CCA in the Media News

Posted on Monday, May 11, 2015 by Laura Braun

We offer a haute welcome to Maison Margiela, which recently celebrated the grand opening of its San Francisco boutique at 134 Maiden Lane. Hosted by Sabrina Buell, Yves Béhar, Alicia Engstrom and Hosain Rahman in honor of the Wattis Institute for Contemporary Arts at California College of the Arts, the evening event drew Willie Brown, Sonya Molodetskaya, Norman Stone, Jessica Silverman, Maca Huneeus, Antonio Huneeus, Sarah Somberg, Brad Somberg, Lana Adair, Mary Beth Shimmon, Sabrina Buell, Joel Goodrich, Clara Shayevich and more.

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Posted on Monday, May 11, 2015 by Laura Braun

He boldly began his full-time art career in middle age after taking a circuitous route to his calling. In the two decades between his completion of a Bachelor of Applied Art degree from California College of the Arts (now California College of the Arts) in 1953 and finishing his graduate work at the San Francisco Art Institute in 1974, he followed a winding path through military service, marriage, fatherhood, insurance sales, carpentry, and extensive world travel in Asia and East Africa as a safari guide and importer of artifacts. 

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Posted on Monday, May 11, 2015 by Laura Braun

An architectural theorist observes that, unlike the Breuer Whitney, the new Renzo Piano building melds fluidly with its commercial environs—an area of semi-industrial chic mediated by the High Line park, formerly an elevated railway.

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Posted on Monday, May 11, 2015 by Laura Braun

But the new world of independent, grant-enabled curating meant Fowle didn’t have to stay in England, and she soon headed across the pond. In 2001 she cofounded the Master’s Program in Curatorial Practice at San Francisco’s California College of the Arts and served for six years as the program’s chair.

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Posted on Monday, May 11, 2015 by Laura Braun

Students from the California College of the Arts drew many of the plans. Architecture student Blake Stevenson named his design “The Lifted Garden.” It shows a terraced garden angled over a new in-law unit, which Stevenson imagines placing in the backyard of a two-story house.

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Posted on Friday, May 8, 2015 by Laura Braun

The son of an architect and grandson of a woodworker, Marschak says he fell into woodworking because it's a combination of architecture and product design. He received his degree from formerly California College of Arts and Crafts (now called California College of the Arts) in 2009. He's particularly interested in fabricating well-built items because of their ability to last for generations. "It's sustainable in the fact that a quality piece of furniture is passed down to your kids. It's never going to end up in a landfill. It always has a second life," he told us.

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Posted on Friday, May 8, 2015 by Laura Braun

Indeed, the classroom drives much of their work and fuels their passion. Both are born educators who strive to make memorable points to the graphic design students at California College of the Arts (CCA). Talking about their own work might lead to a discussion of Gustav Stickley's views of Victorian furniture, the radical prints of Sister Mary Corita Kent or a history of the Russian constructivists.

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Posted on Thursday, May 7, 2015 by Laura Braun

But other industrial designers successfully forged very different paths. Nathan Shedroff, designer turned entrepreneur, now leads California College of Art’s MBA Design Strategy program. Former IDSA chief Cooper Woodring has gone on to become an expert witness in design patent litigation. Brian Cheskey, a RISD alum, co-founded and is CEO of Airbnb.

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Posted on Thursday, May 7, 2015 by Laura Braun

Others doubt the practicality of the supposedly flexible design. How, they want to know, do you configure a stable electrical system in a set of modular office units that will be hoisted and moved around by crabots? “Flexibility can become really expensive,” says David Meckel, director for research and planning at the California College of the Arts. Radcliffe says the company hasn’t worked out every problem just yet. “There may be a few things we need to scratch our heads on and figure out over time,” he says.

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Posted on Thursday, May 7, 2015 by Laura Braun

In her photographs, Josephine Pryde frequently stages determinedly pitched, inscrutable parodies of selfhood. For her first show in a US institution, she presents a series of roughly twenty newly created images of women’s hands in close encounters with their own bodies, as well as with touch screens and touch lamps. Held in suspended states of discovery, these hands are living it up, footloose and perhaps in the midst of one of the “lapses” of self-awareness suggested by the show’s title.

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