Fall 1981

Outside of 'Staying Visible' announcement.
Inside of 'Staying Visible' announcement when opened up.

Staying Visible announcement.

The Staying Visible archival project has been in the 2019–2020 news in conjunction with the prestigious traveling exhibition of Agnes Pelton. The project has been referenced in wall text at the participating museums.

Staying Visible, The Importance of Archives, Art, and "Saved Stuff" of Eleven 20th Century California Artists

Artists, Researcher(s) include Agnes Pelton, Margaret Stainer. Beatrice Wood, Kim Bielejec Sanzo. Marjorie Eaton, Betty Estersohn, Deanna Bartels, Jan Rindfleisch. Consuelo Cloos, Carol Holzgrafe. Leila MacDonald, Judith Bettelheim. Joyce Trieman, Lucy Cain Sargeant. E.F. Evans, Jim Rosen. Therese May, Katherine Huffaker. Patricia Rodriguez, Ellen Linnea Dipprey. Mildred Howard, Suzaan Boettger. Carmen Lomas Garza, Ellen Linnea Dipprey.

Points up how knowledge about archives can be used by artists to help ensure their future visibility, and sets forth issues in the "making of art history." Focuses on the variety of what can get lost from the records: a portion of a famous artist's life or work; the historical/critical significance of the artist, once "in favor," but since neglected; the life and work of the isolated artist, the artist with several careers, the non-traditional artist.
BOOK: The basis for this exhibition is the illustrated book STAYING VISIBLE. See PUBLICATIONS. Patricia Rodriguez, Lecture and Slide Presentation, 10/8/81. Art Appraisal and Restoration Day, Lecture, 10/10/81. Therese May, Lecture and Slide presentation, 10/14/81.

Abstract cosmic landscape featuring stars' elliptical orbits.

Book cover art is Agnes Pelton, Orbits, 1934. Collection of the Oakland Museum. Gift of Concours d'Antiques, Art Guild, The Oakland Museum Association.

Two artists at reception near artwork.

 Pioneer artists Patricia Rodriguez and Marjorie Eaton with Rodriguez’s heart sculpture in the exhibition, Staying Visible, The Importance of Archives, in 1981. Rodriguez, from San Francisco, described prevalent art world responses in the ’70s: “[they] turned up their noses,” “they didn’t know how to accept my art,” “it was difficult because I was not in step.” She chose to do hearts instead of the usual abstract “yellow canvas with a white dot.” Her art was cultural, emotional, as was Eaton’s, and both had a passion for evocative murals. Eaton could have told Rodriguez about how it was painting with emotive artists Diego Rivera and Frida Kahlo in the 1930s, because she lived it. Eaton loved people. For many decades, Eaton nurtured a diverse avant-garde arts colony in the Palo Alto foothills on the historic ranch site of legendary Juana Briones and shared her legacy of caring. Contemporary academic research on Briones and Eaton is illuminating their times and their lasting meaning for California cultural development. Photo: Helen Carlisle Fleming.
Above caption drawn from Jan Rindfleisch,
Roots and Offshoots: Silicon Valley’s Arts Community, 1981.

Two artists converse with a male reception guest.

Artists Consuelo Cloos and Marjorie Eaton in conversation in front of the art of Consuelo Cloos. Staying Visible reception. Photo: Helen Carlisle Fleming.

Two women in foreground talk. Male reporter listens. Video camera off to right.

Artists Carmen Lomas Garza and Mildred Howard talking while De Anza video team records. Staying Visible reception. Photo:Helen Carlisle Fleming.

Announcement with facial image of young man, hand near mouth, calling out.

Western Art Directors Club announcement.

Western Art Directors Club 16th Annual West Coast Show

















Cartoon of three women running with pen, ink, and paper; info in text bubbles.

Pork Roasts-250 Feminist Cartoons

One hundred cartoonists in the exhibition. Cartoonist Bülbül presented a talk and slide show on "Women in Cartoons" 12/2, and a cartoon workshop 12/5. The reception included several artists autographing their cartoon books. Catalog Comic Book was produced. Painted wall sign for exhibition exists as an artwork of its own. bülbül Cartoon Workshop w/ith Lecture, slide presentation,12/5/81. bülbül, Lecture, slide presentation, 12/7/81.

View ancillary materials for the Fall 1981 exhibitions.


Winter 1982

Flow-chart diagram with exhibition text and photos of sculptures: a robot and a car.

Crossover announcement.

CROSSOVER: an arTech exhibition

Artists include Ron Covell and Don Varner (hand-crafted dream car), Matt Gil, Clayton Bailey (robots), Joan Hitlin, Byron Coons, Chris Cross, Ray Holbert, Frank Saude and Joe Silva of Melgar Photographers, basket-makers of central California tribes (Austen Warburton Collection), Connie Field (Rosie the Riveter).

Ran the gamut from "technology with a little bit of art" to "art with a little bit of technology," exhibiting crossovers of some visually minded Bay Area people. Custom-built car, robots, airbrushed paintings, mural on history of the invention, Pomo basketry, transformed typewriter and more. Rosie The RiveterMovie., 2/5/82. Ron Covell, Lecture and slide presentation, 2/9/82.

Mike Cooper, Lecture and slide presentation/fundraiser 5/23/82. Home of Robert and Deanna Bartels, Atherton, with presentation by David Hatch, Prof. of Art History, SJSU.

Quincy Troupe, Poetry Reading 5/17/82.

View ancillary materials for the Winter 1982 exhibition.