Faculty News

Posted on Tuesday, June 4, 2013 by Lindsey Westbrook

Machinima! Teorie. Pratiche. Dialoghi
Ludologica, 2013
Paperback, 288 pages, 19 Euros

This collection of essays (in Italian) is edited by Visual and Critical Studies faculty member Matteo Bittanti in collaboration with Stanford University's Henry Lowood. Bittanti also wrote one of the essays. The book has been released in Italy in the ongoing Ludologica book series and features 27 contributions from scholars, artists, and critics on the topic of machinima, digital games, and contemporary art. The book jacket is designed by the new-media artist Mauro Ceolin. Watch the book trailer!

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Posted on Tuesday, June 4, 2013 by Lindsey Westbrook

Modern Print Activism in the United States
Ashgate, 2013
Hardcover, 270 pages, $99.95

Director of Humanities and Sciences Rachel Schreiber edits this book devoted to the explosion of socially and politically activist print culture that occurred in the United States at the turn of the 20th century. These essays focus on specific groups, individuals, and causes that relied on print as a vehicle for activism. They also take up the variety of print forms in which calls for activism have appeared, including fiction, editorials, letters to the editor, graphic satire, and non-periodical media such as pamphlets and calendars.

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Posted on Tuesday, June 4, 2013 by Lindsey Westbrook

Power to the People: The Graphic Design of the Radical Press and the Rise of the Counter-Culture, 1964-1974
University of Chicago Press, 2013
Hardcover, 264 pages, $45

Though we think of the 1960s and the early '70s as a time of radical social, cultural, and political upheaval, we tend to picture the action as happening on campuses and in the streets. Yet the rise of the underground newspaper was equally daring and original. Thanks to advances in cheap offset printing, groups involved in antiwar, civil rights, and other social liberation issues began to spread their messages through provocatively designed newspapers and broadsheets. This vibrant new media was essential to the counterculture revolution as a whole, helping to motivate the masses and proliferate ideas.

This book is assembled by the renowned graphic designer and CCA Design faculty member Geoff Kaplan of General Working Group. It presents more than 700 full-color images and excerpts from these publications, many of which have not been seen since they were first published almost 50 years ago.

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Posted on Tuesday, June 4, 2013 by Lindsey Westbrook

Landscape Futures: Instruments, Devices and Architectural Inventions
Actar, 2013
Paperback, 232 pages, $29.95

This book features the full array of images from the Museum of the City project by CCA Architecture faculty member David Gissen as well as an interview with Gissen and a chapter from his forthcoming book Manhattan Atmospheres.

Landscape Futures is edited by Geoff Manaugh and based on the 2011 exhibition of the same name at the Nevada Museum of Art. It explores the future of landscape studies by way of the technical intermediaries -- the instruments, devices, and architectural inventions -- through which humans have come to understand the built and natural environments.

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Posted on Tuesday, June 4, 2013 by Lindsey Westbrook

When Attitudes Became Form Become Attitudes
CCA Wattis Institute, 2013
Office Binder, 278 pages, $40/$75 (regular/special edition)

The CCA Wattis Institute's fall 2012 show, curated by Jens Hoffmann, was a sequel to the legendary 1969 exhibition When Attitudes Become Form curated by Harald Szeemann for the Kunsthalle Bern, Switzerland. This catalogue, designed by Graphic Design faculty Jon Sueda of Stripe/SF, follows the "office binder" format of the original catalogue, and also features works that are interventions directly into the book. The special edition includes a set of three posters by the Brazilian artist Alexandre da Cunha, and the regular edition has one of the three posters.

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Posted on Tuesday, June 4, 2013 by Lindsey Westbrook

The Opposite of Work
JackLeg Press, 2013
Paperback, 136 pages, $14

Chad Sweeney says of Hugh Behm-Steinberg's second book of poetry, The Opposite of Work: "These intimate, honest poems labor toward a personal mythology where the return to Eden is a psychic process, 'erotic as a mind working,' of engaging the fallen world and body with casual grace and equanimity where 'divinity pervades even the slightest of acts.' These poems render a taut surface in time, registering the movement of sensation as it happens in continuum Bergsonian durée, 'the holiest of thoughts as you are / thinking them' -- not as performative gesture but poetry's necessary work of inquiry-toward-restoration-in-making. Behm-Steinberg desires nothing less than a heaven in language."

Hugh Behm-Steinberg is a former Wallace Stegner Fellow in creative writing at Stanford University and the recipient of an NEA fellowship. At CCA he teaches in the MFA Program in Writing and edits the journal Eleven Eleven.

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Posted on Tuesday, June 4, 2013 by Lindsey Westbrook

Real to Real: Photographs from the Traina Collection
Fine Arts Museums of San Francisco, 2012
Paperback, 136 pages, $45

Bob Aufuldish (Graphic Design faculty) designed this exhibition catalogue for the de Young's Real to Real exhibition. The featured work, organized thematically, ranges from rare black-and-white photographs by Walker Evans, Robert Frank, Lee Friedlander, Diane Arbus, and Garry Winogrand to luscious, eye-popping work in color by William Eggleston, Andreas Gursky, and Stephen Shore.

Celebrating photography's fundamental fluidity and diversity through roughly 100 works, authors Kevin Moore (who served as an adviser to Trevor Traina in shaping his collection) and Julian Cox (founding curator of photography and chief curator at the Fine Arts Museum of San Francisco) explore the collection's range from early documentary to more recent conceptual art. Real to Real examines the preoccupation in pictures with everyday "reality," excess, spectacle, and loss.

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Posted on Friday, May 31, 2013 by Lindsey Westbrook

Liz Ogbu is CCA's "scholar in residence" at the Center for Art and Public Life. She spends about four or five hours a week there; she'd love it to be more, but she's a busy woman.

As often as twice a month she's getting on a plane to attend a design or education conference somewhere around the world -- frequently as an invited speaker. She teaches one course per semester at CCA, which translates to about one day a week. She spends another day every week teaching at Stanford University's famed Institute of Design, better known as "the d.school."

She also runs an independent consultancy that undertakes short- and long-term projects; currently she's working with CCA Architecture faculty member Douglas Burnham on something for PG&E, something else for the Nike Foundation in Nigeria, and a pop-up health clinic project funded by Autodesk.

With another CCA Architecture faculty member, Lisa Findley, she’s writing a chapter on South Africa for a book on different ways of appropriating space globally.

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Posted on Thursday, May 23, 2013 by Allison Byers

The art exhibitions in the CCA building seemed to resemble construction work at times that I was momentarily confused whether the school is currently undergoing a renovation. But after seeing fashionable Amy Williams walking about seamlessly around and about the installations and towards the VIP reception at the back, all was fine in the world. I should not be surprised; CCA is the top school in the world for sustainable fashion education. No materials are off-limits, the students’ creativities are boundless and refreshing.

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Posted on Thursday, May 16, 2013 by Rachel Walther

Type design is a bit like the music business: There are a few rock stars whose names everyone knows, but there are also a whole bunch of other people you haven't heard of, out there making a living doing what they love.

And CCA is proud to claim many men and women in both categories. Over the years the college has accumulated a real wealth of faculty, students, and alumni who embrace the label "type designer" and have had their letterforms used in some impressively high-profile venues. The college's emphasis on this subfield of graphic design sets it apart from other schools; the Graphic Design Program has maintained a series of courses exclusively devoted to it for more than 20 years now.

And the Bay Area, largely thanks to CCA and its ripple effects, is today a real hotbed of people who are active in the field.

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