A 26-page book of black and white photographs titled "Parachutes" taken by Jim Bertoglio while a student at the Art Center School. The book was most likely created as a promotional tool to advertise Cole of California's participation in the War effort. It includes images of company employees sewing parachute components and assembling the packs. The book is spiral bound with a clear acetate cover.
January 1944 issue of a newsletter sent to Photography students and alumni by Will and Grace Connell. It gives updates on the Connells, the school, and their classmates as World War II sent them all over the world.
February 1944 issue of a newsletter sent to Photography students and alumni by Will and Grace Connell. It gives updates on the Connells, the school, and their classmates as World War II sent them all over the world.
This scrapbook documents Jergenson's career at General Motors, predominately during his first tenure there, 1936-1947. Photographs, handwritten notes, advertisements, and his design illustrations highlight the many projects he worked on at GM: Greyhound bus, Cadillac, Delco radio, Frigidaire refrigerator, diesel locomotives. The bulk of the scrapbook focuses on the Train of Tomorrow, from initial idea sketches to building the model. He even included ephemera such as letterhead, a matchbook, and a cocktail napkin. Of interest is an automotive design glossary and a vinyl record titled "Wonderful Train of Tomorrow." The last page of the scrapbook has photographs of Jergenson teaching surface development in 1973.
Paula Goodman discusses her early years growing up in Los Angeles, her school years, and her professional life in advertising and education. She talks about early influences in her life which seeded her lifelong love of learning and led to her becoming an educator. She reflects on her experiences at Art Center in the Advertising Department, both as a teacher and an acting Chair. Finally, she describes her role in the expansion of Art Center’s Extension Programs (formerly Public Programs).
Nancy Lilly discusses her early career with the Los Angeles Art Association and as an art model. She talks about her years at ArtCenter as Manager of the Model Office and reminisces about faculty and models. She gives insight into the job of art modeling and how a skilled model can facilitate and enrich a painting class.
George Porcari discusses his early years growing up in Gardena, his wanderlust which took him to New York, and his return to California. He talks about the Illustration and Fine Art Departments at ArtCenter and explains how his lifelong love of books led him to his dream job as Acquisitions Librarian. He reflects on changes in the library during his almost 30 years, especially in regards to collection development and employee camaraderie.
Joe Henry discusses his career in Development at Art Center and as Director of Art Center (Europe). He talks about the establishment of the Pasadena campus including early fundraising for its construction. He discusses moving to a more administrative role as Assistant Director of the school and working closely with the President, Don Kubly. He also talks about the beginnings of Art Center (Europe) including searching for a location, why Switzerland was chosen, and early administrative challenges.
Allen Stross (PHOT 1948) discusses his student years at Art Center going into great detail about photography lessons and assignments, including Ansel Adams’s zone system. While looking at a 1950 school catalog and some photographs, he reminisces about field trips to Malibu and his favorite instructor, Al King. He talks about his professional work in Detroit and Berkeley and recounts some of his favorite photographs, including the llama photo that won him a car.
Gary Meyer (ILLU 1959) discusses his student years at Art Center including his interactions with the Japanese students from JETRO. While looking at a list of teachers from the 1950s, he reminisces about their teaching styles and personalities. He talks about his professional work with Universal Studios and other clients. Lastly, he discusses his return to Art Center as a teacher.
A description, using one of my generative research tools, of switching to online classes during a single week in March, 2020. The tool uses the metaphor of a river journey as an aid to help a research participant tell the story of an experience. In this example, the experience is my own, a test of my converting a physical deck of custom-made cards into an online tool. In this case, the tool worked and we are using it in my courses.