Despite their obvious musical and style chemistry, the two admit to having gotten off to a rough start. “We were learning how to make video and websites. Basically, I thought Cody was kind of a jerk, because he came late to class and rolled his eyes. . . . Then we had a video proj- ect to turn in and his was really good. I was like, how could I hate someone who made such a good video? And then he loved my video,” Shaw laughs. while Blanchard spent the summer gearing up for his show “I thought Shannon was a square. But she made a Specimens at Oakland’s Econojam Records. really funny video with her brothers in Death Valley,” says “We’re making more funny movies, and I’ve been taking Blanchard, poking fun back at his bandmate. mechanical toys and covering them with monster stuff, so At the time, Shaw had already started the band. It wasn’t they move around and it’s kind of gross,” says Blanchard.

long before she began using Blanchard’s house as a practice FINDING THE RIGHT FUTURE space. “The band formed while we were in school. Cody was Though Shaw graduated with a BFA in Illustration, she began one of my first friends; I was kind of a loner. Shannon and her college career in Painting and Drawing and dabbled in the Clams started as just me—I’d play open mic nights. I got SHANNON AND THE CLAMS Jewelry / Metal Arts and Video before she found the right invited to play a house party at Cody’s old place called ‘the fit—something she suggests all students do. BY LAURA BRAUN “They’re one of my favorites,” exclaimed filmmaker John Waters Fanny Shack’ at 54th and Genoa but was too scared to play “Try lots of different classes. Don’t worry about when by myself, so I got a band together. Cody was there filming it, you’re going to graduate. I’m so glad I explored other things. as he introduced the band Shannon and the Clams at the sold-out along with basically everyone from school,” recalls Shaw. It was really uncomfortable, but many teachers encouraged “I remember being at CCA and thinking there was a really me. My friends who tried lots of things are really well Burger Boogaloo music festival in Oakland on the 4th of July. The strong community. There were always house parties and adjusted because of it,” she says. everyone was at every party,” says Blanchard. moment was just the latest career highlight for the Oakland-based “R andy Chavez changed my life . . . and Shawn Barber, MOVIES, MUSIC, AND MIXED MEDIA R obert Hunt, Owen Smith, Marilyn da Silva, Carol trio, who met and formed while attending California College of the The band recently released their fourth full-length album, Peel, Raymond Saunders. There are so many amazingly Gone by the Dawn. Keeping the production local, they opted talented faculty who have no idea how great they are.” Arts. Lead singer and bassist Shannon Shaw (Illustration 2007), gui- to record at John Vanderslice’s Mission-based studio Tiny Telephone and worked with Sonny Smith of Sonny and the tarist Cody Blanchard (Writing and Literature), and former drummer Sunsets (who performed in April at CCA’s Back Lot Party & Spring Fair) to tighten their distinctive sound.

23 ALUMNI STORIES ALUMNI STORIES

Although the club was slow to develop, the Goodwill store and coaxing the “These trips are life-changing,” Anh As Anh puts it, “We design and that early effort evolved into their joint machines back to life by taking them says. “Working with the students really imagine a better way of living. The term HOANG & ANH NGUYEN: venture, a lively online presence that apart and reassembling them. helped us to define who we are.” industrial design is very commercial, showcases an array of design proj- Apart from the family influence, Anh and Hoang have also held infor- and it seems to take the art and emo- ects, videos, and musings from the nearby Beaverton is the headquarters of mal teaching sessions with students tions away from what we love doing. two brothers. Creative Session (CS) Nike, and the brothers were “sneaker- at CCA, and they plan to establish a Creative Session allows us to be a bit has been going for over seven years obsessed” and always interested in more structured program of working more poetic.” CREATIVE SESSION and has brought Hoang and Anh lots design and drawing. In high school, a with students through Creative Session. of attention, including invitations to Nike designer saw Hoang’s work and “I think giving back,” Hoang says, teach, to participate in design compe- wrote him a note advising him to design “especially early on in a student’s career, titions, and most recently to be jury shoes after he finished school. “This was can make for a stronger designer in the captains for consumer products at the our official introduction to industrial future. That’s our goal.”

2015 Core77 Design Awards. design,” Anh reports. PASSION AND BLUE SKY They also receive frequent job REAL-WORLD LEARNING The striking variety of products and inquiries, Hoang says, “but we make Both Hoang and Anh earned their BFAs concepts that populate Creative it clear that CS is and has always been in 2009. Each was awarded a scholar- Session’s website and blog offer a a platform for Anh and me to think, ships which helped with tuition and glimpse of the rich contributions Anh create, and share as brothers and, more expenses. They cite the school’s location and Hoang are making to the design importantly, as designers without con- as vital to their becoming immersed in community. straints.” And that’s all while keeping their field. “The SF Bay Area is the melt- From the Aer chair, which the owner their day jobs. ing pot of industrial design studios,” inflates by breathing into it every 30 CS is the Nguyens’ labor of love, Hoang observes. days, to the Graava camera, a self-edit- and the design firms for which they Another advantage CCA offered is ing device, to Hoang’s pocket commu- have worked have been supportive of that many faculty members are practic- nications device, Serendipity, to the their enterprise. Until recently, Anh ing designers. Hoang recalls that two tripod-shaped Lamp Fire that’s inspired was a designer at Astro Studios in San instructors who stood out in his expe- by campfire gatherings, and the magic Francisco. One of his recent projects is rience are Markus Diebel and Blaise carpet Anh created in a live competi- the Electric Watch line. Bertrand. Both worked at the design tion, these two brothers are opening up Early in 2014 Hoang joined San firm IDEO and held classes at their their creative sessions and just possibly Francisco–based design and innova- Creative Session sketchbook pages offices. “This changed my world. We got setting off sparks all around. tion firm Matter as a senior designer; to see how a design studio ran.” a recent project is Abode, a newly Anh cites Shujan Bertrand, Dana launched firm that offers user-in- Krieger, and Brook Banham from Astro stalled and -controlled home security. Studios as important influences. He Previously Hoang worked as a designer made a strong connection with the for Amazon/Lab 126 in Cupertino, Astro team as a student. “These guys where his projects included the really saw the fire, passion, and love in BY JEREMY JOAN HEWES Amazon Dash Button and the Kindle. me and gave me my first internship.” This fall the brothers left their Anh adds that another important leadership roles at Astro and Matter to part of his education has been to always When Industrial Design alumni Hoang Nguyen join Andy Rubin and Matt Hershenson do his best work, then to “pin it up on at Playground Global, where they are all available walls, because one day, and brother Anh came to CCA in 2004 and 2006, helping to shape the startup’s industrial some creative influencer will walk by, design arm. respectively, they started a club with the objective of and you might get some kind of work DESIGN SURROUNDED THEM from them.” In some ways the brothers acquired getting a group of students to work together, help- TEACHING TO LEARN MORE their passion for design by osmosis. In the last few years the visibility of Their parents immigrated to Portland, ing each other learn and improve their skills. They Creative Session has led the Nguyens to Oregon, from Vietnam in the early give workshops locally and abroad. In 1980s, and the brothers grew up and named the club for its purpose: Creative Session. fall 2014 they taught in Mexico, and in went to school there. They recall Anh, Hoang, and colleague Keith Magruder (BFA Illustration 2009) modeling the newly screen-printed shirt 2013 and 2014 they held workshops at their father buying old appliances at they call “Earn Your Stripes,” inspired by Malcolm Gladwell’s idea of 10,000 hours of work and dedication Sketching Lab in San Jose, Costa Rica.

24 25 ALUMNI STORIES FACULTY STORIES

trying to prompt students to break out developed a prosthetic arm-to-handle- of their normal way of thinking about bar attachment for men and women how to tell a story through any kind of who want to ride motorcycles when material—and to start thinking more they don’t have a hand. She’s been broadly, in the way that artists do, talking to him and his customers about about telling that story. these special-purpose prosthetics. In what ways do you incorporate multi- That’s an instance where direct inter- ple disciplines in your teaching? action with her community of disabled people has been invaluable for develop- JDB Many times some of the most ing empathy, and it provided insights brilliant ideas come from tapping into to transfer into her prosthetic devices. how people are used to interacting with something, and you transfer that How does teaching fit with and influ- to the problem you’re working on—one ence your own work and art practice? that is completely unrelated. JDB I think both Scott and I can attest Also, one of the nice things about to this: One of the things I love about an art practice combined with a design that blending of our own art making JD BELTRAN & practice is that you don’t always have and our own design practices and to be practical. With art, many times teaching is that both of those practices what you’re making could be con- require this way of going about things, sidered by most of the world as not in terms of problem solving, that I very practical. But it’s those kinds think is valuable and critical. You start SCOTT MINNEMAN of ideas that you pursue that end up with an idea, and you do your research, BY JEREMY JOAN HEWES really being exciting. There’s more and you start to figure out how you engagement in your ideas and your could actually realize the idea—what LEARNING INTERACTIVELY creativity and your vision, rather than kinds of materials to use, what form it your attempts to solve something that’s will take, what it will do (if it’s going merely utilitarian. to do something), and how people are Faculty members JD Beltran and Scott You both teach design courses for going to react to it. graduate students. Could you discuss SM In grad design we do a sort of Minneman teach graduate design at CCA. Both how you work with students who are mash-up studio, where there’s an SM I’m a designer, so this is what doing projects and other assignments? instructor from one discipline paired I’ve done my whole life. Part of teach- have active creative and consulting practices in SM I teach some higher-level “topic with one from another, and we’re ing is imparting some of that hard-won studios” (semester-long, project-based trying to bring those two perspectives wisdom [laughs] and experience to the addition to their work with students. Beltran is a courses); some are exclusively interac- together on a sequence of projects. students in a way that’s benign and tion design. For instance, I’ve devel- I’m teaching one of those with Paul approachable, so teaching and work conceptual artist who works in several media, and oped (with Maria Mortati) a studio Montgomery, who’s the coordinator definitely integrate in terms of story- on public interactivity. The subject for Industrial Design in our depart- telling and understanding where they she is currently president of the San Francisco matter ranges from the mundane walk- ment. We’re looking really broadly at are with a particular design problem. up-and-use sorts of things (such as assistive technologies—products and Every year of teaching exposes me Arts Commission. Minneman is an independent an atm or parking meter) to interac- services that might be brought to to new topics, so I’m always learning. tive museum installations. I’ve had a on the needs and opportunities of dis- In particular with the thesis projects, consultant who creates interactive experiences practice, for 15 or so years, of creating abled individuals. That’s been a really there are people I’m working really hands-on interactive installations for fruitful mash-up where students early closely with who in effect become for hands-on museums, and he is also an affiliate museums and technology centers, so in the semester have sort of “adopted” experts in their topic domain, and I there’s a pretty broad range of topics a disability, and they are working that have to become an expert alongside researcher at the Institute for the Future. Working that get covered in that studio. from different angles—like rethinking a them or else I’m not a good advisor. well-trodden form of intervention. So that’s one way that teaching keeps together, Beltran and Minneman have created the JDB I do project-based teaching, but I We have one student who is essen- me very informed and fresh in what’s also teach another course, Conceptual tially doing “playful” prosthetics for going on in the world. Cinema Snowglobe, an interactive artwork that Cartography, which essentially aims amputees. She’s been meeting with all to build the skills and approach for sorts of people, including this legend- incorporates films or animations amid small parti- abstract thinking about design. It’s ary motorcycle racer up in Marin who cles of “snow” that move and settle. 26 27 FACULTY STORIES FACULTY STORIES

He instilled in his students the impor- Naturally, creative and inventive T erryl Whitlatch (Illustration) his tenure. He has honed his own skill tance of combining science principles— careers ensued. From comic book is considered the foremost creature sets while helping others shape theirs. in this case anatomy—with traditional authors and illustrators to animated designer in the world. Her clients And while it’s impossible for him to art and design practices. His teaching film artists and designers, many of include many of the major studios remember all the students he has influ- approach is further evidence students Perez’s students used their anatomical and effects houses (Industrial Light enced, it must be comforting to know have much to gain from a combined expertise to draw careers for them- & Magic, , , Walt many remember him. curriculum of science and art. selves that exceed most imaginations: Disney Feature Animation, PDI). Mignola recalls, “Vincent Perez “Anatomy in arts education is the Her most notable film projects really understood comics and what I Andy Ameral (Drawing 1999) place where you can find the tools that include : Episode I, The was trying to do.” served as director of anatomy at the will educate you to see the human Phantom Menace; Disney’s Brother Florence Academy of Art in Italy, form,” explains Perez. “It is a place Bear and John Carter of Mars; and where he taught for six years before where your drawing or painting can be Pixar’s Brave. joining the faculty (as director and wrong and it can be proven. It fills your principle instructor) at Golden Gate HOW TO PLACE THE “A” IN STEM intellectual tool bag with skills that can Atelier. The atelier offers classical Perez is a self-taught anatomist who take you anywhere to any circumstance training for the realist artist. has spent 40 years learning and that requires a human image. illustrating nearly every system in “The human form has historically Michael Joseph “Mike” Mignola the human body microscopically and been the basis for organic form in all (Illustration 1982) is a comic book macroscopically. The result? Over 125 the disciplines,” explains Perez. “We artist and writer who created the VINCENT books, charts, and guides have been see, interact, move, and dream inside series Hellboy for Dark Horse published and distributed all over the human structure. Consciously or Comics. He has also worked on the world. unconsciously, we are applying these animation projects such as Atlantis: “What I bring to this field,” asserts tactile sensibilities to everything we The Lost Empire and the adaptation Perez, “is the experience of a fine artist make, figurative and nonfigurative.” of his one-shot comic book, The PEREZ with many shows and successes, yet no Amazing Screw-On Head. FULL S-T-E-A-M AHEAD formal training in the area of medical Today the discussion about the need D an Brereton (Illustration 1988), illustration—except for the 40 years ANATOMY OF AN ARTIST to integrate an academic curriculum best known for his Nocturnals spent at CCA studying and producing with both science and art or design is comics series, is a five-time Eisner over 50,000 four-by-seven-feet anato- getting deserved attention. President nominee and Inkpot winner who my drawings in the classroom lectures. BY JIM NORRENA Stephen Beal addressed the STEM to has garnered critical praise and a “This has led to the creation of a

(MFA WRITING 2013) STEAM discussion (integrating art loyal fan base over the last 25 years body of published work that was not and design—the “A”—into a tradition- for his vibrant painted comics, directed by a laboratory, doctor, or al science, technology, engineering, illustrations, and stories. publisher, but was based on aesthetic Vincent Perez (MFA Painting 1966) began and math—STEM—curriculum) in a principles of the painting studios.” S teve Purcell (Interdisciplinary Huffington Post blog: In Perez’s case, one can argue the art Fine Arts 1982) is a cartoonist, ani- teaching anatomy and illustration at the created the science. It's easy to see the effect that science mator, director, and game designer. “I worked as my students worked— and technology have had on art and He is recognized as the creator of college in 1970, nearly half a century ago. questioning what I saw and clarifying it design. We have only to look around Sam & Max, an independent comic for them. Through my drawing skills, I at CCA to see . . . the arts and sciences book series started in 1987 about “Anatomy is basically the intense study of helped them to understand the subject. have much in common. The studio a pair of anthropomorphic animal Many of my solutions to the questions and the laboratory are learn-by- vigilantes and private investigators, organic form that can be applied to any dis- of what I am seeing are original to doing, learn-by-making educational for which he was awarded an Eisner the field because my fine art training experiences. The iterative process and Award in 2007. Purcell was hired cipline. Architecture, industrial design, furni- pointed to graphics-based solutions experimentation are key compo- by LucasArts (then that had yet to be discovered in techni- nents to advances and discoveries in Games) as an artist and animator ture, and jewelry—these are just a few of the cal anatomical imagery.” both fields. and then went on to work briefly for Industrial Light & Magic before DRAWING THE LARGER PICTURE disciplines that apply organic form to surface DRAWING THE HUMAN FORM AS A CAREER landing at Pixar, where his main Vincent Perez was named Professor work for the animation studio has Emeritus upon his retirement in 2007. and objects,” observes Perez. Perez taught a unique combination of been working on the hugely suc- He has spent half a lifetime teaching illustration skills and comprehensive cessful animated films Cars (2006) as well as learning alongside what he knowledge of anatomy and movement. and Brave (2012). estimates to be 3,000 students during

28 COLLEGE NEWS

Your work, like Viola Frey’s, reflects a depth of art historical knowledge, and myriad cultural references are embedded in your art. As a ceramicist and visual critic trained at CCA, how EDITH does Frey’s legacy inform your practice? Viola Frey’s work influenced me from a very young age. I was attracted to the vibrancy of the colors and the presence that her works command. I was very fortunate to be able to visit her studio while I was a student at CCA, and I recall thinking GARCIA how impressive the scale of her ambition was and just how many different types of works she focused on at the same 2015–16 VIOLA time. And I knew at that point that clay has no boundaries. Briefly describe your current work. How did your MFA stud- Garcia working at Yorkshire Arts Space, UK, 2014 ies at CCA influence your practice? FREY DISTINGUISHED My work has always focused on the use of the figure and the place of figuration through drawing, sculpture, and installa- What courses are you teaching at CCA this year? tion. My latest body of work draws on using smaller elements This fall I am teaching Craft Theory and Mold Making That VISITING PROFESSOR toward the composition of a large-scale installation, applying Matters—a course that takes an in-depth look at artists who Edith Garcia with Viola Frey’s Woman with Elbow on new materials and methods, which for me makes it more use mold making as an integral part of their practice. We will BY LAURA KENNEY Raised Knee (1994) at the Oakland Museum of California exciting and relevant to what is happening in the current investigate the use of multiples to create installations and wider contemporary art landscape. projects with social practice integrated into the way we work. Receiving my MFA at CCA was a remarkable experi- As a CCA alumna, I am thrilled to be teaching at my alma This year’s Viola Frey Distinguished Viola Frey (1933–2004) was an internationally respect- ence. Working with Arthur Gonzalez, Nathan Lynch, mater. It’s wonderful to see the energy and drive everyone ed artist who worked across media—painting, works on and Barney Haynes during my time here helped to shape has to ensure CCA helps students achieve their dreams. I am Visiting Professor Edith Garcia is paper, and sculpture. A leading figure in contemporary the way I developed my artistic practice in a very positive driven to help students learn lifelong skills that will ensure ceramics, she was known for her monumental, intensely manner. In 2002–04, I was very interested in the dialogue they have a strong understanding of the business of art. a sculptor, installation artist, and colored ceramic sculptures that explored issues of gender, between clay and technologies, and my work at that time was cultural iconography, and art history. Along with fellow influenced by audience participation and wanting to create Can you talk about your recent visit to the Viola Frey archive visual critic noted for her innova- cca alumni Peter Voulkos and R obert Arneson, Frey unique spaces that would immerse audiences in fresh ways of at Artists’ Legacy Foundation in Oakland, and your plans to shaped and defined contemporary ceramics to explore looking and thinking. access the archive for your critical writing and teaching? tive use of clay and haunting forms contemporary ideas and concepts. She joined the cca It was an honor to have the opportunity to visit Viola Frey’s faculty in 1965 and served as professor and chair of the archive and studio—seeing all her work there made me that reinterpret the figure. Born in Ceramics Program through 1999. realize how prolific she had been. Before my visit, I had Dean of Fine Arts Tammy Rae Carland says, “Edith always been intrigued by the way Frey worked, especially the Los Angeles, she earned her BFA Garcia’s practice and scholarship are a generational con- use of photography to create compositions that she would tinuum of Viola Frey’s lifelong dedication to art making later use as sketches to make her sculptures. During my from the Minneapolis College of and teaching. There is a symbiotic accord between Frey’s visit I was able to see the photographs firsthand and became and Garcia’s innovation and articulation of figurative interested in the role photography played in Frey’s work. For Art and Design, MFA in Ceramics ceramics, and their educations at CCA, though 50 my research and writing this year, as part of my visiting pro- years apart, seem to put them in direct dialogue with fessorship, I am interested in spending time with her archives at CCA (2004), and MPhil from the one another.” to perhaps discover new depths to her way of working, and I “Like Viola Frey, Edith Garcia is a model artist for hope to share that with the world. Royal College of Art in London. those students hoping to make a career in the arts,” adds Ceramics Chair Nathan Lynch. “She is highly focused, What is the current state of artists who choose to work in Garcia’s work has been exhibited talented, articulate, and even funny. I have watched her clay, and what does the material provide to you? career grow at a steady rate for the last 12 years. One The contemporary landscape of artists working with clay is nationally and internationally. She cannot help but cheer her on.” rich with invention, while extremely diverse and dynamic. The Viola Frey Distinguished Visiting Professorship For me the material continues to open up a conversation and is the author of Ceramics and the was created in 2003 to bring noted artists from around dialogue around its history and fruitful future. As an artist, the world to teach as visiting professors at cca and share I am deeply interested in discovering the unexpected places Human Figure (A&C Black Visual their work with the Bay Area community. where clay emerges, especially in other fields of practice, such as architecture, experimental fashion, and technologies. Arts, London, 2012). Edith Garcia, One Will Devour the Other (2014)

30 31 COLLEGE NEWS COLLEGE NEWS NEW TRUSTEES STUDENT SPOTLIGHT RENATA CRUZ TEXTILES 2018

Textiles are my life, not only because of my cultural heritage but due to my family background as well. My mother’s family has been making traditional Mexican cloth dolls for 40 years; I grew up in Mexico City surrounded by colorful fabrics and ribbons. I wanted to do art using the materials and tech-

LIAM CASEY niques I was raised with: not design, not the textile industry. My dad is an actor, and he introduced me to the art Casey is the founder and CEO of PCH, a private company world. He is a storyteller in his own way, and I guess that’s that designs custom manufacturing solutions for the world’s why I love stories so much; I think everyone has something best brands, from startups to Fortune 500’s. He is widely rec- interesting to say, and the use of narrative in my work is ognized as a thought leader in hardware, supply-chain man- fundamental. agement, and startups. His entrepreneurial flair and talent for It is odd that even though we have a rich textile culture spotting new opportunities has revolutionized international in Mexico, there’s no program focused on textiles seen as commerce and disrupted traditional supply-chain models, fine art. I was very disappointed and thought about study- Two new CCA board members were appointed in March: contributing to the success of many of the world’s largest ing something else after high school, but my mom said that Carl Bass, president and CEO of Autodesk, and Liam technology brands. I needed to expand my search and look for other schools Casey, founder and CEO of PCH International. Casey established PCH in 1996 as a manufacturing and outside the country. “I’m delighted to welcome Carl and Liam to our Board supply-chain management company. Since then PCH has I was thrilled to discover CCA, and I’ve been very happy of Trustees,” commented Chair of the Board C. Diane expanded well beyond those bounds, employing nearly 2,800 here—it has been a whole new experience, and the Textiles Christensen. “As prominent Bay Area business leaders they persons worldwide, and having revenue in 2014 in excess of Program is amazing. embrace the values we hold dear at CCA: creativity and $1 billion. In recent years, PCH has made a targeted move One of the things I like about CCA is that we are able to innovation, community engagement, entrepreneurialism, into product-design engineering and development and start- explore different fields we might not be familiar with. Now, and social and environmental responsibility. I look forward up innovation. I have interests I never thought about before. For example, to working with them as we build on CCA’s reputation as a PCH is headquartered in Casey’s native Cork, Ireland, when I first picked Intro to Printmaking I had no idea how global leader in art and design education.” with operational headquarters in Shenzhen, China, and great it was going to be, and even though I have a different San Francisco, where PCH has its Innovation Hub and its CARL BASS major I’m looking forward to taking another class with Greg hardware accelerator Highway1. He divides his time among Bass is president and CEO of Autodesk, a leader in 3D Piatt. Of course, I also have to mention my Intro to Textiles the three cities. design, engineering, and entertainment software. He In 2007, Casey was honored with Ernst & Young’s cofounded Ithaca Software (acquired by Autodesk in 1993). Entrepreneur of the Year–Ireland award. This year, because At Autodesk he has held several executive positions, includ- of PCH’s incubation program and sustainability practices, ing chief technology officer and chief operations officer. he was named by Metropolis Magazine as one of six top Bass serves on the boards of directors of Autodesk, class with Ann Wolf, which helped me to confirm that this “game changers” in the world. Casey is a member of Ireland’s Quirky, and E2open; on the board of trustees of the was the major I wanted: this class mixes practice and theory, National Competitiveness Council and the Action Plan for Smithsonian’s Cooper-Hewitt National Design Museum; and the readings we had were very inspiring. Jobs Implementation and Monitoring Group as well as the and on the advisory boards of Cornell Computing and I love that the Bay Area is full of wonderful places to visit. Joint Industry / Government task force on big data. In addi- Information Science, UC Berkeley School of Information, Dolores Park in San Francisco is great to chill at, especially tion, he is Enterprise Ireland’s international startup ambassa- and UC Berkeley College of Engineering. He earned his on a sunny day. Interestingly, the cemetery behind the dor to China. bachelor’s degree in mathematics from Cornell University. Oakland campus is one of the places I visit the most; it’s Bass is a maker and spends his spare time building every- beautiful and a perfect place to relax. I also love going to thing from chairs and tables to boats and, most recently, an concerts at UC Berkeley: good music for free! electric go-cart. My first year went very quickly. I’m excited to see what year two will bring!

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Make It New: The History of Silicon Valley Design MIT Press, 2015 AT THE CCA WATTIS INSTITUTE BOOKSHELF Hardcover, 280 pages, $29.95 A select few of the many books written, designed, and illustrated by In this new book, Industrial and Interaction Design CCA faculty and alumni that were published in the past year. Get the full faculty member Barry Katz tells how design scoop on these and more at cca.edu/news/bookshelf. helped transform Silicon Valley into the most pow- erful engine of innovation in the world. He traces the origins of all of the leading consultancies and shows the process See for Yourself: A Visual Guide to by which some of the world’s most influential companies came to place Everyday Beauty design at the center of their business strategies. Forward by John Maeda. Chronicle Books, 2015 Paperback, 176 pages, $24.95

Eric Heiman (Graphic Design faculty) and his Wuvable Oaf studio Volume Inc. designed this handbook by , 2015 Rob Forbes, which uncovers the beauty in the Hardcover, 264 pages, $29.99 commonplace and reveals how visual thinking can enrich our lives. The first-ever collection of the acclaimed self- Ellen Cantor, Pinochet Porn, 2009–15 (Super 8 film still) published comic book series by cartoonist and Comics faculty member Ed Luce. Set against the The Blacker the Ink: Constructions of Black background of San Francisco’s queer community Ellen Cantor (1963–2013) Identity in Comics and Sequential Art and music scene, Oaf is a large, hirsute, scary-looking ex-wrestler who Cinderella syndrome Rutgers University Press, 2015 lives with his adorable kitties and listens to a lot of Morrissey. December 8, 2015–February 13, 2016 Paperback, 356 pages, $29.95 Curated by Jamie Stevens and fatima hellberg Comics faculty member John Jennings co-edited Ellen Cantor, who lived in both London and New York, was this first book to explore not only the diverse The True Patriot a prolific artist who worked across various media, including range of black characters in comics but also the Spuyten Duyvil, 2015 video, sculpture, drawing, and painting. Her work furrows multitude of ways that black artists, writers, and publishers have made a Paperback, 168 pages, $16 into the recesses of pop culture, sexual communication, and mark on the industry. childhood memory. This exhibition brings together a number Fueled by their highest ideals and delusions, of works made by Cantor from 1994 to 2013 and is accom- Carissa Rodriguez, It’s Symptomatic / What Would Edith Say, the people in MFA in Writing Chair Gloria panied by a catalogue. The exhibition is curated by Jamie 2015 (digital C-print mounted on aluminum) Frym’s stories suffer trivial, modest, and Stevens in collaboration with Fatima Hellberg, director of How to Raise an Adult sometimes catastrophic failure when they Künstlerhaus Stuttgart, where the show will travel in 2016. Henry Holt and Co., 2015 try to change the world. Frym’s signature humor and wit create a manic Carissa Rodriguez (b. 1970) Hardcover, 368 pages, $27 progression of language as her parade of characters attempt to navigate December 8, 2015–February 13, 2016 the nightmarish landscape of 21st-century America. Curated by Jamie Stevens Julie Lythcott-Haims (MFA Writing 2016) draws on research; conversations with admissions officers, New York–based artist Carissa Rodriguez spends the fall of educators, and employers; and her own insights 2015 in San Francisco as the Capp Street Artist-in-Residence, as a mother and as a former dean of students at Peregrine where she is developing a new body of work for this exhibi- Stanford to highlight the ways in which overparenting harms children, Finishing Line Press, 2015 tion. Rodriguez is known as an installation artist, writer, their stressed-out parents, and society at large. Paperback, $12.49 and gallerist and currently lives and works in New York City. Her work often suggests relationships between technologies This collection by San Mateo County Poet Laureate of artistic reproduction and technologies of biological repro- Coar line Goodwin contains six thematically linked duction. Her show at the CCA Wattis Institute marks her Mummy Cat poems. The book is dedicated to the late Anne first institutional solo exhibition. Clarion Books / Houghton Mifflin Harcourt, 2015 Marino, Goodwin’s Writing faculty colleague. Hardcover, 48 pages, $16.99

In this children’s book illustrated by Lisa Brown If you are a CCA affiliate and have written, designed, or illustrated (Illustration faculty), Mummy Cat prowls his a book published in the last 12 months, we’d love to hear about it! pyramid home, longing for his beloved owner. Send details to [email protected]. As he roams the tomb, lavish murals above his head display scenes of the cat with his young Egyptian queen, creating a story within a story about the events of centuries past.

34 35 COLLEGE NEWS COLLEGE NEWS AWARDS & ACCOLADES 5 6

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Mary Tsiongas [1] (MFA Film/Video 1993) has been 4 named by the National Museum of Women in the Arts in Washington, DC, as one of the Women to Watch 2015. Her work appeared at the museum over the summer in the exhi- bition Organic Matters.

Erik Schmitt [2] (Graphic Design faculty) won a 2015 Webby award for The Pages Project, a website that displays scans of book pages containing readers’ notes and other marginalia. Adam Marcus [5] (Architecture faculty) and his studio, Denise Newman [8] (Writing faculty) won the 2015 PEN Variable Projects, won a 2015 Small Projects Award from Translation Prize for her translation from the Danish of Naja Bar bara Holmes [3] (Furniture faculty) was summer 2015 AIA National for their project Centennial Chromagraph, a Marie Aidt’s Baboon, published by Two Lines Press. artist-in-residence with the Voices of the Wilderness project life-size representation of the history of the University of at Misty Fjords National Monument in southeast Alaska. Minnesota School of Architecture. Peta Rake (MA Curatorial Practice 2012) is the new curator She spent a week sea kayaking, hiking, and working with at the Walter Phillips Gallery at the Banff Centre in Alberta, wilderness rangers on stewardship projects while experi- Xiaoyu Weng [6] (MA Curatorial Practice 2009) has been Canada. Previously she was acting curator and assistant encing and learning about the coastal fjords and rain forest. appointed the Robert H.N. Ho Family Foundation Associate curator there. While deep in the woods, she experimented with making Curator of Chinese Art at the Guggenheim Museum in nature prints utilizing charcoal from the wilderness cabin’s New York. She was the founding director of the Kadist Art Bean Gilsdorf (MFA Textiles 2011) has been awarded a wood-burning stove. Foundation’s Asia programs in San Francisco and Paris. 2015–16 Fulbright U.S. Student Award to Poland, where she will conduct research on Polish art produced since 1989. Jaydan Moore [4] (Jewelry / Metal Arts 2008) was a Robert Hunt [7] (Illustration faculty) received the 2015 recipient of the Inaugural American Craft Council Emerging Hamilton King Award from the Society of Illustrators in New Voices Award. In addition to a monetary prize, all awardees York City “for the best illustration of the year, outstanding were featured in the June/July 2015 issue of American Craft accomplishments, and repeated excellence by a member of magazine as well as in a printed catalogue. the Society of Illustrators.”

36 37 COLLEGE NEWS COLLEGE NEWS

9 10 Indira Allegra [13] (BFA Individualized 2015) won a 2015 13 Windgate Fellowship from the Center for Craft, Creativity, and Design, one of 10 students nationwide to receive the $15,000 award. With her award she is studying weaving techniques and creating a body of “woven poems.” She is also organizing a workshop for writers and readers interested in crafting literary cloths.

M. Louise Stanley [14] (Painting 1967, MFA 1969) is a 2015 Guggenheim Foundation fellow. She is using her fellowship to expand on several ongoing themes in her artwork: modern updates of classical mythology and contemporary sociopolitical issues dealing with organized religion, the mortgage / financial crisis, and the impact of technology on the creative process. Her most recent work reflects on the purposes of museums and collecting in an era of horrific 12 11 destruction of archaeological sites and artifacts. 14

Trent Davis Bailey [15] (MFA Photography 2015) was award- ed the 2015 Snider Prize by the Museum of Contemporary Photography at Columbia College Chicago. His photographs have been exhibited extensively in California and Colorado.

Maiya Jensen and Nicholas Steigmann [16] (Industrial Design 2016) won first prize in April in the Stanford Center on Longevity Design Challenge. Their winning project, SPAN, is a portable structure that provides older adults with a secure platform to get up and down from the ground in a safe and independent manner.

Viet Le (Visual Studies faculty) received the inaugu- Christopher Roach [11] (Architecture faculty) and his firm, ral Prudential Eye Prize for Best Writing on Asian Studio VARA, won a 2015 AIA SF Merit Award for their

Contemporary Art as well as an Art Matters Foundation office reuse project Redwood Highway in Mill Valley, where 16 15 grant and an Armed with a Camera fellowship. they transformed a basic box-shaped office building into a light-filled space with a glass conference room sandwiched Jeanne Finley [9] (Film faculty) was the recipient of an between open-air courtyards. ArtsLink Fellowship for travel to Kazakhstan, where she worked on a video project with Parsons colleague Lydia Marlon James’s [12] novel A Brief History of Seven Killings Matthews. The video, Entering the Cosmos, investigates how won the 2015 Man Booker Prize, awarded each October for Kazakhstan’s Baikonur Cosmodrome fuels research and the best literary work written in English and published in collective imagery through interviews with residents about the UK. He the first Jamaican to win the prize in its 47-year the space program; the project also included art/science history. James was CCA’s writer-in-residence this fall. workshops for teens. Nan (Jennifer) Qiu (Interior Design 2016) has won a schol- Hanh Nguyen [10] (Film/Media 2009) recently complet- arship of $30,000 from the Angelo Donghia Foundation for ed her first feature documentary, Caffeinated, which was a project redesigning public transit, becoming the fifth CCA chosen by New York–based distributor Filmbuff—a company student to win this prestigious national design competition. that specializes in independent films and documentaries— following the film’s screening at the 2015 Santa Barbara International Film Festival.

38 39 COLLEGE NEWS FIRST-EVER CCA CONTINGENT cca in the media MARCHES IN 2015 PRIDE PARADE

So we reached out to professors at Indeed, the classroom drives much of The CCA show offers the Bay Area the A group of 35 CCA students, faculty, seven of the world’s top design schools their work and fuels their passion. Both deepest look at [Martin] Wong’s work staff, and alumni proudly walked, [including CCA] to ask what books they are born educators who strive to make that it has ever had. Congratulations to danced, skipped, and shimmied up recommend for getting your feet wet memorable points to the graphic design the college’s 2015 graduate class in cura- Market Street on June 28 in the annual in design. students at California College of the torial practice, whose project this is. San Francisco Pride Parade, the largest Arts (CCA). , , bisexual, and parade in the nation. Group members wore T-shirts and marched behind

Communication Arts, “Design is Play” a banner designed by bianca (interview with Mark Fox and Angie Wang), crampton (Graphic Design 2010). Spring 2015 Support for the school’s parade efforts came from the President’s Diversity

Fast Company, “35 Books Every Designer Steering Group, a committee of key Should Read,” 6/25/15 faculty, staff, and students who are advocates for human rights and social

Kenneth Baker, San Francisco Chronicle, justice and who work together to guide 3/20/15 the college’s fulfillment of its diversity mission and goals.

NEW OAKLAND For her senior thesis at California Xiaoyu Weng [MA Curatorial Practice Swarmscapers: Printing a Connection CAMPUS MURAL College of the Arts, designer Suwanna 2009], who was the founding director of Between Design and Construction. Ruayrinsaowarot built a counting pro- an Asian art initiative at the Kadist Art California College of the Arts (CCA) CELEBRATES gram that visualizes in real-time all the Foundation in Paris and San Francisco, professor Jason Kelly Johnson’s stu- Instagram photos tagged “#selfie.” will join as an associate curator. dent-led Swarmscapers are a model of DIVERSITY, how 3D-printing, autonomous robots SOCIAL JUSTICE could harness native on-site materials

New York Times ArtsBeat, “Guggenheim, With in a scenario envisioned by NASA. Eye on Asian Art, Hires Two New Curators,” 8/12/15 Over the summer six CCA students, led by faculty member and noted muralist Eduardo PiNeda, designed and painted a new mural on the side of Martinez Hall on the Oakland campus. Unveiled at the beginning of the semester, the mural celebrates and Creators Project, “See Every Selfie on Insta- promotes diversity and social justice, gram in One Interactive Installation,” 5/28/15 two core values of the college. The student artists were Laila Espinoza (Community Arts 2017), Jacqueline

Line/Shape/Space, “4 Ways a Robot or Drone Krase (Illustration 2016), Steven 3D Printer Will Change Architecture and James Mayorga (Printmaking 2017), Construction,” 9/1/15 Martina MagueNs (Jewelry/Metal Arts 2016), Angel Perez (Printmaking 2015), and Michaela Realiza (Printmaking 2018). 40 PHILANTHROPY

Mary Vaughan Lester Willis Anita & Ronald C. Wornick Mary & Harold Zlot

PRÊT-À-PORTER Ann Jones Interiors Annieglass Stephen Beal & Elizabeth Hoover Frances Bowes Chris Columbus & Monica Devereaux First Republic Bank, Hawkin Delafield & Wood LLP, and Stern Brothers & Co.

Andrew Fisher (BFA 1978) & Gala co-chairs Leigh Sherwood Matthes, Nancy Howes (BFA 2005), Jeffry Weisman Kay Kimpton Walker, Cathy Podell Les Schweikert (BFA 2006), Liz Rockett G2 Insurance Gensler and Gensler Family BLACK IS THE Foundation Byron & Liz Kuth Michele & Chris Meany Anthony & Celeste Meier NEW BLACK Tim Mott Panoramic Interests PCH Nick & Leslie Podell ALUMNI FASHION SHOW GALA RAISES $645,000 FOR STUDENT SCHOLARSHIPS Richard Beard Architects Vartain Law Group HAUTE COUTURE SPONSORS The 2015 CCA Gala Alumni Fashion bridal at Badgley Mischka. Hannah AND THANK YOU TO OUR Show on March 25 was a splendid G allagher (BFA 2006) showed C. Diane Christensen & Jean M. Pierret GENEROUS FASHION PARTNERS success thanks to the generosity of our the elegant couture garments she F. Noel Perry Amy Williams, CCA Fashion community and the skillful leader- helped create as director of produc- Cathy & Mike Podell Design Chair ship of gala co-chairs Kay Kimpton tion at Bibhu Mohapatra. Amber NOUVELLE COUTURE SPONSORS Neysa Young, CCA Fashion Walker, Cathy Podell, and Leigh Cli sura (BFA 2006) and P aloma Von Patricia W. Fitzpatrick Design Faculty Victoire Reynal Brown, Anne Waterman, Maca Huneeus Sher wood Matthes. A total of Broadley (BFA 2009) both showed Brenda & George Jewett (BArch 1996) Anna Kaufman Productions $645,000 was raised, with net pro- inspired work from their own labels. Lorna Meyer Calas & Dennis Calas Jennifer Lee, Style Director ceeds earmarked for CCA student E rick Lopez (BFA 2014) presented his Leigh Sherwood Matthes & diPietro Todd scholarships. Designer Stanlee Gatti award-winning menswear and Pin Yun Jane Griffin Gruber Badgley Mischka transformed the Nave of the San (Sindia) Lin (2014) her charming and Sharon Simpson Bibhu Mohapatra Francisco campus for the Black Is the whimsical children’s wear. Judy & Bill Timken Paloma Von Broadley Clothing and New Black theme. Three hundred The college extends its warmest Jewelry and fifty attendees gathered along the thanks to all gala attendees and donors AVANT-GARDE SALT runway for a delicious dinner by Taste for their generous support for scholar- Gretchen & John Berggruen Simply Catering followed by an exciting run- ships. Each gift creates opportunities Heidi Castelein way show featuring top CCA Fashion for talented students who otherwise City National Bank EVENT PARTNERS Design alumni. could not afford to attend CCA. Carla Emil & Rich Silverstein Stanlee Gatti Designs CCA was proud to showcase the Nancy & Pat Forster Aufuldish & Warinner work of six accomplished Fashion Nancy & Timothy Howes Taste Catering Design Program graduates. Les Kay Kimpton Walker & Sandy Walker Got Light?

Schweikert (BFA 2006) presented the Above: Gowns by Les Schweikert, Senior Rotasa Foundation 7x7 gorgeous beaded gowns he develops Designer of Couture and Bridal, SKS Blue Farm as senior designer of couture and Badgley Mischka Ruth & Alan Stein Keenan Winery Jessica Silverman (MA 2007), Carla Emil, Steven Volpe Tarantula Tequila

42 43 PHILANTHROPY SPOTLIGHT 5 10 1

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WATTIS INSTITUTE FOR CONTEMPORARY ARTS VIP Reception | January 21, 2015 Exhibitions: Jos de Gruyter & Harald Thys | Nairy Baghramian

1 Amir Mortazavi, Ross Warren 2 Yves Béhar, Sabrina Buell

CCA PARENT TEA February 22, 2015 9 3 Louise and Douglas Lind CCA BACK LOT CELEBRATION AND ANNUAL SPRING FAIR 4 Shannon and Paul Mewton San Francisco Campus | April 25, 2015

28TH ANNUAL BARCLAY SIMPSON AWARD EXHIBITION 7 Stephen Beal, Arthur Gensler Oliver Art Center, Oakland Campus | April 15, 2015 8 CCA alumni and other community members selling handmade arts and crafts 3 5 Karin Hibma, Ann Morhauser (BFA 1979), Sharon Simpson, Shawn Hibma Cronan (BFA 2009) WATTIS INSTITUTE FOR CONTEMPORARY ARTS VIP PREVIEW 6 Student award winners Jesus Barraza, Nicholas McCullough, May 5, 2015 Sarai Black, and Brittany Atkinson with Sharon Simpson and Exhibitions: Josephine Pryde | Julia Heyward Stephen Beal 9 Anthony Elms (Chief Curator, ICA Philadelphia), Ross 4 Sappenfield 10 Patricia W. Fitzpatrick, Francis Mill, unknown

HONORARY DOCTORATE LUNCHEON Perry Family Event Center | May 15, 2015

11 Patricia W. Fitzpatrick, Susan Swig, 2015 CCA Honorary Doctorate Recipient Joan Jonas, Kay Kimpton Walker

45 PHILANTHROPY IN MEMORIAM William Adamo Certificate Graphic Design 1948 August 2015 STEVEN SKOV HOLT St. Helena, CA Distinguished Professor of Design, died Jackson S. Champlin at home in San Francisco on August BFA Applied Arts 1951 13 due to complications from kidney April 4, 2014 failure. Throughout his long illness New York City he continued to teach generations of Robert S. Neuman in his first studio on College Avenue in Oakland, 1951 students about the power of design Marc Goldstein to make positive change in the world. Faculty, Architecture “Form Follows Meaning” was Holt’s September 30, 2015 update to Louis Sullivan’s modernist ROBERT S. NEUMAN San Francisco, CA credo, implying that design had moved (MFA Painting 1951), an Abstract beyond function and into more com- Expressionist and son of the American William Hartman pelling cultural territory. West, who over the course of six BFA Painting 1966 Holt’s practice was highly inter- decades crafted an artist canon guided March 2015 disciplinary; as an undergraduate he by his abiding sense of humanism and Taos, NM studied architecture and cognitive staunch individualism, died on June 20 science. While at Brown University in Boston. He was 88. Thomas Kilburn Hickey in 1979 he suffered kidney failure and Steven Skov Holt in Contemplative Biology Interdisciplinary Studio class, 2010 With the pulse of the Bay Area BFA Painting 1966 received a transplant. After graduation Abstract Expressionist movement close March 27, 2015 he worked in New York at the Cooper- During his tenure enrollment doubled encourage both students and colleagues to his ear, Neuman first received a Oakland, CA Hewitt National Design Museum, and ID students won national and global to use their passions to enrich their commercial artist’s education at CCAC, Smart Design, and Zebra Design. He awards. In 2003 Holt was named CCA life’s work. His own creative practice where his friends and classmates Roger E. Kast edited ID Magazine, co-founded the Distinguished Professor and received the was driven by a “search for the patterns were Peter Voulkos and Nathan MFA Painting 1969 Industrial Design program at Parsons, IDSA Career Award in Education. that connect” (from biologist Gregory Oliveira. He transitioned to paint- July 3, 2015 and wrote for national and international As author, Holt is best known Bateson) that led him to explore ing in his graduate studies, ultimately Nevins, MN design publications. Sensing that the for coining the term “blobjects” to wide-ranging sources of inspiration defining himself as a figurative Abstract Robert S. Neuman, Lame Deer (Big Eagle), future of design was in the Bay Area, describe the fluid-form language made from all disciplines and discourses. Michael C. Nourot Expressionist with a color-saturated 2007 (oil on linen, 50½ x 42 inches) Holt pursued an MFA at Stanford, possible by computers in the 1990s. aesthetic and painterly sensibility. His BFA Glass 1972 focusing on sneaker design. In 1992 he With his wife, Mara Holt Skov, he prolific body of work quickly grew to May 14, 2015 joined Hartmut Esslinger at frogdesign wrote Blobjects & Beyond: The New to the fore in his “Lame Deer” series, encompass extended painting series Benicia, CA as Visionary and Vice President of Fluidity in Design and Manufractured: motivated by a visit to Lame Deer, distinguished by specific themes or Creative Culture, a role he held until The Conspicuous Transformation of Montana, near the site of the Battle of motifs, making him a perennial outsider Robin Putnam 2000, when his transplanted kidney Everyday Objects. Steven co- Little Big Horn. Looking across this amid the realignment of the American Animation failed and he resumed dialysis. curated Design Culture Now, the eerie portion of the Western landscape, art scene toward pure abstraction. 2015 As chair of CCA’s Industrial Design Cooper-Hewitt’s first triennial, and Neuman was struck by the quiet plight Since first showing his works in the Elko, NV Program from 1995 to 2003, Holt Design Afoot: Sneakers at SFMOMA of the Native American tribes that A portion of one of Holt’s black books, 1950s at West Coast exhibitions along- redesigned the curriculum, position- (both 2000); Blo bjects at the San remain displaced nearly two centuries Evan Rose which he said were a “visual manifesta- side Morris Graves, Robert Motherwell, ing the program for national recogni- Jose Museum of Art (2005); and after westward expansion. Canvases tion of how my brain works” and Sam Francis, Neuman’s paintings Faculty, Architecture tion. Partnering with co-chair Leslie Manufractured at Portland’s Museum from this series split sky from earth have appeared in major exhibitions at July 13, 2015 Speer and other faculty, he reformed of Contemporary Craft (2008). and, in works such as his celebrated the Metropolitan Museum of Art and Brooklyn, NY fundamental design drawing courses, As educator, Holt was passionate. Lame Deer (Big Eagle) (2007), popu- the Whitney Museum of American Art introduced digital tools in the Alias labs, “What really interests me is curiosity late vivid and tumultuous chromatic in New York, the Fogg Art Museum at M ary R. Sullivan founded the Materials Library, hired ... finding that spark and seeing it in landscapes with the skeletal outlines of Harvard University, and elsewhere. BFA Sculpture 1979 sustainability pioneer Jay Baldwin, young people and developing it so that teepees to underscore the deceit and Neuman had an enduring interest 2015 and negotiated sponsored studios to the spark becomes an idea.” Despite his injustice the Great American West has in human culture and human nature. San Anselmo, CA connect students with industry leaders. health challenges he worked tirelessly to borne witness to. His humanism comes most prominently

46 NOTES FROM THE STUDIO ASHLEY EVA BROCK FASHION DESIGN 2012 PHOTOGRAPHY BY JIM NORRENA

(MFA WRITING 2013)

I moved out to West Marin shortly after graduating from CCA in 2012 with a degree in Fashion Design and a focus in Textile Fine Arts. After living in the city for many years, the move was very regenerative for me. I can hear the ocean from my light-filled home studio, and I am better able to work long hours on projects when I can take breaks to walk my dog down to the beach and jump into the ocean for a quick dip in the frigid waters before returning to my studio, refreshed and ready to work again. I also use ocean water for the base solution in dyeing textiles, and living so close makes it easier to collect. My community here is very special, full of talented and inspir- ing artists doing things their own way. My studio grounds me, and I personally like having it integrated with my home. I used to have them separate, and I was always forgetting things I need at home or in my studio. It saves me a lot of back and forth time. I seem to be happiest when my work is integrated with my life. Living away from the city is a trade-off, career wise. I’m unable to take a full-time job in the city because the com- mute’s just too much. But because of this, it keeps me more focused on painstakingly learning how to successfully free- lance while also creating work that is fully my own, which is what I ultimately want to be doing with my career anyway.

48 49 NOTES FROM THE STUDIO CALIFORNIA COLLEGE OF THE ARTS FALL 2015 PAID U.S. POSTAGE U.S. PEWAUKEE, WI PEWAUKEE, PERMIT NO. 1209 NO. PERMIT NON-PROFIT ORG NON-PROFIT magazineThis issue of Glance was designed by Olivia Olivia final year is in her in Datuin. Basic and Jireh Design Graphic the CCA. Program at interests Her fine arts yearinclude cooking.third and is in her Jireh Design Graphic in the include Program. interests Her textiles, design, publication and basketball. and uses typefacesThis issue of Glance the Avenir designedWarnock, and Robert by Adrian Frutiger respectively. Slimbach, @CACollegeofArts CACollegeofArts.tumblr.com @CACollegeofArts facebook.com/CaliforniaCollegeoftheArts CACollegeofArts youtube.com/user/CCAarts ccarts # Sign up at cca.edu/subscribeSignup at to get CCA news and can your also change events by You delivered email. from postal here. mail to email mailing preferences california college of college arts the california street 1111 eighth san francisco ca 94107-2247