Events
  • You can easily spot The Little Friends of Printmaking in a crowd—their inky hands and clothes are a dead giveaway. Their work is just as distinctive. JW & Melissa Buchanan first made a name for themselves through their silkscreened concert posters, but soon branched out into further fields, designing fancy junk for whoever would pay them money. In addition to their work as illustrators and designers, they've continued their fine art pursuits through exhibitions, lectures, and artists’ residencies, spreading the gospel of silkscreen to anyone inclined to listen.

  • "In publishers’ terms, Shock and Awe – a hefty, intellectual book about glam rock – is timely." - Jude Rogers, The Guardian

  • Solmaz Sharif

    Mar 01| Lectures
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    Solmaz Sharif’s first collection, Look, was recently published by Graywolf Press and is a 2016 National Book Award finalist. Her poetry has appeared in the New Republic, Granta, Poetry, and other journals. Her first collection, Look, was recently published by Graywolf Press. A former Stegner Fellow, she is currently a lecturer at Stanford University and lives in the Bay Area.

  • Join us on Thursday, March 2nd for an evening of conversation and exploration! Connect with fellow alumni, see friends, tour our new buildings, and meet President Ferguson at this Alumni Night reception. It will be a casual and fun evening and we hope you can join us. 

    The evening includes:

    A beer and wine reception 

    Introduction of the new Director of Alumni Relations Phil Scanlon

    Campus tour

    Visits to the Anna Craycroft exhibit at the Ben Maltz Gallery and Millard Sheets Library

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  • Brendan Folwer was born 1978, Berkeley, California and lives and works in Los Angeles. His solo exhibitions include New Portraits (2017), Richard Telles Fine Art, Los Angeles, Portraits (2016), Mathew, New York and New Pictures, Six Sampler Works, and Benches (2015), Richard Telles Fine Art, Los Angeles.

  • One of two "Show and Tell" hands-on book events held inside the exhibition Tuning the Room in the Ben Maltz Gallery, featuring selections from the highly regarded Millard Sheets Library Artists’ Books Collection.

     

  • Paul Lisicky

    Mar 08| Lectures
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    Paul Lisicky’s memoirs include The Narrow Door, a New York Times Editors' Choice, and Famous Builder. He is the author of a collection of short prose entitled Unbuilt Projects, and the novels The Burning House, and Lawnboy.

O-Tube

Marlena Donohue: 2007-08 Faculty Development Grant Report


Report:

As critic and scholar particularly interested in the 60s as that crucible epoch that gives rise to counter culture and Feminism, I was invited to attend as a critic and correspondent to the Monitor in Boston, the major Beat retrospective at the Whitney Museum in 1995 titled, "Beat Culture and the New America, 1950-1965."

I attended the Press opening and a variety of lectures and was drawn immediately to a brilliantly painted, very eccentric oil of a famous strip joint in North Beach executed by an artist named Michael Bowen; I had no knowledge of this artist and this shocked me.

Beat Culture and the New America 1950-1965

Cover of the exhibition catalog, Beat Culture and the New America, 1950-1965

I am widely familiar with almost all Beat work done in the early 50s in Los Angeles and then in the late 50s and 60s in San Francisco. I had not seen this very fine work before. Another of Bowen’s paintings was in fact used to illustrate the Time magazine review of the exhibition.

I was further intrigued after having been invited to a press lecture at the Whitney where this rather raving artist spoke with vivid and historically accurate anecdotal detail about his intense and long term contacts with seminal figures of the 60s both in Los Angeles and in San Francisco: Tim Leary; William S. Burroughs, Allen Ginsberg, Edward Kienholz, John McCracken, Allan Cohen, the poet Ferlinghetti. The more interesting fact to me was that Michael Bowen’s name reoccurred in passing in ephemera of the era, like letters by and within the inner circle of Beat culture, but neither his work nor his art were in any official historical record of the Beat generation.

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