Faculty News

Posted on Tuesday, February 7, 2012 by Lindsey Westbrook

CCA Wattis Institute: Painting Between the Lines
CCA Wattis Institute, 2012
Hardcover, 72 pages, $25

Writing and painting have been intertwined throughout history, but literature has of late become a diminished subject in the medium of painting, which has looked more to history, society and politics for inspiration. With Painting Between the Lines, the CCA Wattis Institute sought to reinvigorate the relationship between these two fields by commissioning 14 contemporary artists to create works based on descriptions of paintings in historical and contemporary novels. Here, art that until now has only existed in the mind's eye can now be seen, as interpreted by the likes of Fred Tomaselli (on Samuel Beckett's Watt) and Marcel Dzama (on Haruki Murakami's Kafka on the Shore). Additional materials include images of first-edition book covers and installation images from the accompanying exhibition. The exhibition was curated by Wattis director Jens Hoffmann and the book is designed by Graphic Design faculty Jon Sueda.

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Posted on Tuesday, February 7, 2012 by Lindsey Westbrook

Making Race: Modernism and "Racial Art" in America
University of Washington Press, 2011
Paperback, 256 pages, $40

Jacqueline Francis (Visual and Critical Studies and Painting/Drawing faculty) explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. She specifically looks at the cases of Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber, three New York artists whose work was popularly assigned to the category of "racial art" in the interwar years of the 20th century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices.

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Posted on Monday, February 6, 2012 by Lindsey Westbrook

Fifty Years of Bay Area Art: The SECA Awards
San Francisco Museum of Modern Art, 2011
Hardcover, 168 pages, $29.95

Tanya Zimbardo (MA Curatorial Practice 2005), SFMOMA's assistant curator of media arts, coauthored this book chronicling and illustrating more than 100 SECA Award recipients from the late 1960s to the present, including CCA alumni Squeak Carnwath, Desirée Holman, Mitzi Pederson, Laurie Reid, Leslie Shows, and Kathryn VanDyke, among others. Featured faculty include Rebeca Bollinger, Kota Ezawa, Thom Faulders, Chris Finley, Donald Fortescue, Amy Franceschini, Clay Jensen, Jordan Kantor, Shaun O'Dell, Maria Porges, and Mary Snowden.

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Posted on Monday, February 6, 2012 by Lindsey Westbrook

10,000 Wallpapers
Brooklyn Arts Press, 2011
Paperback, 40 pages, $8

This is a new chapbook of poems by Matt Shears, a faculty member in Writing and Literature, Writing, and Critical Studies. Cathy Park Hong, author of Dance Dance Revolution, says, "This long lyric is full of brute terror and bucolic beauty, exploring individual consciousness unmoored by our present 'thundering interconnectivity'; 10,000 Wallpapers chronicles 'the everyman meandering through this digitized countryside,' questioning how we can truly inhabit the world when reality has become denatured by the image. The speaker in this poem sings like Prufrock, in a lyric that is searing and true, as he searches for the possibilities of pure utterance and perception amidst what is manufactured."

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Posted on Monday, February 6, 2012 by Lindsey Westbrook

Modeling the Universe
Nevada Museum of Art, 2011
Paperback, 88 pages, $20

This publication surveys nearly 80 maquettes produced by Sculpture Program chair Linda Fleming over the past 30 years. Fleming has drawn upon an extensive web of influences to create a body of sculptural works that suggest the coexistence of the mundane, the cosmological, and the scientific. In addition to numerous full-page color illustrations, the book also includes reference images that reveal her natural, scientific, and architectural influences. It includes text contributions by the artist and CCA Sculpture, Fine Arts, and Visual and Critical Studies faculty member Maria Porges.

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Posted on Monday, February 6, 2012 by Allison Byers

Steven Leiber, a San Francisco art dealer and collector who became an expert in artists’ ephemera and built an archive that became an important resource for scholars and curators, died on Jan. 28 at his home there. He was 54.

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Posted on Monday, February 6, 2012 by Lindsey Westbrook

Of Indigo and Saffron: New and Selected Poems
University of California Press, 2011
Hardcover, 344 pages, $34.95

An essential collection of poems by Michael McClure, longtime CCA faculty member and 2005 recipient of CCA's honorary doctorate of fine arts. It contains the most original, radical, and visionary work of a major poet who has been garnering acclaim and generating controversy for more than 50 years. Ranging from "A Fist Full," published in 1957, through "Swirls in Asphalt," a new poem sequence, Of Indigo and Saffron is both an excellent introduction to this unique American voice and an impressive selection from McClure's landmark volumes for those already familiar with his work. One of the five poets who heralded the Beat movement in the 1955 Six Gallery reading in San Francisco, McClure reveals in his poetry a close kinship to Romanticism, Modernism, Surrealism, and Japanese haiku.

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Posted on Monday, February 6, 2012 by Lindsey Westbrook

Create
Berkeley Art Museum, 2011
Paperback, 179 pages, $27.50

Writing and Visual and Critical Studies faculty member Kevin Killian contributes to this book, published on the occasion of a groundbreaking museum exhibition curated by Lawrence Rinder (former CCA Wattis Institute director) with Matthew Higgs (former CCA Wattis Institute curator). Create showcases work made at the three Bay Area centers for artists with developmental disabilities: Creative Growth Art Center in Oakland, Creativity Explored in San Francisco, and the National Institute of Art and Disabilities in Richmond. Florence Ludins-Katz and Elias Katz, who today are recognized as pioneers of the art and disabilities movement, founded these centers between 1972 and 1982. This richly illustrated catalogue offers an overview of the work being made there today, including works on paper, paintings, and sculpture.

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Posted on Monday, February 6, 2012 by Lindsey Westbrook

Wendover
CCA Graduate Program in Curatorial Practice, 2010
Paperback, 152 pages, free

Wendover documents a series of three Graduate Program in Curatorial Practice courses led by Center for Land Use Interpretation (CLUI) Director Matthew Coolidge and Curatorial Practice faculty member Marina McDougall. Analyzing exhibition and residency models, and looking more broadly at factors such as audience and site-specific programming, the enrolled students engaged with the CLUI outpost and artist residency in Wendover over a three-year period. A reader of sorts, the publication distills the students' activities and interactions with Wendover and documents their resulting projects: an audio tour (2008); a film program (2009); and an archive expansion (2010). Also included are interviews with Coolidge, Center for Art and Environment Director William Fox, and numerous texts contributed by students and visiting faculty. Contact sstone@cca.edu for a copy.

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Posted on Monday, February 6, 2012 by Lindsey Westbrook

Overthrown: Clay Without Limits
Denver Art Museum, 2011
Paperback, 2 volumes in a slipcase, 64 and 64 pages, $25

Graphic Design faculty member Bob Aufuldish designed this two-volume exhibition catalogue that accompanies the 2011 exhibition Overthrown: Clay Without Limits at the Denver Art Museum. Most of the 25 artists featured in the show made works especially for Overthrown and many are in direct dialogue with the Frederick C. Hamilton building architecture, moving beyond the pedestal to the wall, the floor, and even the ceiling. They break boundaries that are physical, technological, conceptual, and spatial. Working in all scales, from architecturally expansive to almost impossibly small, the artists in Overthrown employ 21st-century technology hand-in-hand with standard modeling and molding techniques. Some push the forms of functional objects. Others push the limits of fragility. They take risks that draw on material chemistry and maverick kiln techniques. Some of their works include not only clay, but also found objects such as metal, plastic, and abandoned industrial materials. Available via mail order from the museum shop: 720.865.4488.

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