HomeMy WebLinkAbout2018-08-09 Public Art Commission Agenda Packet
IS POSTED IN ACCORDANCE
WITH GOVERNMENT CODE SECTION
54954.2(a) OR SECTION 54956
PUBLIC ART COMMISSION
Jim Migdal, Chair
Ian Klaus, Member Ben Miyaji, Vice-Chair Amanda Ross, Member
Hsinya Shen, Member Nia Taylor, Member Loren Gordon, Member
City Council Liaison: Mayor Liz Kniss
Elise DeMarzo: Public Art Program Director Nadya Chuprina: Public Art Program Coordinator
Rhyena Halpern: CSD Assistant Director
http://www.cityofpaloalto.org/publicart
Thursday, August 9, 2018
Community Meeting Room
Palo Alto City Hall
7:30 p.m.
SPECIAL MEETING AGENDA
ROLL CALL
AGENDA CHANGES, REQUESTS, DELETIONS
ORAL COMMUNICATIONS
(Members of the public are invited to address the commission on any subject not on the agenda. A reasonable time
restriction may be imposed at the discretion of the Chair. Materials related to an item on this agenda submitted to
the Public Art Commission after distribution of the agenda packet are available for public inspection in the City
Hall Council Chambers during normal business hour.)
APPROVAL OF MINUTES: PAC Meeting – May 17, 2018 ATTACHMENT
STAFF COMMENTS
ACTION:
1. De-accession of Artwork - Staff recommends the deaccession of ten murals on utility boxes
in downtown Palo Alto by various artists. ATTACHMENT
2. Acquisition of artwork – Donation of artworks by Cubberley Artist Studio Program artists
in accordance with the Cubberley Artist Studio Program. ATTCHMENT
3. Baylands Artist-In-Residence – Staff recommends the approval of the artists’ proposal for
community engagement and temporary public art installation.
NON-ACTION:
4. Downtown Parking Garage – Staff provides informational update on the project
development.
ANNOUNCEMENTS
FOR YOUR CALENDAR: Next PAC Regular Meeting – August 16, 2018 at 7 p.m.
PAC Annual Retreat – September 15, 2018 at 9 a.m., Environmental Volunteers Eco Center
MINUTES
PUBLIC ART COMMISSION MEETING
Thursday, May 17, 2018
Palo Alto City Hall
Community Meeting Room
7:00 p.m.
Commissioners Present: Jim Migdal, Hsinya Shen, Nia Taylor,
Loren Gordon, Mila Zelkha arrived at 7:02
Commissioners Absent: Amanda Ross, Ben Miyaji
Staff Present: Elise DeMarzo, Public Art Program Director
Nadya Chuprina, Public Art Program Coordinator
CALL TO ORDER: Chair Migdal called the meeting to order at 7:01 p.m.
AGENDA CHANGES, REQUESTS, DELETIONS – None.
ORAL COMMUNICATIONS – Palo Alto resident Ann Pianetta addressed the Commission with a
suggestion to designate public spaces around Palo Alto that could be leased to local artists for temporary
art installations.
APPROVAL OF MINUTES: April 19, 2018 PAC Regular Meeting Minutes Moved: Jim Migdal;
Second: Hsinya Shen; All in favor.
STAFF COMMENTS: Staff provided an update on the completion of installation of the Blue Trees by
Konstantin Dimopolous and public event on May 16 in King Plaza. Staff informed the Commissioners
that over 50 people attended the opening event with the artist talk, reception and live music. Staff also
announced that intern Angeera Khadka will be joining the program as a summer intern. Staff also
announced that Ian Klaus was appointed by City Council as a Public Art Commissioner. Staff also
announced that Commissioner Mila Zelkha will be concluding her term on the Public Art Commission
and thanked Commissioner Zelkha for her dedicated service on the Commission.
ACTION:
1.The Baylands Artist-in-Residence – Staff provided an update on the artist selection process for
the Artist-In-Residence for the Baylands Nature Preserve. Eight artists and artist teams submitted
applications in response to the call for artists. Two finalists were interviewed by staff and PAC
Chair Migdal. Environmental artists Daniel McCormick & Mary O’Brien of Watershed Sculpture
were selected as the finalists based on their previous experience working in similar environments,
public engagement and experience with master planning. Chair Migdal commented on the artists’
qualifications and examples of previous projects. Staff requested that the Commission approve
Daniel McCormick & Mary O’Brien as the Artists-In -Residence for the Baylands to participate in
the development of the Baylands Comprehensive Conservation Plan (BCCP). Moved: Chair
Migdal moved to approve the artists-in-residents for the Baylands. Second: Commissioner
Zelkha. All in Favor.
2. De-accession of Artwork –Staff provided background information about the commissioning
history and conditional source of funding provided by the City’s Utilities Department for the ten
murals painted on utility cabinets in downtown Pal Alto. Staff reiterated the underlying condition
for funding of the temporary pilot project by Utilities Department as their right to remove traffic
signal cabinets after four years or sooner should the equipment fail or become outdated, or the
artwork get vandalized or faded. Xochitl Kuriger, Kate Orange, Cristina Strassman, John N.
Betts, Ceevah Sobel, Susan Hemmingway, Gunn High School students Chelsea Hodge and Kiel
Brennan-Marquez, and Paly High School students Alison Hoyt, Larkin Elderon, and Katie
Morton were selected to create temporary murals. In 2016 as part of the City of Palo Alto’s multi-
year infrastructure and street improvement project, the City removed 4 cabinets as obsolete utility
equipment. Public Art staff was notified only after their removal. The remaining cabinets are
scheduled to be removed in Summer 2018. Based on these staff recommends the formal
deaccession of all ten painted utility boxes, and requests PAC initiates deaccession review
process based on for the following considerations: 1) Significant changes to the design of the site
have occurred which affect the integrity of the artwork; 2) No suitable site is available for
relocation or exhibition; 3) The artwork has exceeded its expected lifespan. Commissioners
inquired whether the cabinets could be either returned to the artists or reinstalled at a different
location. Staff informed the Commissioners that all removed infrastructure needs to be returned to
the City’s Utilities department to be properly disposed of, and added that staff would follow up
with Utilities on the possibility of the removed utility boxed to be returned to the artists. Moved:
Chair Migdal moved to initiate the deaccession review process for 10 murals. Second:
Commissioner Gordon. In Favor: Commissioners Zelkha and Shen. Opposed: Commissioner
Taylor.
3. Collection maintenance – Staff provided an overview of the current condition of Universal
Woman, a 10-foot bronze sculpture by artist Nathan Oliveira permanently sited at the Palo Alto
Art Center sculpture garden. The artwork gifted to the City by the Oliveira family in 2014 has not
received conservation treatment since its installation in 2014 and is due for cleaning and wax
treatment. It is anticipated this treatment will be required every X years. Moved: Commissioner
Taylor moved to approve the allocation of funds in the amount of $6,000 for conservation of the
sculpture. Second: Chair Mgdal. All in Favor.
ANNOUNCEMENTS – Commissioner Zelkha addressed the Commissioners and staff to thank them for
providing her with the opportunity to serve on the Commission and offered to volunteer to serve on artist
selection panels for future public art commissions.
CALENDAR:
Next PAC Regular Meeting – June 21, 2018 at 7 PM at City Hall, 250 Hamilton Ave.
MEETING ADJOURNED at 7:40 PM by Chair Migdal.
City of Palo Alto Staff Report to Public Art Commission
June 12, 2018
Agenda Item 1
Recommendation:
Staff recommends that the Public Art Commission approves deaccession of ten murals painted on utility
infrastructure (traffic control cabinets) located within downtown Palo Alto.
Summary:
Staff recommends that the Public Art Commission approves deaccession of ten murals painted on utility
boxes, based on the process and conditions outlined in the City’s Deaccession of Artwork Policy 1-
59/CSD (Attachment 1) adopted in December 2016.
Background:
In 2003, The Public Art Commission approached the City of Palo Alto’s Utilities Department with an
initiative to improve the appearance of utility boxes in Palo Alto. In response, Utilities Department
identified a number of traffic signal cabinets (14-1/2” wide and 24” high) within downtown Palo Alto
that could be used for the application of artistic treatment and agreed to sponsor this temporary pilot
project that would directly benefit the community. The project funding included a contribution of
$5,000 from the Utilities Department’s Electric Public Benefit Fund that provided stipends to selected
artists and teams to create murals on ten utility boxes identified by Utilities staff. The two underlying
conditions for funding the project by Utilities Dept. were:
1- The qualifying artistic treatments needed to promote the message of energy efficiency,
renewable energy, or other environmental or energy conservation themes.
2- The Utilities Dept. reserved the right to remove or return the infrastructure to its original
condition after four years or sooner should the equipment fail or become outdated, or the
artwork get vandalized or faded.
The Public Art Commission provided additional funding in the amount of $500 to cover material costs.
In 2004, the PAC released a Request for Proposals for the Utility Box Art Competition. Community
members including local artists, design professionals and high school students submitted proposals.
Criteria used by the selection committee included appropriateness of the proposed artistic treatment to
the site and community and aesthetic quality. The selected applicants included: Xochitl Kuriger, Kate
Orange, Cristina Strassman, John N. Betts, Ceevah Sobel, Susan Hemmingway, Gunn High School
students Chelsea Hodge and Kiel Brennan-Marquez, and Paly High School students Alison Hoyt, Larkin
Elderon, and Katie Morton.
The selected artists worked onsite to paint murals on ten utility boxes in downtown Palo Alto along
Hamilton Ave, University Ave, and Lytton Ave (Attachment 2: Map of Utility Box Mural locations).
Maintenance History:
All ten murals were coated with GSS anti-graffiti coating materials to prevent graffiti and UV damage.
2004 – Application of anti-graffiti coatings: $1,221
Discussion:
As part of the City of Palo Alto’s multi-year infrastructure and street improvement project, Upgrade
Downtown, the City has been undertaking construction work including providing utility pipe
replacements, road repaving, traffic signal enhancements and a new downtown parking garage. Four of
the ten painted boxes were removed in 2016 and Public Art staff was notified only after their removal.
At that time Public Art staff was notified by Public Works that the remaining painted boxes were
scheduled to be removed in 2018. In July 2016, Public Art Program staff notified the artists via email
about the boxes that have already been removed, the scheduled removal of the remaining traffic
control cabinets with painted murals, and the upcoming formal de-accession of the murals from the City
collection of public art. That deaccession was put on hold until a formal policy was adopted. Now that
the next phase of the infrastructure project is underway, staff is recommending the formal deaccession
of all ten painted utility boxes. Attachment 3 provides a list of all murals with images, artist names and
former or current locations. All removed infrastructure needs to be returned to the City’s Utilities
department to be properly disposed of.
Updates since the PAC May 2018 Meeting:
Acting in accordance to the process specified in the Deaccession of Artwork Policy, staff reached out to
artists to notify them about the Commission’s decision to proceed with the deaccession review process.
Also, per the Commissioners’ request, staff followed up with the City’s Transportation and Planning
Department on the timeline of the undergoing infrastructure and street improvement project along the
University Avenue corridor to confirm when the traffic signal cabinets are scheduled to be removed and
whether they could be returned to the artists, or reinstalled in a different location. Transportation and
Planning Department staff advised that the traffic signal cabinets are property of the City’s Electrical
Utilities and this equipment has to be returned to the Department. Should members of the public wish
to take possession of the removed equipment, they should proceed in accordance with a separate
process required to turn over “city owned” property to other parties.(Attachment 2 - the City’s Surplus
Property Disposal & Destruction Policy 1-49 ASD). Currently, three cabinets installed along University
Ave are scheduled to be removed between June and July, 2018.
The recommendation for the formal deaccession of murals painted on traffic control cabinets
(remaining and previously removed) would satisfy the two underlying conditions for funding this
temporary pilot project: to remove the infrastructure, should the equipment become obsolete and, or
the artwork get vandalized or faded. Attachment 4 provides images demonstrating the current condition
of some of the remaining cabinets.
Of the considerations for deaccession outlined in the policy, staff recommends deaccession for the
following considerations:
Significant changes to the design of the site have occurred which affect the integrity of the
artwork.
No suitable site is available for relocation or exhibition.
The artwork has exceeded its expected lifespan.
Reasons for deaccession do not include aesthetic taste or public opinion. There are no formal appraisals
for the artworks and staff could not locate any auction records for the artists.
Timeline and Budget Considerations:
Should the Public Art Commission vote to deaccession the ten murals painted on traffic control cabinets,
staff will send formal notifications to the artists regarding the deaccession and immediately notify
Utilities Department to proceed with the removal and temporary storage of the equipment. Should the
artists choose to take the artworks back in accordance with our deaccession policy, they will need to
follow up with Utilities Department on the due process.
Attachments:
1- Deaccession Policy
2- Surplus Property Disposal & Destruction Policy
3- Map of Utility Box Mural locations
4- List of Murals with onsite images, artists’ names and locations.
5- Images demonstrating the current condition of the remaining cabinets.
6- Deaccession Request Report for PAC, May, 2018.
POLICY AND PROCEDURES 1-59/CSD
February 2017
CITY OF
PALO ALTO
CITY OF PALO ALTO PUBLIC ART PROGRAM
DEACCESSION OF ARTWORK POLICY
PUBLIC ART PROGRAM VISION
Public art reflects Palo Alto's people, diverse neighborhoods, the innovative and global character of its
businesses and academic institutions, and the beauty of its natural environment.
INTRODUCTION
The Public Art Program (PAP) maintains the City of Palo Alto's (City) collection of Artwork for the benefit of Palo Alto
citizens, Removing an Artwork from the collection (deaccessioning) is a sensitive matter and should be managed
according to clear criteria. The policies outlined below are subject to periodic review by the PAP; from time to time, with
the input of the Public Art Commission (PAC), the PAP may update this policy to include additional guidelines or
procedures as it deems appropriate. Except in the case of a safety emergency, no Artwork in the collection will be
deaccessioned until the policies set forth below have been observed. This policy applies to permanent Artworks in the
City's collection; it is not intended to apply to "Temporary Artworks," which are the subject of a separate policy. This
policy shall govern removal, disposal and destruction of Artworks; the City's Surplus Property Disposal & Destruction
Policy (Policy and Procedure 1-49/ASD) shall not apply.
POLICY
1. Any proposal for removal or destruction of an Artwork shall be submitted to PAP staff and reviewed by the PAC
according to the policies and procedures contained herein; review shall be deliberate and independent of political
pressures, fluctuations in artistic taste, popularity, and public opinion.
2. Deaccession shall be a seldom -employed action that is taken only after issues such as Artists' rights, public benefit,
censorship, copyrights, and legal obligations have been carefully considered. The final decision with respect to
deaccession of Artworks owned by the City shall rest with the PAP Director upon approval by the PAC.
3. At regular intervals, the City's Artwork collection shall be evaluated by the PAP and reported to the PAC to
determine the condition of each Artwork and determine whether there is Artwork recommended for deaccession.
DEFINITIONS
For purposes of this Policy, the following definitions apply.
ARTIST: An individual generally recognized by critics and peers as a professional practitioner of the visual arts as judged
by the quality of the professional practitioner's body of work, educational background and experience, past public
commissions, sale of works, exhibition record, publications, and production of Artwork.
ARTWORK: Works in any style, expression, genre and media created by an Artist and owned by the City of Palo Alto in
the permanent collection, whether functional or non-functional. Artwork may be stand-alone and integrated into the
architecture, landscaping, or other site development if such are designed by an Artist as defined herein.
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POLICY AND PROCEDURES 1-59/CSD
February 2017
The following are not considered Artwork:
1. Reproductions, by mechanical or other means of original Artwork, except in cases of Film, video, photography,
printmaking, theater, or other media arts;
2. Art objects that are mass produced (excluding artist -created, signed limited -edition works), ordered from a catalog,
or of a standard design, such as playground sculpture or fountains; and
3. Directional or other functional elements such as signage, supergraphics, color coding, or maps unless specifically
designed as artworks.
DEACCESSION: The procedure for the removal of an Artwork owned by the City and the determination of its future
disposition.
DEACCESSION NOTIFICATION: A written letter to the artist or donor referencing the applicable condition(s) of the
Artwork and describing reasons why the deaccession review needs to be undertaken.
GUIDELINES
Any Artwork owned by the City shall be eligible for deaccession with the exception of an Artwork that is accompanied by
verified legal stipulations that the Artwork may not be deaccessioned. During the review process, the Artwork shall
remain accessible to the public in its existing location unless it poses a threat to public safety.
Artwork may be considered for review toward deaccession if one or more of the following conditions apply:
1. The condition or security of the Artwork cannot be reasonably guaranteed;
2. The Artwork requires excessive maintenance or has faults of design, materials or workmanship, and repair or
remedy is impractical or unfeasible;
3. The Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible;
4. The Artwork's physical or structural condition poses a threat to public safety;
5. The Artwork is proved to be inauthentic or in violation of existing copyright laws;
6. The Artwork is not, or is only rarely, on display because the City lacks a location for its display;
7. The Artwork has exceeded its expected lifespan;
8. No suitable site is available for relocation or exhibition, or significant changes in the use, character, or design of the
site have occurred which affect the integrity of the Artwork;
9. Changes to the site have significantly limited or prevented the public's access to the Artwork;
10. The site where the work is located is undergoing privatization;
11. Deaccession is requested by the Artist;
12. If there are more than six works (excluding editions of prints) by the same artist in the portable collection, or more
than three permanently installed works on public display in the City or in Private Development, PAP staff may
recommend to PAC that the City retain only a representative selection of that artist's work.
13. If the Artwork has been lost, stolen, or is missing, the PAC may approve formally deaccessioning it from the
collection while retaining a record in the collection database showing that the work has been deaccessioned.
Artwork may be reviewed for deaccession at any time at the initiative of PAP staff or PAC members. Review also may be
initiated by the Artist regarding the Artwork she/he created, by that Artist's designated heir(s), or by legally recognized
representative(s).
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POLICY AND PROCEDURES 1-59/CSD
February 2017
PROCEDURES
Deaccession shall begin with a formal Deaccession Request which can be initiated by the PAC, by PAP staff, the Artist,
the Artist's designated heirs or legally -appointed representative. The Deaccession Request shall be submitted to PAP
staff and shall describe the applicable condition(s) outlined in the Guidelines above, and the reasons why the
deaccession review should be undertaken. A Deaccession Request must also contain information about the requestor's
relationship to the Artwork and stake in deaccessioning the Artwork.
Deaccession Requests shall be reviewed by PAP staff, who shall make every reasonable effort to contact the Artist who
created the Artwork named in the Deaccession Request, and any other known parties with a vested interest in the
artwork, and shall comply with any applicable state or federal notice requirements. When Artworks are proposed for
deaccession, staff shall place the matter on the PAC agenda for an initial review of the reasons deaccessioning is being
considered and to gather comments on the deaccession proposal. At a subsequent PAC meeting, staff shall then present
a deaccession recommendation to the PAC.
In presenting the Deaccession Request, PAP staff will provide all available relevant corresponding materials to the PAC,
including, but not limited to:
1. Artist's name, biographical information, samples of past artwork, and resume.
2. A written description and images of the Artwork.
3. Artist's statement about the Artwork named in the Deaccession Request.
4. A description of the selection/acquisition process and related costs that was implemented at the time the Artwork
was selected.
5. If available, a formal appraisal of the Artwork provided by a qualified art appraiser.
6. Information about the origin, derivation, history, and past ownership of the Artwork.
7. A warranty of originality of the Artwork.
8. Information about the condition of the Artwork and the estimated cost of its conservation provided by a qualified
visual arts conservator.
9. Information about and images of the Artwork's site.
10. For permanently -sited Artwork: information about how community feedback about the Artwork was collected and
the outcome of that feedback.
11. Feedback from the Director of the City department responsible for operating and maintaining the Artwork site.
12. A detailed budget for all aspects of conservation, maintenance, repair, installation, operation, insurance, storage,
and City staff support.
13. The Artist's contract with Donor or comparable legally binding document with Proof of Title.
14. Deed of gift restrictions, if any.
The PAC shall approve, with or without conditions, or reject the Deaccession Request based on the Deaccession Criteria
described in this policy.
DEACCESSION CRITERIA
In addition to the condition and security of the Artwork as stated above, the review criteria for Deaccession Requests
include, but are not limited to:
1. ARTISTIC EXCELLENCE: Qualifications and professional reputation of the Artist; craftsmanship, conceptual content,
style, form.
2. VALUE OF ARTWORK as determined by a professional appraiser, if available.
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POLICY AND PROCEDURES 1-59/CSD
February 2017
3. RELATIONSHIP TO EXISTING COLLECTION OF ARTWORK: Style, form, scale, diversity, quantity, quality, longevity, and
compatibility with the existing collection of Artwork and goals of the Public Art Program.
4. AVAILABILITY OF CITY SUPPORT: The availability of necessary funding for conservation, maintenance, and/or repair;
exhibition and storage space; real property for siting Artwork; and staff support.
5. RELATIONSHIP TO SITE: Accessibility, public safety, and social, cultural, historical, ecological, physical, and functional
context of the Artwork in relation to the site, both existing and planned.
6. LEGAL CONSIDERATIONS: Issues related to liability, insurance, copyright, warranties, ownership, theft, vandalism,
loss, indemnification, and public safety. The City Attorney shall review the recommendation of the PAP staff and
PAC to determine whether there are any known legal restrictions that would prevent deaccessioning the object. The
City Attorney's approval must be obtained prior to deaccessioning an object.
7. TIMING: Safety or hazard emergencies, relevant construction schedules, and the allowance of sufficient time for a
normal review process.
8. ACQUISITION PROCESS: Method by which the Artwork was acquired and accessioned into the collection of artwork
(i.e. donation, loan, commission).
9. COMMUNITY FEEDBACK: Community feedback about the Artwork, its site, and its condition solicited via a publicly -
noticed meeting or placed on the agenda of the Public Art Commission.
10. RESTRICTIONS: Any recognized restrictions associated with the Artwork.
IMPLEMENTATION
The deaccessioned Artwork shall be removed from the collection of Artwork through methods administered by the PAP.
In all cases, the Artist or the Artist's designated heir(s), or legally recognized representative(s) shall be given, when
possible and within a reasonable time frame, the opportunity to purchase the Artwork for the fair market value (as
determined by a qualified art appraiser), or, if the Artwork is determined to be of negligible value, the Artist shall be
given the opportunity to claim the Artwork at the Artist's own cost.
When the Artist does not purchase or claim the deaccessioned Artwork, the City, at its discretion, may use any of the
following methods to remove the Artwork:
1. Sale. Proceeds from the sale shall be deposited into the Public Art CIP Budget. Written acknowledgement by Budget
to place revenues from the sale of deaccessioned Artwork into the Public Art CIP Budget, must be obtained. Public
notice regarding the sale shall be provided on the City website, at a publicly -noticed meeting and in any other
manner required by law.
a. The Artist/donor shall be given the right of first refusal to reacquire the work at fair market value, original price,
or nominal value, depending on the recommendation of the PAC. The cost of removal of the work may be
reflected in the amount set.
b. Sell the work through a dealer.
c. Sell the work through sealed bidding or public auction.
2. Trade or exchange of a deaccessioned Artwork for another by the same Artist.
3. Donation of deaccessioned Artwork to a non-profit organization, institution, or agency.
4. Destruction. This method is appropriate in the following instances:
a. The entire Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible.
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POLICY AND PROCEDURES 1-59/CSD
February 2017
b. Most of the Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible,
and any remaining intact parts of the Artwork are deemed to have negligible value, and the Artist is not willing
to claim the remaining parts at the Artist's own cost.
c. Public safety considerations support destroying the Artwork.
d. Every effort to locate the Artist, kin, or donor has failed.
e. The City determines that no other method of implementation is feasible.
When possible, the method for removing the Artwork from the collection of Artwork shall be selected to ensure that the
highest reasonable price is received. Any profits received by the City through the sale, trade, or auction of a
deaccessioned Artwork shall be deposited into the Public Art CIP Budget administered by the PAP.
If a deaccessioned work is sold or exchanged, PAP staff will implement any legal requirements for compensating the
artist, including but not limited to the California Resale Royalties Act.
PAP staff shall remove acquisition numbers and labels from the Artwork and coordinate its physical removal from the
City's collection.
PAP staff shall report on the sale or exchange of Artwork at the next regularly scheduled meeting of the PAC, following
receipt of all funds or the completion of the sale, exchange, or donation.
PAP staff shall transmit a report informing City Council of the removal of the Artwork from the City's collection.
Staff shall maintain a Deaccession File that includes individual files on each deaccessioned Artwork. These files shall
include all documentation regarding the Artwork.
Artworks may not be sold, traded, or donated to current employees of the City of Palo Alto, their business partners, or
their immediate family members. Current elected officials, PAC members, their business partners, and their immediate
family members may not buy, receive or own any Artwork which has been deaccessioned from the collection of
Artwork.
Nothing in these guidelines shall limit the City's ability to take appropriate action to protect public health and safety in
the event of an emergency.
Recommended:
Approved:
2 - 3='7
Director Date
City Manager Date
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POLICY AND PROCEDURE 1-49/ASD
REVISED: MARCH 2010
SURPLUS PROPERTY DISPOSAL & DESTRUCTION
POLICY STATEMENT
This policy covers the disposal or destruction of City property that is no longer
used, is obsolete or worn out. The Palo Alto Municipal Code (PAMC Section
2.31.010) requires specific approvals for the disposal or destruction of all of
surplus property. The City Manager’s approval authority for disposition of surplus
property has been delegated to Department Heads and the Administrative Services
Director. Approval authority to sell property valued at less than $5,000 has been
delegated to the ASD Warehouse Supervisor. No approval is required to transfer
surplus property to another department for its use.
The specific approval requirements are as follows:
Property with commercial value: The Director of Administrative Services must
approve the sale of any surplus item valued at $5,000 or more per item. The
Warehouse Supervisor in ASD must approve the sale of surplus property valued at
less than $5,000 per item. These approvers will ensure that the City receives the
maximum market value for this category of surplus property.
Property with commercial value may include: stereo equipment, gym equipment,
tools, motor vehicles, construction and off-road equipment, computers, Utilities
equipment, and certain stolen merchandise recovered by the Police Department
such as jewelry.
Property with no commercial value (or where the estimated cost of continued care,
handling, maintenance or storage would exceed the estimated sales proceeds):
The Department Head and the Director of Administrative Services must approve
the disposition of this property.
Property with no commercial value (or where the estimated cost of continued care,
handling, maintenance or storage would exceed the estimated sales proceeds) may
include: office equipment/supplies, used clothing, theatrical costumes, books,
furniture, silk plants, drapes, pictures and items that are in disrepair or broken.
Donations to Nonprofit Support Organizations: Notwithstanding other provisions
of this policy, The Director of Administrative Services may authorize the donation
of surplus property that is no longer suitable for use by the City to nonprofit
organizations that are formed for the purpose of supporting City programs.
PROCEDURE
Before proceeding with the disposal process, City departments are expected to
make surplus property available to other departments for City use only (no
personal use) by means of a posting on the City’s Intranet. If the posting generates
no interest or if the property is broken or otherwise unusable, City departments are
responsible for completing a Surplus Property Disposal Form before disposing of
surplus property. The Administrative Services Department (ASD) will review the
form to determine whether the property has any commercial value. The property
will be deemed to have “commercial value” when its estimated sales proceeds
exceed its care, handling, maintenance or storage costs. This usually means its
sales proceeds are anticipated to exceed $150.00.
Surplus City property with commercial value will be sold through the acceptance
of sealed bids, through negotiated sales, by public auction, or by exchange or
trade-in for new property or equipment.
Surplus property with no commercial value or where the estimated cost of
continued care, handling, maintenance or storage would exceed the estimated sales
proceeds, will be reused, recycled, destroyed, or donated to public bodies,
charitable, civic or nonprofit organizations, as approved by the Administrative
Services Department.
City employees are prohibited from taking City property for personal use.
Although the City prefers that its employees not purchase City property so as to
avoid any conflict of interest, it recognizes “arm-length” transactions in which
employees can participate. In the context of a third party auction whereby bids are
solicited for City surplus items, employees can purchase surplus merchandise.
Certain types of public safety property (helmets, class A uniforms, badges, guns,
canines) and surplus toll chests (with less than 30 percent of its useful life
remaining) in the Equipment Management Division are exempt from this
requirement. A predetermined formula (where the value equals purchase price
divided by useful life multiplied by remaining life) will be used to charge City
employees for helmets, uniforms, guns and tool chests.
A. Department Responsibilities
1) Department makes surplus property that is still in working condition,
available for use by another City department by posting it on the City’s
Intranet. Surplus motor vehicles, construction and off-road equipment,
computers and computer equipment, and Utilities equipment are the
exceptions to this requirement.
2) If no interest is generated by the posting, if the property is broken or
otherwise unusable, or if the item is exempted from the requirement in
step one, Department completes a Surplus Property Disposal Form that
can be found on the City’s Intranet website, and sends the form as an
email attachment to the Department Head. Department Head indicates
his or her approval by typing the words, “request approved.”
Department then forwards the same email to the ASD Warehouse
Supervisor.
3) The Surplus Property Disposal Form must include:
i. A detailed list of the surplus property. It is not necessary to
provide a detailed list of surplus office equipment and supplies;
these items can be combined into one line item on the form.
ii. The approximate age and estimated commercial value of the
listed property.
iii. The reason for recommending disposal.
4) ASD will notify the department via email when it has approved the
form. The notification will include instructions pertaining to the
disposal of the surplus property (i.e., ship to the City’s warehouse;
donate directly to a nonprofit agency; dispose of in waste bins located
on Level A of City Hall).
5) Departments shall follow ASD instructions regarding shipment, disposal
or donation of surplus property. Departments must affix a copy of the
Surplus Property Disposal Form, with the instructions pertaining to the
disposal, to all surplus property that will be shipped to the City’s
warehouse prior to pick-up by Stores personnel.
6) In most cases, proceeds from the sale of General Fund surplus property
should be booked into a General Ledger revenue account number at the
department cost center level.
7) If an item is donated to a non-profit organization that is formed for the
purpose of supporting City programs (support organization), the
Department will obtain a written agreement from the organization that
any profits from the sale of such items shall be used for the purchase of
equipment, books or capital expenses related to the program supported
by the nonprofit organization. Such receipt of any and all profits will be
reported by the Department to ASD for annual reporting purposes.
B. ASD Responsibilities
1) The ASD Warehouse Supervisor will review the Surplus Property
Disposal Form to determine whether or not the property has commercial
value. ASD will consult with and/or visit the department as needed.
ASD may also consult with the City’s Recycling Coordinator or
Information Technology to determine if the property can be reused or
recycled.
2) The ASD Warehouse Supervisor will complete the form (indicating how
the property will be disposed of) and obtain the approval of the ASD
Director (property with commercial value over $5,000 and property
with no commercial value) if required.
3) Once approved, surplus property with commercial value will be shipped
to the City’s warehouse and sold through the acceptance of sealed bids,
through negotiated sales, by public auction, or by exchange or trade-in
for new property or equipment. Motor vehicles and other large
equipment, computers and computer related equipment, will not be
shipped to the City’s warehouse prior to being sold. Purchasing will
oversee surplus property sales, ensuring the application of consistent
and sound business practices and a fair and open process. The
disposition of motor vehicles and other large equipment will be handled
by the Equipment Management Division; computers and computer
related equipment will be handled by the Information Technology
Division; and Herman Miller modular furniture will be handled by the
Facilities Division.
4) Except as otherwise provided in this policy, the City may donate surplus
property with commercial value to a public body, charitable, civic or
nonprofit organization only with the express prior approval of the City
Council, with the exception of the donation of surplus property that is
no longer suitable for City use to nonprofit organizations that are
formed for the purpose of supporting City programs.
5) Once approved and authorized in writing, surplus property with no
commercial value that can be reused or recycled will be shipped to the
City’s warehouse or to Information Technology, if so directed. The
Recycling Coordinator will evaluate this property on a monthly basis
and facilitate its reuse and recycling to the fullest extent possible.
Whenever possible, this property will be donated to a charitable, civic or
nonprofit organization with a 501(c)(3) designation.
6) The ASD Warehouse Supervisor will forward an electronic copy of the
Surplus Property Disposal Form for fixed assets (vehicles, machinery,
equipment, furniture, computers, and office equipment with an original
cost in excess of $5,000) to Accounting. Accounting will make the
necessary adjustments to the City’s fixed asset system.
7) ASD will maintain electronic files that include the Surplus Property
Disposal Forms. ASD will maintain details regarding the disposition of
all property valued at $5,000 or more per item. ASD will prepare an
annual report on the disposition of surplus property over $5,000.
8) ASD shall identify all surplus property donated to nonprofit agencies. In
January of each year, ASD will provide a report to City Council that
includes an inventory of the items donated by the City and all
contributions made to the City from nonprofit organizations that have
received surplus city property.
NOTE: Questions and/or clarification of this policy should be directed to the
Administrative Services Department.
CITY
HALL
HAMILTON AVE
UN
VERSITY AVE
L
TON AVE
8
FLORENCE
7
4
EV
COWPER ST
ERETT ST
KI P LI N G ST
WAVERLEY ST
,.
1 Kiel Brennan -Marquez
2 Kate Orrange
3 John Betts
4 Ceevah Sobel
5 Susan Hemmenway
6 Xochitl Kuriger
7 Cristina Strassman
8 Alison Hoyt, Larkin Elderon, Katie Morton
9 Hyun-Jin Yoo
10 Chelsea Hodge
BRYANT ST
z
0
EMERSON ST
5
H
co
(9
z
9
Artist Title Accession Medium Location Status Images
Kuriger, Xochitl Untitled M.2004.06 Acrylic Hamilton Ave & Bryant St Installed
Orrange, Kate Untitled M.2004.02 Acrylic Hamilton Ave & Emerson St Removed and
reinstalled at
University Ave
& Ramona St
Hodge, Chelsea Then
Gunn Student
Untitled M.2004.10 Oil Hamilton Ave & High St Removed
Brennan-Marquez, Kiel
Then Gunn Student
Untitled M.2004.01 Acrylic Hamilton Ave & Ramona St Installed
Hemmenway, Susan
Deceased in 2007
Untitled M.2004.05 Acrylic Lytton Ave & Emerson St Installed
Yoo, Hyun-Jin Then Gunn
Student
Untitled M.2004.09 Acrylic Lytton Ave & High St Installed
Strassman, Cristina Untitled M.2004.07 Acrylic University Ave & Florence St Installed
Betts, John N Untitled M.2004.03 Acrylic University Ave & High St
Sobel, Ceevah Untitled M.2004.04 Acrylic University Ave & Ramona St Original box
removed. Kate
Orange's box
installed
Hoyt, Alison; Elderon,
Larkin; Morton, Katie
Then Paly students
Untitled M.2004.08 Acrylic University Ave between Kipling &
Waverley St
Removed
Attachment 4: Images of artworks demonstrating their current condition
1. Cabinet painted by Xochitl Kuriger, located at Hamilton Ave & Bryant St
2. Cabinet painted by Cristina Strassman, located University Ave & Florence St
3. Cabinet painted by Kate Orrange, previously removed and reinstalled at University Ave & Ramona St
to replace the removed cabinet painted by Ceevah Sobel.
4. Cabinet painted by Kiel Brennan-Marquez, located at Hamilton Ave & Ramona St
5. Cabinet painted by Hyun-Jin Yoo at Lytton Ave & High St
6. Cabinet by Susan Hemmenway located at Lytton Ave & Emerson St
7. Cabinet by John N Betts located at University Ave & High St
City of Palo Alto Staff Report to Public Art Commission
May 14, 2018
Agenda Item 2
Recommendation:
Staff recommends that the Public Art Commission initiate deaccession proceedings as outlined in the
City’s Deaccession of Artwork Policy for a series of ten murals painted on utility infrastructure (traffic
control cabinets) located within downtown Palo Alto.
Summary:
Staff recommends that the Public Art Commission initiate deaccession review process for ten murals
painted on utility boxes, based on the process and conditions outlined in the City’s Deaccession of
Artwork Policy 1-59/CSD (Attachment 1) adopted in December 2016.
Background:
In 2003, The Public Art Commission approached the City of Palo Alto’s Utilities Department with an
initiative to improve the appearance of utility boxes in Palo Alto. In response, Utilities Department
identified a number of traffic signal cabinets (14-1/2” wide and 24” high) within downtown Palo Alto
that could be used for the application of artistic treatment and agreed to sponsor this temporary pilot
project that would directly benefit the community. The project funding included a contribution of
$5,000 from the Utilities Department’s Electric Public Benefit Fund that provided stipends to selected
artists and teams to create murals on ten utility boxes identified by Utilities staff. The two underlying
conditions for funding the project by Utilities Dept. were that the qualifying artistic treatments needed
to promote the message of energy efficiency, renewable energy, or other environmental or energy
conservation themes. The Utilities Dept. also reserved the right to remove or return the infrastructure to
its original condition after four years or sooner should the equipment fail or become outdated, or the
artwork get vandalized or faded. The Public Art Commission provided additional funding in the amount
of $500 to cover material costs.
In 2004, the PAC released a Request for Proposals for the Utility Box Art Competition. Community
members including local artists, design professionals and high school students submitted proposals.
Criteria used by the selection committee included appropriateness of the proposed artistic treatment to
the site and community and aesthetic quality. The selected applicants included: Xochitl Kuriger, Kate
Orange, Cristina Strassman, John N. Betts, Ceevah Sobel, Susan Hemmingway, Gunn High School
students Chelsea Hodge and Kiel Brennan-Marquez, and Paly High School students Alison Hoyt, Larkin
Elderon, and Katie Morton.
The selected artists worked onsite to paint murals on ten utility boxes in downtown Palo Alto along
Hamilton Ave, University Ave, and Lytton Ave (Attachment 2: Map of Utility Box Mural locations).
Maintenance History:
All ten murals were coated with GSS anti-graffiti coating materials to prevent graffiti and UV damage.
2004 – Application of anti-graffiti coatings and demonstration on proper removal process: $1,221
Discussion:
As part of the City of Palo Alto’s multi-year infrastructure and street improvement project, Upgrade
Downtown, the City has been undertaking construction work including providing utility pipe
replacements, road repaving, traffic signal enhancements and a new downtown parking garage. Four of
the ten painted boxes were removed in 2016 and Public Art staff was notified only after their removal.
At that time Public Art staff was notified by Public Works that the remaining painted boxes were
scheduled to be removed in 2018. In July 2016, Public Art Program staff notified the artists via email
about the scheduled removal of the ten traffic control cabinets with painted murals, and the upcoming
formal de-accession of the murals from the City collection of public art. That deaccession was put on
hold until a formal policy was adopted. Now that the next phase of the infrastructure project is
underway, staff is recommending the formal deaccession of all ten painted utility boxes. Attachment 3
provides a list of all murals with images, artist names and former or current locations. All removed
infrastructure needs to be returned to the City’s Utilities department to be properly disposed of.
Of the considerations for deaccession outlined in the policy, staff recommends deaccession for the
following considerations:
Significant changes to the design of the site have occurred which affect the integrity of the
artwork.
No suitable site is available for relocation or exhibition.
The artwork has exceeded its expected lifespan.
Reasons for deaccession do not include aesthetic taste or public opinion. There are no formal appraisals
for the artworks and staff could not locate any auction records for the artists.
Timeline and Budget Considerations:
Should the Public Art Commission vote to proceed with the deaccession review process for the ten
murals painted on traffic control cabinets, staff will immediately notify the artists of the deaccession
proceedings. The final deaccession decision will be calendared for the June Public Art Commission
meeting. Should the Commission decide to deaccession the artwork at that time, then staff will
coordinate the partial removal of the artwork, in accordance with our policy.
Attachments:
1- Deaccession policy
2- Map of Utility Box Mural locations
3- List of Murals with onsite images, artists’ names and locations.
City of Palo Alto Staff Report to Public Art Commission
July 12, 2018
RE: Agenda Item 2
Recommendation:
Staff recommends that the Public Art Commission accept the donations of artworks by
Cubberley artists Danièle Archambault, Barbara Boissevain, Servane Briand, Mel Day, Catherine
di Napoli, Amy DiPlacido, Conrad Johnson, Pantea Karimi, Paloma Lucas, Andrew Muonio, and
Ernest Regua into the City collection.
Discussion:
These generous gifts are being offered by the CASP artists as part of the Cubberley Artist Studio
Program (CASP) agreement. According to the CASP Guidelines, all CASP artists are expected to
donate one of his/her artworks that best illustrates the body of work they undertake at CASP in
their first (4-year) residency term to the City’s Public Art Program. The donation is subject to
the approval of the Public Art Commission and, upon acceptance, will be deemed a gift made
under terms and conditions established by City.
Danièle Archambault
As a visual storyteller artist, Archambault uses sequential art, combining images and texts to tell a
story, to share ideas, to convey messages. Through her graphic novels, comic books and
illustrations, Archambault documents culture and language, helping people remember the past
as a way to understand the present, and care for the future.
The artwork, proposed for donation, is an original mixed media painting titled Bring art to the
streets!. In her description of the artwork the artist states: “I grew up in a big city where
exterior staircases are a notable architectural feature. In the sunny summer days, all over the
city streets, children walked down those stairways to create artwork made out of chalks.
Sidewalks provided infinite canvasses. In this piece Bring art to the streets! I wanted to capture
this childhood memory that is also a reminder that the experience of art should be available to
everybody, everywhere.”
Barbara Boissevain
Barbara Boissevain is a photographer and visual artist who explores various environmental and
social justice issues through her art practice. The intention of her work is to cultivate awareness
and provoke meaningful discourse about environmental stewardship.
Boissevain is offering to the City’s collection of public art a series of four archival inkjet prints
titled Salt Pond Square Grid I, which are part of the artist’s Salt Flat Restoration Series, 2017. In
her artist statement, Boissevain provides: “These aerial shots are of industrial salt ponds that
have existed in the South Bay since the1800's and are characterized by environmentalists as
having taken away the lungs of the Bay. Currently they are a part of the South Bay Salt Pond
Restoration Project, the largest wetland restoration program on the Pacific Coast which to date
has restored over 3,000 acres and when completed will have cost over 100 million dollars. Over
the course of the next sixty years, these salt ponds will go back to their natural state. Since
2010 I have gone up once a year in a helicopter to document this epic transformation and I plan
to continue to go up once a year to document these changes in the Bay as its biodiversity
dramatically increases”.
Servane Briand
A French native, Servane Briand first came to California in 1985 before completing her studies
in New York and Milan. Since then, she has lived in San Francisco, Paris, and Palo Alto. She
worked in various fields and made a radical move from high tech to printmaking and book arts
in 2006.
The print offered for donation is inspired by an artist book Numinous Cranes, Briand made in
2014 which is now part of the University of North Texas Willis Library's Rare Books Collection
and belongs to a series of prints that celebrate the art of origami. Briand states: “(the artwork)
is an attempt to understand different paths to spirituality. I was raised in France but have now
spent half of my life in California. Here many cultures and traditions live together creating
fascinating exchanges. West and East are in constant dialogue. I decided to explore it within the
realms of the spiritual. With this project I also tried to understand the need for prayer and
meditation.
Mel Day
Mel Day is an interdisciplinary artist and educator working across a range of media including
immersive video installations, painting, photo-based works, participatory projects, and
performance. Typically durational in form, her work explores the important role of doubt, the
instability of belief systems of all kinds, and the unknown.
The artwork offered for donation is a digital pigment print titled Study Guide for Experimental
Contemplatives (Vol. 1). The series of three explores the possibility of an experimental study
guide for typically insular groups and ideas. Originally commissioned by UC Berkeley’s Alumni
Magazine, this work was later developed into a three-volume series as part of a Visiting Artist
Residency at Stanford University’s Experimental Media Art Lab. Volume 1 was also featured
on Frequencies, an online collaborative genealogy of spirituality, curated by Kathryn
Lofton and John Lardas Modern for the Social Science Research Council, Brooklyn, NY.
Catherine di Napoli
Cubberley artist Catherine Di Napoli came to the world of abstract expressionist art through her
work in film. Di Napoli is offering a selection of two paintings from two different series of work
she recently created at CASP. As Di Napoli states: “These paintings capture moments of
emotional energy. On walls, they change interior environments, and alter states of mind.” di
Napoli's new Ground Series builds on the foundation of her Ecstasy Series, first inspired by
Scriabin's musical composition, "Poem of Ecstasy," 1908. While the Ecstasy Series features
color emerging from black, Series Ground is more lighthearted. “A recent work in the series,
Ecstasy 26 connects the painter—and the viewer--from ground to heavens. Old energy--as dark
spirit--recycles into the earth; while fresh energy—as vibrant color—enters from above. Pyrolle
II takes the viewer closer and within the grounding process. This series harnesse s the power of
the pyrolle orange pigment to frame the dark at its deepest.”
Amy DiPlacido
Artist and educator Amy DiPlacido’s work explores language and perception through non -
traditional fiber techniques and drawing. DiPlacido has recently left the program after
completing a 4-year residency term at CASP. The artist is offering a pen drawing on paper, titled
The End of a Pen, from a series of large pen and ink drawings. DiPlacido states: “Starting from
the middle and working my way out, they chronicle the last sputtering of the ink in a pen. They
resemble a textured cross-section of a tree trunk but also document my time overcoming
thyroid cancer.”
Conrad Johnson
Photographer and painter Conrad Johnson began his career in 1966 with a commission to
produce a series of rock concert posters in Detroit. He sold my first photograph in 1969 and
continued to work as a professional photographer for the next 40 years. During his first term as
a CASP artist, started focusing on painting and Pen & Ink and Prismacolor drawings of primarily
landscapes. The artwork proposed for donation is from a recent body of work titled Waterfall
Canyon 3.
Pantea Karimi
Pantea Karimi works with installation, prints, virtual reality and video projection. She
researches visual representations in medieval Persian and Arab and early modern European
scientific manuscripts in five categories: mathematics, medicinal botany, anatomy, optics and
cartography. Karimi examines how illustrations in ancient scientific manuscripts played a role in
communicating knowledge and how the broader aesthetic considerations of science were
closely related to art. Her works collectively highlight the significance of visual elements in early
science and invite the viewer to observe science and its history thro ugh the process of image-
making.
The artwork offered for donation by the artist is an ink and silkscreen print on paper titled The
Man on the Moon iii. After Galileo’s Starry Messenger treatise, 17th c. the print includes images
of Galileo’s observation of moon, mathematical notes and Copernicus’s Model of cosmos. The
figure in the prints is from Andreas Vesalius’ de humani corporis fabrica manuscript. Vesalius
was the 16th c. anatomist and physician.
Paloma Lucas
Paloma Lucas is a printmaker and visual artist. She uses both digital and traditional media to
give a visual voice to artistic themes. Her artistic style utilizes rich and luminous colors,
emphasizing simplicity and clarity.
The offered donation is a three-color Linocut print titled Permeable. Lucas states: “The print
was inspired by my family’s walking adventure, upon reaching our final destination in Robin
Hoods Bay, England. It wasn’t only the satisfaction of completing our walk, but the subtle
enrichment of the experience that brought this piece to life. Life is full of experiences and
adventures that permeate our beings leaving us wet forever, inside and out. As human beings,
we are exposed to emotions, feelings, beliefs, and knowledge that penetrate and shape our
souls. To live permeably is to be open-hearted and audacious, to risk showing up as our truest
self, and to proceed with honesty and courage, our actions aligned with our values.”
Andy Muonio
Visual artist and educator Andy Muonio has ranged from illustrative, figurative, still-life motifs,
expressive portraiture that accentuates the mark of the artist and medium as much as the
subject; to a range of exploration in landscape painting from "plein air" works to large scale
studio pieces. Muonio’s landscape series draws upon his personal memory and image archive
and concentrates on urban and natural landscapes of the South Bay; particularly the rebirth of
the watersheds, and the urban interaction with this changing environment: marshes, salt- flats,
water treatment plants, creeks, and trails.
The artwork offered for donation by the artist is titled Electric Bay. In his statement Muonio
says: “Ubiquitously crisscrossing the South Bay waters the ever present power lines and towers
are part of the landscape we simply visually ignore.”
Ernest Regua
Painter Ernest Regua draws inspiration in his work from our everyday surroundings. The
symbiotic relationship of manmade structures and natural occurrences fill the canvases he paints.
“The intertwining structures of both the built and natural environments inform the paintings that
I create. My interest juxtaposes color, lines and shapes manifested in an optical play that
references architecture and biomorphic forms. In an evolved process of space interplay, the
element of chance produces surprising results revealing contemplative, humorous and tensional
intersections of open possibilities. The artist is offering two optional artworks to be considered
for donation: Dichotomy and Threshold.
Attachment A: Images of Proposed Artworks
Danièle Archambault
Bring Art to the streets! , 2015 by Danièle Archambault, Ph.D.
14x18 in on 16x20 in art paper
Original painting (framed): Mixed media. Watercolor, dry pastel and China ink
Barbara Boissevain
Salt Pond Square Grid I, 2017 by Barbara Boissevain
4, 20" X 20" prints (framed)
Archival Inkjet Prints
Servane Briand
Livres en Liberté, 2015, by Servane Briand
8.5”x12”/16”x20” (framed)
One-color, oil based ink, chine collé, solar etching and encaustic on awagami kozo paper
Mel Day
Study Guide for Experimental Contemplatives (Vol. 1) Study Guide for Experimental
Contemplatives (Vol. 1), 2012 by Mel Day
Digital pigment print and graphite on paper, 57 x 37″
Catherine di Napoli
Option 1:
Ecstasy 26, 2017 by Catherine Di Napoli
Black gesso and acrylic paint on wood panel, 24 x 36 in.
Option 2:
Pyrolle II, 2016 by Catherine Di Napoli
Black gesso and pyrolle orange acrylic paint on wood panel, 36 x 48 in.
Amy DiPlacido
End of a Pen 3, 2017 by Amy DiPlacido
24”x36”, Drawing, pen on paper (framed)
Conrad Johnson
Waterfall Canyon 3, 2018 by Conrad Johnson
Pantea Karimi
The Man on the Moon iii, 2018 by Pantea Karimi
Ink and silkscreen on paper, 36”x 24” (framed)
Paloma Lucas
Permeable, 2015 by Paloma Lucas
Three-color, oil base ink, linocut print, 12’’ x 18’’ (framed)
Andy Muonio
Option 1:
Electric Bay, 2017 by Andy Muonio
acrylic on panel, 12" h x 24”
Ernest Regua
Option 1:
Dichotomy, 2013 by Ernest Regua
acrylic on wood panel, 20"x16"
Option 2:
Threshold, 2013 by Ernest Regua
20"x16", acrylic on wood panel
Attachment B: Artists’ Resume
Daniele Archambault
Danièle Archambault, Ph. D. Visual Storytelling Art (2010 -present)
Originally from Montréal (Canada), where I was a tenured professor in the Department of
Linguistics at the Université de Montréal, I moved to Palo Alto twenty years ago. In 2009 my
interest in comic books, and graphic novels led me to attend a course at Stanford University on
how to create a graphic novel. My career as a Visual Storytelling artist started in 2010. A more
detailed version of my resume can be found on my website www.DanieleBD.com and on
https://www.linkedin.com/in/danielearchambault/
Selected Publications (author and illustrator) and art works.
Une année de célébrations. Histoires d'escaliers (A year of celebrations. Stairway Stories) (May
2017) Full color paper graphic novel, 112pp. ISBN 978-0-9896932-2-6
The Art of Procrastination. L'art de la procrastination. (2016 -2018) A series of over 30
watercolors (9x12in and 11x14in).
La sobriété volontaire. Une année sans alcool. (2015) Full color paper graphic novel, 196pp.
ISBN 978-0-9896932-2-6
Une année sans alcool. Le journal de Catherine. (January to December 2014) a weekly
webcomic and blog. www.UneAnneeSansAlcool.com
A year without a Drink (2014 to present), webcomic and blog. English adaptation of the French
webcomic, Une année sans alcool. www.aYearWithoutaDrink.com
Québec-California. The wild life (iBook) (2013) ISBN 978-0-9896932-0-2 (2012) Paper comic
book. 90 pages. ISBN 978-0-615-64470-7
Stairway Stories (Histoires d'escaliers) is a collection of bilingual (French-English) full-color
comic books. The Age of Reason (2011) ISBN 978-0-615-53076-5 On the way to school (2011)
ISBN 978-0-615-46641-5 In the Montreal of my childhood (2010) ISBN 978-0-615-39167-0
Selected Publications (editor)
Collaborative Comic Book Project 11-11-17 (March 2018) An artists' book edited, printed, and
hand-bound by Danièle Archambault, Servane Briand and Paloma Lucas.
French Students comics. Co-editor with Anne Dumontier of a series of seven (7) e-Books,
collections of comic stories created by Gunn High-School students in their French language
classes.
Voyages. A Collection of Sequential Visual Stories - June 2016 Danièle Archambault, editor. A
collection of stories by the students of the Winter 2016 Visual Storytelling class.
Selected Refereed Journal Publication and Presentations
La bande dessinée : un outil privilégié pour l'apprentissage de la langue et de la culture
française. (Comics: A great cultural and language teaching tool in French classes) National
Bulletin of the American Association of Teachers of French, Vol. 41, No. 3, January 2016.
Le développement des compétences interculturelles dans les classes de français langue
seconde.
Scientific communication at the 85e congrès de l'ACFAS, Mc Gill University, Montreal (Canada).
May 8-12, 2017
Comics as Teaching Tool for French Language and Culture. Guest speaker at the International
Colloquium. L'Éducation: pratiques et représentations en français. Education: Practice and
Representation in French. International Colloquium. University of Lethbridge, Alberta (Canada)
(October20-22 2016)
Bringing Comics and Graphic Novels to your Classroom. (February 16, 2017). Teachers
Workshop forthe Palo Alto Unified School District Learning Summit
La bande dessinée comme outil d'apprentissage de la langue et de la culture française. De
l'album papier à la version numérique (July 8-11, 2015), AATF (American Association of
Teachers of French) National Convention, Saguenay (Qc), Canada.
Turning to Cyberspace and Comics to Start a Conversation about Alcohol Consumption and
Alcohol Related Problems, (July16-18, 2015), Comics and Medicine International Conference,
Spaces of Care, University of California Riverside, Riverside, CA.
A Year without a Drink - Catherine's Diary. A weekly webcomic," Comics & Medicine
International Conference, From Private Lives to Public Health, Johns Hopkins Medical Campus,
Baltimore,
Jun 26-29, 2014.
Guest Lecturer and Guest artist
Regular guest lecturer and guest artist on educational and cultural establishments. Over 15
events in the last seven years. For examples, in March 2017, The Québec Go vernment Office in
Los Angeles (International Affairs) invited me for a series of speaking events and art workshops
for several French schools and the French Alliance. I gave a total of eight talks and workshops
on how I use comics to document the Quebec French language and Culture.
Selected Exhibitions
Over 12 exhibitions (solo and in groups) in the last seven years. Here are some recent ones.
Collaborative Comic Book Project 11-11-17. Exhibition. (March 24, 2017), Cubberley Community
Center Room U-7.
Comics and Medicine. Spaces of Care (July 16-18, 2015), Conference Juried Exhibit, University of
California Riverside, Riverside, CA
Voyages: A Collection of Sequential Visual Stories (April 8-June 5, 2016). Palo Alto Art Center,
CA.
Comics and Medicine (June 26-28, 2014), Conference Juried Exhibit, Johns Hopkins Medical
Campus, Baltimore.
Classes and Workshops
I teach the art of visual storytelling at the Palo Alto Art Center since 2014 and I give classes
workshops on graphic novels, comic books and picture b ooks in various educational settings
since 2012.
Selected Radio, television and video interviews and critiques
Télé-Québec. (Québec National Public Broadcaster) Banc Public series. (Summer 2018). A half-
hour long television show on La sobriété volontaire.
Radio-Canada (National Public Broadcaster), June 13, 2017. Gravel le matin (Host -Journalist
Alain Gravel). A six-minute interview on my work and life in California.
Radio-Canada (National Public Broadcaster), May 27, 2017. Samedi et Rien d'autre Host Joë l le
Bigot. Art and Literature section (Francine Grimaldi, journalist). The journalist gave a short
critique of my new graphic novel.
SVOS Art Talk, Visual Storytelling with Danièle Archambault, 28 min. July 2016 Host: Sally Rayn.
Producer: Nance Wheeler
Barbara Boissevain
EDUCATION
2013 San Jose State University, Master of Fine Arts, Photography
1995 San Francisco Art Institute, Bachelor of Fine Arts, Photography
1988-1990 Parsons School of Design, NY Foundation (emphasis painting)
SELECTED GROUP EXHIBITIONS
2018 Waterlines, curator Marianne McGrath, New Museum Los Gatos, Los Gatos, CA
2018 Floral, curator Paula Tognarelli, (the Executive Director and Curator of the Griffin Museum
of Photography), The Rankin Arts Photography Ce nter (RAPC) at Columbus State University,
Columbus, GA
2018 Eco Echo: Unnatural Selection, curators Kent Manske and Nanette Wylde, WORKS Gallery,
San Jose, CA
2018 Left Coast Annual Juried Exhibition, juried by Claudia Schmuckli, (Curator in Charge for
Contemporary Art and Programming, Fine Arts Museums of San Francisco), Sanchez Art Center,
Pacifica, CA
2017 Retrofit 1.0, Telegraph Hill Gallery, San Francisco, CA
2016 Burning Ice, curator Diana Argabrite, Euphrat Museum, De Anza College, Cupertino, CA
2016 Anne & Mark’s Art Party, curated by Anne Sconberg, San Jose, CA
2015 Refuge in Refuse: Homesteading Art & Culture Project, SOMArts Cultural Center, San
Francisco, CA
2014 Anne & Mark’s Art Party 2016, San Jose, CA
2013 Making Space, curator Diana Argabrite, Euphrat Museum, De Anza College, Cupertino, CA
2013 Next New CA, curator Donna Napper, San Jose Institute of Contemporary Art, San Jose, CA
2013MFA Now, Root Division Gallery, San Francisco, CA
2013 Bound, Women’s Caucus for Art Juried Exhibition, curat or Karen Gutfreund, Phoenix
Gallery, New York, NY
Lift-Off 2013, San Jose State University M.F.A. Thesis Exhibition, Art Ark Gallery,
San Jose, CA2012
2012 32nd Annual Art Auction, San Jose Institute of Contemporary Art, San Jose, CA
2012 A Peek Behind Silicon Valley's Digital Veil, Zero 1 Biennial, SPUR, San Francisco, CA
2012 Ghost Hangar, photographic installation with sandblasted, etched glass, Gallery 3, San
Jose State University, San Jose, CA
2011 Russian-American Photo Exchange, San Jose City Hall, San Jose, CA
Sister City Cultural Exchange: San Jose & Yekaterinburg, Metenkov Museum,
Yekaterinburg, Russia
2006 Celebrate Architecture, Miami Center for the Photographic Arts, Miami, FL
2005 City Lights Juried Exhibition, Images of the European Union, Aca demy of Fine Arts,
Krakow, Poland
Two X 20, Modernbook Gallery, Palo Alto, CA
SOLO EXHIBITONS
2014 ICA: On the Road, San Jose Institute of Contemporary Art (at the San Jose
International Airport), San Jose, CA
2013 The Oracles of Richmond: Living on the Toxic Edge, M.F.A. Thesis Exhibition,
photographic installation, Gallery 3, San Jose State University, San Jose, CA
2011 Big Dirty Secret, Herbert Sanders Gallery, San Jose State University, San Jose, CA
2010 Eden Under the Canopy: Subtropical Gardens of the Mata Atlantica, Brazil,
Herbert Sanders Gallery, San Jose State University, San Jose, CA
2008 Children of the Rainbow: Images of the Sacred Valley of the Incas, Book Release
and Exhibition, Consulate General of Peru, San Francisco, CA
Island Light, SFO San Francisco International Airport Museum, San Francisco, CA
2002 Brasil Panoramico, Torin Knorr Gallery, San Mateo, CA
SELECTED RESIDENCIES, CURATORIAL ACTIVITIES, PUBLICATIONS & AWARDS
2017 Curated “Metamorphosis: Artist and Youth Voices on Immigration” exhibited in the
ARTLab at CASP, Palo Alto, CA
2017- Current Artist in Residence, Cubberley Artist Studio Program, Palo Alto, CA
2015 Starry Night Artist in Residence, Truth or Consequences, NM
2015 Award: Commons Curatorial Residency, SOMArts Cultural Center,
San Francisco, CA
2013 Adobe Spotlight: Barbara Boissevain, photoshop.com, online interview
2009 Children of the Rainbow, Images of the Sacred Valley of the Incas,
book with color plates of high elevation Quechua communities in Peru,
Edtion One (publisher), Berkeley, CA
2009 Award: Best of ASMP, American Society of Media Photographers,
Philadelphia, Pennsylvania
2005 First Place Award, City Lights, Images of the European Union, Academy of
Fine Arts, Krakow, Poland
California Home and Design Magazine, editorial photography
1995 Sobel Memorial Scholarship, San Francisco Art Institute, San Francisco, CA
SELECTED TEACHING AND LECTURES
2014-Current Adjunct Lecturer, San Jose State University, Department of Art and Art History,
Senior Projects in Photography, Advanced Photography (darkroom)
2015-Current Art and Design Teacher, Washington High School, Digital Imaging,
Design Thinking, Fremont, CA
2015 Part-Time Lecturer, College of San Mateo, Digital Photography,
San Mateo, CA
2014 Photography Instructor, Academy of Art University, Color Photography
San Francisco, CA
2014 Curriculum Developer/Writer, Academy of Art University, Digital Printing
Online, San Francisco, CA
2014 Photography Instructor, Euphrat Museum, De Anza College,
Stop Motion Animation, Cupertino, CA (Winter Digital Arts Camp)
2013 Guest Speaker, Art Department, Stanford University, May 28, 2013
2011 Graduate Teaching Associate (Instructor of Record), Intermediate
Photography, San Jose State University, San Jose, CA, Fall
2011 Graduate Teaching Associate (Instructor of Record), Color Photography,
San Jose State University,San Jose, CA, Spring
2011 Photography Instructor, PhotoCentral, Hayward, CA, (Summer camp for
Middle School age children)
2010 Graduate Teaching Associate (Instructor of Record), Beginning
Photography, San Jose State University, San Jose, CA, Fall
2010-2013 Teaching Assistant, Beginning Photography (Professor Mimi Chambers),
Image and Idea (Professor Robin Lasser), Professional Practices
(Professor Robin Lasser), San Jose State University, San Jose, CA
1996-1997 Mentor/Photography Instructor, First Exposures, San Francisco Camerawork,
San Francisco, CA (photography instructor, high school)
COLLECTIONS
2018 Kaiser Permanente, San Jose, CA
2008 Palo Alto Medical Foundation, Palo Alto, CA
2007 Kaiser Permanente, Santa Clara, CA
2004 Miky Grendene, Casa Tua Gallery, Miami, FL
Servane Briand
A French native, Servane first came to California in 1985 before completing her studies in New
York and Milan. Since then, she has lived in San Francisco, Paris, and Palo Alto. She worked in
various fields and made a radical move from high tech to printmaking and book arts in 2006.
She studied both fields at Foothill College and the Pacific Art League and is currently a student
of design bookbinder Eleanore Ramsey.
Selected Exhibitions
2017
Built, Artists' Books Exhibition - 23 Sandy Gallery. Portland, Oregon
Abstractions - Pacific Art League, Palo Alto, California
Stitched Bindings - Palo Alto Art Center, Palo Alto, California
Retrofit - Telegraph Hill Gallery, San Francisco, California
Metamorphosis: Artist and Youth Voices on Immigration – Art Lab, Cubberley Communmity
Center, Palo Alto, California
Hand Bookbinders of California 45th Annual Exhibition, Mills College Library, Oakland, California
2016
Nothing is here; Dada is its Name – Branner Spangenber Gallery, Redwood City, California
Abstractions - Pacific Art League, Palo Alto, California
Zeitgeist – Petaluma Arts Center, Petaluma, California
Artists Book Cornucopia VII - Artist Books Exhibition - Abecedarian Gallery, Denver, Colorado
4th Annual Juried Artists' Books Exhibition at WoCA Projects - Fort Worth, Texas - First Prize
Pacific Prints - Pacific Art League, Palo Alto, California
Hand Bookbinders of California 44th Annual Exh ibition, San Francisco Public Library
Book Arts Jam 2016, Palo Alto, California
2015
Artists Book Cornucopia VI - Artist Books Exhibition - Abecedarian Gallery, Denver, Colorado
Abstractions - Pacific Art League, Palo Alto, California
A Book as a Work of Art for All – Autonomie Project Gallery, Los Angeles, California
Angles, Lines and Curves – Filoli, Woodside, California
Pressed – Pacific Art League, Palo Alto, California – Honorable Mention
Bookish, San Pablo Art Gallery, San Pablo, California
Servane Briand – Solo show of Artists’ Books, San Mateo Public Library, San Mateo, California
Awagami International Miniature Print Exhibition, Tokushima, Japan
3rd Annual Juried Artists' Books Exhibition at WoCA Projects - Fort Worth, Texas
Libri Mai Mai Visti - Artist Books Exhibition - VACA, Russi, Italy
Pacific Art League, California – Members’ Exhibit
Mooncakes, Churros, and Cherry Pie – Euphrat Museum of Art, California
Hand Bookbinders of California 43rd Annual Exhibition
Meet the Artist – CASP – Palo Alto, California
2014
Photography Writing with Light - Pacific Art League, Palo Alto, California
Libri Mai Mai Visti - Artists' Books - VACA, Russi, Italy - First Prize
Coptically Bound - Artist Books Exhibition - Abecedarian Gallery, Denver, Colorado
2nd Annual Juried Artists' Books Exhibition at WoCA Projects - Fort Worth, Texas - First and
Second Prizes
85 years 85 Artists – Menlo College, Menlo Park, California
Undercurrents – Peninsula Museum of Art, Burlingame, California
Foothill College Library – Cell Exhibition
Pacific Art League – Prints Exhibition
Hand Bookbinders of California 42nd Annual Exhibition
PCBA Annual Show – San Francisco Public Library
Graphic Arts Workshop, San Francisco. California
Robert Blackburn Printshop, New York, New York
Book Arts Jam 2014, Palo Alto, California
Menlo Park Library Exhibition – Artists’s Books, California
Collections
Brooklyn Art Library, Brooklyn, New York
University of Texas at Arlington’s Art/Art History & Rare Books Collection, Texas
Foothill College, Los Altos, California
University of Louisville, Kentucky
Peninsula Museum of Art, California
Achenbach Foundation for Graphic Arts, California
Oakland Museum of California, California
Private Collections in New York, California, Oregon, Australia and France
Mel Day
2005 | MFA | UC Berkeley, United States
1992 | BFA | Queen’s University, Kingston, Canada
90/91 | Queen’s University Exchange Scholarship | Glasgow School of Art & Glasgow University,
Scotland
SOLO & TWO-PERSON EVENTS/EXHIBITIONS
2017
Grace Cathedral, San Francisco, CA | “Wall of Song” with Michael Namkung
San Jose Institute of Contemporary Art, San Jose, CA | “Wall of Song”
Potomac Station, Washington, D.C. | “Wall of Song”
Headlands Center for the Arts, Sausalito, CA | “Wall of Song”
2014
Manresa Gallery, USF, CA | “Design Thinking for Experimental Contemplatives Dinner &
Workshop”
2011
Peak Gallery, Toronto, Canada | “Study Guide for Experimental Contemplatives”
2008
The Berlin Office, Berlin, GE | “Collision No. 1”
The Berlin Institute, Berlin, GE | “Collision No. 2”
2007
Peak Gallery, Toronto, Canada | “Certain Insecurity”
2006
Headlands Center for the Arts, Sausalito, CA | “Project Space: New Work”
Spur Projects, Portola Valley, CA | “Whistle + Shipwreck”
2004
Peak Gallery, Toronto, Canada | “Early Flemish Painting”
2002
Peak Gallery, Toronto, Canada | “Everyday Green” Bishop’s University Art Gallery, Sherbrooke,
QC, Canada | Curated by Gaëtane Verna: “Lily Pond Blue” (Catalogue)
GROUP EXHIBITIONS
2018
Arlington Arts Center, Arlington, VA, “You, If No One Else,” curated by Karyn Miller (catalogue)
Root Division, San Francisco, CA , “15 Year Anniversary Evening of Performances” (catalogue)
2017
San Jose Institute of Contemporary Art, San Jose | Curated by Kevin Chen, Lisa Ellswo rth, Lordy
Rodriguez: “Detritus”
Hammer Theatre, Center San Jose, CA | Paseo Public Prototyping Festival
Headlands Center for the Arts, Outdoor installation, Sausalito, CA | Wall of Song
Southern Exposure, SF, CA | 100 Days Action
Logan Arts Space, Trinidad Theatre, Washington, DC | Curated by Robin Bell: “Live Film Series:
Directed Actions”
Projects Contemporary Art Space, Ft. Lauderdale, FL
2016
Arena 1 Gallery, Santa Monica, CA | Curated by Christine Duval: “Code & Noise”
Currents: International New Media Festival, Santa Fe, CA | “Code & Noise”
2015
Kala Art Gallery, Berkeley, CA | Curated by Mayumi Hamanaka: “Voices”
Art Silicon Valley/SF, San Mateo Event Center, CA | “Code & Noise”
2013
Stanford University, Roble Gym, Stanford, CA | “Performance Studies International”
Santa Clara University, Santa Clara, CA & Manresa Gallery, USF, CA | Curated by Michelle
Townsend: “Dialoguing with Sacred Text”
2012
Palo Alto Art Center Commission, Grand Opening Exhibition, Palo Alto, CA | “Threshold,” with
Jeanne Finley in collaboration with Lytton Gardens Senior Communities, SF Threshold Choir,
Stanford University’s CCRMA
ZERO1 Biennial, Palo Alto Art Center | “Threshold”
The Immanent Frame, Killing the Buddha, Social Science Research Council, Brooklyn, NY |
“Frequencies”
Root Division, SF, CA | Curated by Blake Gibson: “From our Bodies Blinking”
2008-12
Root Division, SF, CA | “The Missing Peace: Artists Consider the Dalai Lama: 88 artists
representing 30 countries”
2011
SF Film Society and Southern Exposure, SF, CA | “Experimental Film—Cross-cuts”
2009
Yerba Buena Center for the Arts, SF, CA | “Through Future Eyes”
Aqua Art Fair, Miami Beach, Florida | McCaig Welles and Rosenthal Gallery
T40 Galerie, Dusseldorf, Germany |“Selections from Peak Gallery”
Root Division, SF, CA | “Family Pictures,” curated by Michelle Townsend
2008
Art.Fair21, Cologne, Germany | McCaig Welles and Rosenthal Gallery
Southern Exposure Art Gallery, SF, CA | Curated by Valerie Imus: “Hopeless & Otherwise”
McCaig Welles and Rosenthal Gallery, Redwood City, CA | “Selected Work”
2007
Superbien! Berlin, Germany | Curated by H. Pedersen (DK), David Keating (AU), Jonn Herschend
(US): “Deadpan II”
Parkway Theatre, Oakland, CA | Curated by Jonn Herschend: “Guilt by Association” Edinburgh
Sculpture Workshop, Scotland | Curated by A. Hetherington, J. Nicoll:
“The Consequence”
Trafalgar Hotel, Bridge Art Fair London, UK | Spur Projects
Contemporary Art Forum Kitchener + Area, Canada | Cafka_TV Featured Artist
2006
New Langton Arts, SF, CA | Curated by Craig Goodman: “The There There”
El Pobre Diablo, Ecuador | Curated by María del Carmen Carrión: “A la Carta”
Photo MIAMI, Miami, FL | Peak Gallery (Photo Miami Featured artist)
RESIDENCIES/AWARDS
2017
Dean’s Grant & Departmental Grant, San Jose State University, San Jose, CA
2016
Sedona Summer Arts Colony Residency, Verde Valley School, Sedona, Arizona
2015-
Co-Founder, OpenIDEO Youth Artist Fellowship, Djerassi Resident Artist Program, Woodside, CA
2014
Creative Impact Fund: Audience Engagement Grant, Silicon Valley Creates & Applied Materials
Foundation
2013
OpenIDEO Concept Awards (2) OpenIDEO Challenge, Sponsored by IDEO, YMCA
2012
Oberpfälzer Künstlerhaus Residency, Schwandorf, GE
Headlands Center for the Arts Alumni New Works Program, Sausalito, CA
2011
Stanford University Experimental Media Arts Lab Visiting Artist, Stanford, CA
John D. and Susan P. Diekman Fellowship, Djerassi Resident Award, Woodside, CA
2010
Djerassi Resident Artists Program, Woodside, CA
CURATING/WRITING
2017
Love & Longing, Root Division, SF, CA
2014
Performance Research Journal: On Time, “Art/Life Counseling with Linda Mary Montano,”
Routledge
2007
Peak Gallery, Toronto, Canada | Co-curated with Jonn Herschend “Two things at the Same
Time”
LECTURES/PANELS/PODCASTS
2018
Public Lecture, LASER Series | UC Berkeley, CA
Inquire Within Podcast with Darren Main & Michael Namkung (darrenmain.com/wall -song-
project/)
2017
Public Lecture, LASER Series | Organized by Piero Scaruffi, Stanford University, CA
Panelist, The LAST Festival | “Peace and Technology” organized by Piero Scaruffi, Hammer
Theatre, San Jose, CA
Artist talk, Computational Creativity Class | Computer Science Dept., SJSU
Artist Talk, Social Practice | Art Dept., Florida State University
Catherine Di Napoli
1996 Studied film and art history in Rome, Italy, for six months.
1998 B.A., Loyola Marymount University, Los Angeles.
2005-2011 Mentored by Bay Area Artist, Pierre Merkl, learned to work with oils, acrylics, mixing
paint, glazes, and art history.
2008 Produced and co-wrote UNTITLED, feature film about contemporary art and music.
2011 Began exhibiting, including Fort Mason, San Francisco
2011 Completed several commissions for private collectors, including a large abstract work of
St. Miguel
2012 Traveled to Florence and Pietrasanta, Italy to work with a community of artists in an
outdoor studio making sculpture.
2013 Commissioned to do large work (6’ x 4’) for major Marin County real estate office building.
2013 Traveled to Buenos Aires to work with the Italian artist community and Argentinian artists
in their studio. Painted large pieces as well as spontaneous three-minute, three-color paintings.
2014-2015 Leased my individual studio at Art Explosion in the Mission District of San Francisco,
participated in four Open Studio exhibitions.
2015 Completed three large painting commissions for various lobbies in a large office building
located at 1101 Fifth Avenue, San Rafael, CA.
2015 Produced and co-wrote feature film, THE ARCHITECT. Created paintings and mural for
Parker Posey’s character on exhibition in the movie.
2016, May/June , exhibiting paintings at Zener Schon Gallery, Mill Valley, CA.
2016, September-December, exhibited paintings at di Pietro Todd, Palo Alto, CA.
2016, December, Commissioned to do two large paintings for Los Altos residence.
2017, January, Started residency at city-sponsored Cubberley Arts in Palo Alto.
2017, Ecstasy: Solo Show, di Pietro Todd Mill Valley, January 16- March 16
2017, Commissioned to do large work for Menlo Park residence.
2017, March, Curated show for City of Palo Alto, Alchemy 2.0, Palo Alto, CA.
2017 March, Taught Abstract Expressionist Workshop at Cubberley Arts
2017, Private Residence, (Hilary Somers) Ecstasy Solo Show, Palo Alto, April 10- May 10
2017, May, Open Studios, Cubberley Arts in Palo Alto, CA.
2017, Retrofit 2.0, Telegraph Hill Gallery Group Show, San Francisco June 24 - July 22
2017, Ecstasy Unbound: Solo Show, di Pietro Todd on Fillmore, July 18- October 9
2017 September 23, 11am-4pm, Participated in Marketplace at Solaire in San Francisco with my
“art scarf”, proceeds donated to Junior League
2017 exhibited Ground 14 at Institute of Contemporary Art, Connect and Collect, Sept. 23-
October 21
2017 Trunk Show Womens’ Coop hosted by local art collector, Pamela Hornik Dec. 5
2017 Trunk Show Bay Club Redwood Shores, October
2017 Trunk Show Bay Club Courtside, October
2017 Trunk Show Bay Club Cupertino, November
2017 Trunk Show Bay Club Redwood Shores, Dec. 9
2017 and 2018 Photoshoots and creation of Napolica, the Art Scarf
2018 March 3 Install of Ground 0 at Hessler Plastic Surgery
2018 March 3 Install of Pyrolle Diptych at Private Palo Alto Residence
Amy DiPlacido
Work Experience
Present Curator of Exhibitions. San Jose Museum of Quilts & Textiles.
San Jose, CA.
Fiber Art Workshop Instructor. Pacific Art League. Palo Alto, CA.
2016 K – 8 Art Teacher. Carden Academy of Almaden. San Jose, CA.
2015 Artistic Lead of the Dreaming Pillow Project.
Center and Shelter. Pittsburgh, PA.
Shibori, Dyeing, Knitting, and Printing Instructor,
The Society for Contemporary Craft. Pittsburgh, PA.
2014 Global Arts Exploration Instructor. Interlochen Center for the Arts. MI.
2011- 2013 MAKESHOP Coordinator,
The Children’s Museum of Pittsburgh. Pittsburgh, PA.
2011 Volunteer, Fe Gallery. Pittsburgh, PA.
2010 Textile Studio Assistant, Iro Design. Boston, MA.
Fashion and Sewing Instructor, The New Art Center. Newton, MA.
Quilting, Sewing and Weaving Instructor, The Fuller Craft Museum. Brockton, MA.
2009 Teacher’s Assistant for Artist-in-Residence, Mark Newport.
Cranbrook Academy of Art, Bloomfield Hills, MI.
2008 Exhibition Assistant at Cranbrook Art Museum. Bloomfield Hills, MI.
Instructor of An Introduction to All Things Wearable Fashion Design Class. Cranbrook Summer
Art Institute, Bloomfield Hills, MI.
2007 Student Global Ambassador. The Colleges of the Fenway Internship.
2006 Teacher’s Assistant for Betsy Sterling Benjamin. Massachusetts College of Art and Design.
Surface Design: Resist, Shibori, and Rozome.
Awards and Residencies
2014 Haystack Scholarship. Deer Isle, Maine. MassArt Alumni Award.
2011 Distillery 6 Brew House Artist Residency. Pittsburgh, Pennsylvania.
Vermont Studio Center. Artist in Residence. Johnson, Vermont.
2009 Art 342. Artist in Residence. Fort Collins, Colorado.
Art Farm. Artist in Residence. Marquette, Nebraska.
Daimler Chrysler Collection. Farmington Hills, MI.
2007 Pace Gallery Award. Massachusetts College of Art. Boston, MA.
Vietnam International Travel Scholarship. Boston, MA.
2006 Barbara L. Kuhlman Scholarship. Willet, New York.
Solo Exhibitions
2015 No Buddy. 645 Congress. Portland, ME.
2014 One Cloud Per Sky. Tula Organic. Pittsburgh, PA.
2012 Stop Me If You’ve Heard This One Before. Gallery Vertigo.
Vernon, BC, Canada.
View Now, View Later. Village Theater at Cherry Hill. Canton, MI.
2011 New Drawings by Amy DiPlacido. Juicebox Café. Pittsburgh, PA.
Language is the Word. Holzwasser Gallery. Newton, MA.
2010 A Profound Annunciation. Monongalia Art Center. Morgantown, WV.
2009 Any American, Any Apparel. Art Windows. Providence, RI.
2008 Domestic Bliss (Stop Laughing at My Inside Jokes).
Willow Community Gallery. Lynn Arts Inc. Lynn, MA
2007 Implied Impermanence. Installation Station. Boston, MA.
Select Group Exhibitions
2017 Retrofit 2.0, Telegraph Hill Gallery. San Francisco, CA.
Fiber Shots. San Jose Museum of Quilts and Textiles. San Jose, CA.
Out of Hand. Society of Contemporary Craft Auction. Pittsburgh, PA.
2016 John Riegert. Guest curated by Brett Yasko. Space. Pittsburgh, PA.
Holiday Show. Pacific Art League. Palo Alto, CA.
2015 The Theresa Show. United South End Settlements. Boston, MA.
2014 Faculty Exhibition. Interlochen Center for the Arts. Interlochen, MI.
Digital Technology, Traditional Techniques. Gray Gallery at ECU, Greensville, NC. Curated by
Bethanne A. Knudson.
2013 Amy DiPlacido and Scott Turri. Westmoreland Museum of Art. Greensburg, PA.
2012 Mass Art Auction. Bakalar Gallery. Boston, MA.
2011 The End. Space 101 Gallery, Brew House. Pittsburgh, PA.
Mean, Median, Mode. Artists Image Resource. Pittsburgh, PA.
Flourish. Mass Art Alumni Exhibition. Bakalar Gallery. Boston, MA.
Textile, Glass & Furniture. Studio 659. Whiting, Indiana.
Sculpture Invitational Exhibition. The Art Store. Charleston, WV.
2010 WGBH Art Benefit. Brookline, MA.
Di Faria and Amy DiPlacido. Auburn City Hall Gallery. Auburn, WA.
2009 Loose Canon: MFA Degree Exhibition.
Cranbrook Art Museum. Bloomfield Hills, MI.
2008 CSAI Faculty Show. Café 1923. Hamtramck, MI.
2007 Integral Radiance. Godine Family Gallery. Boston, MA.
Fresh Fiber: Work by Emerging Textile Artists.
Fuller Craft Museum. Brockton, MA.
The Power of the Diminutive. Boston University
Rubin- Frankel Gallery. Boston, MA.
2007 Fiber Student Show. Oregon College of Art and Craft. Portland, OR.
Professional Practice
2017 Artist. Cubberley Community Center. Palo Alto, CA.
2015 Artist. Chases Garage. York, ME.
Fabric Printing Workshop. Port City Makerspace, Portsmouth, NH.
Printed Tea Towel workshop. UTEC Lowell, MA.
2014 Visiting Artist. Massachusetts College of Art and Design. Boston, MA.
Grant Workshop. Cambridge Community Television.
Shibori Peace Quilt Project Workshop. Pittsburgh, PA.
2012 Lecturer Senior Seminar. Massachusetts College of Art. Boston, MA.
2009 Fiber Review Board. Massachusetts College of Art. Boston, MA.
Lecture. Cambridge Art Association. Cambridge, MA
2008 Screen-printing on Fabric Workshop at Kingswood Weaving Studio. Bloomfield Hills, MI.
Drawing Workshop Instructor at Hunakai Art Studio. Foxboro, MA.
2005 Volunteer for the World Batik Conference. Boston, MA.
Publications
2017 Foreword. Expressions of Identity: 40th Anniversary Exhibition. Exhibition catalog. Editor
and Curator.
Foreword. Cerebral Touch: Lia Cook 1980-Now. Exhibition catalog.
John Riegert. Space Pittsburgh. ISBN: 9780998644004
2012 D6. The End Exhibition Catalog.
2010 1000 Artisan Textiles. Rockport Publishers/ Quarry Books.
ISBN: 1592536093
Experiencing Perspectives. Daimler Financial Services. MI.
2009 America’s Heartland. PBS Television series. Art Farm, Nebraska.
Recent MFA Graduate Fiber work. www.Fiberscene.com
Loose Canon: The 2009 Graduate Book of Cranbrook Academy of Art.
Pg. 54-55.
2008 Student Showcase. Fiber Arts Magazine. Vol. 35, No. 3 Nov/ Dec.
2007 Fresh Fiber. Shuttle Spindle & Dyepot. Vol. 9, Issue 150.
Education
MFA 2009 Cranbrook Academy of Art, Fiber. Bloomfield Hills, MI.
BFA 2007 Massachusetts Col
Pantea Karimi
Education
2009 Masters of Fine Arts: Printmaking and Painting, with honors, San Jose State University, San Jose, CA
2004 BTEC National Diploma in Art and Design: Printmaking, Painting and Glass, with distinction
Hastings College of Arts and Technology, Hastings, UK
1999 Masters of Design: Graphic Design, Art University, Tehran, Iran
1996 Bachelor of Design: Graphic Design, Al-Zahra University, Tehran, Iran
Public Collection
2018 Kaiser Permanente Health Care, San Jose, CA
2018 Pence Gallery, Davis, CA
2017 Ruth Asawa Foundation, San Francisco, CA
2017 Stanford Health Care, Redwood City, CA
Residency
2016-2017 Kala Fellowship-Residency Award, Kala Art Institute, Berkeley, CA
2013 Teaching Artist Residency, Montalvo Arts Center, Saratoga, CA
2018 Research Residency, The British Library, London, UK
Solo Exhibitions
2017 Blind Spot, a dialogue, Ruth’s Table (Ruth Asawa Foundation Center), San Francisco, CA
2016 Punctum Caecum, West Wing Gallery, Seattle, WA
2016 Punctum Caecum, a visual exploration into the magical world of medieval and early modern
scientific manuscripts, California State University Stanislaus, Turlock, CA
2015 Mediated Senses, Google Campus, Building CL5, Mountain View, CA
2014 Mediated Senses, Peninsula Museum of Art, Burlingame, CA
2010 Mediated Senses, Mohr Gallery, Finn Center, Mountain View, CA
Two-Person Exhibitions
2014 UNNATURAL SELECTION, Mohr Gallery, Finn Center, Mountain View, CA
2013 Disappearance, Art Ark, San Jose, CA
2012 Monotype & Silkscreen, commercial building via Bay Van Gallery, Oakland, CA
1998 Forms and Shadows, Xorshid Gallery, Tehran, Iran
Traveling Exhibitions
2017 Vision and Voice: Reflections of Immigrant Artists in California , San Jose & Oakland, CA
Art Ark Gallery & Chandra Cerrito Contemporary
2015 Living with Endangered Languages in the Information Age, Root Division, San Francisco, CA
Endangered, Euphrat Museum of Art, Cupertino, CA
2012 Mexico-California, A Bridge Beyond Borders: Innovations in Contemporary Printmaking
Galeria Ajolote Arte Contemporaneo, Guadalajara, Mexico
Monterey Peninsula College, Monterey, CA
Cabrillo College, Aptos, CA
Group Exhibitions
2018
#TimesUp#Metoo, #Wesiad enough, JAYJAY Art Gallery, Sacramento, CA
PRINTSTALLATIONS, San Jose Institute of Contemporary Art, San Jose, CA
Coming With Care, Euphrat Museum of Art, De Anza College, Cupertino, CA
The 5th L.A.S.T Festival, Stanford Linear Accelerator, Menlo Park, CA
Arousing Biophilia, Art Ark, San Jose, CA
Consilience of Art & Science, Pence Gallery, Davis, CA
Group Exhibition, Jeff King & Co. Design Company, San Francisco, CA
Kala Artists’ Annual Exhibition, Kala Art Gallery, Berkeley, CA
2017
Waterlines, New Museum Los Gatos, Los Gatos, CA
Kindness as Resistance, Euphrat Museum of Art, Cupertino, CA
Other Side III, Galerija Pikto, Zagreb, Croatia
Connect and Collect, San Jose Institute of Contemporary Art Auction, San Jose, CA
Earth and Reveries, Fellowship Residency Exhibition, Kala Art Institute Gallery, Berkeley, CA
Retrofit, Telegraph Gallery, San Francisco, CA
Kala Art Auction, Kala Art Institute Gallery, Berkeley, CA
Shelf Garden, The 4th L.A.S.T Festival, San Jose, CA
Revive, NASA Ames Research Center, Mountain View, CA
StArtup Art Fair, Hotel Del Sol, San Francisco, CA
2016
World’s Faire 2030, NASA Research Center, Mountain View, CA
Stateless, University of Massachusetts, Dartmouth, New Bedford, MA
Anne & Mark’s Art Party SJ, Santa Clara County Fairgrounds, San Jose, CA
1001 Plates, Shirin Art Gallery, Tehran, Iran
Connect and Collect, San Jose Institute of Contemporary Art Auction, San Jose, CA
Impulse, Arc Gallery, San Francisco, CA
StArtup Art Fair, Hotel Del Sol, San Francisco, CA
2015
Felt Encounters with Past and Present, Inspace Curatorial, San Francisco, CA
Bearing Witness: Surveillance in the Drone Age, Fort Mason, San Francisco, CA
50 and Looking Forward, Triton Museum of Art, Santa Clara, CA
Connect and Collect, San Jose Institute of Contemporary Art Auction, San Jose, CA
SF Bike Coalition Art Auction, Metreon, San Francisco, CA
A Tribute to Mondrian, Land Art Project, Twisted Wish Studio and Ranch, Bonny Doon, Santa Cruz, CA
Artik’s 20th Annual Exhibition, Artik, San Jose, CA
2014
Theory of Survival: Fabrications, Night Markets Events , Southern Exposure, San Francisco, CA
No War, Niavaran Art Center, Tehran, Iran
SF Bike Coalition Art Auction, Metreon, San Francisco, CA
Ruth’s Table Art Auction, Ruth Asawa Center, San Francisco, CA
Connect and Collect, San Jose Institute of Contemporary Art Auction, San Jose, CA
Anne & Mark’s ArtParty SJ, Santa Clara County Fairgrounds, San Jose, CA
Community Matters, San Jose City Hall, San Jose, CA
The Other, Mediterranean Biennale of Contemporary Art of Oran, Algeria
The Chasm Arena, Yerba Buena Art Center, San Francisco, CA
Deep Reading, Euphrat Museum of Art, Cupertino, CA
2013
Creativity, Change, Commitment, Triton Museum, San Jose, CA
SF Bike Coalition Art Auction, Metreon, San Francisco, CA
Our Veterans, San Pablo Art Center, San Pablo, CA
12×12, Cabrillo College Art Gallery, Aptos, CA
Don Quixote, Aun Gallery, Tehran, Iran
Glyph, Art Ark, San Jose, CA
War and Healing, Euphrat Museum of Art, Den Anza College, Cupertino, CA
Exploring Urban Identities in De-Industrialized Cities, New Bedford Art Museum, New Bedford, MA
2012
The Future Imagined: What’s Next? 2012 ZERO1 Biennial, The Performance Art Institute, SF, CA
X-Libris, Root Division, San Francisco, CA
NY Beats, Discourse on Art, Politics and Aesthetics: International Occupy Video, PLATFORM, Munich, Germany
La Gran Pachanga Art Auction, 111 Minna Gallery, San Francisco, CA
DYAD, Art Ark, San Jose, CA
Directly indirect, Kriewall-Haehl Gallery, Portola Valley, CA
2011
Caution: Vegetable Garden, Land Art, Willowside Ranch, Pescadero, CA
Summer in the City, Branch Gallery, Oakland, CA
(Political) Love Letters, ArtPad SF in Phoenix Hotel, San Francisco, CA
Spring Group Show, Focus Gallery– Artik, San Jose, CA
Fiesta Night Gala, Triton Museum, Santa Clara, CA
Night Market, Artist Reading Room, Oakland, CA
The Collector’s Room, Togonon Gallery, San Francisco, CA
Small and High Quality, Art Ark, San Jose, CA
Visual Territory, Pittsburg State University, Pittsburg, KS
Works on Paper, Community School of Music and Arts Gala Art Auction, Menlo Park, CA
2010
Illusion, Climate Theater Gallery, San Francisco, CA
Mid-Spring Evening Gala, Triton Museum, Santa Clara, CA
Monotype Marathon 2010, Institute of Contemporary Art, San Jose, CA
Works on Paper, Community School of Music and Arts Gala Art Auction, Menlo Park, CA
2009
Traces of Being, Morono Kiang Gallery, Los Angeles, CA
Warhol Now and Then, Wilsey Court, de Young Museum, San Francisco, CA
Lift Off, Institute of Contemporary Art, San Jose, CA
Unseen Unsaid, Climate Theater, San Francisco, CA
Works on Paper, Community School of Music and Arts and Gala Art Auction, Menlo Park, CA
2008
Local Color, Art Ark, San Jose, CA
Works on Paper, Community School of Music and Arts Gala and Art Auction, Menlo Park, CA
Works on Paper, Orchard Commercial ART Space, San Jose, CA
Winter Art Exhibition, Sobrato Center, Milpitas, CA
Art Auction, Works, San Jose, CA
2007
Iranian Alliances Across Borders, Ellipse Arts Center, Arlington, VA
SJSU Art Exhibition, Art Ark, San Jose, CA
2006
San Francisco Open Studios, Gate House, Fort Mason Center, San Francisco, CA
Art On the Wall, SomArts, San Francisco, CA
2001-2003, UK
Visual Art Exhibition, Pier Gallery, Hastings, UK
Challenge the Nail, Salon Des Arts, London, UK
Summer Art Exhibition, New Riviera Gallery, Hastings, UK
Fourteen Annual Conference of the Iranian Women’s Studies Foundation, The School of Oriental and African
Studies (SOAS), London, UK
Spring Art Exhibition, New Riviera Gallery, Hastings, UK
Human Rain, Lauderdale House, London, UK
Challenge the Nail, Salon Des Arts, London, UK
Visual Art Exhibition, Conquest Hospital Gallery, Hastings, UK
1994-1999, Tehran, Iran
Fifth Annual Exhibition of Iranian Women Artists, Niavaran Art Center
Fourth Annual Exhibition of Iranian Women Artists, Niavaran Art Center
Still Life, Haft Samar Gallery
Third Annual Exhibition of Iranian Women Artists, Niavaran Art Center
Third Annual Exhibition of Graphic Design Works, Museum of Contemporary Art
Honors, Awards, Grants
2018 Center for Cultural Innovation Travel Grant, The Courtauld Art Institute Conference in London, San Francisco,
CA
2017-18 Pre-qualified Artist Pool, The San Francisco Arts Commission’s, public art commissions, San Francisco, CA
2012 School of Arts and Culture Grant, Collaborative Community Art Project, San Jose, CA
2011-12 Multicultural Arts Leadership Initiative (MALI) Fellowship, School of Arts and Culture, San Jose, CA
(Organizational skills and knowledge, participation in community-wide forums, initiatives and task forces)
2011 Creative Capacity Fund Grant, San Francisco, CA
2010 Distinguished Artist Award, Fine Arts Commission, Cupertino, CA
2010 Creative Capacity Fund Grant, San Francisco, CA
2009 Orchard Commercial North First ArtSPACE Scholarship, San Jose, CA
2009 Nominee: Artshift Award, visual arts, San Jose, CA
2009 Nominee: The Joan Mitchell Foundation MFA Grant, visual arts, San Jose State University, San Jose, CA
2008 Orchard Commercial North First ArtSPACE Award, San Jose, CA
2008 School of Art and Design Teaching Assistant Scholarship, San Jose State University, San Jose, CA
Project and Workshop
2016 Silkscreen Workshop, Seeing Science through the Lens of Art, in conjunction with Punctum Caecum solo
exhibition, California State University, Stanislaus, Turlock, CA
2016 Collage Workshop, Mathematical Patterns, Community School of Music and Arts, Mountain View, CA
2016 Acrylic Painting Workshop, Van Gogh’s Almond Blossoms, Palo Alto Art Center, CA
2016 Silkscreen Workshop, Bird in the Hand, in conjunction with Bird in the Hand exhibition’s opening night, Palo Alto
Art Center, CA
2012 Lead Teaching Artist, My Homeland, collaborative art installation, San Jose, Sunnyvale, Mountain View, CA
2011 Co-Lead of Curriculum Development, Slot Shelters, collaborative design project, San Jose, CA
2011 Lead Teaching Artist, We Are Socially Networked, collaborative art installation, Euphrat Museum of
Art, Cupertino, CA
2002 Collaborator, Mural, Alan Rankle Fine Art Studio, private residence, London, UK
Teaching Experience, College and University
2017 Gavilan College, Gilroy, CA: Drawing
2013-present Cabrillo College, Aptos, CA: Design and Color Theory, Drawing, Silkscreening Techniques I&II
2008-present De Anza College, Euphrat Museum of Art, Cupertino, CA: Digital Arts & Design
2010 San Jose State University, Co-Teaching, San Jose, CA: Silkscreening Techniques
2008 San Jose State University, Teaching Associate, San Jose, CA: Two -Dimensional Design Concepts
2009 San Jose State University, Teaching Assistant, San Jose, CA: Color Theory & Beginning Painting
2007 San Jose State University, Teaching Assistant, San Jose, CA: Representational Drawing & Two -Dimensional
Design Concepts
Paloma Lucas
During my residency in studio E3 at CASP, I’ve grown as an artist. The studio space has helped
me to work on my projects, experiment with new techniques, learn, and exchange ideas. The
quality, as well as the quantity, of my work has improved, because I have a dedicated space to
work.
Book Arts - I took intensive classes of traditional bookbinding and stitched bindings class, as
well as box making. I have been learning and developing my books arts collection.
“Things / Think “ - books and box - 2016
“Lets Play Pool” - books and box - 2016
“ Not a Square Box” - Several box structures - 2016
“Wish” - box - 2016
“Poemas del Alma” - book - 2017
“Pies, patas y pezuñas” - book - 2017
“Books, Books and more Books - collection of stitched binding -2017
“Book, Libro, Livre” - collaboration with Servane Briand
Exhibits
Pacific Art League of Palo Alto - “The Art of Love” exhibition, February 2016. Title: “2/14 - Esto
va de Amor” a set of two prints
Abecedarian Gallery, Denver - “The Printed Page II” exhibit. Book, February, 2016 Title:
“Tumbling”
Abecedarian Gallery, Denver - “Artist’s Book Cornucopia VII” exhibit, October, 2016. Book Title:
“Lets Play Pool”
Telegraph Hill Gallery, San Francisco - Retrofit 2.0 exhibit. June 24 to July 22, 2017 with fellow
CASP members. Title: “Homo Apparatus” a set of four prints
ARTLab Gallery at CASP at Cubberley - ‘Metamorphosis: Artist and Youth Voices on
Immigration’ at the, June 10-18, 2017
Andy Muonio
WORK EXPERIENCE:
August 2017 - Present
Art Instructor
Palo Alto Art Center
1500 Ralston Avenue, Belmont, CA 94002
1990 - Present
Owner/ Artist
Muonio Studios
4000 Middlefield Road, Suite E1
Palo Alto, CA
Muonio Studios
January 2012 - January 2018
Assistant Professor of Art
Cañada College
4200 Farm Hill Blvd., Redwood City, CA 94061
August 2015 - December 2015
Lecturer
Notre Dame de Namur University
1500 Ralston Avenue, Belmont, CA 94002
Courses: Drawing I, Drawing II
June 1990 - Present
Graphic Design/Illustration, Fine Art
August 2008 - April 2013
Faculty, Program Coordinator
The Community School of Music and Arts,
230 San Antonio Crl., Mountain View, CA 94040
January 2010
Lecturer
San José State University
One Washington Square, San José, CA 95192
Jan. 07 - May 08
Graduate Teaching Associate
San José State University
One Washington Square, San José, CA 95192
March 03 - June 03
Production Manager
Kaplan Tech West
66 Franklin St, Suite 300, Oakland, CA
May 00 - March 01
Director of Creative Services
Pensare Inc. (company closed)
1322 Orleans Drive, Sunnyvale, CA
Aug. 96 - June 98
Graphic Design Instructor
Evergreen Valley College
3095 Yerba Buena Road, San José, CA 95135
March 1994 - April 1995
Color Manager/ Lead Designer
Dataflow Inc.
221 Washington Street, Binghamton, NY 13901
Sept. 90 - April 92
Graphics Editor
The Peninsula Times Tribune
245 Lytton Ave. Palo Alto, CA
EDUCATION:
Masters of Fine Art
2008
Pictorial Art
San José State University
Bachelors of Fine Art
2004
Pictorial Art
San José State University
Bachelors of Science
1990
Graphic Design
San José State University
Associate of Arts
1988
Illustration
Evergreen Valley College
SELECTED EXHIBITIONS (*solo):
"Retrofit 2.0," June 24 - July 22, 2017 Telegraph Hill Gallery 491 Greenwich St. San Francisco, CA
94133
"stARTup ContemporaryArt Fair," April 27-30, 2017, Hotel Del Sol, 3100 Webster Street, San
Francisco, CA
"ReMix," May 21, 2016, CASP ArtLab, 4000 Middlefield Rd. Palo Alto, CA
http://www.cityofpaloalto.org/gov/depts/csd/studios/
"Meet the Artist," November 12, 2015, CASP ArtLab, 4000 Middlefield Rd. Palo Alto, CA
http://www.cityofpaloalto.org/gov/depts/csd/studios/
"Cubberley Disporia," June 6 - 28, 2014, Art Ark Gallery, 1035 S. 6th St. San José, CA 95112,
http://www.artarkgallery.net/
"Silicon Valley Open Studios Preview Show," April 4 - 12, 2014, Art Ark Gallery, 1035 S. 6th St.
San José, CA 95112, http://www.artarkgallery.net/
"The More the Merrier IV: Salon-Style Art Exhibition", Nov. 1- Dec, 2013, Art Ark Gallery, 1035
S. 6th St. San José, CA 95112, http://www.artarkgallery.net/
"The Annual Art Auction Exhibition," September 28th - October 26th, 2013, ?San José Institute
of Contemporary Art, 560 S. 1st Street, San José, CA 95113, http://www.sjica.org
"2012 Member's Exhibition" at Works/San Jose, November 2th - 17th, 2012, 365 South Market
Street , San Jose, CA, http://www.workssanjose.org/
"Sci-Fi-Fan-Anime," Oct. 5th - 20th, 2012, Art Ark Common House Gallery, 1035 S. 6th St. San
José, CA 95112, http://www.artarkgallery.net/
Faculty Show, September 11th - October 7th, 2012, Cañada College Art Gallery, Redwood City,
CA
"Urbanity," April 6th - 20th, 2012, Art Ark Common House Gallery, 1035 S. 6th St. San José, CA
95112, http://www.artarkgallery.net/
"DYAD," February 3rd - 19th, 2012, Art Ark Common House Gallery, 1035 S. 6th St. San José, CA
95112, http://www.artarkgallery.net/
"Small & High Quality," February 4th - 19th, 2011, Art Ark Common House Gallery, 1035 S. 6th
St. San José, CA 95112, http://www.artarkgallery.net/
*"Paintings and Works on Paper," November 8 - December 7, 2010, Cañada College, Redwood
City, CA, Main Theatre & Gallery
*"Paintings and Prints," June 18 - August 1, 2010, The Community School of Music and Arts'
Mohr Gallery, 230 San Antonio Circle, Mountain View, CA 94040,
http://www.arts4all.org/view/index.htm
Young@Art, Community School of Music and Arts Annual Gala and Live Auction, February 20,
2010, http://www.arts4all.org/
"Pictorial Arts Faculty Exhibition," January 26 - February 19, 2010, San José State University
School of Art and Design Natalie & James Thompson Gallery, http://ad.sjsu.edu/
"2009 members exhibition", October 2 - November 13, 2009, works/San José, art and
performance center, 451 South 1st, San José, CA, http://www.workssanjose.org
"Ecology," September 20 - October 2, 2009, Art Ark Common House Gallery, 1035 S. 6th St. San
José, CA 95112, http://www.artarkgallery.net/
"Young@Art," Community School of Music and Arts Annual Gala and Live Auction, February 28,
2009, at Sharon Heights Golf and Country Club, 2900 Sand Hill Rd., Menlo Park, CA,
http://www.arts4all.org
"Big Red Shiny III," February 14, 2009 - March 13, 2009?, Art Ark Common House Gallery, 1035
S. 6th St. San José, CA 95112
"Off State Street," October 15, 2008 - January 30, 2009?, Orchard Commercial, North First
ARTSpace, 2665 North First Street, San José, CA 95134
Ernest Regua
Education
2010 MFA in Painting, San Francisco Art Institute, San Francisco, C A
2008 BFA in Painting, San Francisco Art Institute, San Francisco, CA
BA, San Diego State University, San Diego, CA
Solo/Two-Person Exhibitions
2018 Shapes of Abstract, Telegraph Hill Gallery, San Francisco, CA
2014 Imagined Spaces, Mohr Gallery, Mountain View, CA
Group Exhibitions/Juried*
2017 Retrofit, Telegraph Hill Gallery, San Francisco, CA
2016 Connect & Collect: Annual Art Exhibition & Auction, San Jose Institute of
Contemporary Art, San Jose, CA*
3rd Annual Juried Exhibition, Piedmont Center for the Arts, Piedmont, CA;
Rachel Jans, Assistant Curator at SFMOMA, and Christina Linden,
Associate Curator at Oakland Museum of California*
2015 The Left Coast, Francis Young, Upper and Design Gallery, Marin Society
of Artists, Ross, CA; Lauren R. O'Connell, Curatorial Associate, UC
Berkeley Art Museum & Pacific Film Archive*
Art by America 2015 Juried Exhibition: A National Review of Two -
Dimensional Contemporary Art, The Art House, Chicago, IL; James Yood,
Educator, Critic and Ginny Voedisch, Art Historian, Lecturer*
2014 Degrees of Abstraction, Santa Cruz Art League, Santa Cruz, CA*
Works on Paper NYC III, Jeffrey Leder Gallery, Long Island City, NY;
Jeffrey Leder, Gallery Director*
National Exhibition, First Street Gallery, New York, NY; Jed Perl, Critic*
Catalyst, Gallery Route One, Point Reyes Station, CA; Scott Shields,
Associate Director and Chief Curator at the Crocker Art Museum,
Sacramento, CA*
2013 Juried Exhibition, The Center for Contemporary Art, Bedminster, NJ; John
Yau, Critic, Professor at Rutgers University, NJ*
Bold Expressions, Sacramento Fine Arts Center, Carmichael, CA; Barry
Sakata, B. Sakata Garo Gallery, Sacramento, CA*
2012 Crocker-Kingsley Exhibition, Blue Line Gallery, Roseville, CA; Michael
Duncan, Corresponding Editor, Art in America *
Art San Diego Contemporary Art Fair, Susan Street Fine Art Gallery, San
Diego, CA
Flawless Finish Fetish, Susan Street Fine Art Gallery, Solana Beach, CA
2011 University of San Francisco School of Law, Rotunda Gallery, San
Francisco, CA; Saiko Matsumaru, Curator
Energy, Orange County Center for Contemporary Art, Santa Ana, CA;
Howard Fox, Emeritus Curator of Contemporary Art, Los Angeles County
Museum of Art*
Abstract, Sebastopol Center for the Arts, Sebastopol, CA; Jeremy
Morgan, Artist and Professor at SFAI,*
SFMOMA Artists Gallery, Fort Mason, San Francisco, CA
2010 Bay Area Annual Exhibition, Sanchez Art Center, Pacifica, CA; Betti-Sue
Hertz, Director of Visual Arts at the Yerba Buena Center for the Arts, San
Francisco, CA*
MFA Graduate Exhibition, San Francisco Art Institute, Herbst
Pavilion/Fort Mason, San Francisco, CA
2009 Continuing MFA Exhibition, San Francisco Art Institute, Diego Rivera
Gallery, San Francisco, CA
2008 BFA Exhibition, San Francisco Art Institute, Diego Rivera Gallery, San
Francisco, CA*
2007 The Eye of Nature, Online Exhibition, Caladan Gallery, Beverly, MA;
Marjorie Kaye, Gallery Owner*
2006 15th National Juried Show, Art Center of Northern New Jersey, New
Milford, NJ; Henriette Huldisch, Assistant Curator, Whitney Museum of
American Art, New York, NY*
19th Annual McNeese National Works on Paper Exhibition, Abercrombie
Gallery, Shearman Fine Arts Center at McNeese State University, Lake
Charles, LA; Rudy Pozzatti, Printmaker and Educator*
2005 4th Annual Small Works Exhibition, MFA Circle Gallery, Annapolis, MD;
James Archer Abbott, Curator, Baltimore Museum of Art, Baltimore, MD*
Professional Experience
2012-18 Painting Instructor, Teens/Adults, Community School of Music & Arts,
Mountain View, CA
2010-18 Digital Art Instructor, De Anza College Academy, Middle/High
School Students, Cupertino, CA
2016-17 Intro to Painting, Google, Mountain View, CA
2012-13 Painting Instructor for Intersession Program with Everest and Summit
High School Students, Community School of Music & Arts,
Mountain View, CA
2010 Grad Teaching Assistant for Carlos Villa – Drawing l & ll, SFAI, San
Francisco, CA
2009 Grad Teaching Assistant for Bruce McGaw – Painting l & ll, SFAI, San
Francisco, CA
Gallery Representation
Susan Street Fine Art Gallery, Solana Beach, CA