glance

Volume 12

No. 1

Fall 2003

A publication for the CCA community

In this issue:

Barry Katz on Arts and Crafts

“Art Chooses You, You Don’t Choose Art”: Alumni Profiles

departments

To Our Readers

California College of the Arts: An Idea Whose Time Has Come by Barry Katz

“Art Chooses You, You Don’t Choose Art”: Alumni Talk About CCA and Their Careers in Art and Design by Melissa Hutcheson with Erica Olsen

In the News Faculty Notes Alumni Notes In Memoriam

Editor

Erica Olsen

Managing Editor

Debbie Kane

Contributors

Susan Avila

Chris Bliss

Melissa Hutcheson

Barry Katz

Ashley Lomery

Pippa Murray

glance

Fall 2003 Volume 12, No. 1

Glance is a publication of the CCA

Communications Department.

Please send all address corrections

by mail to the CCA Advancement Office,

5212 Broadway, Oakland, CA 94618,

or by email to aludlow@cca.edu.

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contents

Design

Sputnik CCA, a student

design team

Design Director

Eric Heiman

Designers

Aine Coughlan

Dennis Pasco

EditorEditorErica OlsenErica Olsen

Managing EditorManaging EditorDebbie KaneDebbie Kane

ContributorsContributorsSusan AvilaSusan Avila

Chris BlissChris Bliss

Melissa HutchesonMelissa Hutcheson

Barry KatzBarry Katz

Ashley LomeryAshley Lomery

Pippa MurrayPippa Murray

Fall 2003 Volume 12, No. 1Fall 2003 Volume 12, No. 1Fall 2003 Volume 12, No. 1Fall 2003 Volume 12, No. 1

DesignDesignSputnik CCA, a student Sputnik CCA, a student

design teamdesign team

Design DirectorDesign DirectorEric HeimanEric Heiman

DesignersDesignersAine Coughlan Aine Coughlan

Dennis PascoDennis Pasco

Dear Readers,

Welcome to the first issue of Glance: A Publication

for the CCA Community. Our main feature profiles six

notable alumni. With nearly one hundred years

of graduating classes, it was extremely difficult to

choose from the thousands of CCA alums around

the world. In the end we selected representatives

from a variety of disciplines who are at different

stages of their careers—from recent graduates

to seasoned professionals. We plan to make these

profiles a regular feature of Glance.

As many of you know, in August we began calling

the college by a new name: California College

of the Arts. Understandably, this has caused some

concern that the college might be abandoning

its Arts and Crafts movement heritage. We asked

Professor Barry Katz to give us a historical and

cultural perspective on the term “arts and crafts.”

He writes about the movement’s impassioned

beginnings and why its message of unity in the

arts may be even more relevant today.

We also have lots of news to share. The “In the

News” section gives brief updates on new schol-

arships and other generous gifts to the college,

and introduces some new faculty.

Sadly, this year we lost many good friends of the

college: Robert Bolman, Carl Jennings, Wolfgang

Lederer, Walter Menrath, Gertrude Schaufel, and

Dean Snyder, among them. This issue of Glance

includes tributes to these important members of

the CCA community.

Our next issue of Glance will be mailed in spring

2004. Meanwhile, we welcome your comments and

suggestions. Please email us at glance@cca.edu

or write to CCA Communications Department, 1111

Eighth Street, San Francisco, CA 94107.

Sincerely,

Chris Bliss

Vice President for Communications

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California College of the Arts: An Idea Whose Time Has Come

by Barry Katz

Time Has ComeTime Has ComeTime Has Come

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It is just over a hundred years since William Morris closed his eyes for the last time on a world that seemed to have

spun dreadfully out of control. The new regime of industrial mass

production had established itself; cheap, factory-made products

were flooding the markets; and a tradition of craftsmanship was

being obliterated before his eyes. “Think of it!” he thundered. “Is

it all to end in a counting-house on the top of a cinder-heap?”

In 1861, in the first convincing attempt to assert the dignity of the

“lesser arts” against the increasingly esoteric fine arts on the one

hand, and the tyranny of the machine on the other, Morris and his

friends founded the firm of Morris, Marshall, and Faulkner, Fine Arts

Workmen—an event that the historian Nikolaus Pevsner rightly

called “the beginning of a new era in Western Art.” Over the centuries,

the status of the crafts had declined in proportion to the elevation

of the “beaux arts.” The crafts were now threatened with outright

extinction by the advent of the factory system. Through the small-

scale production of furniture pieces, glass- and metalwares, decorative

fabrics, and wallpaper designs Morris and his fellow reformers sought

nothing less than to restore the lost unity of the arts.

But there was a social dimension to their campaign on behalf of craft

and the craftsman. By fragmenting the manufacture of products,

the industrial division of labor also fragmented the humanity of the

producer. Shoddy work and demoralized, exploited workers were

merely two sides of the same coin, for beauty, Morris always insisted,

is nothing else but “the expression by man of his pleasure in labor.”

It was this commitment both to art and to the artisan that defined

what the English bookbinder T. J. Cobden-Sanderson would soon

christen the “Arts-and-Crafts Movement.”

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Even in the 1880s and 1890s, however, this position

was becoming increasingly untenable. The system

of industrial mass production, whatever its human

and aesthetic costs, had proven itself terrifyingly

efficient at filling the homes of even the laboring

classes with an assortment of cheap goods that

would have been unimaginable in any previous

epoch. By contrast, the Century Guild, founded

in 1882 by A. H. Mackmurdo; the Art Workers’ Guild,

founded in 1884 by W. R. Lethaby; Walter Crane’s

Arts and Crafts Exhibition Society (1888); and even

the American outpost that would become known

as California College of Arts and Crafts (1907)

projected a craft ideal that seemed to repudiate the

industrial system at the moment of its near-global

triumph. As wealthy collectors vied for the honest,

sturdy, and outrageously expensive products of

these “utopian craftsmen,” Arts and Crafts steadily

devolved from an ethical ideal into a period style.

By 1915 C. R. Ashbee conceded in the privacy of his

journal that “We have taken a great social move-

ment and turned it into a tiresome little aristocracy

working with high skills for the very rich.”

This judgment is too harsh, however—in part be-

cause these tiny communities of cabinetmakers,

weavers, metalsmiths, bookbinders, and decorators

were hardly in a position to reverse the inexorable

tide of history and technology, in part because they

actually succeeded beyond their wildest imaginings.

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discussing these issues today. But the fact remains

that his nightmarish view of modern technology

blinded him to its potential to liberate and not just

subjugate the arts.

In the age of Photoshop, Form-Z, and streaming

video, our challenge is neither to celebrate

nor repudiate the craft tradition but to redefine it.

We will always admire the elegance of a mortise-

and-tenon joint or a perfectly executed flat fell

seam, but how about a few hundred lines of lean,

flawless code? Or the seamless integration of text

and graphics in one of those rare websites through

which it is a pleasure to navigate? Should we look

for craftsmanship only in the finished product,

or must we learn to appreciate the model, the pro-

gram, or even the theory?

William Morris would not have known what to do

with these questions, and thus the Arts and Crafts

movement has plainly lost its edge. But the force of

its underlying demand is stronger than ever: the

unity of art and life.

At the heart of the belief system William Morris

imparted to his brethren was a simple but

revolutionary program:

• the unity of the fine and the applied arts and

their mutual dependency;

• an insistence upon simplicity of form,

propriety of ornament, and honesty of materials;

• the unshakable belief that art-making is a

social act and carries with it an ethical obligation.

It is at least arguable that this set of principles

framed all of the great twentieth-century debates,

from futurism and constructivism to the socially

engaged art of the 1960s and ’70s; from the Bauhaus

to postmodernism; from Jan Tschichold’s call for “a

new typography” in 1928 to the launching of Emigré

in 1984. Modern architecture was founded upon

these ideas. They are the basis of modern design.

Had William Morris been more measured in

his judgments, more temperate in his exhortations

on art under plutocracy, less dogmatic in his oft-

expressed “hatred of modern civilization,” he would

not have been William Morris, and we might not be

Barry Katz is a professor in the Humanities and

Sciences, Industrial Design, and Visual Criticism

Programs at California College of the Arts.

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Craftsmanship and an understanding of cultural context have always been key to

the education offered at California College of the

Arts. These are values we have embraced in the

past and will continue to embody. In today’s

world, craft is art; the artificial boundaries be-

tween art, design, and craft that were so important

to the nineteenth-century academies no longer

exist. Our commitment to the unity of the arts,

our curriculum’s reinforcement of craftsmanship,

and our continued support of community-based

arts programming are substantial evidence that

the college will continue to embrace the ideals

of the Arts and Crafts movement. In the past one

hundred years, the understanding of the words

From the SOFA (International Exposition of Sculpture

Objects and Functional Art) Chicago 2003 catalog

“arts and crafts” has clearly changed. Moreover,

contemporary craft is now firmly part of the most

progressive work in art, design, and architecture.

And the visual, performing, and literary arts

are now intersecting in the most productive and

powerful ways. By placing our students and faculty

at the heart of these intersections, we will continue

to provide them with the very best of what an

education in the arts, and an education through

the arts, can offer.

Michael S. Roth

President

Alumni Relations Manager Melissa Hutcheson spoke recently with six alums who attended undergraduate or graduate programs at California College of the Arts during the past thirty-five years. They are a video maker, an interior designer, a painter, an industrial designer, a children’s book author and illustrator, and a motion designer. Their graduating classes range from 1969 to 2003. Here’s a look at their lives, their art, and their time at the college.

“ Art Chooses You, You Don’t Choose Art”: Alumni Talk About CCA and Their Careers in Art and Design By Melissa Hutcheson with Erica Olsen

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Alumni Relations Manager Melissa Hutcheson spoke Alumni Relations Manager Melissa Hutcheson spoke recently with six alums who attended undergraduate recently with six alums who attended undergraduate or graduate programs at California College of the or graduate programs at California College of the Arts during the past thirty-five years. They are a video Arts during the past thirty-five years. They are a video maker, an interior designer, a painter, an industrial maker, an interior designer, a painter, an industrial designer, a children’s book author and illustrator, and designer, a children’s book author and illustrator, and a motion designer. Their graduating classes range a motion designer. Their graduating classes range from 1969 to 2003. Here’s a look at their lives, their from 1969 to 2003. Here’s a look at their lives, their art, and their time at the college.art, and their time at the college.

Art Chooses You,Art Chooses You,Art Chooses You,You Don’t Choose Art”:You Don’t Choose Art”:You Don’t Choose Art”:Alumni Talk About Alumni Talk About Alumni Talk About CCA and Their Careers CCA and Their Careers CCA and Their Careers in Art and Designin Art and Designin Art and Design By Melissa Hutcheson with Erica OlsenBy Melissa Hutcheson with Erica OlsenBy Melissa Hutcheson with Erica Olsen

hundred children’s books, including the Caldecott

Honor Award–winning Strega Nona. He still works

seven days a week.

Why children’s books? DePaola says the books he

had as a child were the only place—besides

the world of Walt Disney—where he saw artwork.

Art was not in his school curriculum, and there

were no museums in Meriden. Today, he is proud

that his books touch the hearts of thousands of

people. It’s clear that CCA has left its own mark on

dePaola’s heart. A protégé of Wolfgang Lederer,

dePaola credits Lederer with giving him the freedom

to express himself in a noncommercial way, and

for setting up a tutorial at Tamalpais Press where

dePaola set type one day a week. DePaola recalls

Lederer saying, “I can’t teach you a thing about

illustration, but I can teach you about type and

design of books.” The two remained friends up

until Lederer’s death this year. “CCA refined my

work and is totally responsible for my success,”

dePaola says.

“ Art Chooses You, You Don’t Choose Art”: Alumni Talk About CCA and Their Careers in Art and Design

When Gary Hutton found himself working at a mall

after graduating from UC Davis with a degree in

fine arts, he decided it was time to go back to school.

He had always loved interiors, and CCA seemed like

the natural choice. Early training came through

work at the famed Scalamandré textiles showroom

and an internship at Gump’s. For a while, Hutton

held two part-time jobs to get by. Eventually he

became a manager at the C. J. Welch showroom and

then a designer for Jerry Jansen at Orientations,

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When he was four years old, Tomie dePaola wanted

to become a writer, an illustrator, and a tap dancer.

In his long and varied career, dePaola has done all of

that and more. He is a prolific author of some two

Tommy dePaola

Gary Hutton

where he worked on the restaurant Today’s, on

Union Square. It was “the place to lunch,” Hutton

recalls. After his stint at Orientations, he worked

briefly in the Macy’s interior design studio.

Disliking the corporate structure, he left to open

his own firm in 1980.

Born in 1934 in Meriden, CT

MFA 1969, concentration in illustration

CCA influence: Wolfgang Lederer

Other education: BFA 1956, Illustration, Pratt Institute; graduate studies (PhD equivalency), Lone Mountain College

Residence: New London, NH

Current occupation: Artist, author, designer, speaker

Proudest achievement: When parents, kids, and teachers say, “You’re Tomie dePaola? I love your books!”

Born in 1950 in Watsonville, CA

BFA 1975, Environmental Design

CCA influence: Willis Kauffman, who taught History of Interior Design; Andy Addkison

Other education: BA 1972, Fine Arts, UC Davis

Residence: San Francisco, CA

Current Occupation: Interior designer, furniture designer, owner of Gary Hutton Design

Proudest achievement: The relationship he’s built with clients over the years

Today, Hutton commands a loyal clientele of twenty

years’ standing—in fact, he’s still in touch with

his very first client. Ninety-five percent of his

clients are residential, and most of his corporate

work comes from residential client referrals.

In addition to interior design work, Hutton oversees

production for his line of furniture, produced in

Emeryville and San Francisco.

Born in 1950 in Watsonville, CABorn in 1950 in Watsonville, CA

BFA 1975, Environmental DesignBFA 1975, Environmental Design

CCA influence: Willis Kauffman, who taught CCA influence: Willis Kauffman, who taught History of Interior Design; History of Interior Design; Andy AddkisonAndy Addkison

Other education: BA 1972, Fine Arts, Other education: BA 1972, Fine Arts, UC DavisUC Davis

Residence: San Francisco, CAResidence: San Francisco, CA

Current Occupation: Interior designer, Current Occupation: Interior designer, furniture designer, owner of Gary furniture designer, owner of Gary Hutton DesignHutton Design

Proudest achievement: The relationship he’s Proudest achievement: The relationship he’s built with clients over the yearsbuilt with clients over the years

Born in 1934 in Meriden, CTBorn in 1934 in Meriden, CT

MFA 1969, concentration in illustrationMFA 1969, concentration in illustration

CCA influence: Wolfgang LedererCCA influence: Wolfgang Lederer

Other education: BFA 1956, Illustration, Other education: BFA 1956, Illustration, Pratt Institute; graduate studies (PhD Pratt Institute; graduate studies (PhD equivalency), Lone Mountain Collegeequivalency), Lone Mountain College

Residence: New London, NHResidence: New London, NH

Current occupation: Artist, author, Current occupation: Artist, author, designer, speakerdesigner, speaker

Proudest achievement: When parents, kids, Proudest achievement: When parents, kids, and teachers say, “You’re Tomie dePaola? I and teachers say, “You’re Tomie dePaola? I love your books!” love your books!”

Nellie King Solomon says, “Art chooses you, you

don’t choose art.” Initially drawn to architecture,

she studied at Cooper Union, then worked in

architecture in Barcelona and New York. She is now

known for large paintings created with her

own handmade tools on heavy mill Mylar. She

started by using the lid of a gesso jar to stamp

a dot; the dot was to slow her down, to represent

stillness rather than the travel implicit in a line.

Following her experience in Europe and New York,

and her return to California, Solomon knew she

Born 1971, San Francisco, CA

MFA 2001, Painting and Drawing

CCA influences: Kim Anno, Larry Sultan, John Zurier, Linda Geary, Mary Snowden, Steve Beal, Sam Tchakalian, Chris Brown

Other education: BFA 1995, General Fine Arts, UC Santa Cruz; architecture studies, The Cooper Union

Residence: San Francisco, CA

Current occupation: Artist

Early success: Introductions, Braunstein/Quay Gallery, San Francisco, 2001

Nellie King Solomon

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in the Concepts category and caught the eye of Joe

Rosa, a curator at SFMOMA, who selected it for the

exhibition Body Design, on view from November

2002 through March 2003. What was Petrizzi’s

original assignment? Tasked to create something

that would work as both science and fashion, some-

thing conceptual yet anchored in reality, at first he

wanted to create a diving suit with an embedded

gill. Investigating this possibility, he found that

the gill required a higher volume of water than was

practical. But out of this came Aquaticus, a diving

scooter with an embedded gill. The gill not only

extracts oxygen from the water to feed the fuel cell

power source, it also supplies oxygen to the diver,

who is pulled along behind the device.

During his second to last semester, Petrizzi took

a course with Yves Béhar, head of San Francisco’s

fuseproject. An internship there turned into a full-

time job. At fuseproject, Petrizzi juggles multiple

projects for clients such as BMW, Birkenstock, and

Nike. He also designs cosmetics packaging, perfume

bottles, and other consumer products.

Geoffrey Petrizzi enjoys the unusual distinction

of seeing his senior thesis project exhibited at the

San Francisco Museum of Modern Art. Two years

after graduating, Petrizzi submitted his project,

Aquaticus—an underwater diving scooter—to ID

Magazine. His piece won a Design Distinction award

Geoffrey PetrizziBorn 1970, Pasadena, CA

BFA 2001, Industrial Design

CCA influences: Jay Baldwin, Barry Katz, Tylor Garland, Mitchell Schwarzer

Residence: San Francisco, CA

Current occupation: Senior designer, fuseproject

Early success: Group show, Body Design, SFMOMA, 2002–3

wanted to focus on the wilderness, environment,

and values of the West. Initially creating pieces

made from plaster that she called “misbehaving

architecture,” in which a wall would erupt and

buckle, she then shifted to paint to explore these

spatial disturbances. The simple gesture of the dot

grew into large canvases, such as Treasure Island

Westbound, which began with one dot from the head

of a pin and became an 8´ x 12´ landscape in her

Great West series. In her artist statement, Solomon

says, “The paintings are experiences of the great

western landscapes, interior and exterior terrain,

the shock of unabsorbed events. California is a place

where we are caught off guard, a place of gambling,

chance, and change. I paint it.” To see her work,

visit www.nelliekingsolomon.com.

Born 1971, San Francisco, CABorn 1971, San Francisco, CA

MFA 2001, Painting and DrawingMFA 2001, Painting and Drawing

CCA influences: Kim Anno, Larry Sultan, John CCA influences: Kim Anno, Larry Sultan, John Zurier, Linda Geary, Mary Snowden, Steve Zurier, Linda Geary, Mary Snowden, Steve Beal, Sam Tchakalian, Chris BrownBeal, Sam Tchakalian, Chris Brown

Other education: BFA 1995, General Fine Arts, Other education: BFA 1995, General Fine Arts, UC Santa Cruz; architecture studies, UC Santa Cruz; architecture studies, The Cooper UnionThe Cooper Union

Residence: San Francisco, CAResidence: San Francisco, CA

Current occupation: ArtistCurrent occupation: Artist

Early success: Introductions, Braunstein/Early success: Introductions, Braunstein/Quay Gallery, San Francisco, 2001Quay Gallery, San Francisco, 2001

Born 1970, Pasadena, CABorn 1970, Pasadena, CA

BFA 2001, Industrial DesignBFA 2001, Industrial Design

CCA influences: Jay Baldwin, Barry Katz, CCA influences: Jay Baldwin, Barry Katz, Tylor Garland, Mitchell SchwarzerTylor Garland, Mitchell Schwarzer

Residence: San Francisco, CAResidence: San Francisco, CA

Current occupation: Senior designer, Current occupation: Senior designer, fuseprojectfuseproject

Early success: Group show, Early success: Group show, Body DesignBody Design, , SFMOMA, 2002–3SFMOMA, 2002–3

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In 1991 Anthony Discenza moved from New Jersey to

California, where his friend and fellow video maker,

Torsten Burns, was a student at the San Francisco

Art Institute. The two formed a collaborative, the

Halflifers; their works have screened in New York

City at the Museum of Modern Art and the New

York Video Festival; in the Bay Area at the Pacific

Anthony Discenza

Film Archive; and at festivals around the world.

Already a working artist, Discenza decided to

complete his art education and pursue an MFA at

California College of the Arts. While still a grad

student, his video work Phosphorescence was selected

for the 2000 Whitney Biennial. Discenza says, “I’m

interested in revealing the world of images around

us as a very ‘real’ space—one which shapes our

world view in all sorts of potent but invisible

ways.”

When he was chosen for the Whitney Biennial,

Discenza commented that it was “a great honor,

but I have to take it with a grain of salt. I don’t

want to build up my expectations about what it’s

going to mean.” Today, he balances his artwork

with part-time work as a paralegal to help pay

the bills. It’s a challenge familiar to many Bay

Area artists. Discenza has had solo shows in San

Francisco at Hosfelt Gallery and jennjoy gallery

and has participated in numerous group shows.

His work November is featured in Reprocessing

Information, a group show at SFMOMA presenting

video works that explore information as land-

scape and medium. The show runs through

February 8, 2004.

Born 1967, New Jersey

MFA 2000, Film/Video

CCA influences: Barney Haynes; two other film/video students, Dave Kareken and Adrian van Allen

Other education: BA 1990, Studio Art, Wesleyan University

Residence: Oakland, CA

Current occupation: Artist

Early success: 2000 Whitney Biennial

Kitchen, she was happy to accept—in part because

she grew up in Seattle and has friends and family

there. But, she stresses, she would never take a job

just based on location. She chose Digital Kitchen

because their work seemed the most exciting.

“Motion design allows you to combine elements of

the senses that strike a chord with people,” Daniels

says. At Digital Kitchen, her current projects include

a title sequence and a project for an investment

company. As she goes through the transition of

learning to design for corporate clients, not just for

herself, Digital Kitchen’s varied clientele keeps her

work life interesting. “Learning to think in motion

has been a fun challenge,” she says.

As she neared graduation, Lindsay Daniels didn’t

know where she would end up. She sent her

portfolio to four motion design firms, researching

and applying to companies whose work she

admired. With a letter of recommendation from

Dean of Design Michael Vanderbyl and a summer

2002 internship at Landor Associates under her belt,

she visited firms in Los Angeles, New York City,

and Seattle. When the job offer came from Digital

Born 1979, Richland, WA

BFA 2003, Graphic Design

CCA influences: Eric Heiman “He pushed my thinking and design skills to a new level” and Jim Kenney

Residence: Seattle, WA

Current occupation: Motion designer, Digital Kitchen

Proudest achievement: Winning a gold medal from the Art Directors Club at the 82nd Annual Awards—the only gold medal awarded to a student

Lindsay Daniels

Born 1979, Richland, WABorn 1979, Richland, WA

BFA 2003, Graphic DesignBFA 2003, Graphic Design

CCA influences: Eric Heiman “He pushed CCA influences: Eric Heiman “He pushed my thinking and design skills to a new level” my thinking and design skills to a new level” and Jim Kenneyand Jim Kenney

Residence: Seattle, WAResidence: Seattle, WA

Current occupation: Motion designer, Digital Current occupation: Motion designer, Digital KitchenKitchen

Proudest achievement: Winning a gold Proudest achievement: Winning a gold medal from the Art Directors Club at the medal from the Art Directors Club at the 82nd Annual Awards—the only gold medal 82nd Annual Awards—the only gold medal awarded to a studentawarded to a student

Born 1967, New JerseyBorn 1967, New Jersey

MFA 2000, Film/VideoMFA 2000, Film/Video

CCA influences: Barney Haynes; two other CCA influences: Barney Haynes; two other film/video students, Dave Kareken and film/video students, Dave Kareken and Adrian van AllenAdrian van Allen

Other education: BA 1990, StudioOther education: BA 1990, StudioArt, Wesleyan UniversityArt, Wesleyan University

Residence: Oakland, CAResidence: Oakland, CA

Current occupation: ArtistCurrent occupation: Artist

Early success: 2000 Whitney BiennialEarly success: 2000 Whitney Biennial

College Receives $5 Million Gift for Center for Art and Public Life

In May 2003, California College of the Arts re-

ceived a $5 million gift to establish an endowed

fund to support the Center for Art and Public

Life. The donation is the largest single gift in the

college’s ninety-six-year history and was given

by a longtime trustee of the college who wishes

to remain anonymous.

Established in 1998, the Center for Art and

Public Life creates community partnerships based

on creative practice that serve the CCA com-

munity and the diverse populations of Oakland

and San Francisco. Arts education partners

include Oakland public schools Arts Far West and

Lockwood Elementary School, and San Francisco

public school Enola D. Maxwell Middle School

of the Arts. For CCA students, the Center offers

service learning opportunities through programs

such as Artists for Community, Community Stu-

dent Fellows, and the Alternative Spring Break trip.

The Center also offers arts education training and

curriculum development for public school teachers.

The Center plays a pivotal role in implementing

CCA’s diversity plan. In addition to its significant

programs in the areas of community partnerships,

fellowships, and teacher training, the Center has

many initiatives planned for the 2003–4 academic

year, including administering the new diversity

and community studies curriculum and launching

a new art teacher precredential program.

Unique among art colleges in its commitment

to community practice, California College of the

Arts is the only art college invited to participate

in The James Irvine Foundation’s Campus Diver-

sity Initiative and to receive funding from the

Corporation for National and Community Service’s

Learn and Serve America program.

President Michael S. Roth commented, “This

extraordinary gift not only validates the work

of the Center and assures its future, but also

underscores the importance of the arts in the

community. One of our primary goals is to

demonstrate that successful art practice can

take many forms. By identifying this goal

and developing the infrastructure and programs

to achieve it—namely the Center for Art and

Public Life—the college has undertaken a leader-

ship role in defining the artist-as-citizen as a

critical issue in contemporary studio practice.

We are extremely grateful to our donor for

this generous act, which demonstrates a firm

belief in this model of art education.”

In the News

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Faculty Appointments

There have been a number of moves and changes

among the current CCA faculty and some new

hires. Matthew Higgs, curator at the CCA Wattis

Institute, and Lydia Matthews, chair of the MA

Program in Visual Criticism, are co-chairs of the

MFA Program in Fine Arts. Stephen Goldstine,

who has stepped down as chair of this program,

continues his great work with the graduate stu-

dents in a new position as Dennis Leon Professor

of Fine Arts. Ann Joslin Williams is serving as

chair of the MFA Program in Writing for the

2003–4 academic year during John Laskey’s sab-

batical. Mark Fox is filling in as chair of Graphic

Design during Leslie Becker’s sabbatical this year.

New hires include Tina Takemoto and Matthew

Jackson (who begins in the 2004–5 academic

year) in the Visual Studies Program and Joseph

Lease and Juvenal Acosta in the Creative Writing

Program. Emily McVarish and Eric Heiman

have been promoted to assistant professor in the

Graphic Design Program. Dugald Stermer, chair

of Illustration, and Steven Holt, chair of

Industrial Design, have both been designated

distinguished professors.

Joseph Lease photo: John Burnham Schwartz

Matthew Higgs photo: Bob Adler

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Tina Takemoto photo: Bob Adler

Emily McVarish photo: Aine Coughlan

Eric Heiman photo: Renée Getsey Lydia Matthews photo: Bob Adler

13

Gifts and Grants

CCA donors were exceptionally generous over the

spring and summer months, and we thank them

for their thoughtful support. In addition to the

incredible $5 million anonymous gift featured in

this issue, California College of the Arts received

the following major gifts:

Trustee Ronald Wornick and his wife, Anita, made

a wonderfully generous gift of $500,000 to establish

the Ronald Wornick Distinguished Visiting Pro-

fessor of Wood Arts. The goal of this new endowed

fund is to enrich the CCA academic experience by

bringing a celebrated artist to teach as a visiting

professor each year. The visiting professorship will

enhance the curriculum through the use of wood as

a creative medium for exploration, expression, and

aesthetic functionality. Artists invited through this

program will have made a significant contribution

to one or more of the studio fields and will see the

opportunity to work and teach in wood as a vehicle

for deepening and broadening their professional

life. Look for a feature article on the Wornick Dis-

tinguished Visiting Professor in the next issue

of Glance.

Alumna Emily Schwilke (AB 1936) made a generous

provision for CCA in her estate plans. Upon her

passing in May of this year, the college received

$50,000 to support the academic program. We

are grateful to Mrs. Schwilke and her family for

remembering the school with such a thoughtful

gift in support of our mission.

Two special gifts were made in memory of beloved

members of the CCA community who passed away

recently. Elizabeth Schaufel made a gift of $25,000

to the Gertrude Schaufel Memorial Scholarship

established in memory of her mother, and Lorenz

and Thomas Menrath gave $25,000 to establish

the Walter J. Menrath Scholarship in honor of

their father. Both gifts create endowments that

provide critical financial aid to gifted students

who otherwise could not afford to attend CCA.

The college received a generous grant of $46,000

from the Grants for the Arts/Hotel Tax Fund to

support the presentation of our San Francisco–

based public programs in 2003–4.

The Creative Work Fund awarded the CCA Center

for Art and Public Life a $35,000 grant to support

“Pieces of Cloth, Pieces of Culture: Tongan Tapa

Cloth,” a yearlong collaboration between the Center;

sociocultural anthropologist Ping-Ann Addo, the

Center’s 2003–4 scholar in residence; and lead art-

ist Siu Tuita of Oakland’s ‘Otufelenite Tongan

Community Nonprofit Organization. Activities in-

cluding lectures, demonstrations, and an exhibition

will coincide with the creation of a 15 x 15 foot tapa

cloth, the first of its kind made in the traditional

island manner in the continental United States.

The LEF Foundation, a generous and longtime

funder of the college, awarded $10,000 to the

CCA Wattis Institute for Contemporary Arts for its

exhibition Warped Space. In addition, the Jumex

Collection, a new donor to the college, awarded the

Wattis Institute $8,000 to assist with publication

of the catalog accompanying the exhibition Baja to

Vancouver: The West Coast and Contemporary Art.

Finally, the college extends its thanks to Nancy

S. and R. Patrick Forster, Dorothy and George

Saxe, and Mr. C. David Robinson FAIA and

Mary L. Robinson for their generous trustee

unrestricted gifts.

CCA San Francisco campus photo: Douglas Sandberg

14

Wolfgang Lederer Memorial Scholarship

To date, $5,210 has been

raised for the Wolfgang Lederer

Memorial Scholarship. For

the 2003–4 school year, Tracey

Hufteling (third year), Suzanne

LaGasa (third year), and

Lizette Picasso (fourth year)

were selected to receive this

scholarship. All graphic design

students, they were chosen based

on merit and financial need.

Pat Miler and Jerry Brodkey

Susan Ciriclio

Mr. Stanley Cohen

Sol and Shirley Cooper

Mr. Tomie dePaola

Mr. David S. Gordon and

Ms. Michelle L. Gordon

Mrs. Eugenie Q. Handa and

Mr. Mark R. Handa

Mr. Keith Herritt

Mr. Kenji R. Hitomi

Florence and Leo Holub

George and Janet Hunter

Elizabeth Kavaler

Ms. Virginia Kolmar

Joann L. Lavey and

Kenneth H. Lavey

Richard and Marjorie Murray

Harriet and Edward Nathan

Mr. Steve Reoutt

Ms. Me Me Riordan

Ms. Elizabeth Rodriguez

Mrs. Edward W. Rosston

Ms. Alison Samuel

Ms. Elizabeth Schaufel

Ms. Kay Sekimachi

Hugo Steccati

Ms. Lucille W. Toy

Ms. Patricia Walsh

Mr. and Ms. Glenn E. Weaver

Steve Renick Graphic Design Scholarship

Three recipients of the Renick

scholarship have been selected

for the 2003–4 school year and

will share the total of $4,580

raised. All graphic design majors,

the students were chosen

based on merit and need. The

scholarship recipients are

Rachel Lopez (fourth year), Bree

Spaulding (third year), and

Larissa Waters (fourth year).

Catherine Bonnell

Mr. William Bonnell

Mr. and Mrs. Richard Burn

CCA Student Affairs Office

Ms. Elizabeth Chen

Chronicle Books

Ms. Shelly Coe

Ms. Carole Cole

Ms. Sheila Dutton and

Mr. C. H. Fotch, Jr.

Mr. and Ms. Richard Eckersley

Mr. and Ms. Dennis Furby

Mr. and Mrs. John E. Girton

Ms. Helen Gooden

GTS Graphics

Ms. Marcia Hagen

Mr. and Mrs. George T. Hall

Mrs. Rebecca E. Hayden

Mr. Richard Hendel

Ms. Linda Jadeson

Mr. and Mrs. Lance Kuykendall

Donations Support New Scholarships

California College of the Arts would like to thank those who have so generously given to the scholarship funds established in memory of our esteemed faculty and staff who have passed away recently. The following lists all gifts received through July 15, 2003.

15

Mr. George D. Lewis and

Mrs. Laurie Lewis

Malloy Incorporated

Mary Jean McAllister

Dr. Mary McDevitt

Sheri S. McKenzie and

Mark S. Bernstein

Mr. and Ms. John R. McSween

Mr. Raymond L. Meador

Ms. Deborah M. Mick

Mr. Patrick G. Mitchell and

Ms. Frances K. Mitchell

Mr. Dennis Norton and

Mrs. Therese Norton

Mrs. Katherine Renick

Dr. Michael S. Roth and

Dr. Kari Weil

Thomson Learning —

Wadsworth Group

Mr. Jack N. Thornton

Mr. and Mrs. Walden Valen

Mr. and Mrs. Scott Wilson

Mr. and Ms. Brian Wittenkeller

Mr. and Mrs. Alan E. Wulzen

New Master of Architecture (MArch) Program

In fall 2004 California College of the Arts will

introduce the three-year first professional master’s

degree in architecture (MArch). Building on

the strength of our undergraduate bachelor of

architecture (BArch) program, the master’s pro-

gram integrates critical, artistic, and material

approaches to the study and practice of architec-

ture. The program is designed for students who

hold a bachelor’s degree in another field and wish

to study architecture, and gives advanced stand-

ing to students who have some previous education

in architecture.

New Graduate Studios Open in San Francisco

California College of the Arts has opened a

new graduate center adjacent to the San Francisco

campus. Located at the corner of Hooper and

Eighth Streets, the spacious, well-lighted facility

includes two buildings comprising 12,000 interior

square feet and a 10,000-square-foot outdoor

atrium. Thirty-two fine arts graduate students

occupy individual studios. The new facility was

created to accommodate the expansion of the

CCA graduate programs.

Formerly a warehouse, the graduate center was

designed by the award-winning firm of Jensen and

Macy Architects. Principal Mark Jensen is a former

chair of the CCA Interior Architecture Program.

Frank Merritt (BArch 1999) was the project designer.

A list of donors to the Walter J.

Menrath Scholarship will appear

in the next issue of Glance.

Gertrude Schaufel Memorial Scholarship

Donors have contributed $4,605

toward the Gertrude Schaufel

Memorial Scholarship, which

was awarded for the 2003–4

school year to Zara Finlay and

Gian Giglio. Both are first-year

students. Zara is majoring in

graphic design, and Gian is

studying photography.

Ms. Elizabeth H. Ashley

Ms. Niki Caldis

Mr. and Ms. Arthur R. Carson

Susan Ciriclio

Mrs. Kathleen P. Collop

Ms. Marilyn Donahue

Mr. Robert A. Dorsey

Kevin and Theodora Elston

Bella Feldman

Andrea and William Foley

Ms. Judith Foosaner

Betty G. Franks

Diane and Bruce Friend

Helen Frierson

Andrea M. Gunderson

Ms. Maria A. Houlberg

Ms. Cyndy Jacobsmeyer

Ms. Carolyn K. Kastner and

Richard H. Counihan

Ms. Alice B. Knudsen

Ms. Kathleen Larisch and

Dr. Dennis S. Weiss

Wolfgang and Hanni Lederer

Sheri S. McKenzie and

Mark S. Bernstein

Philip B. Morsberger

Mr. Arthur Okamura

Mr. M. Scott Patterson

Dr. Michael S. Roth and

Dr. Kari Weil

Stephanie A. Scea

Ms. Sharyn Schneider

Judith Serin

Ms. Elizabeth Sher

Mrs. Sally Snyder

Michael Vanderbyl,

Vanderbyl Design

Ms. Patricia Walsh

Ms. Linda Yaven

New Master of Architecture (MArch) Program

In fall 2004 California College of the Arts will In fall 2004 California College of the Arts will

introduce the three-year first professional master’s introduce the three-year first professional master’s

degree in architecture (MArch). Building on degree in architecture (MArch). Building on

the strength of our undergraduate bachelor of the strength of our undergraduate bachelor of

architecture (BArch) program, the master’s pro-architecture (BArch) program, the master’s pro-

gram integrates critical, artistic, and material gram integrates critical, artistic, and material

approaches to the study and practice of architec-approaches to the study and practice of architec-

ture. The program is designed for students who ture. The program is designed for students who

hold a bachelor’s degree in another field and wish hold a bachelor’s degree in another field and wish

to study architecture, and gives advanced stand-to study architecture, and gives advanced stand-

ing to students who have some previous education ing to students who have some previous education

in architecture.in architecture.

New Graduate Studios Open in San Francisco

California College of the Arts has opened a California College of the Arts has opened a

new graduate center adjacent to the San Francisco new graduate center adjacent to the San Francisco

campus. Located at the corner of Hooper and campus. Located at the corner of Hooper and

Eighth Streets, the spacious, well-lighted facility Eighth Streets, the spacious, well-lighted facility

includes two buildings comprising 12,000 interior includes two buildings comprising 12,000 interior

square feet and a 10,000-square-foot outdoor square feet and a 10,000-square-foot outdoor

atrium. Thirty-two fine arts graduate students atrium. Thirty-two fine arts graduate students

occupy individual studios. The new facility was occupy individual studios. The new facility was

created to accommodate the expansion of the created to accommodate the expansion of the

CCA graduate programs.CCA graduate programs.

Formerly a warehouse, the graduate center was Formerly a warehouse, the graduate center was

designed by the award-winning firm of Jensen and designed by the award-winning firm of Jensen and

Macy Architects. Principal Mark Jensen is a former Macy Architects. Principal Mark Jensen is a former

chair of the CCA Interior Architecture Program. chair of the CCA Interior Architecture Program.

Frank Merritt (BArch 1999) was the project designer.Frank Merritt (BArch 1999) was the project designer.

Student Callers Make Telefund a Success

Each spring, California College of the Arts recruits

a group of talented and enthusiastic students to

phone our alumni and friends asking for gifts in

support of the Annual Fund. This effort provides

crucial funding for student scholarships, the

libraries, computer labs, and materials and supplies.

These are the college’s core needs, and we depend

on the generosity of our alumni and friends to help

maintain an excellent teaching environment.

Thanks to student callers, the telefund is one of

our most effective fundraising programs. During

spring break 2003, students worked evenings and

weekends in Macky Hall and raised more than

$20,000 for the college. Our callers are recruited

from all majors, and many are first-year students

who are looking for ways to connect with alumni.

These are not your typical telefund calls. Students

and alumni often enjoy long conversations as

alumni share their experience in professional

practice and callers describe student life today.

Amanda Heikkinen, who will graduate with a BFA

in sculpture in December 2003, says, “The tele-

fund really wasn’t intimidating because you are

talking to people with whom you have something

in common. It was a great experience, which is

why I have done it two years in a row.”

We have also received kind messages from alumni,

thanking us for involving students in the effort.

Diane Oles (BFA 1984, interior architecture) writes,

“I have a tremendous amount of admiration for the

direction the school has taken since I graduated, so

when I received a call from a student, I was more

than happy to give back to the college.”

This special campaign will run each March during

spring break. If you receive a call, please take a

moment to talk to a student. Your support will

have a meaningful impact at the school, and the

conversation alone can be a very positive experience

for our students. If you have questions about the

CCA telefund, please contact Ashley Lomery in the

Advancement Office at 510.594.3662.

Staff Appointments

Chris Bliss

Vice President for Communications

Jennifer Minniti

Associate Dean of Instruction

Kate Wees

Director of Undergraduate Admissions

Janice Woo

Director of Libraries

Awards and Accolades

Eric Heiman (BFA 1996, graphic design), an

assistant professor in the Graphic Design Program,

received the college’s inaugural Excellence in

Teaching Award on May 9, 2003. Graduating

students of the class of 2003 selected Heiman as

the instructor who had had the greatest influence

on their work and their artistic and creative

experience at the college.

Dean of Design Michael Vanderbyl was elected

national chair of the American Institute of Graphic

Arts (AIGA). Vanderbyl has gained international

prominence in the design field as a practitioner,

educator, critic, and advocate. His firm, Vanderbyl

Design, is a multidisciplinary studio with

expertise in graphics, packaging, signage, interiors,

showrooms, retail spaces, furniture, textiles, and

fashion apparel.

Interior design student Lorie Shay won a $30,000

Senior Student Scholarship Award from the New

York City–based Angelo Donghia Foundation,

which provides support for two distinct fields:

advancement of education in interior design, and

discovery of the causes and methods of treatment

for AIDS and related diseases. Shay was one of ten

winners from FIDER-accredited interior design

programs in the western United States. She will

graduate in 2004.

16

17

9.

1. Larry Rinder (left) and Richard N.

Goldman at the honorary doctorate

reception. photo: Stuart Brinin

2. Riley Bamesberger (left), Pre-College

student, and Jennifer Fiore, Pre-College

photography instructor, celebrate Riley’s

receipt of the Nicole Brownlee Memorial

Scholarship for Photography.

August 1, 2003. photo: Ashley Lomery

3. Robert Bechtle (left) and Nathan

Oliveira at the honorary doctorate

reception. photo: Stuart Brinin

4. Left to right: Kay Kimpton,

Sandy Walker, Paul Discoe, and

Jennifer Morla. Opening reception, Capp

Street Project: 20th Anniversary Exhibition at

the CCA Wattis Institute.

March 1, 2003. photo: Stuart Brinin

5. Ann M. Hatch and James Turrell.

Capp Street Project: 20th Anniversary

Exhibition dinner at the San Francisco

home of Rich Niles and Lenore Pereira.

February 28, 2003. photo: Stuart Brinin

6. Left to right: Ann K. Hamilton;

Simon Blattner, chair of the Board

of Trustees; Kimberly Blattner; and

CCA President Michael S. Roth at the

honorary doctorate reception.

photo: Stuart Brinin

2.

4.

18

The 2003 recipients of the honorary doctorate of fine arts were Ann K. Hamilton, Ann M. Hatch, and Richard N. Goldman. They were honored at a reception on the Oakland campus on May 9, 2003.at a reception on the Oakland at a reception on the Oakland at a reception on the Oakland campus on May 9, 2003.campus on May 9, 2003.campus on May 9, 2003.

1. Larry Rinder (left) and Richard N. 1. Larry Rinder (left) and Richard N.

Goldman at the honorary doctorate Goldman at the honorary doctorate

reception. reception. photo: Stuart Brininphoto: Stuart Brinin

2. Riley Bamesberger (left), Pre-College 2. Riley Bamesberger (left), Pre-College

student, and Jennifer Fiore, Pre-College student, and Jennifer Fiore, Pre-College

photography instructor, celebrate Riley’s photography instructor, celebrate Riley’s

receipt of the Nicole Brownlee Memorial receipt of the Nicole Brownlee Memorial

Scholarship for Photography. Scholarship for Photography.

August 1, 2003. August 1, 2003. photo: Ashley Lomeryphoto: Ashley Lomery

3. Robert Bechtle (left) and Nathan 3. Robert Bechtle (left) and Nathan

Oliveira at the honorary doctorate Oliveira at the honorary doctorate

reception. reception. photo: Stuart Brininphoto: Stuart Brinin

4. Left to right: Kay Kimpton, 4. Left to right: Kay Kimpton,

Sandy Walker, Paul Discoe, and Sandy Walker, Paul Discoe, and

Jennifer Morla. Opening reception, Jennifer Morla. Opening reception, Capp Capp

Street Project: 20th Anniversary ExhibitionStreet Project: 20th Anniversary Exhibition at at

the CCA Wattis Institute. the CCA Wattis Institute.

March 1, 2003. March 1, 2003. photo: Stuart Brininphoto: Stuart Brinin

5. Ann M. Hatch and James Turrell. 5. Ann M. Hatch and James Turrell.

Capp Street Project: 20th Anniversary Capp Street Project: 20th Anniversary

ExhibitionExhibition dinner at the San Francisco dinner at the San Francisco

home of Rich Niles and Lenore Pereira. home of Rich Niles and Lenore Pereira.

February 28, 2003. February 28, 2003. photo: Stuart Brininphoto: Stuart Brinin

6. Left to right: Ann K. Hamilton; 6. Left to right: Ann K. Hamilton;

Simon Blattner, chair of the Board Simon Blattner, chair of the Board

of Trustees; Kimberly Blattner; and of Trustees; Kimberly Blattner; and

CCA President Michael S. Roth at the CCA President Michael S. Roth at the

honorary doctorate reception. honorary doctorate reception.

photo: Stuart Brininphoto: Stuart Brinin

1818

12.

1.

3.

5.

6.

FacultyNotes

S. Jane Cee published, editorial on Lesbian,

Gay, Bisexual, Transgender

Community Center of San Fran-

cisco, Architecture magazine,

April 2002; chairperson, 50th

Annual P/A Awards Jury,

Architecture magazine, Jan.

2003; Cee Architects awarded

$6 million renovation and

conversion, Leland Polk Hotel,

San Francisco, to Leland

Polk Senior Community for

Mercy Housing.

Tim Culvahouse award, with Amy Eliot,

finalist for 2003–4 Benjamin

Henry Latrobe Fellowship,

a $100,000 research fellowship

awarded by the American In-

stitute of Architects; appointed,

Favrot Distinguished Chair,

Tulane School of Architecture,

spring 2004.

Christopher Deam group show, American Design,

Denver Art Museum, traveling to

Miami, FL; New York City,

NY; and Memphis, TN; Feb. 2002 –

Feb. 2004.

Thom Faulders published, “Thom Faulders/

Beige Design,” MARU magazine, Thom Faulders, Particle Reflex, SFMOMA installation view, 2001

Michael S. Roth, President published, essay, “California

College of the Arts: Craft’s

Intersection with Art, Archi-

tecture, and Design,” SOFA

Chicago 2003 Catalog; review

of Society Must Be Defended:

Lectures at the College de France,

1975–76, by Michel Foucault,

translated from the French by

David Macey (Picador, 2003),

Los Angeles Times Book Review,

Aug. 2003; special guest, speak-

ing about “The Art of Now,” Zen

Hospice Project benefit, “One

FacultyFacultyFacultyNotesNotesNotes

20

Night One Heart,” Nov. 2003;

lecture, “Craft’s Intersec-

tion with Art, Architecture,

and Design,” SOFA Chicago

(International Exposition of

Sculpture Objects and Func-

tional Art), Oct. 2003; commence-

ment address, U.C. Berkeley

Department of History of Art,

May 2003; seminar participant,

“The Ideal Art School in the 21st

Century,” Aspen, CO, Aug. 2003;

interviewed, KQED radio’s Forum,

hosted by Michael Krasny,

San Francisco, Aug. 2003.

Michael S. Roth, Presidentpublished, essay, “California published, essay, “California

College of the Arts: Craft’s College of the Arts: Craft’s

Intersection with Art, Archi-Intersection with Art, Archi-

tecture, and Design,” SOFA tecture, and Design,” SOFA

Chicago 2003 Catalog; review Chicago 2003 Catalog; review

of Society Must Be Defended: of Society Must Be Defended:

Lectures at the College de France, Lectures at the College de France,

1975–76, by Michel Foucault, 1975–76, by Michel Foucault,

translated from the French by translated from the French by

David Macey (Picador, 2003), David Macey (Picador, 2003),

Los Angeles Times Book Review, Los Angeles Times Book Review,

Aug. 2003; special guest, speak-Aug. 2003; special guest, speak-

ing about “The Art of Now,” Zen ing about “The Art of Now,” Zen

Hospice Project benefit, “One Hospice Project benefit, “One

Night One Heart,” Nov. 2003; Night One Heart,” Nov. 2003;

lecture, “Craft’s Intersec-lecture, “Craft’s Intersec-

tion with Art, Architecture, tion with Art, Architecture,

and Design,” SOFA Chicago and Design,” SOFA Chicago

(International Exposition of (International Exposition of

Sculpture Objects and Func-Sculpture Objects and Func-

tional Art), Oct. 2003; commence-tional Art), Oct. 2003; commence-

ment address, U.C. Berkeley ment address, U.C. Berkeley

Department of History of Art, Department of History of Art,

May 2003; seminar participant, May 2003; seminar participant,

“The Ideal Art School in the 21st “The Ideal Art School in the 21st

Century,” Aspen, CO, Aug. 2003; Century,” Aspen, CO, Aug. 2003;

interviewed, KQED radio’s Forum, interviewed, KQED radio’s Forum,

hosted by Michael Krasny, hosted by Michael Krasny,

San Francisco, Aug. 2003.San Francisco, Aug. 2003.

group show, Reduction of Complexity,

ADHOC Group, summer 2003;

traveling group show, AIGA 50

Books/50 Covers 2003.

Steven Skov Holt group show, American Design,

Denver Art Museum, traveling to

Miami, FL; New York City,

NY; and Memphis, TN; Feb. 2002–

Feb. 2004; moderator, “Future

of Design,” World Technology Con-

ference Summit, San Francisco,

June 2003; judge, Industrial De-

sign Category, Portland Design

Festival, summer 2003; furniture

prototype featured, “Pool Chair,”

USDesign 1975–2000, opened at

Denver Art Museum, at American

Museum of Art and Design, New

York, through Sept. 2003.

Mark Horton show, CCAC’s New Dormitory: The

Design Process, School of Archi-

tecture and Environmental

Design, California Polytechnic

State University at San Luis

Obispo; published: “Snow

Place Like Home,” San Francisco

magazine, Feb. 2002; “Four

Sides to Every Storey,” Blueprint

magazine, Jan. 2003; “The

Little School,” Confort, Oct. 2002;

“A Weekly Dose of Architec-

ture—CCA Dormitory,” Archidose,

Apr. 2003; Achievement Award,

CC AIA 2002; Merit Award, CC

AIA 2003.

Mark Jensen awarded, 2002 AIASF, Best of the

Bay and Beyond Architecture

Award; Honor Award, Retail

Category, American Institute

of Architects, SF Chapter/SF

Business Times; published: “Four

Rooms with a View,” Twin

Flats residence, 7x7, Nov. 2002;

“Courtyard Glamour,” Joss

residence, San Francisco Chronicle

magazine, Jan. 2003; “Cartoon

Korea, Jan. 2003; exhibit, Street

Furniture Exhibition, Jerusalem,

Israel, Feb. 2003; lecture, “Recent

Projects,” University of Detroit

Mercy, Detroit, MI; workshop,

“Soft Works,” Southern California

Institute of Architecture, Los

Angeles, CA, in collaboration with

Loom Studio, summer 2003;

group show, Experimentadesign

2003—Bienal de Lisboa, Lisbon,

Portugal, Sept. 2003; Microarchi-

tecture, virtual museum,

Institut Français d’Architecture,

Sept. 2003.

Donald Fortescue solo show, John Elder Gallery,

New York, NY, Nov. 2003; co-

editing, theoretical writings on

furniture from antiquity to

the present with Professor Edward

S. Cooke, Yale University, and

Dr. Glenn Adamson, Chipstone

Foundation, Milwaukee, WI.

Mark Fox redesigned identity for CCA

Wattis Institute for Contemporary

Arts and identity for CCA, 2003.

Gloria Frym lecture, “Lorine Niedecker’s

Plain (Language),” Lorine

Niedecker Centenary Celebration,

Milwaukee, WI, Oct. 2003;

published online, “More Lies,”

Fiction Attic magazine; featured,

poem from “Mind Over Matter,”

engraved in glass for Robert

Hass’s Addison Street Project,

Berkeley, CA; published, proses,

from new ms. Dawn,

Nth Position magazine, London,

UK; published online, prose,

Times New Roman: Poets Oppose 21st

Century Empire Anthology; publi-

shed online, proses from new ms.,

Milk magazine; published: poems

from “Message Interruptus, A

Sequence,” Nocturnes magazine,

fall 2003; poem, Cento

magazine; poems, Skanky Possum

#9, fall 2003; photographs,

www.taparts.org; photographs,

Biblio: A Review of Books, New

Delhi, India; appointed,

Distinguished Writer in Resi-

dence, Saint Mary’s College,

Moraga, CA, spring 2004.

Linda Geary group show, SFADA/Off the

Preserve, May–June 2003;

group show, Best in Show: 5 Year

Anniversary, Marcel Sitcoske

Gallery, San Francisco, July–

Aug. 2003.

Eric Heiman award, CCA Excellence in

Teaching, May 2003; promoted,

assistant professor of design,

CCA, 2003; published, “New

York, typisch!” Page magazine,

Germany, May 2003; lectur-

er, Project M Summer Design

Program, Bielenberg Institute

at the Edge of the Earth,

Searsport, ME, June 2003; group

show, California Design Biennial

2003, Pasadena Museum of

California Art, Pasadena, CA,

June–Sept. 2003; group show,

TDC49, Type Director’s Club, New

York City, NY, June–July 2003;

Eric Heiman, AIGA SF Enrichment Scholarship Poster for AIGA SF, 2003

21

Planet,” Angry Monkey Offices,

KBP West Offices, Frame 30,

Jan.–Feb. 2003; Levi’s Original

Spin, Poppybox Gardens, Osho

Restaurant at SFO, Retail Innovation

Report, GDR Creative Intelligence

Publication, Feb. 2003.

Chris Johnson group show, Reflections in Black: A

History Deconstructed, Mills Col-

lege Art Museum, Oakland, CA,

June–Aug. 2003; appointed,

member of Port of Oakland Public

Art Management; currently

promoting Question Bridge

video project.

Barry Katz published: “How to Turn

an Aircraft Carrier Around,”

Innovation: Quarterly of the

Industrial Designers Society of

America, spring 2003; “The

Dematerialization and Remater-

ialization of Everyday Life,”

in Subjectivity at the Threshold of the

Digital Culture, Rio de Janei-

ro, forthcoming; review of Sara

Danius, The Senses of Modernism:

Technology, Perception, and Aesthe-

tics, in Technology and Culture,

forthcoming; lectures: “Spaces

of Creativity and Innovation,”

Hitotsubashi University, Tokyo,

Japan; “The Loneliness of the

Long-Distance Traveler,” Boeing

Aircraft, Seattle, WA; “Design:

The Final Frontier,” NASA,

Mountain View, CA; “The

Rules Have Changed,” Agilent

Technologies, Palo Alto, CA;

“The Renaissance in Perspective,

Perspective in the Renaissance:

Four Lectures,” Florence, Italy.

Jennifer Morla group show, American Design,

Denver Art Museum, traveling

to Miami, FL; New York City,

NY; and Memphis, TN; Feb. 2002–

Feb. 2004.

Kiersten Muenchinger lecture, “The Evolution of the

Terminator: How New Materials

Improve Product Design,”

Materials Engineering Student

Societies lecture series, Cal

Poly, San Luis Obispo, CA, May

2003; lecture, “Spaghetti on the

Wall: Finding Products that

Stick in the Market,” product

development lecture series,

PARC, Inc., Palo Alto, CA, July

2003; featured, gift box designs,

HGTV.com, Mar. 2003; Greetings

Etc. magazine, May/June 2003;

Martha Stewart Weddings magazine,

summer 2003; and Martha Stewart

Living television program,

July 2003.

Stephen Peart group show, American Design,

Denver Art Museum, traveling

to Miami, FL; New York City, NY;

and Memphis, TN; Feb. 2002–

Feb. 2004.

Marianne Rogoff published, short story, “The Poet,

Off Hours,” Zebulon Nights.

Judith Serin published, prose poems,

Paragraph magazine, issue 23.

David Sherman solo screening, Pacific Film

Archive, Berkeley, CA, Oct. 2002;

solo screening, First Person

Cinema, University of Colorado,

Boulder, CO, Feb. 2003; featured:

San Francisco International Film

Festival, Apr. 2002; Dallas Video

Festival, May 2002; New York

Underground Film Festival, Mar.

2003; Athens Film and Video

Festival, Ohio, Apr. 2003; World

Wide Video Festival, Amster-

dam, Netherlands, May 2003;

San Francisco Cinematheque,

June 2003; curator, Super

Fresh Eyes 2003, San Francisco

Cinematheque,

May 2003.

Leslie Speer lecture, “You Did What with

WHAT? A Report on Teaching

Eco-Awareness and Changing

ID Education,” IDSA National

Education Conference, New

York, NY, Aug. 2003.

Bruce Tomb lecture, “The Space Around Us”

(with Julie Mehretu), Salon Series

at Headlands Center for the Arts,

June 24, 2003.

Roy Tomlinson group show, Four Painters, Four

Friends, SOMARTS Gallery, San

Francisco, Jan. 2003; group

show, Gensler Architecture, San

Francisco, CA, May–June 2003.

Michael Vanderbyl group show, American Design,

Denver Art Museum, traveling to

Miami, FL; New York City,

NY; and Memphis, TN; Feb. 2002–

Feb. 2004.

Todd Verwers lecture, “Scandinavian Design:

Attitude and Form,” Swedish

American Hall, Swedish-Ameri-

can Chamber of Commerce and

Danish-American Chamber of

Commerce, May 2003.

Thomas Wojak group show, Vallejo Artists’ Guild

Invitational 2003 Photography

Show, Fetterly Gallery, Vallejo,

CA, July–Aug. 2003; group show,

participant and co-curator,

Arts Benicia Print Show, Arts Beni-

cia Gallery, July 2003; group

show, Monoprint Madness, East

Side Editions, Jan. 2003; group

show, The Art of a Community, Arts

Benicia Gallery, Jan.–Feb. 2003;

faculty juror, Hamaguchi Awards

Competition, 2003.

22

Creative Photography, University

of Arizona; listed by Edan

Hughes in “Artists in California

1786–1940,” Crocker Art Museum,

Sacramento, CA, 2002.

1952Stanley Cohen: solo show, An

Older Artist’s Journey, San Francisco

Arts Commission Gallery, City

Hall, San Francisco, CA; awarded,

Lifetime Achievement Award for

Art and Education from Oakland

Chamber of Commerce, Apr. 2003.

1956Billy Al Bengston: group show,

Surf Culture: The Art History of

Surfing, San Jose Museum of Art,

San Jose, CA, Aug.–Nov. 2003.

1958Gloria Brown-Brobeck: solo show,

UC Berkeley Men’s Faculty Club,

Berkeley, CA, May 2003.

1959John Nicolini: solo show, Oils and

Watercolors by John Nicolini, Lindsay

Dirkx Brown Art Gallery, San

Ramon, CA, June 2003.

1962Donald E. King: retired, 35 years

teaching art and history, West

Michigan University, Kalama-

zoo, MI; establishing studio in

Taos, NM.

Alumni Notes

1938Hugo Steccati: group show, Land-

scapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA,

June–Aug. 2003.

1939Ira H. Latour: solo and group

show, Artist of the Year, San

Francisco Elder Arts Celebration,

The Jewett Gallery, Aug.–Oct.

2003; lecture, “Ansel Adams

and the 1945 Founding of the

Photographic Department at

What Is Now the San Francisco

Art Institute and the Role Played

by Minor White in Directing

the Pioneering Program Over

the Next Seven Years,” San

Francisco Public Library, Sept.

2003; lectures, “The Art and

Architecture of the ‘Pageant of

the Pacific,’ the Golden

Gate International Exposition

on Treasure Island, 1939–40,”

and “The Pageant of Photography

curated by Ansel Adams for the

Exposition”; contributing writer,

B&W: Black & White Magazine

for Collectors of Fine Photography;

award, foundation grant,

California State Universities

Emeritus & Retired Faculty

Association; award, Ansel Adams

Research Fellowship, Center for

John McCracken: group show,

Surf Culture: The Art History of

Surfing, San Jose Museum of Art,

San Jose CA, Aug.–Nov. 2003.

Patricia Tavenner: group shows:

UC Berkeley Extension Center,

San Francisco, CA; Transportale,

Berlin, Germany; Post Modern Post:

International Artistamps, Santa

Rosa, CA, Feb.–Apr. 2003; East Bay

Open Studio Exhibition, Oakland, CA;

Open Studio Weekends, May–June

2003, P. Birge Studio, Emeryville,

CA; The Big Tree Project, Bedford

Gallery, Dean Lesher Center for

the Arts, Walnut Creek, CA, June–

Aug. 2003.

1963Karen Ring Meatliffe: solo

show, Clay Works, Ocean View

Bar and Grill, Pasadena, CA,

Sept. 2002–July 2003; retired, La

Canada Unified School District,

June 2003.

1965Chuck Overton: group show, XV

Group Spring ’03 Art Show, Nexus

Gallery, Berkeley, CA, June 2003.

1966Arlene Risi-Streich: group show,

Crossings, Nexus Gallery, Berkeley,

CA, Mar. 2003.

Alumni NotesAlumni NotesAlumni Notes

23

24

DDY Studio, Pacifica, CA, Oct.

2002; group shows: Craft Showcase

3, Museum of Craft and Folk Art,

San Francisco, CA, Dec. 2002;

Come Together, Art Guild of Pacifica,

Sanchez Art Center, Pacifica,

CA, Mar. 2003; Fiber Directions

2003, Wichita Center for the Arts,

Wichita, KS, Mar.–Apr. 2003.

Magdalene Crivelli: group show,

Clay Connections, Solomon Dubnick

Gallery, Sacramento, CA, July–

Aug. 2003.

1973Robert Simons: solo show, Robert

Simons: Premonition and Paradoxes,

A Thirty-Year Survey, Kennedy Art

Center, Holy Names College, Mar.–

May 2003.

1974Katherine McKenzie Oerting:

solo show, Body Politic, Jefferson

Davis Community College,

Brewton, FL, Feb.–Mar. 2003;

group show, awarded honor-

able mention for Poussiere,

Bill Spiess: featured, Italian

Street Painting Festival, Mission

Viejo, CA, June 2003; presenting,

Italian Street Painting Festival,

Youth in Arts, San Rafael, CA,

June 2003.

1967Mike Gordon: group show, Gallery

Concord/California Watercolor

Association, Concord, CA,

Mar.–June 2003.

Jay Price: appointed, director, K–

12 Non-Fiction Series, Reference

Hub, San Diego.

1969Robert Barrett: elected, chair,

California Travel Industry

Association, Los Angeles, CA.

Brenda Luckin: group show, The

Big Tree Project, Bedford Gallery,

Dean Lesher Center for the Arts,

Walnut Creek, CA, June–

Aug. 2003.

M. Louise Stanley: group

show, Squares Painters as Rebels,

Richmond Art Center, Rich-

mond, CA, June–Aug. 2003;

conducting, Art Lover’s Tour of

Italy, May 2003.

1970Pamela Hahn: group show, The

Big Tree Project, Bedford Gallery,

Dean Lesher Center for the Arts,

Walnut Creek, CA, June–

Aug. 2003.

Judith Linhares: solo show, New

Works—Judith Linhares, Gallery

Paule Anglim, San Francisco, CA,

Sept.–Oct. 2003.

Kent Rush: solo show,

Photography—Mixed

Media,Amarillo Museum of Art,

June–Aug. 2003.

1972Deborah Corsini: solo show, Past/

Present, Tapestries and Wedge Weaves,

charcoal on plywood, By

Women, About Women, Gallery

Artel, Pensacola, FL; group

show, Art After Dark, Pensacola

Museum of Art, Pensacola, FL;

awarded, Best of Show, Beaux

Arts Exhibition, Art and De-

sign Society of Ft. Walton Beach,

FL, Feb. 2003; awarded First

Place, Acrylic Painting, Pensacola

Interstate Fine Art Exhibition,

Oct. 2002; lecturer, “Heat-Fixable

New Media,” Art and Design

Society of Ft. Walton Beach, Ft.

Walton Yacht Club; juror, Sigmund

Freud’s Dreams, Artel Gallery,

Pensacola, FL, Feb. 2003.

1975Marc Katano: solo show, Recent

Work, The Contemporary Museum

at First Hawaiian Center,

Honolulu, HI, May–Sept. 2003.

Priscilla Spitler: awarded,

Jury Prize for Binding, Helen

Warren DeGolyer Triennial Exhibition

and Competition for American

Bookbinding, Bridwell Library,

Marc Katano, Redline #8, 2003

2424

DDY Studio, Pacifica, CA, Oct. DDY Studio, Pacifica, CA, Oct.

2002; group shows: 2002; group shows: Craft Showcase Craft Showcase

33, Museum of Craft and Folk Art, , Museum of Craft and Folk Art,

San Francisco, CA, Dec. 2002; San Francisco, CA, Dec. 2002;

Come TogetherCome Together, Art Guild of Pacifica, , Art Guild of Pacifica,

Sanchez Art Center, Pacifica, Sanchez Art Center, Pacifica,

CA, Mar. 2003; CA, Mar. 2003; Fiber Directions Fiber Directions

20032003, Wichita Center for the Arts, , Wichita Center for the Arts,

Wichita, KS, Mar.–Apr. 2003.Wichita, KS, Mar.–Apr. 2003.

Magdalene CrivelliMagdalene Crivelli: group show, : group show,

Clay ConnectionsClay Connections, Solomon Dubnick , Solomon Dubnick

Gallery, Sacramento, CA, July–Gallery, Sacramento, CA, July–

Aug. 2003.Aug. 2003.

1973Robert SimonsRobert Simons: solo show, : solo show, Robert Robert

Simons: Premonition and Paradoxes, Simons: Premonition and Paradoxes,

A Thirty-Year SurveyA Thirty-Year Survey, Kennedy Art , Kennedy Art

Center, Holy Names College, Mar.–Center, Holy Names College, Mar.–

May 2003.May 2003.

1974Katherine McKenzie OertingKatherine McKenzie Oerting: :

solo show, solo show, Body PoliticBody Politic, Jefferson , Jefferson

Davis Community College, Davis Community College,

Brewton, FL, Feb.–Mar. 2003; Brewton, FL, Feb.–Mar. 2003;

group show, awarded honor-group show, awarded honor-

able mention for able mention for PoussierePoussiere, ,

Bill SpiessBill Spiess: featured, Italian : featured, Italian

Street Painting Festival, Mission Street Painting Festival, Mission

Viejo, CA, June 2003; presenting, Viejo, CA, June 2003; presenting,

Italian Street Painting Festival, Italian Street Painting Festival,

Youth in Arts, San Rafael, CA, Youth in Arts, San Rafael, CA,

June 2003.June 2003.

1967Mike GordonMike Gordon: group show, Gallery : group show, Gallery

Concord/California Watercolor Concord/California Watercolor

Association, Concord, CA, Association, Concord, CA,

Mar.–June 2003.Mar.–June 2003.

Jay PriceJay Price: appointed, director, K–: appointed, director, K–

12 Non-Fiction Series, Reference 12 Non-Fiction Series, Reference

Hub, San Diego.Hub, San Diego.

1969Robert BarrettRobert Barrett: elected, chair, : elected, chair,

California Travel Industry California Travel Industry

Association, Los Angeles, CA.Association, Los Angeles, CA.

Brenda LuckinBrenda Luckin: group show, : group show, The The

Big Tree ProjectBig Tree Project, Bedford Gallery, , Bedford Gallery,

Dean Lesher Center for the Arts, Dean Lesher Center for the Arts,

Walnut Creek, CA, June–Walnut Creek, CA, June–

Aug. 2003.Aug. 2003.

M. Louise StanleyM. Louise Stanley: group: group

show, show, Squares Painters as RebelsSquares Painters as Rebels, ,

Richmond Art Center, Rich-Richmond Art Center, Rich-

mond, CA, June–Aug. 2003; mond, CA, June–Aug. 2003;

conducting, Art Lover’s Tour of conducting, Art Lover’s Tour of

Italy, May 2003.Italy, May 2003.

1970Pamela HahnPamela Hahn: group show, : group show, The The

Big Tree ProjectBig Tree Project, Bedford Gallery, , Bedford Gallery,

Dean Lesher Center for the Arts, Dean Lesher Center for the Arts,

Walnut Creek, CA, June–Walnut Creek, CA, June–

Aug. 2003.Aug. 2003.

Judith LinharesJudith Linhares: solo show, : solo show, New New

WorksWorks——Judith LinharesJudith Linhares——Judith Linhares—— , Gallery , Gallery

Paule Anglim, San Francisco, CA, Paule Anglim, San Francisco, CA,

Sept.–Oct. 2003.Sept.–Oct. 2003.

Kent RushKent Rush: solo show, : solo show,

Photography—Mixed Photography—Mixed

MediaMedia,Amarillo Museum of Art, ,Amarillo Museum of Art,

June–Aug. 2003.June–Aug. 2003.

1972Deborah CorsiniDeborah Corsini: solo show, : solo show, Past/Past/

Present, Tapestries and Wedge WeavesPresent, Tapestries and Wedge Weaves, ,

charcoal on plywood, charcoal on plywood, By By

Women, About WomenWomen, About Women, Gallery , Gallery

Artel, Pensacola, FL; group Artel, Pensacola, FL; group

show, show, Art After DarkArt After Dark, Pensacola , Pensacola

Museum of Art, Pensacola, FL; Museum of Art, Pensacola, FL;

awarded, Best of Show, Beaux awarded, Best of Show, Beaux

Arts Exhibition, Art and De- Arts Exhibition, Art and De-

sign Society of Ft. Walton Beach, sign Society of Ft. Walton Beach,

FL, Feb. 2003; awarded First FL, Feb. 2003; awarded First

Place, Acrylic Painting, Pensacola Place, Acrylic Painting, Pensacola

Interstate Fine Art Exhibition, Interstate Fine Art Exhibition,

Oct. 2002; lecturer, “Heat-Fixable Oct. 2002; lecturer, “Heat-Fixable

New Media,” Art and Design New Media,” Art and Design

Society of Ft. Walton Beach, Ft. Society of Ft. Walton Beach, Ft.

Walton Yacht Club; juror, Walton Yacht Club; juror, Sigmund Sigmund

Freud’s DreamsFreud’s Dreams, Artel Gallery, , Artel Gallery,

Pensacola, FL, Feb. 2003.Pensacola, FL, Feb. 2003.

1975Marc KatanoMarc Katano: solo show, : solo show, Recent Recent

WorkWork, The Contemporary Museum , The Contemporary Museum

at First Hawaiian Center, at First Hawaiian Center,

Honolulu, HI, May–Sept. 2003.Honolulu, HI, May–Sept. 2003.

Priscilla SpitlerPriscilla Spitler: awarded, : awarded,

Jury Prize for Binding, Jury Prize for Binding, Helen Helen

Warren DeGolyer Triennial Exhibition Warren DeGolyer Triennial Exhibition

and Competition for American and Competition for American

BookbindingBookbinding, Bridwell Library, , Bridwell Library,

Marc Katano, Marc Katano, Redline #8Redline #8, 2003, 2003

25

Southern Methodist Univers-

ity, Dallas, TX, June–July 2003.

1976

Mark Bowles: solo show, Recent

Abstracts, Epperson Gallery,

Crockett, CA, Mar. 2003; solo

show, Reflections of Yosemite: Recent

Paintings from the 2003 Artist-

in-Residence Program, Art Foundry

Gallery, Sacramento, CA, July–

Aug. 2003; group show, Wiford and

Vogt, Santa Fe, NM; group show,

Expression in Fine Art, Santa Fe,

NM; group show, Friend of the River,

20th St. Gallery, Sacramento,

CA; group show, Invitational Art

Auction, Crocker Art Museum,

Sacramento, CA; commission,

eight large-scale paintings,

Brazilian Court Hotel, Palm

Beach, FL.

Diane Fabian Fabiano: group

show, Long Beach Arts Gal-

lery, Long Beach, CA, June–July

2003; group show, Small

Works, So. California Women’s

Caucus for the Arts Gallery,

Los Angeles, CA, June 28–Aug. 15

2003; group show, Variety is the

Spice, West Side Art, Los Angeles,

CA, June 2003.

Sheila O’Hara: solo show, 989

Market Street, San Francisco,

CA, Apr.–July 2003; group show,

Inspired Objects—The Crafts of

Mendocino County, Grace Hudson

Museum, Ukiah, CA, May–Aug.

2003; California Looms: Woven

and Constructed, Craft and Folk Art

Museum, Los Angeles, CA, Sept.

2002–Mar. 2003; The Curatorial Eye,

Sonoma Museum of Visual Art,

Santa Rosa, CA, Jan.–Mar. 2003;

Innovations in Fiberart, Sebastopol

Center for the Arts, Sebastopol,

CA, Feb.–Mar. 2003; donated,

Blossom Creek tapestry, given

to Cheju, South Korea, Santa

Rosa, CA’s sister city, by Mayor

Sharon Wright; keynote speaker,

Conference of the Northern

California Handweavers, Nevada

County Fairgrounds, May 2003;

published, Handwoven magazine,

Sept./Oct. 2002; taught,

Mendocino Community College,

Ukiah, CA, 2002–3.

1978Marjorie J. Rubin: solo show,

Growing in the Darkness, Gallery 110,

Seattle, WA, June 2003.

1981Cynthia M. Baird: group show,

Variety is the Spice, West Side Art,

Los Angeles, CA, June 2003.

Richard Duggan: designed and

produced, Mokupapapa: Hawaii’s

Remote Coral Reef Discovery

Center, Hilo, HI, May; designed

and produced, Hanauma Bay

Education Center, HI; group show,

Keepers of the Flame, The Arts at

Marks Garage, Honolulu, HI,

May–June 2003.

Bennett Harris Horrowitz:

published, CD, “Resonator-

Acoustic Blues Guitar, Vocal and

Harmonica,” June 2003.

Hulleah Tsinhnahjinnie:

awarded, Eiteljorg Fellowship;

group show, Eiteljorg Fellow-

ship Show, Eiteljorg Museum,

Indianapolis, IN, Nov. 2003–

Feb. 2004.

1982Jennifer Bain: group show,

Landscapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA,

June–Aug. 2003.

1983Annette Goldberg: group show,

The Big Tree Project, Bedford

Gallery, Dean Lesher Center for

the Arts, Walnut Creek,

CA, June–Aug. 2003

Robert Simons, Even Here Too, 1974

1984Emily Lazarre: solo show, Emily

Lazarre—Oil on Paper Collages,

Fresno Art Museum, Fresno, CA,

Mar.–June 2003; group show,

Landscapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA,

June–Aug. 2003.

Josef Venker: group show, Con-

temporary Jesuit Artists, St. Louis

University Museum of Art, St.

Louis, MO, Apr.–Sept. 2003;

received tenure, assistant pro-

fessor of fine art, Seattle

University, Seattle, WA.

1986David Burton: group show, The

Big Tree Project, Bedford Gallery,

Dean Lesher Center for the Arts,

Walnut Creek, CA, June–

Aug. 2003.

1987Erik Adigard: group show,

American Design, Denver Art

Museum, traveling to Miami,

FL; New York City, NY; and

Memphis, TN; Feb. 2002–

Feb. 2004.

Katherine McKay: taught,

Colored Pencil Workshop,

Mendocino Art Center, April

2003; group show, Instructors’

Exhibit, Mendocino Art Center,

Mendocino, CA, Mar.–Apr.

2003; group show, Instructors’

Exhibit, Richmond Art Center,

Richmond, CA, Mar.-Apr. 2003;

group show, Art Faculty Exhibit,

UC Berkeley Extension Program,

San Francisco, CA, Mar.–May

2003; group show, CCA Alumni

Exhibit, The Grey Whale; Fort

Bragg, CA, June–Aug. 2003.

Yoshitomo Saito: solo show,

Marshall University Berke Art

Gallery, Huntington, WV,

2003; group shows: Sight Unseen—

The 120th Annual Exhibition, San

Francisco Art Institute, San Fran-

cisco, CA, Jan. 2002; Outdoor

Sculpture Show, Snowshoe Inst-

itute, Snowshoe, WV, Aug.

2002; 15th Anniversary Exhibition,

Haines Gallery, San Francisco,

CA, Sept. 2002; Japanese Shikishi

Art, Bedford Gallery, Walnut

Creek, CA, Nov. 2002; 8th Inter-

national Shoebox Sculpture,

University of Hawaii Art Gallery,

Honolulu, HI, traveling to Tai-

wan, Guam, HI, CA, PA, OH, SD,

and IA through 2005; Art on View

2003, Dairy Barn Cultural Arts

Center, Athens, OH, 2003; San

Francisco International Art Exposition,

Fort Mason Center, San Francisco,

CA, 2003.

Ann Weber: featured, “Bay Area

Artists,” KQED, Apr. 2003; group

show, The Big Tree Project, Bedford

Gallery, Dean Lesher Center for

the Arts, Walnut Creek, CA, June–

Aug. 2003

1988Donna Fenstermaker: group

show, Landscapes, Seascapes, Vantage

Points, The Grey Whale, Fort

Bragg, CA, June–Aug. 2003.

Lampo Leong: solo show, Kotin-

sky Gallery, Pompton Lakes,

NJ; Eastern Kentucky University,

Richmond, KY; group shows:

Ninth Great Plains National Art Exhi-

bition, Fort Hays State Uni-

versity, KS, 2003; 4 to Go, Maude

Kerns Art Center, Eugene, OR,

2003; Jane T. Walsh Juried Show, Art

Guild of Burlington, Burling-

ton, IA, 2003; 53 Annual Quad-

State Juried Exhibition, Quincy

Art Center, Quincy, IL, 2003;

Memphis/Germantown Art League 8th

National Juried Exhibition, Memphis,

TN, 2003; Current Work 2003: A Nat-

ional Competition, Fayetteville

State University, NC, 2003; Ab-

straction from Nature, Machine

Shop Gallery, Washington, MO,

2003; Englewood Arts National

Juried Art Show, Museum of Out-

door Arts, Englewood, CO,

2003; Two By Two: Ceramic Sculpture

Biennial, Eastern Washington

University, 2003; On/Of Paper 2

Exhibition, Cloyde Snook Gall-

ery, Adams State College,

Alamosa, CO, 2003.

Gabrielle Thormann: group

shows: Works on Paper SF/NY/Sheila O’Hara, Blossom Creek, 2002

26

LA, Oct. 2003, San Luis Obispo

Art Center; January Juried Show,

Gallery Route One, Pt. Reyes, CA,

Jan. 2003; Visual Aid’s Big Deal 2002,

SomaArts, San Francisco; open

studio, Developing Environments,

San Francisco, CA, Oct. 2002;

The Living LABoratory, A Residency

Installation by Lise Swenson, The

Lab, San Francisco, CA, Sept–

Oct. 2002; Let it Breed: C.A.L.F.

(Coalition of Artists and Life Forms)

5th Anniversary Exhibition, Bio

Arts Gallery, Sausalito, CA, May

2002; Forms, Patterns, Reflections,

Sebastopol Center for the Arts,

Sebastopol, CA, Mar.–May

2001; artist in residence, Dorland

Mountain Arts Colony, Temecula,

CA, Nov.-Dec. 2002; taught,

outdoor drawingworkshop,

“Abstracting Nature,” Sunnyside

Conservatory, San Francisco,

CA, April 2002.

1989Susan Leibowitz Steinman:

group show, Pacific Rim Sculptors

Group Invitational, Oakland

Museum of California at City

Center Gallery 555, Oakland,

CA, Jan.–Apr. 2003.

Florence Yoo: featured, New

York University Music Showcase,

New York, NY, Apr. 2003; solo

show, Florence Yoo/Indelible, Cobi’s

Place, New York, NY, May 2003.

1990Christine Harrison: group

show, Maryhill Museum of Art

Outdoor Sculpture Invitational

2003, Goldendale, WA, Mar.–Nov.

2003; adjunct professor, Lesely

University and Tillamook Bay

Community College.

Ana Maria Hernando: solo show,

Bryant St. Gallery, Palo Alto, CA;

group shows: The Spines That Bind:

A Survey of Contemporary Artist-

Made Books, Buddy Holly Center,

Lubbock, TX, 2003; CCA Alumni

Exhibition Series, Andrea Schwartz

Gallery, San Francisco, CA, 2003;

Avant-Garden, Boulder Museum

of Contemporary Art, Boulder,

CO, 2003; I-25, Representing

Boulder, Sangre de Cristo Arts

and Conference Center, Pueblo,

CO, 2003; Exhibitrek Gallery,

Boulder, CO, 2002 and 2003; ID

Project, Museum of Contemporary

Art, Denver, CO, 2002; Old

Firehouse Gallery, Longmont, CO,

2002; The Creative Force Collaborative,

Boulder, CO, 2002; faculty,

Naropa University, Boulder, CO,

2003; Of Work and Earth, project

with 5th graders at Columbine

Elementary, Longmont, CO,

2002; ID project, MCA Denver

and Samsonite, Denver, CO,

2002; vice president, Board

of Directors, Boulder Museum

of Contemporary Art, Boulder,

CO, 2002; published: Denver Post,

Denver, CO, May 2003; Sunday

Daily Camera, Boulder, CO, March

2002; New American Paintings

Catalogue, #36, Open Studios

Press, Wellesley, MA, 2001.

1991Taraneh Hemami: solo show,

Hall of Reflections, San Francisco

Arts Commission Gallery, San

Francisco, CA, Sept.–Oct. 2002;

group show, 6th International

Sharjah Biennial, Sharjah, UAE,

May 2003; awarded, California

Council for Humanities,

California Stories, spring 2003;

solo show, Richmond Health

Center, Aug. 2003; solo show,

Persian Center, summer 2003.

Paula Poole: group show,

Landscapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA,

June–Aug. 2003.

1992Marlene Aron: group shows:

Dreams of Resistance, Mission

Cultural Center, San Francisco,

CA, Jan. 2003; Wish You Were

Here! Postcards From Our Friends,

A.I.R. Gallery, New York, NY,

June-July 2003; Quatrain: Four

Visions, Herger Gallery, Solano

County Community College,

Suisun, CA, March 2003;

published, “Balancing Tradition

and Innovation: Pittsburgh,”

Sculpture magazine, June 2001;

reviewed, “Two Artists Offer Way

to Reflect on Tragedy,” Pittsburgh

Post-Gazette, Pittsburgh, PA, Dec.

2001; featured, “Home Grown,”

The Indiana Gazette, Indiana, PA,

Nov. 2001.

China Blue: solo show,

Architectural Therapy, Lance Fung

Gallery, New York, NY, June–

July 2003; award, Who’s Who

in America, Who’s Who in the

World, Who’s Who of Women.

Eric Johnson: solo show, Overview,

Andrea Schwartz Gallery, San

Francisco, CA, June–July 2003.

Stephen Sheffield: com-

missioned photomontage, Union

Beer Company, Brooklyn, NY.

1993Amber Eagle: show, Muestra 2,

World Trade Center, Mexico City,

2003; exhibit, Trayectorias Internas,

Museum of Contemporary

Art Alfredo Zalce, Morelia,

Michoacan, Mexico, 2003; show,

Sweetscapes, Moody Gallery,

Houston, TX, 2002; show,

Cavernas Escarchadas, Universidad

Autonoma de Queretaro,

Mexico, 2002.

Erik Eiserling: group show,

Landscapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA,

June–Aug. 2003.

27

Colin Mosher: named senior

associate, Hillier Architects,

Princeton, NJ.

1994Deborah A. Bates: solo show,

From This Ground, Carney

Gallery, Regis College, Weston,

MA, Sept.–Oct. 2003; group

shows: Fountain Street Open

Studios, Framingham, MA,

Apr. 2003; Danforth Museum,

Framingham, MA, May; Voice

and Vision, Massachusetts College

of Art, Boston, MA; named

visiting associate professor,

Massachusetts College of Art,

Boston, MA.

Harrell Fletcher: group show,

Portable Exhibition Venues, work

worn by Kate Pocrass wherever

she may be during the month of

June 2003.

Fain Hancock: group show, All

About Eve, Hang Gallery, Palo Alto,

CA, June 6, 2003.

Ilah Jarvis: artist in residence,

Fundacion Valparaiso, Mojacar,

Spain, Feb. 2003.

Greg Owen: fellowship, Virginia

Center for the Creative Arts,

Sweet Briar, VA, May–June 2003.

1995Sandra Julia Ledesma: attended,

graduate seminar at Smithsonian,

“Interpreting Latino Cultures:

Research and Museums”;

volunteered, with Carmen Lomas

Garza, San Jose Art Museum,

2001; participant, MACLA San

Jose Latino Arts Auction,

June 2003.

Teresa Scarpulla: solo show,

Metaphysical Body Parts, LunarBase,

Inc., Brooklyn, NY, Feb.–

Mar. 2003.

1996Rose Callahan: group show,

Visionaries, Blue Heron Arts Center,

New York, NY, Mar.–Apr.

Geoff Chadsey: solo show,

Drawings, James Harris Gallery,

Seattle, WA; drawing part of

permanent collection, From

Matisse to Beyond, SFMOMA, Dec.

2002–present; group show, Picture

This, Spanganga, July 2003;

awarded, Fine Arts Work Center

Visual Artist Winter Fellowship,

Provincetown, MA.

Amy Conover: appointed to

manage National Design

Awards, Cooper-Hewitt National

Design Museum.

Jan Freeman Long: group show,

Landscapes, Seascapes, Vantage Points,

Grey Whale Inn, Fort Bragg, CA,

June–Aug. 2003.

1997Kent Alexander: group show,

Squares: Painters as Relics or Rebels,

Richmond Art Center, Rich-

mond, CA, June–Aug.; artwork in

movie, Simone; artwork in movie,

Freaky Friday.

Steven Robert Barich: group

shows: Spacescapes-Landlines, TENT,

Rotterdam, Netherlands, May

2003; The Great Debate, Budget

Gallery, San Francisco, CA, June

2003; PrintROOM, Room: Art Space,

Rotterdam, Netherlands, March

2003; ROOM the Shop, Room: Art

Space, Rotterdam, Netherlands,

Dec. 2002; CBK Project Subsidie,

Centrum Beldeende Kunst,

Rotterdam, Netherlands, Sept.

2002–3.

Ezra Li Eismont: solo show,

Altered States, Gallery A.D., San

Jose, CA, June 2003; group

show, Collab, Punch Gallery, San

Francisco, CA, May 2003; group

show, The Apex, Cappella Event

Center, San Francisco, CA,

Aug. 2003.

Sian Oblak: group show, Gallery

Paule Anglim, July 2003.

Lynn Sondag: group show,

Landscapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA,

June–Aug. 2003.

Shalene Valenzuela: solo show,

A Post 2/14 World—New Work by

Shalene Valenzuela, Cricket Engine

Studio and Gallery, Oakland, CA,

Mar. 2003.

1998Curtis Arima: group shows:

Chess: Contemporary Chessmen,

Velvet Da Vinci Gallery, San

Francisco, CA, May 2003; Snag:

A Metal Arts Guild Exhibition,

Oakland Museum of California

Collector’s Gallery, Oakland, CA,

May–June 2003; Instructor’s Show,

Kids ‘N’ Clay Gallery, Berkeley,

CA, May–June 2003; Big LITTLE:

Jeweler and Sculptors Making it in

Metal, Craft and Cultural Arts

Gallery, Oakland, CA, May–June

2003; Metal, Virginia Breier

Gallery, San Francisco, CA,

May–June 2003; Asian Roots,

Western Soil: Visual Poetry in Metal

2003, Nihonmachi, Japantown,

San Francisco, CA, May–Aug.

2003; Exhibition in Motion, SNAG

Conference, San Francisco, CA,

May 2003; Gallery Flux, San

Francisco, CA, ongoing.

Pamela Cobb: group show,

Landscapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA,

June–Aug. 2003.

Stephanie Dean: published

and featured, Chicago Artist’s

Coalition News, Chicago, IL, May

2003; sold two photographs,

Belgravia Group, Ltd. for 530 N.

Lakeshore Drive, Chicago, IL;

awarded scholarship, Union

League Club of Chicago’s Civic

and Arts Foundation; published

28

photograph, album cover,

“Toshack Highway vs. siansphe-

ric, Magnetic Morning/Aspirin

Age” Sonic Unyon, Ontario,

Canada; published, “Symptom:

Photographs by Stephanie

Dean, Paintings by Narangkar

Khalsa,” Kitchen Sink magazine,

winter 2003.

Pat Dernham: group show,

Landscapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA,

June–Aug. 2003.

Bryan Nash Gill: solo show, Blow

Down, DeCordova Museum and

Sculpture Park, Lincoln, MA,

Jan.–Aug. 2003.

Allison Lasley: group show,

Works by Allison Lasley, Art Station

Contemporary Arts Center, Stone

Mountain, GA, June–Aug.

Remi Rubel: group show, The

Big Tree Project, Bedford Gallery,

Dean Lesher Center for the Arts,

Walnut Creek, CA, June–

Aug. 2003.

1999Brooke Fletcher: group show,

Landscapes, Seascapes, Vantage Points,

The Grey Whale, Fort Bragg, CA

June–Aug. 2003.

Desiree Holman: group show,

Portable Exhibition Venues, work

worn by Kate Pocrass wherever

she may be during the month of

June 2003.

Narangkar Khalsa: solo show,

Mojo’s, Oakland, CA, Jan.–Mar.

2003; group shows: Symptom,

21 Grand, Oakland, CA, June

2002; Priced to Sell, Ardency

Gallery, Oakland, CA, Oct. 2002;

published, Kitchen Sink maga-

zine, Issue #2.

Chris Oliveria: solo show, Things

Can Get Upside Down in This World…I

Hope You Are Resilient, May 2003;

group show, Yerba Buena Center

for the Arts, fall 2003.

Amos Scully: group show, The

Big Tree Project, Bedford Gallery,

Dean Lesher Center for the Arts,

Walnut Creek, CA, June–

Aug. 2003.

2000Eve Chang: solo show, Public/

private, PCC Art Gallery, Pasadena,

CA, June–July 2003.

Alexandra A. Grant: group show,

CCA alumni exhibition series,

Andrea Schwartz Gallery, San

Francisco, CA, July 2003.

Shane Montgomery: group show,

Fictional Science and Alternate Worlds,

HEREart Gallery, New York, NY,

May–June 2003.

Marina Vendrell: group show,

Catalyst, Oakland Art Gallery,

Oakland, CA, Mar.–May 2003.

Anna Von Mertens: solo show,

MATRIX 207/Suggested North Points,

Berkeley Art Museum, Berkeley,

CA, July–Sept. 2003.

2001Libby Black: group show, Portable

Exhibition Venues, work worn by

Kate Pocrass wherever she may

be during the month of June 2003.

Jeanette Bokhour: group show,

Construction/Deconstruction, Big

Eric Johnson, Ocean Study, 2003

29

Pagoda, San Francisco, CA,

Aug. 2003.

Patrick Dintino, solo show,

Big Pagoda, San Francisco, CA,

June 2003; group show, Andrea

Schwartz Gallery, San Francisco,

CA, May 2003.

Arthur Krakower: group show,

Smith Anderson Gallery, Palo

Alto, CA, July 2003.

Bob Lawless: awarded, Murphy

Fellowship, The Herringer Family

Foundation Prize for Excellence

in Art; group show, Murphy

Fellowship Exhibit, San Francisco

Arts Commission Gallery, San

Francisco, CA, July–Aug. 2003.

Greg Silva: group show, Holiday

Invitational, OXOXO Gallery,

Baltimore, MD and Stone Harbor,

NJ, Nov. 2002–Jan. 2003.

Marcia Weisbrot: group shows:

Mobilivre/Bookmobile, touring

U.S. and Canada, 2003; PDBA

exhibit, Mechanics Institute, San

Francisco, CA, 2003; Crossing

Bridges, Marketwatch, San

Francisco, CA, June–Sept. 2003;

Re-imaging books, San Mateo Public

Library, San Mateo, CA, Jan.

2003; La Petite X, Alder Gallery,

Coburg, Oregon, Nov.–Dec. 2002;

1st Annual Book Jam, Foothill

College, Mountain View, CA,

Oct. 2002; lecture, “Pencilhead

Press: From the Personal to the

Political in Artist’s Books,” San

Francisco Center for the Book,

San Francisco, CA, May 2003.

Eugene Young: published, 32

illustrations, Ophidian 2350

collectible card game, Fleet

Trading Cards International.

2002David Hevel: group show,

Fictional Science and Alternate Worlds,

HEREart Gallery, New York, NY,

May–June 2003.

Chicory Miles: group show,

Fictional Science and Alternate Worlds,

HEREart Gallery, New York, NY,

May–June 2003.

Zoe Nemeth: group show,

Fictional Science and Alternate Worlds,

HEREart Gallery, New York, NY,

May–June 2003.

Cristina Rodriguez: group show,

Fictional Science and Alternate Worlds,

HEREart Gallery, New York, NY,

May–June 2003.

30

Mark Bowles, Winter Falls in Yosemite, 2003

Roberta Therese “Tre” Arenz BFA 1975

May 8, 2003, Portland, OR

Henry E. Costa

BA 1950

May 1, 2003, Millbrae, CA

Curran A. “Johnny’’ Johnson, Jr. March 28, 2003, Canton, CT

Curtis H. Palmer

MFA 1969

December 12, 2002, Wayzata, MN

John “Jack” Frederick Vickers

BA Ed 1949

March 12, 2003, Vallejo, CA

Robert H. Bolman

Trustee Emeritus Robert H. Bolman died on March

12, 2003. He was ninety-seven. Bolman joined

the college’s Board of Trustees in 1958. He served

on both the Development and Audit and Finance

Committees, and was board chair from 1965 to 1968.

In 1970, on his retirement from the Board, he was

elected trustee emeritus, an honorary title bestowed

on only a handful of trustees. Bolman had a dis-

tinguished career in banking and management

consulting and an impressive record of service with

civic organizations including the United Fund, the

World Affairs Council, and as trustee of the Oakland

Museum. His survivors include his wife, Edith, and

daughters Gay Stern and Sylvia Bolman Fones.

Carl Jennings Carl Jennings died on May 13, 2003, at the age

of ninety-three. A third-generation metal crafts-

person, he had worked in iron for more than

seventy years. After graduating from the college

in 1934, he worked in a number of shops before

opening El Diablo Forge in Lafayette. In 1969 he

moved his studio to Sonoma. Perhaps his finest

masterpiece is his Sonoma home, which he and

his late wife, Elizabeth, designed and constructed,

crafting every detail down to the nails and

screws. During his long and distinguished career,

Jennings was the recipient of numerous honors

and awards, including induction into the College

of Fellows by the American Crafts Council in

1988. A retrospective exhibition of his work was

held at the National Ornamental Metal Museum

in Memphis in 1990.

Wolfgang Lederer

Renowned designer, illustrator, and educator

Wolfgang Lederer died on May 13, 2003. He was

ninety-one. As a design practitioner and teach-

er for more than sixty years, Lederer defined and

shaped design practice in the Bay Area and on

the West Coast. He was appointed director of the

CCA School of Design in 1950. After his retire-

ment in 1980, he was designated professor emeritus.

He was active professionally almost to the end,

with a retrospective exhibition in 2000 at the San

Francisco Center for the Book and a prize for

excellence in typography from the California Book

Club in 2001. Lederer is survived by his wife of

In Memoriam

31

Left to right: Hugo Steccati, Hanni Lederer, Wolfgang Lederer

Carl Jennings

sixty years, Hanni Lederer; sons Tom and Andrew;

and grandchildren Katy and Mark. A memorial gath-

ering was held on June 14 at the Oakland campus.

Donations may be made to the Wolfgang Lederer

Memorial Scholarship c/o CCA Advancement Office,

5212 Broadway, Oakland, CA 94618.

Walter Menrath Walter Menrath died on July 13, 2003. He was eighty-

two and had served on the faculty for thirty-nine

years, teaching courses in political sociology, art and

cultural history, and philosophy. He taught until

two months before his death. He leaves Maryellen

Himell, loving companion and life partner of

twenty-nine years; Nina Menrath, the mother of

his children, to whom he was married from 1955

to 1968 and with whom he remained close friends;

sons Lorenz and Thomas; daughters-in-law

Margaret Menrath and Kathryn McGill; and grand-

daughters Elizabeth and Madeline Menrath. A

celebration of Menrath’s life and career took place

on September 6 on the Oakland campus. Contri-

butions to the Walter J. Menrath Scholarship support

an annual award in the humanities and sciences

for undergraduates. Donations may be sent to the

CCA Advancement Office, 5212 Broadway,

Oakland, CA 94618.

Gertrude Schaufel Beloved friend and colleague Gertrude Schaufel

passed away on April 20 at the age of eighty-two.

As CCA receptionist for thirty-four years,

Gertrude was the heart and soul of the college.

Generations of students, faculty, and staff benefited

from her many acts of kindness and gracious

helpfulness. On May 2 members of the college com-

munity gathered in Oliver Art Center to share

their memories of this remarkable woman. The

Gertrude Schaufel Memorial Scholarship has

32

Dean Snyder

Retired faculty member Dean Snyder died on March

6, 2003, at the age of seventy-five. He graduated

from the college in 1964 with a BFA in industrial

design and began teaching here the following

spring. Snyder taught for twenty-seven years, retir-

ing as a full professor in 1991. He was program

head from 1982 to 1986 and served in various advis-

ing capacities as well as on the Academic Council.

He was instrumental in growing the Industrial

Design Program after it was reinstated in the 1980s.

Snyder was a very generous member of the CCA

community, known especially for his teaching and

mentorship. Survivors include his wife, Sally,

and his daughter, Deana Green (BFA 1978). A cele-

bration of Dean Snyder’s life took place at the

Snyder home on March 16.

been established in her honor. Donations

may be sent to California College of the Arts,

President’s Office, 5212 Broadway, Oakland, CA

94618. The scholarship will be awarded to a

first-year student.

Little Smothering for Gertrude

Someone dies who you liked a great deal

but didn’t know well: a little smothering where

the almost transparent flame

vanishes, is swallowed by a pocket

of smoke, forming into a pocket

of smoke—its gray flame bent down

inside—no longer sensing the smallest

needs, not now capable of being the perfect

plume from nowhere, the quiet radiance for one

second more—having slipped as the black seal

down ... down for a minute, many minutes,

more minutes than one cares to count.

—Stephen Ajay

Chair, Creative Writing

Gertrude Schaufel photo: Douglas Sandberg

Walter Menrath

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33

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