Dunye, a native of Liberia, has directed such feature films as My Baby's Daddy (Miramax), Stranger Inside (HBO Films), and The Watermelon Woman, which was awarded the Teddy Award at the Berlin International Film Festival in 1996.Read the rest
Posted on Monday, February 4, 2013 by Jim Norrena
Posted on Monday, January 14, 2013 by Jim Norrena
Events are part of the Graduate Studies Symposium
What does narrative mean to architects, artists, critics, designers, scholars, and writers? How can the unfolding of a story communicate, evoke, engage, and captivate audiences?
This exhibition and lecture/performance series explores narrative in a broad range of genres.
Narrative (Inter)actions is a series of performances, lectures, and exhibition that comprise the spring Graduate Studies Symposium at California College of the Arts.
Please join us for these exciting events:Read the rest
Posted on Tuesday, December 18, 2012 by Matthew Harrison Tedford
The Walls of Hope project in progress in Monthey, Switzerland
Claudia Bernardi (today a professor in CCA's Community Arts Program, but who also teaches in a wide range of disciplines, including Diversity Studies, Fine Arts, and Visual and Critical Studies programs) was a student at the university of art in Buenos Aires in 1976, the year the military dictatorship took power in Argentina.
"Those were very dark years -- very tragic, painful, and violent. The ones who survived learned to look at life, history, and art quite differently."Read the rest
Posted on Friday, November 16, 2012 by Rachel Walther
Glen Helfand (in the green T-shirt) with CCA students and Creativity Explored artists
A hall of mirrors reflecting an artist's actual view of the world; sculptural train tracks coming out of the wall and into the gallery space; colorful, hanging text-mobiles that evoke psychologically charged word-clouds; a fashion magazine devoted to one fabulous model; and a pop-up shop selling equestrian-themed T-shirts, jewelry, and drawings:
These are the works that will be on view in Fabricators, the culminating exhibition for Glen Helfand's fall 2012 ENGAGE at CCA course, at Jack Fischer Gallery in San Francisco, December 12-22, 2012. The public is invited to the reception on Saturday, December 15, 3-5 p.m.Read the rest
Posted on Thursday, November 8, 2012 by Matthew Harrison Tedford
The Cast of La Bamba 2: Hell Is a Drag
"I wrote a sequel to From Dusk Till Dawn when I was in seventh grade."
So began the filmmaking career of Rob Fatal (MFA 2012). His obsession with film proceeded apace, but it took him a surprisingly long time, he says, to realize that there was a person called a director -- that movies didn't just spring into existence like Athena from Zeus's head.
Inspired by Quentin Tarantino, Mel Brooks, and Robert Rodriguez, Fatal began writing screenplays at age 12. "I loved camp and sci-fi films before I even knew they were genres." At 19 he borrowed his father's camcorder and made a 30-minute film about DJs with magical turntables. "It was accidentally campy. It was accidentally bad. But it had a lot of sincerity." Much to his surprise, it did well, even getting into a couple of festivals.
Film Maker, Filmmaker, or Artist?
Fast forward a few years. Fatal was still working in film and experimenting with video art, but not quite to the point of considering himself a filmmaker, and certainly not an "artist," whatever that meant. But one day, in the midst of editing a video documenting an experimental opera by Fatal's collaborator/mentor Juliana Snapper, he recomposed portions of the footage into a new composition and showed it to CCA faculty member Cheryl Dunye. Dunye delivered the unexpected news that what he was doing was art, and urged him to apply to CCA's MFA program. The faculty there, she said, were pushing the boundaries of genres, and dealing with gender politics and racial identity -- fields of study Fatal had been researching for years in his graduate program at Sacramento State University. CCA presented Fatal with a place to finally bridge his dual love of film theory and practice.Read the rest
Posted on Monday, July 9, 2012 by Matthew Harrison Tedford
For Visual and Critical Studies alumna Susan Miller, who just received her degree in 2012, the final semester of graduate school proved to be a series of both great challenges and great successes. Simultaneously, she researched and wrote her thesis while co-curating a major exhibition at the Oakland Museum of California, Modern Cartoonist: The Art of Daniel Clowes, an effort that had been decades in the making.
Before she ever arrived at CCA for graduate school, Miller had already built a long curatorial career distinguished by hard and impassioned work and the desire to give artists a platform to be heard. "I was drawn to the Bay Area's vibrant community of artist-run spaces," she explains of her 1986 move to San Francisco. She left the Institute of Contemporary Art Boston, where she was the promotions director, to be a part of San Francisco's collectivist and grassroots contemporary art scene. From 1988 to 1992 she served as the program director of Capp Street Project (which later became affiliated with CCA's Wattis Institute) before moving to New Langton Arts in San Francisco, which she headed from 1993 to 2005.
At Capp Street Project, Miller produced exhibitions and installations of work by Mowry Baden, Shu Lea Cheang, Mel Chin, and Ursula von Rydingsvard, among many others. After moving to New Langton Arts, she focused the programming on important local artists who had yet to receive the critical writings and public exposure she felt they deserved. Some of her "profile" exhibitions there surveyed the work of the local artists Jim Pomeroy, Tony Labat, and Jeanne Finley (now a CCA faculty member).Read the rest
Posted on Thursday, June 28, 2012 by Amanda E. Gross
from Team JuaBar IMPACT 2012 project proposal
Within the next few weeks, the three teams of CCA students who won IMPACT Social Entrepreneurship Awards will be heading to Alaska, Tanzania, and Mexico to attempt innovative social transformations. Bolstered by the support of their $10,000 IMPACT grants and their community partner organizations, the teams -- KVAK TV, JuaBar, and 20/20 FOTO -- will work to empower three different communities to address pressing local concerns. Each team brings together a mix of graduate and undergraduate students from different academic programs.
IMPACT is one of the anchor programs at CCA's Center for Art and Public Life, providing students with opportunities to build relationships for social change. It is about innovation, community, collaboration, and making. It celebrates the entrepreneurial drive of CCA students combined with their desire to create a tangible, positive influence within a specific community.Read the rest
Posted on Thursday, May 31, 2012 by Lindsey Westbrook
Cameron & Co, 2011
Paperback, 144 pages, $19.99
This book authored by Gwendolyn Meyer (Individualized Major 2004) and edited by Doreen Schmid (MA Visual Criticism 2005) features more than 150 photographs and evocative text describing this singular aspect of food culture. It focuses on the oyster farms of West Marin in northern California, including the Tomales Bay Oyster Company, Drake’s Bay Oyster Company, and Hog Island Oyster Company. It also includes 18 delicious oyster recipes prepared for the home cook from West Marin restaurants, chefs, and oyster farmers, including Osteria Stellina, Station House, the Marshall Store, Nick's Cove, and more. The book is about the pleasures of oysters, and the rich intersection between oyster farming and culinary culture in this unique region. Oyster farming itself is in the limelight these days, particularly in West Marin, and this book is aimed at all readers who have an interest in locally sourced food.Read the rest
Posted on Thursday, May 10, 2012 by Lindsey Westbrook
Will Brown is an actual guy. A very cool and nice guy, according to all who know him, plus a CCA Curatorial Practice graduate student. Once upon a time, not too long ago, Will was spending a lot of time by himself down at 3041 24th Street, which some of you may recognize as the address of the late, great Triple Base gallery. Triple Base was founded in 2006 by CCA Curatorial Practice grads Joyce Grimm and Dina Pugh (both class of 2006) and finally closed in 2011. Toward the end there, the space's main "resident" who was keeping it up and running and officially occupied was their friend Will.
If you've been down to that block of 24th Street in the last few years, around Harrison and Folsom, you know that it has become a lovely haven of art and food while retaining its Mission District feel. So three friends of Dina and Joyce (two of them also alumni of CCA grad programs) decided to step up and take over the lease. The idea of running their own experimental/conceptual gallery space, once conceived, seemed like an offer they couldn't refuse.
The question that almost derailed everything was what to name this new venture, but under their self-imposed 11th-hour wire came the stroke of genius. "Will Brown" is of course a spoof on commercial gallery naming conventions. It is also a benign inside joke, and a well-meant tribute to a friend. Keeping it in the family, so to speak. The three of them also liked the idea of operating as a singular, semi-authorless entity.
The three new proprietors of Will Brown (the gallery) are David Kasprzak (MA Curatorial Practice 2011), Lindsey White (MFA 2007), and Jordan Stein (a 2005 MFA grad of the San Francisco Art Institute). Far easier than picking a name was selecting the theme of their first show, which opened on January 27 and closed March 4. The provocative premise, like the gallery's name, was a refutation of art business as usual, and specifically a play on art ownership and art-world transactions. Illegitimate Business featured artworks and ephemera "with a peculiar provenance," in other words acquired by their (anonymous) lenders under less-than-totally-up-and-up circumstances. The original concept came from old conversations with the curators' artist friends Zachary Royer Scholz (MFA 2006, MA Visual and Critical Studies 2009) and Brion Nuda Rosch.Read the rest
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.
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.Read the rest