DANIEL EDWARDS
MESH 1
DA N I E L E DWA R D S MESH Art Space on Main Department of Art School of the Arts California State University Stanislaus
300 copies printed Daniel Edwards: Mesh March 5 - May 1, 2015 Art Space on Main 135 W. Main St Turlock, CA 95380
This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University Stanislaus
Copyright Š 2015 California State University Stanislaus All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.
Catalog Design: Nic Webber, School of the Arts, California State University Stanislaus Catalog Printing: Claremont Print, Claremont, CA Catalog Photography: Courtesy of the artist. Photographs included are used under the permission of the artist.
ISBN: 978-1-940753-09-6
Cover Image: Allegory of a Teenage Sex Symbol: Justin Bieber, 2011, polygon mesh, matcap silver foil bright
CON T E NT S Director’s Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Image List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Artist Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Artist Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Résumé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
D IRE C TO R ’S FO R E WORD Mesh - Represents a chance to view the recent work of my colleague Daniel Edwards. This is the first time I have had the opportunity to work with Daniel on an exhibition of his work and feel very fortunate to have him as a new colleague here in the Department of Art at California State University, Stanislaus. Daniel has an astonishing record of exhibitions and has created many important and amazing public sculptures. Whether it is an up and coming Pop Star or a Civil Rights Leader his work commands respect and praise. This exhibition will highlight some of his incredible talents for us to see and enjoy. I am very enthusiastic to be able to be part of this exhibition and to be able to share his work for others to enjoy. I would like to thank the many colleagues that have been instrumental in presenting this exhibition, Daniel Edwards for the opportunity of exhibiting his remarkable work and David Olivant for his wonderful writing, the College of the Arts, Humanities and Social Sciences, California State University, Stanislaus for the catalog design and Claremont Print and Copy for the printing of this catalog. Many thanks are also extended to the Instructionally Related Activities Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue. Their support is greatly appreciated.
Dean De Cocker, Director University Art Gallery California State University, Stanislaus
INTRODUCTION
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The sculptures of Dan Edwards seem post modernist to an almost doctrinaire degree and straddle a perilous but exhilarating divide between French Salon art of the mid 19th Century (which most living artists are willing to consign to the also-rans of art historical detritus) and the more recent but now flagging resources of Pop Art, supported by the fetishisation of Andy Warhol. A more abrupt collision of high and low culture is hard to imagine. The apparently effortless transference (initiated circa 2011) of Dan’s intimidating repertoire of technical resources from clay, wax and bronze to virtual tools and media was the act that has made this fusion possible. This is clearly visible in his recent forays into relief sculpture, which conflate representations of Disney icons with graffiti and other types of signage and all the ancient cultural baggage that goes with low relief slabs. Radiation Leak Memorial shows a descent of aquatic creatures pulled from Hiroshige at the top to the Simpsons at the bottom with a possible parallel between cultural decline and the decline of environmental safety standards so startlingly revealed by the Japanese tsunami alluded to in the title. The BP Oil Spill in the Gulf Mural seems to extrapolate these concepts reducing the animal victims of the Gulf oil spill to a decorative mural format. With faint echoes of wallpaper and more distant allusions to Japanese screens the mood is tinged with sarcasm. In most of his oeuvre Edwards has sought to systematically deconstruct not just the high-low dialectic and the museumstreet dialectic but also the entire edifice of art commerce and publicity. He exploits sculptris and its software cousins to undermine our confidence in sculptural materials. His images in this publication are deliberately labeled with oblique references to their “medium� and, if questioned on this, he would probably side-step our curiosity and suggest with some diffidence that the medium is currently ink on paper or vinyl! He has been similarly heterodox about self-promotion to such a degree that his preference for the associated press over any given gallery space as the primary forum for his sculpture reminds us of Murakami whose entire process seems an assault on the norms of promoting art.
David Olivant, Professor Department of Art CSU Stanislaus
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IMAGES
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IMAG E L I ST BB King, 2001, wax over plaster, 12” x 6” x 7”, pg. 10 Pinetop Perkins, 2001, wax over plaster, life-size, pg. 11 Louise Bourgeois, 2003, wax over plaster, 14” x 6” x 7”, pg. 12 Untitled Childhood Memories 1 and 2, 2003, bronze, 24” x 24” x 12” pg.13 BP Oil Spill in the Gulf Mural, 2011, vinyl mural, pgs. 14-15 The Radiation Leak Memorial, 2011, polygon mesh, matcap hot iron, pg.16 Osama, 2011, polygon mesh, matcap white cavity, pg. 17 Hashtag Bugs, 2011, polygon mesh, matcap car paint, pg. 18 Amy Winehouse Memorial, 2011, polygon mesh, matcap grouce, pg. 19 Steve Jobs Memorial, 2011, polygon mesh, matcap hardstyle, pg. 20 OWS Scrooge Totem Pole, 2011, polygon mesh, matcap silver, pg. 21 Zombie Rights Memorial featuring ScarJo, 2012, polygon mesh, matcap reflected plastic b, pg. 22 Portraits of John Lewis and Andrew Young, 2012, polygon mesh, matcap canderle, pg. 23 Womb Mates, 2013, polygon mesh, matcap chester copperpot, pg. 24 Care Bears Ornament with Jay-Z, 2013, polygon mesh, matcap petrol, pg. 25 Monument for Brooklyn featuring Jay-Z and the Care Bears, 2013, polygon mesh, matcap rusted grey metal, pg. 26 D*ck Dynasty, 2013, polygon mesh, matcap welsh slate, pg. 27 Double Double Shia, 2014, polygon mesh, matcap petrol, pg. 28 Spirit of True Fraternity, 2014, polygon mesh, matcap hair 2, pg. 29
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ARTIST B I O GR A PH Y AN D S TATE M E N T Daniel Edwards (born 1965, LaPorte, Indiana) is an American sculptor whose pieces address celebrity and popular culture in ways that have often stirred controversy. The deliverance of his works are generally accompanied by press releases. He includes the idea of promotion and associative fame in self marketing of his art. Edwards started as a mask maker in 1980 working for Death Studios in LaPorte, Indiana, where he received his first sculpture training from Jeff Keim. He sculpted the comic character Zippy the Pinhead for Death Studios in 1983 under the guidance of its creator Bill Griffith. From 1981 to 1984, many of Edwards works for Death Studios were published in Starlog, Fangoria, Cinemagic, Heavy Metal, Questar, and Playboy magazines. In 1985, at the invitation of fashion illustrator Antonio Lopez, Edwards made his first visit to New York City. Edwards frequently spent time at Antonio’s studio from 1985 to 1986, where he was occasionally encouraged to draw alongside Antonio, from the models hired to pose for Antonio’s 1001 Arabian Nights. In 1986, Edwards was briefly introduced to Andy Warhol by Antonio at New York’s Palladium, where Lopez and Warhol were judging a transsexual beauty contest. It was there that Antonio suggested that Edwards enroll at Warhol’s new school, The New York Academy of Art. On a scholarship paid for by Andy Warhol’s estate, Edwards attended the New York Academy of Art from 1988 to 1990, and has served on the faculty. During his student years at the academy, Edwards was studio assistant to minimalist sculptor Glen Seator. “Though life-session portraiture remains the most pure form of sculptural expression for me, I am really enjoying other methods for exploring portraiture. A child of the civil rights era, I came of age as a sculptor in the era of political correctness. At a time when I was creating public sculpture commissions, I felt that it was my calling to act as an artist who truly represents political correctness. As an avid visitor to the National Portrait Gallery at the Smithsonian, I noticed the collection wanting of African-American depiction. I decided that I would create sculpted portraits of historical African-Americans that would meet the criteria for the National Portrait Gallery’s potential acquisition. The only real requirement is that the portraits should be done from life. Over a ten-year period, I have sculpted approximately 50 such portraits. Yearning to speak about socio-political topics through my work, I decided to turn my process on its head and began doing more provocative work. The work has been considered controversial, less politically correct (but with social conscience), and the depictions are never done from life of people and subjects accessed from the Internet and media. I often think of my current work as politically incorrect monuments and public sculpture with the Internet as my gallery.” Daniel Edwards
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DANIE L E DWA R D S EDUCATION MFA, Drawing and Sculpture, New York Academy of Art, New York, NY. (2001) BFA Sculpture, Herron School of Art, Indiana University, Indianapolis, IN. (1994) MFA Program, New York Academy of Art, Warhol Scholarship from Estate of Andy Warhol. (1988-90) TEACHING EXPERIENCE California State University, Stanislaus, Turlock, CA 2012-present. Visiting Lecturer/Assistant Professor of Sculpture New York Academy of Art, New York, NY 2008-2012 Adjunct Faculty/sculpture Lyme Academy College of Fine Art, Old Lyme, CT 1999–2005 Assistant Professor of Sculpture, Anatomy, and Senior Projects (full time) Herron School of Art and Design, Indiana University Purdue University Indianapolis, Indianapolis, IN 1994–1997 Adjunct Faculty/sculpture EXHIBITIONS (*Solo Exhibit) 2012 ScarJo with Zombies (ScarZo): The Zombie Rights Memorial, Norman Music Festival, Norman, OK. The Wicked Twins: Fame & Notoriety, The Paul Robeson Galleries, Rutgers University, Newark, NJ. 2011 * Mogul (Jay-Z Occupies Occupy Wall Street), aka The Scrooge Totem Pole, Cory Allen Contemporary Art. * Memorial Portrait for Amy Winehouse, Cory Allen Contemporary Art, New Fine Arts, Dallas, TX. * Allegory of a Teen Sex Symbol (Justin Bieber), Cory Allen Contemporary Art, New Fine Arts, Dallas, TX. * Justin and Selena as One, Cory Allen Contemporary Art, New Fine Arts, Dallas, TX. * Knut Watches Over Germany, Cory Allen Contemporary Art, New Fine Arts, Dallas, TX. * Rehab or Rest in Peace: A Tombstone for Charlie, Cory Allen Contemporary Art, New Fine Arts, Dallas, TX. 2010 * Patron Saint of the Gulf, IAO Gallery, Oklahoma City, OK. 2009 Brangelina Forever, Phantom Financial, Oklahoma City, OK. DE$IRE, Holster Projects, London, England. * Landmark for Breastfeeding, Mainsite Contemporary Art, Norman, OK and Holster Projects, London. What So Proudly We Hail, Holster Projects, London, England. * Octomom: String of Babies, Guy Hepner Contemporary, Los Angeles, CA. 2008 * Michelle Obama’s Makeover for America, Leo Kesting Gallery, New York, NY. * Oprah Sarcophagus, Leo Kesting Gallery, New York, NY. * The Barbaro Memorial for the Right to Die, Leo Kesting Gallery, New York, NY. 2007 * Iraq War Memorial: The Death of Prince Harry, Capla Kesting Fine Art, Bridge Art Fair, London, England. * Campaign to Rescue Women of Youth featuring The Paris Hilton Autopsy, Capla Kesting Fine Art, New York, NY 2006 * Fidel Castro’s Deathbed Portrait, Capla Kesting Fine Art, New York, NY and El Traketeo on WRTO 98.3, Miami, FL. * Suri Cruise’s First Poop Bronzed, Capla Kesting Fine Art, Williamsburg, Brooklyn, NY. * Presidential Bust of Hillary Rodham Clinton: First Woman President of the United States of America, Museum of Sex, New York, NY. * Monument to Pro-Life: The Birth of Sean Preston, Capla Kesting Fine Art, Williamsburg, Brooklyn, NY. 2005 * The Ted Williams Memorial Display, First Street Gallery, New York, NY. Realists of The Lyme Academy, The Arnot Museum of Art, Elmira, NY. Lyme Academy College of Fine Art Faculty Exhibit, University of Bridgeport, Bridgeport, CT. 2004 Punch & Judy Go Downtown, First Street Gallery, New York, NY. * My Coulrophobia (My Fear of Clowns), Capla Kesting Fine Art, Williamsburg, Brooklyn, NY. 2003 Image vs. Color, Capla Kesting Fine Art, Williamsburg, Brooklyn, NY. 2002 The Panjectivist Salon, Williamsburg Art & Historical Center, Williamsburg, Brooklyn, NY. 2001 * Cast Blues, Delta Cultural Center, Helena, AR. * Cast Blues, LymeAcademy College of Fine Art, Old Lyme, CT. 1999 * Daniel Edwards, Recent Works, Indianapolis Museum of Art, Indianapolis, IN. Edwards and Pavone, Recent Works, Indiana University at South Bend, South Bend, IN. 1998 * Heroes and Champions, New York Athletic Club, New York, NY. 32
* Images of Greatness, Art Association of Harrisburg, Harrisburg, PA. Holocaust Exhibition, Las Vegas Art Museum Invitational, Las Vegas, NV. * Distinguished Company, National Art Museum of Sport, Indianapolis, IN. * Images of Greatness, and other works, Las Vegas Art Museum, Las Vegas, NV. 1997 Political Portraits, National Sculpture Society at America’s Tower, New York, NY. * Images of Greatness, Birmingham Civil Rights Institute, Birmingham, AL. * Images of Greatness, Elmhurst College, Elmhurst, IL. Discover Greatness! An Illustrated History of Negro Leagues Baseball, Indiana State Museum, Indianapolis, IN. 1996 * Portraits of the Olympic Centennial, Traveling Exhibit: 1996 Olympic Village, Georgia Institute of Technology, College of Architecture atrium, Atlanta, GA. The Pinnacle Gallery, Savannah College of Art and Design, Savannah, GA. Greenville Hyatt Regency, sponsored by the Greenville Chamber of Commerce, Greenville, SC. Bank One Center/Tower Gallery, sponsored by the United Way, Indianapolis, IN. PUBLIC SCULPTURE 2009 Wildcat, over life-size bronze, Lexington, KY. 2007 Mother and Child, life-size bronze, Carmel, IN. 2002 Wm. DeHart Hubbard, Olympian, 6’x 8’ bronze relief, Southwest Ohio Regional Transit Authority, Cincinnati, OH. 2001 Mr. and Mrs. Cox Memorial, life-size bronze, Hamilton County Parks and Recreation Dept, Carmel, IN. 2000 Senator Wendell Ford, bronze, twice life-size, Wendell Ford Museum, Owensboro, KY. 1998 Senator Wendell Ford, bronze, twice life-size, Louisville Airport Authority, Louisville, KY. 1996 Governor Matthew E. Welsh of Indiana, bronze life-size, Indiana Statehouse, Indianapolis, IN. 1995 Landmark for Peace: The MLK Jr. and RFK Memorial (Groundbreaking ceremony performed by President Clinton, Martin Luther King III and Senator Ted Kennedy), sponsored by the Indiana Pacers, Indianapolis, IN. 1995 Workers’ Memorial, Indiana Government Center, sponsored by AFL-CIO, Indianapolis, IN. 1994 Mother Seton with Child, bronze life-size, St. Vincent Hospital, Indianapolis, IN. COMMISSIONS 2004 The Blaising family children and pets, bronze life-size, Blaising family, Indianapolis, IN. Olympians of the New York Athletic Club, bronze, New York Athletic Club, New York, NY. 2000 Young Thoroughbred with Child, bronze life-size, Buckingham Companies, Indianapolis, IN. 1998 Affirmed: The Last Triple Crown Champion, bronze horse, 125% life-size, Champions Farms, Louisville, KY. Bronze Water Fountains (two), University of Indianapolis, Indianapolis, IN. Dean Charles Emerson, bronze life-size bust, I.U. School of Medicine, Indianapolis, IN. Dwane Houser Bronze Relief, Anthem Insurance, Indianapolis, IN. 1995 The United Way Community Service Award, United Way of Central Indiana. Jimmy Doolittle Award, Hudson Institute (Recipient: Barry Goldwater; Guest speakers: Dan Quayle, William F. Buckley, and Sen. Sam Nunn), National Press Club, Washington, DC. 1994 Josef Gingold Memorial Gold Medal, Cathedral Arts, Indianapolis, IN. Lloyd Banks Bronze Relief, Associated Group, Indianapolis, IN Bronze Medallion, IUPUI Library, Indianapolis, IN. 1993 Frank E. McKinney, Jr. and Sr. Busts, Bank One Tower, Indianapolis, IN. Official Portraits for the Sergeants Majors Academy, El Paso, TX.
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COLLECTIONS Marc Ecko Golden Palace Casino New York Athletic Club, New York, NY National Art Museum of Sport, Indianapolis, IN. City of Harrisburg, Harrisburg, PA. Las Vegas Art Museum, Las Vegas, NV. Indiana Statehouse, Indianapolis, IN. Georgia Institute of Technology, Atlanta, GA. Mr. and Mrs. Steve Hilbert, Carmel, IN. Mr. and Mrs. Sen. Barry Goldwater, Phoenix, AZ. Mr. Dick Cheney Dr. Henry Kissinger Mr. Donald Rumsfeld Mr. George Schultz Robin Greenspun, Las Vegas, NV. Mr. and Mrs. Brad Chambers, Indianapolis, IN. BOOKS (which reference Daniel Edwards’ work) McCallum, Jack and Wertheim, Jon (2012). Sports Illustrated Book of the Apocalypse: Two Decades of Sports Absurdity. Diversion Books, 2012. ISBN 1938120159, 9781938120152. Abe, Donyale (2012). Called to the Childbirth Profession: Opportunities for Doulas, Birth Educators, and You. Dreams2Life Publishing. ISBN-10: 0615578128. ISBN-13: 978-0615578125. Lintott, Sheila and Sander-Staudt, Maureen, Editors (2011). Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge Studies in Contemporary Philosophy. [Hardcover] ISBN-10: 0415891876. ISBN-13: 978-0415891875. Edition: 1 Urban, Otto M. Curator (2011). Decadence Now: Visions of Excess. Artefakt/Arbor Vitae. ISBN 978-8087164600. Smit, Christopher R. (2011). The Exile of Britney Spears: A Tale of 21st Century Consumption. Intellect, Limited. ISBN 9781841504100. Garson, Helen S. (2011). Oprah Winfrey: A Biography (Greenwood Biographies). ABC-CLIO, Incorporated. ISBN 9780313358326. Reese, Jenny (2011). Off the Record Guide to the Life and Political Career of Hillary Rodham Clinton. Webster’s Digital Services. ISBN-10: 1241129444 ISBN-13: 978-1241129446. Kelley, Kitty (2010). Oprah: A Biography. Crown. ISBN 073937785X Donovan, Mary Anne. (2010). Christina Aguilera: a biography. Greenwood Biographies. ISBN 0313383197. Orletti, Franca y Mariottini, Laura (2010). (Des)cortesía en español. Espacios teóricos y metodológicos para su estudio. Roma : Università degli Studi Roma Tre, EDICE ; Estocolmo : Universidad de Estocolmo. Sturken, Marita and Cartwright, Lisa (2009). Practices of Looking: An Introduction to Visual Culture 2nd edition. Oxford University Press, USA. ISBN 978-0195314403. Mancoff, Debra (2009). Icons of Beauty: Art, Culture, and the Image of Women. Greenwood. ISBN 978-0313338236. Henriet, Eric-B (2009). L’uchronie. Klincksieck. ISBN 978-2252037102. Steen, Christian Saehrendt and Kittl, T. (2009). Yo tambien sabria hacerlo. Entender el arte moderno. Anecdotas y curiosidades. MA NON TROPPO. ISBN 978-8496924437. Schechter, Harold (2009). The Whole Death Catalog: A Lively Guide to the Bitter End. Random House Publishing Group. ISBN 9780345499646. Reiter, Mark (2009). The Final Four of Everything. Simon & Schuster Adult Publishing Group. ISBN 9781439126080. Benjamin, Louis (2009). The Naked and the Lens: A Guide to Nude Photography. Focal Press. ISBN 9780240811598. Bailey, Sue (2009). Grave Expectations: Planning The End Like There’s No Tomorrow. Cider Mill Press Book Publishers, LLC. ISBN 9781604330212. Wilks, Timothy (2008). Prince Henry Revived: Image and Exemplarity in Early Modern England. Paul Holberton Publishing. ISBN 9781903470572.
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Jobson, Robert (2008). Harry’s War: The True Story of the Soldier Prince. John Blake Publishing Ltd. ISBN 9781844546725. Kokoli, Alexandra M. (2008). Feminism Reframed: Reflections on Art and Difference. Cambridge Scholars Publishing. ISBN 978-1847184054. Marcais, Nicolas and Marchand, Philippe (2008). Crazy Stuff. Firefly Books. ISBN 978-1554074266. Newkey-Burden, Chas (2007). Paris Hilton: Life on the Edge. Gardners Books. ISBN 9781844544578. Sweet, Leonard (2007). The Gospel According to Starbucks: Living with a Grande Passion. WaterBrook Press. ISBN 978-1578566495. Vorwald, John, Kroth, Maya, Willis, Valerie, Marinaccio, Ashley, Bramson, Dara, Yim, Dan, Chauvin, Kelsy, Honachefsky, Nick (2007). MTV Road Trips U.S.A. Frommers. ISBN 10: 0764587765 ISBN 13: 978-0764587764. Warkel, Harriet G. (2003). The Herron Chronicle. Indiana University Press. ISBN 0253342376. AUTHORED WORK Edwards, Daniel (2010). BLUES HEADS: Portraits of American Roots Music. AppleParrot. 978-1452891989. FILMS and FILM FESTIVALS DOMESTIC BLISS (2012). Vacant Era Films, directed by Dave Smith. CASTRO IN CENTRAL PARK (2006). Miami International Film Festival Official Selection 2007. Goodnight Films, directed by A.D. Calvo. HILLARY’S BUST (2006). Queens International Film Festival Official Selection 2006. Goodnight Films, directed by A.D. Calvo. THE SEVERAL SEVERED HEADS OF DANIEL EDWARDS (2005). Jacksonville Film Festival Official Selection 2007, Connecticut Film Festival Official Selection 2006, New Haven Underground Film Festival Official Selection 2006. Goodnight Films, directed by A.D. Calvo. SELECTED DUBIOUS DISTINCTIONS Star Magazine’s Star Weekly Awards (2013), “Most Disturbing Art” for the fetal portraits of Kim Kardashian’s and Kate Middleton’s unborn babies. Maxim Magazine’s Sexiest Things in America (2012), for “Sexiest Sculpture of Teen Idols: Justin and Selena as One”. Most Annoying People 2009. Produced by Shine for BBC TV4. BBC London’s list of the “100 most annoying people of 2009”. Listed at number 63, between Bernard Madoff and Charlie Sheen. The Art Newspaper’s “Bartlebooth Award” (2005), London. Tongue-in-cheek award given to ten artists from around the world, who made art that pushed the boundries. Sports Illustrated’s “This Week’s Sign of the Apocolypse” (2005). Dubious distinction given by Sports Illustrated for The Ted Williams Memorial Display.
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AC K N OWLEDGEME NTS California State University Stanislaus
Dr. Joseph F. Sheley, President
Dr. James T. Strong, Provost/Vice President of Academic Affairs
Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences
Department of Art
Dr. Roxanne Robbin, Chair, Professor
Dean De Cocker, Professor
Daniel Edwards, Assistant Professor
Jessica Gomula, Professor
David Olivant, Professor
Gordon Senior, Professor
Richard Savini, Professor
Dr. Staci Scheiwiller, Assistant Professor
Meg Broderick, Administrative Support Assistant II
Andrew Cain, Instructional Technician I
Jon Kithcart, Equipment Technician II
University Art Gallery
Dean De Cocker, Director
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California State University Stanislaus Art Space on Main | 135 W. Main St., Turlock, CA 95380