CEN

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| 1907–2007

CENTENNIAL ISSUE

California College of the Arts 1907–2007San Francisco | Oakland

A publication for the CCA community

Winter 2007 | Volume 15, No. 1

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DROP US A LINE!

Please email your news and high-resolution images to

alumninotes@cca.edu or facultynotes@cca.edu, or complete

and return this form to:

Communications Department

California College of the Arts

1111 Eighth Street

San Francisco, CA 94107-2247

We welcome news of your creative and scholarly work, includ-

ing exhibitions, publications, screenings, performances, and

lectures, as well as appointments, promotions, and awards.

Please include all relevant dates, titles, and locations. Slides

should be labeled on the back with your name and year of

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available basis.

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JURIED EXHIBITION ORGANIZED BY THE CALIFORNIA COLLEGE OF THE ARTS ALUMNI EXHIBITION COMMITTEE

OPENING RECEPTION: WEDNESDAY, JANUARY 31, 2007, 6−8 PMOLIVER ART CENTER • TECOAH BRUCE GALLERY • OAKLAND CAMPUS

For more information about Centennial events visit, www.cca.edu/100

06 Out Of the ashes how frederick Meyer’s

Bold Vision Was Born

Robert W. Edwards

20InspIred By the tIMes Voices of the sixties and seventies

Jeff Hunt

32BIgger than the Bauhaus

Moving into the second Century

Barry Katz

44a year of special

Centennial events

48100+ alumni of note

53International aperture An Interview with Harry Ford President 1959–84

Eve Steccati-Tanovitz

56honoring Creative excellenceTwenty Years of the Simpson Award

58Celebrating Life and art

62Innovative exhibitionsGreatness Inspires Greatness

66a space for Making

72Backward glance

gLanCeWINTER 2007Volume 15, No. 1

director of publicationsErin Lampe

editorJennifer Rodrigue

Managing editorMegan Carey

ContributorsChris BlissRobert W. EdwardsJeff HuntBarry KatzEve Steccati-Tanovitz

designSputnik CCA, a student design team

faculty advisorDoug Akagi

designersElizabeth ChiuMónica HernándezMichael Thompson

Glance is published twice a year by:CCA Communications Department 1111 Eighth Street San Francisco, CA 94107 Write to us at glance@cca.edu.

Change of address? Please notify: CCA Advancement Office 5212 Broadway Oakland, CA 94618 or email bjones@cca.edu.

Printed by St. Croix Press,New Richmond, WI

IMAGES COuRTESY OF THE ARCHIVES OF CALIFORNIA COLLEGE

OF THE ARTS, MEYER LIBRARY, OAKLAND:

4 CENTER AND BOTTOM, 7, 8, 9, 10, 11 ALL, 12 TOP, 14–15 ALL,

16, 17 ALL, 18–19 ALL, 20, 23 TOP, 24 TOP AND BOTTOM LEFT,

25 TOP, 26–27 ALL, 28 BOTTOM, 29 TOP, 30 TOP AND CENTER,

31 ALL, 32, 37 BOTTOM RIGHT, 53, 54 ALL, 55, 67 TOP, 68 TOP,

71 TOP, 72 RIGHT

PHOTOGRAPHY © LARRY KEENAN:

20, 22, 24 CENTER AND BOTTOM, 30 TOP

THIS PAGE

TOP LEFT AND RIGHT: KARL PETzKE

CENTER: STONE AND STECCATI PHOTOGRAPHERS

PREVIOuS PAGE TOP

IMAGE: STEVEN J. GELBERG

BACK COVER

Frederick Meyer, School of the California Guild of Arts and Crafts sign, c. 1910COuRTESY OF FINE ARTS MuSEuMS OF SAN FRANCISCO, GIFT

OF ISAK LINDENAuER IN MEMORY OF HIS MOTHER, 1999.65.2

A century of Accomplishments And creAtivity

dear friends,Welcome to the special Centennial edition of Glance. In this issue we celebrate the people, places, and events that have shaped the college into the institu-tion it is today.

The year 2007 will be filled with celebration. In these pages you’ll find an impressive calendar of events, including exhibitions, lectures, the All-Alumni Reunion Weekend, the Gala, and much more. More than 30 galleries and museums, from New York to Los Angeles and the Bay Area, will be marking this important anniversary with special Centennial exhibitions and programs. Bringing these often competing arts organizations together in celebration is just one measure of the influence and reputation of the college.

We have a lot to be proud of in our 100-year history. From the vision and determination of the founders to the recent accomplishments of faculty, stu-dents, and alumni, CCA’s story is remarkable, rich, and inspiring. Our students and alumni have distinguished themselves in a variety of creative fields—art, architecture, design, education, and writing. Faculty members past and pres-ent have been nationally prominent, acknowledged as excellent teachers and practitioners, and productive in creative work and scholarship.

We have grown from three classrooms in Berkeley to world-class facilities on both sides of the Bay, making CCA “bigger than the Bauhaus.” Students can now choose from 20 undergraduate and 6 graduate programs. And, in order to continue to offer the best arts education in the country, we have ambitions to expand further.

College founder Frederick Meyer no doubt would be amazed at the develop-ment of the college and proud of its accomplishments. He would recognize that while the college has grown and changed in so many ways, one thing has remained constant: our mission to prepare students for a lifetime of creative work and service to their communities. More importantly, he would see that the college is poised for an impressive and influential future.

Michael s. rothPresident

glance Winter 2007

4 / 5

One thing has remained constant: our mission to pre-pare students for a lifetime of creative work and service to their communities.

CaLIfOrnIa COLLege Of the arts was born in the mind of

a visionary, Frederick Heinrich Wilhelm Meyer, with the most destruc-

tive natural disaster ever recorded in California history—the 1906 San

Francisco earthquake—as its catalyst. CCA succeeded beyond anyone’s

dreams due to Meyer’s leadership, the dedication of its immensely tal-

ented teachers and staff, and support from East Bay communities Berkeley

and Oakland.

ABOVE

CCA founder Frederick Meyer

OPPOSITE

A figure-modeling class in the early 1900s

Of the

Ashes

Robert W. Edwards

outhow

frederick

meyer’s

Bold vision

wAs Born

the earLy years

A substantial part of the college’s early history is the life of Frederick

Meyer. Born near Hamelin, Germany, on November 6, 1872, to a family of

craftsmen, Meyer’s maternal grandfather once held the position of court

weaver in the principality of Westphalia. One uncle was a designer and

builder of custom furniture, while another was a blacksmith. He appren-

ticed to both before immigrating at the age of 16 to Fresno, California.

Dissatisfied with the art program at the San Jose Normal School, he stud-

ied at applied art colleges in Cincinnati and Pennsylvania. Meyer became

a naturalized citizen on November 7, 1893, and returned to Germany soon

after to convalesce from typhoid fever.

The following spring Meyer entered Berlin’s Royal Academy for Applied

Arts as an American student to avoid the German military draft. He returned

to California in 1897 and became the art supervisor for the Stockton public

schools the following year. In 1902 Meyer married a local teacher, Laetitia

Summerville, and accepted an offer to become a part-time instructor of

descriptive geometry (what would now be called mechanical drawing) at

UC Berkeley, an appointment he held for five years. In addition, Meyer

taught drawing and wood carving at the Mark Hopkins Institute of Art in

San Francisco, where he established his home and a design studio known

as the Craftsman’s Shop. At this time he joined Bernard Maybeck to create

the custom furnishings for Wyntoon, the Hearst estate designed by Julia

Morgan. Meyer also created the furniture that was displayed in the San

Francisco Room of the California Building at the 1904 Louisiana Purchase

Exposition in St. Louis. In October 1905 he was elected president of the

California Guild of Arts and Crafts. This well-respected organization had

been founded two years earlier with the clear intent of supporting the

applied art of craftsmen as opposed to the work of painters and sculptors.

on June 24, 1907, frederick And lAetitiA

meyer opened the school of the

cAliforniA Guild of Arts And crAfts

with 43 students, $45 in cash, and their personal

line of credit.

Why an art school?It was needed, but why did I have to start it? Probably the answer is a mixed one, stemming in this instance from my childhood, educational background, varied experience in the applied art professions—and fate, in the guise of the San Francisco fire of 1906!

[At a dinner for the Arts and Crafts Society] I spoke about my ideal of a practical art school, from which one could graduate and earn a comfort-able living; and instead of teaching only figure and landscape painting and sculpture, teach also design, the commercial arts, mechanical drawing, and crafts, as well as prepare competent teachers of the arts and crafts.

The above is an excerpt from Frederick Meyer’s personal archive.

ABOVE

Frederick Meyer at a Men’s Smoker, 1938

glance Winter 2007

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Out of the Ashes

1906

Following the destruction of his home and workshop in the San Francisco earthquake, German-born cabinetmaker and art teacher Frederick Meyer speaks at a meeting of the local Arts and Crafts Society about his idea for a new “practical art school.”

1907

Frederick Meyer establishes the School of the California Guild of Arts and Crafts in the Studio Building on Shattuck Avenue in Berkeley with 43 students and three teach-ers: himself, Elizabeth Ferrea, and Perham Nahl. Meyer’s wife, Laetitia, serves as reg-istrar and secretary. Initial faculty salaries range from $40 to $60 per month.

1908

The school is renamed California School of Arts and Crafts and graduates its first class of five students. Most of these graduates had been students of Meyer’s at the Mark Hopkins Institute of Art in San Francisco.

Having outgrown its location, the school moves to 2130 Center Street in Berkeley.

1910

The school moves again, to 2119 Allston Way, site of the old Berkeley High School.

Angel Island Immigration Station opens. For 30 years, it will serve as a point of entry for people immigrating to the uS.

1913

The last horse-drawn streetcar drives down Market Street in San Francisco.

1915

Bernard Maybeck designs the Palace of Fine Arts as part of the Panama-Pacific International Exposition.

Oakland YWCA opens. Designed by Julia Morgan, the top two floors are now known as Webster Hall and provide housing for CCA students.

ABOVE

The Studio Building, first site of the college, at Shattuck and Addison in Berkeley. Now listed on the National Register of Historic Places.COuRTESY OF THE OAKLAND MuSEuM OF CALIFORNIA

OPPOSITE TOP

“Mechanical drawing and lettering are basic courses for industrial arts,” from A Portfolio of Pictures of California College of Arts and Crafts, 1937 IMAGE: DON K. OLIVER

OPPOSITE BOTTOM

Isabelle Percy and Perham Nahl, 1907

On April 18, 1906, Meyer’s home,

business, and life savings were

destroyed in the devastating earth-

quake and fire. In the end, over

31,000 buildings and almost 10,000

lives were lost. Not only did the

Mark Hopkins Institute vanish,

but also the robust economy and

leisured class that supported the arts. Shortly after, a local newspaper

published Meyer’s comments on the genuine need to establish California’s

first practical art school, one that would provide each student with train-

ing in the aesthetic arts and certified skills as practitioners or teachers

of art and design. These comments may have been directed at the Mark

Hopkins Institute, which had a reputation for graduating students into a

highly volatile art market with few career opportunities.

the fIrst MOVe

Later that spring Frederick Dakin offered Meyer three classrooms in

Dakin’s soon-to-be-completed Studio Building near the UC campus. Dakin,

a wealthy Berkeley entrepreneur and art collector, was eager to draw in

creative professional tenants. Berkeley survived the earthquake with rela-

tively little damage, and there was the added attraction that the univer-

sity and a strong community of artists would provide moral support and a

ready supply of potential students. Meyer accepted Dakin’s offer, perma-

nently resigned his teaching appointments, and embarked for Germany to

study its regional schools of applied arts.

On June 24, 1907, Meyer and Laetitia opened the School of the California

Guild of Arts and Crafts with 43 students, $45 in cash, and their personal

line of credit. Meyer conducted classes in freehand and instrumental draw-

ing, designing, woodcarving, and descriptive geometry, and Laetitia took

on the responsibilities of registrar and secretary. Meyer persuaded Perham

Nahl, a part-time instructor in UC Berkeley’s Department of Architecture,

to teach sketch, anatomy, and life classes as well as courses in pen and ink

drawing and oil painting. The third instructor, Elizabeth Ferrea, taught

courses in clay and wax modeling. In the fall Rosa Taussig, instructor in

bookbinding, and the talented Isabelle Percy joined the faculty. Meyer was

able to persuade Percy by including her in the profits. She taught courses

in design, interior decoration, composition, antique drawing, and water-

color. In December 1908 she resigned to study, teach, and travel in New

York and Europe. She returned in the summer of 1920 as Mrs. Percy West

and remained on the faculty until her retirement in 1942.

glance Winter 2007

10 / 11

Out of the Ashes

BuILdIng the fOundatIOn fOr a CurrICuLuM

Between 1907 and 1909 the school changed dramatically to meet the require-

ments of the Berkeley community, which had neither a private nor a

university-based art school. Meyer, who initially believed that he needed a

nominal institutional affiliation to be successful, stressed in the preamble

of the catalog for the first full academic year (1907–8) that his school was

an extension of the California Guild of Arts and Crafts in San Francisco and

was established “for instruction in industrial art.” However, his vision for

education went far beyond the intent of the Guild. He organized classes

into the same principal divisions as Berlin’s Royal Academy, with a clear

distinction between applied arts (practical train-

ing for designers) and normal arts (fine arts

training for teachers in drawing, painting, and

manual skills).

In addition to diplomas for the two categories

above, the school offered modest scholarships and

an industrial certificate for commercial draw-

ing. At this time tuition for a full-time student

through both semesters of an academic year was

$70, and no special qualifications for entrance

were required “beyond good moral character and

such proficiency in the common English branches

as the completion of the ordinary grammar school

1922

With enrollment increasing following the influx of World War I veterans, Meyer searches for a permanent home for the college. He purchases the four-acre James Treadwell estate in Oakland for $60,000. For the next four years, Meyer leads a crew of students, faculty, and alumni to transform the rundown estate into a campus.

The Meyer family moves into the top floor of the Treadwell mansion (now called Macky Hall).

1923

uC Berkeley Art Department founded.

1925

The school completes its move to the new campus at 5212 Broadway (where it remains today).

1927

Oakland Municipal Airport opens.

1931

The Paramount Theatre in Oakland opens, with an art deco design by Timothy Pflueger.

TOP

Faculty member Xavier Martinez taught at the college from 1909 to 1942. His efforts laid the foundation for the school’s fine arts program. IMAGE: DEAN STONE, ’40

ABOVE

Xavier MartinezPont Neuf (The Bridge), c. 1898Oil on canvas, 15" × 20"COLLECTION OF THE OAKLAND MuSEuM OF CALIFORNIA,

GIFT OF DR. WILLIAM S. PORTER

course would imply.” To accommodate the local public

school teachers, night and Saturday courses were sched-

uled; classes offered on Saturdays to high school students

also proved to be popular.

Theoretically, Meyer’s intent was to integrate the instruc-

tion of applied, fine, and industrial arts as equal disciplines.

However, as there was more demand for classes in drawing

and painting from a student body that increased fivefold

in just a few years, he expanded the art curriculum and

faculty. The more Meyer denied that his school was a direct

challenge to San Francisco’s new Institute of Art, the more interest the

press took in his comments. In order to quiet dissent from members of the

California Guild in San Francisco over his ambitious plans in the arts, he

renamed his institution California School of Arts and Crafts (CSAC) in the

summer of 1908.

Meyer’s coup was the addition of Xavier Martinez, a superstar in the fir-

mament of California artists, to the faculty. He was hired in the summer of

1909 as a replacement for Perham Nahl, who was on a prolonged vacation

in Mexico. Martinez arrived for his first day of instruction wearing vel-

vet pantaloons, a ridiculously large cravat, and a broad-brimmed hat that

crowned an overflowing crop of hair. His flamboyant dress and demeanor

surprised some, but his exacting and disciplined style of instruction won

the respect of his colleagues and students. Teaching still life and landscape

painting, he also instituted CSAC’s summer art program in Carmel and

Monterey, where he taught from 1910 through 1914. Martinez would remain

on the faculty until September 1942.

glance Winter 2007

12 / 13

Out of the Ashes

eMBraCIng COMMunIty

Meyer was a master at public relations. He became one of the founders of

the local Berkeley Art Association (BAA), serving on its board of directors,

and was so popular with civic leaders, he was appointed to head of the

Department of Drawing and Art for the Berkeley Public Schools in 1908. By

1913 he was given the same position for the Oakland school system. Meyer

was also elected president of the prestigious Hillside Club and taught art

in the summer sessions of the university. He enhanced the prestige of CSAC

when he was awarded the Medal of Honor for Design at the 1915 Panama-

Pacific International Exposition.

The people of Berkeley embraced the school. Frequent and widely publi-

cized exhibitions by both students and teachers at CSAC drew large crowds

and became a focus for the artistic community at large. The games and

burlesque at the end-of-term jinks, which oddly enough paralleled simi-

lar practices at San Francisco’s Bohemian Club and the old Mark Hopkins

Institute, were widely reported in the Berkeley press. The Berkeley Daily

Gazette described the Christmas Jinks of December 17, 1908, as having a

“fiesta queen” and a royal court of “senoritas and vaqueros,” who were

entertained by Spanish dancers, a “lurid melodrama” of seven murders,

the Topsy-Turvy chorus, and an “elaborate supper under improvised

grape arbors.”

Meyer and Laetitia had an uncanny ability to hire talented faculty who

excelled both as teachers and role models. Bertha Boye, who taught model-

ing as well as freehand drawing in 1908, established two successful studios

in the Bay Area, exhibited at the most prestigious venues, and designed

popular posters in support of wom-

en’s suffrage. The new instructor

of costume design and illustration

appointed in 1910, Blanche Letcher,

had completed postgraduate stud-

ies under William Merritt Chase

and William Keith. She was one

of the founding artists of the San

Francisco Spinner’s Club, a cul-

tural center for women, and exhib-

ited frequently from her studios in

New York and Berkeley. Her cover

illustrations regularly appeared

on Vogue and Good Housekeeping.

William Rice also joined the

BELOW

Hazel VerrueA Model Studio, 1915Ink on paper, 10" × 14"COLLECTION OF THE OAKLAND MuSEuM

OF CALIFORNIA, GIFT OF LAETITIA MEYER

Pen and ink sketch of an exhibit of a model artist’s studio, created by students and shown at the Panama-Pacific International Exposition in San Francisco in 1915. The furniture for this exhibit was designed by Margery Wheelock under the supervision of Frederick Meyer.

ABOVE

“Skill as well as talent is required to create an acceptable portrait bust,” from A Portfolio of Pictures, 1937IMAGE: DON K. OLIVER

RIGHT TOP

Students Jane Gilbert and Louis Moulthrop in costume for the 1936 San Francisco Bridge Parade

RIGHT BOTTOM

“Students studying to be art teachers do practice teaching in local schools,” from A Portfolio of Pictures, 1937IMAGE: DON K. OLIVER

LEFT

Students off on a painting trip—and they have the easels to prove it! c. 1926–27

BELOW

Sculpture class with live model, pre-1930s

glance Winter 2007

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Out of the Ashes

OPPOSITE

“Lifelong friendships grow out of common interests developed in art school,” from A Portfolio of Pictures, 1937 IMAGE: DON K. OLIVER

BELOW

Student painting, c. 1937IMAGE: DON K. OLIVER

faculty at this time. An experienced educator, he would eventually become

the region’s preeminent authority on block printing. Other distinguished

members of the faculty in this early period include Beniamino Bufano,

William Clapp, and Eric Spencer Macky.

grOWIng paIns

From the beginning, CSAC and Frederick Meyer faced challenges. After

the school opened on the fifth floor of the Studio Building, the landlord

raised the rent to a level Meyer could no longer afford. In 1908 he relo-

cated to a larger space above a billiard parlor and then later to the old

Berkeley High School complex at 2119 Allston Way. In 1915, after several

failed attempts, CSAC was finally placed on the list of accredited insti-

tutions by the California State Board of Education, allowing the school’s

graduates to obtain state-certified teaching credentials. As the male pop-

ulation of the school declined during World War I, Meyer offered more

courses that appealed to women and CSAC successfully maintained a

respectable enrollment.

By 1920 the school had again outgrown its facilities, and expansion in

downtown Berkeley was prohibitively expensive. The university had three

of the region’s most famous artists on its tenured staff: Charles Chapel

Judson, Perham Nahl, and Eugen Neuhaus. By 1915 Nahl was teaching at

CSAC only in the evenings and eventually became an occasional instructor

in order to devote his full energies to UC Berkeley. Fearing that the univer-

sity would siphon off art students, Meyer offered a direct challenge.

InspIratIOn fInds a hOMe

In spring 1922 Meyer purchased the James Treadwell estate, a four-acre

tract at the junction of College Avenue and Broadway in Oakland. With

help from students as well as alumni, the buildings on the site were reno-

vated and the Meyer family moved into the top floor of what is now Macky

Hall. The move was complete in 1925. Although his school was not offi-

cially named California College of Arts and Crafts until 1936, Meyer incor-

porated it “as a college of the arts and crafts under the laws of the State of

California” on November 2, 1922. Legally, it passed from private ownership

and became a nonprofit institution with a governing board of trustees.

CSAC now conferred standard degrees as well as various certificates of pro-

ficiency. By 1929 the 24 members of the faculty taught 50 different subjects

organized into 3 professionals schools: Applied Arts, Arts Education, and

Fine Arts.

A man of prodigious talent and energy, meyer Built

A school that fused the practical and ideal goals

of aspiring artists, teachers, and designers, and in

the process he chAnGed the course of Arts

educAtion in this country.

glance Winter 2007

16 / 17

Out of the Ashes

Opportunities were born in the tragedy of the 1906 earthquake. Frederick

Meyer fashioned a school that was not only independent of the ossified

institutions of San Francisco, but also united the instruction of applied

and fine arts. For the communities of the East Bay, the school was a cul-

tural asset as well as an obvious benefit to the local economy. The artisan

instructors became visible celebrities who were viewed with respect

and affection.

Frederick Meyer retired in 1944 and died on January 6, 1961, at the age

of 88. For five decades, his life was inextricably entwined with the life of

the college. A man of prodigious talent and energy, Meyer built a school

that fused the practical and ideal goals of aspiring artists, teachers,

and designers, and in the process he changed the course of arts educa-

tion in this country. Generations of CCA alumni are a testament to this

enduring legacy.

Robert W. Edwards completed his PhD in Archaeology and Art History at uC Berkeley in 1983 and retired from teaching and fieldwork 20 years later. He is currently writing a history of the Berkeley and Carmel art colonies.

1935

SFMOMA opens on January 18.

First trans-Pacific flight, from San Francisco to Honolulu, is flown.

1936

The school changes its name to California College of Arts and Crafts.

Bay Bridge opens on November 12.

1937

First pedestrian traffic walks across Golden Gate Bridge on May 27. Bridge opens to vehicle traffic the following day.

1939

Treasure Island World’s Fair held in honor of the newly built Bay and Golden Gate bridges.

1941

Design Program is established.

1944

Frederick Meyer retires and becomes president emeritus.

Noted artist and art teacher Eric Spencer Macky is selected as the college’s second president. He will serve in this role until 1954.

Spencer Macky, c. 1940

suggested readIng

Andersen, Timothy J., et al., eds. California

Design 1910. Pasadena: California Design

Publications, 1974.

California Guild of Arts and Crafts. Catalogue,

Second Annual Exhibition of the Guild of Arts

and Crafts. San Francisco: CGAC, 1904.

California School of Arts and Crafts.

Catalogue of Classes, Summer 1907–Fall 1929.

Berkeley and Oakland: CSAC, 1907–29.

Dhaemers, Margaret Penrose. “California

College of Arts and Crafts, 1907–1944.”

Unpublished MA thesis, Mills College,

Oakland, 1967.

Hailey, Gene, ed. Monographs, Abstract from

California Art Research, vols. 1 and 10:

Works Progress Administration Project

2874, O.P. 65-3-3632. San Francisco:

WPA, 1937.

Hjalmarson, Birgitta. Artful Players: Artistic

Life in Early San Francisco. Los Angeles:

Balcony Press, 1999.

Jacobsen, Anita. Jacobsen’s Bibliographical Index

of American Artists. Carrollton, TX: A. J.

Publications, 2002.

Jones, Harvey L. Twilight and Reverie: California

Tonalist Painting, 1890–1930. Oakland:

Oakland Museum, 1995.

Kovinick, Phil, and Marian Yoshiki-

Kovinick. An Encyclopedia of Women Artists

of the American West. Austin: University

of Texas Press, 1999.

Martinez, Elsie Whitaker. San Francisco Bay

Area Writers and Artists. Interview by

Franklin D. Walter and Willa K. Baum.

Regional Oral History Office, University

of California, Berkeley, 1969.

Meyer, Frederick H. “Why an Art School?”

in Remembering Dr. Meyer. Oakland:

California College of Arts and

Crafts, 1961.

Neubert, George W. Xavier Martinez (1869–

1943). Oakland: Oakland Museum, 1974.

Trapp, Kenneth R., ed. The Arts and Crafts

Movement in California, Living the Good Life.

New York: Abbeville Press; Oakland:

Oakland Museum, 1993.

Trask, John, and J. Nilsen Laurvik, eds.

Catalogue de Luxe of the Department of Fine

Arts, Panama-Pacific International Exposition.

2 vols. San Francisco: Paul Elder and

Company, 1915.

glance Winter 2007

18 / 19

Out of the Ashes

OPPOSITE

Life drawing class with instructor Maurice Logan, spring 1936. Logan was an instructor from 1935–43, a trustee from 1936–62, and trustee emeritus from 1964–77.IMAGE: DON K. OLIVER

LEFT

Frederick Meyer lays down the law in this college bulletin.

BELOW

Entrance to Treadwell mansion and estate in 1928. Treadwell mansion is now Macky Hall.

BOTTOM

Students walking through the grounds on their way to class, c. 1930s

voiceS oF THe SixTieS and SevenTieS

InspIred By the tIMes

By jeff hunt

glance Winter 2007

20 / 21

Inspired by the Times

Many former students, as well as former and current

faculty who were around at that time, remember a

campus with a close sense of community, one in which

students and faculty from the various disciplines min-

gled, both in work and in play.

CCAC was home to influential artists and art move-

ments throughout the last century, and the 1960s and

1970s were no exception. Both alumni and faculty, for-

mer and present, were involved in developments in

art with international significance. Richard Dieben-

korn, a principal creative force in painting, taught at

CCAC from 1955–57, and the work of alumnus Nathan

Oliveira and Manuel Neri served to develop and rein-

force the strength and effect of Bay Area figuration.

Robert Arneson, Viola Frey, and Peter Voulkos gave

rise through their creative force to what is often

referred to as the modern ceramics revolution.

In addition, Robert Bechtle, Richard McLean, and Jack

Mendenhall took leading parts in shaping the meth-

ods and importance of photorealism. John McCracken

was beginning his explorations in minimalism, while

David Ireland and Dennis Oppenheim were breaking

new ground in conceptual art.

In the literary world, Michael McClure, one of five

poets to read with Allen Ginsberg at San Francisco’s

Six Gallery in 1955, and whose name is inextricably

linked with the Beat Generation, took a teaching

position in the school’s literature program in 1961.

He eventually brought Ginsberg and Bob Dylan to the

school to further electrify the already-charged atmo-

sphere. McClure has been here ever since.

Designer Michael Vanderbyl, dean of design, recalls

visiting the college as a senior in high school: “It was

love at first sight—art all the time.” This impression,

Stephen Ajay

Sue Ciriclio

Eleanor Dickinson

Jack Ford

Joe Girard

Michael McClure

Michael Vanderbyl

the 1960s and 1970s are considered a time of great political and

social change the world over. The Bay Area was a vital center of many

of the revolutions of the era, and CCAC, as it was then known, was a

very different place.

ABOVE

The Happening, Oakland, 1966 “I was walking back to CCAC with some fellow art students when we came to a Goodwill box. Next to it was a bathtub. One guy took off his clothes, jumped into the tub and started using an old brush to wash his back. As I got ready to take his picture, I noticed my other two friends kissing in the phone booth. A spontaneous street theater event right next to the busiest street in Oakland.”IMAGE AND COMMENT: LARRY KEENAN

PAGE 20

Student Geoff Bishop on top of Macky Hall, 1965IMAGE: LARRY KEENAN

mixed with the social and political upheaval of the times, marks a par-

ticular period in the school’s history, one that brought community and

art together in a unique way.

Outside the art world and away from the school, things were changing

on a scale unimaginable at the dawn of the 1960s. From the Civil Rights

Movement and the war in Vietnam to the tragic assassinations of Martin

Luther King and John F. Kennedy, the national mood, reflected in pro-

tests and demonstrations in Berkeley and Oakland, was volatile, to say

the least.

At the same time, the Free Speech Movement in Berkeley, the tragedy at

Kent State, the rise of the Black Panthers, feminism, and the Gay Rights

Movement all created an environment unlike any that had come before,

and possibly anything that has occurred since.

Glance spoke with seven current and former faculty members, asking

them to recall various aspects of the school in the 1960s and 1970s.

glance Winter 2007

22 / 23

Inspired by the Times

“The Graphic Design Program [was] a teeny

department banished to a College Avenue

storefront. [now it’s] one of the strongest design departments in the country.”

MIChaeL VanderByL BFA ’68, Faculty, 1973–present, graphic design

TOP

Barth Blier (left) at the “Dog Day” seminar on the Oakland campus, 1975

ABOVE

Michael Vanderbyl (right) setting up the 1968 Art Directors Club exhibition with fellow students

1945

The united Nations Charter is signed at the united Nations Conference on International Organization in San Francisco.

1950

Children’s Fairyland opens in Oakland.

1952

One of the first public television stations in the country opens in San Francisco, Bay Area Educational Television Association (now KQED).

1954

Daniel S. Defenbacher is appointed president.

Daniel S. Defenbacher, c. 1951IMAGE: WALKER ART CENTER, MINNEAPOLIS

TOP

Art in Action with (left to right): Art Nelson, Bill Pickerill, Larry Kennedy, Evelyn Johnson, Sylvia Helder, David Helder, Ruth Tamura, and Mary White, 1969IMAGE: VAN DE R. COMPBELL

ABOVE LEFT

Calligraphy demonstrationIMAGE: BETTY JANE NEVIS

ABOVE RIGHT

Sue Ciriclio, Shoe, 1970

OPPOSITE TOP

Students in costumeIMAGE: HERRINGTON OLSON

OPPOSITE CENTER

Peter Coyote and Michael McClure, Marin Headlands, 1978IMAGE: LARRY KEENAN

OPPOSITE BOTTOM

Michael McClure, Allen Ginsberg, and Peter Orlovsky reading a zen sutra at Ginsberg’s apartment in San Francisco, 1965IMAGE: LARRY KEENAN

“People had this sense that art could make a

difference in the world, that making something beautiful could actually change things.”

sue CIrICLIO BFA ’71, Faculty, 1977–present, photography

glance Winter 2007

24 / 25

Inspired by the Times

1957

Joseph Danysh is appointed president.

1959

Harry Ford is appointed acting president. He will be appointed president in 1960 and will serve in this position until 1984.

1961

Frederick Meyer dies.

1967

Summer of Love.

“In class, there was

this tremendous

quality of turning the room into a theater. Instead of

reading a dialog by

Plato, we’d act it

out. We had poetry

readings, protests,

and teach-ins.”

MIChaeL McCLure Faculty, 1961–present, Writing and Literature

glance Winter 2007

26 / 27

Inspired by the Times

ABOVE

Graduate Show opening, 1966IMAGE: CHARLES H. HAYS

RIGHT

Discussing art and the creative process

OPPOSITE LEFT

A student takes a break from studying

OPPOSITE RIGHT

Laetitia “Babs” Meyer honoring Wolfgang Lederer (right) at the 1969 Founder’s Day celebration

TOP

Joe Girard, 1989

ABOVE

Life drawing class, 1960sIMAGE: STONE AND STECCATI PHOTOGRAPHERS

OPPOSITE TOP

“Building Your Own Space,” with panelists William Kirsch and Lloyd Kahn, c. 1970s

OPPOSITE BOTTOM

Faculty emeritus Arthur Okamura’s Peace poster, c. 1968

“The 1960s

were a time of

unprecedented

energy—Vietnam,

the antiwar protests,

the Free Speech

Movement, and

People’s Park. We

were of those times

and in touch with

the energy they

produced. It wasn’t just all sex, drugs, and rock and roll, as some might have you believe.”

jOe gIrard MFA ’71, Faculty, 1972–87, sculpture

glance Winter 2007

28 / 29

Inspired by the Times

1968

Completion of two major buildings on the Oakland campus. Founders Hall, honoring Frederick and Laetitia Meyer, Isabelle Percy West, and Perham Nahl, now houses the library, media center, and classrooms. Martinez Hall, honoring Xavier Martinez, houses the Painting and Printmaking Programs.

1969–71

American Indians occupy Alcatraz.

1970

Interior Design Program is established.

1971

Guild Hall burns down.

1973

The Noni Eccles Treadwell Ceramic Arts Center opens.

1974

The BART transbay tube opens for operation.

“In the printmaking department, we did protest posters, sometimes printing at the shop all night long, 24 hours a day.”

jaCk fOrd MFA ’65, Faculty, 1969–present, printmaking

“Degrees didn’t mean as much back then. We

actually got a lot of flak from some artists who

thought the in thing was to be self-taught.

People constantly asked me, ‘What are you going to school for?’”

TOP

Students on a balconyIMAGE: LARRY KEENAN

CENTER LEFT

Students at an exhibition, 1969IMAGE: ERIC W. CHENEY

CENTER RIGHT

Hard at work in metal arts

ABOVE

Eleanor Dickinson, 1974

OPPOSITE TOP

Sculpture students preparing assignments for class

OPPOSITE BOTTOM

Students on the lawn, 1968IMAGE: ERIC W. CHENEY

eLeanOr dICkInsOn MFA ’71, Faculty, 1971–2001, drawing

glance Winter 2007

30 / 31

Inspired by the Times

1977

Macky Hall is placed on the National Register of Historic Places.

1978

Assassination of San Francisco Supervisor Harvey Milk and Mayor George Moscone.

1979

The Raleigh and Claire Shaklee Building, housing the Glass, Metal Arts, and Sculpture Programs, is completed.

“kids were scared of the draft then; they were

being called up in the lottery and pulled out of

school if their grades were bad enough.”

stephen ajay Faculty, 1967–present, Writing and Literature

Bigger

than

the

Bauhaus:

Moving into the Second century

by Barry Katz

Bigger than the Bauhaus

Bigger

than

the

Bauhaus:

Moving into the Second century

in 1993, when I made the decision to move from Stanford to CCA(C),

our well-heeled neighbor to the south had just completed a $1.2 billion

orgy of fundraising: new labs designed by signature architects; technology-

enhanced lecture halls; a refurbished 18-hole golf

course … the works. CCA, by contrast, had just moved

into its San Francisco campus, a disused industrial

building at the seedy intersection of 17th and De Haro,

where, according to doubtful urban myth, the cables

for the Golden Gate Bridge had been spun. There

were no seminar rooms. The computer lab was liter-

ally a janitor’s broom closet under a stairwell. Studio space was, to put it

generously, Spartan. The library—well, let’s not get into that. “This will be

a challenge,” I thought to myself as I waited in the rain for the #22 bus.

{As we enter our second century, we find ourselves securely established on both sides of the Bay and a major contributor to the aesthetic culture of Northern California.}

LEFT View of San Francisco and Montgomery Campus during construction

OPPOSITE Rendering, Montgomery Campus, Tanner Leddy Maytum Stacy

BELOW

Graphic Design thesis exhibition, 17th and De Haro

BOTTOM

Montgomery Campus opening gala, 1999IMAGE: STu BRININ

In the decade that followed CCA experienced a rate of growth that can

only be described as spectacular; and as we enter our second century we

find ourselves securely established on both sides of the Bay and a major

contributor to the aesthetic culture of Northern California. The catalyst,

and most conspicuous emblem of this growth, was surely the opening of the

Montgomery Campus in San Francisco, and that is a good place to begin.

In 1985 CCA’s historic four-acre Oakland campus was bursting at the

seams—even with a spate of new building during the preceding decade,

there was barely space for the Apple computers that began to arrive that

year. At about that time, the college was given the opportunity to pur-

chase—for the princely sum of $1—the architecture program of Cogswell

Polytechnical College. With the encouragement of Steven Oliver, chairman

of the college’s board of trustees, President Neil Hoffman and his bare-

knuckles CFO John Stein began to search for a suitable location for the

planned Schools of Architectural Studies and Design.

After eight years in cramped, leased quarters at 17th and De Haro, which

now barely contain the corporate offices of Jamba Juice, CCA’s new presi-

dent, Lorne Buchman, announced the purchase of a spectacular piece of

industrial architecture: a vacant Greyhound bus-maintenance terminal

designed in 1951 by the arch-modernist firm of Skidmore, Owings & Merrill

(SOM) and located on the corner of 8th and Irwin at the foot of Potrero

Hill. The building, which covers half a city block, actually consists of two

parts: to the south, a two-story reinforced-concrete slab that housed

Greyhound’s administrative offices and machine shops; adjacent to it,

a breathtaking, 60,000-square-foot clear-span shed supported by seven

massive concrete arches.

Today the Simpson Library and Timken Lecture Hall

occupy opposite ends of the first floor of what used to

be called the Alpha building. They are connected by

a row of classrooms and galleries named in honor of

trustee Tecoah Bruce (who enjoys reminding people

that she is also an alumna). The Wornick Wood and

Furniture Studios, the Blattner Design Studios, the

Oliver Architecture Studios, and the Koret Center for

Digital Media are on the second floor. Beta, the soar-

ing structure next door, was renamed Carroll Weisel

Hall and is now home to the Logan Galleries and

the Wattis Institute, recognized as one of the lead-

ing Bay Area venues for contemporary art. The rest

of the cathedral-like Nave is populated by painters, illustrators, fashion

designers, and other students arrayed across six flourishing graduate pro-

grams working in spaces named for CCA’s many benefactors, including

the Osher Foundation Academic Center and the Jewett Architecture and

Design Studios.

Before all this could happen, however, it was necessary to transform a

shed for repairing the last generation of buses into a school for educating

the next generation of artists, writers, designers, and architects. This took

place in two design phases, beginning with Alpha in 1994–95, which could

not have been done without a little help from our friends. Steve Oliver’s con-

struction firm, Oliver & Company, built both phases. The design was done

pro bono by Kaplan McLaughlin Diaz (KMD) thanks to David Hobstetter, who

was a principal there and also on CCA’s board of trustees. Chuck Bloszies,

who was on the faculty at that time, led the structural work. Then, at

TOP Beta during renovationIMAGE: RICHARD BARNES

BOTTOM

President Lorne Buchman with Mayor Willie Brown, 1997IMAGE: DOuGLAS SANDBERG

RIGHT

Photography students with professor Chris Johnson (center),

Oakland campus, c. 1985

BELOW

Illustration studio,

San Francisco campus, 2006IMAGE: KARL PETzKE

LEFT TOP

Architecture studios at 17th and De Haro, c. 1990s

IMAGE: KARL PETzKE

LEFT BOTTOM

Fashion design student with adjunct professor Lynda Grose,

San Francisco campus, 2006IMAGE: KARL PETzKE

OPPOSITE

Invitation to the San Francisco campus inaugural celebration,

October 1996DESIGNED BY BILL BOWERS JR., SPuTNIK CCAC

glance Winter 2007

36 / 37

Bigger than the BauhausBigger than the Bauhaus

1984

Thomas (Toby) Schwartzburg serves as acting president of the school.

1985

Neil Hoffman is appointed president.

The first Apple computers arrive on campus.

The college purchases Cogswell Polytechnical College’s architecture program for $1 and establishes the undergraduate Architecture Program.

1986

The successful Macky Hall Renovation Campaign is launched. Many prominent artists donate work to hang in the renovated building.

The Pre-College Program for high school students begins.

the end of May 1996, two weeks after the 89th graduating class marched,

pranced, and cavorted across the stage of the Calvin Simmons Theatre of

the Arts and out into the world, President Buchman published an RFQ

(architectural parlance for a Request for Qualifications) for Beta, invit-

ing proposals that would preserve “the reductive formal clarity” of SOM’s

mid-century masterpiece while transforming it into a complex, multi-

disciplinary center for the visual arts.

After an intensive review, which drew upon the profes-

sional expertise of many of CCA’s own faculty, the well-known

San Francisco firm Tanner Leddy Maytum Stacy (TLMS, now

Leddy Maytum Stacy) was selected for the project. Promising

“a humane, modernist intervention” based on “the mar-

riage of poetry and pragmatism,” TLMS began work on

the renovation.

In September 1996 the city of San Francisco granted the school

an occupancy permit—about 20 minutes before fall semester

classes were scheduled to begin! And a few weeks later, deans

David Meckel (architecture) and Michael Vanderbyl (design) invited the

arts community to a gala in the unfinished Nave: “BIGGER THAN THE

bauhaus,” their invitation read.

However dramatic the structure, everybody knows that facilities can do

no more than facilitate. The vast reinforced-concrete shell enabled CCA

to spread out, and in the process undertake a sustained, living experi-

ment in arts education. Interior architects Mark Jensen and Mark Macy of

Jensen & Macy developed a versatile open system that gave academic plan-

ners the opportunity to break down disciplinary walls in the most literal

way: Can industrial designers be brought into proximity with sculptors?

Shouldn’t painters be comparing notes with graphic designers? Where do

we put all of the so-called new media—digital video, computer-assisted

design, time-based and sound-based art—which fit so uneasily into the

19th-century framework of arts and crafts? Can the humanities be ele-

vated from a set of required service courses to become the driver of a new

Neil Hoffman, c. 1980s

{At CCA the pedagogic dream of founder Frederick Meyer was poised to become an architectural reality.}cultural-critical agenda? Above all, the

abrupt doubling of the size of the college

raised questions of how to sustain two vital centers on opposite sides of the

Bay. The departure of the last buses from the Greyhound terminal inaugu-

rated a sustained program of curricular innovation that many of us feel

has only just begun.

Merging fine and applied arts had been a dream ever since William

Morris argued a century ago that “When they are so parted, it is ill for

the Arts altogether.” The applied arts, he complained, become “trivial,

mechanical, and unintelligent,” and the fine arts become nothing but “dull

adjuncts to unmeaning pomp.” Shortly afterward, the artists and artisans

of fin-de-siècle Vienna joined forces to assert, “We recognize no distinc-

tion between high art and low art; all art is good.” They were followed by

Walter Gropius, who inaugurated the modernist era by proclaiming not

just their equality but their unity: “Let us create a new guild of craftsmen,”

he declared at the opening of the Bauhaus in 1919, “without the class dis-

tinctions that raise an arrogant barrier between craftsman and artist!” At

CCA the pedagogic dream of founder Frederick Meyer was poised to become

an architectural reality.

An early salvo in this campaign came at the initiative of Michael Roth,

who had moved from the Getty Museum in Los Angeles in 2000 to become

CCA’s eighth president. Roth made the decision to eliminate the schools

of fine arts, design, and architecture altogether in favor of a unified,

undifferentiated model of creative practice. An even more controversial

initiative came three years later, when the trustees, for the fourth time in

the college’s history and following years of emotional debate, decided to

change the name of the school from California College of Arts and Crafts

to California College of the Arts. Many voiced concern over what they

perceived to be an affront to the craft tradition on which the school had

been founded; others countered that it was not the crafts that were being

jettisoned, but arts and crafts—a 19th-century slogan freighted with asso-

ciations that seemed ill suited to an age of form-Z, streaming video, and

three-dimensional printers.

Our own turn of the century brought further growth and change to the

college, most notably in the area of graduate education. CCA’s established

MFA Program was joined in rapid succession by new programs of advanced

study in design and architecture, and the college also ventured into previ-

ously uncharted territory: curatorial practice, to prepare a generation of

TOP

Rob Epstein’s media arts students filming on location, 2006IMAGE: KARL PETzKE

ABOVE

Architecture studio, San Francisco campus, 2006IMAGE: KARL PETzKE

OPPOSITE TOP Sculpture studio, Oakland campus, 2004IMAGE: KARL PETzKE

OPPOSITE BOTTOM Materials library, San Francisco campus, 2004IMAGE: KARL PETzKE

glance Winter 2007

38 / 39

Bigger than the Bauhaus

1987

The Design and Architecture Programs move to leased space on 17th Street in San Francisco.

The Illustration and Industrial Design Programs are established.

1989

The Oliver Art Center, including the 3,500-square-foot Tecoah Bruce Gallery, opens on the Oakland campus.

The Loma Prieta earthquake rocks the Bay Area.

1993

The award-winning Barclay Simpson Sculpture Studio, designed by faculty member Jim Jennings, opens on the Oakland campus.

1994

Lorne Buchman, CCAC provost and former chair of the Department of Dramatic Art at uC Berkeley is appointed seventh president.

1995

The college launches the comprehensive Campaign for CCAC to raise funds for the renovation of a new San Francisco campus and programmatic initiatives. The college purchases a building in lower Potrero Hill to create the new permanent San Francisco campus.

Sputnik, student design team, is established.

1996

The first phase of the renovation of the Montgomery Campus is completed. The Design and Architecture Programs move into the new building.

1997

The Fashion Design Program begins.

The college launches the Young Artist Studio Program, a summer program for middle school students.

professionals to think about the act of curating as an artistic practice in

itself; writing, an art form whose medium is (mostly) words; and visual

criticism, which analyzes the production, distribution, and reception

of images. Today almost a fifth of CCA’s students are pursuing master’s

degrees, and a new Graduate Center promises to transform the blighted

Hooper Street into an important cultural corridor.

These sweeping changes, expansion, and innovation at both the under-

graduate and graduate levels were intended to stimulate the academic

programs, and there is strong evidence that this has begun to happen. A

wide-ranging reorganization of the undergraduate curriculum has led,

since 2003, to the creation of two humanities majors, in visual studies (the

successor to the aging discipline of art history) and in writing and litera-

ture. The first students in the history of the college to receive the bachelor

of arts degree (as opposed to the bachelor of fine arts degree) graduated in

2006. Although their numbers are still small, there is great significance to

this: CCA competes for the most talented students not only with arts insti-

tutions nationwide, but also with liberal arts colleges and universities.

The growing rigor, consistency, and edginess of the humanities curricula

announce to prospective undergraduates and their parents that they do

not have to choose between a rich studio experience and a broad liberal

education. They can have it both ways.

There are strong indications that this message is being heard. In 1994 the

college embarked upon a comprehensive strategic planning process with

the modest goal of achieving leadership in arts education. Enrollment at

that time hovered at around 900 students, only 171 of whom were first-

time freshmen. In the next year or two, it is expected that our numbers

will have more than doubled as we approach a growth target of 1,850. The

college has invested significantly in the infrastructure—academic, social,

and residential—that a growing population of younger students requires.

It’s unlikely that CCA will be fielding a varsity football team anytime soon,

but we now have a dormitory in Oakland and a burgeoning program of

student life on both sides of the Bay.

There is simply more going on now in any given week than aspiring art-

ists can hope for. The six graduate programs have pooled their resources to

glance Winter 2007

40 / 41

Bigger than the Bauhaus

1998

The college establishes the Institute for Exhibitions and Public Programs.

Noted artist-residency program Capp Street Project becomes part of the Institute for Exhibitions and Public Programs.

1999

The college celebrates the completion of the Montgomery Campus with an opening gala.

2000

Michael S. Roth, associate director of the Getty Research Institute, is appointed eighth president.

The college launches new graduate programs in design, visual criticism, and writing.

The Center for Art and Public Life is established.

2001

The Institute for Exhibitions and Public Programs is renamed Wattis Institute for Contemporary Arts in honor of philanthropist Phyllis Wattis.

2002

A new student housing facility, Clifton Hall, opens on the Oakland campus.

The college welcomes the largest entering class in its history.

2003

The Center for Art and Public Life receives a $5 million endowment—the largest gift in the history of the college.

Reflecting the breadth of its programs, the college changes its name to California College of the Arts.

CCA launches new graduate programs in curatorial practice and new undergraduate programs in writing and literature and visual studies.

The Graduate Center opens on the San Francisco campus.

BELOW

Bay Area ID student and portfolio review, with special guest Cameron Sinclair, 2006IMAGE: KARL PETzKE

BOTTOM LEFT

Meyer Library on the Oakland campus, 2006IMAGE: MÓNICA HERNÁNDEz

BOTTOM RIGHT

MFA commencement exhibition, San Francisco campus, 2006IMAGE: ROBERT ADLER

put on a graduate lecture series that regularly brings to the San Francisco

campus internationally known artists, writers, and scholars. In Oakland

the Center for Art and Public Life maintains a lively program of commu-

nity outreach that resonates strongly with the East Bay culture of

social diversity and political engagement. In 2005, reflecting the

growing prominence of such movements as social practice and

relational aesthetics, CCA launched a new undergraduate major

in community arts.

It has, by all accounts, been a pretty remarkable decade: new

buildings and enhanced facilities; new programs, centers, and

institutes; the ever-greater visibility of the institution, its fac-

ulty, and its alumni. It is precisely the steepness of this growth

trajectory, however, that helps keep us focused on the work that

remains to be done. Salaries have risen since 1907, when Frederick

ABOVE

Oakland campus, 1997

THIS SPREAD The Nave, San Francisco campus, 2006IMAGE: MÓNICA HERNÁNDEz

glance Winter 2007

42 / 43

Bigger than the Bauhaus

Meyer hired his four faculty members (there are now 480 of us) and paid

them each $40 per month, but so has the cost of living in this charmed

corner of the universe. The diversity of the institution does not begin to

reflect that of the Bay Area, and the price of a culture of participatory self-

governance is the chronic threat of burnout. Although we have made truly

remarkable strides, much work remains to be done to ensure that faculty

and staff at every level of the academic hierarchy feel equally invested

in—and respected by—the institution as a whole.

Each of us can find plenty of reasons to feel impatient, frustrated, and

occasionally depleted, and that certainly applies to me. But at the most

challenging moments, I often wander a few blocks down the street to

the dreary, drizzly corner of 17th and De Haro. We should be proud of

our accomplishments during this past remarkable decade, and that alone

should fortify us for all that remains to be done.

Barry Katz is professor of design and visual criticism, and president of the faculty senate.

2004

College launches its new Master of Architecture Program.

2005

A new BFA in Community Arts Program begins.

2006

College enrollment reaches 1,650. Faculty numbers 480.

shOWs COntInuIng frOM 2006

SepTember 20, 2006– February 24, 2007draw on pHoTograpHy: new eTcHingS by KoTa ezawa and iSca greenField-SanderSPaulson Press, Berkeley www.paulsonpress.com

november 30, 2006– January 13, 2007linda gearyRena Bransten Gallery, San Francisco www.renabranstengallery.com

january 2007

January 5–27alumni SHowJack Hanley Gallery, San Francisco www.jackhanley.com

January 6–February 17naomie KremerHosfelt Gallery, New York www.hosfeltgallery.comReception: January 6, 3–6 p.m.

January 16–december 21HiSTorical exHibiTionSSimpson Library, San Francisco campus Meyer Library, Oakland campus

January 20–april 22100 FamilieS oaKland exHibiTionOakland Museum of California www.museumca.orgFamily Programs: January 28, 1–4:30 p.m. February 18, 1–5 p.m. March 18, 1–4:30 p.m.

January 23–marcH 17JeSSamyn lovellRichmond Art Center www.therichmondartcenter.org

January 26–april 8cca: a legacy in STudio glaSSSan Francisco Museum of Craft+Design www.sfmcd.orgCurated by Carolyn Kastner

February 8, 6 p.m. Lecture: “A World of Glass” with Marvin Lipofsky, SFMC+D

February 17, 1:30 p.m. Studio visit with Marvin Lipofsky (SFMC+D members only)

March 4, 1 p.m.Demonstration with Clifford Rainey, glass studio, Oakland campus

January 29–February 16alumni aT THe cenTennialOliver Art Center, Tecoah Bruce GalleryOakland campusReception: January 31, 5:30–7:30 p.m.

A juried exhibition of work by alumni from around the world, across disciplines, and spanning generations.

marcH 23–July 3caliFornia college oF THe arTS aT 100: innovaTion by deSignSan Francisco Museum of Modern Art www.sfmoma.orgReception: March 22, 6–8 p.m.

March 27, 12–1:30 p.m.Panel Discussion: “When Art Solves Problems,” David Meckel, moderator

SFMOMA will present a special exhibition of works from the museum’s architecture and design collection, as a tribute to the college’s Centennial. The exhibition will feature works by such esteemed architects and designers as Yves Béhar, Thom Faulders, Donald Fortescue, Mark Fox, Jim Jennings, William Leddy, Jennifer Morla, Jennifer Sterling, Lucille Tenazas, Michael Vanderbyl, and Martin Venezky, to name a few.

A yeAr of speciAl centenniAl events

Martin Venezky Tulane School of Architecture poster Rethink New Orleans Rebuild, 2006 Offset printing, 36" × 24"

January 30, 7 pmcenTennial KicKoFFSpecial lecTure carrie mae weemSThe Nave, San Francisco campusReception follows lecture

graduaTe STudieS cenTennial lecTure SerieSFor up-to-date information on speakers, venues, dates, and times, visit www.cca.edu/100. Runs through December 2007.

feBruary 2007

February 1–21louiS SiegrieSTTriangle Gallery, San Francisco Info: 415.392.1686

glance Winter 2007

44 / 45

A Year of Special Centennial Events

February 1–25wide lenS: a reTroSpecTive oF oScar documenTarieSSan Francisco Museum of Modern Art Phyllis Wattis Theater

Co-presented by the Academy of Ameri-can Motion Picture Arts and Sciences and CCA, a series of short subject and feature documentaries recognized by the Acad-emy over the past 40 years. Filmmakers will be present at each program. Sundays at 2:30 p.m. and Thursdays at 8:30 p.m. during February. For a complete schedule, visit www.sfmoma.org

February 8–marcH 10mary Snowden: iT’S a maTTer oF TimeBraunstein/Quay Gallery, San Francisco www.bquayartgallery.comReception: February 10, 3–5 p.m.

February 10–marcH 13micHele predNancy Hoffman Gallery, New York www.nancyhoffmangallery.com

February 15–19manuel neriARCO, International Art Fair, Madrid, Spainarcoenglish.artmediacompany.com

MarCh 2007

marcH 1–april 28THree generaTionS oF cca women: June FelTer, Jane grimm, emily mcvariSH871 Fine Arts, San Francisco Info: 415.543.5155

marcH 8–april 28manuel neri: painTed SculpTure and relieFS Hackett-Freedman Gallery, San Francisco www.hackettfreedman.com

marcH 15–april 7cca aT 100: alumni looKing ForwardBraunstein/Quay Gallery, San Francisco www.bquayartgallery.comCurated by Mary SnowdenReception: March 17, 3–5 p.m.

MarCh fOrthCOMIng dates

amy KauFmanTraywick Contemporary, Berkeley www.traywick.comRuns through May 2007.

new prinTS by naTHan oliveiraCrown Point Press, San Francisco www.crownpoint.com

alumni and FaculTy SHow John Berggruen Gallery, San Francisco www.berggruen.com

Including works by Robert Bechtle, Chris-topher Brown, Squeak Carnwath, Richard Diebenkorn, Richard McLean, Nathan Oliveira, Maria Porges, and Paul Wonner.

aprIL 2007

april 1–30arTHur oKamura: new worKClaudia Chapline Gallery, Stinson Beach www.cchapline.comReception: April 30, 3–5 p.m.

april 8, 12–5 pmgraduaTe open STudioSSan Francisco campusInfo: 415.551.9213

Graduate students in fine arts, archi-tecture, design, and writing open their studios to the public.

april 12–may 19Tara TucKerRena Bransten Gallery, San Francisco www.renabranstengallery.com

april 17–may 18gerald walburg reTroSpecTiveThompson Art Gallery San Jose State university ad.sjsu.edu

april 21, 11 am–3 pmSpring FairCommunity event on the Oakland campus.

april 25, 6 pmcenTennial gala and THreadS FaSHion SHowFort Mason, San FranciscoInfo: 415.594.3776

Event includes a cocktail reception, gourmet dinner, and professional runway show highlighting the best work of CCA’s senior fashion design students. Proceeds will benefit the college’s scholarship program.

april 23–2820TH annual SimpSon awardS and exHibiTionOliver Art Center, Tecoah Bruce Gallery Oakland campusReception: April 23, 6–8 p.m.

aprIL fOrthCOMIng dates

laurie reid: worKS on paperBerkeley Art Museum www.bampfa.berkeley.eduRuns through September 2007.

May 2007

may 10–19graduaTe exHibiTion San Francisco campusInfo: 415.551.9213Reception: May 10, 6–9 p.m.

Featuring work by graduating MA, MFA, and MArch students.

may 10–June 30naomie KremerModernism Gallery, San Francisco www.modernisminc.comReception: May 10, 5:30–8 p.m.

may 12–June 16micHael becKCharles Campbell Gallery, San Francisco www.charlescampbellgallery.com

may 12, 2 pmcenTennial commencemenTMasonic Auditorium, San Francisco

Alumnus Robert Bechtle and filmmaker Trinh Minh-ha will receive honorary doctorates.

juLy 2007

July 7–auguST 18alumni SHowWalter Maciel Gallery, Los Angeles www.waltermacielgallery.com

juLy fOrthCOMIng dates

alumni and FaculTy SHowStephen Wirtz Gallery, San Francisco www.wirtzgallery.com

Including works by Todd Hido, Jim Gold-berg, Laurie Reid, Raymond Saunders, Paul Schiek, Larry Sultan, Kathryn Van Dyke, Rachel Weeks, and others.

august 2007

auguST 9–12alumni SHowAmerican Craft Council Show Fort Mason, San Francisco www.craftcouncil.org

august fOrthCOMIng dates

alumni and FaculTy SHowGallery Paule Anglim, San Francisco www.gallerypauleanglim.com

Including works by Robert Bechtle, Christopher Brown, David Ireland, Judith Linhares, Manuel Neri, and John zurier.

septeMBer 2007

SepTember 4–november 10cca’S 100TH anniverSary pHoTograpHy reTroSpecTiveRichmond Art Center www.therichmondartcenter.org

A survey of work by past and present CCA photography students and teachers.

SepTember 6–ocTober 13denniS leon: one STone; worKS From THe eSTaTe Patricia Sweetow Gallery, San Francisco www.patriciasweetowgallery.com

SepTember 6–ocTober 27Honoring ccaBrian Gross Fine Art, San Francisco www.briangrossfineart.com

Including works by Robert Arneson, Roy DeForest, Linda Fleming, Sono Osato, and Nellie King Solomon.

SepTember 6–ocTober 13libby blacKHeather Marx Gallery, San Francisco www.heathermarxgallery.com

SepTember 29, 2007– april 20, 2008celebraTing a cenTennial: conTemporary prinTmaKerS aT cca

Anderson Gallery of Graphic Art de Young Museum www.thinker.org

In honor of the college’s Centennial, this exhibition will feature about 25 prints from the museums’ collection by CCA alumni and faculty, including Robert Arneson, Robert Bechtle, Nathan Oliveira, and Peter Voulkos. Celebrating a Centennial is organized by Karin Breuer, curator of contemporary graphic art at the de Young.

Nathan Oliveira Pier Site 14, 1986 Monotype, 48" × 42 ½"FINE ARTS MuSEuMS OF SAN FRANCISCO, MuSEuM PuRCHASE

ACHENBACH FOuNDATION FOR GRAPHIC ARTS ENDOWMENT FuND

1997.88

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A Year of Special Centennial Events

SepTember 30–december 21marilyn da SilvaPalo Alto Center www.city.palo-alto.ca.us/community- services/ac-generalinfo

septeMBer fOrthCOMIng dates

FaculTy SHowOliver Art Center, Tecoah Bruce Gallery Oakland campus

OCtOBer 2007

ocTober 3–november 2pHilip buller and Tracy Krumm Andrea Schwartz Gallery, San Francisco www.asgallery.com

ocTober 12–14all-alumni reunion weeKendA weekend of celebrations, exhibitions, openings, and informative programs for alumni and their families. Join us on both sides of the Bay to reconnect with your

classmates and the CCA community.

ocTober 20, 2007– February 10, 2008cca alumni and FaculTy: SelecTionS From THe permanenT collecTionSan Jose Museum of Art www.sjmusart.org

ocTober 20–november 24cca aT ccgCharles Campbell Gallery, San Francisco www.charlescampbellgallery.com

Including works by alumni and faculty ranging from the Society of Six to Manuel Neri and Nathan Oliveira to Michael Beck and Christopher Brown.

ocTober 22–december 1Jamie vaSTa: gliTTer painTingS Patricia Sweetow Gallery, San Francisco www.patriciasweetowgallery.com

deCeMBer 2007

december 1, 11 am–3 pmHoliday FairCommunity event on the Oakland campus.

ocTober 13, 2007–January 27, 2008cca: 100 yearS in THe maKing

Oakland Museum of California; www.museumca.orgReception: October 13 (for members, donors, and alumni)

In honor of CCA’s Centennial, the Oakland Museum of California will present an extensive historical survey that will chronicle the important achievements of artists associated with the school from its founding in 1907 to 2007. Guest curator Lee Plested joins acclaimed exhibition designer Ted Cohen and Oakland Museum chief curator Philip Linhares to form an all-alumni exhibition team.

The exhibition will focus on the creative expertise and critical ideology of artists throughout the college’s history. Artists included in the exhibition: the Society of Six; ceramist Edith Heath; figurative painters Richard Diebenkorn and Nathan Oliveira; sculptors Peter Voulkos, Robert Arneson, and Viola Frey; John McCracken and Dennis Oppenheim; photorealists Robert Bechtle, Robert Gils, Richard McLean, and Jack Mendenhall; performance artist Suzanne Lacy; painters Squeak Carnwath and Raymond Saunders; and photographer Catherine Wagner. A section devoted to 1987–2007, curated by a peer committee, will trace recent artistic strategies.

berKeley arT muSeum www.bampfa.org

During the Centennial year, works by CCA alumni and faculty will be acknowledged on special wall labels throughout the galleries.

iriS & b. gerald canTor cenTer For viSual arTS aT STanFord univerSiTywww.museum.stanford.edu

The Cantor Arts Center’s permanent collection contains many works by CCA faculty and alumni. During 2007, special Centennial wall labels will be added to inform visitors of these works.

Visit www.cca.edu/100 for the latest calendar updates.

Robert Bechtle ’56 Chrysler, 1965 Oil on canvas, 36" × 40"COLLECTION OF THE OAKLAND MuSEuM OF CALIFORNIA,

GIFT OF GARY LuCIDON

1. erik AdiGArd (’87) And pAtriciA mcshAne (’87): designers and founders of the design firm M-A-D; created original design of Wired magazine; won prestigious Chrysler Design Award in 1998.

2. Andre Andreev (’05), G. dAn covert (’03), And Jennifer hunG (’01): award-winning graphic designers, their clients include MTV and VH1.

3. roBert Arneson (’56): sculptor recognized for his pivotal role in establishing ceramics as a medium for contemporary sculpture.

4. pAtrick ArrAsmith (’94): illustrator whose work has appeared in the New York Times, Wall Street Journal, and numerous magazines and books.

5. lAwrence AzerrAd (’95): designer and principal at LAD, design and art direction studio; former art director for Warner Brothers Records; and faculty member at Art Center College of Design.

6. Jules de BAlincourt (’98): artist; his work is shown at the Saatchi Gallery in London.

7. GiorGio BArAvAlle (’92): designer and founder of design firm de.MO; has pub-lished 13 books, mainly on photojournalism.

8. roBert Bechtle (’54): prominent photorealist painter; his well-received retrospective organized by SFMOMA toured nationally in 2005.

9. Billy Al BenGston (’55): painter and central figure in the 1960s art scene in Los Angeles; his work has been described as “at the intersection of Pop and Color Field.”

10. GArry knox Bennett (’61): studio furniture maker of work with unexpected shapes and combinations of color and material.

11. liBBy BlAck (’01): artist; known for her drawing and sculptural representations of objects in the world of fashion and luxury.

12. rAlph BorGe (’52): painter and faculty member; recognized for his sweeping landscapes of the Bay Area.

13. GABy Brink (’95): designer, co-founder, and principal of Templin Brink Design.

14. kAthAn Brown (’68): printmaker and founder of Crown Point Press; has worked with prominent artists such as Diebenkorn, LeWitt, Marden, Marioni, and Thiebaud.

15. tecoAh Bruce (’74, ’79): art consultant, former board chair, and current trustee.

16. rAul cABrA (’90): designer and principal of design firm Cabra Diseño; published a series of books on designers for Chronicle Books.

17. squeAk cArnwAth (’77): artist and recipient of numerous honors and awards, including SFMOMA’s SECA Art Award, Guggenheim Fellowship, and NEA Grants; current faculty at UC Berkeley.

18. pAtrick coyne (’83): editor and designer of Communication Arts magazine.

19. tomie depAolA (’69): illustrator and author of more than 200 books; winner of Caldecott Honor award for his book Strega Nona.

20. Anthony discenzA (’00): artist; his work appeared in the 2000 Whitney Biennial.

21. terry douGAll (’72): president and founder of Dougall Design Associates, the top theme and interior design firm in the US gaming industry.

22. June felter (’58): painter and printmaker; part of the Bay Area Figurative Art Movement.

100+ Alumni of note

It is estimated that there are more than 14,000 alumni of the college. Collectively, they have had a profound impact on our culture in the last 100 years. Who are they? Architects, artists, businesspeople, cartoonists, critics, designers, entrepreneurs, fashion designers, filmmakers, illustrators, paint-ers, photographers, printmakers, publishers, teachers, writers, and more. They are directing nonprofits, constructing buildings, running their own busi-nesses, and working with underserved communities. In short, they are using their arts education to shape the world. This list gives you a small sample of the range of alumni achievements.

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100+ Alumni of Note

23. hArrell fletcher (’94): artist; works collaboratively and individually on socially engaged projects; work included in 2004 Whitney Biennial.

24. violA frey (’56): leading figure in contemporary ceramics; known for her monumental, intensely colored figurative sculpture; faculty member for 34 years.

25. BoB GArdiner (’72): artist and early claymation innovator; won an Academy Award for his animated film Closed Mondays.

26. mAx Geiser (’97) And lindA mAlhewson Geiser (’97): founders of Fold Bedding.

27. GiA GiAsullo (’94) And erez steinBerG (’91): principals of Studio eg, an industrial and graphic design firm committed to the use of recycled, reused, and nontoxic materials.

28. chArles Gill (’55): painter and printmaker, faculty member for 39 years, and founder of CCA’s printmaking program.

29. rAlph GoinGs (’53): one of the original members of the Photorealist Movement.

30. dAve GonzAles (’80): illustrator and creator of the “Homies,” a line of toy figurines.

31. nAdJA hAldimAnn (’97): designed Microsoft Office 2003 while a product designer at Microsoft.

32. eric heimAn (’96): graphic designer, co-founder of Volume Inc. design firm, and faculty member.

33. todd hido (’96): photographer exhibiting nationally and inter-nationally; has three monographs published by Nazraeli Press.

34. wAde hoefer (’72): painter who is best known for his land scapes, which have been described as “visual poetry.”

35. nAncy howes (’05): metal artist and trustee.

36. dAvid huffmAn (’86, ’98): painter and faculty member; his painting presents human experience with a social and historical perspective.

37. GAry hutton (’75): interior designer and furniture designer; his work has been published in Architectural Digest, House & Garden, and Metropolitan Home, among others.

38. dAvid irelAnd (’53): one of the most important and critically acclaimed artists working in the arena of conceptual and installation art.

39. Jennifer Jerde (’92): founder of Elixir Design.

40. GeorGe Jewett (’96): architect, founder of Jewett Design, and trustee.

41. dAvid kArAm (’91) And GiGi oBrecht: faculty, graphic designers, founders of Post Tool design, and 2001 winners of SFMOMA’s Experimental Design Award.

42. mArc kAtAno (’75): painter, exhibiting nationally; SECA Art Award winner.

43. lArry keenAn (’67): best known for chronicling the Beat Generation; his photographs are in the Smithsonian’s permanent collection.

44. nAomie kremer (’93): artist known for her abstract “moving” paintings.

45. lAwrence LABiAncA (’94): sculptor who works with metal, ceramics, wood, and glass; faculty member.

46. Judith linhAres (’70): painter known for her imaginative figurative work; faculty member at Yale University School of Art.

47. mAurice loGAn: studied at CSAC, faculty member 1935–43, trustee 1936–62, trustee emeritus 1964–77; painter and member of the Society of Six, a group of plein air landscape painters in the early 20th century.

48. tinA mAnis (’88): architect and owner of Tina Manis Associates in New York; faculty member at Columbia University.

49. John mccrAcken (’62): internationally renowned artist of abstract painted sculpture.

59. roBert s. neumAn (’51): painter; known for his abstract work; taught for many years at schools in the Northeast, including Brown, Harvard, and Keene State College.

60. nAthAn oliveirA (’52): prominent painter in the Bay Area Figurative Art Movement; taught at Stanford University for over 30 years.

61. pAtriciA olynyk (’88): artist known for her interactive installations; faculty member at the University of Michigan.

62. dennis oppenheim (’65): artist, one of the key figures in American conceptual art; his work includes installation, performance art, mechanized sculpture, and earthworks.

63. ritA orGAn (’87): executive director, Indiana Museum of African American History.

64. Jim pArkinson (’63): type designer; created logo for Rolling Stone and other publications; collaborated on design for ITC Bodoni typeface.

65. mitzi pederson (’04): artist and recipient of a 2006 SECA Art Award.

66. tim perks (’91): architect; designs retail stores for Nike worldwide.

50. Bruce mcGAw (’57): painter, active in the Bay Area Figurative Art Movement; current faculty member and former chair of painting at San Francisco Art Institute.

51. richArd mcleAn (’58): painter and prominent artist in the Photorealist Movement.

52. JAck mendenhAll (’70): prominent painter in the Photorealist Movement and faculty member.

53. mike miGnolA (’82): illustrator and creator of Hellboy comic books.

54. lee minGwei (’93): installation and performance artist; work included in 2006 Liverpool Biennial.

55. GeorGe miyAsAki (’58): painter, printmaker, and faculty member at UC Berkeley for many years.

56. José montoyA (’62): artist and preeminent Chicano bilingual poet.

57. Ann morhAuser (’79): owner and president of Annieglass, an international glass design and production firm; trustee.

58. mAnuel neri (’56): figurative sculptor and winner of the 2006 Lifetime Achievement Award from the International Sculpture Center.

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100+ Alumni of Note

67. richArd posner (’76): artist; his large-scale sculptures have been installed at science museums, federal buildings, hospitals, and numerous private locations nationwide.

68. steve purcell (’82): car-toonist and creator of Sam & Max.

69. orfeo quAGliAtA (’99): industrial designer and founder of Phuze, a glass design company.

70. lAurie reid (’96): artist; her work has been shown in group and solo exhibitions, including the 2000 Whitney Biennial; 1998 SECA Art Award winner.

71. AdAm richArdson (’92): strategy director at frog design.

72. JAke rivAs (’97): footwear design director at North Face.

73. sArA roBerts (’88): director of integrated media, California Institute of the Arts; her inter-active sculpture is installed in San Francisco’s Moscone Center.

74. christinA lei rodriGuez (’02): artist; her work has been featured in the Art Basel Miami Beach art fair.

75. Jon ruBin (’93): artist known for his collaborative projects; has received numerous public commissions and is a faculty member at Carnegie Mellon.

76. rAymond sAunders (’61): artist and faculty member since 1987; his work is in numerous museums, including MoMA, Metropolitan Museum, Whitney Museum, and SFMOMA.

77. AlAn scArritt (’72): artist; known for his sound, video, photography, sculpture, and installation work.

78. rick schmidt (’71): filmmaker; his acclaimed films have shown at Sundance and other film festivals; author of Feature Filmmaking at Used Car Prices.

79. leslie shows (’06): artist and recipient of a 2006 SECA Art Award.

80. louis sieGriest (’19): painter and prominent member of the Society of Six, a group of plein air landscape painters in the early 20th century.

81. Jennifer sonderBy (’02): design director at SFMOMA.

82. m. louise stAnley (’69): painter; known for her surrealist, humorous works that draw on Renaissance art for inspiration.

83. huGo steccAti (’38): photographer; one of the most important architectural photo-graphers to document modern Bay Area history.

84. henry suGimoto (’28): painter; received a major retro-spective at the Japanese American National Museum in 2001.

85. lucille tenAzAs (’79): designer; selected as one of the I.D. Forty; AIGA national pres-ident 1996–98; founding chair of CCA’s graduate design program.

86. hAnk willis thomAs (’04): photographer; work included in Bay Area Now 4 at Yerba Buena Center for the Arts; received a Skowhegan Fellowship in 2005.

87. Judith thompson (’91): founder and owner of Thompson Brooks, Inc., one of the most successful general contractors in the Bay Area.

88. steven utz (’97): architect; recipient of a fellowship from the Enterprise Foundation to help revitalize the city of Meadville, PA.

89. kAthryn vAn dyke (’90): artist and SECA Art Award recipient in 2000.

90. michAel vAnderByl (’68): designer and president of Vanderbyl Design; AIGA medalist in 2000; IIDA Lifetime Achievement Award in 2006; faculty member since 1973.

91. henry villierme (’57): painter and part of the Bay Area Figurative Art Movement.

92. AnnA von mertens (’00): artist; known for her bold, modernist quilts.

93. peter voulkos (’52): artist and pioneer in the field of ceramics; his work emphasized mass and weight; established ceramics department at Otis College of Art and Design.

94. kelly wAlker (’97): editor of Arcade, the foremost architectural journal in the Pacific Northwest.

95. wAyne wAnG (’73): film director, writer, and pro- ducer; his feature film credits include Chan Is Missing, The Joy Luck Club, Smoke, and The Center of the World.

96. stAn wAshBurn (’66): painter; his etchings and paintings are in major collections worldwide.

97.Ann weBer (’87):artist; known for her large-scale cardboard sculptures.

98.Anne wilson (’76):chair of the textiles department at the School of the Art Institute of Chicago.

99.chArly wittock (’92):architect and principal of CW Architects in Brussels, Belgium.

pAul wonner (’41):artist; associated with the Bay Area Figurative Art group; his works are in major collections worldwide.

PAGE 49

TOP RIGHT

Viola Frey, studio view Works in progress, 2000COuRTESY OF ARTISTS LEGACY FOuNDATION AND

RENA BRANSTEN GALLERY, SAN FRANCISCO

BOTTOM LEFT

Squeak Carnwath No Nothingness, 2004COuRTESY OF JOHN BERGGRuEN GALLERY

BOTTOM CENTER

Andre Andreev and G. Dan Covert, dresscode Video Music Awards Campaign, 2005COuRTESY OF MTV OFF-AIR CREATIVE

BOTTOM RIGHT

Eric Heiman, Volume Inc. ReadyMade, 2005COuRTESY OF VOLuME INC

PAGE 50

TOP LEFT

David Ireland Rubber Band Collection with Sound Accompaniment, 1977IMAGE: © SCHOPPLEIN STuDIO

COuRTESY OF GALLERY PAuLE ANGLIM

TOP RIGHT

Dennis OppenheimBus Home, 2002IMAGE: FOCuS ON THE MASTERS, VENTuRA, CA

COuRTESY OF THE ARTIST

BOTTOM

Laurie Reid Traveling Unraveling, 2005COuRTESY OF STEPHEN WIRTz GALLERY

PAGE 51

LEFT

Raymond SaundersPainted by a ref.-gee?! – Refugee as noun – One who flees for refuge to another country – Slavery?, 2005COuRTESY OF STEPHEN WIRTz GALLERY

RIGHT

Lucille Tenazas AIA SFMOMA lectures poster, 1997COuRTESY OF TENAzAS DESIGN

PAGE 52

LEFT

Michael VanderbylHull design for AmericaOne, America’s Cup Challenge, 2000COuRTESY OF VANDERBYL DESIGN

RIGHT

Peter VoulkosAlhambra, 1999IMAGE: SCHOPPLEINSTuDIO.COM; COuRTESY OF THE VOuLKOS

& CO. CATALOGuE PROJECT; WWW.VOuLKOS.COM

100.

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On September 7, 2005 I had the pleasure of interviewing

Harry Ford about his tenure as president.

Eve Steccati-Tanovitz: What event or program during

your tenure do you think was the most pivotal or far-

reaching for the school?

Harry Ford: Setting a goal to advance the college by

taking it in an international direction.

In so doing, I felt that we could create an exchange

and dialog between local colleges and others in different

parts of the world that would be a great benefit to CCA.

Over time we created exchange programs with institu-

tions such as those in East Bay colleges and universities,

the Alliance of Independent Colleges of Art, the Western

College Association, and the National Association of

Schools of Art and Design.

EST: Who sticks out in your mind as someone during

your tenure who was instrumental in helping you achieve

your goals?

HF: My late wife, Celeste. With her great love for people

and her tremendous sense of humor, Celeste was a won-

derful asset to the college. She assisted Native American

students as well as foreign exchange students from Iran, Japan, Mexico,

and China. She opened up our home to students … many were experienc-

ing Western culture for the first time.

One summer during the 1970s we offered a special session for students

from Osaka. We organized a pool party for the students at the home of

Harry Jackson, who at the time was the president

of the board of trustees. When the women exchange

students were too shy to appear in their new bikinis,

it was Celeste who finally got them out of the house

and into the pool.

EST: Would you do anything different if you were

president now?

HF: I believe my focus would be the same: to be open to new ideas and

develop new plans to benefit the college. Being a college president is a

challenge. In fact, it always reminded me of a chariot race—sometimes

the wheels tilt, but you try your best to keep it in line—to always stay

focused on the goal.

ABOVE

Harry Ford, c. 1970

“Being a college president is a challenge. In fact, it always reminded me of a chariot race—sometimes the wheels tilt, but you try your best to keep it in line …”

internAtionAl ApertureAn interview with harry fordpresident 1959–84

by Eve Steccati-Tanovitz

When I wanted to improve the facilities by creating a new library and

other buildings on campus, there were those who felt that my plans would

ruin the college. They thought that the students should struggle, should

have to learn how to make do only with what was available.

At the time, the Oakland campus consisted of several old wooden

portable structures as well as permanent buildings that had been

built many years earlier. Of course, the students who attended the

college [later] took the modern facilities for granted.

EST: What was your biggest challenge during those years?

HF: The crisis at Kent State in 1970, when National Guardsmen killed

four students. In the aftermath there was disruption on college cam-

puses nationwide. For a brief time I felt I was losing the reins, that chaos

and violence might happen here

as well. The group Students for a

Democratic Society had made their

presence felt on campus. They were

allegedly advocating the burning of

cars as a protest. I asked the Oakland

Police Department not to enter the

campus without advance notice,

fearing their presence might lead

to even more tension.

Students stopped attending classes. Things came to a head one

morning when they gathered in front of the college. There was

anxiety among all of us as they talked about how to protest the

shootings. The students went up to Nahl Hall to determine their

next move. After much discussion and dialog, it was decided

that the best way to protest the events at Kent State University

would be to create a series of antiwar posters.

The students started a collection of these prints, poetry, and

essays, creating a portfolio in which they could express their

feelings about this terrible event. Professor Charlie Gill, the

head of our Printmaking Program, was instrumental in helping to plan

and implement the collection, and this led to a plan to improve student

and faculty relations as well.

EST: Members of the Alumni Council have been researching the archives

and finding references to how the college viewed itself, its students, and

the challenge to artists during times of war over the past 100 years. What

role does the artist play during times of war or unrest?

RIGHT

Harry Ford (left) with astronaut Neil Armstrong at a conference on the environmentIMAGE: OLIVER GOLDSMITH

BELOW

Imogen Cunningham and Joe SinelIMAGE: ERIC W. CHENEY

International Aperture glance Winter 2007

54 / 55

HF: There are all kinds of artists in the world and

just as many ways to make one’s voice heard. It is

important not to be confused by the issues. In my

personal experience, as a prisoner of war in Nazi

Germany during WWII, the enemy was visible. But

in Korea, in Vietnam, and now in the Middle East,

the issues are becoming more complex, making it

more difficult to determine what one should do.

There are no easy answers.

The artist should always question: “Why are we

doing this?” Be true to yourself. That’s the starting

point.

EST: What are some memorable highlights during

your tenure as president?

HF: There are so many wonderful memories.

Creating a sister-college relationship with the

Osaka University of Arts is certainly a highlight.

At one point, they were developing a library. We

hosted their president to come to California to visit

libraries here.

Later at the Osaka University, I wanted to give a

speech in Japanese in commemoration of their 25th anniversary. But in

spite of all my efforts, I was advised by my language coach to limit my

attempt at speaking Japanese to my opening and closing remarks.

Over the years many influential artists, including designer Charles

Eames, photographer Imogen Cunningham, sculptor Isamu Noguchi, and

others have visited the campus. We also invited astronaut Neil Armstrong

to come as a speaker on environmental issues.

Our involvement with the World Print Council was very meaningful

to the college. At the time, we created a department of the college

based on this institution that sponsored international exhibitions. This

collaboration offered a much greater presence for the college on a world-

wide level.

Eve Steccati-Tanovitz received a BFA in graphic design in 1969. As a student, she became acquainted with Harry Ford. Eve has served on the Alumni Council for the past 11 years. Her parents, Hugo Steccati and Alva Tofanelli, met while at CCA; both graduated in 1938. Through their lifelong support of the college, they shared an enduring friendship with the Fords.

ABOVE Harry Ford and Tsukamoto signing an Educational Cooperative Agreement

“There are all kinds of artists in the world and just as many ways to make one’s voice heard.… Be true to yourself. That’s the starting point.”

spOtLIght On the presIdenCy

COMING IN THE SPRING 2007 GlANCE

Former presidents Neil Hoffman and Lorne Buchman and cur-rent president Michael Roth reflect on the pleasures and challenges of leading this institution during their years in Macky Hall’s corner office.

OPPOSITE

LEFT TO RIGHT, TOP TO BOTTOM

Jessamyn LovellMommy with Gun, 2004

Anthony Discenza Untitled (Event #2), 2005

Todd Hido #1738, 2003

Harrell Fletcher The Problem of Possible Redemption, 2002 Hartford, CT

Hank Willis Thomas Branded Head, 2003

ALL IMAGES COuRTESY OF THE ARTISTS

honorinG creAtive excellencetwenty years of the simpson Award

“The magnitude of the Simpsons’ support for the college is only surpassed by their leadership and caring as donors. The only recognition they desire is that their gifts inspire others to give.”

MICHAEL S. ROTH, PRESIDENT

Since 1988 recipients of the Simpson Award have continued to excel in the

world of art, showing locally, nationally, and internationally at exhibi-

tions, festivals, galleries, and major museums, including: the Art Institute

of Chicago; Berkeley Art Museum; de Young Museum; Museum of Fine Arts,

Boston; Museum of Modern Art, New York; Philadelphia Museum of Art;

P.S.1; San Francisco Museum of Modern Art; Semena De Cine Experimental

Madrid; Studio Museum in Harlem; and the Whitney Biennial.

CCA trustee Barclay Simpson and his wife, Sharon

Hanley Simpson, are philanthropic leaders in the Bay

Area, and our school is one of many fortunate institu-

tions strengthened by their generous spirit. They were

recipients of the 2004 Outstanding Philanthropist

Award, an honor that pays tribute to exceptional

donors who provide a lead gift or substantially assist a

nonprofit organization. Barclay and Sharon have sup-

ported the school in numerous projects, and their contributions, guidance

in the addition of new trustees and donors, and leadership gifts have set

the stage for investment in our mission of excellence in art education.

In 1998 a gift from the Simpsons built the Sharon Hanley Simpson Library

on the San Francisco campus. Their name also graces the award-winning

sculpture facility on the Oakland campus. Every facet of our community

benefits from their generosity, including recipients of the Simpson Award.

CCA’s Centennial will mark the 20th year this scholarship has been awarded

to honor the talent and work of exceptional graduate students.

Honoring Creative Excellence glance Winter 2007

56 / 57

1988James CookPatricia OlynykJean Rainer

1989Craig BlackSachi Mizutani InoueDennis Spicer

1990Marlene AngejaRichard CunninghamJean Murakami Miller

1991Susan Stover FloryLisa FriedlanderCarol Ladewig

1992Kurt KieferStephen LeeLloyd Walsh

1993Robert ChorakSusanne CockrellLinn MeyersHifumi Ogawa

1994Sarah BirdHarrell FletcherLawrence LaBiancaEmily Shepard

1995David RosbergAmy Snyder

1996Geoff ChadseyTodd HidoColin Stinson

1997Kent AlexanderKaren KerstenKaren KrallAndrew Phares

1998Curtis HsiangDavid HuffmanNicole SaulnierSasha Wizansky

1999Stephanie AshenfelderJohn MillsJon-Paul Villegas

2000Anthony DiscenzaBill DurginChy-Young Kang

2001Josh GreeneDavid HinmanJessamyn Lovell

2002Jarrett MitchellRebecca SchaeferMary Elizabeth Yarbrough

2003Evan JourdenHeather RowleyTim SchwartzHank Willis Thomas

2004Case CalkinsJosé CartagenaPam Servatius

2005Sean HorchyElizabeth MoyScott Oliver

2006Katie LewisMark Rodriguez

celeBrAtinG life And Art

CuLture Of VaLues

In 1952 student James Leong brought his creative inspiration and talent

to the streets of San Francisco’s Chinatown. In a commissioned mural for

the first government-funded housing in the neighborhood, Leong painted

a colorful compilation of panels called One Hundred Years’ History of the Chinese

in America, illustrating the subject of the title. Despite what he remembers

as a cool reception from the Chinatown community in the 1950s, Leong

continued with his career as an artist to substantial acclaim. The mural

is again on display in San Francisco’s Chinatown as part of the Chinese

Historical Society of America’s permanent collection.

Throughout the last century, participation in community has not only

been a priority but a fundamental component of the school’s culture.

Today the programs and curriculum supported by the Center for Art and

Public Life serve to bring students, faculty, and staff to the intersection of

art, education, and our surrounding community.

The Center was established in 1998 to initiate and develop community

partnerships based on creative practice that serve the college and the

diverse populations of San Francisco and Oakland.

Students are often surprised to find

out that we’re coming full circle. In

class I introduce the historical per-

spective of community arts with the

Arts and Crafts Movement, in partic-

ular William Morris’s philosophy of

celebrating life—upholding human-

ity despite industry. Since then the

Harlem Renaissance, Black Arts

Movement, Chicano Arts Movement,

and Hip-Hop Movement have all

sustained these ideals. We’re now

developing an international network

of arts and educational institutions

committed to these principles.

SONIA BAS SHEVA MAñJON DIRECTOR CENTER FOR ART AND PuBLIC LIFE

glance Fall 2006

58 / 59

ABOVE

James Leong, One Hundred Years’ History of the Chinese in America, 1952REPRODuCED BY PERMISSION OF THE ARTIST AND

THE CHINESE HISTORICAL SOCIETY OF AMERICA

FAR LEFT

Visiting scholar Dr. Ping-Ann Addo and Tongan tapa artistsIMAGE: HANK WILLIS THOMAS

LEFT

Spring Fair 2004, Far West School, Oakland, longtime partner of the Center

OPPOSITE

Community Student Fellow TaSin Sabir and student at Art Esteem, 2001

artIsts In COMMunIty

College and public life is vitalized

by students applying their talents

and skills as artists in collaborative

projects that fulfill needs identified

by communities.

The Center’s academic offerings link theory with practice and classroom

with community. Courses are offered in art education, community arts,

diversity studies, and mentorship.

Students with aspirations to teach can declare an art education emphasis

through SMART (Subject Matter Art). Grounded in visual art and creative

practice, the SMART program aims to deepen art teaching in relation to

learning, human development, diversity, literacy, and critical thinking.

The Community Arts Program focuses on community-based arts practice

and theory, with an emphasis on service learning, civic engagement, and

issues in diversity. The program draws on the rich resources of the Center

for Art and Public Life. BFA candidates are encouraged to apply what they

learn in the classroom with the Center’s numerous community partners,

glance Winter 2007

58 / 59

“This mural was the first public portrayal of the history of Chinese in America.”

JAMES LEONG, BFA ’50, MFA ’52

Celebrating Life and Art

including public schools, health centers, nonprofit organizations, muse-

ums, cultural centers, and neighborhoods.

reaL-WOrLd COntext

Through courses in art education and youth mentorship, students have the

opportunity to explore teaching and mentoring while working with school

and community partners. These courses apply theoretical knowledge

and studio skills to real-world contexts while extending art education in

local schools.

The college offers a community arts studio course that focuses on aes-

thetic, cultural, and geographic changes and culminates in a community

art project. The course begins with a series of seminars held on campus.

During spring break, the class travels to a designated location in the United

States or abroad and engages in a community arts project in collaboration

with established local institutions.

The Center’s Community Exchange Programs have increasingly explored

community-based art initiatives that create pathways between the college’s

creative and intellectual resources and the public. This program prepares

students to work in community settings and promotes community practice

as an alternative or complement to studio practice.

fuLfILLIng a puBLIC need

Over the years, the long-term relationship the Center has developed with

schools fosters an exchange of knowledge, experience, and skills between

students and faculty across campuses, as well as among administrators,

policy makers, parents, and community artists and activists. This relation-

ship fulfills an urgent public need for education in the arts by working

directly with Bay Area schools through mentorship, teaching artists, and

professional development programs.

BELOW

A student works on the Yelapa Community mural project in Mexico

BELOW RIGHT

Developing relationships through making art, c. 1970s

glance Fall 2006

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glance Winter 2007

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A residency program run by the Center commissions scholars and artists

to carry out projects incorporating teaching with community practice in

arts and arts education. Artists are selected based on their ability to incor-

porate a community art practice, traditional or contemporary, involving a

community group, a group of artists, or both.

The Teaching Institute draws on contemporary art and progressive

education practices. The approach supports a culture of thinking in class-

rooms, where teachers and students are actively engaged in constructing

knowledge together.

Understanding place and responsibility as an artist is a vital part of the

heritage of a century of the college. Maintaining this tradition continues

to be a priority for our future.

The mission of the 100 Families project is to enliven the creative spirit and celebrate the power of families and neighborhoods in Oakland through the inspiring and transformative process of making art. Through this project, carried out in partnership with artist F. Noel Perry, 100 families from different neighborhoods in Oakland will make art centered around the theme of family. The aim is for families and their neighborhoods to be uplifted and strengthened through the col-lective experience of creating art that promotes hope, action, and beauty.

100 fAmilies oAklAndArt And sociAl chAnGe

BELOW

Artwork from Binding the Gap: A Book of Messages, 2004

BOTTOM

A proud artist from the 100 Families project in East Oakland displays her workIMAGE: TASIN SABIR

Celebrating Life and Art

innovAtive exhiBitionsGreatness inspires Greatness

“There has always been a fundamental receptivity to risk at Capp Street.”

ANN HATCH, FOuNDER OF CAPP STREET PROJECT, CHAIR OF CCA BOARD OF TRuSTEES

In January 1998 the college founded the Institute for Exhibitions and Public

Programs with Larry Rinder as its first director. The Institute was “part of

a broad strategic goal to expand beyond the physical and cultural space

the school occupied, into the Bay

Area, the country, and the world,”

Rinder says, and he established it

through groundbreaking exhibi-

tions such as Searchlight: Consciousness

at the Millennium (1999); Kara Walker’s Capp Street Project, No Mere Words …

(1999); Rooms for Listening (2000); and Extra Art (2001), among others.

Today the Wattis Institute for Contemporary Arts—as it is now known

in recognition of the generous support of Phyllis Wattis—has gained an

international reputation for its innovative programs and exhibitions,

many traveling to venues throughout North America.

Capp Street Project joined the college in June 1998 and brought with it its

own vibrant history of hosting artists to transform space, inviting view-

ers to see the world in new ways. The organization took its name from

the house at 65 Capp Street where celebrated artist and alumnus David

Ireland developed his renowned conceptual art project. With the Wattis

Institute and Capp Street together under one roof, CCA brought influential

practitioners of art to the Bay Area and in turn increased the influence of

Bay Area art.

In 2000 Ralph Rugoff became director of the Wattis and continued

the momentum initiated by Rinder, fully engaged with the potential

to reinvent culture through curatorial practice and art. Of the 30-plus

exhibitions presented by the Wattis during Rugoff’s tenure, perhaps the

most ambitious effort was Baja to Vancouver (2004), a survey of recent art

from the West Coast that traveled to three other venues. Rugoff described

the Wattis as “a cultural test site or aesthetic think tank, where art-

ists and visitors alike experiment with new ideas about relationships

between art, society, popular culture, and everyday life.” In December

ABOVE

Marcos Ramírez ERRE, Crossroads (Tijuana/San Diego), 2003; from Baja to Vancouver, 2004COLLECTION OF MuSEuM OF CONTEMPORARY ART SAN DIEGO

COuRTESY OF THE ARTIST

IMAGE: PABLO MASON

OPPOSITE TOP

Edward Ruscha, ED RUSCHA SAYS GOODBYE TO COllEGE JOYS, 1967; from Extra Art, 2001COuRTESY OF THE ARTIST

IMAGE: JERRY MCMILLAN

OPPOSITE CENTER

Kara Walker, No Mere Words …, 1999; from Capp Street Project: Kara Walker, 1999IMAGE: IAN REEVES

OPPOSITE BOTTOM LEFT

Sergio Prego, still from Tetsuo/Bound to Fail, 1998, video installation; from Tracking, 2001COuRTESY OF THE ARTIST

OPPOSITE BOTTOM RIGHT

Ann Veronica Janssens, Bicycles, 2003; from Capp Street Project: 20th Anniversary Exhibition, 2003IMAGE: FLORIAN HOLzHERR

glance Winter 2007

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Innovative Exhibitions

ccA wattis institute for contemporary Arts exhibitions1998 –2006

1998

Held and let GolOT/EKUndercurrents and Overtones

1999

Big Soft OrangeCapp Street Project: Kara WalkerFabrice HybertFast ForwardKlaus BürgelSearchlightSpaced Outtwistfoldlayerflake

2000

Black BoxCapp Street Project: Asymptote

ArchitectureCapp Street Project: Jim HodgesCapp Street Project: John MaedaI live HerePotent/PresentRooms for listeningScannerUnbuilt Monuments

2001

The Artist’s WorldCapp Street Project: Anthony HernandezCapp Street Project: Karim RashidA Contemporary Cabinet of CuriositiesExtra ArtMise en ScèneTrackingUtopia Now

TOP LEFT

Carsten Höller, The Invisible, 1998; from A Brief History of Invisible Art, 2005 COuRTESY OF THE ARTIST

BOTTOM LEFT

Martin Kersels, Ice Pond Fall #4, 1997; from Sudden Glory, 2002COuRTESY OF THE ARTIST AND ACME GALLERY, LOS ANGELES

TOP RIGHT

Toshio Iwai, Composition on the Table, No. 1, Push, 1998–99; from Rooms for listening, 2000COuRTESY OF THE ARTIST

CENTER RIGHT

Janine Antoni, Monument to go, 2005; from Monuments for the USA, 2005COuRTESY OF THE ARTIST AND LuHRING AuGuSTINE GALLERY,

NEW YORK

IMAGE: SuzANNE LAGASA

BOTTOM RIGHT

Jeremy Deller, After the Gold Rush, October 2002; from Capp Street Project: Jeremy Deller, 2002

“The Wattis was always meant to bring in practitioners from all over the world who could inspire greatness through greatness.”

LARRY RINDER, DEAN OF THE COLLEGE AND FORMER DIRECTOR OF THE WATTIS INSTITuTE

glance Winter 2007

64 / 65

Innovative Exhibitions

jens hOffMann

neWLy appOInted dIreCtOr Of the WattIs InstItute

One of my primary interests is the connection of the Wattis Institute with the college. I’m planning to build a strong relationship with CCA’s Program in Curatorial Practice as well as other academic programs. There will be a mix of local, national, and international group and solo exhibitions, with an emphasis on San Francisco and the Bay Area as inspiration for developing new exhibitions and formats. One project I’m

in the process of developing for the Wattis is called Americana, encompassing 50 shows, with each month-long show repre-senting an individual state and presented in a space designed specifically for this exhibition.

The Wattis Institute programs will continue with investigations into curatorial practice that Larry Rinder and Ralph Rugoff began during their tenure as directors,

and expand upon these concerns through investigations in unconven-tional exhibition formats, participatory ideas, and very close collabora-tion with artists. In addition, I’m working to establish an international network through collaborations with other art institutions to co-produce and tour exhibitions.

Writer, curator, and artist Seth Sieglaub wrote, “Art has to change what one expects from it.” In describing the future programs of the Wattis Institute, I could say, “Exhibitions have to change what one expects from them.”

2002

Capp Street Project: Jeremy DellerCapp Street Project: Shirley TseGenerosity ProjectsHow Extraordinary That the World Exists!Michel BlazyReality CheckRock My WorldSudden GloryTo Whom It May Concern

2003

Capp Street Project: 20th Anniversary Exhibition

The Gray AreaMixtapesUncertain ImagesWarped Space

2004

Baja to VancouverCapp Street Project: Brian Jungenlikeness

2005

Anthony BurdinA Brief History of Invisible ArtCapp Street Project: Jeanne DunningCapp Street Project: Tariq AlviGeneral IdeasIrreducibleMonuments for the USARepetition

2006

Capp Street Project: Michael StevensonHow to Build a Universe That Doesn’t

Fall Apart Two Days laterHumans Were Here! (Building in l.A.)Prophets of DeceitRadical SoftwareUtopia, Utopia = One World, One War,

One Army, One Dress

2005 he received the inaugural Ordway Prize: $100,000 awarded by the

Penny McCall Foundation. In the spring of 2006 Rugoff moved on from

the Wattis and accepted his current position as director of the Hayward

Gallery in London.

And from London comes our new director, Jens Hoffmann, former direc-

tor of exhibitions at the Institute of Contemporary Arts (ICA). It’s clear the

dialog among artists, viewers, and culture continues to hold great poten-

tial for remaking the spaces and practices around us.

A spAce for mAkinG

ABOVE

Students in front of Macky HallIMAGE: KARL PETzKE

OPPOSITE TOP

The Carriage House on the Oakland campus being moved uphill, c. 1922

OPPOSITE BOTTOM

Montgomery Campus, San FranciscoIMAGES: DOuGLAS SANDBERG

Oakland Campus

BLattner prInt studIO, dedicated in

2003. Located in Martinez Hall and named for Kimberly and Simon J. Blattner. Mr. Blattner has been a trustee of the college since 1994 and was board chair from 2000 to 2005.

CarrIage hOuse, c. 1880. Originally the carriage house of the Treadwell family mansion, it houses drawing studios.

CLIftOn haLL, 2002. Designed by Mark Horton/Architecture, the student housing facility has received numerous awards.

fOunders haLL, 1968. Founders Hall, which includes Nahl Hall, Meyer Library, and Isabelle Percy West Gallery, was

named for Frederick Meyer, Laetitia Meyer, Isabelle Percy West, and Perham Nahl.

IrWIn student Center, 1969. Named for 1936 alumna Dorothy Irwin and her husband, Henry.

MaCky haLL, c. 1880. Named for Eric Spencer Macky, president from 1944 to 1954. Formerly the Treadwell mansion, Macky Hall and the Carriage House are

listed in the National Register of Historic Places.

MartInez haLL, 1968. Named for Xavier Martinez, member of the faculty from 1909 to 1942 and founder of the fine arts division.

LaetItIa Meyer faCuLty LOunge,

dedicated in 1987. Named in memory of Laetitia “Babs” Meyer, only child of founders Frederick and Laetitia Meyer.

OLIVer art Center, 1989. Steven H. Oliver has been a trustee since 1981; he was board chair from 1983 to 1987.

raLLs studIOs, 1989. Named in memory of Robert Manton Ralls, a trustee in 1987. Dana Ralls, his wife, served as a trustee from 1988 to 1994.

teCOah BruCe gaLLery, OLIVer

art Center, 1989. Named for alumna Tecoah Bruce, member of the board of trustees since 1981, former board chair (1992–98), and past president of the Alumni Association.

raLeIgh and CLaIre shakLee

BuILdIng, 1979. Named for philanthropists Raleigh and Claire Shaklee.

BarCLay sIMpsOn sCuLpture studIO,

1992. This studio was named to recognize the generosity of Barclay Simpson, a trustee since 1986.

nOnI eCCLes treadWeLL CeraMIC arts

Center, 1973. Noni Eccles Treadwell was a lifelong supporter of ceramic arts and a dedicated friend of the college for 30 years.

CaMpus arChIteCture

As you stroll around the two campuses, you may start to wonder about a par-ticular building or space. How did it get its name? Who designed it? When was it built? What goes on in there? Here is a quick guide to campus architecture.

glance Winter 2007

66 / 67

A Space for Making

san francisco Campus

MOntgOMery CaMpus, 1996–99. The Montgomery Campus was built in two phases: the first in 1996 and the second in 1999. The name recognizes the contributions of Thomas W. Weisel and senior partners at Montgomery Securities.

BLattner desIgn studIOs, 1996. Named for Kimberly and Simon J. Blattner.

BOyCe fashIOn desIgn studIO, 1996.

Named in honor of Janice Boyce, a trustee from 1993 to 2005, and her husband, Tom.

teCOah and thOMas BruCe gaLLerIes,

1996. Named to honor the generosity of Tecoah Bruce and her husband, Thomas.

CarrOLL WeIseL haLL, 1999. This building is named in honor of Emily L. Carroll, a trustee from 1993 to 2001, and her husband, Thomas W. Weisel. The couple co-chaired the successful campaign that supported the acquisition and renovation of the new Montgomery Campus.

graduate Center, 2003–7. This facility provides studios, classrooms, and other facilities for graduate students. Constructed in three phases, the center will be complete in fall 2007.

gruBer faMILy teChnOLOgy Center,

1996. Named to honor local philanthropists Linda and Jon Gruber, the Technology Center houses the college’s mainframe computer.

fLOrenCe and LeO B. heLzeL

BOardrOOM, 1996. Named to honor the generosity of trustee emeritus Leo B. Helzel and his wife, Florence, longtime supporters of the college.

jeWett arChIteCture and desIgn

studIOs, 1999. Named in honor of alumnus and trustee George F. Jewett III. Mr. Jewett graduated with a BArch in 1996 and has been a trustee since 1997.

kOret Center fOr dIgItaL MedIa,

1996. The Koret Foundation supported construction of this center, which includes image labs for our design and architecture students.

LILLIe faMILy LIBrary referenCe

Center, 1996. Named in honor of philanthropists John and Daryl Lillie and their daughter Alissa, who received her BFA in Interior Architecture at CCA.

kent and VICkI LOgan gaLLerIes, 1999. Opened in April 1999, the Logan Galleries are named for philanthropists and art collectors Kent and Vicki Logan. Kent Logan was a trustee from 1997 to 2005. The galleries are the principal site for the CCA Wattis Institute for Contemporary Arts.

design Awards for campus Buildings

San Francisco campus

montGomery cAmpus 1111 eiGhth street

2002 Honor Award, AIA San •Francisco

2001 First Award, Architecture + •Energy Awards

2001 National AIA Top Ten Green •Projects

2000–1 Award of Merit, Institutional •Category, AIA San Francisco Best of the Bay Interior Architecture Awards

2000 Design Award, California •Preservation Foundation

2000 Honor Award, AIA California •Council

2000 PG&E Savings by Design •Energy Efficiency Integration Award

GrAduAte center hooper street

2004 Excellence in Design Award, •AIA San Francisco Design Awards

2004 Merit Award for Design, AIA •California Council Design Awards

pauLette LOng and shepard pOLLaCk

graduate student gaLLery, 1999. Also known as PlaySpace, the gallery is named in honor of trustee Shepard Pollack and his wife, Paulette Long. Pollack has been a trustee since 1993.

OLIVer arChIteCture studIOs, 1996.

Named for trustee Steven H. Oliver.

Osher fOundatIOn aCadeMIC Center,

1999. The Osher Foundation supported construction of this center, which includes studios, classrooms, and office space.

Lee and CarOLe pIerCe readIng

rOOM, 1996. Lee Pierce was a trustee from 1994 to 2003. His wife, Carole, received an MFA in 1993.

dOrOthy and geOrge saxe aCadeMIC

serVICes Center, 1996. Named in honor of trustee George Saxe and his wife, Dorothy. Their extensive collection of contemporary glass, ceramics, wood, fiber, and metal objects is on view at the de Young Museum. Mr. Saxe has been a trustee since 1985.

sharOn hanLey sIMpsOn LIBrary,

1996. The library was named in honor of the wife of trustee Barclay Simpson.

student and faCuLty serVICe Center,

80 CarOLIna, 2004. This building houses student services and administrative offices.

tIMken LeCture haLL, 1996. Named for trustee Judith P. Timken and her husband, Bill. She has served on the board since 1989 and was board chair from 1998 to 2002.

WOrnICk WOOd and furnIture

studIOs, 1996. Ronald C. Wornick has been a trustee since 1992. Mr. Wornick and his wife, Anita, also fund a scholarship program for CCA wood/furniture students.

zafIrOpOuLO MedIa LaBOratOrIes,

1996. The labs were named to honor Arthur W. zafiropoulo, chairman and CEO of ultratech Stepper Inc. in San Jose.

RIGHT

Oakland library during construction, 1968

BELOW

Rendering of the new Graduate Center, to be completed in fall 2007IMAGES: JENSEN AND MACY ARCHITECTS

design Awards for campus Buildings

oakland campus

clifton hAll

2005 Merit Award, Residential •Architect Design Awards

2003 Excellence in Design Award, •AIA San Francisco Best of the Bay

2003 Merit Award, AIACC•

2003 Merit Award for Architecture, •AIA East Bay

mAcky hAll

1975 Declared Historic Landmark•

nAhl hAll

1970 AIASF Interiors Award•

simpson sculpture BuildinG

1990 Progressive Architecture •Award

glance Winter 2007

68 / 69

All images courtesy of California College of the Arts, Meyer Library, Oakland unless otherwise noted.

identity throuGh desiGn

DESIGN: BOB AuFuLDISH

DESIGN: BOB AuFuLDISH

DESIGN: BOB AuFuLDISH

DESIGN: MARK FOX

BOard Of trusteesAnn M. Hatch, Chair

Simon J. Blattner

Timothy C. E. Brown

Tecoah P. Bruce

C. Diane Christensen

Susan M. Cummins

Nancy S. Forster

Mrs. Charles Henri Hine

Nancy Howes

Leigh A. Hudson

George F. Jewett III

Laurene Powell Jobs

Raoul D. Kennedy

Kay Kimpton

Byron D. Kuth, AIA

Anthony P. Meier

Lorna F. Meyer

Ann Morhauser

Timothy Mott

Steven H. Oliver

F. Noel Perry

Shepard P. Pollack

Karen M. Rose

George Saxe

Philip S. Schlein

Norma Schlesinger

Barclay Simpson

Alan L. Stein

Judith P. Timken

Christopher E. Vroom

Calvin B. Wheeler, MD

Carlie Wilmans

Ronald C. Wornick

Janice H. zakin, MD

Mary L. zlot

trustees emeriti

Carla Emil

Leo B. Helzel

Rodric Lorimer

Jean R. Wente

aCknOWLedgMents

A very grateful thank you to the following people for their invaluable support in the development and organization of this publication:

Stephen Ajay, Sue Ciriclio, Eleanor Dickinson, Robert Edwards, Harry Ford, Jack Ford, Joe Girard, Jens Hoffmann, Jeff Hunt, Barry Katz, Michael McClure, Erica Olsen, Larry Rinder, Ralph Rugoff, and Michael Vanderbyl; the Centennial Committee: chair Tecoah Bruce, Susan Avila, Steve Beal, Chris Bliss, David Meckel, Michael Roth, Brenda Tucker, and Janice Woo; the Alumni Archive Committee: Arlene Risi Streich, Eve Steccati-Tanovitz, and Sharon Wilcox; Doug Akagi and CCA’s student design team, Sputnik; designers: Elizabeth Chiu, Mónica Hernández, and Michael Thompson; the staff of the Meyer and Simpson Libraries; the Bancroft Library, uC Berkeley; and the Advancement and Communications staff: Kathy Butler, Megan Carey, Jeremy Crawford, Hannah Eldredge, Camille Gerstel, Barbara Jones, Rebecca Katz, Lisa Kitchen, Erin Lampe, Kim Lessard, Jennifer McKay, Jessica Russell, Jenny Smrekar, Ingrid Steber, and Chadwick Wood.

All images are reproduced with the kind permission of the artists or their representatives.

aLuMnI COunCIL 2006–7

executive Committee

Steven Compton Painting ’95

Michaela Peters MFA Textiles ’97

Eve Steccati-Tanovitz Graphic Design ’69

Arlene Risi Streich, President BAEd ’61, Painting ’66

Councilmembers

Valeri Clarke Textiles ’98

Donna Fenstermaker MFA Printmaking ’88

Sylvi Herrick MFA Painting/Drawing ’99

Carole Jeung Graphic Design ’89 MFA Printmaking ’97

Carol Ladewig MFA Painting/Drawing ’91

Ron Tanovitz Graphic Design ’69

Sharon Wilcox MFA Printmaking ’65

senIOr CaBInet

Michael S. Roth President

Susan Avila Vice President Advancement

Stephen Beal Provost

Chris Bliss Vice President Communications

Marvin Dunn Chief Information Officer

David Kirshman Vice President Finance and Administration

Sonia BasSheva Mañjon, PhD Director, Center for Art and Public life and Simpson Professor of Community Arts

Sheri McKenzie Vice President Enrollment Management

David Meckel Director of Research and Planning

Lawrence Rinder Dean of the College

glance Fall 2006

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ABOVE

Robert Bornhuetter’s silkscreen class, c. 1950sIMAGE: MARGARET DHAEMERS PHOTOGRAPHY

LEFT

First-year students sketching as a part of “Five Days Draw,” 2006

IMAGE: KARL PETzKE

glance Winter 2007

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Acknowledgments

BAckwArd GlAnce

Teaching is at the core of the CCA experience. Throughout the college’s

history, faculty members have inspired, supported, and challenged their

students. In the spring 2007 issue of Glance, we will take a look at some of

the most influential teachers in the past 100 years.

If you have a memory of a particular faculty member that you would like

to share, please send email to centennial@cca.edu or write to Glance, CCA,

1111 Eighth Street, San Francisco, CA 94107.

LEFT

Industrial Design chair Yves Béhar (far right) working with students in the studio, 2006IMAGE: KARL PETzKE

RIGHT

Viola Frey, professor of sculpture and renowned ceramicist, instructing a student, c. 1980

DROP US A LINE!

Please email your news and high-resolution images to

alumninotes@cca.edu or facultynotes@cca.edu, or complete

and return this form to:

Communications Department

California College of the Arts

1111 Eighth Street

San Francisco, CA 94107-2247

We welcome news of your creative and scholarly work, includ-

ing exhibitions, publications, screenings, performances, and

lectures, as well as appointments, promotions, and awards.

Please include all relevant dates, titles, and locations. Slides

should be labeled on the back with your name and year of

graduation, along with the medium, dimensions, and date of

the piece (include a stamped, self-addressed envelope for

return). Alumni and faculty notes are featured on a space-

available basis.

Name _____________________________________________

Phone number _____________________________________

Email address ______________________________________

Website ___________________________________________

____ Alum Year _____ Degree ______________________

____ Faculty Program ______________________________

Exhibition title ______________________________________

____ Solo show

____ Group show

Gallery/museum/other venue and location _______________

___________________________________________________

____________________________________________________________________

Dates of exhibition _________________________________

Architecture/design project ___________________________

___________________________________________________

____________________________________________________________________

Publication ________________________________________

___________________________________________________

Award _____________________________________________

___________________________________________________

JURIED EXHIBITION ORGANIZED BY THE CALIFORNIA COLLEGE OF THE ARTS ALUMNI EXHIBITION COMMITTEE

OPENING RECEPTION: WEDNESDAY, JANUARY 31, 2007, 6−8 PMOLIVER ART CENTER • TECOAH BRUCE GALLERY • OAKLAND CAMPUS

For more information about Centennial events visit, www.cca.edu/100

CEN

TEN

NIA

L ISSUE

| 1907–2007

CENTENNIAL ISSUE

California College of the Arts 1907–2007San Francisco | Oakland

A publication for the CCA community

Winter 2007 | Volume 15, No. 1

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ch m

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.

To s

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to

ww

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/new

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For

up-t

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nfor

mat

ion

on c

ente

nnia

l ev

ents

,

plea

se v

isit

w

ww

.cca

.edu

/10

0.

11

11

Eig

hth

Str

eet

| San

Fra

ncis

co |

CA

94

10

7-2

24

7