TRANSITIONS
Before I was able to complete the works I was making for the Newman Gallery exhibition in August 1969, I had to give up my rented studio space in West Berkeley, and I finished the pieces in my own garage. I had been let go from my teaching position at San Francisco State at the start of the 1969 spring semester because of my support of the student strike there.
The 1968 student-led strike at San Francisco State was the longest campus strike in United States history. The five-month event laid the groundwork for establishment of the College of Ethnic Studies, and inspired the establishment of ethnic studies classes and programs at other universities throughout the country.
The 1968 student-led strike at San Francisco State was the longest campus strike in United States history. The five-month event laid the groundwork for establishment of the College of Ethnic Studies, and inspired the establishment of ethnic studies classes and programs at other universities throughout the country.
PERFORMANCE WORKS
After my sculpture exhibition at the Newman Gallery, not having a proper studio, I decided to channel my visual ideas into theatrical performance works. I switched from solid abstract sculpture to making personal performance pieces using the cheapest materials and props. At first I used space available at Lone Mountain College in San Francisco where I had been teaching since 1963, and later in other schools and art venues. With the participation of my students and friends, I designed and produced works mostly focusing on the political milieu of the times, especially the war in Vietnam.
After my sculpture exhibition at the Newman Gallery, not having a proper studio, I decided to channel my visual ideas into theatrical performance works. I switched from solid abstract sculpture to making personal performance pieces using the cheapest materials and props. At first I used space available at Lone Mountain College in San Francisco where I had been teaching since 1963, and later in other schools and art venues. With the participation of my students and friends, I designed and produced works mostly focusing on the political milieu of the times, especially the war in Vietnam.
Photographs from my performance works.
I also made some theatrical masks for performance works outside my own pieces.
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Mask for the opera Sir Gawain and the Green Knight by Richard Felciano, 1964. This head, worn by the Knight, was mounted on the singer’s shoulders and was decapitated in the last act. It was made of burlap over a chicken wire armature, with stained mop strands for hair and beard. His Gothic visage was in keeping with the 14th century poem on which the opera was based. |
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Mask for THOSE LONG CANADIAN WINTERS for two tapes, synthesizer, and slide projections, electronic music composed and performed by Alden Jenks, 1976. There was a small speaker inside the top of the mask, connected to the sound system. The beak was hinged and could be opened and closed by Alden. When he opened the beak he pushed a button that triggered the playing of the tapes, so it seemed as if the bird was making the sounds. The beak, of paper mache, was about 2 feet long. The feathers were real, and the eyes were round car reflectors. |
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Another bird mask for a different occasion. |
MOSAICS
In 1977, after I had stopped doing my performance pieces, I started working in tile mosaics and directed my sculptural ideas to the design and fabrication of playground sculptures. This work is presented in my MOSAICS section.
In 1977, after I had stopped doing my performance pieces, I started working in tile mosaics and directed my sculptural ideas to the design and fabrication of playground sculptures. This work is presented in my MOSAICS section.
LATER SCULPTURE
While we lived in Mendocino (1978-1993), most of my art-directed energy was focused on getting commissions for mosaic works, but when I was not actually working on a mosaic commission I had time for a variety of sculptural and graphic works.
I have not shown my artworks in a gallery since 1969, but have continued to make works for myself, and occasionally for friends. The sculptures I’ve made over the past few decades, often exploring various ideas in a series of works, have been small in size and quick in execution. They were sketches rather than finished pieces. What is left of these explorations is shown in the following sections.
While we lived in Mendocino (1978-1993), most of my art-directed energy was focused on getting commissions for mosaic works, but when I was not actually working on a mosaic commission I had time for a variety of sculptural and graphic works.
I have not shown my artworks in a gallery since 1969, but have continued to make works for myself, and occasionally for friends. The sculptures I’ve made over the past few decades, often exploring various ideas in a series of works, have been small in size and quick in execution. They were sketches rather than finished pieces. What is left of these explorations is shown in the following sections.