Sculpture News

Posted on Thursday, May 2, 2013 by Lindsey Westbrook

Shawn HibmaCronan (Sculpture and Furniture 2009)

My studio is in a large, charmingly aged industrial space in an old hangar on the Alameda Naval Air Base. The building is at the end of a runway that extends south into the heart of San Francisco Bay.

The industrial capacity of the site, combined with the privacy and central view of the Bay Area, make for an incredible working environment. The material qualities and patina of the space mesh well with my work, which gets done via long days, late nights, loud music, and heavy-duty machinery.

Photography by Andria Lo

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Posted on Thursday, May 2, 2013 by Lindsey Westbrook

Allison Smith (Sculpture chair)

My studio is located in a storefront in downtown Oakland, near project spaces such as Creative Growth and Rock Paper Scissors Collective that combine forms of making, presentation, and exchange. It is conceived as a general store that houses my ongoing project SMITHS, in which I invite various makers to conduct hands-on workshops.

It is also my studio space, office, archive, library, and home. I'm interested in the idea of a general store as a contact zone or space of intimate public exchange that is both material and intellectual. The studio holds my materials, research, remnants of past projects, and works in progress.

Photography by Andria Lo

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"Three hours of sitting in a chair and kissing my girlfriend seemed like an amusing thing to get paid for," muses Susannah Magers (MA Curatorial Practice 2011), reminiscing about the work-study position that she’ll probably always remember as one of the oddest jobs of her career.

Between 2007 and 2012, Magers and dozens of other CCA undergrad and grad students got paid by the college to serve as interpreters of artworks by the contemporary art phenom Tino Sehgal. The Sehgal artworks were presented one at a time, continuously over those six years, at the CCA Wattis Institute for Contemporary Arts, in conjunction with its regular exhibition programming. The participating students all had to audition, and then, if selected, went through a rigorous training and worked many hours a week for the 12-week duration of the piece.

Often the works called for interactions with gallery visitors that were deliberately disjunctive -- somewhere between pranksterism and institutional critique -- and surprising to many attendees, who showed up expecting a nice, sedate gallery experience rather than some kind of live intervention.

For some of the students it was a thrilling brush with fame in the form of an international art star. For others it was just another (albeit pretty out-there) work-study gig. A few finished their first day in tears. And many came away from the experience with their own artistic or curatorial practice forever changed.

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Posted on Thursday, March 28, 2013 by Allison Byers

California artist Ann Weber began her career making large ceramic pottery. She studied with Viola Frey at California College of Arts and Crafts in Oakland, whose totemic clay figures inspired the scale of Weber's own work.

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Posted on Thursday, March 21, 2013 by Allison Byers

A product is being developed out of the Forest Products Laboratory at the University of Wisconsin collaborating with artist Christine Lee and US Department of Agriculture's John F. Hunt. The product in process is a MDF alternative using no resins and a combination of biodegradable and recycled materials such as used cardboard, cow manure and sawdust.

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Posted on Monday, March 4, 2013 by Allison Byers

Clients who can't see the beauty in the whimsy - or the whimsy in the beauty - of a room done in elegant furniture surrounded by quilt-like wall hangings made of stained and painted coffee filters probably aren't the best match for interior designers Andrew Fisher and Jeffry Weisman.

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Posted on Friday, February 1, 2013 by Allison Byers

When blacksmithing is depicted in popular culture, the image tends to be one of brute strength rather than finesse: A male of Wagnerian proportions wields a hammer overhead as veins bulge and sweat drops from his protuberant brow.

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Posted on Tuesday, January 8, 2013 by Allison Byers

The arts and culture publication Artforum may be used to commenting on the world of museums and galleries, but now they find themselves as the work of art itself. In her Artforum Excavation Series, Francesca Pastine carves the magazines to form colorful, sculptural pieces that seem to melt down the wall, fold in on themselves, and form sculptural structures. Using an Xacto blade, the San Francsico-based artist painstakingly carved each page creating what she calls "unsolicited collaborations."

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Posted on Monday, December 10, 2012 by Susannah Magers

Pae White, muhf-uhl, 2012

Susannah Magers (MA Curatorial Practice 2011) spent five months in 2012 on site as the visitor engagement manager at the exhibition International Orange, a FOR-SITE Foundation project located in Fort Point, near San Francisco's Golden Gate Bridge.

It is the latest and most ambitious project yet produced by the foundation, a San Francisco-based nonprofit dedicated to the production of art about place.

What It's Like to be at International Orange

When I tell people I work in a fort underneath the Golden Gate Bridge, their reaction usually registers surprise, followed by confusion ("Wait . . . where?"). The date is October 25, 2012, and I have spent the past five months, five days a week, on site as the visitor engagement manager at the exhibition International Orange.

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Posted on Thursday, November 1, 2012 by Jim Norrena

The next time you butter your bread or pinch some salt or add crème fraîche to your coffee while dining at Chez Panisse in Berkeley, the world-renowned eatery known for using local, organic foods and credited as the inspiration for the style of cooking known as California cuisine, you'll likely be holding a piece of art made by CCA ceramicist Travis McFlynn (Sculpture 2013).

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