Dear ArtSeed Friend!
If a picture is worth a thousand words, here are ten that begin to show recent months of ArtSeed’s exciting doings. The puzzles of youngsters’ daily experience have been addressed through art making: How do we put the pieces together to make sense of it all? And through what means? Cutting-edge techniques? Or maybe tried and true classical methods?
The happy sense of community that marks our collective activities is stronger than ever, and a tangible sense of commitment goes hand in hand with a sense of shooting for the stars. There is good humor and enjoyment. Our ongoing group pursuits are lively and our one-on-ones intense. Two large exhibitions instead of the usual one, and three open studios instead of the usual two. More than two thirds of what we’ve shown during these events were made by students 3-17 years-old during the time we were engaged together. A total of 276 artworks were on display in our final exhibition and 188 pieces were by children whose works were presented with equal dignity.
Success stories include ArtSeed apprentice Paola creating a winning portfolio which gained her admission to the high school of her choice – San Francisco’s Ruth Asawa School of the Arts. We are also first responders to students’ immediate needs, particularly for those whose gifts are not recognized in school. Some reach out to us now because they want to reclaim the benefits of their experience with an ArtSeed classroom project long ago. Seventeen-year-old. Bayview alumnus James was desperate to share his duffle bag full of drawings. When he called, we were on his doorstep that same morning! Bryant, a long-time alumnus currently studying at the Rhode Island School of Design, returned to teach a hands-on workshop during our 2018 Summer Fine Arts Intensive.
Soon, ArtSeed will begin its twentieth season. We continue to grow ever-deeper roots and to prosper! As a small organization, nimble and able to interact intimately and over the long haul, our steadily growing number of precious families get their chance to form our core. The doors of our Labyrinth Studio are open on Sundays, 1 – 3 p. m. All are welcome to join us to make art, to share experiences, or just to be together at 4301 Geary Boulevard at 7th Avenue, San Francisco. We also look forward to seeing you in the Presidio at our next exhibition or upcoming art-making events there or in our schools and during Open Studios at our Hunters Point Shipyard Studio.
All of this is made possible by contributions, both great and small, by our large community of patrons. We invite you to join us as we begin to celebrate our upcoming big anniversary. Also, please check out our website for further news as well as regular updates: www.artseed.org. It’s easy to click on the “Donate Now” button or use the enclosed envelope to share your stories and/or your gifts. Receive a nifty hand-made surprise, special invites, and our heartiest thanks in return for your help as we approach our two-decade mark!
– Josefa Vaughan, Founder and Executive Director
Ann Reesman, one of ArtSeed’s teaching artists, unexpectedly died on Wednesday, November 28, 2018 (1959 – 2018). Ann was an indispensable member of the ArtSeed community, whether she was actively engaging youngsters in programs and events or thoughtfully sharing her extensive background in the arts and unique life experiences. Ann proudly served in US Air Force and continued to serve other veterans through the arts. Ann made a difference to all she came across and will be greatly missed. We would like to thank all those who joined us remember her life at the San Francisco War Memorial Veterans Building last December 14. Click here to watch a video made by Ann for her mother. Click here to view some of Ann’s recent works.
What Have We Done?
Artists, veterans, children, and disabled adults work with artists to grapple with tough subjects such as the evolution of slavery and its various contemporary manifestations and other challenges faced by democracies around the world.
Who Was John Brown?
John Brown was an ardent abolitionist and deeply religious white man who, as a young boy, witnessed the beating of a black slave his own age. Born in Connecticut in 1800, he was hanged for treason fifty nine years later. After decades of being centrally involved in the abolition movement, he grew frustrated with prevailing pro-slavery politics.
With financial support from six wealthy patrons, Brown led nineteen followers into Harpers Ferry, Virginia, on October 16, 1859. His objective was to confiscate weapons from a rifle factory and an armory, then sweep across the southern United States, setting free every black slave he encountered. After a three-day battle, during which all but five of his men were killed, Brown was captured. His oration during the trial that followed, his interviews with journalists far and wide, and his letters written in the weeks before his death, brought the issue of slavery to the attention of the nation and the entire world.
Ironically, this story of John Brown, our country’s first terrorist, has been of great interest to contemporary militant white nationalists even as it inspired non-violent civil rights activism of the 1950s and ’60s. Too few people nowadays are familiar with this fascinating chapter of American history and what it has to teach about the trauma of violence and alternative approaches to creating lasting change.
Who Is Jim Crow?
“Jump Jim Crow,” or “Jim Crow,” is a song and dance from 1828 that was done in blackface by Thomas Dartmouth “Daddy” Rice, a white minstrel performer. The song was inspired by the song and dance of a physically disabled American slave. It became a great 19th century hit and Rice performed it all over the country. The subject of the song, whose lyrics express a number of racial sentiments, is a slave who is satisfied with his lot. Jim Crow laws were state and local laws enforcing racial segregation in the southern United States. Enacted after Reconstruction, they were in force until 1965. In 1890, they mandated de jure racial segregation in all public facilities in states of the former Confederacy with a “separate but equal” status for African Americans. It was a legal way to continue the discrimination against the “negroes or colored folk” in the southern states. The effect of these laws developed two different societies in the U. S., inspired ongoing KKK lynching of innocent blacks, and provided cover for pervasive criminal activity that continues to this day.
Who Are We?
The exhibition viewer is asked to answer this question for themselves with the idea that “we” can mean themselves personally or it can refer to the citizenry with which they identify. A chair and table are provided with pencils and small sheets of paper, each with “Who Are We?” printed at the top. Please ask the question for yourself, provide your response on a slip of paper here, and tape it on the window next to the table.
Did You Think John Brown Was a Black Man?
John Brown Russwurm, a black abolitionist, was born in Jamaica 1799. In 1826 he would become only the second African-American to earn a college degree. The following year, he moved to New York where he met Samuel Cornish, another free black man who was also a Presbyterian minister and editor. Together, in 1827, they published Freedom’s Journal, the first newspaper published by and for blacks. The paper gradually died as a result of his unpopular support of African emigration and this, coupled with what he felt was the impossibility of ending slavery at the time, compelled Russwurm, by late 1829, to move to Liberia, established in 1819 by the American Colonization Society as a home for blacks. He would for the next 22 years learn African languages and actively participate as an important leader in journalism and politics.
What Is ArtSeed?
ArtSeed is a 501(c)(3) non-profit organization founded in the year 2000 with a mission to connect the most resourceful and gifted with the youngest and most vulnerable citizens of the Bay Area and beyond through projects that explore links between classical and cutting-edge fine arts disciplines. ArtSeed brings artists together with children, elders, or others living with financial or other challenges through rigorous interdisciplinary fine arts projects in classrooms, long-term studio apprenticeships, and exhibitions.
What Is Tides and Tides Converge, the Exhibition Venue?
Since 1976, Tides has worked with innovative partners to accelerate toward a world of shared prosperity and social justice. Tides Converge San Francisco is a thriving 150,000 square foot multi-tenant center, comprised of twelve buildings in the Letterman District of the Presidio. A pioneer in nonprofit centers, Tides Converge houses over 75 charitable organizations and social enterprises working for social justice, quality education, international development, cultural conservation, public health, and environmental stewardship, ultimately fulfilling the Presidio’s vision: combining preservation of the park’s historic resources with creation of a global center for a sustainable future.
Who Supports ArtSeed?
ArtSeed is supported in large part by individual gifts of all sizes and by gifts of time and expertise from friends. We are immensely grateful for recent generous donations from the Sam Mazza Foundation, The Cervin & Gavrich Family, Tony & Caroline Grant, and Rebecca & Sergio Maggi. Thank you all very much! Click to see a full list of sponsors and in-kind donors. Please call us if you see updates and corrections that are needed.
Mailing Home: Who Was John Brown? Who Is Jim Crow? Who Are We? Exhibition Walking Order
Tides Converge Galleries, September 6 – October 6, 2017
Many Art Works available for purchase, please inquire.
Begins at 1007 General Kennedy Ave. entrance through the China Brotsky Gallery and continues past Café RX into the Seed Gallery:
China Brotsky Gallery
1. Patrons of Anza Branch Library led by Colleen McDonald-Smalarz, Community Mosaic Mural, What Connects You to Your
Library and Community?, 2018, Acrylic on canvas (Modular Art), 48” x 48”
2. Edward Smalarz, Portrait of Woodrow MacDonald, Oil on linen canvas, 24” x 30”
3. Missy Martin, Portrait Commission, works-in-progress, Ann Reesman, Jacob Spies, Josefa Vaughan, Oil on canvas, 24” x 18”
4. Stacey Carter, Ship at Sea, 1944, 2017, Pigment print, 24” x 20”
5. Jacob Spies, Powell St. Academy of Art University, 2017, Watercolor on paper, 8” x 10”
6. Seven Theme related rolling racks: (1) Letters and Vocabulary; (2) Story Boards; (3) Contemporary Views; (4) Newsclippings;
(5) St. Brigid School; (6) Muscat Scholars; (7) Matrix Reasoning: all Mixed media
7. Andrew Little, Paperclip, 2018, Summer Intensive student work, Graphite on paper, 7” x 5”
8. Leslie Lopez, (Abstract) Mechanical Gears, Etching, 2.5” x 4”
9. Charles Boone, Abstract, 1987, Watercolor on paper, 8.5” x 11”
10. Woody Szydilk, Untitled, Figure Drawing, 2018, student work, Graphite on paper, 13” x 20”
11. Lakshmi Rash, Live Model Figure Drawing, 2018, Summer Intensive student work, Pastel on paper, 13” x 20”
12. Michael Ly, Live Model Figure Drawing, 2018, Summer Intensive student work, Pastel on paper, 20” x 13”
13. Shoshana Priel, Live Model Figure Drawing, 2018, Summer Intensive student work, Pastel on paper, 13” x 20”
14. Sophia Ly, Live Model Figure Drawing, 2018, Summer Intensive student work, Pastel on paper, 13” x 20”
15. Anne Reesman, Child in Large Hands, 2018, Pastel on paper, Image: 8.5” x 11” paper: 10″ x 13″
16. Alicia Medina, Live Model Gesture Drawing, 2018, Summer Intensive student work, 8.5” x 9.5”
17. Leah Sieczkowski, Questionable Romance, 2018, Antique postcard interpreted by a child, 9.5” x 12”
18. Anonymous, Fruits and Flowers Still Life, 2018, Summer Intensive student work, Pastel pencil on paper, 10.5” x 7.5”
19. William Everitt, Fruits Still Life, 2018, Summer Intensive student work, Pastel pencil on paper, 7.5” x 10”
20. Ambar Miranda, Mind Mapping of Peculiar Institutions, 2018, Summer Intensive student work, Pencil on paper, 7.5” x 9.5”
21. June Szydlik, Portrait of John Brown, 2018, Summer Intensive student work, Graphite and colored pencil on paper, 7” x 5”
22. Josefa Vaughan, Artist’s Childhood Drawing (approx. 11 y.o.), Ink on paper, 6” x 9”
23. Sophia Ly, Mermaid, 2018, Pastel pencil on paper, 9.5” x 7.5”
24. Morocco Battle, Edges, 2018, Pastel pencil on paper, 7.5” x 9.5”
25. Shoshana Priel, Live Model Gesture Drawing, 2018, Pastel pencil on paper, 6.5” x 4.5”
26. Mark Rubtsov, Live Model Gesture Drawing, 2018, Pastel pencil on paper, 7” x 5”
27. Caitlin Heery, Live Model Gesture Drawing, 2018, Pastel pencil on paper, 5” x 7”
28. Shoshana Priel, Live Model Gesture Drawing in Maroon, 2018, Pastel on archival board, 4.5” x 6.5”
29. Teddy Priel, Live Model Gesture Drawing, 2018, Pastel pencil on paper 4” x 8.75”
30. Emma Rubtsova, Live Model Gesture Drawing, 2018, Pastel pencil on paper 6”x 8”
31. Michael Ly, Live Model Gesture Drawing, 2018, Pastel pencil on paper 5” x 7”
32. Sophia Bayson, Live Model Gesture Drawing, 2018, Summer Intensive student work, Graphite on paper 10.5” x 8”
33. Jacob Spies, All Puffed Up, November 8, 2016, Ceramic, 5” x 8.5” x 9”
34. Ehren Tool, Women Lead the Way, Ceramic cup
35. Martha & Richard Shaw, The Fencers, 2009, Ceramic letter
36. Paola Perez, Forest, Reversible, 2018, Watercolor on paper, 7.5” x 5.25”
37. Charles Trey Houston, Profiles of the Summer Intensive Mind, Photo print composites, 8” x 10”, X 24 prints
38. Jacob Spies, Sacrifices for Fashion, 2017, Lithograph, 7” x 7” image 14.75” x 11”, paper; 1 In 99 Scientists Say…, 2018,
Lithograph, framed 10.5” x 15”; Peculiar Institutions, 2018, Oil on gallery wrapped canvas, 48” x 48”; Play Time is Fake, 2017, Etching, 7.5” x 6”; The Food Chain, 2018, 10” x 12”
39. Barn Quilt Designs with Marc Ellen Hamel, Summer Intensive, 2018: Teddy Priel, Acrylic on wood panel, 12” x 12”; Ann Reesman, Acrylic on wood panel, 12” x 12”; Jacob Spies, Acrylic on wood panel, 12” x 12”; Alicia Medina, Colored pencil
on paper, 8.5” x 11”; Marc Ellen Hamel, Acrylic on wood panel, 12” x 12”
40. Ann Reesman, Truth Will Not Be Silent, 2018, Acrylic with paper collage on canvas, 20” x 24”; KKK-Buster, 2018, Marker on paper, 12” x 12”
41. Rachel Hecker, Donkey Kicks, 1990, Ink and Letraset on paper, 8” x 4.5”
42. Collaborative Interpretive Map of Africa, We all have African Ancestors, Letraset on framed map, 40” x 30”
43. William Scott, Cleopatra Reborn, 2005, Acrylic and marker on illustration board, 24” x 18”
44. Chris Watts, Live Model Gesture Drawing, 2018, Pastel on paper, 6” x 4”
45. Anne Reesman, Parkland, Lady Liberty, Steps on AR-15, 2018, Pastel on paper, 12” x 16”; Eye Stella Adler, 2018, Acrylic on canvas, 16” x 20”
46. Mark Harris, Pride & Prejudice, Mixed media collage, 30” x 40”
47. Courtesy of Charles Boone, Old Aunt Violet, aged 81, Framed, 9.5” x 13.5”
48. Mark Harris, Matthew 19:V30, Mixed media collage, 12” x 24”
49. Courtesy of Charles Boone, Old Margaret, Framed, 9.5” x 13.5”
50. Mark Harris, Stars and Bars, Mixed media collage, 30” x 40”
51. Revathy Sree Kanagarajan, Live Model Figure Drawing, 2018, 15.5” x 13.5”
52. Natalie Monique Allport Toms, Live Model Figure Drawing, 2018, 15.5” x 13.5”
53. Paola Perez, Live Model Figure Drawing, 2018, 10” x 10”
54. Valerie Shum, Live Model Figure Drawing, 2018, 15.5” x 13.5”
55. Raoul Martinez, Alice Walker Quote, 2017, Dr. Martin’s Pen White on Canson Mi-Teintes black paper, 21” x 17”; Kate Millett
Quote, 2017, Dr. Martin’s Pen White on Canson Mi-Teintes black paper, 21” x 17”
56. William Scott, Women’s Bodybuilding, 2005, Watercolor and gouache on paper, 30” x 22”
57. Josefa Vaughan, Madonna & Child with Dumbbell, 1982, Charcoal on watercolor paper, 30” x 22”; Courtroom, Speaker on the Stand, 1976, Pastel on paper, 22” x 30”
58. Chris Watts, Will The Tears Extinguish The Flames?, 2018, Pastel on paper, 18” x 24”
59. Linh Nguyen, Two Masks, 2017, Marker on illustration board, Diptych 9” x 6”, each image
60. Josefa Vaughan, Courtroom, Defendant and Lawyer, 1976, Pastel on paper 18 3/8” x 22”; Nude Woman Laying On Her
Stomach, 2018, Pastel on paper, 8.5” x 5.25”; Blue Hair, 2018, Pastel pencil on colored paper, 8” x 10”; Courtroom, Jury, 1976, Pastel on paper, 22” x 30”
61. Derek Boshier, The Idealist: A Future Politician, 1982, Etching 15/30, Image 9” x 5”, paper 14” x 10”
62. Josefa Vaughan, 17 Year Old Sister, Two Years Older than the Artist, 1970, Graphite on paper, 10.5” x 14”; Flexed Arm, 1983,
Linoleum print stencil, 9.5” x 12”; Chastity Belt, 1975, Litho crayon on paper, 24” x 18”; Quarter Turns of the Unfinished Person,
1982, Courtesy of the Rebecca & Sergio Maggi, Oil and Letraset on wood panel, 80” x 36” x 2”, 4 panels each
63. Jacob Spies, Welcome, 2017, Watercolor on handmade paper, 17” x 25”
64. Pamela Djerassi, Untitled, 1971, Ink and pigment on paper, 24” x 18”
65. Dale Christine Smith, Crab Season, 2018, Acrylic on canvas, 16” x 20”
66. Paola Perez, Church, ArtSeed Labyrinth Studios (SOTA portfolio), 2018, Watercolor on paper, 10” x 14”; Court Room, John Brown, 2018, Watercolor on paper, 10” x 14”
67. Claudia Grubler, Mountain Landscape, 2018, Watercolor on paper, 9.5” x 12”
68. St. Brigid School, Anna Henry, Portrait of John Brown, 2018
69. St. Brigid School, Iris Klein, Portrait of John Brown, 2018
70. Chloe Thomas, Troubled Sky, 2018, Craypa and watercolor, 12” x 9”
71. John Hammond, Portraits of John Brown (X2), Graphite on vellum, Graphite and colored pencil on paper, 8.5” x 5.5”;
72. Ann Reesman, John Brown’s Wife and Daughters, Graphite and pencil, 7.5” x 10.5”
73. St. Brigid School, Sophia Chin, Anika Houston, Olivia Bella, Samantha Liang, John Brown Portraits, Crayon on paper, 5.5” x 8”
74. Peculiar Architecture Series, Summer Intensive with Bryant Lui Photos, 2018, Mixed media 12.5” x 12.5” x 12.5”; (a) Toby Priel, Catbirddog; (b) Khelaiyo Kiyoi, Ripple; (c) Ambar Miranda, Hot Dusty Sky; (d) Alicia Medina, Macro
Molecules; (e)Teddy Priel, Succeeding with Failure (collapsed box); (f) Sophia Bayson, Vanishing; (g) Ann Reesman, Web of Life; (h) Olivia Bella, Chinatown; (i) Chloe Thomas (intern), As It Unfolds; (j) Diana Baszucki, Cotton Equilibrium
75. St. Brigid School Art Class, Ann Reesman Teaching Artist, Night Scenes with Fugitive Slaves, 2018, Watercolor and oil pastel on paper, 12” x 9” (a) Aimee, (b) Olivia, (c) Iris, (d) Hannah, (e) Samantha, (f) Lorraine, (g) Jackson, (h) Nolan, (i) Dylan, (j) Anika, (k) Eli, (l) Anna.
76. Max Bui, Airplanes, Summer Intensive student work, 2018, 11” x 16”
77. SF Montessori Academy Pre-School Art Class, 2018, Watercolor and oil pastel on paper, 12” x 9” (a) Michelle, (b) George, (c) Anon, (d) Nikhil, (e) Jordan, (f) Jacob Spies, Teaching Artist, (g) Penny, (h) Anon, (i) Laura, (j) Beatrice, (k) Maya, (l) Aarya.
78. Raoul Martinez, O Sleep, April 2017, Japanese Ink-stick, Sumi ink, pergamenata, 20” x 16”
79. Michelle Vignes, Gospel, Holy Ghost Deliverance Temple, Oakland, CA, 1982, Silver gelatin print, 11.75” x 8”
80. William Scott, Portrait of Obama, 2009, Watercolor on paper, 9.5” x 7.5”
81. Pamela Blotner, Dr. Bill Haglund, Forensic Exhumation, Ovcara, Croatia, 1996, Pen and ink on paper, 10” x 13”
82. Collaborative Summer Intensive, Puzzle, 2018, Mixed media on puzzle piece cards, 24” x 36”
83. Linh Nguyen, Smokey’s Friend, 2018, Chine colle, image 4” x 6”, paper 10” x 11”; Separated Kiss, 2018, Digital print, 11” x 14”
84. Heidi Hardin, Biaye Family In Front Yard, East Legon, Accra, Ghana, from Art of the Family (The Four Muslims) Part 2 of The
Human Family Tree/A Walk Through Paradise…, Oil and pastel on gesso board, 15.5” x 20”
85. Jacob Spies, Castro District, 2017, Watercolor on paper, 8” x 10”
86. Caroline Liddell, Quilt, 2018, Fabric assortments, 55” x 55”
87. Heidi Hardin, Fatima at 9 in traditional Ashanti Princess outfit, in 2001 in East Cantonments, Accra, Ghana, 2017, Oil pastel on paper, 20” x 15.5”
88. Susanna Kohn, Selbst Portrait in Beach Done at Sunset, 2018, Ink marker on paper, 8.5” x 11”; Arbor Day: A Tribute to Luther
Burbank, 2018, Ink marker on paper, 8.5” x 11”; See No Evil, Hear No Evil, Speak No Evil Under a Coconut Palm, 2018, Ink marker on paper, 8.5” x 11”
89. Alexandra Shalamova, Flowers, Collage 13.5” x 9”
90. Marissa Kunz, Garden Plant, 2017, Watercolor, 11” x 17”
91. Alexandra Shalamova, Ukrainian Sculpture of Bearded Old Man, Fabric Sculpture
92. Collaborative John Brown Drawing using the Grid, 2018 Spring Intensive students work, Pencil on paper, 40” x 30”
93. Nikki Vismara, So Busy, 2018, Gold-leaf, acrylic, plywood, resin, and mirror tile on wood panel, 12” x 12”
94. Stacey Carter, Three Mile Island, 2018, Ink, pigment and acrylic on wood panel, 12” x 18”
Please contact: Josefa Vaughan, Founder, Executive and Artistic Director, ArtSeed
Cell: 415-656-9849, Work Phone: 415-409-1761, Email: firstname.lastname@example.org, Website: www.artseed.org