¹In addition to arts organizations, including San José Symphony, Pacific Peoples Theater, and Institute for Arts and Letters at San José State University, Santos-Killins served two antipoverty agencies, as well as the Santa Clara County Mental Health Association and Friends of Guadalupe River Park.

² The local contemporary art scene was then anchored by the academic/exhibiting centers of Santa Clara University, Stanford University, and San José State University (SJSU), augmented by the new community colleges, and by art associations, centers, leagues, guilds, societies, estates, and clubs usually of a regional nature, such as Los Gatos Art Association, or related to a specific arts medium.

³ In 1875, The Art Association, as it was then named, was formed in San José, with their first exhibition in 1876 at the Normal School (now SJSU).

⁴ First de Saisset Director Joséph J. Pociask, S.J. (1955–1967), in 1958 presented a prescient solo exhibition of Paul Hau, who had recently arrived from China and was teaching at the Pacific Art League in Palo Alto, then known as the Palo Alto Art Club. Directors Brigid Barton (1978–1984) and Georgiana Lagoria (1984–1986) gave early opportunities and critical exposure to women. Santa Clara University, a Jesuit institution, and the de Saisset Museum, which includes both art and history components, have been in a unique position to join arts, interdisciplinary and social justice programming, and discussion of values and ethics.

⁵

Carol Marschner Malone, Grant Road Mountain View. Marschner Malone has drawn/painted our evolving Silicon Valley; in the '80s, she chronicled old Cali & Bro. on Stevens Creek Boulevard, the Olson Orchard in Sunnyvale, St. Leo's Church in San José, guys playing Pac-Man.

⁶ The ethnic distribution in Santa Clara Valley during the 1970s could be generalized as follows: an overwhelmingly white population (94% in 1970); a small black population (in contrast to 61% in neighboring East Palo Alto in 1970); a sizable Latino population in areas of Mountain View, Sunnyvale, Santa Clara, and San José; and a small, fast-growing Asian population scattered.

⁷ Mountain View's Community School for Music and Arts began in 1968 with volunteer teachers; their first art education contracts with the Mountain View School District came in 1981. Support for the arts was so low in Cupertino that, in a budget crunch, high school art teachers told me administration wanted to let some of them go and have physical education teachers teach their art classes.

⁸ De Anza College's Euphrat Museum for years faced the constant threat of having its already truncated space turned into a computer lab. Before my directorship, in 1978, Proposition 13 resulted in the elimination of funding for the Euphrat, which had been supported by Community Services; about two-thirds of the original museum had already been converted to classroom space.

⁹ The major arts organizations included Stanford Museum of Art (established 1891, reopened in 1999 as Iris and B. Gerald Cantor Center for the Visual Arts after completion of revival begun in 1963), Montalvo Center for the Arts (1939), de Saisset Museum (1955), Triton Museum of Art (1965), and San José Museum of Art (1969 in former city library, 1991 new wing).

¹⁰ During my term as Euphrat director, I crossed paths with two San José mayors who stood out as supporters of the San José Museum of Art and of the arts in general: Janet Gray Hayes (1975–1982) and Susan Hammer (1991–1999). While Hammer built a solid arts support record and inspired a 10-year cultural plan for Silicon Valley, she also personally connected with local artists and collected their work.


Marie Johnson Calloway, Sun Circle. Mixed media, 3' diameter. Collection of Mayor Susan Hammer. Photo: Helen Fleming.

¹¹ The Janson text (1973 edition) said José Clemente Orozco and "a group of young painters" in Mexico in the 1920s and '30s, inspired by the Mexican Revolution, often overburdened their works with ideological significance. Orozco was identified as the artist "least subject to this imbalance." The text made no mention of iconic artists Frida Kahlo or Diego Rivera, who would have lasting international impact, he with provocative murals, she with piercing self-portraits.

¹² Most of us were aware of artist/activist Judy Chicago (Through The Flower, 1975; premiere of Dinner Party, 1979, at San Francisco Museum of Modern Art) and, to a lesser extent, of artist/activist Carlos Villa (Other Sources, 1976, San Francisco Art Institute, symposium, events, publication, exhibitions of artists working on the "shadow side" and margins of the mainstream Bay Area art world).

¹³ Art historian Lucy R. Lippard inspired many of us, e.g. with From the Center, 1976. Bettelheim referenced Lippard's "Making Something from Nothing (Toward a Definition of Women's Hobby Art)," in Heresies, Winter 1978. Lippard described how women look at the objects in their physical environment and use them for their own creative goals. Bettelheim's dissertation on Caribbean street masquerades and her training in African art history also led her to greater understanding of the vast scope of art in our country.

¹⁴ "Does Sex Discrimination Exist in the Visual Arts?" Eleanor Dickinson and Roberta Loach, Visual Dialog, Vol. 1, No. 2, 1975-76. The U.S. box scores at the time for numbers of men (M) and women (F): group invitationals—M 1324, F 699; one-person shows—M 1421, F 38; Oakland Museum collection—M 413, F 119. Females made up 75 percent of students in U.S. art schools in 1971. Other statistics Dickinson and Loach researched and reported compared degrees, faculty, reviews, acquisitions, and gallery representation.

¹⁵ The marginalizing of "women artists" encouraged aberrant behaviors. Some women ignored or laughed off demeaning male behaviors, sexual innuendo, trivializing of ideas. Some fought back. In the mid 1970s, a local sculptor and university arts professor exhibited a college art gallery full of his nude female bronzes, shown bound and gagged, prostrate and laid out. The academic gallery context offered the students elevated interpretations. Instead of accepting them, a Silicon Valley cartoonist Gen Guracar created a cartoon panel about standing up to such demeaning content. In the first cell, the male artist is shown sculpting a bound woman. But in subsequent cells, the female sculpture comes to life, jumps up full of anger, throws off the bindings and mouth gag, grabs the hammer and chisel, and chases the sculptor out of the studio. I saw the cartoon years later and applauded the cartoonist's spunk, but my basic question at the time was: What are we teaching? For the arts to function in support of community and democracy, one needs freedom of expression and an educated populace, not rebuked and marginalized citizens.

¹⁶ Many experienced ongoing exclusion. In 1985, writing The First San José Biennial essay for SJMA, I noted the minimal ethnic representation overall. The biennial exhibitions did not give a sense of our ethnic mix nor in any way reflect the unique experiences of major portions of our population. Overall, progress came with visionaries like Helen Jones, dynamic from her wheelchair. In 1980, Jones, head of De Anza's Physically Limited Program, proposed the exhibition To Deny the Right of Any Person is to Deny Our Own Humanity, revolving around related art and needs. For context, Oakland's Creative Growth, the oldest and largest art studio in the world for people with disabilities, only began in 1974. Exclusion in the early 1970s extended to veering from the mainstream. Web designer Marte Thompson reminded me of Bill Martin, the legendary visionary artist who taught at SJSU in 1973-74, and Michael Whelan, a student there at the same time, who became a celebrated science fiction book cover illustrator. "In those years, representational painting was frowned upon by mainstream art, and these artists, and any instructors, notably Maynard Stewart and Dr. Raymond Brose, were ostracized for their insistence on teaching what is now called 'classical realism.'"

¹⁷ The large organizations' advances were often limited to Women's History Month or Black History Month. Topping the social/economic/academic hierarchies of collecting and validation, these institutions emphasized established artists and were often quite removed from basic life experiences of most artists. Inclusion is not a simple matter of numbers or demographics or just working with the community you have, regardless of makeup. The question/crux is how we see ourselves in the world, how we understand underlying racism, sexism, and other forms of oppression, and what that means to us as individuals, a people, and a country.

¹⁸ Not long after, books like Women Artists: Recognition and Reappraisal from the Early Middle Ages to the Twentieth Century, Karen Peterson and J.J. Wilson, 1976, were published. The descriptive title highlights a long-standing conundrum; we are not "women artists" but artists. The same issue is raised by Black Artists on Art, Samella S. Lewis and Ruth Waddy, 1970. (Lewis founded the Museum of African American Art in Los Angeles in 1976.)

¹⁹ Villa (1936-2013) for decades developed diverse, thought-provoking programs at San Francisco Art Institute, nurtured students, connected with other artists and activists on a broad scale, and challenged the mainstream art world through exhibitions, conferences, and symposia.

²⁰ Chocolate Hearts at Berkeley's Fiberworks (founded 1973) consisted of candy boxes where each "chocolate" was a portrait of a family member or ancestor, presenting black experience and history seldom seen in a "mainstream" art gallery. Howard and I reconnected in 2011 when she created a Blue Bottle House temporary public artwork in front of Palo Alto City Hall, almost a stone's throw from where three decades earlier we had visited the small international art colony of painter/actress Marjorie Eaton.

²¹ The Power of Cloth: Political Quilts, 1845–1986, was based on the national research of two other Silicon Valley quilt enthusiasts, Jane Benson and Nancy Olsen. The exhibition included an unknown artist's Underground Railroad quilt, c. 1860, supporting the abolitionist cause, and contemporary artist Faith Ringgold's The Purple Quilt, inspired by author Alice Walker.

²² Artist Tony May taught an Art in the Community class at SJSU for decades and created collaborative public art projects, such as a large umbrella memorial to San José community activist and spiritual leader Father Mateo Sheedy. May gave a group of us a ceramic fish from his temporary public installation Milagro de los Pescados.

Many of May's students brought new dimensions to art and community. Hawaii-based artist Lonny Tomono, schooled in Shinto temple restoration in Japan, collaborated on a spiritual tree house with May. Artist Margaret Stainer developed the Ohlone College gallery in Fremont over three decades; she researched part of our Staying Visible publication, 1981. Valerie Patton, who went on to teach in the prisons, commented: he [Tony] could "get [us] past the pomp and circumstance of art to genuinely and spontaneously respond to ideas … a subversive force within the college art department … offer[ing] the alternative of an exploration of conceptual art…. Some of [the] temporary artworks produced collectively by students (and other collaborators) were this artist's best legacy of all."

²³ "Art Wars" T-shirts memorialized the late '70s conflicts and growing pains. Works/San José and some others have good basic organizational histories on their websites.

²⁴ Artist Ruth Tunstall Grant served on the first boards of Works and the Arts Council of Santa Clara County. She spearheaded Hands on the Arts, a multicultural arts festival that became Sunnyvale's signature event, soon going on its 30th year. She pioneered the San José Museum of Art studio art programs in city schools in the mid 1980s and wrote a winning grant for the seed money. Convincing the museum director to start this amazing outreach program to impoverished areas was not an easy sell for Tunstall Grant. She was uniquely able to develop unusual new programs and offshoots within the mainstream system, and also to start an arts nonprofit from scratch.

²⁵ On national and state levels, various government programs utilized artists and gave them a taste for public service. Those with local impact included the federal CETA program employing artists in hospitals, prisons, and other public service (1973–1982), and California Arts-in-Corrections in the state prisons (1982-2003). The latter began in the '70s as the vision of Eloise Smith, the first California Arts Council Director, and her spouse Page Smith, founding provost of Cowell College at University of California Santa Cruz and activist for the homeless in Santa Cruz.

²⁶ Solis helped found MACLA (Movimiento de Arte y Cultura Latino Americana) in 1989, and chaired Multicultural Arts Development, 1987-95, when on the San José Arts Commission. At the Santa Clara County Office of Human Relations (OHR) since 1997, she has been in charge of Community Relations and the Commission on the Status of Women; has created community projects that combine arts, culture, and human rights; and, with OHR and Human Relations Awards, has publicly honored similarly minded individuals and organizations.

²⁷ In the coming decades, Hau would become very popular with an influx of Chinese into Silicon Valley who know and buy his work. But Hau's personal reach was always cross-cultural. Only two of the first ASACA members were Chinese. Connie Young Yu highlighted Hau in her 1986 book Profiles in Excellence: Peninsula Chinese Americans, published by the Stanford Chinese Club (1965) for their 20th anniversary. She did not gloss over how unfriendly some Palo Alto residents who did not want to have a Chinese family as neighbors were to Hau.

²⁸ YLEM explores the intersection of the arts and sciences and considers the impact of science and technology on society. YLEM grew in part from the Graphics Gatherings spinoff from the Homebrew Computer Club at Stanford, but with broader reach, and exposed artists and public to research work through public forums, exhibitions, and field trips.

²⁹ SJSU Professor of Art Marcia Chamberlain initiated the CADRE Project (Computers in Art, Design, Research, and Education) and served as first Project Director for the CADRE 1984 conference, papers, and publication. With eight satellite exhibitions, numerous YLEM members participated.


CADRE 84 cover. Logo design by Mary Sievert. Chamberlain also instituted SJSU's fiber arts program. Joel A. Slayton became CADRE director in 1988, and I would work with him again after he went on to direct ZERO1, the Art and Technology Network, founded in 2000.

³⁰ For women, support would come from maverick female art historians, like Moira Roth at Mills College; from Stanford's Center for Research on Women (later name changes), which would also collaborate on the early Djerassi Resident Artists Program (1979) in Woodside; and cross-disciplinary campus groups that organized women's history months. Cultural support would come from campus departments, such as Intercultural Studies and a range of social sciences and language arts, along with historical societies, sororities like Links Inc., churches, and community organizations like Mid-Peninsula YWCA in Palo Alto.


Huellar Banks, Milk Churning, 1988. Oil on canvas, 22"x27". For over 30 years, artist Banks, an East Palo Alto resident, painted childhood remembrances after spending her days cleaning houses. Her art was recognized by the Mid-Peninsula YWCA and Stanford's Institute for Research on Women and Gender.

Community activists were supportive in general. Science- and technology-related arts were often orphans, but had energetic core supporters in specific areas. Early computer graphics were highlighted in the '80s by Bay Area ACM/SIGGRAPH, a local chapter of the Association of Computing Machinery/Special Interest Group for Graphics. A former Stanford research scientist, Penny Nii spanned two worlds in her 1986 Building Blocks quilt to celebrate the 30th anniversary of the field of Artificial Intelligence; created the Penny Nii Art Quilt Gallery in Mountain View and curated an exhibition at NASA Ames in the 1990s; then delved into book art


Nii's Totality (left), 2001, led to Totality (right), 2012, a Digital Over Analog (D/A) book Nii created with Mohammed Allababidi and Enrique Godivia, game animators and app developers. D/A books "straddle the world of the book (analog) and e-readers (digital)."

³¹ The Euphrat was founded as the Helen Euphrat Gallery in 1971 by way of a bequest and the vision of E.F. and Helen Euphrat. In 1978, as a result of Proposition 13, funding was cut to essentially zero. We began building the unique college/community partnership with a forum concept around 1980. With the expertise of art historian Patricia Albers, then director of special programs, we became the Euphrat Museum of Art in 1992. Given the meager and spotty remuneration, we would never have survived and succeeded in the early 1980s without the creativity of artist Kim Bielejec Sanzo, assistant to the director, and support from district trustees Franklin Johnson, Dr. Gerald Besson, and Dr. Raymond F. Bacchetti, the latter two serving on the first Euphrat board. The Euphrat board would grow, champion innovation and help build programs, outreach, and the new museum building, most unusual for a community college.

³² We worked on exhibitions and publications with award-winning illustrator and SJSU professor Alice (Bunny) Carter and Sunset magazine illustrator Lucy Cain Sargeant (later instructor at SJSU). These women were all business. Carter wrote about the client/illustrator process in designing a Star Wars game cover; she would become a legend in building the sought-after Animation/Illustration department at SJSU. Sargeant guided multiple Euphrat publications.

There were people who "got it," and could speak up. For our exhibition FACES, 1984, we connected with vocal LaDoris Cordell, Superior Court Judge, Santa Clara County, 1982-2001, at the forefront of social justice; she understood the connection with art. Mary Andrade created a vehicle for art in 1978 as co-founder, co-publisher of the bilingual La Oferta, the oldest continuous Latino publication in San José. Andrade, an artist/activist and expert on Day of the Dead altar traditions, and I would discuss the importance of art in building community. I was overjoyed to exhibit her tender 1985 photograph, Juana Chavez, of Cesar Chavez's mother crocheting. Andrade's early photography and interviews of local elders inspired Ethnic Community Builders, 2007, by Francisco Jiménez, Alma M. García, and Richard A. García, about the struggle for citizenship rights in San José.

³³ For decades, much of the art world was still distancing itself from communication and content. To quote art historian Moira Roth: "…the Aesthetic of Indifference was a more potent and dangerous model for the 1960s. It advocated neutrality of feeling and commitment in a period that otherwise might have produced an art of passion and commitment." We cited Roth's 1977 "Aesthetics of Indifference" essay in our publication CONTENT: Contemporary Issues, 1985.

³⁴ For the book cover Peretz Wolf-Prusan, printmaker and calligrapher, created Ancient Religious Symbols—crescent, earth mother, pilgrimage of the soul, menorah, Vesta, and Russian-style cross.


Wolf-Prusan's chapter treated the revival of the Ketubah, or Jewish marriage contract, an art form with calligraphy. Calligraphy of various spiritual traditions was also passed over by modern art institutions. (Fortunately Steve Jobs happened upon a Zen calligraphy class and developed a new way of seeing.) We all lost when the art world distanced itself from spiritual or philosophical issues, from exploring a range of shared core values and the accompanying questions and dialogue. How did we lose these essential connections? Investigations of fundamental human concerns occur, say, in a good literature class. The arts should play an equally important role in these universal inquiries.

³⁵ The '80s were full of building up one's own organization and connecting with other organizations for support, at a time when government arts structures were still being built. For example, the Arts Council of Santa Clara County started in 1982, but their focus in the '80s was on funding the "big five" arts organizations in San José. From around 1985–1988, smaller groups met monthly, often at the Euphrat, for the Arts Alliance, an Arts Council advisory group. Even when I was appointed to the Arts Council in 1988, it took a while to get smaller organizations on their radar. I met with Peter Hero, head of the Community Foundation, who understood the concerns, but said small organizations needed to "wait their turn." Meanwhile we, along with other small organizations, worked with Business Volunteers for the Arts, a new Arts Council program (1985–1986). Also, just to get attention for the arts, people needed to start city arts commissions. With some Euphrat board members, we initiated the establishment of the Cupertino Art Commission in 1986-87. Cupertino City Council didn't approve it the first time, so we made our case again. We also worked with the City of Sunnyvale on decade-long exhibition programming at the Sunnyvale Community Center. We struggled to work with our three very different Silicon Valley cities, Cupertino, Sunnyvale, and Los Altos, each with their councils, commissions, and staff.

³⁶ Nothing was easy. To build Euphrat art education partners and just nominal low-income program funding required long city council meetings and working with skeptical city staff. To reach families and communities, we developed ongoing programs with school districts, again with nominal funding. During the '80s we worked with faculty, staff, and school district trustees of the Fremont Union High School District and Cupertino Union School District. Among other things, we started FUHSD student shows to bolster the case of the beleaguered high school arts programs. We formed a Euphrat Board Art Education Committee, and later partnered with the SJSU art education department so we could train new graduates in community work. In the early years, partnerships were a hard sell, yet all came to enjoy the new programs and accolades that followed. With their experience, consultants Ruth Tunstall Grant and Maribel Alvarez brought a wealth of ideas to our education program and vision of a diverse arts community, including understanding of the needs of underserved populations and at-risk youth.

We saw progress with the idea that responsive regional governments, schools districts, and others could partner with the arts to benefit their constituencies; that everyone, all ages, had a stake in the arts; and that there were special arts needs in some sectors, e.g., low-income.

A breakthrough came in 1989, when the Euphrat was the site for a press conference sponsored by the Community Foundation, Santa Clara County Arts Council and National Endowment for the Arts to announce the creation of a major new endowed fund for small to mid-size arts organizations in Santa Clara County. While these grants were small, as were state grants from the California Arts Council, they made a difference. Recognition from a good peer review process was a prized accomplishment and critically important for small organizations pursuing diversified funding with corporate and individual support.

³⁷ Apple supported and participated in many early Euphrat Museum exhibitions, and the Euphrat created art exhibitions in numerous Apple buildings: An extension of 1984's FACES with Luz Bueno, using Via Video System One; Lili Butler's dramatic larger-than-life sculptures, The White One and The Black One, in Apple's main lobby in 1985, the year of the Steve Jobs/Apple board clash; and 36 artists from our 1988 Art of the Computer exhibition, with works from a broad spectrum of research, artistic and commercial computer graphics. Euphrat placed exhibitions at Hewlett Packard and Tandem Computers, also. We organized an event with sculptor Bruce Beasley at the home of Hewlett Packard VP Joel Birnbaum. VPs from Hewlett Packard, Apple, and Tandem served on our Euphrat board.

Steve Jobs saw the art in all he built, so I add a few thoughts about art, design, and money. Regis McKenna, whose advertising firm marketed Apple computers, chose designer Rob Janoff to create the iconic Apple logo, originally drawn by Carlos Pérez, in1977. McKenna credits artist Tom Kamifuji, Palo Alto, with inspiring the rainbow look.


Kamifuji's bright-colored, bold kabuki silkscreen posters were hot items, and we included him in our 1981 Commercial Illustrators Show. Three decades later, in 2007, we enjoyed working with McKenna when Steve Yamaguma Associates designed our lively new Euphrat logo and we prepared for our impressive new building facing Stevens Creek Blvd. In 2011, Steve Jobs presented Cupertino City Council with designs for Apple's new circular headquarters farther down on Stevens Creek. I was at city hall that night because of annual city budget deliberations. We spoke briefly, and I wish it had been about art; we had recently completed our Learn to Play exhibition about games. But Jobs was on his last legs with terminal cancer. "Everyone needs money," he said.

³⁸ José Antonio Burciaga (1940–1996), artist, poet, and writer, and Cecilia Burciaga (1945-2013) were Euphrat Museum board members in the early 1990s. Our intense discussions about art, education, and exhibitions took place around their Casa Zapata dinner table. Together they guided and mentored hundreds. Chon Noriega describes the strategic and the magical. Regarding the particular courage of Cecilia Burciaga, professor emerita Amalia Mesa-Bains, former head of visual and public arts at Cal State Monterey, said in a Monterey Herald obituary: "If things were unjust, unfair, not right, Cecilia would take up the cause and she wouldn't back down until the problem was fixed. I would consider her one of the people who most embodied the movement toward justice."

³⁹ Regarding traditional arts with a dispersed population, in our early efforts to connect and learn, we featured Pomo basketry and Mabel McKay in 1982, included Central Coast baskets from the collection of local historian Austen Warburton in our CROSSOVER technology exhibition in 1982, and presented Art of the Bear Dance, A traditional Spring ceremony of the Maidu Indians in 1984. In 1986 the Muwekma Ohlone Tribe constructed a tule house for the de Saisset Museum, and subsequently contributed to public art projects, such as the Ohlone/Muwekma Tribute along the Park Avenue Bridge in Guadalupe River Park & Gardens. More recently at the de Saisset Museum, Director Rebecca Schapp has overseen renovation of their California History exhibition and a new iBook, which focuses on the history of Santa Clara from pre-European contact.

⁴⁰ Underwood is attuned as Latina, Chicana, and Native American. Many of her weavings honor the indigenous Yaqui, whose homelands were cut open by the U.S-Mexico border. She was one of our "tell-it-like-it-is" board members.

⁴¹ Published by Cultural Initiatives Silicon Valley, the book was the result of a second study commissioned by John Kreidler. As Executive Director of Cultural Initiatives Silicon Valley from 2000-2006, Kreidler worked to implement a 10-year cultural plan for Silicon Valley. In 2004, CISV commissioned cultural anthropologist Dr. Pia Moriarty to examine informal performing arts groups in local immigrant communities (Immigrant Participatory Arts: An Insight into Community-building in Silicon Valley). CISV's final project, Medici's Lever, 2009, was an online suite of two games and one simulation laboratory probing regional cultural policy. One of the games is entitled SJ Renaissance. For more information see interview or go directly to Medici's Lever.

⁴² For a larger context, artist/faculty member Carlos Villa was the organizer and producer of "Sources of a Distinct Majority," a series of four heated symposia at San Francisco Art Institute, 1989–1991, that upped the pace of moving past stale structures. The publication Worlds In Collision, drawn from the symposia series, includes "diverse concerns of artists, activists, academics and street scholars from both ethnically marginalized and mainstream communities throughout the country. These four symposia, organized around issues of multiculturalism, education, identity politics and the role of the arts in contemporary culture, became venues for intense dialogues with broad implications for rethinking the relationships around cultural theory and activist agendas. The nearly 90 participants collectively and collaboratively explore strategies for a progressive art agenda that reflect a more accurate American Art History." I participated. It was invigorating to explore new strategies collectively.

The concurrent Global Cultures, the 1990 Congress of the Arts, Los Angeles, described California: "Its successes and failures at managing the issues posed by ethnic diversity and interdependency with the global economy are a proving ground for the rest of the world." While I didn't attend, the event, sponsored by California Confederation of the Arts, helps understanding of context. Subtitled "A Challenge for the 1990s," this pragmatic gathering centered on government, business, foundations, and the arts, and included a mini-conference on "Art and Disabilities."

⁴³ To give an idea of demographic changes, in 2000 the ethnic makeup of the county was roughly 54% white, 2.7% black, .7% Native American, 28% Asian or Pacific Islander, 24% Latino. In 2010 the three largest population groupings changed to 35% white, 32% Asian or Pacific Islander, and 27% Latino.

⁴⁴ Also in October 1995, a public meeting on multicultural exhibition collaborations was held in San José. As Joe Rodriguez (then of the San José Office of Cultural Affairs) put it, the purpose was "to identify issues relevant to collaborations between San José-based multicultural arts groups which lack exhibition spaces, and visual arts organizations with space to house exhibitions."

⁴⁵ With a welcome by County Supervisor Dianne McKenna, the two panels included Santa Clara County Superior Court Judge Tito Gonzales, East Palo Alto City Councilwoman Myrtle Walker, and artist/educator Ruth Tunstall Grant. Arts Council director Davis worked with an arts/activist staff that understood grassroots: Diem Jones, Lissa Jones, and Audrey Wong.

⁴⁶ Consuelo Santos Killins spoke up in multiple ways. She promoted Northern California on the CAC, which has been dominated by Southern California. At a CAC meeting in 1989, Killins wanted to serve "all the people of California," and stated, "This is the last time I'm going to vote to fund applications for large-budget organizations unless board of directors' makeup starts to change radically."

Advocacy normally isn't "speaking to the choir;" there is an element of activism, standing up to power on behalf of individuals. One of our Euphrat board members, Judy Goddess, used to work on "Individual Advocacy" for parents and kids having problems with public schools. She relates the joy of "bringing a system around to give a service a kid deserves." Where would we be without such advocates for the arts, education, for the marginalized, for those in need? This advocacy can also arise with active participation in a commission, nonprofit, or startup group.

⁴⁷ Countywide, Adobe supported graphics grants. Applied Materials supported "Excellence in the Arts." Under director Bruce Davis (1994-2011), Arts Council Silicon Valley made great strides in helping fund diversity, increasing seed funding to small and mid-sized organizations.

⁴⁸ MACLA and ZERO1 with its biennial festival have hit the big leagues. Cultural Initiatives Silicon Valley (1996-2006) inspired by Mayor Susan Hammer, a leader in regional cultural planning, brought movement on cultural policy and art education. Then 1stACT Silicon Valley, 2007, a high-end, five-year hybrid, leveraged a "network of networks" for leadership, participation, and investment in art, creativity, and technology. Silicon Valley Creates, 2013, is a merger of the Arts Council with 1stACT, with multiple programs. Enlightened government is a boon to cultural life, when it's lucky to have someone like Barbara Goldstein, San José Public Art Director, 2004-2013. I worked in recent years with Goldstein on the City Hall Exhibitions Committee, with Ruth Tunstall Grant from the Arts Commission serving as chair. One of our first exhibitions in City Hall connected art, history, and research, with a spotlight on artist Mary Parks Washington and ties to the local African American community going back to the 1800s.

⁴⁹ SV DeBug works with artists with a keen understanding of community, such as Adrian Avila and Charisse Domingo, and has looser affiliations with artists like Abe Menor, an "at-risk" youth case manager and a community organizer/worker, who has for years photographically documented social and political movements and a hidden Silicon Valley, and Sam Rodriguez/Shorty Fatz, builder of collaborations that range from inspiring public art and community mural projects to small businesses in custom bikes and the art of street wear. SV DeBug offers a study opportunity, food for discussion, for classes in political science, criminal justice, journalism, and business, showing how the arts can be part of solutions. In 2014, SV DeBug won an Office of Humans Relations Award for justice work and contributing to our community fabric.

⁵⁰ San José Mercury News, 5/12/12. Also Houston's memoir on the WWII internment of Japanese-Americans (Farewell to Manzanar, 1973) was one of five books anchoring a 2012 yearlong initiative by Cal Humanities (formerly the California Council for the Humanities) to create opportunities for Californians to explore the nature and needs of our democracy.

⁵¹ Nationally, Americans for the Arts has a special program Animating Democracy aimed at cultivating a landscape for creative social change and fostering civic engagement through arts and culture. Democracy came up repeatedly in Euphrat exhibitions. Freedom Views: 1991 featured a large Four Freedoms installation about freedom and responsibility by artist/educator Deborah Kennedy.


Deborah Kennedy, Four Freedoms, 1991. Mixed-media installation for exhibition Freedom Views, 1991

For In the Public Eye: Beyond the Statue in the Park, 1990, Thomas Marsh and anonymous students shared their Goddess of Democracy sculpture fashioned locally after the one used in the Tiananmen uprising in China. A long time ago, a student asked me about the meaning of a small printed word that was part of a large collage sculpture. The word was "apartheid." I think over the years of the ideas presented in artworks. Through art we have learned in unique, unexpected ways of the Tuskegee Airmen, lynching, the Nanjing Massacre, the Cherokee Trail of Tears, refugees, very short people, mental illness, AIDS, the paper bag test ("If your skin was lighter than a paper bag tacked on the door, then you could enter."), the I Hotel, gentrification, gender issues, bullying, human trafficking, the Chinese Exclusion Act, Manzanar, global warming, veterans issues, high student loan debt, extinction of native languages. Artists are often bellwethers of hidden trouble spots, human rights and social justice work, focusing on life that others have passed by or swept aside. That is what I mean when I say that art can be grounding.

⁵² Euphrat Edges exhibition. In referencing Emmanuel Leutze's George Washington Crossing the Delaware (1851), the African American appears disjointed — a head, part of an arm, half of a leg. Kaphar calls attention to the secondary roles African Americans played in a composition, that artists used formal devices, such as "light vs. dark, up vs. down, to visually reinforce institutionalized views of race and hierarchy." Kaphar, BFA from SJSU, MFA from Yale, focuses on alternative history. Priscilla Frank, Huffington Post, 7/2/12: "Kaphar cuts and shreds, he erases and whites out, he rumples, sews and paints in tar. … There is rebirth in the residue."

⁵³ Nationally, there have been articles about the advances and alterations in curricula and strategies, e.g., in the women's movement, including the controversy that can surround change described by Susan Faludi in American Electra (Susan Faludi, "American Electra, Feminism's Ritual Matricide," Harper's Magazine, 10/2010). The National Museum of Women in the Arts reveals even in 2013, even with over half the visual artists today being women, only 5% of the art on display in U.S. museums is by female artists.

The field of arts-based community development has grown substantially, and William Cleveland states: "Many of the ideas that were considered radical fruitcake in 1977 can be found in the guidelines of many funders." Cleveland has produced arts programs in educational, community and social institutions, including leadership of California's Arts-In-Corrections Program and the California State Summer School for the Arts, and has written extensively on arts-based community development.

¹ On October 16, 1838, two Mission Indians residing in south San José, married at Mission Santa Clara. A year later, their daughter Maria Asuncion de Los Angeles was born on the Bernal rancho. The family then moved to the Bernal-Pico-Sunol rancho between Sunol and Pleasanton. Maria Asuncion was later known as Maria de los Angeles Colos or Ângela Colos. She was interviewed by five anthropologists, starting in 1904. She died around 1929, before she was able to enroll with the Bureau of Indian Affairs. On October 12, 1929, John P. Harrington, a linguist from the Smithsonian Institution, interviewed Angela Colos and she stated, "The Clareños were much intermarried with the Chocheños [Indians from Mission San José]. The dialect(s) were similar. Muwékma, la gente (the people)."
Anthropologist C. Hart Merriam collected baskets from Ascencion Solarsano de Cervantes (died 1930) and her mother Barbara Serra (Mission San Juan Bautista) during the early 1900s, which are curated at UC Davis.

² For more information, see Projects - Ohlone Art and Building Community

³ "Mapping Erasure," Les W. Field with Alan Leventhal and Rosemary Cambra, in Recognition, Sovereignty, Struggles, and Indigenous Rights in the United States, A Sourcebook, edited by Amy, E. Den Ouden, and Jean M. O'Brien, 2013, University of North Carolina Press.

⁴ Rosemary Cambra is the elected chairwoman of the Muwekma Ohlone Tribe of the San Francisco Bay Area whose enrolled membership is descended from Missions Santa Clara, San José, and Dolores. As a previously federally recognized tribe, the tribe is seeking reaffirmation as well as honoring their cultural traditions and identity. For ethnohistory and tribal recognition background in the context of a recent local reburial, see "Final Report on the Burial and Archaeological Data Recovery Program Conducted on a Portion of the Mission Santa Clara Indian Neophyte Cemetery (1781–1818): Clareño Muwékma Ya Túnnešte Nómmo [Where the Clareño Indians are Buried] Site (CA-SCL-30/H)." Chapter 1 "Introduction: Project Overview" by Alan Leventhal, Rosemary Cambra, Norma Sanchez, Diane DiGiuseppe, and others. Chapter 10: "An Ethnohistory of Santa Clara Valley and Adjacent Regions; Historic Ties of the Muwekma Ohlone Tribe of the San Francisco Bay Area and Tribal Stewardship Over the Mission Santa Clara Indian Neophyte Cemetery: Clareño Muwékma Ya Túnnešte Nómmo [Where the Clareño Indians are Buried] Site (CA-SCL-30/H)" by Rosemary Cambra, Alan Leventhal, Monica V. Arellano, Shelia Guzman Schmidt, and Gloria Arellano Gomez

⁵ "Archaeology, Indian memories, and plodding through mission records flesh out lives of the original Californians," Marion Softky, The Almanac, 5/14/2001.

⁶ "Final Report [on the Burial and Archaeological Data Recovery Program Conducted on a Portion of the Mission Santa Clara Indian Neophyte Cemetery (1781-1818): Clareño Muwékma Ya Túnnešte Nómmo [Where the Clareño Indians are Buried] Site (CA-SCL-30/H)."] Chapter 11: "Reburial of the Muwekma Ohlone Tribe's Ancestral Remains from the Mission Santa Clara Indian Neophyte Cemetery: Clareño Muwékma Ya Túnnešte Nómmo [Where the Clareño Indians are Buried] Site (CA-SCL-30/H) and Final Site Management Recommendations" by Rosemary Cambra, Alan Leventhal, Charlene Nijmeh, Norma Sanchez, Diane DiGiuseppe and David Grant.

⁷ The Muwekma website, cited two Muwekma presentations for the Society for American Archaeology 80th Annual Meeting in April 2015. For the Society of California Archeology 2015 Annual Conference, plenary session organizer Kaely R. Colligan wrote that the meeting's theme "Beyond Boundaries" was chosen to emphasize "the influence of cultural and physical boundaries on our perspectives within the archaeological record. In the spirit of 'Beyond Boundaries,' we have built a plenary session featuring papers co-authored by Native Americans and archaeologists." The session included "Meaningful Relationships between the Muwekma Ohlone Tribe of the San Francisco Bay and the Anthropological/Archaeological Communities: A Process of Reciprocal Benefits and Collaborations in Language Revitalization, Biological Anthropology," Alan Leventhal, Rosemary Cambra, Monica V. Arellano, Sheila Guzman-Schmidt, and Gilbert Martinez

⁸ Simon Fraser Univeristy - Intellectual Property Issues in Cultural Heritage

⁹ Juana Briones' father was already in California and about twelve years old when the Anza expedition passed through. He was with his father at Mission San Luis Obispo. Barbara Voss states that in 1790 California census (missions plus six nascent cities), 71% of the adults in Alta California originated in the Sinaloan/Sonoran/Baja California region. Briones' father had come from San Luis Potosi, her mother from Villa de Culiajan. In terms of the Presidio, Voss writes not one of the original settlers was born in Spain; in modern terms, their national origin would be best described as Mexican. The Archaeology of El Presidio de San Francisco: Culture Contact, Gender, and Ethnicity in a Spanish-colonial Military Community, Barbara Voss, 2002, Ph.D. Dissertation, University of California, Berkeley. P. 148

¹⁰ For general information about the archeological project, see Stanford University at the Presidio of San Francisco Tennessee Hollow Watershed Archeological Project, which includes an excerpt from Chapter 9, "The Presidio Landscape," in The Archaeology of El Presidio de San Francisco: Culture Contact, Gender, and Ethnicity in a Spanish-colonial Military Community [Barbara Voss, 2002, Ph.D. Dissertation, University of California, Berkeley]. Voss gives insight into Briones' relationship with presidial society: (In the following, Guadalupe Briones is Juana's older sister.)

…The residential strategies of the Briones sisters thus highlight the variability within military society in Alta California during the early and mid 1800s. Without repudiating the trend towards "seigneurial" patriarchal[8] control of land, women, Native Californians, and livestock, the biographies of women such as the Briones sisters expose diversity within the presidial settlement and engender more complicated, nuanced interpretations of the archaeological record. While the presidial community was reviving and expanding its main quadrangle in the late 1810s, Guadalupe Briones and her family moved out of the quadrangle into the adjacent valley. At a time when "respect and honor prevailed between the patriarch and the rest of this family… [and] wives were not to be abused" (Monroy 1998:186), and when gendered relations were becoming increasingly central to the formulation of Californio ethnic identity, the case of Juana's troubled marriage exposes the vulnerabilities of the adult women who lived at colonial settlements like El Presidio de San Francisco. It also demonstrates that, despite the growing power of family patriarchs, at least some of the wives of presidial soldiers actively sought independent remedies to their problems and took action to advance their own interests, and that, at least in Juana's case, these actions were intimately tied to manipulations of landscape and space. Perhaps not all of the presidial residents fully participated in the adoption of a "Spanish" Californio identity with all its implications. Additionally, in some cases colonists may have actively incorporated Native Californians into their households rather than sought to distance themselves from the indigenous people of the region. Certainly, the case-study of the Briones sisters is notable in great part because their lives stand in contrast to the written accounts left by the military and religious elite of Alta Californian military society. But rather than being seen as an exception to a larger rule, the Briones sisters illustrate that within the military hierarchy, the patriarchal ideology, and anti-indigenous practices of Spanish-colonial and Mexican presidial society, non-elite subjects were able to create physical spaces in which to advance their own and their families' interests and to protect themselves, to some measure, from the abusive excesses of their social superiors.

¹¹ In January 1848, surveyor Chester Smith Lyman observed the Briones household: "Find our quarters at Madam Briones quite comfortable. The family is composed of the Widow Briones 3 daughters (2 grown up) 2 or 3 boys, half a dozen Indians, 2 little pet pigs in the cook house & 15 or 20 dogs. The two older girls do the cooking; they are rather pretty looking, but like most Californians dirty & slovenly. There are two sick persons in the house, an Indian girl, of fever, & a man, a sailor, apparently a Portuguese, who has a very bad cough." California Historical Society - Juana Briones Exhibit

¹² Briones, who lived at the Mission at one point, testified in favor of canonization of Padre Magín de Catala, who died in 1830 and served Mission Santa Clara for 30 years. Catala baptized Gorgonio, as well as one of Briones' children (1827), and many children of her relatives. In her book Juana Briones of Nineteenth-Century California, Jeanne Farr McDonnell mentions that Gorgonio may well have been an assistant who accompanied Catala everywhere he went.

¹³ For decades, historian Connie Young Yu, based in Los Altos, has researched events like this and offered unique perspectives on Chinese culture locally going back more than a century. Yu's stories elucidate historic dynamics of our economy, politics, and art: Chinese labor on the railroads; Chinese Exclusion Act; and Chinese art purchased by museums, collectors, and religious institutions. Portions of her family's historic art collection instruct patrons at Stanford's Cantor Arts Center. A recent project collaboration of Yu with historian Leslie Masunaga captures the joint history shared by San José's Chinatown and Japantown.

¹⁴ Briones died in Mayfield, at her home located at the corner of Washington and Second Street, an intersection now known as Page Mill Road and Birch Street. She was buried in Holy Cross Cemetery in Menlo Park. Her name is the first entry in the register.

¹⁵ Past Heritage - Juana Briones House

¹⁶ From Stanford News as demolition was looming in 2007.

¹⁷ Except where noted, the basis of this early narrative is derived from an audiotape interview of Marjorie Eaton by Betty Estersohn, July 16, 1981, along with information from conversations with my co-authors Estersohn and Deanna Bartels for "Marjorie Eaton," Staying Visible, 1981.

¹⁸ Established in 1916 in an old saloon on Stockton and Sacramento streets, the Chinatown YWCA made a name for itself providing services sensitive to the community. White and Chinese American leaders and activists supported the YWCA for rejecting stereotypes. By the mid-1920s there was a need for a new building; the designer chosen was Julia Morgan. Background information on the location and times can be found at Chinese Historical Society of America website. "Julia Morgan's status as a pioneer of women architects and her dedication to the women's movement shone through her work with the YWCA. Because Morgan embraced the Chinese American community with an uncommon sensitivity for the perspective and needs of Chinatown, an amazing architectural achievement was created. It reflected the emergence of a distinct Chinese American cultural perspective. The '20s and '30s were a time when Chinese American social, cultural, and political identity were borne out of interactions with the broader society and a desire to create a community with sustainability and integrity. The Morgan-designed YWCA building is an iconic institution that celebrates the spirit of those collaborative times."

¹⁹ Galka Scheyer (1889-1945), who continued to have a close relationship with Eaton, is a complex art figure. See Darcy Tell's East of Borneo article. [For example, in a 1936 letter to the artists, she recalled that "the Blue Four was founded . . . to share the spirit embodied in these works and to get away from art dealers."]

²⁰ The misspellings of Frida Kahlo's name may have come from leading San Francisco philanthropist Albert M. Bender, who loaned the work. Bender attributed his local arts support to his cousin, artist Anne Bremer, who was an early leader in the San Francisco art community. There were also works by Claire Von Falkenstein and Lucretia Van Horn from Berkeley, Elizabeth Norton, Palo Alto, and Dorr Bothwell, San Diego.

²¹ First Generation—Betty Estersohn, Deanna Bartels, Joan Valdes—videotape interview of Marjorie Eaton, "Creative Women Over Seventy Series," documentation for California History Center, De Anza College, 1977. Their timely research moved past stereotypes, including ageism. Interview filmed in 1976 at Eaton's adobe in Los Altos.

²² First Generation video. Ibid.

²³ See "Marjorie Eaton," Staying Visible, 1981. Estersohn audiotape. Ibid. "The house I live in now ... we started it in 1939 ... and I went down with the first plans [for the house] to visit Galka [in Los Angeles].... Hella Hammid was there, a girl of seventeen, who was mounting all the drawings by Picasso that were under her [Hella's] bed . . . Picasso sent all the drawings to Galka. Galka had arranged a show at the Stendahl Gallery [in Los Angeles] of the Guernica ... These drawings were just in a box . . . beautiful drawings for the Guernica. They had never been matted, and Hella Hammid was mounting them. … And Gregory [Gregory Ain designed and built Eaton's house] came down ... to look at my [house] plans. Gregory was so excited over these [Picasso] drawings with that diagonal thrust running through them—that that [along with a pre-existing planting of almond trees] started the thrust in my house. The Picasso drawings inspired Gregory ... so that all the [adobe] bricks that had to be made for the house had angles through them. … "Archipenko [the sculptor] might have been teaching at Mills [College] .... I knew him. ...Hofmann, Schoenberg. ... Oh yes! It was very alive."

²⁴ First Generation video. Ibid.

²⁵ Researcher John Crosse has been piecing together a story of the deeply intertwined lives of the Weston and Schindler families, who first met when Pauline Schindler began teaching at the Walt Whitman School in 1921 in Los Angeles ("The Schindlers and the Westons and the Walt Whitman School"). Crosse links articles on mutual friends and relationships, of which Marjorie Eaton is a significant one. Eaton and architect R. M. Schindler were close personal friends. Schindler and the de Young Museum's Director Lloyd Rollins met at Eaton's ranch in 1931, which eventually led to an architecture show of Schindler in 1933, at the same time as a photo exhibition with Edward Weston, Ansel Adams, Imogen Cunningham et al, at the de Young. Pauline Schindler was also a very close friend with Eaton. The exhibition The Schindlers and the Westons: An Avant-Garde Friendship is slated for 2015 at the UC-Santa Barbara Art, Architecture and Design Museum.

²⁶ After studying California modernist architecture, a student declared, "It all looks the same." The differences in valuing systems struck me. As a student of ideas in the arts, I long for a fuller picture of California modernist architecture, of people involved both beforehand and afterwards in making a design not just impressive, but also functional and relevant—from early decisions like site choice to making a finished design radiate and breathe a personal or group identity. Briones and the Eatons (Edith and Marjorie) made decisions that imbued the ranch with character, life, and history—a unique California architecture and living legacy to remember.

²⁷ Robert Sweeney, "Life at Kings Road: As It Was 1920-1940", in Elizabeth A.T. Smith and Michael Darling, The Architecture of RM Schindler, exh. cat. (New York: Harry N. Abrams, 2001), p. 87. Interesting observations about Pauline Schindler and the painting of her side of the house pink can be found in "Rhapsody in Pink: Stephen Prina Prints," by Thomas Lawson, East of Borneo, April 11, 2013.

²⁸ First Generation video. Ibid.

²⁹ Regarding the study and preservation of women's history regionally, Jeanne Farr McDonnell, who started the WHM in 1985 and was its executive director for 10 years, envisioned the organization covering the California world. The WHM later moved to San Francisco to reach a wider audience, and changed to an international focus, becoming the International Museum of Women (IMOW) in 1997, then merging to become the Global Fund for Women (2014). Its larger mission, however, left a vacuum for dedicated promotion, documentation, and discussion of regional women's heritage.

¹This essay can in no way cover the arts activity in Santa Clara County (population: 1.38 million) Public exhibit spaces include the Rosicrucian Egyptian Museum, the San José Historical Museum, the de Saisset Museum, the Stanford University Museum and Art Gallery, the Triton Museum of Art, the ALBA Museum, the American Museum of Quilts, the Euphrat Gallery, Montalvo Center for the Arts, the Palo Alto Cultural Center.

Arts festivals include The Great American Arts Festival held each Fourth of July, the Cinco de Mayo Festival, the Nikkei Matsun (festival), Juneteenth Day (Emancipation celebration), the Italian-American Cultural Festival, The Obon Festival, The 16th of September Festival (Mexican-American celebration) and the Asian New Year Festival.

²DeVincenzi is finishing a history of the San José Art League; he shared his rough draft, from which much of the history of the Art League was taken.

³The first public show of The Art League was held in the Civic Auditorium in 1940. One early juror was Lucien Labaudt , prominent San Francisco artist and instructor at Saratoga's Montalvo Foundation. Another was Marta Morgan , a San Francisco art critic Morgan later became the editor of the art section of the San José News and played a vital leadership role in the county through her 36 years as head of this newspaper art section.

⁴By 1950 contributing members (non-artists interested in furthering the plans of the League and lending financial support) had increased to include Alex J. Hart of the department store, Paul L. Lion of the furniture store. Paul L. Davles of Food Machinery Company. Curtis Lindsay, Ernest H. Renzel, William Weston , Duncan Oneal, and many other prominent individuals.

⁵Yearly fundraisers were started in the gardens of Dr. and Mrs. Joséph Giansiracusa and for many years were held in the gardens of Professor and Mrs. John DeVincenzi and Professor and Mrs. Wayne Champion .

⁶The Art League organized and took an active part along with The Women's Art Society of Santa Clara County, the Light and Shadow Camera Club, and The Businessmen's Art Association in forming the Association. Fred Kessler chaired the Association. DeVincenzi served as liaison with the SJS Art Department.

⁷First commissioners were Dr. Chester Mason , George H. Burchill, Alex Hart, Virginia Mitchell , Mrs. Nathan J. Citron , Dr. A. Marguerite DeCola , Robert Morgan, Pauline Pace, and Earl Lewis .

⁸DeVincenzi accepted the chair on the condition that his committee be allowed to work for three years to develop a gallery plan and strong community support that would convince City Council members of the need for a major gallery and its chance to succeed. After this time DeVincenzi spearheaded the development of the San José Civic Gallery Association along with Barbara Cassin, who became its first president.

⁹ American Series, A Catalog of Eight Exhibitions 4/74-12/77. Albert G. Dixon, Jr., director; Elizabeth Gaidos, curator. The fifth of this series, Americans Abroad-Painters of the Victorian Era , commemorated the renovation of the Museum in 1975-76 (separate catalog).

¹⁰Albert G. Dixon, Jr. director, Martha L. Manson, curator. Catalog essay by Paul J. Karlstrom.

¹¹Representative exhibits are described in the Department's Evaluation Self Studies produced m 1973 and 1979 for the National Association of Schools of Art.

¹²Much of the history of WORKS San José was derived from conversations with Tony May or from a 1/31/85 interview of May by Gillian Ellenby as part of the WORKS archives. Tony May was president of WORKS San José (1977-78) and on the 1979 Artist Selection Committee. Gillian Ellenby and Michael Selic, president of WORKS San José, have documented all shows since WORKS inception, have lists of all Artist Selection Committee members and have written detailed descriptions of selected exhibits and events.

¹³Regarding the male female faculty ratio, Stephen French , acting head of the Department, notes that the women's movement hit at a time when University resources that were needed to make changes had been cut-thus the Department was not able to respond quickly. In examining issues of stylistic change, he adds that faculty and students are strongly influenced by major stylistic movements in the art world.

¹⁴During this time period exhibits included: Scrambling Space (artist Milton Komisar ) underwritten by Union Bank (catalog), Nancy Worthington, Reflection on our Times (catalog) and Mexican Folk Art: The Daniel Collection , underwritten by Mervyn's Department Store-all curated by Martha L. Manson.

¹⁵A graduate of Sarah Lawrence College, Turrell has worked for the National Gallery, Washington, DC, the National Endowment for the Arts, and the General Services Administration (as project manager of the Art-in-Architecture program).

¹⁶The Guadalupe Task Force and the Gateway Project are both projects of the downtown Redevelopment Agency, headed by Frank Taylor , a good example of a new esthetic awareness.