Media for Social Change, 2014

We wanted to share with you information on a dynamic class given here at Art Practice.

“This is an upper division class surveying new media from a lens of personal transformation and artistic activism as a means to create positive social change. In this course, we will look at the uses of mass media in contemporary society worldwide—news, advertising, propaganda, censorship, and power—and consider the tremendous potential this medium has to subvert and transcend these uses—through art, activism, collaboration, transparency, global accessibility, and citizen journalism—as a powerful tool in hands of a technologically savvy generation.”

Please check out the latest, incredibly dynamic, and strong works created by our students.

Art Practice Faculty Stephanie Syjuco is Awarded a Guggenheim Fellowship.

Congratulations to Stephanie Syjuco (Assistant Professor of Art Practice) and Shannon Jackson (Professor of Theater, Dance, and Performance Studies) who were awarded Guggenheim Fellowships.  The Guggenheim Fellowship is given to those who have “demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts.”

SGCI Awards Exhibition Opened March 19

The SGCI Awards Exhibition opened on March 19th.

Department of Art Practice Alumni appearing in the 2014 Whitney Biennial

Art Practice is proud to announce that the 2014 Whitney Biennial will feature two Art Practice graduates, Yve Laris Cohen  (2008) and Jonn Herschend (MFA 2006). Huge congratulations to Yve and John!

About the Biennial:

The 2014 Whitney Biennial will take a bold new form as three curators from outside the Museum—Stuart Comer (Chief Curator of Media and Performance Art at MoMA), Anthony Elms (Associate Curator at the Institute of Contemporary Art, Philadelphia), and Michelle Grabner (artist and Professor in the Painting and Drawing Department at the School of the Art Institute, Chicago)—each oversee one floor, representing a range of geographic vantages and curatorial methodologies.

Donna De Salvo, Chief Curator and Deputy Director for Programs at the Whitney, noted: “The 2014 Biennial brings together the findings of three curators with very distinct points of view. There is little overlap in the artists they have selected and yet there is common ground. This can be seen in their choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years.”

This Biennial will be the last to take place in the Whitney Museum of American Art’s building at 945 Madison Avenue at 75th Street before the Museum moves downtown to its new building in the spring of 2015. This is the 77th in the Museum’s ongoing series of Annuals and Biennials begun in 1932 by Gertrude Vanderbilt Whitney.

Whitney curators Elisabeth Sussman and Jay Sanders, who organized the widely acclaimed 2012 Biennial, will advise on the exhibition.

Wendy Sussman Prize in Painting


Photograph of Wendy Sussman by Richard Whittaker

The Wendy Sussman Prize in Painting, in honor of figurative painter and inspirational professor Wendy Sussman who taught at Berkeley from 1989 until her untimely death in 2001, is made possible by a generous donor.

There are two main components to The Sussman Prize:

The Wendy Sussman Prize in Painting
The Prize is awarded to two undergraduate students each year.  Students are selected in the spring.  Each student receives an honorarium of $3,000 and an exhibition in the Worth Ryder Art Gallery the following spring.

The Wendy Sussman Memorial Painting Lecture
Each spring the Prize supports a visiting painter who, in a 1 or 2-day visit, gives a public lecture and visits undergraduate painting classes, undergraduate honors studios, and MFA studios.

Wendy Sussman Prize in Painting Recipients

Cherisse Iris Torres Alcantara
Hansen Deng

Grace Colletta
Jessica Wang

Julie English
Anjali Rao

Nikki Savage

Melissa Williams

Brittany Law

Jason Maze

Kelly Seldan

Ian Cheng

Amy Lee

Lecturer Positions in Department of Art Practice

Updated: 7/21/14

Lecturer Positions in Department of Art Practice

If you are interested in applying to teach a course in the Department of Art Practice at UC Berkeley, please go the AP Recruit website: and apply for AP Recruit Job #:  JPF00351. 

Hiring for 2014-15 has been completed. We will begin reviewing applications for the 2015-16 teaching assignments on October 3rd, 2014.

You will need to upload your application materials:

a cover letter,

curriculum vitae,

creative research statement,

teaching statement, and

no more than 10 images.

Once you have applied, your application will remain in the pool for two years.  After that time, it will be necessary to submit a new application.

If you have any questions about the application process, please contact Toni Whittle-Ciprazo at algran(at)

Photos from the First Year MFA Opening!

The Opening Reception for the 2014 First Year MFA Exhibition was well attended and the show looks great! Here are some photos of the opening and the artwork!

Read more about the Exhibition…

And don’t miss the MFA Artist Talk on Wednesday, February 5th, from 12 – 1 pm!

Art Practice Emeritus George Miyasaki, 1935 – 2013



George Miyasaki (1935-2013)

George Miyasaki, Professor Emeritus of Art Practice, UC Berkeley, passed away on October 21, 2013.  He was born in Kalopa, Hawaii in 1935, a part of the island dominated by sugar plantations.  In this rural environment, he was encouraged by his high school art instructor to pursue his dream of becoming an artist.  So, in 1953, Miyasaki began studies at California College of Arts & Crafts in Oakland where his fellow students included Manuel Neri and Billy Al Bengston.  Among his teachers were Nathan Oliveira and Richard Diebenkorn, artists who were not yet legends.  Each had a lasting impact on Miyasaki.  During this time, Miyasaki began to work in an abstract expressionist manner and by the late 1950’s his paintings and lithographs began to find an audience and gain critical attention.

Despite his early success, Miyasaki abandoned the expressionist approach during the mid-sixties in favor of more systematic investigations of color and form. The rigorous geometry characteristic of his works of this period subsequently softened and by 1978, Miyasaki was freely combining collage elements with hard-edge shapes and spontaneous, expressionistic paint application.  He found his voice in both painting and printmaking with compositions that balanced abstraction, gentle and hard-edge shapes, delicate lines, and shadows of paint.  In his mature works, Miyasaki engages the viewer in “almost meditative contemplation as he challenges the eye to survey the depths of his paintings, highly nuanced surfaces and subtle printmaking.”  Miyasaki worked closely with Magnolia Edition where he produced several editions of delicate intaglio works and lithographs.

Miyasaki earned his BAEd and BFA from California College of Arts and Crafts (Oakland) in 1957 and his MFA from the same institution in 1958.   From 1958-1964, he was an Assistant Professor at California College of Arts & Crafts, Oakland.  During that period, he was a Visiting Lecturer at Stanford University for one year.  In 1964 Miyasaki joined the Department of Art Practice where he started as a Lecturer, then moved to Assistant Professor and retired as Full Professor in 1994.   While at Berkeley, he designed and developed a world-class printmaking studio, still in use today.

His work has been exhibited both locally and internationally in venues such as the Mary Ryan Gallery in New York, the Stephen Wirtz Gallery in San Francisco, the Paul Klein Gallery in Chicago, the Rubiner Gallery in Michigan, the Dillon Gallery in Seattle, the Honolulu Academy of the Arts in Hawaii, the Gallery of Modern Art in Washington, D.C. and at various sites in Yugoslavia.  In addition to his numerous solo exhibits, his work has been in over 300 group exhibitions in important venues throughout the nation.   Many of those group exhibits highlighted Asian American Modern Art, Abstract Expressionism, and Contemporary Trends.  His prestigious fellowships and awards include the Henry Ward Ranger Purchase Award (2001), National Academy of Design, New York City (1995), Purchase Award, Brooklyn Museum, NY (1993), National Academy of Design, New York City (1993), National Endowment for the Arts, Artist’s Fellowship (1985, 1980), and a Guggenheim Fellowship (1963).

Miyasaki’s work has been collected by many important institutions such The Art Institute of Chicago, The Brooklyn Museum, Herbert F. Johnson Museum of Art at Cornell University, James A. Michener Collection at the University of Texas, Austin, the Honolulu Academy of Arts, Metropolitan Museum of Art in New York City, Museum of Fine Arts in Boston, National Academy of Design in New York City, the National Gallery in Washington, D.C., the Philadelphia Museum of Art, Portland Art Museum, San Diego Museum, San Francisco Art Commission, San Francisco Museum of Modern Art, Walker Art Center in  Minneapolis, Whitney Museum of American Art, New York City, Worcester Museum of Art in Massachusetts, the Oakland Museum of California,  and The British Museum in London,   In addition, his work has been collected by institutions in Canada, Pakistan, New Zealand, Australia, and England.

Miyasaki continued to live and work in Berkeley until his death.  He is survived by his daughter, Julie Miyasaki, and two sons, Farrell and Michael Miyasaki.  From March 19-22 and 28, 2014 a retrospective of George  Miyasaki’s work will be held in the Worth Ryder Art Gallery (116 Kroeber Hall) as part of the SCG International Conference exhibition of prints.  The Show’s Opening will be held March 19 with a reception from 4-7 pm.