Thomas McIntyre talks about visiting CCAC as a highschool student in the 60s. He remembers the campus as a touchstone from which to explore the Bay Area in what he calls "The morning after the Summer of Love".
Douglas Sandberg talks about CCAC in the 1970s. He recounts memories of film faculty Vilem Kriz, the Meyer Library as a sanctuary and resource, the vibrant, heady, intellectual character of CCAC in the 70s, and tells an anecdote about Hugh Wiley's drawing class at the zoo. He discusses the impact that his time at CCAC had on his life after college.
Sharon Wilcox talks about her experience of CCAC in th 60s. She rembers the loosness of classes, the dedication of the students to their art, and what it was like to be surrounded by faculty like Viola Frey, Peter Volkos, Roy DeForest, Robert Bechtle.
Leland Byrd talks about coming back to CCAC after spending time in the Marine Corps and with the Institute of Ability. He remembers the work he made experimenting with electricity, using Tesla coils in combination with metal sculpture. His time at art school was all about play and investigation.
Kai-Yee Woo remembers learning a key principal of design from the Dean of Environmental Design. She talks about campus life during her time at CCAC. She recalls how her final presentation led to her first job.
Jan Watten talks about faculty that had a particular impact on her during her time at CCAC in the 70s: Sue Ciriclio and Eleanor Dickinson. She remembers the Oakland campus as a Paradise and talks about the creativity, connection, and encouragement she experienced at CCAC. She recounts a favorite memory of CCAC. She discusses the transition from school to the work world, her path as a a phtographer, and advises today's students to keep their artistic passion alive.
Charlene Milgrim talks about the beauty of the Oakland campus and how her education at CCAC was the foundation for all her future work.
Ellen Paisley talks about CCAC in the 80s. She shares memories about dorm life, her student colleagues, and the work she made during that era.
Billy Hiebert talks about CCAC at the time he was an MFA student in the early 60s. He describes the campus and student body of that era. He remembers the freedom that he experienced as a student and recounts the story of how his own personal sculpture studio, on campus, was created. After he graduated he passed the studio on to graduate students that followed him: Don Rich, Stan Washburn and Ron Terrazas.
Philip Alpin talks about feeling out of place at CCAC, as a Realist painter, in 1965. He remembers several instructors, including Carol Purdie and Louis Miljarek and talks about the careers he pursued after his time at CCAC.