THE UNIVERSITY ART COLLECTION at SACRAMENTO STATE: MAKING a PUBLIC COLLECTION AVAILABLE a Project Presented to the Departments

THE UNIVERSITY ART COLLECTION AT SACRAMENTO STATE:

MAKING A PUBLIC COLLECTION AVAILABLE

A Project

Presented to the Departments of Art and History

California State University, Sacramento

Submitted in partial satisfaction of the requirements for the degree of

MASTER OF ARTS

Special Major

(Art Administration)

Jennifer J. Grossfeld

FALL 2013 THE UNIVERSITY ART COLLECTION AT SACRAMENTO STATE:

MAKING A PUBLIC COLLECTION AVAILABLE

A Project

Jennifer J. Grossfeld

Approved by:

______, Sponsor Elaine O’Brien, Ph.D.

______, Committee Member Pattaratorn Chiropravati, Ph.D.

______, Committee Member Chris Castaneda, Ph.D.

______Date

Student: Jennifer J. Grossfeld

I certify that this student has met the requirements for format contained in the University format manual, and this project is suitable for shelving in the Library and credit is to be awarded for the project.

______, Dean ______Chevelle Newsome, Ph.D. Date

Office of Graduate Studies

iii

Abstract

THE UNIVERSITY ART COLLECTION AT SACRAMENTO STATE:

MAKING A PUBLIC COLLECTION AVAILABLE

Jennifer J. Grossfeld

STATEMENT OF PROBLEM

Universities are treasure troves of knowledge. From the vast halls of teaching to the academic hub in the library, there is an abundance of resources. California State

University, Sacramento (Sacramento State) has other treasured resources, treasures of collections of visual and material culture. However, some of these collections have been left deep in dark closets, barely noticed for over twenty years, and all of these collections need to be updated to a common digital registration system and collectively managed in a professional manner to be an academic resource for students, professors, scholars and the public. This project focuses on the art collection, which includes over four hundred works collected by Art Department professors since the 1960s. It includes works on paper

(drawings, prints and photographs), ceramics, paintings and sculpture. There are works by regional artists with national and international historical significance, including students, alumni, professors, and famous artists. This collection is too valuable to be

iv neglected and not professionally maintained as a resource for the university and the greater Sacramento region.

SOURCES OF DATA

I began initial research and investigation by locating and comparing previous art collection inventories. Three prior art collection inventories were found: a 1992 inventory, including addendums for the years 1992 through 1997; a 2003 ceramics inventory; and a 2006 special project inventory. However, it was not clear if the inventories had been verified by physically documenting the actual works. Additionally, the collections were spread throughout various locations on campus, with some collections being unavailable for viewing. Taking a physical inventory around the campus and noting visible artwork, I developed a notebook as a starting point. The inventory notebook includes: the Art Department collection; the former School of the

Arts collection (now part of the College of Arts & Letters); outdoor art/sculptures; the

College of Continuing Education collection; Alumni Center artworks; art and visual culture located throughout the library; and art on view in the University Union. In

September, 2013, Zenia LaPorte, University Union Assistant Director of Program and

Marketing, provided a current inventory of their collection, including their works in storage.

I conducted my research by reviewing documentation from the past; interviewing present university faculty, students, alumni, and staff; and reviewing oral history tapes located in Special Collections. From this information, Sacramento State faculty recognized the need for more organization and authority in securing the collections on

v campus. A collections advisory committee was formed in June, 2012 with campus and community art and collection management professionals. I was asked to be a member and to serve the committee’s objectives through research. The collections advisory committee includes: Elaine O’Brien, Professor of Modern & Contemporary Art &

Theory; Professor Phil Hitchcock, Director of the University Library Gallery; Professor

Terri Castaneda, Director of the University Anthropology Museum; Sheila O’Neill,

Head, University Library Department of Special Collections and University Archives;

Graduate students Nancy Wylie and myself. Additionally, community art professionals:

Diana Daniels, Crocker Art Museum; and Beth Jones and Lynda Jolley, owners of the

Jay-Jay Gallery, Sacramento, added professional support and advice. Professor Dan

Frye, former Art Department Chair; Professor Catherine Turrill, current Art Department

Chair, Nancy Tooker, emeritus Associate Dean of the School of the Arts; Leslie Rivers,

Assistant to the Director of the University Library Gallery; and Kevin Ptak, Art

Department instructional assistant, all made essential contributions. The purpose of this collections advisory committee is to devise a plan for this ongoing project of securing, managing, and developing the entire permanent collection of Sacramento State at the industry-level standard for public collections. The committee continues to meet, research and review industry standards for university collections to formulate a policy and a management plan for the permanent collections at Sacramento State.

My research for this master’s project has supported the needs of the collections advisory committee and helped shape policy and management plans. It includes: a comparison study of CSU galleries and museums (Appendix E); review of insurance

vi standards for fine arts; a comparison of campus collection managerial positions; review of comparable university collection policies and procedures; recommendation of anticipated supplies for stewardship program start-up (Appendix G); and review of industry-standard museum forms in collections management. This research was utilized in the drafting of the Sacramento State University Permanent Art Collection Management

Plan (Appendix H), the Sacramento State University Art Collection Management

Proposal (Appendix I), and the proposed Sacramento State Interim ARTS Collection

Management Policy (Appendix J).

Additionally, co-curating the exhibition, Lost & Found: Selections from the

Sacramento State Art Collection in the Robert Else Gallery of Kadema Hall in

August/September, 2012, opened up a major part of the collection to us and provided me with the opportunity to research, review, document and further study the collection of the

Art Department and the former School of the Arts. A panel discussion regarding the history of the collection was held on September 13, 2012 in conjunction with this exhibition. Art Department Chair Dan Frye (Chair 2007 – 2013) and five former Art

Department chairs: Emeriti Professors Irving Marcus (Chair 1966 – 1970), Allan Gordon

(Chair 1970 – 1976, 1985 – 1988), and Lita Whitesel (Chair 1991 – 1995); and

Professors Phil Hitchcock (Chair 1976 – 1985) and Catherine Turrill (Chair 2001 – 2007,

2013 – present) discussed their involvement with the history and the development of the

Art Department collection. Also in conjunction with the exhibition, Laurence Campling, a documentary videographer, presented a guest lecture on September 20, 2012 about his

vii video project on the Candy Store Gallery (1962 – 1992) in Folsom, California, which is a key part of the history of art held in the university art collection.

CONCLUSIONS REACHED

As of this date and at the request and with the support of Ed Inch, Dean of the

College of Arts & Letters, progress has been made in regards to the professional management of the university art collection. The Art Department collection and the collection from the former School of the Arts have been moved from their various storage locations into a temporary storage facility and a pre-accession inventory has been conducted. Using the Art Department Collection Inventory that I compiled in April, 2012 and updated in September, 2012 (Appendix B), I have been part of a three-person team that has photographed, documented, secured and entered inventory data for each work into the university art collection catalog. Condition reports have been conducted and entered into the database for each piece as well. Additionally, I have created individual hardcopy artist/artwork files which correlate with the database and the temporary numbers assigned to each artwork.

This project relied upon my extensive research regarding collections management. I had learned the professional art collection management methods and knew the best reference books, which we kept at hand and consulted throughout. Integrating this knowledge of correct procedures into the Sacramento State University Permanent Art

Collection Management Plan (Appendix H) and the Sacramento State University Art

Collection Management Proposal (Appendix I), which I wrote collaboratively with members of the university collections advisory committee and then following the

viii guidelines and recommendations set forth in these documents, we accomplished the following: relocated the Art Department and the former School of the Arts collections to a suitable storage/management facility; purchased and instituted FileMaker Pro5 software with a collections management template for a collections digital database; conducted an industry-level pre-accession inventory, including photographing, documenting, wrapping, securing, numbering and labeling each artwork; and developed the proposed Sacramento

State Interim ARTS Collection Management Policy (Appendix J).

______, Sponsor Elaine O’Brien, Ph.D.

______Date

DEDICATION

To my husband, Ken Grossfeld.

You inspired me with your daily wit and intellect and encouraged me with your friendship, companionship and most importantly, your endless love. Even as you battled your terminal diagnosis, you always told me that you wanted to live long enough to see me graduate.

I wish you had.

ACKNOWLEDGEMENTS

Deciding to go back to school as an adult student, with a busy family, takes encouragement and support on so many levels. My three boys quickly learned what it meant when I was studying at my desk - it meant mom was not available. Thank you

Brett, Zachary and Trenton for letting me study and being my cheerleaders all the times that I needed you to be. Their dad had been my biggest advocate and willingly joined my journey with enthusiasm. The sign that he made for my desk still sits there: “No talk

(very busy).” Their encouragement and love was all that I needed to continue to pursue this journey and especially when it looked like that journey was over, to stay with it.

When life threw me the curve ball that I had not anticipated, I was gifted with a graduate advisor that kept me going. Dr. Elaine O’Brien has the wisdom, integrity and perseverance to tackle any obstacle even when that obstacle at times was me. She never stopped believing that I was on the right path by encouraging, mentoring, challenging and then spearheading the project on a campus level. Her wisdom, intellect and friendship have been a gift to me and I have been blessed by her guidance and support. Thank you to Dr. Pat Chirapravati for her years of scholarly and personal advice, and to Dr. Terri

Castaneda and Sheila O’Neill for their professional insight, guidance and humor into collections management. And to my collegiate friends Nancy Wylie and Jennifer Boling, who inspired me and provided directional avenues to help lead the way.

To my amazingly supportive friends, my mom and dad, my sister’s Betsi and Kim, and the rest of my family that always told me that I could finish this path that I had

xi started. Thank you for never tiring of my many stories, embellished and all, and encouraging me to continue and finish my studies...just because.

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TABLE OF CONTENTS

Page

Dedication………………………………………………………………………………... x

Acknowledgements…………………………………………………………....……....…xi

List of Tables……………………………………………………………….……...…….xv

List of Figures……………………………………………………………….…...... …...xvi

Chapter

1. INTRODUCTION……………………………………………….……………...……..1

2. BACKGROUND OF THE STUDY……………………….…………………...….….4

History of the Sacramento State Art Department………………….……….…….4

Art Collection Inventories…………………………………………...…….....…..9

Lost & Found: Selections from the Sacramento State Art Collection.……….…14

3. DEVELOPING A PLAN, A PROPOSAL AND A POLICY.………………….……35

Advisory Committee……………………………………………….....…………35

Collections Management Plan…………………………………………….....….37

Collections Management Proposal………………………………………….…..38

Interim ARTS Collection Management Policy…………………………...…….38

4. CONCLUSION AND RECOMMENDATIONS………………………………….…41

xiii

Appendix A. ART John Fitzgibbon’s Narrative………………..………….……….…44

Appendix B. Art Department Collection 2012 Inventory……….…………………….69

Appendix C. Missing Artworks………………………………………..…….….…….74

Appendix D. Exhibition Guestbook Comments………………………….…..…...…...75

Appendix E. Comparison Study of CSU Museums & Galleries..……………..……...79

Appendix F. UC Davis Art Collections Storage Facility……………………………..80

Appendix G. Anticipated Supplies Needed for Initial Start-up..……………..…...... 83

Appendix H. Art Collection Management Plan…………………..…………………..86

Appendix I. Art Collection Management Proposal……….……..……………....…...92

Appendix J. Proposed Interim Collection Management Policy….……………….…101

Bibliography……………………..…………………………………………………….119

xiv

LIST OF TABLES

Table Page

1. Sampling of art in the Sacramento State art collection ……………….………8

LIST OF FIGURES

Figures Page

1. Ed Rivera, La Cultura, 1978……………………………………………………...7

2. Ed Rivera, Detail of La Cultura, 1978………………………………….………...7

3. Postcard from Lost & Found show (front side)……………………..…………..14

4. Postcard from Lost & Found show (back side)…………………………..……..15

5. Robert Arneson, 1303 Alice St., 1967…………………...………….…..….……16

6. Robert Arneson, Texas Saddle, 1960……………………...……….…..….….....16

7. Clayton Bailey, Nose Lamp, 1968…………………………..………….………17

8. Victor Cicansky, Shirt, 1968…………………..………………………….…….17

9. Fred Dalkey, Untitled, 1967………………………………….…..…….……….18

10. Fred Dalkey, Untitled, 1968…………………………………………….………18

11. Robert Else, Feather Beach II, 1980……………………………………….…...19

12. Viola Frey, Crocker Series III, 1979…………………………..…….…….…....20

13. Anne Gregory, The Horned God, 1967.…………………………………...……20

14. Anne Gregory, A Wizard at the Dining Room Table, n.d……………….………21

15. Ruth Horn, Boy Resting, n.d…………………………………………….………22

16. Jun Kaneko, Sculpture #369, 1968…………………………………….………..22

17. Irving Marcus, The Listeners, 1967………………………………….………….23

18. Joan Moment, .Arc, 1963…………………...……………………….…………..24

19. Jack Ogden, Forward, Forward, 1971……………………………….…………25

xvi

20. Jack Ogden, Proof III, 1967……………………………………………...... ….26

21. Nathan Oliveira, Homage to Carriere, 1963………………………..…….….....26

22. Tarmo Pasto, Untitled, n.d……………………………………..………….……..27

23. Pablo Picasso, Le Vieux Roi, 1959…………………………………..…….……27

24. Ruth Rippon, The Judgment of Paris, 1970s………………………………...…..28

25. Ruth Rippon, Untitled, n.d……………………………………………..…….…..28

26. Paul Soldner, Raku Plate, n.d…………………………………………..……...... 29

27. Paul Soldner, Raku Vase, n.d…………………………………………..………...29

28. Frank Stella, Star of Persia II, 1967……………………………………..…....…30

29. Carol Summers, Spring, 1967………………………………………..………...... 30

30. James Hiroshi Suzuki, Japanese Export Light, 1998…………………..………..31

31. Rufino Tamayo, Unknown, n.d………………….…………………………..…..31

32. Andy Warhol, Cooking Pot, 1962……………………………………..………...32

33. R.W. Witt, Unknown, n.d…………………………………………..……………32

xvii

Chapter 1

INTRODUCTION

Universities are treasure troves of knowledge. From the vast halls of teaching to the academic hub in the library, there is an abundance of resources. California State

Museums, galleries and related facilities at universities and colleges have an intrinsic cultural role on campuses and in communities. In a study looking at the history, operations and offerings of 1,736 museums and other museum-like facilities located at

822 universities and colleges, published in America’s College Museums: Handbook &

Directory, academic museums, galleries and related facilities are described as: “informal instruments of education with their exhibits and programs; curators and researchers of artwork, specimens, and historical objects; and sources of enjoyment in the art, science,

history, and other fields. They are invaluable resources in instruction, research, and public education.”1 Sacramento State has several interdisciplinary art collections throughout the campus; including artwork on view in the University Union, the College of Continuing Education, the Department of Special Collections and University Archives, the University Library, and the Anthropology Museum. This project, however, has primarily dealt with the art collections from the Art Department and the former School of the Arts (now part of the College of Arts & Letters).

The Art Department collection includes works which were purchased for pedagogical purposes through sales of student and faculty artworks in order to purchase limited edition prints by Pablo Picasso, Frank Stella, Rufino Tamayo, and Andy Warhol. Also included are artworks by many noted Sacramento State faculty-artists, including Robert

Else, Tarmo Pasto, Ruth Rippon, Irving Marcus, Gerald Wahlburg, José Montoya and

R.W. Witt.

The art collection represents the art history at Sacramento State. Since the 1960s, when collecting began, the Art Department has received widespread recognition for being at the forefront of contemporary art. In a 1994 master’s thesis project, “The California

State University, Sacramento Permanent Art Collection,” Camille T. Kondratieff and

Susan M. Sinclair noted: “Because of their serious commitment to their artistic professions and to their students, these faculty have influenced many well-known art alumni and made remarkable contributions towards establishing CSUS as a leading

1 Victor J. Danilov, America’s College Museums Handbook & Directory (New York: Grey House Publishing, 2011), vii.

school in the Contemporary Arts…It is imperative, therefore, that the CSUS art collection reflects current artistic directions and innovations through new acquisitions and donations.”2

A decade after the Kondratieff and Sinclair study, the mission of the university art collection has expanded to meet the needs of the 21st century: “to align with a core value of American higher education: the creation and dissemination of new knowledge and skills. With increasing frequency, that new knowledge isn’t limited to art and art history; these museums can bring tools of visual investigation, knowledge curation, and cultural analysis to bear on a wide variety of domains. Many campus museums strive to demonstrate their commitment to interdisciplinary research questions and modes of inquiry, to innovative pedagogical approaches, and to global perspectives.”3

This collection is too valuable to be neglected and not professionally maintained as a resource for the university and the greater Sacramento region.

2 Camille T. Kondratieff and Susan M. Sinclair, “Selected Works: The California State University, Sacramento Permanent Art Collection” (master’s thesis, Sacramento State, Sacramento, California, 1994), 2. 3 Will Anderson and others, Campus Art Museums in the 21st Century: A Conversation, report prepared by the Cultural Policy Center at the University of Chicago: 5-6, accessed February 4, 2013, http://culturalpolicy.uchicago.edu.

Chapter 2

BACKGROUND OF THE STUDY

History of the Sacramento State Art Department

The Art Department collection and the former School of the Arts collection have been collected by Art professors since the 1960s. Noted in the Kondratieff and Sinclair study:

“Over the years the CSUS campus has received widespread recognition for being at the forefront of the Contemporary Arts. This is due in part to the success of the Art

Department in attracting a wide range of outstanding faculty-artists. Due to their serious commitment to their artistic professions and to their students, these [sic] faculty have influenced a long list of known art alumnae and made remarkable contributions towards establishing CSUS as a leading school in the Contemporary Arts.”4 Significant to the Art

Department collection, is the Art Department itself.

The Sacramento State College was founded in 1947, with fewer than two-hundred students and was located on the campus of Sacramento Junior College where the Art

Department was located in a leaky, chilly barn. According to a 1986 interview with former Art Department Chair Robert “Bob” Else (Chair 1958 - 1964), rats would eat their materials on the weekends.5 In 1952, the school moved to its current location; however, by 1956, the Art Department, with four full-time professors, was still in temporary buildings on the south side of campus. In 1960, Sacramento State College became part

4 Kondratieff and Sinclair, Selected Works, v. 5 Bob Else, interview by George Craft, May 29, 1986, Tape TC219, CSUS 40th Anniversary Faculty Oral History Project, Department of Special Collections and University Archives, Sacramento State, Sacramento, California.

of the CSU System, officially becoming CSU, Sacramento in 1972. From the early

‘sixties to the late ‘seventies, there was a large growth in the Art Department, which eventually reached thirty/thirty-one full-time professors, according to Else.6

Referring to this time period in the Art Department as a golden age of creativity,

Emeritus Professor John Fitzgibbon described the attitude and environment which was inspiring faculty and students in his “ART (John Fitzgibbon’s Narrative) c. 1980”

(Appendix A): “And when it comes to figuring out how a welter-weight University in a minor-league city came to possess, for a time, an art staff the equal of any school’s anywhere, then it really will have to be understood that there exists an inverse ratio between an art department’s “respectability” and those crucial qualities and attitudes which permit a department to enjoy the art world’s respect. Late in the 60’s at

Sacramento State a dean and a department chairman took a chance. They reached out to the Bay Area, to Southern California, to Chicago, and even to New York and they hired some really, truly art celebrities with paint on their shoes and a painting or two in a museum or three.”7 These faculty-artists were well known in their disciplines and proved to be outstanding mentors, influencing many students, as noted in the Sampling of art in the Sacramento State collection from faculty-artists and students, past and present

(Table 1).

It is important to note here that many artworks belonging to the university are not included in the Art Department or the former School of the Arts collections. An

6 Else, interview. Else’s recollection of thirty/thirty-one professors is correct, including lecturers. 7 John Fitzgibbons, “ART (John Fitzgibbon’s Narrative) c. 1980,” (unpublished narrative, 1980), Sacramento State, Sacramento, California. In author’s collection, see Appendix A.

outstanding example is Ed Rivera’s La Cultura (Figure 1 and Figure 2). La Cultura is a ninety-six-foot wide by twenty-four-foot tall mural on the exterior wall of the administration building, Lassen Hall. It depicts the community’s American Indian-

Spanish heritage, and features major symbols of the Mexican culture.8 Originally painted in 1970 on panels on the exterior wall of Lassen Hall, the mural was a component in the mural project with the Barrio Art Program, which had been established in 1970 by

Emeritus Professor José Montoya.9 In 1976, the artist received word that the panels had been torn down during a beautification project.10 Having been created as a tribute to the

Mexican culture and given to the community as a symbol of solidarity, peace and culture, it had taken months of negotiations and fundraising. After widespread coverage, a public protest and a public apology from then Sacramento State President James Bond

(President 1972 – 1978), arrangements were made to have Rivera repaint the mural directly to the wall. In 1978, Rivera painted the current mural with permanent, water- based acrylics, returning in 1998 to do restoration work and paint a protective finish over the work. He further protected this work by placing the condition that it cannot be removed until fifty years after his death.11

8 Lance Armstrong, “Sacramento Resident Ed Rivera Discusses his Lifelong Passion for Art,” August 29, 2010, accessed October 30, 2013, http://www.valcomnews.com/?p=1285. 9 Vanessa Garibaldi, “Barrio Art Program and Community Help Center,” The State Hornet, (Sacramento State, Sacramento, California) posted September 16, 2009, accessed November 19, 2013, http://www.statehornet.com/barrio-art-program-and-community-help-center/article_6fe823b3-fdf5-51aa- a85c-226c8fd535ed.html. 10 Armstrong, “Sacramento Resident Ed Rivera.” 11 Ibid.

The Art Department collection, along with the other collections on campus represents this remarkable art history - a history that is unique to the region and significant for the university.

(Figure 1) Ed Rivera, La Cultura, 1978 Mural, Sacramento State, Lassen Hall

(Figure 2) Detail of Figure 1 showing the Aztec ruler, Montezuma Ed Rivera, La Cultura, 1978 Mural, Sacramento State, Lassen Hall

Table 1. Sampling of art in the Sacramento State art collection from faculty-artists and students, past and present

ARTIST MEDIUM TITLE DATE Brady, Robert Ceramic Vase 1980 Couzens, Julia Charcoal Abstraction 2002 Driesbach, John Painting Untitled Else, Robert Acrylic Painting Beach #5 (Sea 1968 Salad) Favela, Richard Ceramic Black Trio Hitchcock, Phil Mixed Media Untitled Jackson, Oliver Oil on Canvas Untitled Kaltenbach, Steven Ceramic Cast Hands 1988 Kypridakis, Ben Ceramic Blue & White Vessel Lark, Sylvia Monoprint Untitled 1980 Louie, Brenda Oil/Acrylic on Reflections on 1989 Canvas Things at Hand Marcus, Irving Lithograph Children’s Zoo 1970 Moment, Joan Painting Atom Monteith, Tom Acrylic on Canvas Roundabout Montoya, Jose RCAF Poster Calendario 1977 Nutt, Jim Etching Pitui 1968 Ogden, Jack Lithograph Proof III 1967 Pasto, Tarmo Oil Untitled Rippon, Ruth Ceramic The Judgment of 1970s Paris Suzuki, Jimmi Oil on Canvas Series of Four, #1 Taylor, Yoshio Ceramic Untitled Thiebaud, Wayne Watercolor Untitled 1952 Vail, Roger Photography Truckee River Reflection VandenBerge, Peter Ceramic House Poet vonMeier, Kurt Print Sophie 1988 Wahlberg, Gerald Corten Steel Shankara Winkler, Maria Pastel Tricks 1996 Witt, Robert Oil on Canvas Mendocino Coast

Art Collection Inventories

During the 1992 Spring Semester, then Sacramento State President Donald Gerth

(1984 – 2003), requested an overall inventory of the permanent art collection. An inventory was done at that time under the Art Department chairmanship of Lita Whitesel

(Chair 1991 – 1995). The artwork was documented, photographed, and stored in a temporary building, located by the art sculpture lab on campus. Chair Whitesel developed a secure collections repository with custom-made art racks for the paintings and shelves for the ceramics and sculptures.12 In approximately 1999,13 Art Department

Chair John Driesbach (Chair 1995 – 2000) informed Professor Whitesel that the temporary building that housed the collection was being demolished and that he had already moved the artwork to various storage areas in Kadema Hall, including a closet with a water heater.14 It remained in these storage areas until April, 2012.

The former School of the Arts collection was acquired for the school by Professor Phil

Hitchcock (Director School of the Arts 2004 - 2007). Working with William Sullivan,

Dean of the School of Arts & Sciences (1984 – 1998) and then Dean of the newly formed

College of the Arts & Letters (1998 – 2004), Professor Hitchcock collected only artwork by Sacramento State affiliated artists, with the exception of one artist, William

12 Dr. Lita Whitesel, (Emeritus Professor, Sacramento State, Sacramento, California), interview by the author, November 21, 2013. 13 According to research done by George Baines (Facilities Management, Sacramento State, Sacramento, California), this is a best estimate as to time-frame. The database for maintenance records has been updated and past contractor records are not on the current database. In discussion with the author, November 25, 2013. 14 Ibid., Whitesel.

Wareham.15 Wareham’s aluminum sculpture, Arequipa, is located in the breezeway of the library. The artwork collected by Professor Hitchcock was to be displayed in and around the university, particularly the library.16 With over one hundred works, this collection includes objects with regional significance and historical value, including works by Elmer Bischoff, Wayne Thiebaud, Joan Moment, Julia Couzens, Robert Brady,

Jim Nutt, Oliver Jackson and artists affiliated with the Royal Chicano Air Force (RCAF).

Approximately around 2008, due to changes in administration and constraints within the physical spaces, Professor Hitchcock stopped collecting (with the exception of a donation from the John Fitzgibbon’s estate), and began storing several pieces of the artwork which had been displaced.17

In order to continue with this project, the artwork had to be located and then documented. It was necessary to get a visual confirmation of each work, which proved to be difficult given the various locations and the overall lack of stewardship and information.

I began initial research by locating and comparing previous art collection inventories.

Three prior art collection inventories were found: a 1992 inventory requested by

President Gerth and completed by graduate students Camille Kondratieff and Susan

Sinclair; a 2003 ceramics inventory done as a Special Project with Professor Elaine

O’Brien by Christina Maradik; and a 2006 inventory done as a Special Project with

Professor Elaine O’Brien by Nancy Wylie, which compiled all of the previous

15 Phil Hitchcock (Director, Library University Gallery, Sacramento State, Sacramento, California), in discussion with the author, September 6, 2012. 16 Ibid. 17 Ibid.

inventories onto an excel spreadsheet for categorical reporting. However, it was not clear if the inventories had been verified by physically documenting the actual works.

Additionally, the collections were spread throughout various locations on campus, with some collections being unavailable for viewing. Taking a physical inventory around the campus and noting visible artwork, I developed a notebook as a starting point. The inventory notebook includes: the Art Department collection; the former School of the

Arts collection; outdoor art/sculptures; the College of Continuing Education collection;

Alumni Center artworks; art and visual culture located throughout the library; and art on view in the University Union. In September, 2013, Zenia LaPorte, University Union

Assistant Director of Program and Marketing, provided a current inventory of their collection, including their works in storage.

After the physical inventory was conducted, the next step was to locate documentation regarding the art. My research with the Office of Risk Management uncovered potential liability for the entire collection. Sacramento State is a self-insured institution, which means that it will cover its own losses. Specifically, the property policy, by standard agreement for all property policies, covers the building and all permanently attached equipment. Hanging or stored works of art would not be covered under a property policy.18 A fine arts rider is available for temporary borrowed exhibitions on campus.

According to Kirtland Stout, Risk Manager for the Office of Risk Management, “I have never been asked to insure any of the collected works housed by the University or any of its departments or colleges. Hence, I have no records of any kind that might reflect what

18 Kirtland Stout, (Risk Manager, Sacramento State, Sacramento, California), e-mail to the author, March 11, 2011.

we have on the campus.”19 Further adding, “There is no other policy covering our collected art. Perhaps your efforts to catalog and assess value could spark the custodians of the collected works to get some or all of them insured.”20

When an artwork is gifted or donated to the university, Sacramento State policy states that it should flow through the University Development office.21 Necessary documentation is required for tax purposes for both the donor and the university. Kevin

Gonzales, Administrator-in-Charge, Development/Director of Major and Planned Gifts and Sue Garcia, Director of Advancement Services, both in the University Advancement,

Development Office indicated in a meeting about the art collection on September 25,

2013 that due to a physical move of their office, their files have been archived in more than one location, and they were not certain where the paperwork regarding these donations was located. Further research will be required to locate past donor records regarding the art collection.

In March/April, 2012, the Art Department collection that had been stored in various locations in Kadema Hall was moved to a reasonable temporary proper storage area at the direction of Dan Frye, Chair of the Art Department. In April, 2012, I completed an Art

19 Kirtland Stout, (Risk Manager, Sacramento State, Sacramento, California), e-mail to the author, March 10, 2011. 20 Stout, e-mail to the author, March 11, 2011. As a comparison, California State University, Chico has a fine arts insurance rider that is shared through the California State University system. It includes: wall to wall coverage; individual item coverage (not blanket coverage); and it is based on retail price if purchased or the professional appraised value at donation. This is the same insurance rider that is used for temporary borrowed exhibition works. Catherine Sullivan, (Curator, Janet Turner Print Museum, California State University, Chico), e-mail to the author, September 5, 2013. 21 California State University, Sacramento, Office of University Advancement, Sacramento State Development Policy, Gifts of Special Collections, 2009, www.csus.edu/giving/PDF/2009DevelopmentPolicyManual.pdf, 14.

Department Collection inventory based on this collection in the temporary storage area, updating it in September, 2012 (Appendix B).

After comparing the three previous inventories (1992, 2003 and 2006) with the current inventory (2012), it became apparent that there were missing artworks. For this project, I developed a Missing Artworks inventory (Appendix C) and distributed it to emeriti professors, current professors, alumni and staff. Many of the pieces were identified and added to the 2012 inventory.

With the support of Dean Inch, in September, 2013, I was hired, along with graduate student Nancy Wylie and Leslie Rivers, Assistant to the Director of the University

Library Gallery, to conduct an industry-level pre-accession inventory on the art collection in the temporary storage area. Adding the former School of the Arts collection to the Art

Department Collection Inventory that I had compiled in April, 2012 and updated in

September, 2012 (Appendix B), and utilizing my research into industry-level archival/collection management supplies (Appendix G), we assigned temporary inventory numbers to each artwork (until accession numbers can be determined in the future). We photographed, documented, secured and entered each artwork on a university digital database. The database is FileMaker Pro5 software with a collections management template22 for a collections database. We conducted condition reports on each piece as well. Additionally, I have created individual hardcopy artist/artwork files which correlate with the database and the temporary numbers assigned to each artwork. At the

22 The collections management template was purchased from Robyn Bernard, University of California, Davis Collections Manager in September, 2013.

conclusion of this phase of the project, the database will be held with the Art Department

Chair, until a determination is made about the future of the project.

Lost & Found: Selections from the Sacramento State Art Collection

To bring attention to the art collection, its great value and its need for care, I worked with Professor Elaine O’Brien to curate an exhibition of selected works from the collection. The exhibition, titled Lost & Found: Selections from the Sacramento State

Art Collection, was on view at the Robert Else Gallery of Kadema Hall from August 28,

2012 to September 27, 2012. My contribution to the exhibition included the following: collaborative selection of the artworks; research on the artists and the artworks; securing insurance through the Office of Risk Management; writing didactic panels and labels; executing a publicity plan; and mailing out postcards/invitations (Figure 3 and Figure 4).

(Figure 3) Postcard from Lost & Found: Selections from the Sacramento State Art Collection (front side)

(Figure 4) Postcard from Lost & Found: Selections from the Sacramento State Art Collection (back side)

Not only did the exhibition bring works out of storage and into the light for public display, it also brought insight into more than a half a century of art history in the

Sacramento region. As a representation of the valued pieces in the collection, the exhibit highlighted the high quality and brought attention to the need for stewardship and proper documentation of the collection. “…We hope to secure this collection as a regional legacy under the sustained care of the university…” (Didactic panel from exhibition, written by Professor Elaine O’Brien).

Works to be exhibited were selected on the basis of their condition and historical significance to the university. The exhibition included the following works:

(Figure 5) Robert Arneson, 1303 Alice St., 1967 Ceramic (white earthenware with low-fire glaze) 15” Diameter

1303 Alice Street, which Arneson referred to as “a standard ‘ticky-tacky’ tract house,” was his home in Davis from 1962 to 1976. (Text from exhibition label).23

(Figure 6) Robert Arneson, Texas Saddle, 1960 Ceramic (white earthenware with low-fire glaze) 28” x 24” x 26”

Texas Saddle marks Arneson’s transition from the Abstract Expressionism of Peter Voulkos to the figurative wit of his signature works. (Text from exhibition label).

23 Unless otherwise noted, the exhibition labels were written and edited by the author.

(Figure 7) Clayton Bailey, Nose Lamp, 1968 Ceramic (white earthenware with low-fire glaze) 10 ½” x 6” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Nose Lamp was purchased from a show that Bailey had at CSU, Sacramento. A working lamp was inserted to emphasize the humorous absurdity of his creation. (Text from exhibition label).

(Figure 8) Victor Cicansky, Shirt, 1968 Ceramic (white earthenware and fiberglass with low-fire glaze) 30” High Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Cicansky’s early California work dealt mostly with clothing imagery among which he created approximately a dozen ceramic shirts, exhibited at the Candy Store Gallery in Folsom. (Text from exhibition label).

(Figure 9) Fred Dalkey, Untitled, 1967 Lithograph/Proof 14 ¾” x 11 1/8” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Dalkey had his first retrospective in 2002, at the Crocker Art Museum, where he once worked as a security guard. (Text from exhibition label). ______

(Figure 10) Fred Dalkey, Untitled, 1968 Print/Etching 7 ¼” x 9”

“Yes that is me in the etching. Fred did it shortly after we were married. It's a lovely print, I think. Hans Hohlwein, the printmaking teacher Fred was doing his graduate work with at the time, acquired it for the department.” – Victoria Dalkey, July, 2012. (Text from exhibition label).

(Figure 11) Robert Else, Feather Beach II, 1980 Acrylic on canvas 38” x 44” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Else, an original member of the Sacramento State Art Department, inspired hundreds of students to find their artistic “voices”. Professor of Art Emeritus, Else taught in the Art Department from 1950 – 1979, serving as Chair when the Art Department moved to the CSU campus in 1958.

“The arrangement of forms in Feather Beach II (1980) is dynamic and forceful, giving the appearance of considerable movement and activity, as if the array of natural debris was scattered in this locale by a recent storm: it displays a multitude of objects associated with marine and avian life common to the West Coast.” - Camille Kondratieff/Susan Sinclair, CSUS Master Thesis, 1994. (Text from exhibition label).

(Figure 12) Viola Frey, Crocker Series III, 1979 Ceramic (earthenware with low-fire glaze) 20” Diameter Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

The Crocker Art Museum held a large retrospective of Frey’s works, including thirty- eight plates titled Crocker Series I, II, III in 1981. This platter was from the self-portrait grouping of the exhibit, and represents the artist’s family and memories from childhood. (Text from exhibition label). ______

(Figure 13) Anne Gregory, The Horned God, 1967 Intaglio 1/15 9 ¾” x 12 1/8” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

“It has been said that I make romantic, sensual, decorative paintings and drawings. Sex and pattern,...yes; but the concern for women’s strengths has also been a theme for 30 years.” – Anne Gregory, Artist Statement. (Text from exhibition label).

(Figure 14) Anne Gregory, A Wizard at the Dining Room Table, n.d. Intaglio AP 17 ¾” x 17” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

“I’ve long been interested in the painting as object. By adding the actual texture of found objects to works, I bring the physical world and the need to grapple with it within my 2D expression.” – Anne Gregory, Artist Statement. (Text from exhibition label). ______

No Image Available

Phil Hitchcock, Jr./Phil Hitchcock, Sr., Laundering Jane’s Shirt on Red Flower Type B Paper, 1974 Thermal Transfer

While assisting his son with an installation in 1974, Phil Hitchcock, Sr. dropped this artwork, permanently scarring the paper. Phil Hitchcock, Jr. felt his father had just left his own artistic mark on it, and had him sign the work as an additional artist, and installed it, as is. (Text from exhibition label).

(Figure 15) Ruth Horn, Boy Resting, n.d. Woodcut Print 12” x 14 ½” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie. ______

(Figure 16) Jun Kaneko, Sculpture #369, 1968 Ceramic (earthenware with glaze) 30” High

“Kaneko’s interest in optical phenomenon began in an early series of abstract three- legged knots…..In the knot series he exploits visual sensation through pattern repetition and overlapping plane reversals.” - Camille Kondratieff/Susan Sinclair, CSUS Master Thesis, 1994. (Text from exhibition label).

(Figure 17) Irving Marcus, The Listeners, 1967 Lithograph 25” x 16 ½” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

1959 – 1991 Sacramento State Professor of Art, Department Chair 1966 – 1969

“Irving Marcus is known as an extraordinary artist whose vigorous and slightly satirical compositions reveal underlying truths about the human condition. Hidden meanings and the ambiguity of contemporary urban life are both disguised and reflected in the mirrors that he paints of figures participating in daily activities.” - Camille Kondratieff/Susan Sinclair, CSUS Master Thesis, 1994. (Text from exhibition label). ______

(Figure 18) Joan Moment, Arc, 1963 Latex/acrylic/gesso/cheesecloth mounted on canvas 5’ x 8’

Joan Moment contributed to the Sacramento art scene and as a Professor of Art at Sacramento State’s Art Department from 1973 through 2005.

“Over her thirty-plus-year career she has generated a body of work notable for its consistency. It displays continual stylistic evolution, but it also evinces an enduring reliance on the natural world as the formal source – not just the principal formal source, but just about the only source – for her compositions.” - Peter Frank, “Joan Moment: The Imprinted Paintings,” 2003. (Text from exhibition label).

______

(Figure 19) Jack Ogden, Forward, Forward, 1971 Watercolor 21 ½” x 17”

“Described as a “painter’s painter,” Jack Ogden has been creating compelling works for over fifty years. His subject matter ranges from still-life arrangements and studio scenes to portrait and figures. His work is informed by numerous sources, including Greek mythology, current events, other artists’ work, and his own personal narrative, including his naval experience. Recurring themes in his work, such as the artist and his muse, or the artist as navigator in the artistic journey, add depth to his imagery.” – Sanchez Art Center, 2011. (Text from exhibition label). ______

(Figure 20) Jack Ogden, Proof III, 1967 Lithograph 13” x 19 ½” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Ogden joined the Art Department at Sacramento State in 1966, continued his tenure for thirty-four years, until 1999. Ogden has had over seventy solo shows since 1958 and thirty-eight group shows, along with numerous honors and awards. (Text from exhibition label). ______

(Figure 21) Nathan Oliveira, Homage to Carriere, 1963 Lithograph 2/10 22” x 30”

“It is easy to see how Oliveira found a kindred spirit in Carriere – given their similarities of theme and approach in printmaking – and to understand why he honored him with a series of prints…..Intending to portray the inner soul rather than the actual likeness of Carriere, Oliveira’s Homage to Carriere depicts a spiritual, mystic apparition emerging from an encompassing gloom.”- Camille Kondratieff/Susan Sinclair, CSUS Master Thesis, 1994. (Text from exhibition label).

(Figure 22) Tarmo Pasto, Untitled, n.d. Oil on canvas 22” x 30” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

The art of the insane was of particular interest to Dr. Pasto, a psychologist and artist, who would often use examples of it in his classroom lectures. Dr. Pasto’s work as an artist was overshadowed by his explorations into the psychology of art.

As a founding faculty member of Sacramento State, Pasto joined the Art Department in 1948 and served as chair of the department until 1957 (?), retiring in 1973 after twenty- five years. (Text from exhibition label). ______

(Figure 23) Pablo Picasso, Le Vieux Roi, 1959 Limited edition lithograph 26 ¼” x 20”

“Le Vieux Roi, created January 6, 1959, was derived from a Master’s portrait of Francois le Premier (Francis I), King of France from 1515 – 1547. Painted by Jean Clouet ca. 1524, it now can be seen in the Louvre……In Le Vieux Roi, Picasso did what no portrait artist could or would do in Francois day: he depicted the king in his vices.” - Camille Kondratieff/Susan Sinclair, CSUS Master Thesis, 1994. (Text from exhibition label).

(Figure 24) Ruth Rippon, The Judgment of Paris, 1970s (?) Ceramic 16 ½” Diameter Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Depicting the legendary event that precipitated the Trojan War, Rippon’s The Judgment of Paris echoes the aesthetics of this transitional period, as seen in its gracefully-incised figures carved in bas-relief. This work embodies Rippon’s distinctive interpretation of classical themes and forms in a contemporary fashion. (Text from exhibition label). ______

(Figure 25) Ruth Rippon, Untitled, n.d. Watercolor 20” x 15” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Figurative sculptor and potter and Emeritus art faculty, Ruth Rippon’s tenure lasted over thirty years at Sacramento State, from 1957 to 1987.

Initially intending to study painting and sculpture, Rippon changed the focus of her educational career after her first class in ceramics at the California College of Arts and Crafts in Oakland. (Text from exhibition label).

(Figure 26) Paul Soldner, Raku Plate, n.d. Ceramic 14” Diameter Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

“Paul Soldner is responsible for establishing raku as a major artistic expression in contemporary American ceramics. Through his discoveries and explorations into this technique, he introduced American-style raku as a low-fire process that expanded the aesthetic possibilities of ceramics.” - Camille Kondratieff/Susan Sinclair, CSUS Master Thesis, 1994. (Text from exhibition label). ______

(Figure 27) Paul Soldner, Raku Vase, n.d. Ceramic 13” High Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

“To allow yourself to be playful, to be at ease with the asymmetrical is difficult but necessary. Complete control is in conflict with the creative act, with personal, inventive decision-making.” - Garth Clark “American Ceramics: 1876 to the Present”, 1987. (Text from exhibition label).

(Figure 28) Frank Stella, Star of Persia II, 1967 Seven-color lithograph 84/92 16” x 20”

“The Star of Persia series was Stella’s first major lithographic print project created in collaboration with Kenneth Tyler…….Star of Persia II is printed in cool tones on a silver metallic base. The image in Star of Persia II is a six-chevron squared medallion shape, most likely inspired by the square sails on nineteenth century clipper ships from which Stella borrowed the title, Star of Persia. This reflects the artist’s fascination with history and his extensive traveling.” - Camille Kondratieff/Susan Sinclair, CSUS Master Thesis, 1994. (Text from exhibition label). ______

(Figure 29) Carol Summers, Spring, 1967 Lithograph 6/9 29” x 21 ¼”

“Landscapes are portraits of our mother earth, and sometimes, by extension, ourselves, focusing on some mood or aspect that echoes our human condition, and sometimes again, illuminates it.” - Carol Summers “Woodcuts 1950-1988”, 1988. (Text from exhibition label).

(Figure 30) James Hiroshi Suzuki, aka Jimmi Suzuki, Japanese Export Light, 1998 Mixed Media 46” x 20”

A retired emeritus faculty from Sacramento State, Suzuki taught in the Art Department from 1976 to 1999.

Suzuki was born in Yokohama, Japan, first studying in Japan with Yoshio Markino and, after arriving in the U.S. in the 1950s, at the Portland Maine School of Fine Arts and Corcoran School of Art in Washington, DC. (Text from exhibition label). ______

(Figure 31) Rufino Tamayo, Unknown (?), n.d. Original lithograph large edition 25” x 20” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Tamayo is a major master of Mexican modernism. Tamayo’s legacy in the history of art is truly found in Tamayo’s oeuvre of original graphic prints, in which Tamayo cultivated every technique, producing graphic work between 1925 and 1991.

Purchased in 1940 by a New York art dealer for forty-dollars, this print was added to the art department’s collection at some point; however, more information and research is necessary in order to establish provenance. (Text from exhibition label).

(Figure 32) Andy Warhol, Cooking Pot, 1962 Limited edition lithograph 6” x 8”

Cooking Pot was among one of the simplest and earliest works from Warhol’s photo-silk- screened series. With proceeds from the sale of prints donated by art faculty, the Art Department was able to purchase this and other prints during the sixties. (Text from exhibition label). ______

(Figure 33) R.W. Witt, Unknown (?), n.d. Oil painting 26” x 40” Photo from Sacramento State Art Collection Database, 2013. Photographed by Nancy Wylie.

Late professor of art emeritus, Raymond Witt was first a student at Sacramento State, then a professor, and became chair of the Art Department from 1960 to 1972. Raymond and Joyce Witt’s love of Sacramento State led them to endow the Raymond and Joyce Witt Scholarship, given to outstanding art students annually. (Text from exhibition label).

Panel Discussion: In conjunction with the Lost & Found exhibition, a panel discussion regarding the history of collection was held on September 13, 2012. Art

Department Chair Dan Frye (Chair 2007 – 2013) and five former Art Department chairs:

Emeriti Professors Irving Marcus (Chair 1966 – 1970), Allan Gordon (Chair 1970 –

1976, 1985 – 1988), and Lita Whitesel (Chair 1991 – 1995); and Professors Phil

Hitchcock (Chair 1976 – 1985) and Catherine Turrill (Chair 2001 – 2007, 2013 – present) discussed their involvement with the history and the development of the Art Department collection. Irving Marcus recalled that he and Ruth Rippon purchased art from traveling art dealers at very affordable prices.24 Phil Hitchcock stated that, “We have something that is a treasure that doesn’t have any supervision. It needs stability.”25 Lita Whitesel added that there was a lack of control over the art, and there was not a collective memory of art that was lent out to administrative offices. She concluded that appropriate space is needed along with a curator and a grant to pay for framing and rotating exhibitions to continue the practice of engaging, intriguing and challenging students by the works of art.26

Guest Lecture: Laurence Campling, a documentary videographer participated as a guest lecturer on September 20, 2012, presenting his video project on the Candy Store

Gallery (1962 – 1992) in Folsom, California, which is a key part of the history of art held in the university art collection.

24 Panel discussion of Art Department Chairs, Lost & Found exhibition event, September 13, 2012, California State University, Sacramento, Sacramento, California. From the author’s notes. 25 Ibid. 26 Ibid.

The Lost & Found exhibition, the panel discussion of Art Department former and current chairs, and the lecture by the documentary videographer, as well as three receptions, were very well attended, with positive feedback and comments. The majority of the comments recorded in the exhibition gallery notebook recognized the need for and encouraged the efforts to conserve and preserve the valuable art collection (Appendix D).

Chapter 3

DEVELOPING A PLAN, A PROPOSAL AND A POLICY

Advisory Committee

Sacramento State faculty recognized the need for more organization and authority in securing the collections on campus and formed a collections advisory committee in June,

2012 with campus and community art and collection management professionals. I was asked to be a member and to serve the committee’s objectives through research. This committee includes: Elaine O’Brien, Professor of Modern & Contemporary Art &

Theory; Professor Phil Hitchcock, Director of the University Library Gallery; Professor

Terri Castaneda, Director of the University Anthropology Museum; Sheila O’Neill,

Head, University Library Department of Special Collections and University Archives;

Graduate students Nancy Wylie and myself. Additionally, community art professionals:

Diana Daniels, Crocker Art Museum; and Beth Jones and Lynda Jolley, owners of the

Jay-Jay Gallery, Sacramento, added professional support and advice. Professor Dan

Frye, then Art Department Chair; Professor Catherine Turrill, current Art Department

Chair; Nancy Tooker, emeritus Associate Dean of the School of the Arts; Leslie Rivers,

Assistant to the Director of the University Library Gallery; and Kevin Ptak, Art

and review industry standards for university collections to formulate a policy and a management plan for the permanent collections at Sacramento State.

My research for this master’s project has supported the needs of the collection committee and helped shape policy and management plans. It includes a comparison study of other CSU campuses (Appendix E) in order to align the collection management practices of Sacramento State with those of other CSU campuses. Furthermore, along with several members of the Sacramento State collection committee, I will be meeting with Catherine Sullivan, Curator at the Janet Turner Print Museum at California State

University, Chico on December 6, 2013, to study the collection management practices on the California State University, Chico campus. In addition, University of California,

Davis Collections Manager Robyn Bernhard opened their art collection storage facility to us as another source for study and comparison (Appendix F)27 and continues to be a resource as they prepare to move into a new museum facility.28 I also researched job descriptions of campus collection managerial positions at comparable universities and researched industry-level archival/collection management supplies (Appendix G) to help formulate the Sacramento State proposed policy and management plan.

27 Photographed by the author during tour of the University of California, Davis art collection facility, January 10, 2013. 28 University of California, Davis is expected to break ground in 2014 on the Jan Shrem and Maria Manetti Shrem Museum of Art. Included in the plans is a repository for the arts collection. http://shremmuseum.ucdavis.edu/fine-arts-collection/index.html, accessed November 25, 2013.

Collections Management Plan

At the request of Ed Inch, Dean of the College of Arts & Letters, and Charles Gossett,

University Interim Provost, a Sacramento State University Permanent Art Collection

Management Plan (Appendix H, without original attachments) was submitted for administrative consideration on October 22, 2012. With collaboration from all of the committee members, a mission statement was written, as follows:

“Mission: Beginning with the plan outlined here for that part of the university’s permanent collection held by the Art Department and the School of the Arts, the overall mission of the collection management plan is to secure, manage, and develop the entire permanent collection of Sacramento State University at the level of university collection standards, protecting it as a heritage and making it available for education, exhibition, research and community service, especially visual-arts teaching and scholarship at every level through original works of art. The Art Department and School of the Arts collections have been created by Art department professors who have shared the same values and purposes for over half a century. The artworks in both collections share the same consistently high quality and regional focus and must be managed as one collection that represents the art history of Greater Sacramento. Because of the wide-spread influence of art produced in this region since the 1960s, local art history has national and international significance.”29

This plan charted the collection management process by phases, with the first phase creating the position of a collection manager/registrar; relocating the Art Department and the former School of Arts collections to a suitable permanent storage/management facility; purchasing and supporting collection management software; and developing a collection management policy.

29 Jennifer Grossfeld, Elaine O’Brien and Sheila O’Neill, Sacramento State University Permanent Art Collection Management Plan, October 22, 2012, California State University, Sacramento, Sacramento, California, 1.

Collections Management Proposal

Further clarification from Dean Inch in an effort to facilitate the collections management project resulted in a second, revised proposal, submitted by the committee:

Sacramento State University Art Collection Management Proposal (Appendix I, without original attachments, salary information redacted). The mission statement was refined to read:

“Mission: to secure, manage, and develop, at the national standard of public collections, the entire permanent collection of Sacramento State University, which includes works held by the Art Department/School of the Arts (ARTS collection), the Anthropology Museum, University Enterprises Incorporated, the University Library, artworks in administrative buildings, and campus public art: sculptures and murals. Overall, the university stewards thousands of valuable, unique objects worth millions of dollars, almost all of them donated by artists and collectors who trusted the university to exhibit and care for them properly and in perpetuity. Beginning with Phase 1 outlined below for that part of the university’s collection held by the Art Department/School of the Arts (ARTS collection) the aim is to protect Sacramento State’s finest possessions and its most significant material heritage and make the objects available for community service, outreach and public relations, exhibition, research, and education.”30

Interim ARTS Collection Management Policy

A collections management policy addresses various aspects of collection management and defines the scope of the collection, how it will be cared for, how it will be made available, and who will be responsible for the collection. It is written to meet the specific needs of the collection. Policies, procedures and plans should support the specific collection. As outlined in the Sacramento State University Permanent Art

Collection Management Plan (Appendix H), a component of the first phase of the collection plan was to develop a collection management policy, stating:

30 Elaine O’Brien, Sacramento State University Art Collection Management Proposal, June 28, 2013, California State University, Sacramento, Sacramento, California, 2.

“The policy will be drawn from existing codes of ethics and professional standards established by the American Association of Museums and used by comparable university art museums and collections in the CSU system. (See examples from CSU Long Beach, Attachment #5 and CSU Chico, Attachment #6). It will be collaboratively written by Jennifer Grossfeld, Sheila O’Neill, and Elaine O’Brien with the advice of the Art Collection Advisory Committee. Purpose: To establish a systematic framework to guide the ongoing management of the University Art Collection, based upon the mission and collecting scope of the collection.”31

For the Sacramento State Interim ARTS Collection Policy draft, I conducted research regarding the existing code of ethics and professional standards established by the

American Association of Museums. The Sacramento State policy thus followed principles generally accepted by the international museum community as outlined in the

International Council of Museums in the ICOM Code of Ethics for Museums. These principles include:

“Museums preserve, interpret and promote the natural and cultural inheritance of humanity. Institutional standing Physical resources Financial resources Personnel Museums that maintain collections hold them in trust for the benefit of society and its development. Acquiring collections Removing collections Care of collections Museums hold primary evidence for establishing and furthering knowledge. Primary evidence Museum collecting and research Museums provide opportunities for the appreciation, understanding and management of the natural and cultural heritage. Display and exhibition Other resources Museums hold resources that provide opportunities for other public services and benefits. Identification services

31 Grossfeld, O’Brien and O’Neill, 6-7.

Museums work in close collaborations with the communities from which their collections originate as well as those they serve. Origin of collections Respect for communities served Museums operate in a legal manner. Legal framework Museums operate in a professional manner. Professional conduct Conflicts of interest”32

Another significant aspect of the collection policy is incorporating already existing

Sacramento State policies into it. Specific policies that were reviewed and incorporated include the Conflict of Interest Policy outlined in the Sacramento State Development

Policy Manual, specifically the guidelines for Special Collections, including the Special

Collections Proposal Form.

As of this date, a proposed Sacramento State Interim ARTS Collection Management

Policy has been drafted and presented to Dean Inch; however, it has yet to be instituted and is still in the process of administrative review (Appendix J).

32 ICOM Code of Ethics, http://network.icom.museum/fileadmin/user_upload/minisites/icom-us/PDF/code2006_eng.pdf, 2004.

Chapter 4

CONCLUSION AND RECOMMENDATIONS

As of this date and at the request and with the support of Ed Inch, Dean of the College of Arts & Letters, progress has been made in regards to the professional management of the university art collection. The Art Department collection and the collection from the former School of the Arts have been moved from their various storage locations into a temporary storage facility and a pre-accession inventory has been conducted. Using the

Art Department Collection Inventory that I compiled in April, 2012 and updated in

September, 2012 (Appendix B), I have been part of a three-person team that has photographed, documented, secured and entered inventory data for each work into the university art collection catalog. Condition reports have been conducted and entered into the database for each piece as well. Additionally, I have created individual hardcopy artist/artwork files which correlate with the database and the temporary numbers assigned to each artwork.

This project relied upon my extensive research regarding collections management. I had learned the professional art collection management methods and knew the best reference books, which we kept at hand and consulted throughout. I was awarded a scholarship in April, 2013 to attend the American Law Institute/Continuing Legal

Education Legal Issues in Museum Administration conference33 where I gained further knowledge in collections management and museum topics at professional industry

33 Scholarship was awarded by the Association of Academic Museums and Galleries (AAMG) and the American Law Institute/Continuing Legal Education (ALI/CLE) for the ALI/CLE Legal Issues in Museum Administration conference in Chicago, Illinois, April 10 – 12, 2013.

standards. Integrating this knowledge of correct procedures into the Sacramento State

University Permanent Art Collection Management Plan (Appendix H) and the

Sacramento State University Art Collection Management Proposal (Appendix I), which I wrote collaboratively with members of the university collections advisory committee and then following the guidelines and recommendations set forth in these documents, we accomplished the following: relocated the Art Department and the School of the Arts collections to a suitable storage/management facility; purchased and instituted FileMaker

Pro5 software with a collections management template for a collections digital database; conducted an industry-level pre-accession inventory, including photographing, documenting, wrapping, securing, numbering and labeling each artwork; and developed the proposed Sacramento State Interim ARTS Collection Management Policy (Appendix

J).

Instituting change in a university is a long and complicated process. Through the duration of this project, I have gained knowledge and experience in collections management and industry practices; however, I have also gained valuable experience in university practices and procedures - including the challenges associated with instituting new policy, departmental and administrative negotiations in navigating budgets, time and space demands and even personalities. As a professional moving forward, this education and experience is invaluable.

My project made significant progress from start to finish. From uncovering the art collection in a closet with a water heater amongst many other locations, to securing and

inventorying it in a temporary storage facility, the art collection is once again being recognized as a valuable resource for the university.

Recommendations: A professional collections manager/registrar is needed to develop and lead a stewardship program that will benefit the university as the comprehensive resource for both scholars and the community. It is also imperative that the proposed

Sacramento State Interim ARTS Collection Management Policy (Appendix J) be instituted to further serve as a guideline for this project.

A professional stewardship program is necessary to secure, manage and develop a university-wide collection with a stewardship program based on industry standards in collections management and archival/museum storage. A university-wide collection will encompass all of the collections of a material and visual culture on-campus with a common digital registration system, retrievable to all departments for interdisciplinary studies, and ultimately, available to the public. Once a stewardship program is established, including properly securing and storing the collections in a museum-standard repository, creating a professional level university collections manager/registrar position with appropriate support, establishing an accession/deaccession committee, instituting a permanent collections management policy, and funding conservation, preservation and restoration in an on-going basis, the collection can be further developed and utilized as an educational resource and a development tool. Making it available for education, both at the collegiate and community level will also allow the university to build another bridge as a resource for exhibition, research and community service and ultimately, to make a public collection available. 44

APPENDIX A

ART John Fitzgibbon’s Narrative (c. 1980)

The first day I went to work at Sacramento State I saw something nice, one of those things that stays with you always. Late in the afternoon, after teaching, I was walking across the Commons in company with the sculptor Bill Geis, in what we hoped was the direction of the Cafeteria. The man stretched out in sleep under a Japanese mimosa tree we recognized first by his costume – faded jeans, boots, a denim shirt – as our colleague, Assistant Professor William Allan. Allan had evidently found his first day at the college rather enervating, as first days can be. Among the many reasons I didn’t wake Bill Allan was the consideration that he is one of country’s best artists – a realization I had already come to in 1968 and that Geis had come to years ago, when he and Allan were rookie stars of the American art world, though barely out of art school, and that now, a dozen years later, most informed people share. A person in Bill’s boots deserves all the rest he can get.

Was it always thus? In our department, I mean?

I’m afraid not.

Take, for instance, Jack Ogden, known to the world as an artists’ artist, and a pretty hard- knocking painter as West Coast artists go. This painter, it is told, wore a tie to school every day the first year he taught at Sac State. Jack had for many years been a high school teacher. He wasn’t about to go back!

Art department vs. art department: the opposition is not at all facetious. In a sense it is even the critical distinction when it comes to the history of college art departments in the United States. And when it comes to figuring out how a welter-weight University in a minor-league city came to possess, for a time, an art staff the equal of any school’s anywhere, then it really will have to be understood that there exists an inverse ratio between an art department’s “respectability” and those crucial qualities and attitudes which permit a department to enjoy the art world’s respect. Late in the 60’s at Sacramento State a dean and a department chairman took a chance. They reached out to the Bay Area, to Southern California, to Chicago, and even to New York and they hired some really, truly art celebrities with paint on their shoes and a painting or two in a museum or three. These artists variously looked like Charlie Chaplin, refused to travel by plane, carried a purse instead of a wallet, consulted the stars, forgot to vote,

did tai [chee] in the stairwell, ate nothing but sprouts, spelled “professor” in a number of endearing ways, doodled masterpieces in the bathrooms, and when recruited for a television panel on the Meaning of Art picked their nose on camera and said not one word. The women artists bought their clothes in 1948. At a department meeting they looked so great you could hardly take your lousy sexist eyes off them and listen to the report on repair of major equipment.

The chairman responsible for the influx of important artists was Irving Marcus, a painter who then thought he might be good enough to be part of the national scene and by now is pretty well on his way to it. He cared more about this than about growing roses and moving to a neighborhood where the schools are good. The dean was the late Harvey P. Reddick, a man who had an adventurous streak in him, and who, as a performing musician, had a better grasp than most administrators of how high the stakes can go when major art is the issue. Like Marcus he was bored about two-thirds silly and like the artists whose contracts he signed he was aware that he might not live to see Thursday. So he took some risks.

In retrospect it doesn’t seem it was much of a risk to hire Gladys Nilsson and Jim Nutt, in our generation the two best painters to come out of Chicago, the art metropolis which for post-1945 art history is likely to have something of the import Flanders had for the [Quattrocento] or that German Expressionism had for the school of Paris earlier in this century. But the outcome of this particular Art Stakes was, in the late 60’s, far from decided and only a few observers, including, fortunately, Irv Marcus, had the prescience to see the result. Even now, in 1980, it would be wise to be bet the Nutt-Nilsson “exacta” both ways. They are a closely matched couple, and marriage is the subject of both painters’ amoebic expressionism. In Jim’s menacing comedy men and women are in each other’s grip; Gladys’ world of stylized, biomorphic figures is less agonized and less driven: her charming creatures preen and moon about in an agreeable silliness that is no less truthful than the tense hostilities revealed in Jim’s two-way fun-house mirror. In Sacramento they lived in River Park, a short walk from the Campus, and did everything together – except visit the other’s studio. They spent the whole time indoors during their tour here, the way you do it in Chicago, with Jim even building a covered walkway so that one could go from the house to the garage-studio without danger from the Sacramento elements. Gladys and Jim shopped at the market where their neighbor Bob Else buys his groceries, and this they did together, too, with Gladys making the selections from California’s bewildering array of fresh vegetables while Jim stayed up front and read magazines form the rack. At night they watched old Hollywood movies on television, and once in a while would recommend one that shouldn’t be missed. Jim Nutt was a stickler for working the departmental rules to this best advantage and he was a tireless agitator for such things as his Early Promotion (Professional Merit), which he wished for not so much for the salary increment as for the

relevance he perceived to his honor. Ironically enough, “Professional Merit” was the undoing of Jim Nutt’s career as Cal State professor. After a time he and his wife began to make the kind of money that causes things to be uncomfortable for everybody, and Gladys and Jim had to quit teaching and quit Sacramento and go back in triumph to Chicago, where they remain today, the [chiefest] totems for rich people there. In the department here Jim and Gladys kept their distance and made only a few close friends – not, to my regret, including me; but at night when the late movie comes on Jim and Gladys are remembered hereabouts by more than their friends as a couple of painters we are glad we didn’t miss, and in the department their loss will always be felt because in our field the axiom does hold: the best artists make the best teachers.

Everyone when he sets out to write has in mind an ideally sympathetic reader, a rather smart person, quite smart as a matter of fact, who doesn’t miss the small touches and feels pained when the jokes don’t come off, if they don’t and who likes movies of the 30’s and 40’s, and prefers California wines to French on the mysterious ground that California painting is just as good and just like Paris or N.Y., and just possibly can tell the difference between Jim Nutt’s group of painters, The Hairy Who, and the work of the Chicago Monster Roster of one generation earlier. My actual reader, I’m pretty sure, is an amiable academic person from another discipline than mine, a person whose desk is covered with exams that need grading and who instead of dreaming about his or her sabbatical leave coming through is wasting time riffling through this enchiridion, looking for the good parts and dwelling for a minute or two with me. This reader, as I imagine him, is a formulator of idle questions, such as Who is the third best painter out of Chicago in our day and age.

Surprise! The question does have a bearing on our story. The third best Chicago painter is maybe Ed Paschke, or it’s maybe Karl Wirsum, or it’s maybe Roger Brown, or it’s maybe someone else. Most people I know would probably give it to Wirsum, an original member of the Hairy Who. Years ago this young artist attracted attention at the CAA annual meeting where thousands of artists come to apply for dozens of jobs. Karl was dressed to match the absurdity of the situation. To the job interview he wore army dungarees, a hard hat and tennis sneakers, and carried a baseball bat. Someone said, he must not want a job because nobody is going to hire him dressed like that! I said, you are probably wrong on both counts. Not long afterwards Karl Wirsum was hired to teach part-time at Sacramento State.

The jarring, ferocious color, zig-zag design elements, and bi-lateral symmetry of Wirsum’s figure paintings are fueled by his interest in tribal art and in the art of children, maniacs, and so-called “primitives.” WIrsum, Nutt, Nilsson, and later the artists Joan Moment and Phil Hitchcock learned that at our school this interest in “Outsider Art” had been pioneered locally by Dr. Don Uhlin, a distinguished

scholar in Art Education and his colleague Dr. Tarmo Pasto, the indomitable old Finn who started the department in a bungalow back in [195?]. Both men had formed valuable collections of the curious but far from hapless art which is sometimes produced by institutionalized people. These collaborations between the Chicago contingent and the art educators were instances of those too rare occasions when specialists literally run across each other, to their mutual benefit.

Karl Wirsum lived with his family down at the foot of E St. in a cottage full of antique toys and a McGovern sign poking out above the weeds out front. He would teach only one class per semester, though he was offered more. Into this class he would pour all he had. For his students it was a magical treat. Apparently Wirsum felt that teaching was like true love: you can’t have it MWF at 9 and then all over again at 11 on something new. And then, too, he wasn’t really in Sacramento to teach so much as he was to be in bicycling reach of his friends Jim and Gladys. For work and play he wore a baseball cap turned backwards, like a catcher, along with suspenders over a sweatshirt; and this last a good thing, too, because his pants, with the chain leg rolled at the cuff, were invariably 3 or 4 sizes too large, like Stan Laurel in a barrel. Wirsum and I got along but he was always wary of me because I drove a yellow Italian sports car and this fact convinced him that I was rich. In 1972 the State Department asked me to give some lectures in South America on the subject of California art and I asked them to send along a big current exhibition of the work of my colleagues, here and at Davis; they said OK and I insisted that the paintings of Wirsum (and of Wayne Thiebaud) be added to the extant exhibition which the government had agreed to pick up. This softened Wirsum’s attitude toward me but only in the way, you know, that we admit that the eccentricity of the rich can lead them to do good once in a while. It continued to please him to believe that I was rich. After a while I believe that this pleased me as well.

The main thing Karl Wirsum accomplished in his years in Sacramento was the construction and painting of puppets for a play of his own devising. A delightful short film of this activity was made at the time by Suzanne Simpson, then finishing her degree with us. This film was shown at the Bienal de Sao Paolo in 1973 when Nutt, Nilsson, Wirsum headed the Made in Chicago show which represented the USA that year. At this writing Suzanne has completed 5 documentary films on noted West Coast artists. They are entertaining and beautiful all, but one may harbor a special fondness for her film on Wirsum, a man who thinks that everybody ought to have a good job, regardless of his wardrobe.

In Sacramento the Chicago connection endures into a second generation with the arrival in 1976 of Philip Hitchcock as chairman. An artist interested in process, performance, and conceptual art, he had been, in Chicago, quite literally surrounded by hundreds of students drawing pimples, armpits, and goiters – subject matter introduced into art by the Hairy Who and unbeknownst to graduate students in Chicago,

Sacramento, or anywhere else, absolutely bound to disappear from art the moment work by Gladys, Jim, and Karl began to pile up in Museums, Biennials, and private collections around the world. Hitchcock’s idea of a good piece of art, enacted at the important Edinburgh Festival, was, after some preliminary months working with hard-case convicts, to walk the streets of the Scottish capitol with felons and desperados. The authorities of Prison who connived in this piece understood it; the director of the prestigious Festival did not. He wondered if it were art. To the colleagues who bought Philip to Sacramento it looked like the work of an artist aware of the primary relation of art to human freedom.

One of Hitchcock’s first moves was to initiate a student and faculty exchange program with the Art Institute of Chicago. Already the route is well-worn. This official affiliation, from the faculty’s point of view, is more meaningful than the welcome chance to touch base it provides originally mid-western artists like the photographer Roger Vail and the developing abstract painter Oliver Jackson. For about as long as CSUS has been in existence and had such a thing as a department of art America has enjoyed an unchallenged hegemony in the visual arts. And this leadership has been, basically, a New York phenomenon. Artists everywhere have had a choice whether to style what they are doing on one or another New York sanctioned mode of art or to risk provinciality (and New York neglect) by attempting something different. An enormous number of artists have thought to solve this dilemma by moving to New York. Nor does this always turn out badly. One of our best graduate students of the 70’s, Don Hazlitt, went immediately to New York, where these days to far-flung acclaim he turns out works which some resemblance to the paintings of Ralph Humphreys. The innate taste and flair for the beautiful in his work make is a sure thing that this young artist, who used to pump gas in Stockton, will shortly emerge from the New York pack and be a New York artist to reckon with in the 80’s. And there have been others, like Victor Faccinto, a painter and maker of “underground” animated films.

But it is as a haven for art-independence, not as a feeder school for New York, that the CSUS department deserves this footnote in the history of art. A haven, that is, for artists with an independent statement to make, for artists, that is, whose work acquires part of its character and import from the very fact that it is being made far from the madding crowd. A haven, in other words, for artists who do not believe that the best art of an era must be made in a single place and who contend with the force of their lives and art that if there is, after all, to be a single place then New York City is the least likely of locales to nourish their feelings and their vision. Such contentious ambition wants quick distinguishing, of course, from the safe, self-satisfied tenure-garden where nothing is happening and nothing is supposed to happen until everyone is happily dead – the situation all too often hankered after by more than enough university art departments west of the Hudson.

In general, the best New York art, like Ralph Humphrey’s, has been for some little time, about art itself; about the rules, strategies, internal conventions for making a painting; about such “issues” as “object vs. illusion,” “depicted vs. literal.” Most of these battles, for simplicity’s sake, are fought on abstract ground. The best art made deliberately Outside New York, like Bill Allan’s, or Joseph Raffael’s, or Jim Albertson’s, is more often than not figurative in some way and is plainly about life, not art. The art of Northern California, especially work coming out of Sacramento State (and from those neighborly fields of shared spiritual vision at Davis) has always been about the chances for a better society and the possibility, at this late date, for a personal salvation. Rather than with merely formal questions, Sacramento art deals with what counts and what doesn’t; it is about looking out for the wrong turns; it is about seeing what is inevitable; it is about how to keep a clear mind in a decaying body. Where New York works typically have irrelevant, after-the-fact titles, or are called No. 15, or simply “Untitled,” Bill Allan’s paintings, founded on a radical respect for Nature as supreme arbiter, require titles to complete their meaning: Shadow repair for the Western man; Deception Pass; Tentative Assault on Mt. Fear. Albertson’s scathing pessimism and defiant raunchiness (he came out of Chicago Art Institute shortly after Nutt) hardly ally him with the ethereal purity of Allan’s transcendental landscape paintings. Yet, he is linked to Allan and, like Allan, separated from art as it is known in New York by the fact that in paintings like the lurid Sex, Violence, Religion, and the Good Life, shown at the important “Bad” painting show at the New Museum in New York, Albertson takes an interest in questions like, Why are we here? and, What should we do next? Or at least he regards these questions as still unsolved. Albertson taught briefly but memorably at Sacramento State in the 70’s. I point to his sojourn with us because he is among the best younger painters in America and because the uncompromising qualities in his painting make it hard to imagine where else he would have been as welcome. Raffael, from Brooklyn, and educated at Cooper Union and Yale, was virtually the first post-war painter to turn to the photograph (long taboo as a source of pictorial energy). An elegant virtuoso of the brush and a colorist not less glamorous than Renoir or Rubens, Raffael was successful by every standard and already a rising figure in the New York scheme of things when, nonetheless, the hustle-bustle of the art world started to pall for him and, attracted by the climate of the vision in Northern California, he moved here for good. Once at Sacramento State his name grew ever larger on the West Coast, a consequence of the stunning parade of big [N]ature pictures – paintings emphasizing the wholeness, monumentality, and integrity of the image – which now replaced the fragmented, chopped and dislocated images of suffering people and creatures Raffael had produced in the New York milieu.

The great Water and Lily paintings of the 70’s are still swept by a continuous sub-current of pain, but this is perhaps only the perpetual and irreducible pain of Being, from which no creature can escape, and in these new masterpieces, as I can truly call them, this fundamental pain is assuaged by a tide of

spiritual feeling and a deep sense of the oneness and harmony of all created things. A tender radiance suffuses all. That Raffael’s eloquent small brush licks into life on the canvas; there is an awesome aureole of spiritual Presence. When an artist is as talented as Raffael it gives birth all over again to familiar theories of divine afflatus in painting because people cannot believe that a man can rise this far about other men.

All the same, in his teaching Raffael stressed stick-to-it-[iveness], regular hours in the studio, concentration, and work-energy. He would say that in art the end result was 90% steady application and only 10% talent and luck. Kindness was ever the touchstone of Raffael’s teaching as whole; he could also be candid to a cold degree of cruelty when the situation demanded. There were students who had to hear that it was perhaps time to prepare a career outside art. In general, feelings were what Joseph emphasized with students: how to have a real feeling, how to keep it alive. Feelings were what he insisted for humanity which is the burden of every important artist’s statement.

Late one afternoon I was sitting in the [O]ffice by myself when a phone message came in for Carlos Villa, an uncommonly popular teacher in a department of popular teachers. Carlos is a painter of powerful, rhythmically swirling abstractions, at once nonchalant and gutsy, to which he frequently attaches feathers, bones, bits of mirror, fetish-dolls, and spatters of blood and semen. They seem to have been painted not with the head but with his heart, liver, lungs, and viscera. Ultimately they derive from Jackson Pollock and Pollock’s good friend, the painter Alphonso Ossorio – like Villa, a Filipino. But this derivation is by way of the more turgid, chthonic West Coast school of abstract expressionism which developed at the San Francisco Art Institute where Carlos Villa went to school. Villa’s place in the history of painting in California is secure, and the précis of “Art Institute” brand AbEx might be given as Clifford Still, Frank Lobdell, Jack Jefferson, Carlos Villa, and the Future. Villa was hired at Sacramento State in the late sixties when a new chairman arrived and, to his bewilderment, found fully half the department was made up not just of WASPs like deWitt Jayne and Woody Witt, painter of slight but utterly charming pastorals, but of Professors like Vollbrecht, Herberholz, Else, Geis, Hohlwein, Beckmann, Walburg, Uhlin, and Bohr, whose ancestor-folk skipped the trip to England and emigrated directly to the U.S. from Anglia, Saxony, Bavaria, Prussia, or whatever German canton. What’s more, to this Nordic constellation the department was getting ready to add the illustrious and fantastical star of Stephen Kaltenbach and the bright, wandering comet of Kurt von Meier. Again with the collusion of Dean Harvey Reddick the department literally changed complexion in hardly more than two years ‘ time with the addition to the roster of teachers like Carlos Villa, Allan Gordon, Oliver Jackson, Frank LePena, Al Wong, Grace [ ], Esteban Villa, Ed Carrillo, Jimmie Suzuki, and Jose Montoya.

This renovation did not take place at Sacramento State, any more than in the rest of our society, without certain stresses. But it did take place and it took place rapidly and with a common will toward thoroughgoing racial balance – for there was never at Sacramento, any question, as there has been at some universities, of “putting a black in the window,” as when Richard Randell was hired away from CSUS by S------University in Palo Alto, CA. The new hiring at Sacramento expanded the department by about a third, to about thirty positions, and afterward everyone felt just as they knew they would when they were able to look around at a meeting and see artists, historians, and educators who represent, collectively, the dream in a democracy like ours of a fair chance for all.

In one domain of hiring the department’s ideals still run well ahead of its practice, and this leaves us in a situation that perhaps the 80’s will correct. Well over half our students in all areas of concentration, are women, yet, to the impoverishment of life in the department, they have few enough models on the distaff side of the faculty. We all know that whenever women do not carry the same weight as men hypocrisy is the result, whereas when men and women work together under conditions of equal responsibility things go better and there is a sweet humanization of the labor. Fortunately it is true at least that the women who have worked with us over the years are a distinguished lot, headed by Joan Brown, one of the most formidable contemporary painters, and including, form Art Ed, Lita Whitesel, Barbara Herberholz, and the innovative young artist Maria Winkler, not to forget the printmaking contingent: the ebullient, indelible, and quite [unduplicable] Sylvia Lark, Kathy Keller, and Christi Hager. I can testify that the art historians miss greatly the leaven provided when Susan McKillop and Sue Willoughby were helping out. And just in general all through the department the faculty’s situation is roughly the obverse of the student’s: Too much Yang and not enough Yin.

The obstacles which impede a wom[e]n in the arts are fairly similar to the difficulties encountered by professional women elsewhere in society. One could speak of all the CSUS women as de facto feminists, and Lita Whitesel’s witty and irony-laced treatment of the treatment of women in art has been a bulwark of the Art Ed curriculum. Still, within the department at CSUS, there has been a thoughtful avoidance of doctrinaire theories about “women’s art.” Joan Brown has often had to dissociate herself from crusaders seeking a figurehead, and one talented student, going to Gladys Nilsson for guidance about how to become a celebrated “woman artist,” was sent away kindly but finally with the observation “Art is made by people, sweetie.” This does not change the fact that neither Carlos Villa nor Irving Marcus nor Bob Else is a particularly possible model for the women students who preponderate in their courses; nor, no matter how fascinating he may be in class, is Dr. Uhlin; nor am I in this respect, nor

Dr. Bohr, nor Frank LaPena. More women teachers are needed. It is the department’s only signal weakness.

The message for Carlos Villa was from a museum curator in New York. I decided to take it up to him in the painting studio upstairs where I knew Carlos and Raffael were teaching as a team. Carlos Villa grew up on the street in San Francisco along with other young men from his community and the time he wasn’t just hanging out on the corner he spent in a pool hall. His parents were immigrants; they didn’t speak much English, and Carlos’ father washed floors for the telephone company for most of his life. This put Carlos through Catholic school, where the sisters got hold of him and, since he probably was cuter and brighter than a cherry tomato, they put books in his hands, taught him to read a little Latin, and saw to it that he had drawing materials. The rest, as I’ve said, is history, or art history, anyway. Carlos went to the Art Institute in San Francisco and, for his M.F.A., to Mills College where, to earn his scholarship, he was assistant to the late, legendary Dr. Alfred Neumeyer. It’s gratifying how many artists in the department are on a comfortable footing with the history of art. It’s even more helpful, where departmental harmony and mutual understanding are concerned, that almost all the art educators and all the art historians have a hard personal acquaintance with the dues collected by serious art form anyone who is trying to make it. It is a glory, if that’s not too strong a word, of our department that Dr. Allan Gordon, for instance, has had significant showing of his ritual-objects in museums while his courses in tribal art, say, or the history of modern architecture could be as readily taught by Oliver Jackson, by Gerald Walburg. This easy reciprocity is not the rule on every campus. At Berkeley (where Art Ed is so infra dig it doesn’t even exist) the staid art historians moved away during the 70’s from their former colleagues, the dirty old artists. Separate buildings, and after all these years! At our school the arts complex was worried out of the State Master Plan by such implacable harriers as Robert Else, Gerald Walburg and Don Herberholz. Money, equipment, and space have never been what they ought to be, but the operation goes on. It was the chance to expand, not intellectual policy, that led to a physical separation of studio workshops from history. On a rainy day at our school it’s not too bad a walk, especially with a copy of the Daily Hornet held over your head, from the art history lecture room out to the Sculpture Lab by the levee. But at Harvard a psychic abyss yawns between art history headquarters in the Fogg and the lovely but preposterously tiny LeCorbusier building for practi[s]e-art. And in many other departments which look to Harvard and to Berkeley, art remains a poor cousin to its history. I remember a snowy evening in Madison about 10 years ago when I was about to give a public lecture on the work of my colleagues here and at Davis. Nixon had just done something flagrant in Southeast Asia and police were sweeping the campus to demonstrate to the demonstrators what the price of civil disobedience was going to be. I had to get from

the art studio building over to the art lecture hall and when I glanced out the window I saw a locked-arms blue line of helmet-and-visored policemen standing between Art History and Art.

The consanguinity of art and art history has never been in doubt among historians at Sacramento but there have been moments when hearts went into mouths. There was the time I was standing in the hallway with my senior colleague, Dr. Riis Bohr, a cheerful, sensitive man, with something of an intellectual green thumb, but whose conservative mien thoroughly discourages any presumption or infringement of his scholarly space. So it was that I thought the one-for-all, all-for-one model department was a goner when a man wearing a [fuschia] shirt and black patent leather shoes sailed into the other end of the corridor and let out with, Hiya Riis, what’s happening, Baby? Dr. Bohr looked, he peered, he squinted against the light from the glass doors. Then Bohr began to smile and his smile just widened on him. Riis went forward and received a hug from another culture. Then he disappeared into his office cubicle. I just stood there chagrinned, as often we are when we fail to trust, when we suppress our natural tenderness, when we outsmart our innocence. I had failed to behave as an artist. Therefore I had not known. Riis and Carlos were friends!

Wherever they’ve taught neither Carlos Villa nor Eduardo Carrillo have spent much of their week away from some neighborhood arts project they fostering. Carrillo is one of a small group of Los Angeles painters from the same era at UCLA who in their work have ignored mainstream conventions – as most Los Angeles painters have not, preferring to produce a knowing and sleek revision of New York concerns. Ed grew up in East L.A. and he is far and away the most [skilfull] Chicano painter to come along, as well as the most sophisticated – though this wasn’t enough to keep Ed out of the “Bad” Painting Show organized by Marcia Tucker to show the art world work considered to be irrelevant in New York. Ed is destined for enduring attention as a realist painter of our own period with something real to say, for once, about the time-space conjunction and other perennial subjects of 2-D art. There are those, and I am one of them, who think that Ed draws energy for his paintings from the cosmic stream of grace, and if you get down to the Crocker Museum to see the large Interior which hangs there, take a look at the rattlesnake ashtray on the dining room table at Ed’s rented house on H St. and you will see a spiritual space ship for fair.

Now some people don’t like to read about cosmic streams of grace and the like, and these readers heartily wish that artists would not be so adamant in debunking the worldview based on scientific rationalism. They find it hard to understand why our sometime colleague Jim Pomeroy, one of the best of the younger American artists, should have done a piece which cast into doubt the reality of the moon- landing. They don’t get it, they don’t get a lot of the art done in their time, and they won’t get it either, if history provides an index for prediction. One time, on television, I saw one of the local newswomen

interview Ed Carrillo at an opening at D.R. Wagner’s gallery downtown. The newslady was wearing a girl’s poplin raincoat and a pastel silk scarf; she looked very nice. Carrillo had on a serape over his white peon’s pajamas. Where do you get the ideas for these paintings, he was asked. The lady meant that the paintings were strange. “Well, I receive messages from outer space,” Ed said. He was choking back laughter and turning away to hide it. Don’t your friends think you’re crazy when you tell them you get messages from outer space? asked the not-so-dumb TV lady. Well, said Ed, when I get messages from space I think I’m crazy! And he hid his face in his sombrero so as not to be caught laughing at another person.

It was a lovely stand-off. But the lady whose wish for herself was to interview, for television, people who can do things is not alone in her irritation with artists. Why don’t they believe what other people believe, why are they forever meditating or fiddling with drugs, why should they always be mocking the official moralities which support social intercourse as we know it??? Above all, why do they have to make it so nauseating and hard to understand! Take Gerald Walburg, who is a pretty good sculptor, with reasonable pretensions to national standing. His art takes the well-travelled but still heroic route of welded-steel constructions in Cor-Ten, and his Indo-Arch commissioned by the City does just what it is supposed to do: it provides an exhilarating moment of beauty in a public place. The artist tried to make something legible, elegant, monumental, upward-thrusting, yet perfectly poised. He pretty well succeeded, too. In our time and place (and in many another place and time throughout the modern era) this success guaranteed that the artist’s work would be savaged as “frivolous and ugly” (both!) by every ignoramus in town, including, in the present case, the woman, “an art major in college,” who manages the newest and most hideous Holiday Inn, the most ignoble building ever designed, which only yesterday fell upon Sacramento in a gargantuan squat hard by Walburg’s Indo-Arch. Of course, in a society which values a hotel, which provides jobs, and does not value sculpture, which provides pleasure and truth, this criticism is natural enough and, though it is one more nail in the coffin of alienation, can even be enjoyed by artists as just another sinister good joke. In the instance of Walburg and his detractors the best is yet to come, for as the censorious eye of our fellow-artist Gov. Reagan’s once told him Walburg’s principal motif in his art has always been his own genitals, which are near to hand and seldom out of any artist’s mind, whether it is Claes Oldenburg or Judy Chicago, and which Gerry usually abstracts only lightly, as in the frivolous and ugly Indo-Arch, into a soaring counterpoint of straight line and arabesque. No one has, at this writing, made the connection, but people are bound to catch on sooner or later. Some things you have to wait for.

As for Carrillo, he was hired away by U.C. Santa Cruz where, as a gift to the community, he spent 8 months painting a mural in an unused entry off the enclosed shopping mall downtown. The painting dealt searchingly and compassionately with the theme of conquered and Conquistador, with the fateful coming together of brown and white peoples, their cultures, and their myths. The thing to keep in mind about this mural is its quality. Many artists considered it the finest mural outside Mexico. What the manager of the Santa Cruz branch of Monterey Savings and Loan, which owns the mall, thought of Ed’s work was that Ed’s work was kind of a big mess, and quite conceivably a blight on the mall and people’s shopping instincts, so one day while Ed was away working on a mural for the City of Los Angeles the bank manager, in order “to clean the place up,” had Ed’s work [spraypainted] out with glossy enamel, thus earning himself a place in the annals of banker taste. Which is interchangeable with newscaster taste and, despite the best efforts of some art department, with hotel manager taste.

So Ed Carrillo lost a great painting. And the Santa Cruz area lost a valuable public asset, all in a day’s blindness. It would take more than a day for a bank to destroy Carrillo’s proudest accomplishment in art, however. For this was not a great painting but a great action, such as few men have the grace to perform. On the strength of this action and not on the merit of his paintings Carrillo was hired to teach at Sacramento.

Back in the 60’s Ed and his wife were living down in La Paz, Baja California. People in La Paz have very little, almost nothing, yet they were importing items from the Guadalajara Market in order to have something to sell to the American tourists. It helped that Ed was able to get a grant from the Mexican government and it helped that Ed’s uncle was Chief of Police in La Paz. On a vacant lot on the road to the airport Ed went to work. For and with poor people he built a crafts and art Center from the ground up, with everyone learning what had to be learned as they went along. This Center took dozens of nearly destitute men, women, and children literally off the street and gave them back skills they had not known they had lost. The smallest craft object from Mexico, like a [handpainted] tie, or even an ashtray, can be memorable for its charm, and today the operation the Carrillos started in La Paz is strongly self-sustaining. It was a fine achievement all around, although I should perhaps label it Ed’s humblest accomplishment in art since, even though artists are not saints – particularly not our bunch, any of the same paradoxes do operate in their lives nevertheless.

Here at home in Sacramento the task of collecting community consciousness fell to Esteban Villa and Jose Montoya, founders, along with a few friends, of the Centro which serves the Latino community downtown and of its affiliated RCAF workshop which produces murals and posters designed to raise political and cultural consciousness. Esteban Villa is an artist who seemingly grew right out of the soil of

the Central Valley; in his hands (and closely followed by a host of adherents) the Chicano poster makes a strong, immediate visual impact with its flat, vivacious color statement, its interlocking clean-edged shapes stylized from pre-Colombian motifs and its airy but sure reconnaissance of the history of the modern poster from the days of Jugendstil and the Nabis on up through the Soviet ideological poster and on to the optical [zappiness] of the Haight-[Ashberry] rock poster which is the RCAF’s product’s closest antecedent.

Jose Montoya put together the Pachuco Show, and at first it appeared to be merely a hologram of a couple dancing, supported by small paintings of Pachucos by Jose and his friends, plus all kind of memorabilia of this 40’s era of confrontation between Chicano street youth and harassing bands of servicemen, sailors mostly, who were egged on by the newspapers and radio, whose interest always lies in hysteria, and who were supported, whenever it came to trouble, by the police.

Taken one at a time the old photos of cars and teen-angels, the yellowed yellow journalism which stirred “decent” citizens against the Brown Menace, are not particularly prepossessing. Seen as an ensemble, however, the gestalt takes over; one begins to see that the exhibition is a single work of art – an installation piece, in fact, and not far removed in spirit from such advanced contemporary work as Jim Pomeroy’s vast ironic Bicentennial tribute to Mt. Rushmore. In Pomeroy’s installation the piles of tacky tourist trash and kitsch images spawned by the Rushmore theme agglomerate to expose the second-rate character of this national “monument;” what comes slowly to light as one takes it all in is the overblown, fake-heroic, quasi-fascist aspect to Borghlum’s hackwork tour de force. While Pomeroy takes aim at what is dead-conventional in our experience – the [campertrucks] lined up in the immense Rushmore parking lot, the [parkranger’s] President’s lecture, Montoy’s piece manages to resurrect an attitude of the late 40’s and 50’s – Pachuco dandyism, whose one goal, during the deadest episode in American spiritual history, was to remain alive and defiant in despite of authoritarian pressures to conform. Pachuco-ism was a way, the only way, for a Mexican-American to bear witness. It was not, as perfectly malicious newspaper articles asserted, a murderous freak-show let loose upon an innocent America. Willy-nilly each [p]achuco became, by his stance, what today we might call a performance-artist.

The evening of the gallery opening I went early because I have a long drive home to Pilot Hill and besides I didn’t want to get shut out of the Mexican food and beer they were planning to serve as part of the vernissage ritual which reveals so much about the relation of Culture and Art to Nature. It was very impressive (and it spilled the opening out into the sidewalk) when hundreds and hundreds of people showed up in full-fig Pachuco attire – zoot suits for the men, the women in period dresses and hairdos. After about an hour of milling around there was a moment of sustained clarity when the relationship of

style to identity was as apparent to me as it has ever been. It was very impressive, the hundreds of people, the whole thing.

Then thousands of people showed up. Jose’s first event strayed into the street, there was nowhere else to go. First one motorcycle cop, then teams of them began to cruise a scene that was lurid, apparitional. The cops were absolutely ignored, which was just as well from their point of view. I conjecture that the police were in Condition 7-11, an imaginary Condition where the Unforeseen has just merged with the unthinkable and it’s happening right now before you have time to doubt it. Condition 7- 11 in this case being the fact that 2000 Pachucos and their ladies are apparently drinking wine in the middle of J St. and having one hell of a Friday evening.

There are ironies built into the RCAF situation, the salient one being that they are a clubby reverse-elite and can be as stuffy and one-dimensional as the next outfit with too many generals. But they have created art where before there was none; and in the process they rescued an art form – the poster – that, after the sixties, was about to be shoved in the closet once again and they gave this medium of communication an energy that will last while notions of brotherhood, cultural identity, and economic fair-play are still with us. Even so, out on Highway 50 going home from the art opening I couldn’t help dwelling on the irony that Montoya, with his deliberate aloofness from any and all modernist ploys was looking on this occasion very much like not only X the well-known New York-based installation artist but also like Y the popular West Coast performance artist.

The Pachuco show still strikes me as a very special performance action by an artist with something special to say. Very much I was reminded of the gigantic reception afforded the S.F. Art Institute’s Other Sources exhibition organized by Carlos Villa and including third-world artists like Gordon, Jackson, LaPena, Montoya, and that peregrine “little master” of 20th century idioms, the painter James Suzuki. That opening lasted three days’ worth of dancing, feasting, and general celebration. Whenever there is a triumphant opening we seem to get a glimpse of the heights in the very pleasure people take in seeing each other, renewing friendships, exchanging promises, and making plans in an atmosphere of beauty and spiritual achievement. I can remember the grand opening of the Thiebaud exhibition at the Crocker Museum when thousands of jubilant citizens, far more than I can recall seeing at an opening in any institution of the Crocker’s drawing power, came through elbow to elbow in tribute to Sacramento’s first son, and Sacramento State’s most distinguished alumnus, and one of the world’s greatest painters, whose dignity and decency, greater than other men’s, can be read in his every earnest brushstroke. But, although there was love in the air, [allright], mostly these [Sacramentans] came in the spirit of fans gathering to pay homage to one of their own who had managed to rise far above them, as far as a great

athlete, a movie star, a master criminal, a scientific genius, or in this case simply as far as millionaire artist who had done something, those pies, those opulent cupcakes, that they couldn’t quite fasten on the meaning of, but that they knew was somehow great. The people who came to the Pachuco Show were equally innocent of any true art-awareness, but they had a better sense of why they were there: to honor each other and to remind themselves of the meaning of their lives. Ed Carrillo’s friend Roberto Chavez told me that after the Pachuco Show opened in his barrio space in East L.A. that people came in with their own photos and mementoes saved from the era and just pinned them up on the walls alongside the rest of the exhibition. The Pachuco Show was very impressive. And it was a good time.

As the artist is society’s bad boy, so ceramics is the bad boy of the art world. Around ceramics there lingers an aura of not-quite-respectability. In New York City only 32 or 41 or 17 people have so far found out about ceramics. Ceramics in New York has the status of pottery. Ceramics is 12 plates and cups for Aunt Agatha and Uncle Buz. New York hopes it will not have to learn about the ceramics thrown and hand-built in Sacramento, California where, needless to say, ceramics is major art fare.

The slight disreputability suffered, or, if you will, enjoyed by ceramics is a tenacious hangover from the Renaissance prejudice, old in Michelangelo’s day, which preferred Painting to Sculpture on the ground that 2-D art is more ethereal, less palpable and gross, les material than 3-D work. And hence more philosophical, more capable of giving expression to the spiritual realities art is always “about.” Michelangelo, ever defiant of norms and of the supposed legitimacy of authority, took it on himself to defend the role of the sculptor, that disheveled fellow with his hair stuck full of wood-shavings, his clothes caked with marble dust, his shoes webbed with wax-drippings, his hands chapped and stained from daily manual labor. Can it be that this cagey disheveled person has survived these many centuries and who knows how many efforts to clean him up and dry him out in order to turn up in the guise of a professor who professes clay under the name, say, of Peter Vandenberge, and genius Dutchman and van Gogh look- a-like? Or professes clay under the bright name of Robert Brady, sadly smiling through a thick cloud of dust and not being able to do anything with this hands that does not come out more beautiful than the last. Or professes clay under the perky [goathered] lady name of Donna Billick whose tall, standing Kaoliths look beautifully wacky from one angle and when you walk around to the other side, well, they look wackily beautiful. Now all this takes place in Sacramento under the wise aegis of Ruth Rippon, an artist who is herself synonymous with the historical development of ceramics art on the West Coast, which is the main place, when you think about it, where ceramics has really developed at all. Under Ruth’s direction facilities have expanded, there has been a flowering of ceramics workshops of every conceivable kind, and numerous talents have sprung up, which is all the more amazing to the art

historians among us, to whom the ceramics major, his eyes cast down upon gross earth, his mind bent low and more bound to primal matter than even the sculptor, his heart only happy when up to this elbows in slip, appears as a special kind of nut (and the hardest to crack). In the art history lecture room the ceramics student sits listlessly in the back of the class and looks in wonder at the object on the student’s desk next to him. It is a book. The ceramics student wishes the clock would hurry, wishes there would be a power-failure, wishes the teacher would have a heart-attack. The ceramics student would like to go back to pounding clay. From sweatshirt to shoes the ceramics student is covered with the magnificence of mud.

And now we are back at the central paradox in this matter of why there should be a department of art in a University at all. Because from this mud, in the sensitive hands of Bob Brady, the powerful hands of Peter Vandenberge, arise objects of art which will continue to be valued and studied long after the submergence of our own emerging University. Brady, like Vandenberge, was seasoned in Robert Arneson’s fruitful workshop in Davis. The quality of Brady’s giant, yet fragile urns, extrapolated from tribal motifs, and infused with pathos as well as humor, is indicative of the major role he will play in American art of the next decades. As for Vandenberge there is simply no telling how good he is. With the exception of Pete Voulkos whose leadership of the California school of ceramics dates from the days way back when time began (but only a couple of decades ago as humans measure) when Voulkos and Ruth Rippon and a very few others were mauling the clay alongside each other at Oakland’s Arts and Crafts, with this single exception of Voulkos, Peter Vandenberge must be credited with the greatest natural gift for form-finding of any artist working in clay. When Brady recently turned for inspiration to African masks, Peter followed suit creating a series of outside, free-standing heads based on his own revision of Modigliani’s revision of Baule work. They answer the question whether profound human feeling can be translated into clay and the question why Vandenberge is so [underrecognized] in the art world is being rendered moot just now by the Everson Museum’s important circulating show of American ceramics of the last hundred years: 20 artists, including Vandenberg, Arneson, Voulkos, and Dave Gilhooley (whose charmingly priapic ceramic frogs have turned out to be museum-domesticated all over the world and who has recently been teaching a class with us whenever he can). The youngest artist in the Hundred Years show Tom Rippon, is Ruth’s nephew. Rippon never enrolled at Sac State or at Davis either – he just “hung out.” But we count him because he is awfully good and, same story, we count too the excellent national- class abstract painter John Ford, one of the best artists under thirty.

Why so many good artists showed up at CSUS in the early 70’s has something to do with the historical circumstances. Raffael and I were visiting professors at Berkeley one summer later in the 60’s, a

time when the University, faced with mounting daily violence over the immorality of racism and the Vietnam War, had been forced to relinquish its authority to police. Understandably, its moral authority was soon hard to find. The students there were so beaten down and beaten up that no constructive thing could take place in the classroom. Going to school was just a holding action. Kids brought their dogs and sat around. In the Fall Joseph and I left gladly for Sacramento where you could talk to students without being drowned out by a helicopter. Other teachers came or were already here for roughly the same reason. Once here they looked around, saw each other, and stayed a few years. There ensued what by any objective standard has to be called a Golden Age of creative activity at our school and in the surrounding art community. Six or seven of the very best artists in this country would be sitting in a curriculum meeting talking about how to get the off-set press rolling and preparing to drop in on a student opening. The place glowed because, I’ll say again, the best teachers have the most to teach.

After a while some artists got too rich to teach anymore (Holden Caulfield was right: you can’t room comfortably with someone whose suitcases are not as good as yours). So they quit and pretty soon others moved away or went back to where they came from and before long the blood ox in the department had virtually been transfused. The situation now, still looks good to me, to Don Herberholz, to Bill Allan, to most of us who have now been here for some time. There is a young chairman (who is treating his whole administrative task as a piece of performance art), there are enthusiastic, young, and improving artists and teachers like Mike Riegel, Kathy Keller and Maria Winkler, not to mention such enthusiastic, still-young-for-an-artist up and comers like Ellen van Fleet, Oliver Jackson and Roger Vail who are heard of now and again on the national scene.

Nor to forget the grizzled but not-out-of-it-yet figures of Irv Marcus and Jack Ogden, keeping their art within striking distance of the main chance, involved as always throughout their careers with a sort of dialectical exchange of painting ideas, and teaching better than ever now with the curveball, slider and change of pace. In fact no one is out of it, including the semi-retired Bob Else, doyen of the department and long its teaching mainstay, although for most of those years Else was a tight an [ungratiating] painter, his facture stingy, his drawing crabbed. Recently in a local show I saw two landscapes Else had done of the same scene – the view of the Sacramento Valley you get as you look below from the first great hill on [hiway] 50. In both paintings Else had treated the rolling golden foothills as metaphors for the body and its soft contours. This transcription comes across as lurid and cramped in the earlier painting, done a dozen years ago just before the art stars invaded the Sacramento faculty. In the painting done last year the same idea is stated far more luxuriantly (yet with Else’ characteristic economy); the color sings a little, and the tension between erotic menace and erotic desire is finely

sustained. There can be no question that the older teacher was challenged to play for higher stakes in his art. He had the courage not to fold. A few others did seem to fold. They moved away or they went mad or they pursued a penchant for bad luck all the way unto early death. It is such sad losses that art exists to ameliorate.

One Sunday afternoon a few months ago I drove down to attend a ceremony at which the main Art Gallery on campus, hitherto anonymous, was renamed the Robert Else Gallery. This had been the idea of a chairman some years back and with unanimous approval of the department its time had now come. When I got there a lot of famous and not so famous artists were standing around talking and a crowd of Bob’s current students was knocking back the hors d’oeuvres. Everybody was reminiscing like crazy and reading the messages from out-of-state and saying stuff like Bob Else taught them to make a [stretcherbar] and if they were going to school now they probably wouldn’t know how to clean a brush because all teachers nowadays want to do is sit around and tell the same stories their N.Y. dealer tells and send out for pizza. It was one student’s 19th birthday and she was crying and saying how glad she was for Dr. Else and she thought this was the best birthday she had had yet, and everybody was pretty happy and pretty sad and Bob Else cried too when artist after artist got up to say thanks. Bob Else is not a doctor of any description whatever but he is often called Dr. by those who don’t know better and sometimes by those who do because he looks like a professor and not like a seedy good-for-nothing like many in the department – for instance that former chairman just mentioned. Bob himself realizes that to a certain extent he [Sac-rificed] his art to the perfection of his teaching and to the endless demands – reports, committees, meeting – of an expanding University. To the definition we have set up – that the best artists make the best teachers, [must] on Else’s evidence be added the codicil that the great teacher is the teacher who gets results and in the case of Else this means that he must be accounted quite a teacher indeed. And, ergo, quite an artist.

Else must be accounted quite an artist because the artists who said thanks and the ones who sent messages were students at Sacramento State College in the days when Bob Else was the painting department and the roster of their names makes surprising reading since it suggests that when the art stars took over in the 70’s they inherited a tradition most of them were unaware of. In the late 50’s and early 60’s CSUS produced more really good painters than any other public university, including UCD its (literally) nearest rival. Taken together, the Sac State and Davis graduates rank above any two public universities you would care to name, and stand equal to the combined artistic output of the Art Institutes of San Francisco and Chicago. Only the Yale School of Fine Arts, which for two decades has stimulated the New York art scene like no other institution, deserves serious comparison with Davis-Sacto State. What

this means is that if you are standing in the St. Louis Art Museum or the Milwaukee Art Center or the Walker Art Center in Minneapolis or in any of the good museums in West Germany you will be able to see paintings by Wayne Thiebaud, Mel Ramos, Ralph Goings, Fritz Scholder, Frank Owen; or at least you will see the spot on the wall that’s pending for any of these painters who happen to be temporarily absent. And there is a good second echelon of artists, headed perhaps by Ken Waterstreet, standing right behind the first team and ready to knock on every museum door.

Artists in New York do not teach, except marginally; teaching is in a sense a non-N.Y. thing; and the history of American art education is a history of either defiance of the N.Y. art establishment or of co- optation by it. That is why a history of a department like ours can have some significance beyond the [fertile crescent] between the Sacramento and American rivers. Artists need the resistance (and the support) of other artists’ personalities and they need the confrontation and the confirmation that other people’s art provides. In the great art centers of the past and present: Rome, Paris, and now New York, this encounter is available on walking across the street. You will see three artists you know and two you don’t know but would be glad if you did, and you will probably turn right around and go back to your studio fortified by a little gossip, energized by a flash of jealousy, inspired by Frank Stella get into a cab, and utterly forgetful of the cat litter you went out for in the first place.

To get into the kind of elbow rubbing that was going on at Sacramento State in the 70’s most teachers had to get up in the morning and drive 50 or even 100 miles from some sylvan outpost. This is not the same thing as taking a cab and somehow the very outrageousness of these California distances made it more worthwhile to be there facing the other artists in the countless formal and informal meetings of a week at school. A [pleasureable] aura of [comeraderie] enveloped a department that had not long before been tense litigious, and factionalized. A spirit of criticism made the air healthy and the presence of major artists revealed the old office quarrels in all their silliness and superficiality. There were better things to do. Friendships flourished in the department and so did temporary animosities of the aesthetic kind. It is the hardest thing to like somebody who doesn’t like your work. But even where there was animosity there was respect. Thus on Monday/Wednesday Jim Nutt didn’t think much of Joseph Raffael and on Tu/Th it was the other way around. But on Friday, at the meeting to review graduate applications, each remembered who the other artist was. Fridays, too, there were regularly visitors from the [artworld] at large, an enrichment made possible by an Artists & Critics grant garnered by the Natl. Endowment by a former chairman and renewed in all succeeding years. In New York I’ve often heard the complaint that it was easier to get a museum curator to visit a studio in Sacramento than to go downtown to an artist’s loft in SoHo. That’s very nice from where we sit but unfortunately the New

York [artworld] is so insular, so self-referential, and so immersed in what can only be called neighborhood art gossip that, when Sacramento art or any [auslander] work at all, actually does manage to make an appearance where it counts, it’s liable to go practically unrecognized. No less that 5 Sacramento State teachers have been accorded one-person show at the Whitney Museum: Stephen Kaltenbach, Jim Nutt, Gladys Nilsson, Bill Allan, Joan Moment. It is a real honor. Yet for all the notice taken of these exhibitions in New York itself you would hardly know they had been up at all. In this [the outlandish paintings] regard Joan Moment holds the world record for invisibility. Orchestrated in lambent clear hues and set daringly into an opaque black ground the stylized shapes of Joan’s paradise gardens are drawn from the most diverse [arthistorical] sources: Roman mosaics, tribal bark paintings, 19th century American samplers. They are startling in their freshness of seeing and their dramatic unification of such unusual motifs. They were seen or rather they were not seen in Joan’s one-woman show at the Whitney, which was ignored by the N.Y. Times, not covered by any other N.Y. paper, and completely overlooked by every one of so-called [the] National art magazines which are all published in New York. It was a phantom show. None of my acquaintance in New York was able to tell me he had seen Joan’s show and the prominent critic Lawrence Alloway dismissed it, saying [O] that’s just Marcia Tucker’s Sacramento connection! The same day a very noted and not unsympathetic New York artist told me that such shows as Joan’s were throwaways by the Whitney, mere sops to the provincial hinterlands, and not intended to be taken seriously by the people who matter. Similar treatment has befallen Steven Kaltenbach, an artist who career would appear to be a procession of honors. Like an extraordinary number of our colleagues Steve has received the coveted National Endowment grant to artists. Just recently he has not been completely well and has been living on the proceeds of a Guggenheim. Neither of these awards has convinced someone like Maurice Tuchman of the New York-oriented Los Angeles Museum to exhibit Steve’s colossal, deeply pious Portrait of My Father, a project he worked on steadily for most of the decade. Kaltenbach’s portrayal of this hoary elder contemplating eternity with his dying gaze has proven to be a contemporary painting for one easily accessible to anyone with eyes and a father. Yet the work obeys every sophisticated [moderist] canon for picture-making, through its flashy rebounding from depth to surface and its rigorous all-over patterning. The painting is not without macabre elements which add to its fascination. Presented at majestic scale, yet without bombast, Steve’s Father provides a prime instance of that equipoise between pity and terror which add up in art to the Gothic Sublime. When it was unveiled at the Crocker Museum people gasped. They went home and brought their parents. Elderly women cried. Teenagers stood mute. People came to marvel and they came again and again.

Need I say that no New York museum will touch this painting by an artist who went to New York straight out of the Davis graduate school and made an immediate success through his imaginative forays

into art politics. Kaltenbach covered the [artworld] with legends like TRIP, TEACH ART, START A RUMOR, BUILD A REPUTATION, which appeared as unsigned ads in the most prestigious art magazine. One such advertisement read BECOME A LEGEND. He did. Museum shows in Germany and Japan and New York soon followed and Kaltenbach was [extablished] as one of the 3 or 4 most important pioneers of the conceptual movement in art. Then Kaltenbach committed a serious crime. He left New York for the West Coast. In a year or two he was forgotten.

If it weren’t for the intervention of influential friends like Joseph Raffael, who has good reason to recognize a masterpiece, it is doubtful that even a few California museums would have picked up the painting. Museums are suspicious of work with a popular appeal. They are nervous about their roles as guardians of taste. They do not want to be caught with kitsch on the wall. [It is] easier when they can show work which has been seen first in New York. A good place to reach museum curators is where they are staying at their friend’s place in New York. Your typical curator was not born yesterday. He is not a dummy like the callow Roger Clisby of our own Crocker Museum who did not need a second, third, fourth or tenth prompting to show Steve’s painting, but embraced the idea right away. Clisby simply did not have whatever it takes to know whether a work is bad or good before he goes to the trouble of looking at it. So Clisby demonstrably lacks a skill which is highly developed in New York (and among famous artists as well as curators) and which is widely imitated elsewhere: he is a failure at judging art before he sees it. Clisby has not yet understood that it is more than a little suspicious and more than a little criminal when a highly successful artist deserts New York for Sacramento.

It is just plain crazy.

The mistake for artists out here would be to suppose that New York art circles are someday going to slow down the merry-go-round long enough to pay heed to what has been going on in a place like Sacramento. The present-day New York artist looks toward the formal aspects of Cubism and Fauvism for a point d’appui to launch his work, as he imagines, forward. Whereas artists here, and in Chicago, artists tend to look for historical support from Surrealism, with its depreciation of formal “issues” and its emphasis on the possibility of transforming life through art. Artists looking around them in New York just cannot believe in millenarian possibilities. They see too much garbage in the way. For them art has to be about art itself and art itself is understood as an escape-world from a reality that is beyond man’s power to transform, or rather to restore, to the image of God’s love and human kindness. But hereabouts, where the studio door is unlocked and birds sing in the garden outside, art is not done for art’s sake, and the notion that art can affect life endures, and the sense that it is still possible to recapture the wonder we felt as children and to accept the risks of taking some things on faith. Christmas tree lights do not

appear in a Bill Allan painting, in a Kaltenbach performance-piece for nothing. But even when the outlook is pessimistic and cynical, as in Nutt or Albertson, or sardonic, as in Marcus, there is still the intimation that man’s inhumanity remains open to correction, that man’s behavior is worth bothering about, that the human heart is infinitely malleable – for good, or for evil. New York is ignorant about all this and wants to stay ignorant. New York wonders what this has to do with making a picture about making a picture. New York wonders when the message that all is done for the sake of art will reach the provinces. By and large the best New York painting has a certain classiness to it. It runs to a tasteful, fey, perfumed elegance of statement and exists in complete contrast to the way art is done in California or Chicago where work so often comes across [as] crudely vital, obstreperously anti-formal, and funky-ugly-vital. I was in New York the week the Extraordinary Realities Exhibition opened at the Whitney in 1973 – about 50 artists, nationwide, including Wiley and de Forrest from Davis along with Bill Allan, represented by a large neo-surrealist canvas, and the recent Sac State graduates Suzanne Adan and Nate Shiner. All in all it was our kind of show and I recall the glee I took in telling friends how bad Hilton Kramer was going to pan it in the Times come Sunday. Come Sunday, sure enough, Kramer wrote the whole show off as eclectic trash. He said it was the worst show in memory to appear in a local museum. He praised only H.C. Westermann, an artist who has influenced the Hairy Who, and Roy de Forrest, a happy “Marx Brothers Fauvist” whose playful innocence Kramer was at pains to contrast with the vicious banality of “a certain Arthur Schade,” listed form Madison, Wisc., and the perpetrator of a forest-animals scene called Smokin’, an awkwardly shaped acrylic painting on plastic which depicts a bear in Smoky the Ranger [constume] humping a [bunnyrabbit] girl bent forwards over a tree stump. This affront to taste Kramer could not stomach, so he wrote one of those classic Sacred Museum Duty to Public/Do They Really Call This Art? reviews that are so savored in later years when many of the artists in the show are safely famous and are seen to have been working for beauty, the truth about things, and the public good all along.

Month after month, year after year, in publication from writers who are themselves part of the scene we learn about the minutest shifts in the direction of New York art, whereas there is no comparable information on about what is taking place Outside New York. It is not bad itself that we have these New York minutiae available to us, it’s just that a terrible imbalance resulted, and the artwork is top-heavy with news about New York. What Hilton Kramer or any other New York critic wouldn’t know is that Art Schade was Roy de Forrest’s teaching assistant at Davis and that the two men are very best of friends. Art taught with us briefly before skipping over to Madison and while Art was here Jim Nutt’s presence rubbed off on his art a little. Schade is an uproarious fellow who would pull the leg of a one-legged man. He added life around here and he used his art to send-up and to take-down – but always with a dash of [goodhumor].

What happened to Schade’s painting, by the way, is as follows: a) a Princess living in New York purchased the work for her collection; b) Lawyers for various women’s groups said they were going to sue the Whitney because Arthur’s painting was sexist and put women or at least [rabbitwomen] in a bad light; c) the Museum said go ahead, blah, blah, artists right to free expression, nothing going to make them censor their show, etc.; d) the U.S. Forest Service’s lawyers threatened to file suit against the Whitney, Art Schade, and the painting’s owner on the ground that Art’s bear looked and dressed exactly like their copyrighted bear Smoky and tended to ridicule and defame etc., etc.; e) the Whitney withdrew the painting; f) the Princess’, having seen enough, reneged on her decision to buy; g) Art Schade decided to sue somebody or everybody and contacted a lawyer, only to find out h) how much it was probably going to cost him! so that i) Art finally decided he would “sit around home and fart at the moon.”

Hilton Kramer simply didn’t have the basic information to enable him to see that Art’s painting looked to Nutt for some of its formal strategies – the use of [plexiglass] as a support, the garish colors – or that Art’s painting amounts to a cartoonish send-up of his mentor’s (de Forrest’s) childlike – and apparently sex-free – bestiaries. New York ignorance of the endemic context of our work has stood in the way of a fair evaluation of our achievement for as long as I can remember. The conclusion to be drawn is that Sacramento art, Northern California art, the art produced Outside New York in general, must go their own ways in the effort to construct a tradition which speaks to our experience of reality and which conforms to the reality of our desires rather than to the code of rules which govern picture-making. This message was on the walls recently when Joseph Raffael was offered a big retrospective. He chose to call it The California Years and the exhibit travelled to museums in Western states only.

Raffael was there at a meeting I remember shortly after I came to Sacramento State. The agenda got around to the question whether we should send a representative to the opening of a big, mostly figurative show the Whitney was then mounting – about 75 works by Americans, covering the period 1940 to the present. Thirteen of these works were by artists sitting at the table. Perhaps we ought to have someone at the opening? Someone pointed out that the Whitney was originally going to call the show Human Grotesques but that this was felt to be too strong and that the exhibition was now going to be titled Human Concern and Personal Torment. I remarked that I doubted New York was ready for such a show. The climate in the [artworld] was too cynical to be receptive, I said. Gerald Walburg said, They’re going to hate it all right! I hear artists are calling the show The Agony and the Ecstasy!

And everyone laughed.

Jim Nutt didn’t laugh. Jim Nutt said, That isn’t funny.

We were all quiet. Jim Nutt was right: human suffering isn’t funny.

When the message from New York came in for Carlos Villa I was alone in the Office nursing my wounds from an argument I had just lost to Robert Nelson, who has the very closest friendships with Bill Allan and with William Wiley, [the] very wonderful artist who taught for many years at Davis but eventually got too successful, started staring at the ceiling in class, and quit. Bob Nelson is an “underground” filmmaker, perhaps the most gifted, certainly the funniest, on the West Coast. He is a 1st Prize winner at the Cannes Festival for his short O Dem Watermelons and he is a fairly good painter, out of the same S.F. Art Institute bag that produced Carlos Villa. Fortunately for me Nelson is a man who does not argue for money. I have never won an argument from Bob, although we have argued off and on for years while he was teaching film for us. I had just read here: Yale hires teachers with paint on their shoes, Yale spends the money on facilities, Yale tolerates a little disorder and craziness, there is primacy of art over history at Yale, contemporary art is a major feature of the exhibition schedule, Yale’s alumni and alumnae dominate the new generation of artists in New York, and so on. How Nelson ever beat me on this I [can’t] even recall, he just got the needle in me and then he quit while he was temporarily ahead. Nelson isn’t really like Dr. Samuel Johnson since, to tell the truth, he is a semi-educated, ungrammatical lout and he has never even heard of Johnson; but like Dr. Johnson Nelson will argue against anything you might say. He argues for the sheer pleasure of contradicting. If you say, Well, Nelson, I believe art is about human suffering and exaltation, Nelson will deny it and he will soon prove art is about turkey droppings. The only way I ever get the best of him momentarily is to trick him. If, off-handedly, I say, hmmm, Nelson, I don’t believe it is actually true that wild-flowers spring up under his boots wherever Bill Wiley walks, Nelson will bristle, stand up very tall, look down on me and say [O] yeah? before he realizes I am having him on. Nelson is no longer with us because he [is] called to make movies and he couldn’t pay the bills on the Cal State salaries so he had to take a position with a large Midwestern university that wanted to hire a star.

I finally went upstairs with the note for Carlos and was starting in the studio door when a tall and skinny young man burst through it weeping and sobbing and pulling at his long hair with his long arms. I stood there astonished, speechless, dismayed, as he went to balcony railing and doubled himself over it crying and crying and heaving up sighs from his guts. I recognized this boy. He was a quite promising student and one that I can now say has begun to show up in exhibitions. All I could do on that afternoon almost 10 years ago was to stand there staring at somebody turn himself inside out. He was blind with tears, couldn’t see me or anything else, and he would not be comforted.

I went right in the classroom and looked around for Carlos. There he was over at a corner easel looking over a girl’s painting in progress. I hurried over and saw that Raffael was standing there, too. The two of them were commenting on the work in front of them, and the girl was placid, wide-awake, listening. I was all wrought-up and they were as calm as an English lawn. I could hardly talk. Joseph, I got out, Carlos!

Yes?

What is God’s name is going on?? There’s a kid out there bawling his heart out. He just came out of this room! I was pointing at the door. What the hell are you guys doing in here!

Carlos looked vague. Joseph, interrupted, looked even more vaguely at the door.

There’s a kid out there, I said. He’s crying himself silly out on the balcony. WHAT IS WRONG??

Carlos turned to the student’s easel, half-annoyed but patient. He said something to the girl about halo green. To [he] said, That must be ______.

Carlos and I just gave him a critique, explained Raffael in a voice which has only a little New York left in it. He picked up the girl’s brush, hesitated, and handed it to Carlos Villa. Villa squinted at the canvas, then stepped back for a moment. Raffael was gazing at the easel, but both eyes were unfocused, inward.

Listen, Carlos, I said. Listen, Joseph. Somebody’s out there and he is going through something pretty bad. Is that your idea of a critique!

Well, John, said Carlos. He stepped in and dug 3 or 4 times into one area of the painting with the handle of the brush. Well, if ______is an artist this is going to be very good for him, Carlos Villa said.

And, said Raffael, again concentrating on the canvas: if he is not an artist…………….

APPENDIX B ART DEPARTMENT COLLECTION 2012 Inventory

(currently in storage, unless otherwise noted)

(Compiled April, 2012 & Updated 9/27/12 by J. Grossfeld) ARTIST CATEGORY MEDIUM TITLE SIZE - A - Adamson, Jim Ceramic Ceramic Sculpture Form 4 x 6 ½ Adan, Sue Print Etching Proof Untitled (2 Angels) ‘66 9 x 12 Altoon, John Print Lithograph 4-Color 20/20 Arneson, Robert Ceramic Ceramic Plate 1303 Alice St. 15” diameter Arneson , Robert Ceramic Ceramic Texas Saddle 28 x 24 x 26

- B - Bacerra, Ralph Ceramic Ceramic Low Fire Form 3/11/68 Purch. Bailey, Clayton Ceramic Ceramic Lamp (nose w/ plug) 10 ½ x 6 Bagshaw-Tindel, M. Painting Charcoal O-Je Gi Povi 93’ 15” x 22” Bagshaw-Tindel, M. Painting Charcoal O-je-gi-Povi 93’ 9 1/4 x13 Blizzard, Alan Painting/Drawing Rhoplex on Arcane Hero (1968) 30 x 24 linen Blizzard, Alan Painting Oil Truth and Variation 1966 Bode, Frances Louise Print Woodcut Tempus edax rerum Boyle, Fred Painting/Drawing Mixed Media Jumble Jungle Adventure 38 ¼ x 26 ¼ Boyle, Keith Painting/Drawing Charcoal Summer Sequence 31 x 30 Brown, Matthew Painting/Drawing Oil Unknown Unknown Brown, Matthew Painting/Drawing Oil Unknown Unknown

- C - Campigli, Print Litho Femme Sur Fono 4 color 91/10011/22/66 Purch.. Carmassi, Richard Print Litho/Proof Homage to the Future 196312 x 18 Cassady, Carl Ceramic Ceramic Vase (7” x 14”) Don. by artist Chadmuchle, D. Painting/Drawing Watercolor Daily Correlation 1978 30 x 22 ½ Cicansky, Victor Ceramic Ceramic Shirt 30 High Coftharsh Painting/Drawing Painting/Drawing Untitled 62 Cooper, Ron Ceramic Ceramic Honey Pot 7 x7

- D - Dalkey, Fred Print Print Untitled Landscape Dalkey, Fred Print Print Untitled Woman (Victoria Dalkey) Dalkey, Fred Print Etching Untitled 1966 Dalkey, Fred Print Lithograph Christ on Cross

Darye Textiles Textiles Indian Rug Tree Life 16 x 19 Davis, J.N. Print Print Untitled Davisson, Deloris Print Print The Struggle….1965 18 x 20 Davisson, Deloris Print Print Children of Oceanus 18 x 26 Davisson, Deloris Print Etching/Proof Spring with Santa 6 ½ x 8 ½ Davisson, Deloris Print Wood/Proof Race 12 x 13 Dawn, June Print Print Day’s End Day Print Print Pax 3 x 6 Delost, Charles Mixed Media Mixed Media Untitled (2 Red Figures) Driesbach, John Painting Painting Untitled (Fishing)

- E - Else, Robert Painting/Drawing Acrylic Beach #5 (Sea Salad) 1968 47 ¼ x 36 1/8 Else, Robert Painting/Drawing Acrylic on canvas Feather Beach #1 (1978) 44 x 48 Else, Robert Painting/Drawing Acrylic on canvas Feather Beach #2 (1980) 38 x 44 Else, Robert Paitning/Drawing Acrylic on canvas Feather Beach #4 (1980) 44 x 48 Else, Robert Painting/Drawing Acrylic on canvas Rocks Under Water 32 x 40 Else, Robert Print Litho 2/10 Untitled (bl/wh abstract) ‘6920 x 22 Else, Robert Print Litho 4/10 Untitled (bl/wh abstract) ‘6920 x 22 Else, Robert Print Litho 6/10 Untitled (bl/wh abstract) ‘6920 x 22 Else, Robert Print Litho 7/10 Untitled (bl/wh abstract) ‘6920 x 22 Else, Robert Print Litho 8/10 Untitled (bl/wh abstract) ‘6920 x 22 Else, Robert Print Litho 9/10 Untitled (bl/wh abstract) ‘6920 x 22 Else, Robert Print Litho 10/10 Untitled (bl/wh abstract) ‘6920 x 22 Else, Robert Print Lithograph Untitled (bl/wh abstract) ’6920 x 22 Else, Robert Painting/Drawing Acrylic on canvas Untitled (bl/wh abstract) ‘69@ 32 x 40 Else, Robert Painting/Drawing Gouache on paper Untitled (?) Evans, Jay Ceramic Ceramic Free-Form Vessel (pk Bl. Blk)12 High Evans, Jay Ceramic Ceramic Free-Form Vessel (green/blk)9 Wide Evans, Jay Ceramic Ceramic Copper/Brown Vessel

- F - Fabela, Richard Ceramic Ceramic Marlachi Band/ 5 pieces 6 ½ Fabela, Richard Ceramic Ceramic Black Trio/3 pieces 6 1/2 Ford Painting/Drawing Acrylic on paper Untitled 21 x 27 Franke, Barbara Print Wood/Proof Untitled 1967 23 ¼ x 15 ½ Frederickson, Nels Ceramic Ceramic Pinched Abstract Form 7 x 17 Friedman, K/Sole, Don Leather Leather Leather Art Friedman, K/Sole, Don Leather Leather Leather Art Friedman, K/Sole, Don Leather Leather Leather Art Frey, Viola Ceramic Ceramic Crucker Series III (lg plate) 20 diameter Fuchs, Ernst Print Color Lithograph Samson & Deliliah

- G - Gain, E. Print Print 63 ? Gibson, Doug Ceramic Ceramic Rakku Vessel (bl w/ 6 ½ x 6 Handle Gibson, Doug Ceramic Ceramic Rakku Vessel (bl w/ 8 x 6 Handle Goff, Sharman Photography Color Untitled (5) 1981 12 x 9 Gomez, Valerie Print Litho 2/6 Woman with Ismafish 12 x 16 Gordon, Fred Ceramic Ceramic Small Pot 3 ½ x 3 ½ Gordon, Russell Print Lithograph King 1961 16 x 20 Gotthart Print Etching Leva and the Swan 1963 18 x 18 Gotthart Print Etching (Unreadable) 1962 18 ½ x 18 ½ Gregory, Anne Print Intaglio 1/15 The Horned God 9 ¾ x 12 1/8 Gregory, Anne Print Print A Wizard at the Dining Room Table Gronberg, Eric Ceramic Ceramic Lidded Pot 28 High

Guetlung, Marsha Painting Watercolor Vase

- H - Hawley, Joseph Ceramic Ceramic Container/Brown/metallic Heim, E.F. Jr Print Etching Infinity 1964 16 x 18 Heim, E.F. Jr. Print Etching 2/4 Rock 1965 5 x 9 Heim, E.F. Jr. Print Etching 7/10 Bridge 1964 5 x 9 Drawing Drawing Paris

Heim, Jr. E.F. Higby, Wayne Ceramic Ceramic Small Square Plate 9 ½ x 9 ½ Hofmann, Hans Drawing Charcoal Untitled (Still Life Chair) Holsapple, S. Mixed Media Mixed Media Untitled 1987 Holzhauer, Susan Painting/Drawing Oil Reflections on Reflection of 60 x 48 Light 1986 Horikiwa, J. Print 2 Color Untitled (Abstract) 1968 19 x 26 Horikiwa, J. Print 2 Color Landscape 1967 Horn, Ruth Print Print Boy Resting

- I -

- J - Jensen, Jim Photograph Photograph Skeleton on Skates Jensen, Jim Photograph Photograph Feet and Shoe Jones, Allen Print Lithograph Untitled March 69’ 3/18/69 Purch Jones, Mary Print Lithograph Metamorphosis (14 ½” x 9”)

- K - Kaneko, Jun Ceramic Ceramic Ceramic Sculpture #369 Ketelle, Richard Ceramic Ceramic Earthtone Vase 5/29/69 Purch. Kinder, Gregory Photograph Photograph CSUS/Stratus-One 1997 Kingman, Dong Painting/Drawing Watercolor Untitled (S.F. Bay Scene) 193618 x 26 Kohn, Mischa Print Lithograh Law 1965 30 x 22 Kouretas, Jim Ceramic Ceramic Plaque Kypridakis, Ben Ceramic Ceramic Vase (brn w/ blue spot) 12 High Kypridakis, Ben Ceramic Ceramic Blue & White Vessel 12 High Kypridakis, Ben Ceramic Ceramic Multi-colored vase (7 ½” x 10”)Don. by artist

- L - Landgraf, John Ceramic Ceramic Vessel (6” x 11”) Don. by artist LeCourbusier, Print Litho 67/100 Unite 4 color 8/13/53 11.30/66 Pur. Layton, Peter Ceramic Ceramic Red, White & Blue 21 High Lipofsky, Marvin Misc. Mixed Media Tall Glass Form 30 High Lipofsky, Marvin Misc. Mixed Media Red Breasted Glass Form 6 x 13 ½ Lin, W.H. Print Print Marlet Man Proof Lobteff, M. Print Lithograph Afternoon 20 ½ x 26 ½ Loftus, Linda Print Wood 2/4 American Way of Life 1967 17 x 23 Lohse, Susan Print Lithograph Untitled (4 color) 8 x 12 Luevano, Leslie Print Etching 3/5 Landscape 1967 17 ¾ x 11 5/8

- M - Mackie, Bob Print Litho 15/15 Untitled (man w/ shells in hair)20 x 16 Marcus, Irving Print Litho 1/6 Children’s Zoo 1970 11 x 15 Marcus, Irving Print Lithograph The Listeners 25 x 16 ½ Marcus, Irving Print Lithograph 24/25 Staged Brawl, 1976 Matsubara, Naoko Print Color Woodcut Autumn Color McCormick, Patrick Ceramic Ceramic Porcelain Box 7 High

McGee, James Ceramic Ceramic Slate Colored Urn 19 High McGee, James Ceramic Ceramic Brown & White Free Form 9 High McGee, James Ceramic Ceramic Large Abstract Slab Form McGee, James Print Etching Composition 1967 McKelby, L.R. Print Litho 8/14 Green Grass Machine 1966 15 ½ x 10 ½ Miller, Gary Print Lithograph December Dance 1966 Moment, Joan Painting Painting Atom Moment, Joan Painting/Drawing Drawing Column w/ Cosmic Rings 198318 x 14 Moment, Joan Painting/Drawing Drawing Ghostly Presences 1983 18 x 14 Moment, Joan Painting/Drawing Latex, etc. Arc 1983 5’ x 8’ Monti, R. L. Painting/Drawing Watercolor Mountain Birch 1975 14 x 19 Mooney, Patrick Painting/Drawing Oil The Sorrow Dance 61 x 72 ¾ Moquin, Richard Ceramic Ceramic Pot w/Pearl lid 10/8/69 Purch - N - Nash, Jerry Print Litho 5/10 Still Life (4 Color) 23 x 17 - O - Ogden, Jack Print Lithograph Proof III 1967 13 x 19 ½ Ogden, Jack Painting/Drawing Watercolor Forward, Forward 1971 21 ½ x 17 Ogden, Jack Print Lithograph Untitled (2 woman/1 man) Oliveira, Nathan Print Litho 2/10 Homage to Carriere 1963 22 x 30 Ortega, Print Litho 15/75 Two Women 4 color Otsuka, Hisashi Painting On Silk 2 – Framed Paintings on Silk - P - Pachecho, Gerald Ceramic Ceramic Green & Blue Vase 70s 6 Diameter Pachecho, Gerald Ceramic Ceramic Brown Vessel 70s 7 High Paguette, John Print Litho 16/17 Four Warlocks (4 color) 1971 18 x 24 Parker, Ray Print Litho 49/50 Untitled ( 3 color) 22 x 20 Pasto, Tarmo Painting/Drawing Oil Untitled 6’ x 8’ Pasto, Tarmo Painting/Drawing Oil 22 x 30 Phillips, John Ransome Painting Oil Freeway 1969 Picasso, Pablo Painting/Drawing Print Le Vieux Roi 1959 26 ¼ x 20 Plotkin, Linda Print Lithograph Cliff Shadows 1938 Post, George Painting/Drawing Watercolor Untitled (Man on Bridge) 193717 x 22 Pruner, Gary Painting/Drawing Watercolor Seal Scream 1966 4 ½ x 5 1/2 Pruner, Gary Print Print Pruner, Gary Print Print The American Cherry (175/225)20 ¼ x 17 ¼ Pruner, Gary Drawing Charcoal Barn 1962 16 x 20 - Q - - R - Reim Painting/Drawing Collage Untitled 16 x 18 Rippon, Ruth Painting Watercolor Untitled Still Life Flowers Rippon, Ruth Ceramic Ceramic The Judgment of Paris 70s 16 ½ dia Rippon, Ruth Ceramic Ceramic Heavenly Bodies, 1974 Arrington/O’Toole Rippon, Ruth Ceramic Ceramic Monk, 1973 Arrington/O’Toole Rippon, Ruth Porcelain Ceramic Peacock Vase, n.d. Arrington/O’Toole - S - Scarborough Print Wood 3/3 Untitled 23 ½ x 23 Selinsky, V. Painting/Drawing Acrylic Untitled (Abstract) 30 x 40 Sernatz Ceramic Ceramic Untitled (brw lip bl/gr/wh) 23 x 29 Shafer, Jack Ceramic Ceramic Plate w/ face 16 x 16 Shiner, Nate Painting/Drawing Gauche The Corrective Place 1972 16 x 20 Silva, Jerald Print Lithograph Posers 1967 19 ¼ x 23 ½ Silva, Jerald Painting Painting Paul Beckmann Silva, Jerald Painting Watercolor Gerald Wahlburg Don. by artist Soldner, Paul Ceramic Ceramic Raku Plate 14 dia. Soldner, Paul Ceramic Ceramic Raku Vase Spagnolo, David Photograph Photograph Study #1 August 1996 Steinmetz, Nicholas Print Litho 1/10 Untitled Thing 3/14/67 18 x 22 Stella, Frank Print Litho 84/92 Star of Persia II 1967 16 x 20

Stelzner, Richard Ceramic Ceramic Urn on Pedestal 21 High Summers, Carol Print Litho 6/9 Spring 2/13/67 2 color 29 x 21 ¼ Suzuki, Jimi Mixed Media Mixed Media Untitled Map – The Next Call - T - Taylor, Norman Ceramic Ceramic Abstract 28 x 36 Taylor, Norman Ceramic Ceramic Black Slab on Pedestal (24” x Don.23”) by artist Thiebaud, Wayne Painting Watercolor Untitled 1952 Tripp Print Litho 10/16 A Slice of Tomatoe 11/27/89 17 x 13 Tschabasov, Nahum Painting/Drawing Oil Choir Boy 1963 30 x40 - U – Unknown Ceramic Ceramic Shibui Antique – Gelatin Mold11 ½ Wide Stoneware Unknown Ceramic Ceramic Shibui Antique – Chinese Jar 11 x 10 (late 18th c.) Unknown Ceramic Ceramic Antique (Japanese Brass Wire7 Wide Wrapped Tea Bowl) Unknown Ceramic Ceramic White Platter (cloud/rain) 11 ½ dia Unknown Drawing Drawing Geometric Unknown Painting Watercolor Red mark Unknown Painting Watercolor Two sharks as people Unknown Painting Watercolor Sun on fire Unknown Painting Watercolor Japanese letters Unknown Ceramic Ceramic Urn/Black Unknown Ceramic Ceramic Black/White Fish Unknown Ceramic Ceramic Square/Octagon White Vase Unknown Ceramic Ceramic Two Grayish Bowls in box Unknown Ceramic Ceramic Red Small Drum Unknown Ceramic Ceramic White set of bowls Unknown Ceramic Ceramic 2 vases/urns Unknown Ceramic Ceramic 2 teacups Unknown Ceramic Ceramic Large White/brown vase Unknown Painting Painting Not on Inventory list Unknown Painting Painting Not on Inventory list Untersjher, Chris Ceramic Ceramic House w/ tiled room 9 ½ x 9 ½ - V - Van Sloan, Frank Print Etchings 50 Selected Etchings Portfolio VandenBerge, Peter Ceramic Ceramic Lg Chalice 1 of 2 24 High VesGridis, Ramos Ceramic Ceramic Banded Vessel (brown/blue) 12 High - W - Wallace, Vicki Ceramic Ceramic Breast Form (on Disc) 8 x 2 Warhol, Andy Print Litho 2/8 Cooking Pot/Kansas 1930 (Illustrated from L’Avanguardia) Waterstreet, Ken Painting/Drawing Oil Coca-Cola 1967 28 x 30 Widenhofer, Alan Ceramic Ceramic Kooki Jar 1966 Witt, R.W. Painting/Drawing Oil Untitled (Stones on water0 Large Witt, Robert Painting Oil Untitled (Lamppost/RR) Witt, Robert Painting/Drawing Oil on Canvas Mendocino Coast 36 x 60 ½ Witt, R.W. Holman House Wohlinger Ceramic Ceramic Kookie Jar - X - - Y - - Z - NOTE: DIDN’T DO NEED TO ADD Photographs and BOX OF PHOTOS Student Prints

APPENDIX C

MISSING ARTWORKS

(updated 9/27/12 by J. Grossfeld)

ARTIST MEDIUM TITLE NOTES

Anker, Suzanne Silk-screen print Genealogy 2001 No slide/GAF in Art Dept.

Cornelius, Philip Ceramic Ceramic Pot #130 w/ lid Slide 40/1992 Inventory

Evans, Jay Ceramic Green Pressed Urn No slide

Evans, Jay Ceramic White Round Pressed Urn No slide

Ng, David Ceramic Mushrooms (2 white pieces) No slide

Steltzner, Richard Ceramic Urn w/ lid Slide 79/1992 Inventory

Unknown Ceramic Large White/brown/blue vase Slide 362/1992 Inventory

Unknown Ceramic Large Brown/white form Slide 363/1992 Inventory

Haskell, Eben Table Solid Walnut Slide 359/1992 Inventory

Brown, Joan Per Elaine O’Brien

Hockney, David Litho Still Life (3 Flowers in vase) Slide 141/1992 Inventory

Kane, Karen 18/20 Shaping Sounds 1997 No slide

Keller, Kathe Exercise in Bowling Slide 147/1992 Inven/Missing

Lawrence, Jacob Per President Donald Gerth

Moment, Joan Drawing Pertaining to the Planets 1983 No slide

Moment, Joan Drawing Tree No slide

Naumann, Bruce Knee Imprints Per Guest at 9/13/12 Panel

Ogden, Jack “Explosive…..” Per Jack Ogden

Ogden, Jack 5 Works/Made for Faculty Show Per Jack Ogden

Picasso, Pablo Drawing L’Ecuyere Slide 13/1992 Inven/Missing

Rothenstein, Michael Wood 32/35 Red Gothic Slide 166/1992 Inventory

Saul, Peter Per G. Wahlburg

Skalisky, Stephanie Oil on wood Seven Beauties No Slide

Uhlin, Donald Etching Market Man No Slide

Witt, Raymond Painting Autumn Woods 48.5 x 30.5 GAF/Driesbach ltr

APPENDIX D

EXHIBITION GUESTBOOK COMMENTS

Comments from the Exhibition Gallery Guestbook at the Lost & Found Exhibition, Robert Else Gallery, Kadema Hall, Sacramento State

August 28, 2012 through September 27, 2012

August 29, 2012 –

It would be great if we could have these works of art on view more often and accessible to students and faculty. Great exhibit!

Loved the gallery! They are all beautiful pieces of art. It is unfortunate very few have seen these. My favorite was the unknown/untitled by Jimi Suzuki.

It was very pleasant being here. All the art work is very inspiring. This stuff kind of tells the Sac State art department story. Once again really good work. Plz continue this great work.

Great exhibit! All the art works are amazing. I didn’t expect Picasso’s work in the gallery. Very fascinating art works!

August 30, 2012 –

Amazing collection and history. Thanks for uncovering such wonderful work and allowing us to be able to view them.

My son brought me here for my 60th Birthday. What a treat!

Fantastic collection. It’s wonderful to have and preserve this collection of people from the past!

So exciting to see these; an inspiration and such a legacy from the early art dept. faculty!

Thank you for showing us these important artworks.

The show is amazing!!! I’m so glad I could play a small part in helping to document the permanent collection at my alma mater.

A wonderful visual feast! Thank you.

Looks incredible!

September 4, 2012

This is the second time I came to see this show.

Thank you for taking these amazing works out of storage for all to appreciate and enjoy!

September 5, 2012 –

Wonderful pieces!

Love all these art works.

September 6, 2012–

Great to see such a unique collection of works by familiar artists both locally and globally.

September 10, 2012 –

These are significant works by “known” artists. If you don’t secure them as a department, you are remiss – I’d love to have them!!!

A beautiful collection!

Trippy!!

Very beautiful and inspiring pieces of work!! I love the ‘Lost & Found’!

September 11, 2012 –

I wanted a wow moment – nope  (Pasto, I like)

Looking for something man made

September 12, 2012 –

A very intriguing exhibit – please continue until you’ve shown all the works in the collection.

Nice to see a piece of what is considered important enough work to retain.

Wow…glad they were found.

September 13, 2012–

Amazing historical art. Great receptionist, felt at home.

Excellent.

I enjoyed a lot!

Fun & exciting.

Beautiful artwork.

Fantastic!!! Great job!

A great exhibit; so impressive to have artists, teachers and other talented souls mingling in one place.

This must be the tip of the iceberg….can’t wait to see the rest!

Thank you!

Wld luv to see more!.....

Very cool to see works by professors I’ve had in the past like Phil Hitchcock and Fred Dalkey!! Hope the collection continues to be taken care of by art lovers in the future!

Student rebellion, huh? There are plenty of students willing to make things happen. Wonderful show, I hope to see them again next year!

This was so wonderful to present work that have been long lost and presented here in the gallery. Hope more could be found for display. Thank you for a great show.

Very interesting show! Fun to see artist’s early works.

Beautiful show – please keep them coming!

September 17, 2012

I was lost….now I’m found.

It’s like a memory, hazy, confusing, disorienting but when you’re done you look back and see beauty.

Show flows well, but am curious about the rest of the “hidden” works. Thank you.

September 19, 2012

Amazing! Some fine pieces in this collection.

This was my first trip to the art side of the school. I like that teacher’s works are being exhibited. I’m especially impressed by Else’s Beach painting. Thank you!

September 20, 2012

Great collection.

Fabulous – thank you!

What a wonderful collection and great enthusiasm from staff.

Really cool stuff!! Thanks.

Great show.

Cool!

Thank you!

Interesting – would love more of a perspective on why these pieces. What else is hidden?

There when Candy Store opened.

Went as a child in the mid 60s – later went to the Sunday openings to enjoy art and artists.

Many fond memories of Adleza and Candy Store.

Wonderful show!

September 24, 2012

A lovely, diverse collection. It goes to show what talented people are here and have taught. We are lucky to have them!

September 26, 2012

Thank you.

I really enjoyed the exhibit. It was really nice and I’m surprised to see the artistic talent people have. Thank you.

Really, really beautiful! Thank you. Let there be light.

APPENDIX E

COMPARISON STUDY OF

CSU MUSEUMS & GALLERIES

Spring, 2013

SCHOOL GALLERY/MUSEUM POSITION TEACH INTERNS MISC. NAME CSU Todd Madigan Gallery Art Dept. CSUB Foundation Fine Arts Bakersfield Committee; Children’s Art Institute CSU Channel Art Gallery, Napa Hall Art Partnership Yes CI Exhibitions (Palm Gallery) Islands Complex cultural outreach program in City CSU Chico Janet Turner Print Museum Endowment No Yes Will be consolidating University collection under Museum CSU University Art Gallery Art & Design Dominguez Dept. Hills CSU East Bay Art Gallery Art Dept. Directed by Committee of Art Dept. Chair and Sr. Faculty Members Fresno State Conley Art Gallery Art Dept. Yes Center for Creativity and the Arts CSU Fullerton Grand Central Art Center Partnership Yes Partnership between City and University; 10 miles from campus CSU Long University Art Museum Captl No Yes Began as campus gallery 1973; Beach Improvement funds from Chancellor’s office/gift CSU Los Fine Arts Gallery Art Dept. Yes Angeles CSU Monterey Balfour/Brutzman Gallery Art Dept. Student led curatorial committee CSU Northridge Art Galleries University Has office mgr/exhibitions coor. Cal Poly The Kellogg Gallery College of No Yes 4000 sq. ft; juried exhibition Pomona Env. Design annually w/ support from President’s office CSU San Robert & Frances University No Yes 10,000 visitors annually; hands- Bernardino Fullerton Museum of Art on work experience San Diego State University Art Gallery Art Dept. Yes SDSU Downtown Gallery in conjunction w/ City of San Diego San Francisco Fine Arts Gallery Art Dept. Staffed by Art Dept. students State San Jose State Natalie & James Art & Design Yes Direct link to academic curricula Thompson Gallery Dept. Cal Poly, San University Art Gallery Art & Design Luis Obispo Dept. CSU San CSUSM Art Gallery Art Dept. Yes Off-campus art gallery, art and Marcos live music Sonoma State University Art Gallery Art Dept. Yes Yes Exhibitions Mgr. position also CSU Stanislaus University Art Gallery Art Dept. Yes During 90s, donated art added to make University Fine Art collection

APPENDIX F

UC DAVIS ART COLLECTIONS STORAGE FACILITY January 10, 2013

APPENDIX G

ANTICIPATED SUPPLIES NEEDED FOR INITIAL START-UP

UNIVERSITY ART COLLECTION

9/20/13

SUPPLY PRICE VENDOR MISC. Plastic – 2 Rolls $44.00/ Roll x 2 = $88.00, (10’ Ashley Distributors x 90’ 3.75 mil) Top quality polyethylene sheeting. Virgin quality plastic, also called Plastic Sheeting or Poly Sheeting is chemically inert, pH neutral, and water repellent. Paper – 2 Rolls $129.00/Roll x 2 = $258.00 Conservation Resources (33.25” x 100 ft) Broad spectrum paper for wrapping, lining and OR OR packing. The black side of the paper contains alkaline Paper – Brown Kraft – 2 Rolls $58.00/Roll x 2 = $116.00 Ashley Distributors buffers and an especially (36” x 1025 ft) effective activated carbon. The white side of the paper contains alkaline buffers and our proprietary hydrophobic, acid-resistant SPZ zeolite. This combination offers wide ranging protection for collections. Glassine – 1 Roll $70.00 (36” x 100 yds) Ashley Distributors Glassine made from a selected chemical pulp is acid free, has a neutral pH and is unbuffered. This "archival" grade of glassine is used for a variety of applications - interleaving between prints, drawings, pastels, book illustrations and textiles, making temporary envelopes for shipping unframed or un- matted works on paper. It is translucent, off white in color. Glassine is not recommended for long term storage. Foam Roll - Polyethylene $81.00 (36”) Ashley Distributors Foam roll used as foam cushioning made from low- density polyethylene resins. It is lightweight, non abrasive, water resistant, CFCs and HCFCS free, and 100% recyclable. It prevents scratches of polished surfaces and cushions

against shock for fragile objects. It also serves as "interleaving" between products to ensure compact packaging, void filling and protective over-wrapping . It is excellent protection for easily marred items like picture frames and furniture.1/8" white compressed foam, 450' per roll. Paper Roll Dispenser/Cutter $90.30 x 3 = $270.90 (36”) Grainger Paper Dispenser with Cutter, (3) Width 36 In., Holds One Roll, (for paper/glassine/foam Wall, Countertop or Under rolls) Counter Mount, Material Steel, Includes Rubber Grommet HEPA Vacuum (Dustless $439.00 Home Depot Dustless Technologies HEPA Technologies) Vacuum is certified and provides many benefits not found in other vacuums. It captures particles down to 0.5 micron very close to the HEPA filtration of 0.3 micron. Because the HEPA filter is used for just the tiniest of particles, it can last up to 30 times longer when used with a Micro Pre-filter. This vacuum emits only 81 decibels of noise, has a powerful 5 hp motor, runs at 24,140 RPMs and produces 76.9 In. water lift at 126.CFM. A 16 gallon canister and Micro Pre-filter bag support optimum air flow while holding up to 40 lbs of dirt and debris. Metal Racks (4) $349.95 x 4 = $1399.80 (72” Global Industrial Global's premium quality, W x 24” D x 74” H) exclusive Nexelon™ wire shelving has a unique, super- tough finish that withstands wet, hot or cold extremes. The brilliant blue metallic surface resists impacts and chemicals, includes a limited lifetime guarantee against corrosion and features Nexgard, an anti microbial agent that protects the epoxy coating from growth of bacteria, mildew and molds. Flat File Storage Cabinet (5- $529.99 x 4 = $2119.96 (46 Engineer Supply They are an economical drawer) ¼”W x 32”D x 16 ¼”H) solution for all non-archival storage needs. Functionally designed label holders and chrome drawer handles. Drawer capacity is 60 lbs. Unit can be stacked up to 2

high. Oversized File Folders – $1.73/each = $346.00 Conservation Resources Microchamber .012 Folders (200) for oversize, flat boxes Gloves – Cotton $2.00/pair x 20 = $40.00 Conservation Resources Bleached jersey gloves for Researcher’s (20?) general use in conservation, archives, and collections care departments. Gloves – Disposable Vinyl $24.00/box x 3 boxes (small, Conservation Resources Ideal for handling small (3 boxes of 50/each box) medium, large) = $72.00 objects, but are not recommended for use with chemicals other than alcohols. Vinyl gloves are disposable, and come packed in boxes of fifty of a size. Trapper Sticky Insect Traps $23.00 (90 traps) Amazon Contains no pesticides, Includes all the essentials you'll need to trap the most common pests Misc. Incidentals $200.00 Marking Pens, Labels, Tape, etc.

APPROXIMATE TOTAL $5265.66

APPENDIX H (without original attachments) ART COLLECTION MANAGEMENT PLAN

Sacramento State University Permanent Art Collection

Collection Management Plan

Submitted at the request of Ed Inch, Dean of Arts & Letters, and Charles Gossett, University Provost, on October 22, 2012

Prepared by: Jennifer Grossfeld, Arts Administration graduate student, Sheila O’Neill, Director of CSUS Library Special Collections, and Professor Elaine O’Brien of the Art Department with the advice of the advisory committee of community and campus professionals: Diana Daniels of the Crocker Art Museum, Beth Jones and Lynda Jolley of the Jay-Jay Gallery; Sonya Lovine, CSUS Sponsored Research Officer; and Terri Castaneda, Professor of Anthropology and Director of the Anthropology Museum. Dan Frye, Phil Hitchcock, Leslie Rivers and Kevin Ptak made essential contributions. All contributors approved this plan.

Mission:

Beginning with the plan outlined here for that part of the university’s permanent collection held by the Art Department and the School of the Arts, the overall mission of the collection management plan is to secure, manage, and develop the entire permanent collection of Sacramento State University at the level of university collection standards, protecting it as a heritage and making it available for education, exhibition, research and community service, especially visual-arts teaching and scholarship at every level through original works of art.

The Art Department and School of the Arts collections have been created by Art department professors who have shared the same values and purposes for over half a century. The artworks in both collections share the same consistently high quality and regional focus and must be managed as one collection that represents the art history of Greater Sacramento. Because of the wide-spread influence of art produced in this region since the 1960s, local art history has national and international significance.

Art Department Collection:

The Art department collection includes several hundred works of art on paper (drawings, prints, and photographs), paintings, and sculptures, almost all of them by artists of the Greater Sacramento region. Examples are ceramic sculptures by Robert Arneson, Jun Kaneko, and Ruth Rippon; paintings and drawings by Fred Dalkey, Robert Else, Phil Hitchcock, Irving Marcus, Raymond Witt, Joan Moment, Tarmo Pasto, Jimi Suzuki, and Raymond Witt; and prints by John Driesbach, Anne Gregory, Jack Ogden, and Nathan Oliveira. The collection also holds works that were purchased for pedagogical purposes by Art faculty in the nineteen sixties through sales of student artworks, such as the limited-edition lithographs by art stars Pablo Picasso, Rufino Tamayo, Frank Stella, and Andy Warhol.

See attachment #1 for a list of works in the Art Department collection.

The School of the Arts Collection:

As Director of the School of the Arts and as Director of the University Library Gallery, Phil Hitchcock has acquired, displayed and stored in the university library an outstanding collection of artworks by Sac State affiliated artists. The collection holds over one hundred art objects of high quality and historical value, including works in various media by Frank Owen, Joseph Raffael, Stephen Kaltenbach, Joan Moment, Julia Couzens, Robert Brady, Jim Nutt, Wayne Thiebaud, and artists affiliated with the Royal Chicano Air Force (RCAF), including Jose Montoya and Esteban Villa. The RCAF poster collection and the Wayne Thiebaud print collection are housed in Special Collections. A conservative estimate of the monetary value of the SOTA collection at time of donation is $3 million.

See attachment #2 for a list of works in the School of the Arts collection.

First Phase of Collection Management Plan: 2012-2013

1. Create the Position of Collection Manager / Registrar The maintenance of accurate, complete, and updated record keeping and cataloguing is one of the most important responsibilities in collection management. Records regarding the acquisition, identification, provenance, condition, insurance value, location, photographic documentation, conservation history, exhibition, and publication history of works of art should be maintained by a Collection Manager/Registrar. This position is integral to providing access to a collection for study and scholarship.

Extend the job of the current Assistant to the Director of the Library Gallery from a 10-month contract to include the Collections Manager/Registrar position with a 12-month contract, which includes support for training in collection system software and collection management.

Leslie Rivers is currently the Assistant to the Director in the University Library Gallery (see Attachment #3, University Staff Position Description Form). This position is a ten-month position with a payroll title, ASC I. Her current functions in this position include managerial/curatorial responsibilities for the two exhibition galleries within the University Library Gallery. Registrar responsibilities, along with other related duties are also noted. In establishing the School of Art/Art Department Collection as a significant and relevant resource for the University, we are recommending that Ms. River’s job be expanded to a twelve-month position as a Collection Manager/Registrar. The additional time would allow for professional development to insure implementation of current practices, which include: 1. Proper collection record keeping in establishing a database 2. Researching works in the collection 3. Developing inventories 4. Processing new acquisitions 5. Overseeing artwork storage and maintaining archival materials 6. Documenting condition of artworks 7. Noting conservation requirements and recommending procedure for conservation or mitigation 8. Recommending works of art for de-accessioning and process removal 9. Supervising and handling all aspects of incoming, outgoing, extended and on-campus loans 10. Working with faculty to prepare artwork lists and pulling works for class review

11. Supervising part-time assistant and/or student assistants 12. Maintaining insurance records 13. Supervising photography of collection and other related duties

Accountability:

The Assistant to the Director of the Library Gallery (Collection Manager/Registrar) will submit a written monthly report on collection management progress to both the Library Gallery Director and the Chair of the Art Department and enter a third copy of the report in the collection’s archive. In consideration of these added responsibilities to the job of the Assistant to the Director of the Library Gallery, attached is the Association of Art Museum Directors 2012 Salary Survey (Attachment #4), specifically page sixty-three, ‘University Museum Salary Ranges’ as a reference.

The job description of the Director of the Library Gallery should be revised to include responsibility for the oversight of art collection management.

2. Relocate the Art Department and School of Arts Collections to a Suitable Permanent Storage/Management Facility Retrieve artworks on loan and discontinue loans until the collection management policy, including a loan policy, is written and implemented.

Collection Storage and Physical Management The storage environment can be the most cost-effective tool in preserving the holdings, preventing damage, and minimizing deterioration, it is critical that the storage facility meets environmental and security standards. This can be done most efficiently if collection storage is located above the ground level where dampness and flooding is less likely. The walls should have limited exposure to southern and western directions, due to high temperatures of the summer months. Finally, a simple integrated pest management program should be carried out by staff on a monthly basis to ensure that storage areas are free of pests.

Storage and Transport Equipment, Facility Controls 1. Light, humidity, and temperature controlled/constant temp/humidity. In general, cooler temperatures and drier relative humidity is ideal. (Purchase of 2-3 environmental monitors) 2. Security system connected to University police department 3. Fire detection and suppression. Minimal: A fire alarm system that can be triggered manually 24 hours a day 4. Shelving for small sculpture and other three dimensional objects 5. Oversize flat/horizontal files for unframed works on paper 6. Racks for paintings 7. Elevated platform for storage of large and heavy objects (if on ground level) 8. Heavy duty flat bed truck for transport of large, heavy objects 9. Two small objects truck for transport of small objects 10. Vault for high value objects

Collection Processing Area In addition to ensuring proper storage for the University Art collection, the collection management program will also carry out functions such as accessioning, condition appraisal, photographing of works, description, measurement, data entry, and preparation of works for storage. Ideally, the collection processing area should be adjacent to the storage area so that collection items can be removed for processing and returned to storage with limited obstacles to

the safety of collection materials. At a minimum, both storage and processing locations should be located in one building with access to a large/freight elevator (restricted to the public) for transport of collection objects between floors. Ideally, the building should also include a loading dock or receiving area for delivery and pick up of works.

Facilities and Equipment/Collection Processing Area Processing room furniture and equipment: 1. Two large work tables 2. Low table for staging, measuring, and photographing objects 3. High (or adjustable table for packing and/or creating storage containers, et al. 4. One computer workstation and immediate desk area 5. Photocopy machine 6. PC and printer 7. Digital camera 8. Phone and fax machine 9. Office file cabinet for storage of collection files 10. Shelving for staging basic tools, manuals, basic preservation supplies 11. Organized area for storage of oversize preservation supplies (large rolls of foam wrap, tissue, etc.) 12. Oversize roll dispenser (for accessing oversize rolls of tissue, foam wrap, etc. during storage prep) 13. Canister style vacuum cleaner (with ability to control suction for cleaning objects)

3. Purchase and Support Collection Management Software

Collection Database

Managing and organizing collection information and media through a database is essential in collection management. Establishing this repository of information about the University’s art collection will create a well of information that can be utilized by students, staff and faculty for research and reference. By creating an accessible method for the ongoing accountability of the collection, the university gains a method for meeting its goal to provide excellence in teaching, learning, and scholarship through the observation and study of the visual arts.

After researching the many programs and options which are currently available on the market, we are recommending GallerySystems/EmbARK Collections Manager Software (Attachment #5). This process of digitally and electronically cataloguing each item (including a visual image) will create a database of the items and information in the collection. This program will enable the Collection Manager/Registrar to: 1. Track extensive details about the activity and history of an object 2. Manage conservation, exhibitions, loans and shipping 3. Generate relevant reports

The Web Kiosk on this software presents specified catalogued information in a read-only format over the Internet, which opens the collection up for further study and scholarship.

The Art department is currently drafting a U.E.I grant proposal (due in early November) to purchase this software and one year of support from EmbARK. We are working with IRT to secure ongoing technical support of the system.

4. Develop a Collection Management Policy

The policy will be drawn from existing codes of ethics and professional standards established by the American Association of Museums and used by comparable university art museums and collections in the CSU system. (See examples from CSU Long Beach, Attachment #5 and CSU Chico, Attachment #6). It will be collaboratively written by Jennifer Grossfeld, Sheila O’Neill, and Elaine O’Brien with the advice of the Art Collection Advisory Committee.

Purpose: To establish a systematic framework to guide the ongoing management of the University Art Collection, based upon the mission and collecting scope of the collection.

Elements of the Collection Management Policy:

Provides guidelines on the acquisition, care, and ongoing development of the collection Describes the role of Art Collection Advisory Committee, the Collection Manager and Registrar, and designates authority in the selection of works to acquire by donation or purchase Establishes policies and procedures for documenting and caring for the collection: criteria and method for accessioning, credit to donors, catalogue standards, preservation storage, online access tools, and management of collection records maintained by the management program Provides guidelines for deaccession and removal of art works deemed out of collecting scope including manner of disposition; allocation of proceeds and credit to donors Sets the terms and conditions of loans; establishes procedures for management of internal and external loans Develops long range conservation plan Establishes physical and environmental protection Provides criteria for temporary custody and criteria for unsolicited/abandoned work Determines reproduction fees and reproduction rights Ascertains insurance needs, including valuation of collection; insurance records and claims Provides packing and shipping requirements Establishes Code of Ethics, which includes responsibility to the collection; discretion and confidentiality; and conflict of interest

Beyond 2013: Vision Statement

Once the collection is under professional management, develop and make use of its earning potential. The RCAF poster collection and the Wayne Thiebaud print collection, for example, are in high demand for museum exhibition and can be loaned for fees that will support the permanent collection. Apply for grants and external development support for the collection. We have applied for a U.E.I grant to purchase management software. We are working with Research to find appropriate grants. See attachment #6 for two examples. When there is adequate staff to manage the collection, grant writing can be handled by them. Take advantage of the collection’s great potential to serve a role in the advancement of the University, the College of Arts & Letters, the Art Department, and the University Library Gallery. Regional collectors have expressed keen interest in donating works to the collection, including alumni and emeritus Art professors with distinguished personal collections, and the Crocker Art Museum. Until the Sacramento State art collection is under proper management guided by professional policies, no additional works can be added.

Develop the collection through carefully-considered accession and deaccession policy to make it comprehensive of the best art of the region from 1950 to the present. The collection and associated documentation will define the art history of this region and make Sacramento State an important destination for art enrichment, study and scholarship. Create a new art history course in Art of the Greater Sacramento Region: 1950 to the Present that will work from art in the permanent collection. Students’ historical research will be added to the online catalogue of the collection. Create an online catalogue of the permanent collection linked to relevant university webpages and global collection databases. Develop pedagogical opportunities for the campus and the public, such as maps for campus art walks that can be downloaded from the website. The collection will draw scholars. The 2012 Festival of the Arts Art History Lectures, for example, will be three scholars specializing in art of Greater Sacramento. There will be a related art historical documents exhibition in the Witt Gallery and display cases of Kadema Hall. Sacramento City College has hired a professional art curator to archive their collection and is interested in collaborating with Sacramento State to give both collections cohesion and public presence, which would result in significant outreach pedagogy. Establish an ongoing student internship program in art collection management with one or two students each semester from the Art History, Public History, or Anthropology Programs supervised by the Collection Manager/Registrar. Students will learn useful career skills in the management and care of art objects. Establish an interdisciplinary museum studies program. The Art department, History department, and Anthropology department all currently offer courses in museum studies and art gallery management. Place the entire Sacramento State University collection, including works in Sacramento Hall and the University Union under one central curatorial management policy with dedicated staffing and a university art museum.

Attachment #1: List of works in the Art Department collection

Attachment #2: List of works in the School of the Arts collection

Attachment #3: University Staff Position Description Form (Leslie Rivers)

Attachment #4: The Association of Art Museum Directors 2012 Salary Survey

Attachment #5: CSU Long Beach Collections Management Policy

Attachment #6: CSU Chico Collections Management Policy

Attachment #7: GallerySystems/EmbARK Collections Manager Software description

Attachment #8: Grant descriptions from Sonya Lovine, Sponsored Research Officer

APPENDIX I (without original attachments/salary information redacted) ART COLLECTION MANAGEMENT PROPOSAL

Sacramento State University Art Collection Management Proposal

Submitted June 28, 2013 at the request of Dean Inch by the Sac State University Art Collection Task Group: Terri Castaneda, Jennifer Grossfeld, Phil Hitchcock, Sheila O’Neill, Elaine O’Brien, and Nancy Wylie with the advice of community professionals: Diana Daniels of the Crocker Art Museum and Beth Jones and Lynda Jolley of the Jay-Jay Gallery. Dan Frye, Nancy Tooker, Leslie Rivers and Kevin Ptak made essential contributions. This is a substantial revision of the proposal submitted on October 22, 2012.

Contents:

Mission …………………………………………………………………………………………………… 1

Description of ARTS Collection ……………………………………………………… 1

Proposed Plan, Phase 1……………………………………………………………………………….. 1 Proposed Plan, Phase 2 ……………………………………………………………………………….. 5 Beyond 2015: Vision Statement …………………………………………………………….…..…. 7

Table: Supplies needed for startup: specifications and prices ……………………….. 8

Art Collection Manager: Comparable 2013 Job Description

[for the Massachusetts State House]…………………………………………………….………..10 CSU Chico Janet Turner Museum: Comparable Art Collection

Management Policy……………………………………………………………….……………………..12

Proposed Curatorial Studies Minor/Certificate …………………………………………….. 20

Revised Sacramento State University Art Collection Management Proposal

Mission: to secure, manage, and develop, at the national standard of public collections, the entire permanent collection of Sacramento State University, which includes works held by the Art Department/School of the Arts (ARTS collection), the Anthropology Museum, University Enterprises Incorporated, the University Library, artworks in administrative buildings, and campus public art: sculptures and murals. Overall, the university stewards thousands of valuable, unique objects worth millions of dollars, almost all of them donated by artists and collectors who trusted the university to exhibit and care for them properly and in perpetuity. Beginning with Phase 1 outlined below for that part of the university’s collection held by the Art Department/School of the Arts (ARTS collection) the aim is to protect Sacramento State’s finest possessions and its most significant material heritage and make the objects available for community service, outreach and public relations, exhibition, research, and education.

Description of ARTS Collection: The approximately 1000 artworks in the ARTS collection are distinguished by their high quality and regional focus that represents the art history of Greater Sacramento (from the foot hills to the Bay) since the 1960s. Because of the national and international influence of art produced in this region since the 1960s, the university collection has outstanding historical significance. The collection also holds works that were purchased for pedagogical purposes by Art faculty in the nineteen sixties through sales of student artworks, such as the limited-edition lithographs by art stars Pablo Picasso, Rufino Tamayo, Frank Stella, and Andy Warhol. The Art Department collection includes around four hundred works of art on paper (drawings, prints, and photographs), paintings, and sculptures, almost all of them by artists of the Greater Sacramento region. Examples are ceramic sculptures by Robert Arneson, Jun Kaneko, and Ruth Rippon; paintings and drawings by Fred Dalkey, Robert Else, Phil Hitchcock, Irving Marcus, Raymond Witt, Joan Moment, Tarmo Pasto, Jimi Suzuki, and Raymond Witt; and prints by John Driesbach, Anne Gregory, Jack Ogden, and Nathan Oliveira. The School of the Arts Collection holds outstanding artworks by university-affiliated artists: works in various media by Frank Owen, Joseph Raffael, Stephen Kaltenbach, Joan Moment, Julia Couzens, Robert Brady, Jim Nutt, Wayne Thiebaud, and artist members of the Royal Chicano Air Force (RCAF), including Jose Montoya and Esteban Villa. The RCAF poster collection and the Wayne Thiebaud print collection are catalogued and housed in the University Library Special Collections.

Proposed Plan:

Phase 1: tasks to be completed by September 20, 2013 - in sequence as needed, otherwise simultaneously. Note: No artworks will be moved from current installation or storage locations until the completion of Phase 1 and Phase 2.

1) Select 100 of the most valuable artworks in the Art Department/ School of the Arts collection (approximately 10% of the total collection)

Phil Hitchcock and Elaine O’Brien will select the artworks

o Criteria: historical and market value o Artworks on the top-100 list that are installed and on view will be catalogued (including assignment of accession number, photograph if possible, rough condition report, and current market value estimated for insurance purposes) but they will not be moved or handled. o Artworks on the list that are currently stored in El Dorado Hall will be stored properly (according to professional standards) after they are catalogued

2) Hire temporary staff for Phase 1 Note: All Phase 1 tasks will be directed by Sac State faculty members: Terri Castaneda, Phil Hitchcock, Elaine O’Brien, Sheila O’Neill, and Dan Frye. Alphabetical list of temporary staff, duties, and salary: Robin Bernhard, UC Davis Art Collection Manager/Registrar and consultant: Set up the Sacramento State University digital catalogue according to professional standards with relational search categories and the ability to link to relevant Sacramento State websites and public collection databases off campus o Format FMP software for data entry by Sac State temporary staff o Create Sac State collection accession numbering system, security systems o Train Nancy Wylie in how to professionally manage the digital catalogue

Jennifer Grossfeld, Arts Management MA:

o Responsibilities: Appraise individual artworks (current market estimates based on online research) as they are recorded in the art collection catalogue. Work with the Office of Risk Management to

secure insurance coverage. Assist with the assignment/recording of accession numbers, measuring, photographing, and evaluating the condition of artworks.

Kevin Ptak, Art Department Instructional Support Technician III:

o Overseeing the preparation of El Dorado Hall for art collection storage. Removal of built-in shelves and cabinets that cannot be adapted for art storage. Removal of equipment not related to collection storage. Clearing of work stations. Oversee all handling of the art as it is catalogued and moved safely to safe storage. Overseeing the installation of storage facilities and equipment.

Leslie Rivers, Assistant to the Director of the University Library Gallery:

o Enter accession numbers and data for each artwork into the catalogue database; assist with the assignment/recording of accession numbers; measure, photograph, and evaluate the condition of artworks.

Nancy Wylie: Web/Graphic Designer, PEMSA Division, Sacramento State, and first year Art Collection Management MA student supervised by Sheila O’Neill, University Library Director of Special Collections: o Train with Robin Bernhard on formatting the art collection software (File Maker Pro) to create the university art collection catalogue; enter accession numbers and data for each artwork into the catalogue database; assist with the assignment/recording of accession numbers; measure, photograph, and evaluate the condition of artworks.

3) Set up the art collection digital catalogue for data entry:

Install FileMaker Pro, art collection management software owned by the College, on three campus computers. o One for software programming and data entry by Nancy Wylie o One for data entry by Leslie Rivers o One for data entry in the El Dorado Hall collection workspace o Accession numbering system designed o Creation of a relational database using File Maker Pro that will be a repository for object data and media and link artworks with corresponding conservation reports, loan and exhibition records, lender and shipping documentation, and publications.

4) Complete data entry for the 100 artworks selected by Hitchcock and O’Brien using discipline-standard categories

5) Prepare the storage space in El Dorado Hall

o Remove all stored objects not related to the collection o Remove built-in cabinets and shelves unsuitable for art storage o Cover wood shelves with Mylar o Arrange art storage cabinets, equipment and supplies according to professional guidelines o Create workspaces for a) data entry, b) photographing, c) condition assessment

6) Purchase supplies needed for startup (*see page 8 for table with specs and prices*)

7) Locate suitable permanent facility for storage with contiguous space for collection processing, research, teaching and learning

In addition to ensuring proper storage for the University Art collection, the collection management program will also carry out functions such as accessioning, condition appraisal, photographing of works, description, measurement, data entry, and preparation of works for storage. Curatorial studies minor/certificate students will be developing the collection in a required internship. Requirements: Overall square footage: 3200 Permanent location Accessible to teaching, exhibition, and research spaces on campus Above ground level where dampness and flooding is less likely Exterior walls with limited exposure to the sun in summer No low ceilings Wide doors from storage and preparation space to the building exterior for moving artworks in and out of the building for exhibition without damage. o Ideally, the building would include a loading dock or receiving area for delivery and pick up of works Good light, humidity, and temperature control Security system connected to the university police department Fire detection and suppression. Minimal: A fire alarm system that can be triggered manually 24 hours a day

Collection processing area adjacent to the storage area so that collection items can be removed for processing and returned to storage with limited obstacles to the safety of collection materials. At a minimum, both storage and processing locations should be located in one building with access to a large/freight elevator (restricted to the public) for transport of collection objects between floors.

2) Institute a permanent university art collection advisory board comprised of university faculty and community professionals. The advisory committee advises the collection manager in writing the art collection policy and meets quarterly with the collection manager to oversee the development of the collection toward the university vision plan. Members help with community outreach, fundraising, advising on accession and deaccession and assure proper stewardship of donations. Membership includes a representative from the Advancement office and otherwise is based on the membership of the current task group: the Library Gallery Director, the Director of University Library Special Collections, the Director of the Anthropology Museum, a Sac State professor of modern and contemporary art history, two curatorial studies graduate students, a curator from the Crocker Art Museum, and a representative of the UEI art collection.

Phase II: To begin in October, 2013 and ideally completed by the end of the academic year, May 2014, depending on available funds and staff 1) Hire Art Collection Manager/Registrar (current U.S. average salary is $55,000, higher and lower depending on qualifications, experience, and required duties) *See page 10 for comparable job posting with standard qualifications and duties for this position.* Typically, an Art Collection Manager/Registrar performs the following duties:1

manages the movement of artworks within and between facilities supervises packing and labeling assesses and implements strategies to improve storage spaces monitors environmental conditions in both exhibition and storage areas ensures safety of artworks during installation at the university and at all venues exhibiting its objects maintains accurate location records in the collections management database

1 List derived from Boston University and other university collection management websites

develops a centralized collections management system and online catalogue for all university art collections conducts an annual audit documents previously uncatalogued objects and new donations ensures adherence to national and international museum data standards and nomenclature continually assesses collections-related operational requirements to facilitate data collection and ensure effective and efficient use of the system trains staff, faculty, volunteers and interns organizes all aspects of transporting works of art to and from the collection space as potential acquisitions, for inclusion in the in-house special exhibitions program, or as loans to borrowing institutions works closely with faculty and staff in developing and using the collection for university purposes coordinate shipping of artworks to national and international borrowers ensures safe packing and crating in accordance with conservation requirements works with customs agents and brokers to procure security and customs permits secures insurance and indemnity coverage manages facility reports and contracts prepares official documentation, such as receipts and loan agreements for international loans, provides proper customs declarations and applies for government indemnity, immunity from seizure and licenses to ship materials comprised of endangered species or from sanctioned countries keeps current with international regulations for transporting art

Accountability: The Collection Manager/Registrar) will submit a quarterly report on the collection management progress to the Dean of Arts & Letters, University Provost, Library Gallery Director, the University Art Collection Advisory Board and enter a copy of the report in the collection’s archive.

2) Institute a Sacramento State Art Collection Management Policy The policy will be written by the Art Collection Manager with the advice of faculty members of the University Art Collection Advisory Board following existing codes of ethics and professional standards established by the American Association of Museums and used by comparable university art museums and collections in the CSU system. *(See example policy from CSU Chico, page 12)*

Purpose: To establish a systematic framework to guide the ongoing management of the University Art Collection, based upon the mission and collecting scope of the collection. Typical Elements of an Art Collection Management Policy: Provides guidelines on the acquisition, care, and ongoing development of the collection Describes the role of Art Collection Manager and Registrar and designates authority in the selection of works to acquire by donation or purchase Establishes policies and procedures for documenting and caring for the collection: criteria and method for accessioning, credit to donors, catalogue standards, preservation storage, online access tools, and management of collection records maintained by the management program Provides guidelines for deaccession and removal of art works deemed out of collecting scope including manner of disposition; allocation of proceeds and credit to donors Sets the terms and conditions of loans; establishes procedures for management of internal and external loans Develops long range conservation plan Establishes physical and environmental protection Provides criteria for temporary custody and criteria for unsolicited/ abandoned work Determines reproduction fees and reproduction rights Ascertains insurance needs, including valuation of collection; insurance records and claims Provides packing and shipping requirements Establishes Code of Ethics, which includes responsibility to the collection; discretion and confidentiality; and conflict of interest 2) Institute a Curatorial Studies Minor/Certificate: *see full description, page 20 * Offered by the university for matriculated and Continuing Education students in the Fall semester of 2015. Through courses and internships, students will assist in managing the collection, research objects, and write supporting art historical and critical texts for the online public catalogue/virtual exhibition space. Institute two new courses for the Curatorial Studies Minor/Certificate: Introduction to Curatorial Studies, and an art history course, Modern and Contemporary Art in the Sacramento Region that will (with the other courses in the Curatorial Studies curriculum) use objects in the permanent collection for teaching. Students will help develop the collection database, and their historical research on art and artists in the collection will be published in the online catalogue of the collection.

100

Beyond 2015: Vision Statement

Develop the collection through carefully-considered accession and deaccession policy to make it comprehensive of the best art of the region from 1960 to the present. The collection and associated documentation will define the art history of this region and make Sacramento State an important destination for art enrichment, study and scholarship. Place all Sacramento State University art collections – ARTS, Anthropology, U.E.I., University Library, public artworks, and art in administrative buildings – under one central curatorial management program with dedicated staffing led by the University Art Collection Manager; one catalog system and inclusive online public catalogue linked to relevant university webpages and world-wide art collection databases; one collection policy; and storage, preparation, preservation, teaching and exhibition spaces ideally located in one university museum. Exploit the collection’s potential to advance the mission, prestige, and increase the cultural capital of the University. Regional collectors have expressed keen interest in donating works to the collection, including alumni and emeritus Art professors with distinguished personal collections, and the Crocker Art Museum. • Develop and make use of the collection’s earning potential. Gain external development support for the collection. Grant writing can be handled by the collection manager and faculty and students in the curatorial studies program. Develop pedagogical opportunities for the campus and the public, such as maps for campus art walks that can be downloaded from the website.

101

APPENDIX J

PROPOSED INTERIM COLLECTION MANAGEMENT POLICY (under review and revision as of date of this writing)

California State University, Sacramento

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Sacramento State Interim ARTS Collection Management Policy

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102

TABLE OF CONTENTS

I. PARAMETERS OF COLLECTION, PURPOSE, MISSION, AND OVERSIGHT

II. CODE OF ETHICS A. Responsibility to the Collection B. Discretion and Confidentiality C. Conflict of Interest

III. COLLECTING POLICY A. Collection s Advisory Committee B. Information for Prospective Donors

IV. ACQUISITIONS A. Acquisition Guidelines B. Procedures

V. DEACCESSIONING A. General Policies B. Criteria C. Procedure D. Methods of Disposal

VI. LOANS A. On-Campus Loans B. Incoming Loans/Temporary Custody C. Outgoing Loans

VII. CARE OF THE COLLECTION A. Responsibilities B. Collection Environment C. Records D. Access E. Insurance F. Inventory

VIII. PUBLIC DISCLOSURE

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I. PARAMETERS OF COLLECTION, PURPOSE, MISSION, AND OVERSIGHT

Parameters of the Collection: The following interim policy pertains only to the University ARTS Collection (referred to below as ARTS Collection). The University ARTS Collection is only part of the large collection of valuable objects of visual culture owned by California State University, Sacramento. The University ARTS Collection, to be managed according to the Interim Collection Management Policy below, consists of artworks formerly held by the Art Department and the now-defunct School of the Arts.

The ARTS Collection includes works of art acquired and accepted on behalf of the university for over half a century by Art department professors who shared the same values and purposes. The artworks are of consistently high quality and have a regional focus. Together they form an outstanding collection that represents the art history of Greater Sacramento. Because of the wide-spread influence of art produced in this region since the 1960s, the ARTS Collection has national and international significance.

Artworks held by the Art Department: Several hundred works of art on paper (drawings, prints, and photographs), paintings, and sculptures: almost all of them by artists of the Greater Sacramento region. Examples are ceramic sculptures by Robert Arneson, Jun Kaneko, and Ruth Rippon; paintings and drawings by Fred Dalkey, Robert Else, Phil Hitchcock, Irving Marcus, Raymond Witt, Joan Moment, Tarmo Pasto, Jimi Suzuki, and Raymond Witt; and prints by John Driesbach, Anne Gregory, Jack Ogden, and Nathan Oliveira. The collection also holds works that were purchased for pedagogical purposes by Art faculty in the nineteen sixties through sales of student artworks, such as the limited-edition lithographs by art stars Pablo Picasso, Rufino Tamayo, Frank Stella, and Andy Warhol.

Artworks held by the former School of the Arts: An outstanding collection of artworks by Sac State affiliated artists totaling over one hundred art objects of high quality and historical value, including works in various media by Frank Owen, Joseph Raffael, Stephen Kaltenbach, Joan Moment, Julia Couzens, Robert Brady, Jim Nutt, Wayne Thiebaud, and artists affiliated with the Royal Chicano Air Force (RCAF), including Jose Montoya and Esteban Villa. The RCAF poster collection and the Wayne Thiebaud print collection are housed in University Library Archives and Special Collections.

Purpose and Mission: The purpose of the Interim Collection Management Policy is to guide the stewardship, orderly growth and enhancement of the ARTS Collection of California State University, Sacramento. This Interim Collection Management Policy is for the ARTS Collection only. It thus establishes guidelines for achieving only part of the overall mission stated in the Collection Management Plan (revised June 2013): to secure, manage, and develop the entire permanent collection of all objects of visual culture held by California State University, Sacramento at the professional level of university collection standards,

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protecting generous gifts to the University as a heritage and making them available for education, exhibition, research and community service, especially visual learning, teaching, and scholarship at every level through original works of art and visual culture.

To achieve the overall mission of the California State University, Sacramento Collection Management Plan (June 2013), a permanent California State University, Sacramento Collection Management Policy will be drafted at a later date for the care of all objects of visual culture owned by the university, including collections held by the Anthropology Museum, the University Library, and University Auxiliary Organizations, as well as the campus Public Art Collection and artworks in administrative buildings.

Oversight: The institution of a permanent California State University, Sacramento Collection Management Policy requires the engagement of a professional University Collection Manager. Without a professional University Collection Manager, the Interim Collection Management Policy will be carried out by current faculty, temporary collection management staff and student interns.

Oversight of the Interim Collection Management Policy is the responsibility of California State University, Sacramento. In the absence of a professional University Collection Manager, the University Library Gallery Director is responsible for the administration of the Interim Collection Management Policy. The University Library Gallery Director will follow the policy below in consultation with the University ARTS Collection Advisory Committee (see UACAC, below), and for artworks valued at over $5000, the Dean of Arts & Letters and the University Advancement, Development Office will be consulted.

The education and management of student collection management interns is the responsibility of the University Library Gallery Director. In cases where the student intern’s faculty supervisor is not the University Library Gallery Director, the student intern’s faculty supervisor and the University Library Gallery Director will work collaboratively to achieve the faculty supervisor’s teaching goals and the student intern’s learning goals.

II. CODE OF ETHICS

The ARTS Collection Code of Ethics pertains to all administrators, faculty, staff, committee members, and volunteers of the ARTS Collection. All individuals having an affiliation with the ARTS Collection are expected to be familiar with and abide by the Code of Ethics.

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A. Responsibility to the ARTS Collection The possession of the works of art in the ARTS Collection incurs legal, social, and ethical obligations of California State University, Sacramento to provide proper storage, management, care, and associated documentation according to standards defined by the American Alliance of Museums. For these reasons, university representatives responsible for the ARTS Collection must assure that its management, development and use are aligned with the mission of California State University, Sacramento (March 29, 2004): (http://www.csus.edu/about/mission.html) and the mission described in the Collection Management Plan (June 2013): to secure, manage, and develop the permanent collection of objects of visual culture held by California State University, Sacramento at the professional level of university collection standards, protecting it as a heritage and making it available for education, exhibition, research and community service, especially visual learning, teaching, and scholarship at every level through original works of art and visual culture.

B. Discretion and Confidentiality Individuals associated with the ARTS Collection have unique responsibilities related to maintaining the image, trust, and credibility to the public of California State University, Sacramento and the ARTS Collection. For this reason, affiliated individuals must 1) represent properly the University and their position in association with the ARTS Collection when interacting with others; 2) exercise professional discretion about activities and concerns regarding the ARTS collection; 3) hold in confidence relevant information concerning matters such as donors, finances, personnel and security.

C. Conflict of Interest Individuals having an affiliation with the ARTS Collection must avoid situations that may be construed as a conflict of interest. Concerns about potential conflicts of interest should be handled according to the Conflict of Interest Policy outlined in the Sacramento State Development Policy Manual: http://www.csus.edu/giving/PDF/2009DevelopmentPolicyManual.pdf. The purpose is to prevent real or perceived conflict between interested parties and the objectives of the ARTS Collection. Potential conflicts of interest specific to the management of the ARTS Collection include: 1) personal collecting within the curatorial area of the ARTS Collection; 2) using ARTS Collection affiliation, resources, or the influence of one’s position for personal benefit, or to serve the interests of persons outside the ARTS Collection; 3) placing the ARTS Collection in a situation that compromises its missions, policies, functions, practices, or philosophies.

III. Collecting Scope and Policy

A. Scope of Collecting

The overwhelming strength of the ARTS Collection is the art of the Greater Sacramento region, 1950-present, with a focus on the production of Sacramento State affiliated artists. The ARTS

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Collection will continue to develop within the parameters of the existing collection, which includes hundreds of historically significant works of two- and three-dimensions in a range of media by artists of the Greater Sacramento region, including: Robert Arneson, Robert Brady, Julia Couzens, Fred Dalkey, Robert Else, Stephen Kaltenbach, Jun Kaneko, Irving Marcus, Joan Moment, Jim Nutt, Jack Ogden, Nathan Oliveira, Frank Owen, Tarmo Pasto, Ruth Rippon, Joseph Raffael, Jimi Suzuki, Wayne Thiebaud, Raymond Witt, and artists affiliated with the Royal Chicano Air Force (RCAF), including Jose Montoya and Esteban Villa.

The University ARTS Collection will continue to build within existing parameters: the art of the Greater Sacramento region, 1950-present. Through its collecting goals, the ARTS Collection will strive to support the academic mission of Sacramento State University and be responsive to the cultural needs and aspirations of the regional community.

B. Collecting Policy

The University ARTS Collection policy will follow the Sacramento State Development Policy Manual http://www.csus.edu/giving/PDF/2009DevelopmentPolicyManual.pdf, in particular the guidelines for Special Collections outlined on pages 10-12 of the University Development Policy Manual, partly copied below:

Gifts of Special Collections

Special Collections—gifts-in-kind that consist of collections such as works of art, memorabilia, artifacts or other types of tangible personal property—must be considered on a case-by-case before they can be accepted.

A Special Collections Proposal Form (http://www.csus.edu/giving/docs/SpecialCollectionsGiftProposalForm.doc ) must be signed by the Dean of the program area where the gift will reside and by the Vice President for Advancement. On the Special Collections Proposal Form, the campus representative working with the donor will specify how the gift will benefit the campus or the department where it will be housed, and will be asked to consider and identify potential issues that could have a negative effect on the institution financially or legally, or bring harm to the institution’s reputation. They will also outline any specifications for insuring and maintaining the collection, along with provisions for funding those requirements.

Once accepted, the gift becomes the property of the University. The donor gives, transfers and assigns all rights, title and interest in and to the property as an unrestricted gift. If the donor plans to claim a tax deduction for the value of the collection, valuation and appraisal requirements will apply as for other gifts-in-kind, as detailed in the Gift Procedures manual.

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As part of the gift approval process, the Vice President for University Advancement may choose to convene a Gift Acceptance Committee, which is responsible for reviewing proposals for special major gifts. The composition of the committee will be determined by the type of collection being proposed. The Vice President for University Advancement shall sign the Gift Acceptance Form (GAF) for any new Special Collection, or gift being considered by the Gift Acceptance Committee, thereby indicating final approval.

Special Collections are subject to the following criteria:

The collection must be of value in promoting and supporting the role and scope of the mission of Sacramento State. The cost and expenditure of staff time and other resources in acquiring, researching, transporting, processing, and storing the objects must fit within the University's available resources or provision for funding of such must be included as part of the gift. The collection must be of a size and physical state for which Sacramento State can provide adequate storage space and security. Objects must be the legal property of the donor and he/she/it must have legal authority to transfer ownership. The acquisition of objects must comply legally and ethically with: a. United Nations Educational, Scientific, and Cultural Organization (UNESCO) Convention on the Means of Prohibiting and Preventing the Illicit Import, Export, and Transfer of Ownership of Cultural Property, November, 1970; Article 9 Convention under the Convention on Cultural Property Implementation Act (1983) b. Native American Graves Protection and Repatriation Act (NAGPRA) Public Law 101- 601; 25 U.S.C. 3001-13; 104 Stat. 3042 c. Treaty of Cooperation between the United States and Mexico for the Recovery and Return of Stolen Cultural Properties for Pre-Columbian Artifacts d. Antiquities Act, Archaeological Resources Protection Act of 1979, Public Law 96-95; 16 U.S.C. 470aa-mm e. Treaties, memoranda of understanding, or other legal agreements between the United States and other countries regulating importation of archaeological and ethnographic materials f. Convention on International Trade in Endangered Species (CITES), 1977 g. African Elephant Conservation Act 16 USCS 4203 h. Migratory Bird Treaty Act of 1918, 16 U.S.C. 703-712, Ch. 128; July 13, 1918; 40 Stat. 755 and subsequent amendments

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i. Endangered Species Act of 1973 16 U.S.C. 1531-1544, 87 Stat. 884 and subsequent amendments

j. Bald Eagle Protection Act of 1943, 16 U.S.C. 668-668d, 54 Stat. 250 and subsequent amendments

k. USFW and USDA regulations relating to biological material imported from outside the U.S.

l. Lacey Act Amendments of 1981 relating to biological material, Public Law 97-79, 16 U.S.C. 3371-3373

m. Marine Mammal Protection Act of 1972, 16 U.S.C. 1361-1407, P.L. 92-522 and subsequent amendments

n. All other applicable local, state, federal and international laws and regulations

Collections of human remains and sacred materials will not be acquired if it is known at the time of acquisition that their presence and use is considered to be offensive or inappropriate by the relevant cultural group, whether or not they are governed by public law.

Materials subject to copyright must be accompanied by documentation of the transfer of named copyrights or by documentation identifying copyright status.

The collection must be free of restrictions that it remain intact or at the University in perpetuity. If the collection no longer serves the mission of Sacramento State, the University retains the right to sell the collection, or objects in it, upon notification of the donor.

The Committee should evaluate the gift’s potential to bring adverse publicity or financial liability to the University, or if accepting the gift could restrict academic freedom or the University’s ability to act independently. The Committee should also review expectations or needs to catalog, archive or lend the collection and how those efforts will be funded.

C. University ARTS Collection Advisory Committee (UACAC)

Instituted by the Dean of Arts and Letters as a permanent University ARTS Collection Advisory Committee (UACAC) with the following responsibilities:

1. Advises the University Library Gallery Director on the acceptance or rejection of works of art proposed as gifts, purchases and/or exchanges for the permanent ARTS Collection, and in the case of major gifts (as per Sacramento State Development Policy for Special Collections), advises the University Gift Acceptance Committee that may be convened by the Vice President for University Advancement.

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2. Advises the University Library Gallery Director on the deaccessioning of works of art through transfer, sale, exchange or other means when such works are no longer of clear interest to the ARTS Collection. 3. In its deliberations and relations with the University Library Gallery Director, the UACAC will follow the guidelines published in Professional Practices in Art Museums (2001) distributed by the Association of Art Museum Directors. The UACAC shall meet monthly as scheduled by the committee chair. Additional meetings may be called at the discretion of the University Library Gallery Director. 4. UACAC members include at least three professors with expertise in contemporary art and/or collections professionals, at least two community art and/or collections professionals, at least one member of the ARTS Collection Staff and at least one student ARTS Collection intern. 5. All members of the UACAC are committed to the ARTS Collections’ Code of Ethics. College faculty, administrators, and staff affiliated with UACAC and the ARTS Collection are required to meet the ethical standards required by the California State University and the American Alliance of Museums in the performance of ARTS Collection duties. 6. Sensitive and confidential information may be disclosed during UACAC meetings. All committee members are obligated to respect such information. The use of such information for personal gain is prohibited as a conflict of interest (described above).

D. Information for Prospective Donors The ARTS Collection appreciates the generous individuals who offer gifts of art to the university. The ARTS Collection follows the established acquisitions procedure and policy outlined in the Sacramento State Development Policy Manual and conforms to professional standards set by the American Alliance of Museums.

The ARTS Collection has established the University ARTS Collection Advisory Committee that meets monthly to consider gifts for the Collection presented by the University Library Gallery Director. The committee follows established professional standards in the museum field. Sacramento State Development Policy requires the university to collect purposefully and carefully within its capacity to house and preserve the artwork in its care. The university is mandated not to accept work that it is unlikely to be able to exhibit, catalogue or care for in an appropriate manner. See the Sacramento State Development Policy Manual: http://www.csus.edu/giving/PDF/2009DevelopmentPolicyManual.pdf

In general, the University ARTS Collection Advisory Committee cannot accept works that are duplications of specific artists or types of art, currently represented in the ARTS Collection; works that have storage requirements beyond our present space; works that are exceedingly fragile or require extensive conservation treatment; works that have no relationship to other objects in the ARTS Collection; and finally, by law, works where the donor has no clear title to

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ownership and or attribution of the work. In accordance with the American Alliance of Museums guidelines concerning cultural patrimony issues, the potential gifts to the ARTS Collection must be accompanied by as much background (provenance) material as possible. These are the major criteria used in considering works of art for the ARTS Collection. Other restrictions and criteria may be posed by specific works and categories of art.

IV. ACQUISITIONS

The ARTS Collection follows policies for donations of gifts to California State University, Sacramento as outlined in the Sacramento State Development Policy Manual. It also strives to meet the following standard acquisitions criteria based on the recommendations of the International Council of Museums Code of Ethics: http://icom.museum/fileadmin/user_upload/pdf/Codes/code_ethics2013_eng.pdf; the Association of Art Museum Curators 2007 Professional Practices in Art Museums guidelines: http://www.collegeart.org/pdf/AAMC_Professional_Practices.pdf; the American Alliance of Museums report, Museums for a New Century (1984); and other sources.

The ARTS Collection will not acquire works of art that it is unable to conserve, store, exhibit, or catalogue in according to standard practice for university collections. The ARTS Collection will collect carefully and purposefully within its capacity to house and preserve the works of art in its care.

A. Acquisition Guidelines Acquisitions to the ARTS Collection shall be made to strengthen the mission and holdings of the collection for the purposes of research, teaching, curricular development, and exhibitions. Artwork or objects acquired shall be of historical/aesthetic significance and merit and may be added to the collection through gift, bequest, purchase, or exchange following the guidelines described below. 1. The object is consistent with the ARTS Collection mission, scope of collecting, and vision as stated in the California State University, Sacramento ARTS Collection Management Plan. 2. The object has merit and aesthetic quality and does not duplicate a work already in the ARTS Collection. 3. Following standard professional practices and conflict of interest guidelines, there will be no private sale to staff, faculty, members of the Advisory Committee, or their representatives. 4. The legality and ethical propriety of all potential acquisitions will be evaluated according to documentation as to origin, previous ownership, history. 5. No object will be knowingly acquired whose ownership or current legal status is questionable or whose circumstances of acquisition were

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unethical or contrary to the legal goals and practices of California State University, Sacramento, the ARTS Collection, and professional archival and cultural property standards. 6. The ARTS Collection will not knowingly acquire works of art that have been illegally exported or otherwise transferred in violation of the principles of the UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property (1970). Nor will the ARTS Collection acquire gifts of human remains and cultural items from Native Americans as outlined in NAGPRA (1993). 7. No work of art will be acquired by the ARTS Collection if professional standards of care and storage cannot be provided. 8. The ARTS Collection will not accept gifts unreasonably encumbered with conditions set by the donor regarding ownership, use, display, or future disposition. 9. Estate gifts to the ARTS Collection that do not meet the above criteria may be accepted for sale by the university to support the ARTS Collection following the policies and procedures outlined in the Sacramento State Development Policy Manual.

B. Procedures All acquisition procedures of the ARTS Collection must follow policies outlined in the Sacramento State Development Policy Manual and Sacramento State Gift Procedures. For gifts of art valued at $5000 or more, the University Library Gallery Director notifies the Dean of Arts & Letters and follows University Development and Advancement procedures for Special Collections.

Procedures specific to the ARTS Collection:

If a work of art is offered or solicited as a promised gift to the ARTS Collection, it may be presented to the University Library Gallery Director so that the donor may be assured that the gift will be accepted at a later date and as an Estate Gift. The object will be assigned an incoming loan number and the donor’s offer of a promised gift and the official acceptance of the University Library Gallery Director and UACAC should be documented in writing. Whenever possible, the donor will maintain physical custody until such time as the actual Transfer of Title takes place.

Potential acquisitions of works of art are submitted for approval to the University Library Gallery Director, who presents them to the UACAC, which meets monthly and as needed at the request of the University Library Gallery Director and/or the UACAC Chair.

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As per Sacramento State Development Policy for Gifts of Special Collections, a Gift Acceptance form or a Special Collections Gift Proposal Form must be completed by the University Library Gallery Director and donor, transferring title to the works of art to the ARTS Collection. Gift agreements must be signed by the donor, and the Dean of Arts & Letters must formally accept the gift in writing. A bill of sale must be obtained for purchase of works of art. Transfer, retention, or sub-division or copyright protection of works should be established at the time the object is acquired. The ARTS Collection adheres to international copyright law, and observes appropriate donor and copyright restrictions as specified by written agreement.

Works that do not meet ARTS Collection standards will not be accepted for the permanent collection, although (as above) they may be accepted for sale by the university to support the ARTS Collection following the policies and procedures outlined in the Sacramento State Development Policy Manual. In the event that the University Library Gallery Director and the University Collection Advisory Committee disagree on acceptance or rejection of works of art for the ARTS collection, a written report will be prepared for the Dean of Arts & Letters documenting their views and a final decision will be made by the Dean of Arts & Letters.

The ARTS Collection abides by the ethical policies of California State University, Sacramento and the Code of Ethics of the American Alliance of Museums and thus cannot appraise gifts. Donors must obtain their own appraisals in accordance with the rules and regulations of the Internal Revenue Service and appropriate state tax agencies. If requested, the University Library Gallery Director will refer a donor to the American Society of Appraisers and the Appraisers Association of America.

V. DEACCESSIONING: The permanent removal an artwork from the collection through sale, transfer, exchange, or disposal

A request for deaccession requires careful consideration of public opinion and professional judgment to ensure that the integrity of the object, artist and public is respected. The ARTS Collection shall be periodically reviewed by the University Library Gallery Director. Maintenance assessments and recommendations may be submitted by appropriate parties to the University Library Gallery Director and the UACAC for consideration and, in the event that circumstances warrant, a written request may be submitted to the University Library Gallery Director and the UACAC for the deaccession of an object. The University Library Gallery Director and/or the UACAC may initiate a review for deaccession of an object. A request for assessment or review not initiated by

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the University Library Gallery Director or the UACAC may be submitted by staff, faculty, artist, donor, or an outside party with interest in the disposition of the object.

A request for review for deaccession should include the following:

1. The reason deaccession is requested. 2. The estimated current value of the object. 3. The acquisition method and cost. 4. Written evaluation from a disinterested and qualified professional such as an engineer, conservator, architect, safety expert, or art historian. 5. Photographs indicating the status of the object. 6. The contract with the artist or any other relevant agreement. 7. Written recommendations of other concerned parties, including staff, faculty, the artist, donor, or an outside party with interest in the disposition of the object. 8. Any articles regarding the object or evidence of public debate or written correspondence concerning the object.

The following reasons may be cause for deaccession of an object from the ARTS Collection:

1. The condition or security of the object cannot be reasonably guaranteed. 2. The object requires excessive maintenance or has faults of design or workmanship and repair or remedy is impractical or unfeasible. 3. The object has been damaged and repair is impractical or unfeasible. 4. The object endangers public safety. 5. The object has had significant adverse public reaction over an extended period of time. 6. The artistic merit and/or educational value of the object is called into question 7. The University Library Gallery Director and/or the UACAC wishes to replace the object with a more appropriate work by the same artist. 8. A written request from the artist has been received.

Review of the Request for Deaccession

1. In the case of deaccessioning objects by living artists, an attempt should be made to inform them of this intention, and the possibility of an exchange of the object with the artist will be explored.

2. The University Library Gallery Director and the UACAC shall recommend reasonable measures to address the concerns outlined in the request for review for deaccession.

3. If the University Library Gallery Director and the UACAC determines that reasonable efforts have been made to resolve the concern which prompted the review and that

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these efforts have failed to resolve the concerns, then the object may be removed from the ARTS Collection with the approval of the University Advancement and Development Office. Consideration will be given to any special conditions attached to objects acquired through bequest, donation or as part of a larger collection.

The following courses of action in order of priority may be followed if an object must be removed from the ARTS Collection:

1. The ARTS Collection follows the California State University Policy Manual with regard to the Property Management, the Safeguarding and Disposal of State Property http://www.csus.edu/umanual/admin/ADM-0164.html.

2. Objects acquired by donation should be offered in the first instance to the donor. If the object intended for deaccession was obtained subject to restrictions which are inconsistent with deaccession, and if the donor is still living, every attempt shall be made to obtain from the donors a written waiver and consent to its deaccession. If the donor is no longer living, every attempt will be made to contact the heirs or the estate to receive such a waiver.

3. Removal from the collection by sale, extended loan, trade or donation. At least two independent professional appraisals of the fair market value of the object are received to inform further decisions at this point. If possible, the artist should be given first option on purchase.

4. The ARTS Collection and the Advancement and Development Office shall retain for the University all records of the deaccessioned object including the original proposal, portfolio, approval documents, maintenance records, deaccession request and approval, etc.

5. Proceeds from the sale of a deaccessioned object shall be used to support the ARTS Collection.

VI. LOANS

A. Campus Loans The stated mission of the ARTS Collection is to secure, manage, and develop the objects of visual culture it holds according to art collection standards, protecting it as a heritage and making it available for education, exhibition, research and community service, especially visual learning, teaching, and scholarship at every level. Campus loans from the ARTS Collection for use in limited areas (e.g. President’s Office) that serve the mission of the university and the mission of the ARTS Collection are made by the requests to the University Library Gallery Director and require the approval of the University Library Gallery Director and

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the UACAC. Such loans must comply strictly with the outgoing loan policies outlined below.

B. Incoming Loans, Temporary Custody The ARTS Collection accepts no incoming loans. If an umbrella insurance policy is in place that includes artworks held in temporary custody by the ARTS Collection, the University Library Gallery Director may assume temporary custody of items other than loans for the purpose of gift consideration. Custody for any other purpose may not be undertaken.

Works may be placed in the ARTS Collection for temporary custody only if arrangements have been made with the University Library Gallery Director.

Works placed with the ARTS Collection without the University Library Gallery Director’s consent will not be insured and will be returned promptly at the owner’s expense. If the ARTS Collection is unable to return an item after reasonable attempts, it may be treated as an “abandoned loan” and the ARTS Collection will comply with Section 1899 of the California Civil Code concerning unclaimed property: http://www.leginfo.ca.gov/cgi- bin/displaycode?section=civ&group=01001-02000&file=1899-1899.11

C. Outgoing Loans: Loans from the ARTS Collection are generally only made to related non- commercial, educational institutions and require a written request to the University Library Gallery Director that states the purpose of the loan, the period for which the work is requested, and the environment in which it will be housed. Borrowing institutions must submit a Facilities Report.

Loan requests will be reviewed for approval by the University Library Gallery Director and the UACAC who will consider the following criteria as well as other criteria which might be pertinent to individual loans:

In order to be approved for loan, the work must be able to withstand the ordinary strains of packing, transportation, handling, installation, and exhibition. The loan must not expose the work to undue risk. All risks must be justified by the merit of the request.

Any borrower must at a minimum meet the ARTS Collection’s standards of loans governing appropriate environment, handling, security, insurance, and transportation. Borrowers are expected to pay all costs incurred for preparation, conservation (if necessary), packing, insuring, and transporting a loaned work. The borrower must agree to the ARTS Collection’s conditions of loan in a written Loan Agreement. Borrowers will assume full responsibility for any loss of or damage to the loaned

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works while they are in transit or on location away from the ARTS Collection.

Permission to photograph, reproduce in any manner or televise works must be secured from the University Library Gallery Director. The borrower may not reproduce images of artworks on objects or documents made for sale. The borrower may photographically reproduce items from the ARTS Collection for educational, catalogue, and publicity purposes in accordance with the copyright, as long as the ARTS Collection receives copies of all reproductions made.

VII. CARE OF THE ARTS COLLECTION

A. Responsibilities The University Library Gallery Director is charged with maintaining the University’s awareness of its fiduciary responsibilities to the ARTS Collection as a public trust.

The University Library Gallery Director is responsible for insuring the maintenance of all security and fire protection devices that affect the ARTS Collection.

The University Library Gallery Director shall, with the advice of the UACAC, maintain policies and procedures to assure the proper care of the ARTS Collection and shall amend the policies and procedures as necessary to assure its continued care and protection.

While the University Library Gallery Director has primary responsibility for the day-to-day care and control of the ARTS Collection a concern for their preservation, security, protection, and accurate documentation must be shared by every member of the student, volunteer, and paid staff and the UACAC.

The location of each ARTS Collection item moved outside the main storage area must be recorded by the staff.

The University Library Gallery Director shall have established procedures for responding to emergencies to protect the Collection s in the case of fire or natural disasters.

B. Collection Environment Access to the Collection storage areas is restricted with keys issued according to the California State University, Sacramento Policy Manual: http://www.csus.edu/umanual/admin/ADM-0166.html

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A security alarm system, monitored 24 hours a day by campus police, is armed whenever the ARTS Collection is not staffed.

Temperature is monitored by ARTS Collection staff and adjustments made at the thermostat. In the storage area, a portable dehumidifier is operated to prevent excess humidity.

Ultra-violet light is filtered.

C. Registration System An accession numbering system shall be instituted and utilized according to national standards for museum registration.

Records shall be maintained and updated when changes occur through the catalogue software program.

Back up of database will be performed regularly pursuant to Sacramento State’s IT/established procedures.

According to standard university collection practice, the master inventory of the ARTS Collection shall be kept as 1) a hard copy in fire-proof files as well as 2) in the digital ARTS Collection catalogue and database.

Individual files with hard copies for each piece of work including acquisition records, donation records, artist’s biographical information, etc. shall be stored in a fire-proof file cabinet.

An insurance list shall be stored as a hard copy and in the computer and updated annually.

Out-going loan records shall 1) be recorded in the ARTS Collection catalogue and 2) backed up as hard copies, as above.

D. Access The ARTS Collection is a public collection and trust. Every effort will be made to see that students, faculty, visiting scholars, and others whose projects fall within the educational goals of the ARTS Collection are given reasonable access. Such access is subject to limitations of space, staff time, and preservation and security requirements of the Collection. Collection records cannot be removed nor copied from the ARTS Collection files. In reply to reasonable inquiries, the ARTS Collection will make available the identity and description of all accessioned works. Following Sacramento State Development Policy Manual procedures for gifts to the university, confidential donor information is not disclosed to the public.

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Access to the ARTS Collection in storage requires an appointment with the University Library Gallery Director, Chair of the UACAC, or appropriate staff. Determination of access to the Collection is at the discretion of the University Library Gallery Director or the Chair of the UACAC.

All activity or work in the ARTS Collection storage areas is subject to supervision by the appropriate staff. Admittance of individuals or groups into the storage areas and the handling and moving of art work for study is the responsibility of the designated ARTS Collection staff member or the University Library Gallery Director.

E. Insurance Insurance coverage must be maintained on the ARTS Collection and a security system must be in operation and maintained under contract to provide insurance coverage. California State University, Sacramento is self-insured and does not have a separate or “wall-to-wall” policy for artworks. Under this interim policy, fair market value estimates for each object in the ARTS Collection will be ascertained and provided to the Office of Risk Management, which will use the estimates to acquire insurance from the Inland Marine Insurance Program. A proof-of-insurance document for each insured art object will be kept in the Office of Risk Management and in the ARTS Collection database, attached to individual catalogue records.

Outgoing loans are insured by the borrower. "Wall-to-wall" insurance must be provided at the fair market value of each item loaned as determined by the University Library Gallery Director. Proof of insurance must be demonstrated.

F. Inventory Inventory shall be verified by accession and catalogue number on the master inventory list and in the catalogue database system.

A comprehensive inventory list will be generated in the catalogue database system and updated at least every two years. Missing items shall be reported to the University Library Gallery Director and the UACAC as soon as possible.

The University Library Gallery Director is responsible for reporting missing items to the University Police and Risk Management (if insured).

VIII. PUBLIC DISCLOSURE

A copy of the ARTS Collection Management Policy will be made available to donors, staff, and any other interested parties on request.

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BIBLIOGRAPHY

Books

Ambrose, Timothy and Crispin Paine. Museum Basics 3rd Edition. New York: Routledge, Taylor & Francis Group, 2012.

Buck, Rebecca A. and Jean Allman Gilmore, eds. Museum Registration Methods 5th Edition. Washington D.C.: AAM Press, American Association of Museums, 2010.

Danilov, Victor J. America’s College Museums Handbook & Directory. New York: Grey House Publishing, 2011.

Edson, Gary and David Dean. The Handbook for Museums. New York: Routledge, Taylor & Francis Group, 1996.

Genoways, Hugh H. , and Lynne M. Ireland. Museum Administration: an Introduction. Walnut Creek, California: AltaMira Press, 2003.

Herskovitz, Robert, Timothy Glines, and David Grabitske. Building Museums: A Handbook for Small and Midsize Organizations. St. Paul, Minnesota: Minnesota Historical Society Press, 2012.

Kondratieff, Camille T., and Susan M. Sinclair. “Selected Works: The California State University, Sacramento Permanent Art Collection.” Master’s thesis, California State University, Sacramento, 1994.

Lord, Barry, Gail Dexter Lord, and Lindsay Martin, eds. Manual of Museum Planning: Sustainable Space, Facilities, and Operations 3rd Edition, Lanham, Maryland: AltaMira Press, 2012.

Malaro, Marie C., A Legal Primer on Managing Museum Collections. Washington D.C.: Smithsonian Books, 1998.

Merritt, Elizabeth E. National Standards & Best Practices for U.S. Museums. Washington D.C.: AAM Press, American Association of Museums, 2008.

Reibel, Daniel B. Registration Methods for Small Museum. Walnut Creek, California: AltaMira Press, 1997.

Serrell, Beverly. Exhibit Labels: An Interpretive Approach. Walnut Creek, California: AltaMira Press, 1996. 120

Simmons, John E. Things Great and Small: Collection Management Policies. Washington D.C.: AAM Press, American Association of Museums, 2006.

Snyder, Jill. Caring for Your Art: A Guide for Artists, Collectors, Galleries and Art Institutions. New York: Allworth Press, 2001.

Interviews

Else, Bob. Interview by George Craft. May 29, 1986. Tape TC219. CSUS 40th Anniversary Faculty Oral History Project. Department of Special Collections and University Archives. California State University, Sacramento. Sacramento, California.

Rippon, Ruth. March 4, 1998. Tape TC628. CSUS 50th Anniversary Oral History Project. Department of Special Collections and University Archives. California State University, Sacramento. Sacramento, California.

Villa, Esteban. November 18, 1997. Tape TC 621. CSUS 50th Anniversary Oral History Project. California State University, Sacramento. Sacramento, California.

Miscellaneous

Grossfeld, Jennifer, Elaine O’Brien and Sheila O’Neill. “Sacramento State University Permanent Art Collection: Collection Management Plan.” October 22, 2012. California State University, Sacramento. Sacramento, California.

Grossfeld, Jennifer and Elaine O’Brien. “Proposed Sacramento State Interim ARTS Collection Management Policy.” California State University, Sacramento. Sacramento, California.

O’Brien, Elaine. “Sacramento State University Art Collection Management Proposal.” June 28, 2013. California State University, Sacramento. Sacramento, California.

Narrative

Fitzgibbon, John. “ART John Fitzgibbon’s Narrative (c.1980).” Unpublished narrative, 1980. California State University, Sacramento. Sacramento, California.

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Websites

Anderson, Will and others. “Campus Art Museums in the 21st Century: A Conversation.” Cultural Policy Center at the University of Chicago. Last modified October, 2012. Accessed February 4, 2013. http://culturalpolicy.uchicago.edu.

Armstrong, Lance. “Sacramento resident Ed Rivera discusses his lifelong passion for Art.” Last modified August 29, 2010. Accessed October 30, 2013. http://www.valcomnews.com/?p=1285.

Cal Poly San Luis Obispo, University Art Gallery. Accessed April, 2013. http://www.artgallery.calpoly.edu/.

CSU Bakersfield, Todd Madigan Gallery. Accessed April, 2013. http://www.csub.edu/art/gallery/.

CSU Channel Islands, Napa Hall Art Complex. Accessed April, 2013. http://www.csuci.edu/gallery/.

CSU Chico, Janet Turner Print Museum. Accessed April, 2013. http://www.csuchico.edu/janetturner.org.

CSU Dominguez Hills, University Art Gallery. Accessed April, 2013. http://www.csudh.edu/art/artgallery.html.

CSU East Bay, Art Gallery. Accessed April, 2013. http://class.csueastbay.edu/artgallery/Home_Page.php.

CSU Fullerton, Grand Central Art Center. Accessed April, 2013. http://www.fullerton.edu/ARTS/gcac/gcac.html.

CSU Long Beach, University Art Museum. Accessed April, 2013. http://www.csulb.edu/org/uam/.

CSU Los Angeles, Fine Arts Gallery. Accessed April, 2013. http://www.calstatela.edu/academic/art/gallery.php.

CSU Monterey, Balfour/Brutzman Gallery. Accessed April, 2013. http://vpa.csumb.edu/.

CSU Northridge, Art Galleries. Accessed April, 2013. http://www.csun.edu/artgalleries/.

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CSU Pomona, The Kellogg Gallery. Accessed April, 2013. http://www.csupomona.edu/~kellogg_gallery/.

CSU San Bernardino, Robert and Frances Fullerton Museum of Art, Accessed April, 2013. http://raffma.csusb.edu/.

CSU San Marcos, Art Gallery. Accessed April, 2013. http://www.csusm.edu/news/articles/nr_ArtGallery2012.html.

CSU Stanislaus, University Art Gallery. Accessed April, 2013. http://www.csustan.edu/artgallery/.

Fresno State, Conley Art Gallery. Accessed April, 2013. http://www.fresnostate.edu/artshum/artanddesign/gallery/.

ICOM Code of Ethics. Accessed May, 2013. http://icom.museum/fileadmin/user_upload/pdf/Codes/ code_ethics2013.eng.pdf

James K. Ballinger and others. “Professional Practices in Art Museums.” Association of Art Museum Directors. Accessed May, 2013. https://aamd.org/sites/default/files/document/2011Professional PracitiesinArtMuseums.pdf.

National Park Service, U.S. Department of the Interior. “NPS Museum Handbook.” Last Modified 2006. Accessed July, 2013. http://www.nps.gov/museum/publications/handbook.html.

Rothermel, Barbara and Danni Schreffler. “ACUMG College and University Museums and Galleries: A Selected Bibliography.” Association of Academic Museums and Galleries. Last modified 2009. Accessed on October, 2012. http://www.aamg-us.org/members/biblio.

San Diego State University, Downtown Gallery. Accessed April, 2013. http://downtowngallery.sdsu.edu/.

San Francisco State University, Fine Arts Gallery. Accessed April, 2013. http://art.sfsu.edu/galleries/fine-arts-gallery.

San Jose State University, Natalie & James Thompson Gallery. Accessed April, 2013. http://www.sjsu.edu/art/places/thompsongallery/.

Sonoma State University, University Art Gallery. Accessed April, 2013. https://www.sonoma.edu/artgallery/.