The Paintings of Glenn Ridler, created by CCAC MFA candidate in 1967
Xavier Martinez in his home in Piedmont, photographed by Dean Stone, 1940
Noni Eccles Treadwell Ceramic Arts Center, interior views, on the CCA Oakland Campus, May 2022
Shaklee Sculpture Studio interior views, on the CCA Oakland Campus, May 2022
Poster of CCA Ceramics' statement of commitment to open dialogue, free expression and social justice, poster, created by CCA Faculty Erik Scollon in 2017. Posted in the window of the Ceramics Studios after Trump became President and on display 2017-2022
Flyer giving mask guidlines during the pandemic "Please keep your mask on at all times" posted in the Ceramics Studios, 2022
Flyer giving move out deadline for last semester on the CCA Oakland campus "May 16th is the last day to get your stuff out of the studio!!!" posted in the Ceramics Studios, 2022
This thesis explores the curatorial impulse of conceptual artists by focusing on three exhibitions curated between 1983-1994. By reviewing artworld dynamics during this period, this research considers the creative and social conditions which prompted artists to establish the curatorial narrative of their own work. The three exhibitions in focus are The Black and White Show curated by Lorraine O’ Grady in 1983, The Theater of Refusal: Black Art and Mainstream Criticism curated by Charles Gaines in 1993, and Untitled (Knobkerry) curated by David Hammons in 1994. This thesis considers how these artists developed a curatorial practice (such as framing, exhibition-making, research, writing, and archiving) to critique the very institution in which their work is in dialogue.