Posted on Friday, February 20, 2015 by Em Meine
Changing Tides, Marilyn da Silva. (Courtesy of the artist)
Posted on Tuesday, February 3, 2015 by Jim Norrena
Jaydan Moore, "Specimens" (2013), found materials
More than a century old, CCA's Jewelry / Metal Arts Program continues to produce award-winning fine artists, as evidenced by Jaydan Moore's (BFA 2008) recent American Craft Council (ACC) Emerging Voices Award.
This is the first ACC award to recognize emerging talent among scholars, curators, and critics. In addition to cash prizes, winners will also be promoted in the June/July issue of American Craft magazine.
Posted on Monday, December 15, 2014 by Em Meine
Metamorphosis: the Transformation of Everyday Objects is a current exhibition of Jewelry / Metal Arts alumni at the Museum of Craft and Design. The exhibition is curated by CCA faculty member David Cole and features the work of 10 California College of the Arts alumni.
What is beautiful? How do artists see the world around us?
These artworks were selected to examine the creative process of makers who choose to use common and even humble objects as their medium. Some of these things were found in thrift stores -- or the trash -- and have an entire history of manufacture and use before they were rediscovered for another purpose.
Their relationship to some previous, unknown owner and the journey of that object into and out of the life of that person, is recorded in the patterns of wear on the surfaces.
Other materials have inherent beauty that is easy to overlook because of the context in which we perceive them. The luster and radiance that would distinguish the rarest pearl is viewed quite differently when it is seen in grains of rice or pencil leads.
Posted on Friday, November 21, 2014 by Laura Braun
You may know the 41-year-old Oakland resident from his much-lauded 2012 Smithsonian installation, En-Lightening—a room composed of handcrafted tiles, LED lights, and a single chair. The piece attempts to replicate the effects of meditation, such as tranquility and stillness, and emerged from the pressure his family put upon him to embrace their religion. Dong cites the experience of creating En-Lightening as essential to his personal growth.
Posted on Monday, January 20, 2014 by Lindsey Westbrook
On a crystal-clear June evening in summer 2013, the sun is setting in Marfa, Texas, and a dozen CCA students -- together with a dozen more students from two art schools in the Netherlands -- are settling into the evening rhythms of their tent city.
The tents are cozily nestled in the courtyard of a former officer’s club, long abandoned by the US military. Elsewhere in the building complex, an old bar has been converted into an ad hoc Internet lounge. A spookily empty ballroom houses a broken-down old piano. The kitchen has accommodated the making of many a communal dinner.
Posted on Thursday, August 15, 2013 by Jim Norrena
The Center for Craft, Creativity & Design announced in April that Hilary Sanders and Michael Esteban, two recent Jewelry / Metal Arts alumni, both were awarded a 2013 Windgate Fellowship, bringing to five the total number to date of Windgate Fellowships awarded to CCA students since the award's inception.
The fellowship selection process presents a “rare opportunity to survey the best and brightest emerging makers in the field of craft.” It also gives these emerging artists both the validation and financial resources to pursue their dreams.
Posted on Thursday, August 1, 2013 by Rachel Walther
When you first enter Enlightenment Room (2008), an immersive environment artwork by Jewelry / Metal Arts faculty member Nick Dong, nothing happens. You walk down a short, mirrored corridor in semi-darkness to a gray cushioned seat that faces the entrance.
But the moment you sit down, light begins to fill the space, and thousands of white, oval tiles glisten into view. Ethereal music fills your ears. The light brightens, and the music intensifies. This experience can last a few minutes, or a few hours, depending on how long you remain seated . . . waiting. The moment you stand, the music and lights fade out.
Posted on Thursday, July 18, 2013 by Matthew Harrison Tedford
This year, the San Francisco metal arts and jewelry gallery Velvet da Vinci celebrates its 23rd anniversary. Its cofounders, CCA alumnus Mike Holmes (Jewelry / Metal Arts 1984) and his business partner Elizabeth Shypertt, originally met in 1984 in a studio class at the de Young Museum. Both had had some success selling their jewelry work independently, and it seemed like a natural idea to start a gallery to capitalize on that momentum.
"We found this wonderful little storefront in Hayes Valley," Holmes remembers. "The smallest one on the sunny side of Hayes Street!" It was a fortuitous moment: just after the 1989 Loma Prieta Earthquake had damaged the Central Freeway there, but before the freeway had actually been torn down and rents started to rise.
(The name "Velvet da Vinci," in case you are wondering, was inspired by an old Perry Mason television episode.)
Posted on Thursday, July 4, 2013 by Jim Norrena
CCA's booth at Maker Faire received two Make magazine editor's choice awards
Ever since the college was founded in 1907, making art has defined what we do at California College of the Arts -- both what we create and how we create it.
Today we have a new challenge to how we create art. The Bay Area has become a vast melting pot of innovation driven by the demands of technology-reliant and design-savvy enthusiasts.
We live in the innovation corridor -- a unique stomping grounds where the doers and makers are integrating time-honored principles of craft into the ever-changing technological landscape.
Posted on Thursday, May 2, 2013 by Lindsey Westbrook
Curtis Arima (Jewelry / Metal Arts 1998, now Jewelry / Metal Arts faculty)
My studio is in the Sawtooth Building in West Berkeley. It is a historic structure, built to house the Kawneer Company factory in 1913, and then later home to the Sealy Mattress Company.
I specialize in ancient jewelry and metalworking practices that are no longer in widespread use in industry because of their time-consuming nature. I want to honor their history and continue their legacy while having a contemporary conversation.
Even though my studio is divided into a retail space and a making space, the "threshold" is transparent; the intent is for people who visit the retail space to be able to see and connect with my processes of making and understand more about what they are looking at and buying.
The studio is definitely an extension of my artistic brain. The aesthetic and functional aspects are totally intertwined. This is also exciting when clients and the public come in, as it allows them access to parts of my artistic process that they'd otherwise never see.
Photography by Andria Lo