CCA alumna Tara Tucker’s (Sculpture 1992, MFA 1994) artwork is honest. Intricate. Thought provoking and unnerving, yet simultaneously comforting and familiar. You could also call it ambitious and unwavering, and in this sense it is an accurate embodiment of Tucker as a person. The artist’s surreal depictions of animal creatures reflect a lifetime of memories, experiences, and observations.
Posted on Monday, March 12, 2012 by Allison Byers
Posted on Wednesday, February 15, 2012 by Lindsey Westbrook
5 Cities / 41 Artists / Artadia 08/09
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 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.
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.
Posted on Friday, January 27, 2012 by Molly Mitchell
A CCA student greets visitors to the School to Market booth at the 2012 American Craft Council Show at Fort Mason.
California College of the Arts and the American Craft Council have in common a passion for furthering craft education and mentoring young makers.
It’s no surprise that CCA and the ACC have over the past years joined forces to produce a number of programs geared toward the practice and business of making and selling craft.
Posted on Thursday, November 3, 2011 by Lindsey Westbrook
Social Craft builds a home on the campus of Srishti School of Art, Design, and Technology in Bangalore
$10,000: It's a daunting amount of money to a student, especially when the task is to spend it in three months on a single project. But three CCA student IMPACT teams proved up to the challenge in summer 2011.
The IMPACT: Social Entrepreneurship Awards is a new initiative at CCA, run by the Center for Art and Public Life under the direction of Center director Sanjit Sethi and program manager Rebecca Wolfe. It is one of a trio of unique programs managed by the Center that connect students with outside communities to address specific, real-world problems.
The three winning IMPACT teams had competed against numerous other contenders, and they all had what the judges were looking for: They were interdisciplinary, they had strong relationships with their proposed community partners, they were attentive to a relevant social and humanitarian need, and they balanced innovation and pragmatism.
Sanjit Sethi says, "The name of this speaks for itself. At its core the IMPACT program is about innovation, community, collaboration, and making. It celebrates the entrepreneurial drive of CCA students combined with their desire to create a tangible, positive impact within a specific community."
(Note to students: Info sessions for summer 2012 IMPACT are happening in San Francisco on Nov. 8 and 17 at 6 p.m. in the Timken reception area, and in Oakland Nov. 9 at 6 p.m. in front of A2 Cafe.)
The year-one IMPACT teams reported on their completed projects on September 29, 2011, in Timken Lecture Hall on CCA's San Francisco campus.
Posted on Monday, July 11, 2011 by Simon Hodgson
Adam Green, "Boy in Bed," 2010
Adam Green's (Sculpture 2010) current summer job with AmeriCorps, teaching high-risk youth, represents for him a creative coming of age. "I guess you could have considered me a high-risk youth. I was sent to a military academy in Georgia for part of high school." In AmeriCorps' program in Providence, Rhode Island, Green is involved on the administrative side and is also teaching drawing, sculpture, and glassblowing.
The medium of glass was Green's own artistic liberation. "Working with glass takes intense focus. There's a huge learning curve, and a lot of failure. Making a perfect cup is like chasing a dragon. You have this balance between an unreachable goal and a meditative exercise. It's physically intense, and also cathartic. And when it works, it's extremely gratifying."
The quest to create order from chaos is a touchstone in Green's personal fine art practice. His Rocket Grids depict unfurling orthogonal patterns of spaceships, arrayed almost like windows in a skyscraper. Why rockets? "I've always built rockets: from latex, milk, rubber, or wax. As a kid, I was always more interested in science than art. I had a computer at a really young age and loved to take it apart and look at the circuit boards. The grid format is a natural for me in terms of classification, lists, and free association. To me, rockets represent a fantastic metaphor for manhood. NASA in particular is this gigantic phallus-obsessed institution, focused primarily on penetrating the atmosphere. All those failed test flights in the 1950s and 1960s are a huge inspiration for my work. They represented to me an erectile dysfunction in American society. My Rocket Boy costume, this ridiculous red and yellow rocket rig, uses humor to lower viewers' defenses. It's a self-portrait without being too serious."
Posted on Thursday, March 31, 2011 by Jason Engelund
courtesy WAZO Design Institute
2011 is the inaugural year of the IMPACT Social Entrepreneurship Awards program, one of the anchor initiatives of CCA's Center for Art and Public Life. This program enables interdisciplinary teams of CCA students to develop and implement social innovations through their studies in art, architecture, design, and writing. We are pleased to announce the winning IMPACT Teams for 2011! Each team has been awarded $10,000 toward their project.
Posted on Thursday, March 24, 2011 by Marion Anthonisen
You may remember first-year Tania Butterworth from our interview last fall, when we discussed adventurous artmaking, sources of inspiration, baked goods and, of course, the Skymall catalog.
Tania’s back on the blog this week, and we’ve got some of her artwork this time! This is a light installation Tania made in Sculpture 1.
Posted on Monday, March 21, 2011 by Samantha Braman
Growing up on a wildlife preserve in California surrounded by farms, homesteaders, nature writers, and the Tahoe National Forest, Maria Ryan (Sculpture 2005) spent most of her time outdoors. When she got to CCA and heard about the availability of Center Student Grants, an idea germinated, and the outcome proved life-changing. She used the grant money to spend the following summer studying plants in the Sierra Nevada and teaching a complementary course, titled "Quilting Indigenous Plant Life of the Sierra Foothills." The project combined her love for nature, handwork, and textiles, and in the end led to the production of a public artwork.
"I used an abandoned building as a community center where I held classes for local children. I hired two guest teachers: one a Maidu woman, who taught the ecological and botanical value of each indigenous plant, and the other Louis Bluecloud, a skilled Mohawk artist who gave lessons in graphic pattern design by stenciling.
"Writing the proposal and seeing this project to completion, I recognized the strength that any project acquires through collaboration. I gained priceless experience, working to engage various factions of the community and utilizing local institutions as assets in the creative process."