Art Created by

Studio Faculty Members of the

Department of Art and Art History at Santa Clara University

C r e a t i v e G r o w t h

Table of Contents

A Home for the Arts 2

Chair’s Foreword 3

Plates: Tenure Stream Faculty

Kathy Aoki 4

Kelly Detweiler 8

Don Fritz 12

Sam Hernández 16

Ryan M. Reynolds 20

Plates: Lecturers

Renée Billingslea 25

Julie Hughes 26

Francisco “Pancho” Jiménez 27

Marco A. Marquez 28

David Pace 29

Biographies

Studio Art Lecturers 30

Art History Faculty 31

Art Created by

Studio Faculty Members of the

Department of Art and Art History at Santa Clara University

C r e a t i v e G r o w t h

3

A Home for the Arts

The new Art and Art History Building will serve to

elevate the arts at Santa Clara University.

Today on the north side of the Mission Campus, visitors

find the de Saisset Museum, Center of Performing Arts,

the Music and Dance building, and Mayer Theatre. In

the near future, Santa Clara will significantly increase

the opportunities for scholarship and creativity with

a state-of-the-art building for students studying the

fine arts, for visiting artists to share their passion

through their work, and for the University and greater

community to participate in the exploration and

appreciation of art.

This new facility dedicated to the fine arts is the next

step on the road to national prominence as a locus

of artistic instruction and research for Santa Clara

University’s undergraduate arts program.

“A challenging and diverse art curriculum is already in place. This includes excellent teaching and mentoring,

opportunities to study abroad, internships throughout the Bay Area, and a Core Curriculum requirement in the

arts for all undergraduates,” says W. Atom Yee, dean of the College of Arts and Sciences. “What is required

at this time is an innovative facility that encourages and inspires not only Santa Clara’s talented fine arts

students, but also enhances the learning experience of the many undergraduates who create and interpret art

in art and art history courses.”

Plans for this facility include modern studios, technology-rich classrooms, student workspaces, and meeting

areas. A spacious gallery will be one of the many new features to showcase student, faculty, and visiting

artists’ work, as well as draw in the University and larger Bay Area community. For centuries, the arts have

been an important part of the Jesuit mission to educate the whole person. With a focus on the future of arts

education, Santa Clara University keeps this tradition alive.

At a glanceA brief look at some early highlights of the new Art and Art History building

Overall SizeCurrent: 25,937 sq. ft. New arts building: 41,500 sq. ft.

GalleriesCurrent: 573 sq. ft. New arts building: 1200 sq. ft.

Outdoor Space80 percent more, including a sculpture garden

Chair’s Foreword

We close out 2011 with a chance to reflect on where we are and where we are going as a department of

Art and Art History. The department has grown in numbers and in strength over the past ten years. We now

have ten tenured or tenure track faculty with another two positions in Photography and African American Art

currently in the search process. When I started at Santa Clara, during my first faculty exhibit we had only four

faculty members (three studio and one art history). Our offerings are also broadened and enriched by several

outstanding lecturers in the department. Majors have increased to a consistent level, which makes us a fairly

large department and a key part of the Core Curriculum. Faculty meetings now total more than 15 bodies and

have outgrown our conference room. What was once a fairly spacious and funky building now seems small

and inadequate. Squirrels still find it a pleasant environment, but they are a vocal minority. With all that said, a

new building on the horizon that fits our specific needs and puts us in a more central position to the campus

is integral to the development of our department. With the planning completed and the design becoming a

reality, we all anxiously await our new building.

Therefore, it is a perfect time to exhibit the work of our current faculty and to reflect on the diverse breadth

of our department’s artistic skills. Without a doubt, this is a fine collection of talent and a department with a

strong reputation in the Bay Area and beyond.

Even though this exhibit is focused upon the skills of the studio faculty, it should be remembered that we are

a combined department with many outstanding Art Historians who are active in their field and publishing their

research regularly.

I would like to thank the artists for their effort to put this exhibit together, as well as the Dean of the College

of Arts and Sciences, Atom Yee, for his generous support to produce this catalog. Marco Marquez, lecturer

in digital media, did the design for the catalog and deserves special thanks for doing a great job with a short

turnaround. Director of External Relations Marie Brancati, as always, was a force of positive energy in the

process. The entire staff of the Triton Museum deserves special thanks for their generous offer to host this

exhibit. They are a credit to the community and work very hard to support the artists and institutions of the

South Bay.

For me personally, this is a special point in my career as I plan to say goodbye to administration and focus

upon my research and teaching. This will be my last chair’s statement for the department. I leave the position

with much satisfaction with where we are and where we are going, hoping in retrospect that I played some

part in the development of such a strong department.

Kelly Detweiler

Chair of the Department of Art and Art History

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Kathy AokiKathy Aoki’s work explores gender and beauty issues through mock historical

documentation and artifacts. Recent installations of her work were presented in

the context of a futuristic beauty museum set in the year 3011 CE. The museum

showcases etchings of beauty procedures (based on Rembrandt and Eakins

paintings), faux French technical drawings of beauty treatments and products,

and Egyptian-style artifacts of a contemporary pop diva, namely Gwen Stefani.

Educational labels, an audio tour, and hieroglyphic learning guides enhance the

museum experience.

Aoki was a French major at UC Berkeley who invested an unusually

disproportionate amount of time in the printmaking labs. She received her MFA in

printmaking in 1994 from Washington University in St Louis. She exhibits nationally

and internationally and has been awarded numerous artist residencies, including

the Cité Internationale des Arts (Paris), Kala Art Institute (Berkeley, CA), Djerassi

(Woodside, CA), Headlands Center for the Arts (Sausalito, CA), and the MacDowell

Colony (Peterborough, NH). Past grants include a book production grant from

the Women’s Studio Workshop (Rosendale, NY), a public art grant from the

San Francisco Public Arts Commission for the Art of Market Street Kiosk Poster

Series, and a strategic planning grant from the Center for Cultural Innovation

California Artist Grant. Her work can be found in collections such as the New York

Metropolitan Museum of Art, SFMOMA, the Fine Arts Museums of San Francisco,

and the Harvard University Art Museums. Aoki joined the faculty at Santa Clara

University in 2003; she is currently an Associate Professor of Studio Art.

Stela (for Angel Harajuku girl)Resin clay with mixed media, 2009Approximately 17” x 11” x 1”

Four Canopic Jars (of Gwen Stefani)

Ceramic, 2009Each jar approximately

15” x 5” x 5”

Tomb Room Mixed media, 2009Appears as 30’ x 18’ Exhibition room

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The BrazilianSolarplate etching, 20098” x 10”

Diagram No. 17 (Douglas Iris)Ink and watercolor, 201022” x 30”

Le Rogue à Lèvres le Plus Puissant (or The Most Powerful Lipstick) Ink and watercolor, 200922” x 30”

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Kelly DetweilerKelly Detweiler recipient of the 2011 College of Arts and Sciences Professor

Joseph Bayma, S.J. Scholarship Award, is primarily known for his painting and

wooden assemblage pieces, but in recent years has included collage work into his

portfolio. Humor is always an ever-present element in his work, as well as a vibrant

color sense. His work often includes autobiographical references to his childhood

in Colorado and Southern California. The transition from tranquil idyllic landscapes

into California consumerism of the sixties helps fuel the comic sense of reality that

exists in his work.

He received his BA from California State Hayward and went on to UC Davis for

his MFA. He also was awarded a scholarship to the Skowhegan School during his

time at Davis. His teachers include formative California artists Arneson, Ramos,

Thiebaud, Neri, and Bailey.

His work is in the collections of the Villa Haiss Museum (Germany), the de Saisset

Museum and the Triton Museum (Santa Clara, CA), the Microsoft Collection

(Mountain View, CA), the Nelson Gallery (UC Davis), and the Skowhegan Collection

(Madison, ME). His work can be found in many private collections in California,

Japan, and Europe. He has shown extensively in the Bay Area and regionally, as

well as in Japan, Korea, and throughout Europe.

Bank Owned PaintingAcrylic on canvas, 200942” x 36”

TangleAcrylic on canvas, 201136” x 48”

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Superman and SantaMixed media collage, 201020” x 16”

Free FallMixed media collage, 201018” x 24”

Cultural DebrisAcrylic on canvas, 201130” x 40”

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Don FritzDon Fritz received his BFA from UC Santa Cruz in 1976, and his MFA from

UC Davis in 1978. Since graduation, he has taught drawing, painting, and ceramic

courses at numerous colleges and universities in California. Fritz has been

teaching full-time at Santa Clara University since 2004 and joined the tenure

stream faculty in 2007. He has also been a featured instructor at the Anderson

Ranch Art Center in Colorado and the Split Rock Arts Program at the University of

Minnesota. He has been awarded numerous grants including a Japanese Cultural

Exchange travel grant and two Pollock Krasner Artist Grants. He exhibits nationally

and internationally, with work included in many public collections, including the

Otaru Museum in Hokkaido, Japan, the Museum of Modern Art in New York, and

the Microsoft Corporation in Washington. His work is also in the private collections

of actors Jim Carrey, Nicolas Cage, and Cheech Marin, among others.

Robot Raku fired ceramic, 201026” x 12” x 8”

Lexicon Raku fired ceramic, 2007-201198” x 78” x 1.5”

Bowling PinRaku fired ceramic, 201034” x 8” x 8”

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Pinocchio Mixed media painting, 201060” x 42”

Floppo Mixed media painting, 201060” x 42”

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Sam Hernández

Mandrake, from the Seeking the Spirit seriesOil on board, 201123.25” x 17.75”

Sam Hernández is a sculptor primarily known for his innovative work in wood.

Hernández achieves poetic yet vigorous free-standing abstractions through

such widely-varying tools as African adzes, Japanese saws, Native American

crook knives, and high-powered sandblasters. From early work referencing the

totemic, his more recent sculpture has moved in a looser, more lyrical direction

as it simultaneously moves towards a powerful asymmetry and a more intuitively

based manner of working. Although the work remains characteristically based in

abstraction, the direction is being nourished by a more expressionist tone. Works

in steel and bronze, as well as inks and acrylics on paper, and oils on canvas and

board, round out his current explorations.

Recipient of numerous honors including a National Endowment for the Arts Visual

Artist Fellowship and a Senior Fulbright Scholar Award, Hernández’ work has

been featured in several books, exhibition catalogues, articles, and reviews, and

has been shown in museum and gallery exhibitions internationally. His work is

included in a wide range of public collections including the Yale University Art

Gallery, the Contemporary Museum in Honolulu, the Museum of Contemporary

Art in Macedonia, the Cantor Center at Stanford University, the Oakland Museum

of California, the Crocker Art Museum (Sacramento, CA), and the New Orleans

Museum of Art. Professor of Art at Santa Clara University since 1977, Hernández

divides his time between California and Spanish Catalunya.

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Tallat, from the Seeking the Spirit series Oil on board, 201123.25” x 17.75”

Primary SourcesOil and mixed media on canvas, 2010104.25” x 80.25”

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UntitledOlive wood, Thonet furniture parts, pigmented wax, 201134.25” x 15.75” x 12.25”

UntitledOlive wood, Thonet furniture parts, pigmented wax, 201135.375” x 15.75” x 18.5”Photos by Jordi Puig

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Ryan M. ReynoldsRyan Reynolds’ recent work explores the intersection between past and present

by integrating historical photographs into a daily record of a site-specific location.

A painting evolves over time through a series of layers that both merge with

and cover up previous observations. By departing from the static image of the

traditional landscape, Reynolds explores the boundaries between light, space,

solid form, and memory, conveying the passage of time and a sense of place.

The paintings act as a reflection on the nature of our shared existence, individual

perceptions, and collective impressions.

Reynolds received a BA from UC Santa Cruz and an MFA from UC Berkeley in

2003, along with an Eisner Award for the highest achievement in the Creative

Arts. Reynolds has exhibited internationally through the Art in Embassies program

in Montevideo, Uruguay, and regionally in numerous solo and group exhibitions,

including the Bakersfield Museum of Art. He is currently represented by Art Zone

461 in San Francisco, B. Sakata Garo in Sacramento, and Susan Street Fine Art

in San Diego. In 2011, Reynolds joined the department as Assistant Professor of

painting and drawing and was awarded a grant, “Reduce, Reuse, Re-imagine,”

made possible by the Santa Clara University Sustainable Resource Initiative to

explore the role of the visual arts in building sustainable communities.

Alameda Beach Eleven DaysOil on panel, 201018” x 30”

A Few WeeksOil on panel, 201148” x 36”

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Alma SubmergedOil and photo transfer on panel, 201130” x 40”

RemnantsOil and photo transfer on panel, 20118” x 18”

School Kids Oil and photo transfer on panel, 201110” x 22”

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Renée Billingslea

Studio Art Lecturers

Shelves of Relics and Souvenirs Collected at a LynchingMixed media, 200536” x 34”

Hats of Lynching SpectatorsMixed media, 201048” x 12”

Hat of Lynching SpectatorsMixed media, 201010” x 12”

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Julie Hughes Francisco “Pancho” JiménezSanguilicious (detail)Acrylic on PVC, vinyl and polymer clay, 2007Various

SanguiliciousAcrylic on PVC, vinyl and polymer clay, 2007Various

Cinco SolesCeramic, 200921” x 21” x155”

DropletsCeramic, 201018” x 36” x 1”

Turned Out (detail)Acrylic on paper, latex paint, PVC, gel medium, 2005Various

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Marco A. Marquez David Pace

NieveOil on canvas, 200730” x 24”

Self Portrait: Little ManMixed media, 200730” x 24”

Le Cotonnier 7696 (Boy Dancing) From the series Friday Night

Archival pigment print, 201020” x 14”

Le Cotonnier 8238 (Odile) From the series Friday NightArchival pigment print, 201020” x 14”

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David Pace has been traveling to the small West African country of Burkina Faso annually since 2007. He spent fall 2009 and fall 2010 teaching digital photography to American college students in a study abroad program through Santa Clara University. Pace writes:

“I live in Bereba, a small rural village without electricity or running water. Friday is market day and people from the neighboring villages gather to shop and socialize. Every Friday night there is a dance at Le Cotonnier, a small outdoor bar on the edge of the village. A noisy gas generator powers an antiquated music system and a local DJ spins African CDs. The dancers range in age from young children to grandparents. On the concrete dance floor they perform intricate routines, combining moves by James Brown and Michael Jackson with hip-hop and traditional tribal dance steps. I join them, photographing as we dance. It is dark and everyone is in constant motion. I love the energy, the heat, the movement, and the way my flash captures these moments that otherwise go unseen.”

This project was awarded the 2011 Work-In-Process Prize by the Center for Documentary Studies at Duke University.

A photographer, teacher, and mixed media artist, Renée Billingslea studied photography at Southern Oregon State University as an undergraduate, earning her BFA in 1989. She served in the Peace Corps from 1990 to 1993 in the Central Pacific island nation of Kiribati. She earned her MFA from San Jose State in 2003. Billingslea’s interest in folk-art and women’s roles in American history led her to study the tradition of storytelling which provoked new interests in combining her love for photography with mixed media. Her experience of being part of an interracial family deepens her interest in issues of race identity in American history and guided her to create her mixed-media installation, The Fabric of Race: Lynching in America. She has exhibited her work nationally and internationally at venues that include Penn State University, Cuesta College, the University of San Marco in California, Syracuse University in Florence, Italy, and the Bridge Art Fair in London. Billingslea is a Lecturer of photography in the Department of Art and Art History at Santa Clara University. Her artwork is represented by Evolve Gallery in Sacramento and the Paul Mahder Gallery in San Francisco.

A Los Angeles native, Julie Hughes received her MFA from California State University Northridge in 2004, with an emphasis in painting and drawing. She has exhibited her work across the country, including a 2011 public installation in the Los Angeles International Airport. Highlighting a fascination with fragmented and reconstructed biomorphic form, Hughes’ painted environments are theatrical investigations of the arbitrary, corruptible, and transient nature of perceived reality.

Pancho holds an MFA in Ceramic Sculpture from San Francisco State University, and a BA degree from Santa Clara University. He has exhibited extensively in the San Francisco Bay Area and nationally at universities, private galleries, and civic spaces. His work is part of the permanent collection of the University of San Francisco and Santa Clara University. He has been featured in Ceramics Monthly and in three Lark Book publications, The Ceramic Design Book, Extruded Ceramics, and 500 Ceramic Sculptures. He has taught courses at San Francisco State University and West Valley College, and has been a Lecturer at Santa Clara University since 1999.

Marco Marquez received his MFA in Computer Art from the New York School of Visual Arts in 1999, specializing in 3D modeling and animation. For over 10 years he has worked as a graphic designer consulting at multiple design agencies in the Silicon Valley. Currently Marquez freelances in designing and producing websites, brochures, and smart phone application graphics. His fine art interests include painting, digital media, and mixed media. His artwork focuses on the evolution of personal identity and how it frames our experiences. Marquez began teaching full-time at Santa Clara University in 2002, where he is currently a graphic design and computer art Lecturer.

Francisco “Pancho” Jiménez

Marco A. Marquez

David Pace

Julie Hughes

Karen Fraser

Biographies Studio Art Lecturers

Renée Billingslea

Art History Faculty

Blake de Maria Blake de Maria received her BA in Art History from UCLA and her PhD from Princeton University. A specialist in the Early Modern Mediterranean world, Dr. de Maria recently published her first book, Becoming Venetian: Immigrants and the Arts in Early Modern Venice (Yale, 2010). This book examines Renaissance Venice’s status as a multicultural center. Her current research focuses on the intersection of art, science, and politics. She is the recipient of numerous research grants, including awards from the Renaissance Society of America and the Gladys Krieble Delmas Foundation.

Karen Fraser holds a PhD in Art History from Stanford University. Her research focuses on modern Japanese visual culture, particularly the history of Japanese photography. Her publications include the recent book Photography and Japan (London: Reaktion Books, 2011), which provides an overview of Japanese photography through thematic chapters that trace its role in negotiating Japanese cultural identity, war photography, and the documentation of urban life. She is currently working on a second monograph that uses the activities of one early commercial studio as a case study to investigate the connections between photography and the fields of science, commerce, politics, popular culture, and art in nineteenth-century Japan.

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Kathleen Maxwell

Kate Morris

Andrea Pappas

Kathleen Maxwell attended Denison University and the University of Aberdeen, Scotland before completing her BFA at Southern Methodist University. Her MA and PhD from the University of Chicago emphasized Medieval and Byzantine manuscript illumination. At Santa Clara since 1983, Maxwell teaches both lower and upper division courses, specializing in the ancient and medieval Mediterranean roots of Western art, including Greek, Roman, Early Christian and Byzantine, Early Medieval, and Romanesque and Gothic Art. She served as department chair from 2004-2007 and was awarded the David E. Logothetti Teaching Award by the College of Arts and Sciences in 2005. Her articles have appeared in Dumbarton Oaks Papers, Revue des études Armeniennes, and Arte Cristiana, and her book reviews in Speculum, Byzantinische Zeitschrift, and The Medieval Review. An article on the manuscripts of the decorative style will appear in an edited volume to be published by Ashgate in 2012. Moreover, she has just completed her book on Paris, Bibl. Nat. de France, cod. gr. 54, a thirteenth-century illustrated Greek and Latin Gospels. Maxwell’s current research focuses on ninth- and tenth-century Byzantine manuscripts now housed in Tirana, Albania.

Kate Morris is an Assistant Professor of Art History at Santa Clara University. After earning a BA in Art History at Smith College, she went on to study at the University of New Mexico and at Columbia University, where she earned her PhD in Art History in 2001. Morris is a scholar of contemporary Native American art, and she has published widely on topics related to indigenous visual sovereignty and representations of the Native landscape. She has worked as an author and consultant for the Smithsonian’s National Museum of the American Indian, the Eiteljorg Museum of American Indians and Western Art, and the Peabody Essex Museum. Her article, “Running the Medicine Line: Images of the Border in Contemporary Native American Art” appears in the current issue of American Indian Quarterly.

Andrea Pappas is an Associate Professor of Art History at Santa Clara University where she teaches American Art and other topics. Representative publications include Eye on the Sixties, Vision, Body, and Soul: Selections from the Collections of Harry W. and Mary Margaret Anderson, “Invisible Points of Departure: Reading Rothko’s Christological Imagery,” and “The Picture at Menorah Journal: Making ‘Jewish Art’,” both of which appeared in the Journal of American Jewish History. She is co-editor of and contributing author to a recent book, Teaching Art History with Technology: Reflections and Case Studies. Her current research project examines the market for “mid-garde” modernist art in New York, 1929-1959.

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