Sculpture in the Emeryville Mudflats, May 1971
Sculpture in the Emeryville Mudflats, June 1984
Documentation of a 1997 exhibit, at the Emeryville Burger King, of photographs of sculptures formerly in the Emeryville Mudflats.
"This zine is for you! It is meant as a resource for both transgender students and cisgender students who may be spending time with gender variant peers for the first time. It was produced in Summer 2013 by a group of trans and gender variant students and alumni, and faculty advisors, with the support of CCA Student Affairs. This zine is not a traditional "Transgender 101." Rather, it centers personal experiences, writing, and artwork of trans, queer, and gender variant folks at CCA. We encourage you to read, discuss, synthesize, question, fill in the blanks."
This thesis examines two Bay Area art exhibitions to generate a definition of queer curatorial practice. I look at how queer theory and queer exhibition making have evolved in tandem with one another, and have challenged the programming in art and cultural institutions since the 1990s. The paper first considers In A Different Light, curated by Larry Rinder and Nayland Blake at the Berkeley Art Museum in 1995, as an early example of queer curating in art institutions. It then focuses on the 2019 exhibition Queer California: Untold Stories, curated by Christina Linden at the Oakland Museum of California, analyzing Linden’s curatorial strategies that enact a queer curatorial practice. The investigation of Queer California: Untold Stories includes a particularly in-depth analysis of the Museum of Transgender Hirstory (MOTHA) by artist Chris E. Vargas–an art installation that forms a major component of the exhibition. Grounding the paper’s exhibition and visual analysis are theories from scholars such as José Este…
CCAC President Neil Hoffman at his September 1993 going away party, on the Oakland campus in front of a mural on Martinez Hall depicting Xavier Martinez
Curious to reflect on the factors contributing to the internal decision-making processes of intuitive design, a reflective study was established to systematically examine and document the practice of intuition while performing an iterative aesthetic task. Autoethnographic techniques were used to document the reflective practices that occurred over numerous iterations spanning several weeks of activity. Our analysis concludes with a summary of reflections on how intuition informs judgment in design cognition. We examine four dimensions of intuition in design—efficiency, inspiration, curiosity, and insight—and the reflective and sensory inputs that drive intuitive speculation and impulse.
On March 7th of 2015, the Meyer Library hosted an Art+Feminism Wikipedia edit-a-thon aimed at addressing the gender imbalance and skewed coverage of Wikipedia. Library staff and visitors spent all day writing articles on female artists and topics relating to women, feminism, and art.