Catalog design: kristina stamper, College of the arts, California state University, stanislaus
Catalog printing: Claremont print, Claremont, Ca
isbn: 978-0-9857652-0-0
In Praise of Collecting: Works by CSU Stanislaus Faculty and the Works They Collect is about art, achievement, community, and collecting. Works by eleven faculty and emeriti faculty members from California state University, stanislaus, College of the arts are featured together with 2-4 art works by other artists drawn from their personal collections some works purchased, some exchanged, some gifts, others found. presented in a gallery built by the City of turlock and operated by the Carnegie arts Center Foundation, the exhibit reflects the collective artistic achievements of turlock’s best resource the university and its faculty. the artists include Gordon senior, dean de Cocker, david olivant, Jessica Gomula, ellen roehne, richard savini, James deitz, martin Camarata, John barnett, hope Werness and daryl Joseph moore.
this catalog is a permanent record of their work as well as a testament to the efficacy of a collaborative approach, while the installation is uniquely able to engender a dialogue that considers the correspondences between an artist’s works and those he or she collects.
insights generally make themselves known in response to questions such as “Why?” or “are there common themes or styles?”
i would especially like to express our gratitude to dean de Cocker whose organizing efforts were truly the key to bringing this exhibition together, and to david olivant for his perceptive and engaging essay. our thanks are extended as well as to the CsU stanislaus College of the arts for the catalog design and to Claremont print and Copy for printing the catalog.
Finally, i would like to thank the artists who are also educators for the art works included in the show as well as their commitment to the next generation of artists.
rebecca phillips abbott executive director and Curator Carnegie arts Center
i ntrod UC tion
the idea behind this exhibition, “the art that artists collect,” as developed by Carnegie arts Center executive director and Curator rebecca phillips abbott and CsU
stanislaus Gallery director and professor dean deCocker, is an intriguing and thoughtful concept for an exhibition and will be a delight for the turlock community. there has been much for me to enjoy and admire in the work of my colleagues in the department of art since my arrival in 2007. their commitment to their work and the artistic process along with their evolving perspectives as visual artists is steadfast and central to their pedagogy while it is also well reflected in the work they have selected for this exhibition.
these are artists that i respect, who have reached a level of excellence validated by the work in this catalogue, while sustaining careers that also advance the study of the visual arts in higher education. their collective experiences are the powerful currency behind the curriculum delivered to the students of CsU stanislaus. their work and commitment to higher education, underscored by continued professional practice
as exhibiting artists, is the transformative experience valued most by our students and with this exhibition at the newly renovated Carnegie arts Center enjoyed by the greater turlock Community.
daryl
Joseph moore Founding dean, College of the arts California state University, stanislaus
a bo U t the a rtists
gordon senior was chairman of the department of art at CsU stanislaus for six years. a yorkshireman in central California, he is a culturally displaced artist. For three decades, he has responded directly to issues in the history of british landscape, and consistently utilizes the very materials of the landscape and its modification through agriculture. it is not entirely unexpected that such an artist, in being uprooted to an essentially alien terrain, would grasp the opportunity to use the one environment to comment on the other, or to employ the tools and materials of the new environment for satiric effect.
For Gordon, the westward transatlantic move eleven years ago fermented a crisis, albeit a fertile one, in which the meditations on land-use and the sense of placement and connection with the earth have been supplanted by a vision of disruption and fragmentation. the paradox that emerges is an art invigorated and enriched by a content that involves a deep sense of loss and even betrayal.
the atlantic crossing has caused a substantial reframing of the significant memories that inform senior’s practice. new memories have taken precedence, like the crowded cattle-market in Cows and Heads, and in the process the past has been reinterpreted through the lens of the present; colored by mass-consumerism and environmental devastation. land use history has expanded to include a wider human history, a history steeped in greed, squandering and alienation from nature. the work is rescued from propaganda by the deep immersion of these postulations in its very materials and forms. Where symbols are present they emerge directly from the daily encounter with diverse materials salvaged from the earth, rather than from some dictionary of pre-established meanings. the moral dignity and force of this work is embedded and embodied in this insistent materiality.
equally imbued with material specificity are the wallsculptures of Dean De Cocker an artist whose background, education and exhibition activity are strongly rooted in the West Coast of California, particularly the la area. in this work the relationship between production processes and finished product is largely transparent but denuded of any traces of the artist’s activity in a homage to industrial production techniques. this might place such sculpture squarely within a Formalist aesthetic were it not for the veiled personal associations that come through. de Cocker’s work operates on two levels simultaneously. on the one hand it takes quasi-geometrical structures from the immediate environment of factory-built objects and conceptualizes them into purely formal solids, thus purging them of any sense of utility and identity the originals might possess. on the other hand, these forms evoke a subtle range of associations (often nostalgic) connected with meanings present in the objects or production methods that serve as their inspiration. the fact that the associations are often embedded in nostalgia for World War ii military scenarios creates a type of poignancy based on a discord between the essentially comforting nature of rumination on a distant past and its disruption by the distressing content of that past. in this way de Cocker’s sculptures read as a sort of confession, where the art reveals something beyond its formalist posture, where irony is at least approached, largely through the tension between the severely impersonal methods of manufacture and the personal associations that seep out despite them.
While David olivant has spent much of his career acting out the methodology and pictorial dynamics of an expressionist, always seeking a hidden content, in the last decade or so the emotional urgency of his earlier efforts has been supplemented by an ironic distance and sense of satire.
there is almost nothing in his working process that allows for any kind of prediction of the end result and he has indulged corrupted versions of automatism for longer than he cares to remember. somewhere along the way it seems that the characters, thus extracted from what he hypothesized to be a collective unconscious, have acted to all extents and purposes as if they occupied a life outside of the particular picture in which they appeared. not only this, but they rapidly became aware of the symbolic, archetypal burdens of meanings olivant was inflicting upon them and either cooperated or rebelled, as their mood suited. his embarrassment at such a usurpation of his role as creator has recently been furthered by the characters insistence on pre-empting his symbolic interpretations before they have been fully extracted from the chaos of marks that precedes their inception. this has tended to play havoc with his creative process causing him to all but tear up the Freudian/Jungian script that he has worked with for so long.
Works completed in the last four years have wedded sculptures to painted images in a marriage of inconvenience that acts as a metaphor for the ontological questioning and uncertainty of the characters that evolve from this synthesis. We are never quite sure if the characters painted in the illusory pictorial space can escape into the space of the viewer of if others, attempting to exit the viewer’s space, can make contact with those trapped in the picture’s surface.
in the art of Jessica gomula the post- modern hybridization of genre and style is second nature, virtually a reflex and irony is such a staple item of the artistic diet that it passes through the digestive tract without so much as a hiccup. the computer screen is the melting pot for this cocktail, which i feel perfectly justified in using mixed metaphors to describe!
approach her intermedia projects, many of these intermedia installations explore the socio-political issues that chaperone sexual intimacy. the layering and stylistic heterogeneity are reminiscent of polke and salle, though the mood is sweeter. significant is the sheer quantity of different media layered into a seamless whole, which underplays, if not suppresses the irony, as if there could be nothing more natural than the overlay of painted images, video montage, photographic stills, text, and sound. the superabundance of it all seems a spoof on sexual innocence. the sense of nostalgia only sweetens this further and we are cajoled into tacit acceptance of the dichotomy between the pictorial flatness of the animations, the floating montaged sexual nicknames and the modified projection of live video captured of the viewer in the installation space.
this dichotomy seems symbolic of the central contradiction in Gomula’s work between the casual, gentle humor of the presentation with its apparent good-natured innocence and the taboos surrounding the erotic subject matter. it is this dynamic that activates our reactions to Sigmund’s Laundry which shows, inset, the lingerie dressed performer ironing, silhouetted from one side of a bed sheet to remain polite but at the same time inviting a voyeuristic attention from the other side. surrounding this, against a blue background, images of embryos at an early stage of development and lady’s underpants float around, intermingling in the space of the performer. in the centre of this blue area is a large three-bladed washing machine agitator seen from above.
Gomula’s website, until recently, was the most obvious portal through which the neophyte viewer might
With this artist’s recent focus moving to a re-imagining of modesto as something of a cultural mecca and the inevitable jump in scale and abandonment of a more intimate format one wonders whether Gomula’s earlier preoccupation with diverse aspects of human sexuality can crawl beneath the radar of local outlook that tends to be conservative, whether indeed it can re-tune this mindset to a more curious and responsive frequency.
subtler allusions to femininity, expanded to include maternity pervade the delicate, understated assemblages of ellen roehne in a series of wall pieces made from tiny found objects and illustrations and named after popular sayings, “don’t count your chickens… “ “be careful what you wish for” the worlds of childhood and motherhood are somehow conflated as if the innocent vision of the former state is somehow transmitted from child to mother in a reversal of the normal flow of genetic inheritance. this juxtaposition of childhood symbols with loosely anthropomorphic forms that evoke animistic rituals manages to avoid the clichéd collision of cuteness and disgust beloved by adolescents and the much over-hyped yoshitomo nara and instead evokes a seemingly endless but fertile chain of associations.
the three works on display all feature a vaguely trophy-like peduncular head mounted precariously above an ossuary-like box that contains the intestinal mainsprings and from which is suspended a pendulum of sorts in the form of silk-worm, butterfly or child, suggesting novel parallels between the female body and antique clocks. the pendant child hangs from the fallopian tubes that hatch their lifetime ration of eggs with lunar precision and in this sense at least you really could count your chickens before they have actually hatched, as the picture of the girl implies. all of the pieces are legless, if we discount those of the depicted child, but what they lack in ambulatory capacity they make up for in the engine room, prioritizing the complex sequence of transactions, peristaltic, systaltic, osmotic and synaptic that animate the organism over those that merely translate it from point a to point b
the work of richard savini entertains irony and contradiction in a mesmerizing technical tour de force. his early canvases, usually depicting nudes or landscapes, are descendants of degas or edwin dickinson but dramatically modernized through ramped up color contrasts and simplified planes. in a sense they
toy with our expectations of modernity, they flatter to deceive, setting off like respectable academy exercises but crossing the tape as proto-semi-abstractions. this playfulness becomes glaringly, startlingly, unabashedly post-modern in the large computer assisted paintings that the artist has labored over for more than a decade, constantly surprising by abrupt juxtapositions of color intensities, of italian baroque architecture with recognizable elements of yosemite park, and of berniniesque sculptures with almost photorealistic nudes.
the central protagonist seems to be the play of light and the ways in which forms dissolve in or reflect light. this is not exactly a natural light, but one schooled in the paintings of cinquecento italy, one that seems to have been traveling directly from the Florence of pontormo and bronzino loosing none of its freshness or immediacy on the way, ultimately to be digitally fine-tuned into an image that is at once set at a great ingresesque remove from the spectator, filtered as it is through layers of allegory and classical allusion, but that also urgently spills into the spectator’s space while simultaneously saturating and flooding his retina. the total aesthetic effect is disconcertingly playful in its flirtation with the fine line that separates the high baroque from rampant kitsch, the more so because the color harmonies and discords, complex variations of intensity and temperature are all so finely modulated and so obsessively orchestrated.
the recent work of James Deitz occupies an interesting, though constantly shifting territory, in which he succeeds in synthesizing memory and observed images, in a style that is able at once to preserve the particularities of any experience while also transforming it into an iconic form stripped to its essentials, sometimes to the point of almost complete abstraction. as a latter-day saint anthony, a would-be iconoclast, deitz has often successfully evicted images from his cave and has watched them slink off, their tails between their legs into the albertian vanishing point on the distant
horizon. it is a pyrrhic victory however, as the battleground has shifted to the paint itself. the enemy is now incapable of being exorcized, as it is the very stuff from which the painting is made, and by extension physicality, substance itself, the stuff of life. Ultimately the artist must wrestle with the angel of his own materiality through which he is embodied but through which he also perishes. this, i feel, is the ultimate source of deitz’s ambivalence, of his importance as a painter, of his iconography of doubt.
deitz has embraced influences as diverse as morandi, tamayo, hopper, Guston and rothenberg along the way. i am sure that it is in some part his ability to straddle the apparent divide between the empirical and the structural or the phenomenological and the archetypal that lends such range and depth to his teaching. much of the work in the current exhibit was produced in the art department between sessions in the classroom. a stimulating cross-fertilization happens between assignments deitz gives in his classes and events in his own studio, which tends to cancel the typical divide between artist and teacher. James is an artist in the classroom and he also teaches through his work.
Martin Camarata was chair of the art department at CsU stanislaus for much of his tenure. in his digital prints the existential self comes under direct attack from hidden post-modern assassins. the physical envelope of the self, represented by monumental abused heads, is assaulted from all sides by a menacing array of firearms, kitchen knives and cages. like the walls around gated communities are the cages keeping outsiders out or insiders in? Weapons are often so integrated into the selfimage that they become the head’s best stab at survival. it seems that the preferred form of defense is to attack anything and everything, including oneself. the psychic landscape quickly declines into a jumble of split-off or stuck-on components that seem permanently at war with each other, unable any longer to distinguish friend from foe, viral from virtual, edible from audible. they symbol-
ize the ultimate and humiliating, mind numbingly banal demise of the american dream.
these assassins might be considered post-modern because they utilize weapons of mass deconstruction. the computer program that brings them into being, is their demiurge, their urgrund, the ghost in the hard-drive, the spanner in the pentium processor, upstaging the artist while at the same time nullifying itself, erasing its cookies in the process of enabling them, in the frenzied generation of chimerical avatars whose memories are never updated, whose browsers are never refreshed. they deny everything, these avatars. personal responsibility has disappeared in a puff of virtual smoke, in a post-derrida sleight of hand in which no self means its always the other to blame, you know that other “smile and wave boys, smile and wave” to quote the century’s most respected penguin to date.
since completing an extended series of miniature ceramics depicting the homes of famous artists in which the tension between the commercialization of the artist’s name and style and the original intentions of the all–suffering artist is resolved in the form of the tourist trinket that gently satirizes both sides of the dichotomy, Hope Werness has transferred her interest to the largest, most commercialized local icon, yosemite national park and, within the park, its most signature feature, half-dome.
in her mockingly idealized Picnic all of the cutlery and crockery sports the hd emblem, and even the chocolate box lid is not exempt, nor are its contents, chocolate truffles in the form of multiple miniature half-domes. of course where else to take these picnic essentials but to half-dome itself, to indulge in an orgy of Freudian over-determination, targeted at a society so over-stimulated that the original half-dome is somehow inadequate, less than the sum of its representations. the essential attraction of half-dome, its size and grandeur, is also its biggest problem. the
size ensures it cannot be absorbed or digested, as in owned. the picnic forms a far more convenient and desirable alternative where over consumption assumes newer and more inventive opportunities where you can have your cake and eat it.
it is hardly surprising that the monument itself should seek a vacation from all of the admiring but over-stimulated onlookers and where better than the nile valley amid those competing icons of pyramid and sphinx which, as it states in its postcard to sentinel rock, it is “taking in” rather than merely viewing? behind the polite and gentle and loving treatment of these souvenirs lurks a virulent attack on the unceasing flow of human consumption. the picnic items and postcard evoke an apparently gentler period of history in which tourism might have formed part of a “Grand tour” and simultaneously evoke nostalgia and its deconstruction through tracing consumerism back to its possible historical origins.
a similar type of humor is central to the work of John Barnett and is in large part derived from this artist’s attempts to prospect a unique imaginary territory somewhere between land art and pop art, two movements that, on the surface, seem quite at odds. rather than using this unlikely synthesis to reflect on the mechanics of visual representation and authenticity, he uses the language of pop, its strident colors and bombastic frontal presentation, to provide an unlikely source of iconic intensity to the enlarged features of fragments of a landscape. of greater significance still is the artist’s zen-preoccupation with landscape as a cryptic and condensed metaphor for states of immediate enlightenment in which humor is used for both its shock value and to undermine any notion of permanence in either things or the states of mind they represent. one might say that the irony in barnett’s work is ultimately existential, insofar as the stylistic heterodoxy points to an irreverence that is central to the zen enterprise.
the primary methods of production usually involve casting of some type, and hence a distancing from the human touch. in this sense the work of art is at a short remove from its source, whether that be the side of a tree trunk, a depression in the earth or a slice of toast, adhering to a seniorian ethos of the object speaking for itself. this notion is then disrupted, sometimes by outrageous subterfuge: the brown of the cork oak tree bark is replaced by a stridently high pitch color scale, or the toast slices form a primitive architectural configuration more proper to playing cards. barnett seduces us with the posture of “truth to materials”, “truth to the artist’s vision” only to subvert these notions with a frivolity and dexterity that can simultaneously engender, confusion, laughter and delight in the bemused viewer.
the focus of Daryl Joseph Moore over the past five years has primarily revolved around the leadership of the College of the arts and the advancement of each of its progressive divisions in visual arts, music and theatre. While administrative responsibilities appropriately dominate his time, his background is in visual communications. he was a published children’s book illustrator working primarily in this area in the early eighties however, in his quest for more challenging opportunities he moved quickly into advertising and graphic design. this is where the focus of his professional practice remains today whenever he has the opportunity and time to work on such projects, consulting and lecturing in advertising and design, visual identity and branding.
this short essay has tentatively navigated a path through a terrain of differently inflected attitudes to post-modernism: the superimposition of disparate cultures (senior) the contradiction between a factory-formalist aesthetic and the personal associations it evokes (de Cocker) the attempt to express the unconscious personality and the sabotaging of that attempt by the
supposed inhabitants of the unconscious (olivant) the absorption of contradiction into the fabric of the artistic statement as a rhetorical norm (Gomula) a re-thinking of our attitudes to childhood and femininity (roehne) the attempt to subsume baroque imagery into a postmodern web of unlikely juxtapositions (savini) the conjunction of the archetypal and the empirical (dietz). in Camarata the virtual self devours the existential self. barnett fuses contradictory styles and Werness simultaneously advances and ridicules the cult of personality surrounding artist super-stars. the severest differences among this group of artists result from whether they choose to suppress or exploit irony and contradiction. all of them share a heightened awareness of the possible range of interplay between process, procedure and product, and it is this more than the historical accident of their resemblance to a given artistic trend that marks their work as contemporary.
david olivant, professor department of art CsU stanislaus
ima G es and a rtist s tat e ments
Gordon s enior
“once you have lived on the land, been a partner with its moods, secrets, and seasons, you cannot leave. the living land remembers, touching you in unguarded moments, saying, i am here. you are part of me.”
The Land Remembers, ben logan.
Gordon senior lives and works in the Central valley of California, but returns each summer to norfolk in england. making sculptures and installations, his work reflects the cultural differences he has experienced in his geographic relocation. more importantly he addresses our common loss of any real relationship with the land. his work has a sense of place, and concerns the relationship of animals and birds with humans.
senior is preoccupied with displacement from landscape. he expresses this loss of connection through work that depicts animals, incorporating within the sculptures materials such as wood, clay, metals, collaged maps, reproductions of landscape paintings, and beeswax. We have a sense that humans once belonged to, and were part of the earth, but have progressively been losing this, becoming urbanized and displaced. a brown hare, an indigenous wild animal in britain, typically represents mankind while other animal forms also stand for the artist and ourselves.
Gordon senior’s work is concerned with nature. there is a feeling of autobiography about his work, which most recently has focused on issues of migration, memory and loss.
in a recent review of senior’s work professor david olivant wrote:
“senior has thus transformed uncertainty into invention and has charted the process in his recent series of object groups. in some he converts what is natural to his past into the form of his present and in others he transposes the objects of his present environment into a language of nostalgia for his former existence. it is the single achievement of senior’s recent work to have invigorated the tendency to nostalgia in his earlier work, by exploiting the necessity of his current cultural alienation, and thus create a potent meditation on the nature of memory as well as a subtle critique of multiculturalism”.
For more information see: www.gordonsenior.com
hare spiral, 2007, bisque fired clay and plywood, 18” x 24”
Gordon s enior
bird boxes, 2006, rusted steel and wood, 21 boxes each 17” x 17” x 12”
Colle C tion o F Gordon s enior
netsuke Japanese sculptures, 17th century, 17 figures
Joel Fischer, entelechy, 2011, mixed media sculpture
d ean d e Co C ker
my work is part of a continuing series, “blue Jackets return.” From the first winged-shaped structures to the current work, i have been exploring my interest in formal elements by transforming flat, two-dimensional surfaces into three-dimensional objects. i derive much of my inspiration from everyday objects such as mailboxes, aircraft structures, wings and propellers, heavy machinery and architectural works. these objects become conceptual elements, which i transform first into drawings. then, via techniques of aircraft construction, i have fabricated objects of inner structures and outer coverings that created volumetric enclosures. recently, my interest in racecar fabrication and finishing and collecting vintage bmX bicycles from the 1970’s has led to subtle changes in structure and color.
the titles of my works have no real meaning, but due to my interest in the construction techniques of World War ii aircraft, i take my titles from the World War ii battles in the south pacific.
When Flat tops ruled the Waves, 2011, metal, powder coat, vinyl, wood, 66” x 24” x 11”
made in the pacific, 2011, acrylic paint, fiberglass, metal, powder coat, 40” x 73” x 45”
speed Flags in the pacific, 2009, metal, powder coat, vinyl, wood, 55” x 45” x 18”
Colle C tion o F d ean d e Co C ker
dawn arrowsmith, manderine honey sky, 1998, acrylic on canvas, 48” x 60”
roland reiss, the importance of being Green, 1996, acrylic on canvas, 36” x 36”
d avid o livant
the futility of the creative process: scribbling, scraping, re-scribbling, inverting, wiping, dismembering, reinverting, erasing and again erasing to finally coax images from the brute stupidity of colored dust is hardly compensated by any show of gratitude on the part of these images. instead they threaten at any moment to dissolve or re-congeal, to stop pretending and reveal the hoax. at best they dust themselves down and loudly proclaim themselves to be clichés, outdated symbols, all too obviously archetypal.
eschewing their creator’s methodology these images that yet fresh images can’t seem to beget disown the type of originality that might be scoured from the depths of a post-Freudian unconscious, the notion that behind or beneath their appearance there might be a latent content, - what do they care about ‘latent content’? instead they enact a drama out of the failure of these very expectations albeit at the expense of some of their creator’s most cherished ideals.
like hari, the mind-born heroine of tarkovsky’s “solaris”, they demonstrate remarkable self-awareness, they seek to know themselves and their ultimate ontological status. they wonder if they are “real people” or just the mental chimeras of the artist, if they are constrained by the conventions of a pictorial language or whether they have achieved a measure of autonomy.
these images, now clearly personalities, comprehend their own iconographic precedents and exploit them. the children of saturn start to bite back, venus disfigures herself to avoid being stereotyped and the God of michelangelo’s ceiling refuses to acknowledge his creation and absconds through the upper edge of the picture. the artist himself receives rough treatment, transformed into a piano playing pig-fox hybrid in “Cadenza” and a defunct generalissimo in “Chronos”.
paradoxically the images’ self-doubt is also their self-awareness and their story ceases to be a fantasy of their creator’s unconscious, and becomes an autonomous universe, in which they are to a large extent the authors of their own destiny, seeking the hand of God in unlikely situations, only to demonstrate his superfluity. For the artist it is left only to wonder if these personalities themselves have an unconscious, (individual or collective) from which they might create their own images and if those in turn might also be similarly endowed, thus creating generations of nested worlds each charting the artistic odyssey of its predecessors.
d avid o livant
the Fall of a sparrow, 2010, mixed media
Colle C tion o F d avid o livant
simon edmondson, untitled, 1997, oil on board, 12.5” x 16”
ambadas, untitled, 1994, watercolor on paper, 14” x 18”
Jessi C a Gom U la
Gomula’s intermedia work employs video and large scale installation environments which elicit viewer interaction and community participation. her work has been exhibited extensively both nationally and internationally, in traditional and non-traditional settings. Gomula’s current project, the //building imagination initiative, seeks to re-imagine the future modesto and the Central valley through artistic interventions. the project confronts a poverty of imagination by using art - videos, architecture, design, and gameplay — to inspire creative solutions to the California Central valley’s many quality of life problems. the //building imagination initiative continues her work on private and public spaces, and how they build upon or break down Utopian ideals of the community they reside in. Gomula is a professor of video and time based media at California state University, stanislaus.
Jessi C a Gom U la
Coming soon! science museum, 2011, digital photograph
Coming soon! poet’s Corner, 2011, digital photograph
Jessi C a Gom U la
dream Garden, 2012, public art project with personal dreams inscribed on recycled clothing
submerged, 2012, single channel video
Colle C tion o F Jessi C a Gom U la
sean Clute, video sintesi “bowling”, 2010, single channel video
sean Clute, video sintesi “mechanical bull”, 2010, single channel video
e llen r oehne
although much of my work is comprised of a variety of media there is a common thread of the narrative throughout. For me, the act of creating art is a connection- to the past, to nature, to others, to beauty and to spirit. the art work is the story, however obscure, that ties these elements together, weaving pieces of my life in a collection of visual stories. Finding beauty in the small insignificant things, living with a sense of awe and gratitude at the infinite potential of nature- in essence to see the world with the eyes of a child, that is my goal as an artist. these common human experiences inform the content of each piece of artwork. i strive to make work that resonates with viewers, giving each piece a presence beyond the physical limitations of the materials.
as an artist and gallery owner, much of my art collection has been accumulated through trading artwork with artists that i admire as well as purchasing work of artists that i have discovered within the gallery business. i tend to have very eclectic tastes and am exposed to so many talented and inspiring artists that i sometimes find it difficult to choose which pieces to keep for my own collection. i love being surrounded by works that remind me of the artist friends who created them and feel very lucky to be able to live with these pieces in my home.
e llen r oehne
butterflies in my stomach, 2011, assemblage
Colle C tion o F e llen r oehne
ben miller, City at night, painting, 48” x 36”
Julie hawkins, untitled (dyptich), 2011, mixed media, 12” x 24”
r i C hard s avini
david olivant on the work of richard savini:
the work of richard savini entertains irony and contradiction in a mesmerizing technical tour de force. his early canvases, usually depicting nudes or landscapes, are descendants of degas or edwin dickinson but dramatically modernized through ramped up color contrasts and simplified planes. in a sense they toy with our expectations of modernity, they flatter to deceive, setting off like respectable academy exercises but crossing the tape as proto-semi-abstractions. this playfulness becomes glaringly, startlingly, unabashedly post-modern in the large computer assisted paintings that the artist has labored over for the best part of a decade. they are constantly surprising with abrupt juxtapositions of color intensities, of italian baroque architecture with recognizable elements of yosemite park, and of berniniesque sculptures with almost photorealistic nudes.
the central protagonist seems to be the play of light and the ways in which forms dissolve in or reflect light. this is not exactly a natural light, but one schooled in the paintings of cinquecento italy, one that seems to have been traveling directly from the Florence of pontormo and bronzino loosing none of its freshness or immediacy on the way. it is ultimately to be digitally fine-tuned into an image that is at once set at a great ingresesque remove from the spectator, filtered as it is through layers of allegory and classical allusion, but that also urgently spills into the spectator’s space while simultaneously saturating and flooding his retina. the total aesthetic effect is disconcertingly playful in its flirtation with the fine line that separates the high baroque from rampant kitsch, the more so because the color harmonies and discords, complex variations of intensity, and temperature are all so finely modulated and so obsessively orchestrated.
r i C hard s avini
nude, diagonal Figure in Green Chair, 1987, oil on canvas, 58" x 48"
Colle C tion o F r i C hard s avini
tinna harter savini, acrobat, 2001, oil on canvas, 26” x 72”
kelly viss hollinger, untitled, 1989, etching, 15 ½” x 22 ½”
James d eitz
my work is my statement.
Glass houses, oil on canvas, 20”x 18”
James d eitz
treasure Chest, oil on canvas, 48” x 24”
Wasp, oil on canvas, 40” x 48”
Colle C tion o F James d eitz
Jay steensma, Waritme Fish, 1991, acrylic on paper bag, 16 ¾” x 31 ¾”
lee andre, untitled, charcoal on gessoed paper, 12” x 12”
m artin Camarata
my recent work is a continuation of my compulsion to make visual images. these images are generated by the subjective and enigmatic “self,” and might be described as psycho-narrative. my state of being is nurtured and supported by existential premises and the human condition.
these images are pictorial facts of the brain/mind experience made evident via the integration of medium, and the metamorphosis of creation.
the computer as a medium/tool is integral to this process and is included in the totality and structure of my studio which has its dimensions within the sandbox of the so-called “mind.” my studio is a private place and no invitations or memberships are offered. there are times when even my “self” is neither invited not allowed to enter, which causes a process to begin and heightens the tension of primal despair.
the images i make are like windows on the surface of my studio - but they are opaque windows that prevent one from looking inside - they exist on their own with their own “self”-ness and any audience to the work will have to take it or leave it - including my conscious self.
m artin Camarata
saving the peanut, 2012, digital print
Colle C tion o F m artin Camarata
vintage Circus poster - knapp & listette: a duo of drolls, ca. 1900, lithograph
John b arnett
John barnett sees nature with he eyes of a lover. a sculptor, he is attracted to surfaces, patterns and forms, to the feel, the material substance of things. he makes molds of tree bark and other natural forms and casts positives of them in aluminum, bronze and fiberglass. the pieces that result are often strikingly like the originals, but by removing them from their natural setting, and manipulating their forms, barnett transforms them into aesthetic objects. they magically shift back and forth, for instance, from tree bark to sculptures that resemble but are not bark. barnett invites us to go beyond our initial surprise, to see analogies between tree bark and human skin. playfully, yet with deep seriousness, he entreats us to see that we humans share the vulnerability, and the vitality of rocks, trees and the earth. We, too, are part of the cycles of nature …
– hope Werness
in his recent book, Down To A Soundless Sea, thomas steinbeck states “...if it weren’t for mankind’s inflated image of self-importance, humans would have realized that they don’t own the world. the world owns them. perhaps it’s this secret knowledge that fuels the contest between the savage and the coming of the night.”
Count me on the World’s side.
– John barnett
totem, 2012, mixed media
John b arnett
sawtooth duo, 2012, mixed media
Colle C tion o F John b arnett
robert Freimark, tapestry, 1973, cotton and wool, 95” x 61”
titia barnett-Gudde, Cactus Form, 2012, adobe clay, 40” x 23”
h ope b . Werness
as an art historian and some-time artist, i like to make things. While i was pursuing an undergraduate degree in studio art, my professors encouraged me to consider careers teaching high school or designing wallpaper. neither appealed, so i went on, without thinking too much about the consequences and obtained first an ma and then a phd in art history. during my early years of teaching, when it was necessary to focus on academic work in order to climb the promotion ladder, i missed making things. Finally, after promotion to Full professor, i allowed myself to begin making things again.
now that i’m fully retired, i can pursue my whim(sy) even more energetically. i enjoy working in all media and often work in series. initially, the work related to my scholarship, for instance, a number of ceramic artists’ houses resulted from research for a book on the same subject. other series include goddesses, sacred places, and most recently, a circus.
the work in this exhibition is part of a group of boat images. like the other series, this imagery is rife with profound symbolism—the ship as a symbol of the soul, the journey of life, of life’s calms and storms. i’ve included quotations on some of the boats and others simply embody ideas. i feel very fortunate to sail along, having the time, conditions, and luxury to pursue these interests of mine. and, besides, it’s just plain fun!
The Midnight Circus, presented by Dr. X.K. Mirabilis, 2011, three of fifteen mixed media figures: Geppy the Clown; Mirabelle, the Equestrienne and Her Horse Moonlight; Max, World’s Strongest Man
Yosemite Picnic, 2009, found objects and mixed media
h ope b . Werness
Half Dome Takes a Vacation, two images from a series of original postcards – Half Dome Visits Egypt, 2004
Colle C tion o F h ope b . Werness
african (venetian) trade beads, ca. 1900, glass
big trees postcard Collection, ca. 1900-1950, print on paper
d aryl J o seph m oore
as a visual communicator and published author i have evolved creatively to the committed purveyor of ideas that i am today, and as such always with the desire that what i do will possibly have a direct effect on the everyday lives of a wider audience. this continual need for relevance — having moved beyond the published illustration path i began in the early 1980s — is indeed lofty but nonetheless essential in the quest for creative fulfillment and validation. on the visual arts side of the spectrum that evolution has led to work primarily in the applied areas of advertising, visual identity, design and branding in a professional practice that began ostensibly in the 1980s. the examples i have selected for this exhibit not only show my approach to the creative process in the development of visual identity and branding, but the work is also a snapshot of a particularly prominent moment in my life as the newly appointed dean of the College of the arts in 2007. Creating a brand for the new College was an exciting and welcomed challenge, and the mark that i designed over that initial threemonth period was also a celebration of the new College in addition to being an arresting and memorable combination of typography, form and communication. the “Coa” mark is a graphic totem, which in addition to representing the three distinct divisions of the new College forms a unit structure utilizing a slightly modified version of the classic font Gill sans. the uppercase “C” embracing the lowercase case letter “o” womblike, while creating the inference of sight, an eye balancing on the lowercase letter “a” representing the arts on an all encompassing scale (a visual nod to the act of seeing and experiencing art, perhaps in new ways). i love the mark for its visual symmetry and balance, but mostly for the outstanding faculty and programs it was created to represent at the time.
the masthead and logotype design for the new College of the arts newsletter “ venue,” created for the promotion of the College to alumni, donors and the greater turlock and Central valley Community, and is based on a modified version of the font Futura. here, the beauty of the font does most of the heavy lifting in the logotype design. i used an extra large red “colon” mark as a placeholder and signal to the reader that so much more awaits them on the pages that follow about the new College. this element was used throughout the publication as a graphic, underscoring the newsletter’s visual presence while branding it to the community.
a few words (not nearly enough) regarding the work of peter barnet and nancy Goldring, artists and former colleagues whose work i have the honor of owning and hanging in my home thanks to their generosity and appreciation having worked together for over a decade. both were gifts of the artists respectively, which i have selected to be included in this exhibition catalogue. nancy Goldring is an outstanding new york City based artist whose mysterious and thought provoking images utilizing her unique process of “Foto-projection,” encompasses collage, drawing and photography. she has exhibited internationally with work in permanent collections throughout the world. her images create (in my mind) a dream state for the viewer, each frame a sojourn of line and image, the narrative of which is often unknowable, but nevertheless always present.
“ two dogs Gazing” by peter barnet, is a painting that i am most fond of. the dogs are so true in his depiction of them that i continue to refer to them as my two dogs, the personalities of which are manifest in the paint strokes of the artist. While barnet’s approach to the visual arts contrast decidedly from that of his father, the renown Will barnet, peter’s work is just as intimately realized as the lineage from which he hails. his work remains a personal favorite and i am truly humbled to have examples of both the work of his and nancy Goldring, and to be able to introduce these noteworthy artists to you on these pages.
(above) visual identity for the new College of the arts, 2007 (below) detail of College of the arts promotional campaign
(above) visual identity for the new College of the arts newsletter “ venue”, 2010 (below) detail of “ venue” layout
Heather Raffo & Amir ElSaffar bring “Sounds of Desire” to the CSUS Mainstage Theatre
The first performance of the College of the Arts Forum Series premiered appropriately in March, literally trumpeting in Women’s History month with playwright and actor Heather Raffo’s stunning performance of “Sounds of Desire.” Accompanied by musician Amir ElSaffar on santoor and trumpet, the artists played to an intimate and captivated audience in the College of the Arts’ Mainstage Theatre. Raffo (pictured above) has performed her acclaimed
example of how art can remake the world.”
To the backdrop of ElSaffar’s evocative music, Raffo brilliantly transformed herself into several dynamically diverse Iraqi women, each delivering relevant stories from all sides of the
“Golden Gala”
and
and
The
and
(continued on page 2)
The Newsletter of the College of the Arts at California State University Stanislaus • Volume One • Number One • Fall
Photo courtesy of the artist.
Photo courtesy of the artist.
Colle C tion o F d aryl J o seph m oore
nancy Goldring, untitled, 2000, digital print
peter barnet, two dogs Gazing, 1985, oil on canvas
a rtist b io G raphies
education
1964 Goldsmiths College, london University: atC
1963 leeds College of art: national diploma and post Graduate in art and design
1960 Wakefield College of art: intermediate diploma in art and design
selected solo exhibitions
2009 Residency Exhibition, Cortijada los Gazquez, velez blanco, almeria, spain Butterfly World, mJC Gallery, modesto, Ca
2008 Tools of Unknown Use and Other Works, First street Gallery, eurieka, humboldt state University, Ca
2007 Touching Earth, rasmussen art Gallery, pacific College, angwin, Ca
Standing on Earth, truckee meadows Community College, reno, nevada
2006 Groundwork, Greenleaf Gallery, Whittier College, Whittier, Ca
2005 About this Earth, University art Gallery, California state University, stanislaus, Ca Gordon Senior, parks exhibition Center, idyllwild arts, Ca
1999 kelling arts Festval, kelling, Uk
1996 Grizedale Centre. Grizedale Forrest, Cumbria, Uk
1995 Crossing Open Ground, norwich Gallery, norwich, Uk hardware Gallery, london, Uk
selected group exhibitions
2012 Many Faces of Clay, CCaa mistlin Gallery, modesto, Ca Gallery Artists, don soker Contempoary art, san Francisco, Ca SHINE, berkeley art Center, Ca
2011 Connect and Collect, san Jose institute of Contemporary art, Ca 40th Anniversary Exhibition, don soker Contempoary art, san Francisco, Ca
Art Auction 2011, Crocker art museum, sacramento, Ca
Faculty Exhibition, Faculty development Center, CsU stanislaus, turlock, Ca
Group Exhibition, don soker Contempoary art, san Francisco, Ca
2010 The Seventh Annual Miniature Show, First street Gallery, turlock, Ca
Faculty Exhibition , Faculty development Center, CsU stanislaus, turlock, Ca
Art Auction 2010, Crocker art museum, sacramento, Ca
Salthouse 10, Landmark, salthouse, norfolk, Uk
Faculty Exchange Exhibition, First street Gallery, humboldt state University, Ca
2009 Faculty Exhibition, Faculty development Center, CsU stanislaus, turlock, Ca
The Sixth Annual Miniature Show, First street Gallery, turlock, Ca
Art Auction 2009, Crocker art museum, sacramento, Ca
Newcastle Group, northumbria University Gallery, newcastle Upon tyne, Uk
2008 Summer Exhibition, Jill bishop Contemporary art, halesworth, Uk
Salthouse Sculpture Trail, salthouse, norfolk, Uk
Casters, University art Gallery, California state University stanislaus, Ca
Inside/out parks exhibition Center, idyllwild arts, Ca
2007 Department of Art @ Faculty Development Center, California state University, stanislaus, turlock, Ca
2006 Eight Hours Difference, the peter scott Gallery, lancaster University, Uk
2005 Just Visiting huntington beach art Center, huntington beach, Ca
2004 Valley View, University art Gallery, California state University, stanislaus, Ca
Objects in Contemporary Practice, Carnegie arts Center, turlock, Ca
2001 Down to Earth, salthouse Church, norfolk, Uk
The Hare, Gysing arts Centre, suffolk, Uk
International Festival of Light, Westonbirt arboretum, Uk
2000 Drawing Connections, beach Gallery, kansas state University, Usa
Strands, i Gallery, Chicago, Usa
Strands, Gettysburg College art Gallery, pennsylvania, Usa
Drawing Connections, John innes Centre, norwich, Uk
1998
Newcastle to Newcastle, penrith regional art Gallery, nsW, austrailia
Inversions, stroud house Gallery, Gloustershire, Uk
View Points, artsWay Gallery, hampshire, Uk
Tree of Life, the Centre for life newcastle-Upon-tyne, Uk
Vauxhall Gardens, norwich Gallery, norwich, Uk
Sticks, artsway Gallery, a southern arts touring exhibition, hampshire,Uk
1997
Newcastle to Newcastle, newcastle regional Gallery, nsW, austrailia
1996 Weather View, koninkijke Gallery, den haag, netherlands
The Hare, leicester City art Gallery, leicester, Uk
Conversations, Contact Gallery, norwich, Uk
1995 Tyne and Tide, design Works Foundation, Gateshead, tyne & Wear, Uk
The Taster Exhibition, Contact Gallery, norwich, Uk
The Castle Art Show 95, norwich Castle museum, Uk
1994 Leeds International Symposium Exhibition, leeds metropolitan University, Uk
1993 Contemporary Art Society Exhibition, smiths Gallery, london, Uk
Newcastle Group 93, hatton Gallery, newcastle, Uk and latvian academy of art, riga, latvia
The Castle Art Show 93, norwich Castle museum, norwich Uk
1992 From Tyne to Tay, duncan of Jordanstone College of art, dundee, scotland North-East to Finland and Russia, Central house of the artists, moscow and tampereen taidemuseum, tampere, Finland
National Symposium Exhibition, leeds metropolitan University, leeds, Uk
selected Collections
the Crocker museum, sacramento, Ca ; the darlington Collection, Co durham, Uk ; northumbria University, newcaslteUpon-tyne, Uk ; Wakefield City art Gallery, Wakefield, Uk ; leeds schools loan scheme, leeds, Uk ; the Fred olsen line, newcastle, Uk ; king edwards hospital, Uk ; Grizedale Centre, Grizedale, Uk; various libraries, etc. including the tate Gallery artist book collection
Catalogues and Brochures
2010 Salthouse 10 Landmark, salthouse, norfolk, Uk Faculty Exchange Exhibition Catalog, First street Gallery, humboldt state University, eureka.
2009 Energy in the Air the Newcastle Group 1984-2009.
2008 Gordon Senior : Tools of Unknown Use, humboldt state University, isbn: 0-9802410-0-6
2007 Department of Art @ John Stewart Rogers Faculty Development Center, isbn: 0-9773967-9-7
2006 Groundwork, Greenleaf Gallery, Whittier College, Whittier, California, isbn 0-9773967-1-1
2005 About this Earth, University art Gallery, stanislaus state University, isbn 0- 9676803-7-9
2002 Drawing Connections, kansas state University & nasd 2002.
1999 States org, Winchester: southern arts
1998 Viewpoints, hampshire: artsWay Gallery Sticks, isbn 1 873451 342 southern arts
1995 Birdsuit 4, writings and drawings from norwich school of art Crossing Open Ground, isbn 1 872482 155.norwich school of art
1994 Birdsuit 3, writings and drawings from norwich school of art and design Artists from Europe, leeds european Fine art symposium
selected Bibliography
2007 david olivant, Standing on Earth, truckee meadows Community College, reno, nv, artcritical.com
2001 video interview, The Hare, 2001, directed by mike toll, Gysing arts, sufolk, Uk video, Down to Earth, 2001, directed by mike toll, salthouse Church, north norfolk, Uk
2000 Drawing Connections, kansas state University
1995 Gordon Senior - Crossing Open Ground, Cathy Coutney, art monthly, september Gordon Senior - Crossing Open Ground, helen pye- smith, arlis, issue 113, march/april
1993 latvia national t v art World, Jan 31st diena pielikums, Balozu pari un citi pari, riga, latvia, Jan 30th piektcliena, Nukaslas Grupas, riga, latvia, Jan 29th
b b.C. World service, Lounaslahetys, Finland, 21st Jan
1992 lansi- Guomi, The Newcastle Group, Finland, 8th nov radio tampere, Finland, Lauantaitarootin, nov 7th radio moreeni, tampere, Minna Vesanto, Finland, nov 7th russian national tv news and moscow radio, The Newcastle Group at the Central House of the Artists, July 15th
Aamulehti, tampere, Finland, nov 7th.
Commissions, research awards and residencies
2009 Joya residency, Cortijade los Gazquez, spain
2008 Commisioned sculpture of eyemann sculpture Garden, idyllwild arts, Ca
2006 Commisioned drawing for the kaiser permanente medical Center, modesto, Ca research award for collaborative international conference “inspiration to order”
2005-2007 Commision for nesst
2004, 2007 research award CsU stanislaus
2000 research award to development of exhibition artor stoll/Gordon senior
1998 “sticks” Commissioned for southern arts touring exhibition
1996 the Grizedale Forest residency
1995 eastern arts publishing award
nsad research award, publication ‘Crossing open Ground’ John brinkley sabbatical
1994 invited artist leeds metropolitan University international symposium
1992 invited artist leeds metropolitan University national symposium
education
1989 Claremont Graduate University, Claremont, Ca, m.F.a
1987 California state polytechnic University, pomona, Ca, b.a.
1980 don bosco technical institute, rosemead, Ca, a s. in offset lithography Color separation
teaching
2003-present California state University, stanislaus, turlock, Ca professor, department of art
2002 California state University, san bernardino, san bernardino, Ca
adjunct professor, sculpture, department of art
1990-2003 Claremont Graduate University, Claremont, Ca, adjunct professor in studio practices/theory, department of art
selected solo exhibitions
2011
2010
2009
2008
2007
2006
2005
2004
“on the Way to sulfer island,” beaver street Gallery, Flagstaff, az
”made in the pacific,” Center for Contemporary art, sacramento, Ca
“pacific Winds,” skinner howard art, sacramento, Ca
“oahu before dawn,” Frumkin Gallery, santa monica, Ca
“high tide” limn Gallery, san Francisco, Ca
“return to pearl” 643 a project space, ventura, Ca
“battle of a shallow sea,” John stuart rodgers Faculty development Center, CsU stanislaus, turlock, Ca
“sources of victory,” limn Gallery, san Francisco, Ca
“return of the black Cat,” beaver street Gallery, Flagstaff, az
“like the yorktown,” ventura College Gallery, ventura, Ca
“extended orders,” University art Gallery, California state University, stanislaus, turlock, Ca (Catalog)
“south of tawara,” truckee meadows Community College, reno, nv
“pin points in the pacific,” limn Gallery, san Francisco, Ca
“silence in the Coral sea,” riverside art museum, riverside, Ca
“Full Fathom Five,” JayJay, sacramento, Ca
“ the pacific boils over”, Carnegie art Center, turlock, Ca
“power in the pacific”, ridley Gallery, sierra College, rocklin Ca
“ year away from the pacific”, parson’s Gallery, harvey mudd College, Claremont, Ca
“Current and Winds”, robert v. Fullerton art museum, California state University, san bernardino, Ca
“Fighting the tides”, the branson school, ross Ca
2003 “past magnetic north”, limn Gallery, san Francisco, Ca
2002
“rough seas”, parks exhibition Gallery, idyllwild arts, idyllwild, Ca
“rudder shift”, Claremont City hall Gallery, Claremont, Ca
2001 “in the shallow lagoon”, JayJay, sacramento, Ca
2000 “Fragments from the pacific”, hunsaker/schlesinger, santa monica, Ca
“Works From the pacific Campaign”, the huntington beach art Center, huntington beach, Ca
1999 “silent service”, davis art Center, davis, Ca
1998
“Whispering distance”, santa barbara Contemporary arts Forum, santa barbara, Ca (Catalog)
“ vanishing tide”, Gallery paradiso, Costa mesa, Ca
“allied advances”, Weintraub thomas Gallery, sacramento, Ca
“Under a shattering Fire”, san diego art institute, san diego, Ca
1996 “principles of recognition”, Gallery paradiso, Costa mesa, Ca (Catalog)
1995 “in the slot, 3 pm”, boritzer/Gray/hamano Gallery, santa monica, Ca
“Flame out”, the art store Gallery, los angeles, Ca (Catalog)
1994 “blue Jackets return”, boritzer/Gray Gallery, santa monica, Ca
“distances and halts”, san diego art institute, san diego, Ca
1993 “ the boatswain pipe”, mendenhall art Gallery, Whittier College, Whittier, Ca
1992
“dean de Cocker - mixed media Constructions”, solomon dubnick Gallery, sacramento, Ca
“dead reckoning - the resin Works”, daniel saxon Gallery, los angeles, Ca
group exhibitions: Dean De Cocker has exhibited in over 100 group exhibitions
selected Collections
the Crocker museum, sacramento, Ca, robert v. Fullerton art museum, California state University, san bernardino, Ca, laguna beach museum, laguna, Ca, merrill lynch, sacramento, Ca, orange County museum of art, newport beach, Ca
selected Bibliography
2010 dalkey, victoria. “dean de Cocker’s ‘icily elegant’ sculptures on display at skinner/howard Gallery.” sacramento bee april 18, 2010
2007 “pulse.” Flagstaff live may 3 – 9, 2007 Jerome. “art beat.” the noise, arts and news may 7, number 72
2006 olivant, david. “made in China.” “eight hours difference,” peter scott Gallery lancaster University, U.k
2005 vagner, kris. “artistic Community.” reno news and review 15 dec. 2005. morris, barbara. “beyond plastic.” artweek 36:8 (2005). roth, david. “dean de Cocker at ridley art Gallery.” artweek 36:4 (2005). millegan, lisa. “boiling point.” modesto bee 11 Feb. 2005. tornquist, kara. “ the pacific boils over.” turlock living Jan./Feb. 2005.
2004 Geer, suvan. “dean de Cocker at the robert v. Fullerton art museum.” artweek 35:3 (2004).
2003 baker, kenneth. “minimalist sculptures that Climb the Walls.” san Francisco Chronicle 2 august 2003.
2002 Frank, peter. “art pick of the Week, materials and meaning: a sculpture exhibition.” the la Weekly 24:10 (2002).
2001 dalkey, victoria. “dean deCocker’s art: made in southern California, stylishly.” sacramento bee 9 dec. 2001.
2000 iannaccone, Carmine. “dean de Cocker at hunsaker/schlesinger.” art issues sept./oct. 2000. ollman, leah. “art reviews.” los angeles times 23 June 2000. Frank, peter. “art pick of the Week.” la Weekly 22:30 (2000). Gilbert, rick. “dean de Cocker and michael aschenbrenner at the huntington beach art Center.” artweek 31:6 (2000).
Flores, angelique. “War and remembrance.” the independent 6-12 april 2000.
1999 Jullian, kimi. “Form beyond Function.” sacramento news and review 16 sept. 1999. mayle, marilyn. “surveying the local art scene.” the davis enterprise, 21 sept. 1999. “art alumni news, Cal poly pomona.” College of environmental design 2:1 (1999-2000). donelan, martha. “poetic minimalism.” santa barbara news press 5 Feb. 1999. richards, niki. “airborne Form.” the independent 14 Jan. 1999. miles, Christopher. “Whispering distance.” Catalog, santa barbara Contemporary arts Forum. Willette, Jeanne s m. “Whispering distance.” Catalog, santa barbara Contemporary arts Forum.
1997 pagel, david. “speed Flags,” Catalog, Wignall museum/Gallery. Frank, peter. “skin and bone.” la Weekly 19:7 (1997).
“Continuing and Upcoming”, artscene 16:5 (1997).
1996 korten, noel. “skin and bone.” Catalog, municipal art Gallery. Faist, Jennifer. “between the dream and the reality Falls the shadow.” principles of recognition. Catalog, Gallery paradiso.
“Continuing and Upcoming.” artscene 16:2 (1996).
Willette, Jeanne s m. “a Few Words on Jellyfish, French Fries, pots and airplanes.” Catalog, Gallery 825. Geer, suvan. “George Geyer.” artscene 15:10 (1996).
“art auction ’96.” Catalog, museum of Contemporary art. knaff, devorah l . “Fragile balance of power.” the press-enterprise 28 april 1996. o’brien, pat. “Celebrate new beginnings.” the press-enterprise 17 april 1996.
boritzer, etan. “structuralism.” Catalog, boritzer/Gray/hamano Gallery. reed, Jim. “dean de Cocker: ring around rubal, 3pm.” riverside art museum.
1995 exhibition announcement with photo, arts & entertainment. California state University, san bernardino. the Coyote Chronicle 30:3 (1995).
Grossman, kat. “First Gallery show/neo structuralism.” Friends of the museum newsletter (Fall 1995). “Continuing and Upcoming.” artscene 15:3 (1995).
kugelman, kerry. “ to see Gravity.” about art 1:6 (1995).
eskay, kay. “suspended animation: dean de Cocker at the art store Gallery.” Coagula art Journal #17. kugelman, kerry. “ars ex machina.” visions (summer 1995).
madigan, nick. “a really big show.” the outlook 21 august 1995. kugelman, kerry. “Flame out.” Catalog, the art store Gallery.
d avid o livant
teaching
professor of art at California state University stanislaus, Usa since 1995 education
1984 m a painting. royal College of art, london/Uk
1977 b a art. Falmouth school of art, england/Uk awards
1989-1990 british Council travel award, stockholm/sweden
1986-1988 Commonwealth scholarship, lalit kala akademi, new delhi/india
1984-1985 Cheltenham Fellowship, england/Gb
solo exhibitions
2011 Narrative Drift. First street Gallery, humboldt state University, Ca/Usa
2010 Studio Leitmotifs robert v Fullerton museum, California state University, san bernardino/Usa
2008 Cadenza. University art Gallery California state University stanislaus/Usa
2007 Cadenza. Janzen Galerie, Wuppertal, Germany
Ceramic Sculptures vergas Gallery, mission College, santa Clara /Usa Those Images That Yet…, truckee meadows Junior College, reno/Usa
2001 Towards the Door We Never Opened, University art Gallery, California state University stanislaus/Usa
1999 World Not World, Fresno art museum, California/Usa
1996 University art Gallery, California state University stanislaus/Usa art heritage Gallery, new delhi/india
1994 Watercolors from the Aspen Series, stephen solovy Fine art, Chicago/Usa
1992 stephen solovy Fine art, Chicago/Usa
1991 stephen solovy Fine art, Chicago/Usa
1990 Center for international Contemporary art, new york/Usa
1987 art heritage Gallery, new delhi/india
selected group exhibitions
2010 California State University Stanislaus Faculty Exchange Exhibition, First street Gallery, humboldt state University/Usa
2008 international art fair, art Karlsruhe, karlsruhe/Germany (represented by Janzen Galerie,Wuppertal)
2002 Art Department Faculty: Valley View, University art Gallery, California state University stanislaus/Usa
1997-1999 Last Dreams of the Millennium, art museum, University of hawaii, honolulu; tyler museum of art, tyler/ Usa ; California state University, Fullerton/Usa ; California state University, stanislaus/Usa
1997 Two From Britain, California state polytechnic, pomona art Gallery/Usa
1995 archer m huntington art Gallery, University of texas, austin/Usa
1993 haggerty art museum, marquette University, milwaukee/Usa
1990 French institute, stockholm/sweden
Work in Public Collections
robert v Fullerton museum, CsU san bernardino/Usa ; archer m huntington art Gallery, University of texas, austin/Usa ; art institute of Chicago/Usa ; british Council, london/Gb; haggerty museum of art, marquette University, milwaukee/Usa
Catalog essays
“ambadas” published by CsU stanislaus 1998
“last dreams of the millennium” published by stephen solovy art Foundation 1999
“ranbir kaleka: ironist of the imagination.” published by bose pacia Gallery, new york, 2005
“sophie Chardonnet” published by art vietnam Gallery 2006
“life Games” published by CsU stanislaus 2008
“Gordon senior: tools of Unknown Use and other Works” published by humboldt state University 2008
reviews of other artists
“multiplying the variations: david olivant on robin hill,” artcritical.com 2006
“standing on earth: david olivant on Gordon senior,” artcritical.com 2006
“eleanor Wood- mixed media on paper: david olivant on eleanor Wood,” artcritical.com 2007
“david olivant on takashi murakami at the Geffen,” artcritical.com 2008
“Joan moment @ limn and JayJay,” squarecylinder.com 2009
“picking up the pieces” david olivant on Julie heffernan, artcritical.com 2010
Jessi C a Gom U la- k r U zi C
education
master of Fine arts, printmaking, illinois state University, normal, il bachelor of Fine arts, printmaking, atlanta College of art, atlanta, Ga
teaching experience
California state University, stanislaus, turlock, Ca. time based media associate professor (2005-present)
2012 Dream Garden public art installation. love modesto. Graceada park, modesto, California. Ssshhhh! alameda public library. alameda, California.
2011 Meet Your Neighbor public art installation. modesto art museum. throughout downtown modesto, California.
2009 Semantic Frottage, solo video installation. modesto art museum / mistlin Gallery, modesto, California.
2008 Life’s Tantric Love Triangles. 21 Grand Gallery, oakland, California.
B.O.O.B. (Breastfeeding Outside Our Bedrooms) solo performance. austin, texas. Infinite Transformations of Desire. University Gallery, California state University, stanislaus, turlock, California.
2000 Transformations. University Galleries, illinois state University, normal, illinois.
Collaborative Installations
Double Vision Intermedia Performance group
2011 ionion Center for the arts and Culture, kefalonia Greece. pop revolution Festival, lecce, italy.
proarts Festival 2011 & international Choreographic platform, brno and prague, Czech republic. moving house Foundation / Florian Workshop in budapest, hungary. ozU, monteleone sabino, outside rome, italy. recursive things. Julian scott memorial Gallery. montpelier, vt
2010 may day. Counterpulse. san Francisco, Ca
2009 Cst institute for Computer music and sound technology, zürich. museumsQuartier Wien, vienna, austria. institut intermédií, prague, Czech republic. hypnagogia. Climate theatre. san Francisco, Ca. innovative performances for traditional needs. mr. smith’s, san Francisco, Ca
2008 4×60 national tour. Center for Contemporary arts, santa Fe, new mexico. 4x60 national tour. arts lab, albuquerque, new mexico.
4×60 national tour. basiC, san diego, Ca
4×60 national tour. dragonbar, san Francisco, Ca
2007 to Futurism and back again. yerba beuna Center for the arts, san Francisco, Ca to Futurism and back again. dance mission theatre, san Francisco, Ca CultureCatch.com artist salon, macWorld Conference. red ink studios. red ink studios, san Francisco, Ca
2006 21/one performance with double vision and boxcar theatre, Fringe Festival, san Francisco, Ca lonely owl and the Game of life, byte #2. Cellspace, san Francisco, Ca artsexpo. Civic Center park, san Francisco, Ca.
lonely owl and the Game of life, byte #1.5. artsFest spectra ball, san Francisco, Ca
2005 lonely owl and the Game of life, byte #1. mad horse loft, oakland, Ca lonely owl and the Game of life, byte #0. Works, san Jose, Ca.
2009 Cyland Festival -hermitage museum. st. petersburg, russia
2008 hanes art Gallery, Wake Forest University Winston- salem, north Carolina Utsikten kunstsenter. kvindesdal, norway the Future Was then. scope basel, basel, switzerland second nature Festival. aiX, France
2008 the Future Was then. scope new york, new york, new york
2007 robodock Festival. amsterdam, netherlands
Chelsea art museum. new york, new york
scope art Fair, east hampton, new york and new york, new york Wro07 – Xii international media art biennale, Wroclaw, poland house of Campari, los angeles California Coachella valley music and arts Festival, inido, California artdC art Fair, Washington d.C. art|basel , miami, Florida
2006 digit Film & media Festival, bethel,ny scope art Fair, london, Uk
split Film Festival, split, Croatia le name Festival, lille, France digit Film Festival, monticello, new york
selected Juried / Invitational group exhibitions
2012 RAW 2012 deep root dance Collective. Garage. san Francisco, Ca
2011 Architecture Graffiti modesto international architecture Festival, Chartreuse muse Gallery. modesto, Ca President’s Gallery. California state University stanislaus. turlock, Ca Deep Root Dance Collective at The Garage. san Francisco. Ca.
2010 The Next 50 Years. California state University art Gallery. turlock, Ca modesto international architecture Festival. Film screening, state theatre. modesto, Ca Illuminated Corridor best of oakland. oakland, Ca
This Ain’t A Happenin’: Transient Acts & Documents beauborg268. san Francisco, Ca
The Fine Arts Faculty of CSU Stanislaus humbolt state University First street Gallery. humbolt, Ca
2007 Jealousy’s Triangle online screening at Culturetv: http://www.culturetv.tv.
Digital Subjects block of the arts, Coimbra, portugal.
CSU System Print Invitational. Janet turner print museum, Chico, Ca Evolution, print invitational. burt Gallery, london, england.
Digital Fringe horse bazaar, the age melbourne Fringe Festival. melbourne, australia.
2006 Made in China. peter scott Gallery, lancaster, england.
FILE: 2006 sesi Gallery, sao paulo, brazil.
Featured Artist. Women’s Caucus for art online exhibition, http://nationalwca.com. Drunken Boat PanLiterary Online Journal. Web art award Finalist, summer Issue. 2006: PublicDuck, Episode 16 online screening. http://www.publicduck.com.
Lessedra: World Art Print Annual lessedra Gallery, sofia, bulgaria and http://www.lessedra.com. 2006: 60 Seconds of Play saltworks Gallery, atlanta, Ga
60 seconds of Play. Forum Gallery, Cranbrook academy of art, bloomfield hills, mi and online Flux. Works Gallery, san Jose, Ca
Imaging Ourselves international museum of Women. Featured on front page of website, http://www.imow.org. Sigmund’s Laundromat online screening at Culturetv: http://www.culturetv.tv.
2005 Maintaining the Ideal. rhizome.org exhibitions.
In the Abstract sebastopol Center for the arts, sebastopol, Ca Happy Holidays online screening at Culturetv: http://www.culturetv.tv.
Curation and organization of exhibitions
2006 Film Festival, Chair, national Women’s studies association Conference. oakland, Ca
2008 Fragile Moments: Handmade Glass Condoms kinsey institute for research in sex, Gender, and reproduction. bloomington, indiana.
2007 Name Game. rhizome.org artbase: http://rhizome.org/object.rhiz?43121. Evolution print exchange. asagaya College of art & design, tokyo; norwich school of art & design; and California state University, stanislaus.
2006 Love’s Laundry mid-america print Conference archives at perdue University and ohio University, athens, oh
1998 John F. kennedy University, berkeley, Ca, m.F.a
1993 California state University, Chico, Chico, Ca, b.F.a.
1987 romerike Folkehoyskole, Jessheim, norway, mixed media studio art
teaching
2003-present California state University, stanislaus, turlock, Ca- adjunct professor in studio 2002-present the Chartreuse muse art school, modesto, Ca- art director/ instructor 2000-present lakewood elementary school, modesto, Ca- art director/instructor 2000-2003 Central California art league, modesto, Ca- art director/instructor California arts Council, stanislaus County, Ca- artist in residence
1999-2000 modesto high school, modesto, Ca- visiting artist la loma Junior high school, modesto, Ca- visiting artist
1998-2003 stars, stanislaus County, Ca- artist in residence
1998-2000 modesto Junior College, modesto, Ca
Guardian rehabilitation Center, modesto, Ca- art instructor
1998 harvey milk Center, san Francisco, Ca- art director/instructor 1996-1998 leap, san Francisco, Ca- artist in residence
1994-1998 katherine michael’s school, san Francisco, Ca- art director/instructor
solo exhibitions
2007 “lost and Found” University Gallery, California state University, stanislaus, turlock, Ca
2005 “ the muse” the Chartreuse muse Gallery, modesto, Ca
1999 “animal tales”- performance and installation, oakland museum, oakland, Ca “new Work” CCal Gallery, modesto, Ca
1998 “Girls, boys and toys” art annex Gallery, berkeley, Ca “labels” John F. kennedy University Gallery, berkeley, Ca
1997 “ tea dreams” the art explosion Gallery, san Francisco, Ca
1993 “Figures on the Wall” lew oliver Gallery, Chico, Ca “dreams” University Gallery, California state University, Chico, Chico, Ca
1992 “elements” phoenix Gallery, Chico, Ca
1991 “ the Figure” sienna Gallery, Chico, Ca
Collaborative exhibitions
2011 “Found again” the Chartreuse muse Gallery, modesto, Ca
2009 “2 muse” the Chartreuse muse Gallery, modesto, Ca
2007 “opening” the Chartreuse muse Gallery, modesto, Ca
2004 “Women’s Work” the Chartreuse muse Gallery, modesto, Ca
2001 “outside the box” modesto art Center Gallery, modesto, Ca “ three Women sculptors” Carnegie art Gallery, turlock, Ca
2000 “ the art of recycling” stanislaus County Fairgrounds, turlock, Ca
1999 “opening tricks” Festival of the arts, berkeley, Ca
1998 “Women artists- new Work” Central California art league Gallery, modesto, Ca
1997 “between dreams” arts annex Gallery, berkeley, Ca
1992 “Figurative sculpture” California state University, humboldt, arcata, Ca
group exhibitions
2012 “ the many Faces of Clay” mistlin Gallery, modesto, Ca
2010 “pets and their people” the Chartreuse muse Gallery, modesto, Ca
2009 “Games people play” the Chartreuse muse Gallery, modesto, Ca
2008 “beauty for ashes” the Chartreuse muse Gallery, modesto, Ca
2006 “spring” the Chartreuse muse Gallery, modesto, Ca
2004 “hildegaard Festival” California state University, stanislaus, turlock, Ca “alumni exhibition” John F. kennedy University Gallery, berkeley, Ca “Faculty show” University Gallery, California state University, stanislaus, turlock, Ca
2003 “beginnings” the Chartreuse muse Gallery, modesto, Ca
2002 “Grand opening” the Chartreuse muse Gallery, modesto, Ca
1999 “What is art For?” oakland museum, oakland, Ca
1998 “human habit” William king regional arts Center, abingdon, va
“lead into Gold” Gallery route one, point reyes, Ca
“animals and their people” sebastopol Center for the arts, sebastopol, Ca
“an homage to inspiration” danville Fine arts Gallery, danville, Ca
“re-membering” arts annex Gallery, berkeley, Ca
“Graduate exhibition” John F. kennedy University Gallery, berkeley, Ca
“ trash into treasures” yWCa Gallery, oakland, Ca
1997
“Calcinatio” the art explosion Gallery, san Francisco, Ca
“Journey into Wholeness” Center for the visual arts, oakland, Ca
“Collage and assemblage” arts benicia, benicia, Ca
“spring show” the art explosion Gallery, san Francisco, Ca
1996 “a Woman’s Worth” Wednesday’s Gallery, santa Cruz, Ca
“bay area artists” the art explosion Gallery, san Francisco, Ca
“13th annual dream art exhibit” Claremont resort, berkeley, Ca
1995 “summer art show” the art explosion Gallery, san Francisco, Ca
1993
1992
“open studios” the art explosion Gallery, san Francisco, Ca
“California Clay Competition” the artery, davis, Ca
“37th annual student exhibition” California state University, Chico, Chico, Ca
“Feats of Clay” lincoln arts Center, lincoln, Ca
“California Works” California state Fair, sacramento, Ca
“national Women’s month show” planned parenthood, Chico, Ca
1991 “it Figures” ayres Gallery, Chico, Ca
1987 “romerike art show” radhus Gallery, Jessheim, norway
1986
“international art exhibit” romerike Gallery, Jessheim, norway “annual art Competition” tehama County Fair, red bluff, Ca
grants/awards/residencies
2000-2003 arts enrichment Grant, Central California art league, modesto, Ca
1999-2002 California arts Council Grant, artist in residence, stanislaus County, Ca 1999-2000 project alive Grant, stanislaus County arts Council, modesto, Ca
1998 susan seddon boulet award, berkeley, Ca award of merit, the Flame, berkeley, Ca
1992 summer arts scholarship, California state University, humboldt, arcata, Ca
1986 First place drawing, tehama County art Competition, red bluff, Ca
1977 First place easter design, hallmark, red bluff, Ca
selected Bibliography
2009 “ their own muse: Gallery owners show their Works” the modesto bee, september 11, 2009
2008 “beauty for ashes” lifewind publications, october 2008
2007 “lost and Found” exhibition Catalog, California state University, stanislaus, turlock, Ca
2005 pethoud, kathi. “Gallery has had a hand” the modesto bee, october 2, 2005 millegan, lisa. “ the Chartreuse muse” the modesto bee, september 16, 2005
2003 hill, david. “a Work of art for trio” the modesto bee, February 2, 2003 2002 millegan, lisa. “downtown modesto” the modesto bee, december 22, 2002 2001 stutzin, leo. “outside the box” the modesto bee, october 5, 2001 “ three Women sculptors” talkarts, summer 2001
“artist’s reception” turlock Journal, July 27, 2001
2000 holmes, mark. “ the arts in education” talkarts, Winter 2000
Flanders, Juline. “artist in residence” talkarts, Winter 2000
“recycled art treasures abound” talkarts, summer 2000
“art show” turlock Journal, april 19, 2000
1999 Gaiser- sarraille, lynn. “What’s new in murals?” talkarts, spring 1999 hunt, karen. “ the Jury’s in” san Francisco Chronicle, February 12, 1999 brekke, Joe. “opportunity awaits” turlock Journal, december 30, 1999
brekke, Joe. “artists in training” turlock Journal, november 9, 1999
“mandala” John F. kennedy University Gallery Catalog, Fall 1999
1998 “re-membering” video interview, september 8, 1998
“safe sacrifice” the Flame, July/august 1998
lund, nancy. “mFa student receives award” the Flame, July/august 1998 street, april. “ the human habit” William king regional arts Center Catalog, July 1998
“ellen roehne- Current Work” television interview, sputnik’s rocket to stardom, may 1998
1997 “as above, so below” the Flame, July/august 1997
1996 moyle, marilyn. “Celebrating” davis enterprise, april 11, 1996
education
1968 b.F.a., pratt institute, new york, painting, printmaking, art education
1966 skowhegan school of painting and sculpture, skowhegan, maine. Full scholarship award.
1968 the art student’s league, new york
1970 m.F.a., the City University of new york, brooklyn College, painting and drawing
teaching
1983-present California state University, stanislaus, California
1977-81 Catholic University, Washington d.C.
1975-77 Cornell University, new york
1971-75 princeton University, new Jersey
1969-70 pratt University, new york
selected exhibitions, awards and reviews
2006-2008 “ yosemite: art of an american icon”, touring museum exhibition: autry national Center, los angeles oakland museum of art, oakland, Ca ; nevada museum of art, reno nevada
2004 ‘ valley view’: CsU stanislaus art Gallery, art department Faculty
2003 “150 years of yosemite landscape art”, from 1885 to present, yosemite museum
2001 Group exhibition Fresno City College: CsU art department Faculty
1999 solo exhibition CsU stanislaus art Gallery: 30 year survey, paintings & drawings, 70 works
1998 exhibition, yosemite museum Fine arts Gallery: historic paintings from the yosemite museum
1997 hackett-Freedman Gallery, san Francisco: ‘1987-1997’ Group exhibition
1995 exhibition, yosemite museum Fine arts Gallery: ‘140 years of landscape painting’
1994 exhibition, CsU stanislaus art Gallery: Faculty art Group show
1992 Contemporary realist Gallery, san Francisco: Group exhibition ‘new american Figure painting’
1990 Gallery north: new york group exhibition, recent large figure paintings, reviewed new york times
1990 “Us art”: works exhibited in national annual.
1988 director’s Choice: group exhibition, Contemporary realist Gallery, september.
1988 american artist magazine: feature article surveying artist’s major works and theories.
1988 ‘one hundred and thirty years of painting in yosemite’: from the yosemite museum archives
1987 solo exhibition: “direct observation”, Contemporary realist Gallery, san Francisco
1987 bayley art museum, University of virginia: invitational Group show
1987 “private Worlds, new realist landscapes”: Group show, san Francisco Contemporary realist Glry
1987 1st prize: national Juried exhibition “ the yosemite renaissance” yosemite & Fresno museums
1987 the Fresno metropolitan museum: ‘artists in residence’ at yosemite
1987 solo exhibition, invitational: yosemite valley visitor’s Center
1987 Figurative interpretations: Contemporary realist Gallery, san Francisco, group exhibition
2006 Paintings, Upstairs Gallery, Francine seders Gallery, seattle, Wa
2004
James Deitz Drawings, the Cedar, new york, ny
2003 James Deitz, Fine arts Gallery, pierce College, lakewood, Wa
2002 New Work, art Center Gallery, seattle pacific University, seattle, Wa
2000 Dialogue, Francine seders Gallery, seattle, Wa
1999 Interiors, Upstairs Gallery, Francine seders Gallery, seattle, Wa
1998 Toys, Upstairs Gallery, Francine seders Gallery, seattle, Wa
1997 James Deitz Paintings, Fine arts Gallery, pierce College, tacoma, Wa
1996 Mexico, Francine seders Gallery, seattle, Wa
1994 Drawings, Upstairs Gallery, Francine seders Gallery, seattle, Wa
1993 New Work, Francine seders Gallery, seattle, Wa
1991 An Introduction, Upstairs Gallery, Francine seders Gallery, seattle, Wa
1990 Paintings, king County arts Commission Gallery, seattle, Wa
Recent Work, blake Gallery, seattle, Wa
1989 Drawings, robert allman Gallery, seattle, Wa
1987 Ink Drawings, browning arts, Grand Forks, nd
selected group exhibitions
2010 Art Faculty Exhibit, University art Gallery, California state University, stanislaus, turlock, Ca
2008
Art Faculty Exhibit, John stuart rogers building, California state University, stanislaus, turlock, Ca
On the Wall, steele Gallery, Gage academy of art, seattle, Wa
2005 Drawings: James Deitz, Gail Grinnell, Caryn Friedlander, Francine seders Gallery, seattle, Wa
2002 North Dakota Museum of Art Annual, north dakota museum of art, Grand Forks, nd
2000 4 x 4: Four Decades of School of Art Alumni, Jacob lawrence Gallery, seattle, Wa
1995 The Painted Table, seattle, Wa
1994 Retrospective, aG47 Gallery, seattle, Wa
1993 Hands Off Washington, Crocodile Cafe, seattle, Wa
The New England Fine Art Institute, state of the art ‘93, new england art expo Art Works for Aids, seattle Center pavilion, seattle, Wa
1992 12th Northwest International, Whatcom museum, bellingham, Wa
New Artists to the Gallery, summer show, Francine seders Gallery, seattle, Wa 34th North Dakota Print and Drawing Annual, north dakota museum of art
1991 The Artist in the Art: Self Portraits, bumbershootFestival, seattleCenter, seattle,Wa 25th Anniversary Exhibitions: The Later Years 1986-1990, Francine seders Gallery, seattle, Wa
1990 Seven Seattle Artists, aG47 studio Gallery, seattle, Wa
Never Before Funded Show, seattle arts Commission, seattle Center, seattle, Wa
WPA (Workers Produce Art), Galleria potatohead, seattle, Wa
1988 30th North Dakota Print and Drawing Annual, north dakota museum of art
1986 Masters of Fine Arts Exhibition, henry art Gallery, University of Washington, seattle
1985 Works in Progress, department of Fine arts, University of Washington, seattle, Wa
University Bookstore Invitational Juried Show, seattle, Wa
1984 Bachelor of Fine Arts Exhibition, hughes Fine arts Gallery, University of north dakota, Grand Forks, nd
selected Permanent Collections
4Culture, king County arts Commission, seattle, Wa ; seattle arts Commission; zevenbergen Capital, seattle, Wa ; state of Washington: Washington state’s art in public places program, mattawa, Wa, auburn, Wa
reviews
2000 Still lifes with twists, matthew kangas, art in america, (special to the seattle times)
1994 Lawrence exhibit is this month’s star at galleries, robin Updike, the seattle times
1992 Two artists turn fragments into wholes, regina hackett, the seattle post-intelligencer
1990 Gallery Review, 911 CoCa, (Center on Contemporary art), seattle, Wa
m artin Camarata
Collections
palace of legion of Fine arts museum, san Francisco, California
oakland museum of art, permanent Collection, oakland, California
World print Collection, museum of modern art, san Francisco, California
museo belles artes, Caracas, venezuela
University of the pacific, permanent Collection, stockton, California
private Collection in europe, south america and the United states
Crocker art museum, permanent Collection, sacramento, California
1977 lily Foundation summer Grant, stanford University, palo alto, California
reviews
thomas albright, san Francisco Chronicle , 1968, 1972, 1975, 1977 artweek, 1975 artpapers, 1984
Publications
1980 album Cover Commission, Capitol records, the rest of dr. hook
1976 visual dialogue #3, lithography
1974 american printmakers
1973 California Graphics
1972 artist’s proof annual Xi lithography at Collector’s press
1972 site: U.s.a. teaChinG professor of art emeritus
1964 - present edUCation
1952 - 1956 new york state University at buffalo, new york, b s., art
1952 - 1954 albright art school, buffalo, new york, studio Courses
1954 - 1957 new york University, m a., art
1958 - 1959 academia degli belle arte, rome, italy
1960 - 1963 University of rochester, memorial art Gallery school, studio printmaking
John a . b arnett
education
1971 m.F.a. sculpture, University of Washington, seattle, Wa
1967 b a art, Western Washington University, bellingham, Wa
teaching
1987-2007 professor of art, CsU, stanislaus, turlock, Ca
1986-1987 production manager, nordhammer art Foundry, oakland, Ca
1985-1986 asst. professor of art, sabbatical replacement, CsU, Chico, Ca
1984-1985 asst. professor of art, sabbatical replacement, CsU, stanislaus
1981-1984 technician & instructor, metal sculpture, art department, san Jose state
1979-1980 instructor, sculpture, art department, University of hawaii-manoa, honolulu, hi
1978 instructor, painting & drawing, arts & sciences division, kapiolani Community College, honolulu, hi
1976 assistant professor art, art department, University of puget sound, tacoma, Wa
Selected Commissions/Site Specific Projects
2006 installation of “ the Gate”, outdoor sculpture, msr educational Gateway building
2005 stone sonG – FoUntain, turlock, Ca
1999-2000 outdoor sculpture program, arranged loan of 4 artworks by William Wareham, placed around campus, served on art on Campus Committee, CsU stanislaus
1999-2001 public art project, 18 bronze (2’ diam) inlays into Concrete, police services building entryway & sidewalk, City of turlock, Ca
1999 “double samara”, 23”x6”x3”, bronze/patina, portland, or
1992 “ the dance”, 48”x84”x12”, cast aluminum/paint. installed on the grounds of Fox Cove development, bainbridge island, Wa
1982 “double samara”, 36”x24”x10”, cast bronze, paint, patina. installed at park Center plaza, san Jose, Ca
1981 samara Xvi, 72” X 96” X 26”. bronze, tower building, honolulu, hi
1980 blaCk samara, 46” X 37” X 18”, bronze, manoa valley, hi
recent solo exhibitions
1999 tumbleweed, an installation, University art Gallery, CsU, stanislaus
1999 norfolk Fragments, sculpture and color drawings. the Warehouse artist’s Cooperative, norwich, england
1999 Forms of passage, sculpture and color drawings. Concourse Gallery, Fresno art museum, Fresno, Ca
1999 Forms in agriculture, color drawings. Upstairs Gallery, City hall, turlock
1998 rifts, rocks and tree skins, an installation of sculpture, University art Gallery, CsU, stanislaus
1998 Forms from nature, sculpture. kitteredge Gallery, University of puget sound, tacoma, Wa
1994 John barnett sculpture, kings art Center, hanford, Ca
1990 signs of life, montalvo arts Center, saratoga, Ca
selected group exhibitions/special events
2008 Works aUCtion, san Jose, Ca
2008 Works Gallery, members exhibition, san Jose, Ca
2008 tCaC spring show, turlock, Ca
2007 thread oF natUre , CsUs Gallery, turlock, Ca
2007 yosemite renaissance traveling exhibition, ynp, Ca
2006 Gate installed, CsUs Campus, 10’ h. x 3’ w., turlock, Ca
2006 lancaster University, lancaster, Uk
2006 9th (invitational) international shoebox sculpture traveling exhibition, initiated by University of hawaii –manoa, oahu
2005 CsU stanislaus art Faculty exhibition, University art Gallery, turlock, Ca
2005 monotype marathon, san Jose institute of Contemporary art, sJ, Ca
2004 through the artist’s eye – Jb & tb -G, modesto Jr. College Gallery, modesto, Ca
2003 textures/Form – Jb & tb -G, Chico art Center, Chico, Ca
2003 Formed by nature, Carnegie Center for the arts, turlock, Ca
2003 8th (invitational) international shoebox sculpture traveling exhibition, Uh-manoa, hi
2002 4th international Cast iron Conference, Johnson atelier, nJ
2001 monotype marathon, sJiCa, san Jose, Ca
2001 artist in residence, Jan.-Feb., yosemite national park, Ca
2001 CsU stanislaus art Faculty exhibition, Fresno City College art Gallery
2000 presented 5 day sculpture Workshop on “self- set sand”, louisiana state University, la
2000 monotype marathon and exhibition, san Jose institute of Contemporary art
2000 7th (invitational) international traveling show, “box sculpture exhibition”. organized and originated at the art Gallery, University of hawaii-manoa, honolulu, hi
1999 teacher and student (self and horacio lopez), state Capitol senate Chambers, sacramento, Ca
b . Werness
education
1961-1963 occidental College
1963-1965 University of California, santa barbara, ba
1965-1968 tulane University, ma
1968-1972 University of California, santa barbara, phd
teaching
1969 santa barbara City College
1975-1976 san Jose state University
1976-2008 California state University, stanislaus
selected Honors/awards
1965 outstanding Graduate in art history, University of California, santa barbara
1980 national endowment for the humanities summer seminar, stanford University
1992 CsU summer arts Faculty exchange
2004 outstanding research, Creativity, and scholarship professor, California state University, stanislaus
selected Publications
1999 The Symbolism of Mirrors in Art from Ancient Times to the Present. lewiston, ny: edwin mellen press
2000 The Continuum Encyclopedia of Native Art: Worldview, Symbolism and Culture in Africa, Native North America and Oceania. new york: Continuum
2003 The Continuum Encyclopedia of Animal Symbolism in Art. new york: Continuum
solo exhibitions
1991 ann saunders Gallery, Jamestown, Ca.
2005 University art Gallery, California state University, stanislaus.
selected group exhibitions/Competitions
1991 California state Fair, award of merit
1993 art of California Competition, Fresno art museum, Fresno, Ca, bronze award
1993 two-person exhibition, turlock City arts Commission, Carnegie Center for the arts, turlock, Ca
1994 Faculty exhibition, University art Gallery, California state University, stanislaus, turlock, Ca
1994 artists Who teach, turlock City arts Commission, Carnegie Center for the arts, turlock, Ca
1995 high sierra pack trip: Grant lakes, University art Gallery, CsU stanislaus and yosemite museum
1997 Clay ’97, University art Gallery, California state University, stanislaus, turlock, Ca
1998 Juried show and sale, turlock City arts Commission, Carnegie Center for the arts, turlock, Ca
2000 the little prince, villa montalvo, los Gatos, Ca, Grand prize winner
2001 California state University, stanislaus art Faculty, art space Gallery, Fresno City College, Fresno, Ca
2001 the art of tile show, smUd Gallery, sacramento, Ca
2004 art department Faculty, valley view, University art Gallery, CsU stanislaus, turlock, Ca
2010 the house of….. First street Gallery & Frame, turlock, Ca
2012 the midnight Circus, First street Gallery & Frame, turlock, Ca
gallery representation: Chartreuse muse, modesto; First street Gallery & Frame, turlock
d aryl Joseph m oore
education
1980 bFa Communication design, minor art education, pratt institute 1991 mFa advertising design, syracuse University
academic employment History
2007-present Founding dean and professor Graphic design, College of the arts, CsU stanislaus
1999-2007 department Chair, department of art and design, College of the arts montclair state University
2003-2007 associate professor, Graphic design, department of art and design, montclair state University
1994-2003 assistant professor, Graphic design, department of art and design, montclair state University
1993-1994 instructor, Graphic design, department of art and design, montclair state University
1991-1992 acting Graphic design Coordinator and design instructor, the newark school of Fine and industrial art
Professional Practice
Center for design education and research: simpatico design Consultancy llC, Founder visual Communications Group, Cofounding partner, vp Creative director (1989-1994); Creative Consultant (2005-2007) Foster higgins, senior design and art direction (1986 to 1991) rutgers the state University of new Jersey, assistant art director, office of University publications (1983 to 1986) bruan and bianco advertising nyC, assistant art director (1981 to 1983) Freelance Children’s book illustrator (1980 through 1986)
Published Illustration and animation Partial Client list (1980 through 2005) macy’s nyC, harcourt brace Jovanovich, mcdougal & little inc., Curriculum Concepts inc., scott Foresman Co., developmental learning materials, excerpta medica, la&J books Ca, houghton mifflin, Consumers Union, Citicam nyC: Character development (animation) for pharmaceutical product infomercial (2004/5)
Memberships and Professional Affiliations
rsa Current Fellow of the royal society for the encouragement of the arts, london, england aiGa american institute of Graphic artist (the professional association for design) Carnegie arts Center advisory board member turlock, California
Grants and International Projects
2005 Global education Grant: moholy-nagy University of art and design, hungary
2003 Global education Grant: korea, Wonkwang University
2002 Global education Grant: China, “Global visual dialogues”
1999-2001 Global education Grant: China, “ transcending boundaries”
1997 Global education Grant: australia, “dance across the dateline”
Curatorial
2009 The Fine Art of Form & Communication: the First international biannual student digital design exhibition, shanghai, China
2006 Double Happiness: exhibition exchange, east China normal University, school of design, shanghai, China
2003 Pleasant Tasting Kim Chi: korean exhibition of the visual arts faculty of Wonkwang University, iksan, south korea
guest lectures and Panels
2003 design and the Creative process: Wonkwang University, iksan south korea
2004 design and the Creative process: Univa Universidad del valle de atemajac zapapan Jal. mexico,
2006-2012 Graphic design, visual identity & branding Foreign expert and visiting scholar, east China normal University, school of design, shanghai prC
2009 design and the Creative process: moholy-nagy University of art and design (ponton Gallery) budapest, hungary
package design, illustration, branding & identity visiting lecturer , June 2010 & 2011, shanghai institute of technology, shanghai prC
Graphic design Foreign expert and visiting scholar, June 2012, shanghai institute of technology, shanghai prC
Guest panelist dazhou Wang Contemporary art exhibition “bio-art” opening, march 2012, shanghai art museum, shanghai prC
Books & essays Published
design and the Creative process | thomson publishing: www.designexploration.cengage.com/authors/moore/ publication date: 12/2007: isbn-13: 978-1-4018-6164-3 |
Xue song: a retrospective from 1988 to 2011 | essay publication date: 8/2011 | kwai Fung art publishing house, Central hong kong prC: isbn-978-988-18829-0-5
born and raised twelve miles west of new york City in newark, new Jersey. a focused and diverse professional background in the visual arts and higher education that includes executive leadership experience in the private and public sector, as well as industry experience as a published illustrator, Creative direction in advertising and design. author of “design and the Creative process,” published in 2007 by thomson delmar, an examination of the critical thinking and professional practice of design professionals across disciplines. Fifteen + years of combined experience working in higher education, beginning as an adjunct instructor before becoming a tenured member of the faculty, and department chair at montclair state University in 1999. appointed Founding dean of the College of the arts at California state University, stanislaus in 2007. Career highlights:
• Progressive educational background with a terminal degree in Advertising Design from Syracuse University (MFA), and a bachelor of Fine arts in Communication design (bFa) with a minor in art education from pratt institute
• Senior Art Direction and Design in Advertising, Corporate Design and Studio environments; extensive experience in the project management of visual communications, new business development, identity, branding strategies and other promotional and marketing projects;
• University level pedagogy: teaching beginning and advanced Graphic Design in progressive visual arts curriculum based undergraduate and graduate level programs in the United states and China; areas of emphasis include advertising, design, typography Form and Communication, package design, visual identity and branding
• Three-term elected Chair of Art and Design at Montclair State University’s College of the Arts; leadership of the program over an eight year period, where enrollment increased from 250 to 600+ majors; managing an operational budget of $3.5 million while facilitating new program development and the management and advancement of 24 full-time tenure track professors, 60+ adjuncts and visiting specialist
• Appointed Founding Dean of the College of the Arts at California State University, Stanislaus 2007; progressive preprofessional and liberal arts accredited degree programs in music, theatre and the visual arts
• An Elected Fellow of the Royal Society for the encouragement of Arts and Manufactures and Commerce (RSA), London, england 2003
• Author of the book “Design and the Creative Process” published in 2007 by Thomson Delmar — a multi-disciplinary examination of the design process from the unique perspectives of internationally known designers
• 2007 Peoples Republic of China Invited Foreign Expert on the Branding and Promotion of the Shanghai 2010 Expo “Better City better life”
• Visiting Scholar, 2006-2010, the School of Design, East China Normal University, Shanghai PRC
• Visiting Lecturer, Shanghai Institute of Technology, June 2010 to present, Shanghai PRC
• English Editor and Creative Consultant on the premiere issue and launch of “ArTech” an International publication devoted to architecture and design from the perspective of research, theory and professional practice (published august 2010).
aC kno W led G ments
California state University, stanislaus
dr. Joseph F. sheley, interim president
dr. James t strong, provost/vice president of academic affairs
mr. daryl Joseph moore frsa, Founding dean, College of the arts
department of art
dr. roxanne robbin, Chair, professor
dean de Cocker, professor
Jessica Gomula, associate professor
david olivant, professor
Gordon senior, professor
richard savini, professor
dr. staci scheiwiller, assistant professor
Jon kithcart, equipment technician ii
meg broderick, administrative support assistant ii
