Painting Drawing News

Posted on Tuesday, July 3, 2012 by Lindsey Westbrook

The Art of Stanley Grosse
Blurb, 2012
Hardcover/paperback, 200 pages, $70/$60

Stanley Grosse (1956 alumnus) and photographer/designer Bob Will (also an alum from the 1950s) created this biography featuring Grosse's life and work. It features 550 photographs and extensive comments by friends and former students. There is also a second version available that excludes the comments (160 pages, 469 photographs, $63 hardcover / $49 paperback).

Grosse says: "Bob Will flew to Maui to meet me. He's now 70 years old. He went away with interviews, hundreds of photos, and a secret desire to do his first book. We Skyped and shared screens, allowing us to have a dialogue while the book was in progress. I furnished him with stacks of CDs with archival photos of my travels, my art over the last 50 years, my master's project completed in Mexico in the early 1960s , discussions of my work, and much more, right up to the present day. A labor of love, but a dream come true of a proper biography.

"Those of us graduating back in those '50s days are getting more rare. Just losing too many old friends. But those of us remaining are dedicated to continuing our craft and have a deep regard for our CCAC. I'm in a wheelchair now but I still feel like when I graduated back in 1956. At least my brain thinks so. I recently finished 200 paintings on envelopes using a variety of materials: watercolor, acrylics, ink stains, transparent overlays, and collage. Since becoming wheelchair-bound, it's the first time in my life that I've dedicated time to doing small pieces. What fun. My electric go-go scooter allows me to get around to photograph and make visual comments about my surroundings.

Posted on Tuesday, May 29, 2012 by Jim Norrena

Dave Muller and Lana Porcello with Leithian on Muller's lap [photo: Chris Orwig]

Fine artist and restaurateur David Muller (Painting/Drawing 2004) credits CCA with building his confidence in the unknown and broadening his perspective of how to approach art as a lifestyle, rather than a career or project.

Posted on Tuesday, May 29, 2012 by Jim Norrena

CCA's Painting/Drawing Program recently caught up with Alison Blickle, a member of the 2005 graduating class, and asked her a few questions about life after CCA. The following interview captures her responses:

How has your CCA education influenced your career accomplishments?

Posted on Monday, May 14, 2012 by Allison Byers

Some great new illustration and painting work from Berkeley, CA based artist Deth P Sun from his recent show at Domy Books in Houston, TX- which just came down on April 26th!! Deth is originally I'm from San Diego, California, he studied for two years at San Francisco State University, until he transferred to the California College of Arts and Crafts, where he received his BFA in 2002 in Painting and Drawing.

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Posted on Thursday, April 19, 2012 by Lindsey Westbrook

Little Paper Planes: 20 Artists Reinvent the Childhood Classic
Chronicle Books, 2012
Paperback, 84 pages, $19.95

Kelly Lynn Jones (MFA 2010, Painting/Drawing 2002), owner of the online artist store Little Paper Planes (which carries work by many CCA artists!), has created this awesome celebration of a timeless pastime. The book offers constructible paper airplanes and a few other airplane-inspired crafts, taking the paper plane to a whole new level, from paper-doll planes and shark planes to plane mobiles and mix-and-match gliders. Featuring work by rising stars and indie darlings as Gemma Correll, Michael Hsiung, Julia Rothman, Alyson Fox, and Lisa Congdon. Printed on perforated pages for easy removal and assembly, the planes are accompanied by instructions, artist interviews, and loads of visuals.

Posted on Thursday, April 19, 2012 by Mitchell Schwarzer

Mitchell Schwarzer gives his introduction at the CCA faculty retreat

On February 4, 2012, the faculty at California College of the Arts gathered at the college's San Francisco campus for a retreat focused on the state of the arts across our many disciplines. In the morning, 25 short presentations offered insights into challenges and opportunities faced by practitioners and thinkers in recent times. The word aired most frequently was crisis: the crisis of the Great Recession; the crisis of Global Climate Change; the crisis of understanding and working within a discipline in our digital age.

Watch the video of all the presentations (91 minutes), shot and edited by Yoni Klein (Photography 2012)

The economic downturn has produced an economic squeeze within most of our disciplines. Art directors, as Alexis Mahrus remarks, have diminished roles in shaping an illustration. Smaller profit margins reduce the flexibility and time given over to experimentation. Branding and celebrity worship take up a larger slice of the creative pie. Some presenters, like Sue Redding of Industrial Design, see no problem in this conflation of art and business and, furthermore, dispute the notion of a crisis. Yet many presenters feel that the economic crisis is not only real but wielding dangerously asymmetrical impacts. Demand remains strong for high-end craft goods and blue-chip fine art. Some small nonprofits are struggling to survive. To Ignacio Valero of Critical Studies, the priority given over to luxury items can be attributed to the ongoing influence of classical economic policies that privilege individual decision making over collective social and natural needs. Likewise, Sandra Vivanco of Diversity Studies notes that economic inequalities have greatly worsened over the past few years, especially in the developing world. Contemporary society is forging a timeless, spaceless way of conducting business, a race for lucrative and short-term gains that concentrates investment more than ever in the hands of a few.

Posted on Thursday, March 1, 2012 by Allison Byers

Some materials have a way of not only resisting efforts to manipulate them but also almost battling back.

That seemed the case when, not long ago, S.F. artist Jonathan Runcio was attempting to work with one of the ungainly, rough chunks of concrete that he screenprints with collages of buildings. While he was printing one raw slab on a dolly, it shifted and his leg was pinned. Fortunately, before a scenario akin to an art-world "127 Hours" ensued, a friend freed him.

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Posted on Wednesday, February 15, 2012 by Lindsey Westbrook

5 Cities / 41 Artists / Artadia 08/09
Artadia, 2011
Paperback, 168 pages, $40

This full-color publication features more than 140 artworks and comments by Artadia Awardees 2009 Atlanta, 2009 Boston, 2008 Chicago, 2008 Houston, and 2009 San Francisco. It includes biographies of the 41 artists and essays by foremost curators and thinkers in Artadia's program cities, including guest editor Franklin Sirmans (Los Angeles County Museum of Art), Andrea Barnwell Brownlee (Spelman College of Fine Art, Atlanta), René de Guzman (Oakland Museum of California), Jen Mergel (Museum of Fine Arts, Boston), Stephanie Smith (Smart Museum of Art, Chicago), and Michelle White (The Menil Collection, Houston). CCA affiliates featured include James Gobel (Painting/Drawing and Fine Arts faculty), Allison Smith (Sculpture chair), Leslie Shows (MFA 2006), Weston Teruya (Painting/Drawing 2006), and Moses Nornberg (student).

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.

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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