–Chuck Connelly, in the extra features on the DVD for The Art of Failure: Chuck Connelly Not for Sale, A Film by Jeff Stimmel

I realized about halfway through Jeff Stimmel’s 2008 documentary about Chuck Connelly that I had met this person before, several times. I’d heard his rants before, I’d seen his behavior, I’d witnessed in person how he lived. Through my years as a writer on art, I interviewed and wrote about a number of aging artists — perhaps 6 or 7 in sum — who were very similar to the way Connelly portrays himself in the film. They were so much alike, in fact, that it seems there must be a personality type: The Delusional Shut-in Artist, perhaps, or maybe the Quixotic Quack Painter.

Here are some of the character features of these men (all the ones I’ve met are men):

They are painters, most often.
They have a heroic vision of themselves (as a Great Artist, a warrior fighting against the cultural tides, a man on a holy quest for beauty, truth, etc).
They are so focused on their art — their quest — that not much else matters to them.
As a rule, they don’t care much about their appearance, and they often let themselves go.
They live in a kind of contained squalor, most often surrounded by the messy trappings of their art practice and the accumulated junk piles of the congenital shut-in.
They tend to believe that they’ve been cheated, somehow, out of the rewards (fame, wealth, attention) they feel is rightfully theirs.
They are misogynistic, abusive to their loved ones, and generally fail at interpersonal relationships.
Evenso, they can be very charismatic, attracting a succession of short-term acolytes, supporters, and co-dependents who eventually end up fleeing in disgust from being used.
They tend toward substance abuse.
They are verbally brilliant, though they think and speak in non-linear, associative ways.
They exhibit flashes of brilliance and great command of their own self-directed learning, but they tend to be, at best, emotionally adolescent.

In a decaying society, art, if it is truthful, must also reflect decay. And unless it wants to break faith with its social function, art must show the world as changeable. And help to change it.

–Ernst Fischer

“Nobody wants me to do anything, so I’m just doing what I want.”
–Liz Fallon [no relation], visual artist, Portland, Me.

It’s from an article on how the recession is affecting artists called “Tight Times Loosen Artists’ Creativity.”

Here’s another quote:

“This too shall pass. Artists must continue to create no matter what happens around them.”
–Diane Leon-Ferdico, painter, Elmhurst, Queens

from Growing up with Steve Garvey

by “Michael Sean Fallon”

…When I was a kid in 1974, there was only one thing on the minds of the kids on our block. The Dodgers were in the hunt for a World Championship. They were powered by a line-up including four very young and talented infielders: Bill Russell, Ron Cey — the Penguin — Davey Lopes, and, our favorite, Steve Garvey. Now here was a real hero, someone that kids could admire and look up to without question. Even our parents seemed to think he was mostly on the up-and-up. He was clean-cut, good-looking, had graduated from college, had married his beautiful college sweetheart; he never swore, he never spat, and he never grabbed his crotch (at least not when the camera was on him he didn’t). He spent time with the fans, was always eager to talk to them and sign autographs; he talked to the press, and they wrote that he was just too good to be true. He batted. 312 that year, hit twenty-one home runs, drove in 111 RBIs [author’s note: This was at the height of a long era of pitching dominance], and he was awarded the Most Valuable Player award in the National League.

As a nine-year-old, I was ga-ga for Garvey. Here was a man that I wanted to be just like; I used to dream of trading place with him for just one day. I could see myself sidling up to my lovely wife Cyndy in my lovely Bel Air home and saying something like, “I’d really love to stay home with you and the kids, but we have that game against the Reds, and, gosh, we have to win this one if we’re going to get to the World Series.”

That would make her happy for a moment, but then she would be sad. She would look at me with large eyes and coo: “Can’t choo just stay a wittle wonger?”

“No,” I would be my chest stoically. “I have to do it for the team. But, if you like, I’ll hit a homer for you, and I’ll bring you the game ball.”

Every day without fail as part of my nine-year-old morning ritual, I checked the box score just to see if Steve Garvey had gotten any hits (I did this even if I had already seen or heard the game the day before). It would be a moment of sweet anticipation when I first opened the newspaper, and my hands would quiver until my eyes finally fell on their destination. If he had gotten a hit, it would be a good day; more than one hit, it would be a great day. No hits and forget it — I may have just as well not gotten out of bed. But with Steve Garvey, the bad days were rare because he was a model of consistency. He played all the time and eventually set the National League record for consecutive games played, and he always worked as hard as he could. Seldom did he go longer than one or two days without a hit, seldom did he let himself crush the fragile hearts of nine-year-old children whose well-being depended on his performance in the clutch.

Of course, there was The Slump. For weeks there were no hits. It was the worst slump of Garvey’s career, he could do nothing right. Three hits in his last fifty at bats. I was devastated. My family could probably tell you the date better than I could from ho I suffered and how I made them suffer with me. I believe it was 1976, the year the dreaded Big Red Machine won its second consecutive World Series. But like all low points in a person’s career, it couldn’t last, and he lived through it (we lived through it), got back on track, and eventually Garvey batted .319 for that season. I well remember the day he came out of The Slump and went five-for-five — the best day of his career and one of the happiest days of my young life. Turns out he had promised a crippled girl that he’d get a hit for her that day. It made all the papers. And, as in the movies, he couldn’t hit just one, he had to hit five: one grand slam, one other homer, two doubles, seven RBIs.

All these memories came flooding back to me just recently upon reading one of the many articles that have been written about my boyhood hero. It was like how you might recall a painful breakup with a serious steady one day while looking at your old photo album. The times I spent with Steve and the gang were sweet, or at least they used to seem so. Lately though, they’ve come to seem a little bitter, not so purely sweet. I feel sorry for all those Reds fans too, despite how I hated them when I was younger. They deserved better than what happened to Pete Rose.

Still, Pete was “Charlie Hustle.” He was never pure as the virgin snow. He had a grittiness about him — the snot-nosed kid from the tenements who was fighting for his mother’s good name. I guess we just misunderstood the kind of “hustle” they were talking about. But Steve Garvey was Mr. Clean, and there’s really no getting around the fact that he was not at all true to his image. He once was even quoted as saying he did everything as though there were a nine-year-old boy following him around. Or words to that effect.

I suppose all good things end, nothing last forever. Fortunately, the shock of shattered boyhood dreams is lessened by time. Steve’s not played for the Dodgers for seven years now. Sometimes it seems like only yesterday when my father and I were sitting in the living room watching the boys in blue struggle through the 1974 season to reach the World Series, chanting along with the home crowd as the first baseman is announced to bat with the game on the line: “Gar-vey! Gar-vey! Gar-vey!” (This was our variation on the more well-known “Reg-gie, Reg-gie, Reg-gie!”) We watched on TV, my dad and I, as they clinched the pennant late in the season, and we jumped around the room and screamed and gave each other five and jumped and screamed some more.

But, on the other hand, it seems like that happened eons ago.

by Janelle Morehart

…What of the painter?
What of him indeed
Poor painter
You strive so hard
And in the end you get nothing
But you’re happy
Forever happy
Like this is a great joke
People love the paintings
Therefore they love you
And every feeling they feel for the art
Passion, lust, love or whatever else they may feel
It will be all for you
But they’ll never know
It will be our secret
Just you and me
Our little secret
We’ll call it the Painter’s Game
A funny little joke it is
The whole world has been played
Without ever knowing
What a funny game it is
The Painter’s Game

Note: The drawings and italicized text in this piece were composed by my mother, B.Levavi. The straight text and images of the books are my own.
-Rebecca Ora

I have lived next door to Mr. Harmon for 21 years, precisely 21 years this month, yet he and I have never greeted each other much less held a conversation. He is at once comical—a gaunt, galloping Ichabod Crane—and dark, the bogeyman who lurks under the bed and in impenetrable shadows.

We know Mr. Harmon’s name only because from time to time his mail has been mistakenly dropped in our box just as we know the name of his (now deceased) dog Francis only because at 3 AM we would hear Harmon calling, “Francis, Francis, wake up. Why are you sleeping?” I sometimes think of the name that contains “harm” yet is only one letter from “harmony.”

I always refer to him as “like Boo Radley, but he doesn’t like children.” We have also called him “the man with the yellow hat,” a Curious George reference.

But we normally refer to him simply as Harmon.

Harmon lives alone in the house once occupied by his parents. In all the time we have lived here he has never worked, never entertained, traveled or had a casual conversation with a neighbor. Periodically he leaves his house to hang tattered garments on the back yard fence, drag his shopping cart to the supermarket, returning with innumerable boxes of raisins, or place his garbage bins precisely three feet apart at the curb on Wednesdays. Mr. Harmon has a characteristic walk. He leans forward at a precipitous pitch and takes giant strides, sweeping one arm into the air with every second step taken. He is rarely seen without a hat and appears to have a vast, varied wardrobe from Chinese pointed hats that tie under the chin to deteriorating straw hats to pitch helmets.

Harmon’s requirements for privacy are exacting. Once I returned home with a friend who mistakenly pulled into his driveway. Harmon came to the window with a megaphone to announce that we were on private property. Again, I approached his door to inform him that a recent earthquake had weakened our chimney and that perhaps he would want to move his car (he had a car at that time although he was never known to drive it) that was directly beneath the listing bricks. He was about to leave the house as I approached, saw me and quickly retreated behind the locked door. Only by banging on the door was I able to draw him to the window so that I could convey the message.

One time, a friend told me she had read in the local paper’s police log that the name “Fudge” was reportedly written on the side of a shed in the Wilshire-La Brea area. Of course, my brother Fudge was immediately suspected of foul play, though he vehemently denied it. Years later, he confessed to having written his name on Harmon’s shed that abutted our yard. We can only assume the Harmon, upon spying the crooked crayon scrawl on his dilapidated structure, had reported this paltry attempt at vandalism to the police.

About ten years ago I received a letter from a lawyer who threatened legal action on Mr. Harmon’s behalf because he claimed that my children were harassing him. In actuality, if my children chased a wayward ball onto his barren lawn, Mr. Harmon would turn on the sprinklers. I responded that I would counter-sue if they pursued this frivolous action and they instead went after the Asian family whose most intrusive actions appear to be silently deadheading roses on Sunday mornings. Since his failed attempt to extort money from me, Mr. Harmon hides behind bushes if he is on the street and sees me coming. On those occasions I walk very slowly.

Harmon used to have a dog, Francis.

I was the one who discovered Francis’ name. It was 3 AM, and, being an avid high school senior, I was constantly up all night, studying. Occasionally, I would hear shouting from next door: Harmon.

It sounded like, “Francis! Wake up, Francis! Why are you sleeping? It’s 3 AM!”

This was the only time I ever really heard his voice. Considering the late hour, I do not know how accurate my recollection of this episode was. I don’t know whether he was saying “Francis” or “Frances.”

Harmon’s shirts, through time, have become rattier, his walk more emphatic.

Sometimes I still spy him reading the newspaper outside, in his weedy yard, while donning a red batting helmet. He moves his head side-to-side, presumably with each line he reads. Sometimes, the newspaper is upside-down.

Mr. Harmon has had several visitors over the years. When Francis was still with us a mobile dog-grooming van would sometimes be parked in his driveway. Once I returned home to find police cars parked along the street. Mr. Harmon, it seems, had been tied up, beaten and left in that condition for several days. A friend who was visiting us told the police that she had seen a man in a bathrobe get out of a car and enter Mr. Harmon’s house several days earlier. More recently one of my children spotted two people who appeared to be social service workers standing by Mr. Harmon’s door with a pie. The pie was alas not sufficient inducement for him to open the door.

Mr. Harmon is the embodiment of isolation and paranoia. He is at once repellent and fascinating. His proximity provokes thoughts about the nature of reality and the purpose of human existence. He is the neighbor usually described as “a quiet guy” who has for years been burying dozens of bodies in his garden in the middle of the night.

Oh, Harmon! Oh, Humanity!

We have always had too many books. There are floor-to-ceiling shelves lining every wall in the living room, and shelves of varying height in the hallways, all three bedrooms, and in my mother’s bathroom.

With seven kids, all in the same schools, we often read the same books. The night before the first reading assignment was do, the child in question would inevitably freak out, realize he /she had no idea where the book was (though we were certain we had it somewhere) and someone would have to run out and pick up another copy.

We live 3 houses from a library that holds weekly book sales. Ten-cent paperbacks and fifty-cent hard covers meant that we accumulated multiple copies of random books as they were withdrawn from the stacks.

We all knew that we had too many copies of several titles. Gorky Park and Lost Horizon, for some reason, seemed to abound.

Once, I gathered together the myriad copies of these two books, much to everyone’s amusement. My mother said they were very fine pieces of literature, and it was ok, but I could tell even she knew this was excessive. I think I found five or six copies of each. When I left Los Angeles to move up north, I donated a good deal of my old stuff to charity, and my mother gave me some of the Lost Horizons and Gorky Parks to give away. We still have too many copies of other books lying around the house, though.

My mother told me once that women have a particular connection to reading, since it is a solitary activity, and women are expected to be constantly engaged, socially. She said my father used to throw her books in the trash. She would be searching for a book she was in the middle of reading, and would find it buried in the garbage. When she confronted him, he claimed that he had begun reading the book, did not care for it, and so disposed of it. He did not understand that it was not about him.

Tovah, my aunt in Israel (really my grandmother’s nephew’s wife), likes to tell the story of how my grandmother died.

Tovah refers to her as Malka, though Malka was her middle name. Her full name was really “Esther Malka” (Queen Esther). Tovah just calls her “Queen.”

She had flown to Israel from New York to visit her family. She came in on a Friday, and, upon arrival, decided to eat something then rest before the Sabbath began. She hung her wig (though she had long since been widowed, she continued to cover her hair) on the arm of the couch, put on her slippers, and sat in front of the television in the living room.

When Tovah (always in the kitchen, always cooking) realized she had not heard from the old woman for a while, and entered the living room to find Malka, perfectly still, with a slight foam on the outside of her mouth. She had died, then and there.

Tovah says that at one point, Esther, who came from a strong family that fought against the British colonizers before statehood, showed her her diaries, and claimed that her father had pushed her to marry her husband—my grandfather—who was a stringently religious man. She had actually been in love with another man, she claimed, and showed Tovah the diary entries as proof.

She was a hard, mean woman by the time I knew her.

I remember Mrs. Leo. She was the vice principal when I was in first grade, and I liked her because she had blonde hair. She was a large woman, tall and buxom. She was always very nice to me, but she did kick a little girl in the class—Sherizad Kohanzad—out of school for supposedly cheating on a spelling test.

Melissa, the woman to whom Mrs. Leo confessed about her flight capability, was eccentric in her own right. She had originally been a model, then married a religious French-Moroccan man. Her father was head of Warner brothers when she grew up, and her family lived next door to Groucho Marx. When I knew her, a mother of four, she spoke with a fake French accent at times, and cooked horrible vegetarian food with tofu-substitutes for the original ingredients. Her mother, who bought her a face-lift for her birthday one year, married a man named Laszlo who convinced her to invest the last of her fortune in an ostrich farm.

Melissa’s kids were all devastatingly gorgeous and devastatingly stupid. I tutored several of them—both older and younger than I am—for years. They are all married to beautiful stupid people, and live in Los Angeles.

Melissa’s husband Charles (my mother refers to him as Le Grand Charles, both in reference to his grandiosity as well as in ironic jabbing at his diminutive stature), once told my mother that all of his grammatical errors were “poetical license.” For some reason, my mother and Melissa had a falling out some years ago and have not spoken since.

Mario, Slim, Louisiana, Bumdog, and some other characters live on the street corner.

They drink. Mario, from the south, refers to my mother as “Miss B.” He has “cleaned up” a few times over the years, but keeps returning to the streets. At one point, he was working as a security guard.

Whenever I am back in town, Mario is happy to see me. He always tells whoever is sitting at the corner with him that he has known me since I was “this small.” And now look at me.

He used to ask her for five bucks here and there, but I think he has stopped asking my mother for money, now that she is out of work.

My mother’s backyard abuts a large park and all of its human and animal wildlife. We have spotted possums (My sister Hannah, or “Ham,” as we call her, is most afraid of these repulsive creatures, and is somehow the one to whom they most often appear, leering at her with their red and beady eyes), lizards, and even chickens on occasion. But cats are the most common.

We hate the cats. Someone always feeds them, and the neighborhood is overrun with mangy felines.

My mother has tried setting out cayenne pepper, vinegar, anything she reads or hears will serve as a cat repellent.

We had never had pets growing up, not the furry kind, at least. We had, through the years, several canaries (Tweety, Spot), freshwater and saltwater fish (including a catfish that stung my highly allergic father), and a suicidal eel that would jump out of the tank. I, being the brave one, would constantly be called to save the depressed creature’s life.

Once, Dov and Ham spotted a sign publicizing a missing cat answering to the name “Phuk Phuk.” Thereafter, the two of them began answering to Phuk Phuk, too. We did not try to locate the original Phuk Phuk; considering the number of strays in the neighborhood, those people could have easily found a replacement.

Recently, two women rang our doorbell, and asked my mother if she minded if they would catch some of the strays and take them home. My mother, in her infinite wit and dry humor, expressed that not only was this fine with her, but she did not care what they did with the cats thereafter.

“You can make stew out of them for all I care,” she said.

One of the women lost it at this point, and had to be dragged off, screaming and shaking, by her companion.

I once saw a little Asian woman pushing a baby carriage full of kibble, sprinkling cat food around the periphery of my house. Now, in addition to setting out cat repellants, my mother sets out threatening signs to deter old ladies.

Arts journalism as we used to know it is sinking with the ship…. The problem is that the cuts [to newspapers] are deepening an already miserable shortage of resources, set against a cultural universe that continues to expand [emphasis mine]. We are past the tipping point: it has become acceptable to run a paper with just a skeletal culture staff. Specialised writers are giving way to generalists. Culture sections are being tossed overboard (standalone book review sections, in particular, are a dying breed). Article lengths and “news holes” (space for editorial content) are shrinking. All this has eviscerated newspapers’ ability to deliver quality arts coverage, which, as a result, must migrate elsewhere…. Many experts believe that daily newspapers will never find a way back to sustaining solid arts journalism. Magazines are doing marginally better, but they cannot shoulder the burden of timely local arts coverage, especially for non-specialist readers — and some are folding.

None of this is a surprise to me, of course. Whereas I once had no problem finding home to 30+ yearly articles (even as I struggled to keep up on a dayjob) in local and national magazines, newspapers, newsweeklies, and online magazines, this has for the most part gone away in the past year. Most of these formerly welcoming venues have folded or been forced to cut back their space for arts writing. In fact, I’m back to writing almost solely for the first publication that was brave and daring enough to accept my very first review back in 1997. This is less of a tragedy for me than it sounds. While I’ve enjoyed writing about and supporting local art, it has not been without its hassles. And arts writing has never been much of a money-making venture.

This downturn in fact has given me freedom to evolve. I’ve been dabbling this past few months — ever since my most recent online magazine venture folded for budgetary reasons — with other writing forms: poetry, journalism, essays, fiction, memoir,… not to mention my eccentric and self-absorbed blogging (blogging, BTW, seems to be what the Art Newspaper pins all future hopes, even as it acknowledges that a general lack of funding for the practice keeps it marginal and ephemeral).

What’s perhaps the only unfortunate thing about this death of arts writing is the effect of the decline of attention being paid (not just by me, but by other writers across the board) to local artists. As the article hints, cultural production continues to expand even as less public attention is paid to it. As evidence, I note that today I am receiving more notices from artists — in the mail, via email, on Facebook, etc — than I ever have. Artists seem increasingly desperate for someone to notice them.

Alas, poor artists. In response to all your notices, emails, and public interruptions, all I can say is: Sorry. I can’t respond to your art, at least not in any official published way, but hey, that’s the way it goes.

Kamil Dawson’s Failure class statement:

When conceiving the project for our Failure class, I intentionally chose to avoid commonly prescribed ways for “successfully” displaying artwork. Instead of searching out a “professional” gallery or exhibition space to show my art, I conceived an art based project that would provide a creative invitation to engage those within the California Collage of the Arts graduate community to make art that is unrelated to their current practice. The project and invitation would provide artists an opportunity within a free-form space wherein they could create art, eat, relax, and be entertained and inspired by who or what they find around them. The platform I used was the theme of what daughters do when their mothers are away, or a back to high school extravaganza. The thought was to inspire our early incarnations of creative freedom, mainly through high school themed social engagement with our peers and friends.

I advertised the event through flyers and e-mail posts to the CCA community and focused the event around an already existing communal space and gallery called Fish Space. Located within the graduate studios, Fish Space boasts a large fish tank, table, comfy chairs and couches, and naturally attracts circles of students that want to relax, eat, talk or read. The event was advertised from 5:00-10:00 on a Saturday, and people were asked to bring items from their high school years as well as art making materials to add to the event. To encourage art making I also collected a large stack of magazines from friends, supplies for creating collages, pens, pencils and markers for drawing, and large quantities of food and beverages for snacks and dinner. I opened the space up my moving the furniture in a circle and placed blankets on the ground for people to sit. I also rented three films for background entertainment. These included, The Nightmare Before Christmas, Led Zeppelin’s The Song Remains The Same, and Snoop Dog’s Film Boss’n Up. A wall adjacent to the lounge area was also available for people to display the work they created.

I was very pleased by the initial setup of the space and the number of people that attended (around fifteen). To my surprise people were absolutely exhausted and wanted to mainly lie around and eat. I couldn’t blame them, as reviews were beginning the following week. Some people brought art pieces that they were currently working on, and by the end of the event, the actual work that was initiated and finished within the space and time of the event was done by a group of three four year-olds. Between watching the movies and running around, they finished a large painting- a feat that us adult artists were too tired, or too distracted to create.

Although the project failed in terms of creative expectations, (no art made it onto the final wall) people did have the chance to catch their breath and relax.

Samples of Kamil Dawson’s project:

Erik Madsen’s Failure class statement:

As a part of the Graduate Seminar “Failure” at CCA we were to propose a public presentation of our work as well as exhibit at a some point during the semester. I proposed three different venues where I believed I could have the opportunity to exhibit work. My first FAILURE came when I had failed to read the fine print for the Musee Hamaguchi competition, which stated that March 16th, 2009 was the due date of a mail in registration form — even though in very large text it had read July 22, 2009 as the due date to receive the materials for the jurying process. My second proposal was to exhibit one of my large film scrolls at Artist Television Access, second FAILURE came when I decided to wait and submit a short video/film for their 4th Annual Film Festival due May 29, 2009 which is a failure because it will take place outside the context of the assignment. Much of my energy has been in wrestling with digital technology (namely Final Cut Pro) after telecining my 35mm experimental film to mini dv. My third FAILURE comes from basically bitting off more that I could chew — I have not yet submitted work to the Donna Seager Gallery as of yet ( itʼs been a busy semester with Reviews and all), and still need to document the work I will be submitting- and this will also happen after the course has ended.

My initial impetus in proposing these three potential exhibition was to stretch myself and to make this class more challenging — as I already was going to have two exhibitions during the span of the course as well as one other exhibition that I had entered after the term began. So my methodology was to flirt with FAILURE and to challenge myself to think (critically) about where I could show- as well as where I would like to show in a practical sense.

Despite all this FAILURE there has been some successes during the semester. I successfully have exhibited in three shows this year- Painterly Prints at the Santa Clara University Department of Art and Art History Gallery, Illusion Helps at Orange Alley Project, San Francisco, CA, and ArtRead at the Oliver Art Center, CCA campus Oakland, CA.

This class called FAILURE was indeed not a FAILURE, but an amazing journey that all six of us undertook against all odds and at one point there was speculation of the course being cancelled. In fact it was an email about its potential cancellation that alerted me towards this class and I’m grateful because there was no doubt that I would have seen some FAILURE if I would have remained in what would have been my second theory class. Some would have thought that I being the only male in the class would have been a FAILURE, or that none of us is a media student or that two of us were second year grads with their thesis and thesis shows hovering above them. I thought maybe going on our field trip to Mont Tamalpais with Gregory Gavin with less than a week before my review was courting FAILURE and in fact I was contemplating not participating. The trip was great and I believe that it was a major part of my SUCCESS in my review as well as getting me to relax and being more open to taking risks and not worrying about the FAILURE of not passing my review or all the baggage I associate with FAILURE or being a FAILURE. This class (all six of us) I believe has benefited from the process of discussing,acknowledging, as well as facing and overcoming FAILURE. And it is through that process that has made this class about FAILURE a SUCCESS.

Exhibitions of Erik Madsen’s work:

A print exhibition focusing upon the painterly print (monotype, monoprint, hand manipulated print..) Overall a very nice show where three different attitudes towards print are displayed fairly successfully and was probably a great complement to Kathryn Kain’s beginning printmaking class at SCU. I think the intention to exhibit work that incorporates both painterly and printmaking concerns was successful, I believe that the only failure in this whole process was that the postcards were not printed until the day of the opening, which may have hampered the opening reception a tad bit, but other than that I felt that the students, faculty and the public responded quite positively to the exhibition. We also got a small write up in the online art publication ARTSHIFT San
Jose.

Illusion Helps was an exhibition that was part of the graduate seminar Painting Focus with James Gobel. The idea was to have an exhibit that used some of our material that we used both for our class catalog as well as our marginal poetics presentations (ideas and concerns that are on the periphery of our studio practices). So the concept for the how was to plaster (what I thought was floor to ceiling) the walls with xeroxes of some of our source materials which I guess was supposed to serve as a type of unifier between so many different styles of work. Overall the experience was great but I think the failure in the exhibition was that the idea of the xeroxes being “pasted” was undermined and the overall aesthetic came across a little under realised and fragmented. The response the the exhibit was fairly positive and was a productive avenue for creating positive camaraderie amongst the CCA grads as well as an interesting venue to get my feet wet in terms of exhibition spaces in San Francisco.

ArtRead was an exhibition I entered as a means to promote the printmaking department as well as to create a dialog with some of the Print Faculty as well as the undergrads. I had two books Paper Knife (an accordion style) and Present Tense (a case bound style) accepted, both were comprised of lithographic images accompanied by text of some sort. I volunteered with helping to prepare the exhibition space during which I had the honor to converse with fellow print students and faculty as well as having the honor of meeting Betsy Davids, who is in my mind one of the most knowledgeable people in the area of bookbinding and book arts today. So overall this exhibition was a success in that had the opportunity to engage with people I haven’t met or rarely see due to the schizophrenic nature of the school and I took part as a grad student in promoting print and bookbinding.

Here are images from the exhibition: