City College Art Gallery presents:
Angie Wilson, “detail of Remains"
Karen Oremus, "Can you feel the love tonight?"
Barbara Robertson, “Large Gray #2"

Angie Wilson
Exhibition Dates: January 9 to February 12, 2014
Reception: Wednesday, January 22, 5 to 7pm

Angie Wilson is an interdisciplinary artist working in textile-based sculpture, installation, and performance. She received a BA in Russian from Reed College in 2003 and an MFA from San Francisco State University in 2011. Her work has been exhibited at Headlands Center for the Arts, San Francisco Arts Commission Gallery, di Rosa Museum, Marin Museum of Contemporary Art, and many others. She has been awarded fellowships and residencies at the Headlands Center for the Arts, Djerassi Resident Artists Program, and the National Institute of Art and Disabilities. Angie Wilson has designed and/or constructed costumes for dance and theater companies including the American Conservatory Theater, Lines Ballet, Teatro Zinzanni, California Shakespeare Theater, UC Berkeley, and Destiny Arts Center, among others. She is the founder and Artistic Director of Oakland Hand Made. She currently lives and works in Oakland, California.

Artist Statement:
Angie Wilson investigates labor, consumerism, and the handmade. She reworks Persian carpet motifs, American rag rugs, and other craft traditions to question cultural consumption while reflecting on traditions of re-use in the midst of economic crisis. Through repurposing and reconfiguring preexisting materials, Wilson connects her hand to the invisible hands of anonymous makers, from rug weavers to industrial garment manufacturers.

Bridging the Gap
Curated by SGC International.The 42nd SGC International Printmaking Conference will be held in the San Francisco Bay Area March 26-29, 2014, with events taking place at CCSF.
Exhibition Dates: February 24 to March 28, 2014
Reception: Thursday, March 27, 5 to 7pm
Artists: Catherine Bebout, Bernice Ficek-Swensen, Nancy Macko, Karen Oremus, Barbara Robertson, and Mary Schina

SGC International History:
In 1972 Boyd Saunders, from the University of South Carolina, invited every printmaker he knew in the South to meet at the annual convention of the Southeastern College Art Conference with the intention of forming a printmaker’s organization. (At that time, college and university printmaking programs tended to be small, isolated, and neglected.) The group that assembled in New Orleans for that meeting included Bernie Solomon, John O’Neil and Boyd Saunders. They wrote and approved by-laws and in 1973 the Southeastern Graphics Council was officially chartered by the State of South Carolina as a non-profit organization.

Boyd Saunders served as the first president from 1972 through 1974. Bernie Solomon hosted the first annual workshop conference in 1974 at his home institution of Georgia Southern College. In 1978, as the organization grew in membership, the name was changed to the Southern Graphics Council. Over the next 30 years, conferences were held in not only Southern states, but in New Jersey, Illinois, Ohio, and Wisconsin. Membership to the SGC also expanded, and now has a national and international membership. In 2010, the name was changed again to its current SGC International.

Art of the Digital:
Exhibition Dates: April 14 to May 14, 2014
Artists: Antonio Cortez, Jan Dove, Joe Doyle, Tana Lehr, Yoni Mayeri, Teddy Milder, Jane Norling , Jeannie O'Connor, Cheryl Robertson, Ron Moultrie Saunders, Elizabeth Sher, Matthew Silverberg, Frances Valesco, and Bijan Yashar

Participants in this exhibition either teach at Berkeley Community College (BCC) in the Multimedia program and/or have taken classes there. They found the classrooms and labs places to develop art practice and to enjoy the conviviality and exchange of ideas with fellow artists (many who were often already accomplished professionals). They cite the necessity of this kind of artist community that includes a bonus of technical instruction and aesthetic discussion to challenge them.

The founder of the Multimedia program, Joe Doyle, designed a curriculum that works more like an atelier than a school. Students are encouraged to learn from each other, knowledgeable teachers, and lab instructors. As a result, professional quality works have blossomed in an environment that is cooperative, collaborative, and aesthetically vigorous. 


Catherine Bebout, "Torso Schema #1"
Mary Schina, "Sparkling Dark XVIII"
Nancy Macko, "Light Where You Are"
Cheryl Robertson
Jeanne O'Connor
Bernice Ficek-Swenson, "Aqua Vitae II"