Category Archives: Exhibit

James Strombotne Paints All He Can Imagine

James Strombotne, Self-Portrait, 2017


The Claremont Museum of Art’s exhibition James Strombotne: Imagine will focus on the work of one of the few remaining active Claremont artists from the 1950 and 60s, an era sometimes referred to as Claremont’s “golden age.” Drawings and paintings from the artist’s personal collection reflect the arc of a distinguished career dedicated to making concrete the creative mind’s imaginings.

The exhibition will open on Saturday, September 7 with a reception from 6 to 9 p.m. during Art Walk and remain on view through December 1, 2019. The exhibition is generously sponsored by Gould Asset Management LLC.

About the Artist

James Strombotne in his studio

James Strombotne studio in Anaheim, September 2018.

As a sophomore at Pomona College in 1953, James Strombotne enrolled in painting, drawing and design classes at Scripps, studying with a renowned faculty including Phil Dike and Jack Zajac.  In the latter’s studios, in Claremont and in Rome, Strombotne spent, as he writes, “the most important years of his life.”

After earning an MFA from Claremont Graduate School (1959), the young artist settled in Claremont and went on to teach at UC Riverside, retiring in 2005 after 45 years. He continues to draw and paint in his Anaheim studio, as dedicated and passionate about his art as ever. Strombotne’s work has been shown in exhibitions nationwide, including the Whitney Annual and Corcoran Biennial, and can be seen in more than 40 museum collections including the Museum of Modern Art and the Whitney Museum of American Art, New York City; the Hirshhorn Museum, Washington, D.C; and the Los Angeles County Museum of Art.

Learn more about James Strombotne on his website.

About the Exhibition

James Strombotne, The Actress, 2019

The exhibition takes its title, Imagine, from his recently published book of the same name.  Drawn from the artist’s collection, it will reveal the intense curiosity and creative energy of a long-dedicated artist who continues to question, to push himself, and to produce an extraordinary range of work. Strombotne’s subject matter derives from observation of, and response to, the physical world—figures, objects, landscapes that are both recognizable and abstracted in ways unique to him. Ostensibly “empty” space conveys a sense of quiet that can be surprisingly rich, emotionally evocative. His work is drawing-based, in the classical tradition, and his graphic work both stands on its own and also serves as a springboard to painting. The complex interrelationships between Strombotne’s drawings and paintings will be a focus of the exhibition.

As Strombotne writes, “In all of my work, what I am doing is sharing my vision with the viewer. A photograph captures the moment, as do I. However, I “interpret” the moment. I edit, embellish, exaggerate, manipulate, create, invent, celebrate, and so on. My work is continuous invention and imagination. I am an amalgam . . . a colorist, a draftsman, a surrealist, a fabulist, an inventor, a provocateur, a poet, a dramatist.”  


Students StART It Up! at the Claremont Museum of Art

Student art work from grades 4, 5 and 6 at Mountain View, Oakmont, Sumner, Sycamore and Vista del Valle elementary schools will be on display at the Claremont Museum of Art May 3 through May 5. StART It Up!, an overview exhibition planned, curated and installed by Project ARTstART high school students, will include works on paper, collage, sculptures, and paintings. This is the culmination of the Claremont Museum of Art’s signature art education program celebrating its eighth year.

The museum will be open noon to 4:00 p.m. with free admission for this special weekend. On Saturday, May 4 at 5:00 p.m. an open house will celebrate these young artists and their families. Art Walk will follow from 6:00 to 9:00 p.m. with refreshments and music. Bring the whole family on Sunday, May 5 for ARTStation with fun art activities led by talented high school ARTstARTers.

Project ARTstART, a Claremont Museum of Art education program under the direction of Rich Deely, trains high school students, working with college mentors, to provide exhibit-based art lessons for elementary school students. The program brings high-quality, art appreciation classes and art marking activities to the Claremont school system to inspire, promote understanding of art and highlight Claremont’s rich artistic history.

During this academic year, six students from The Claremont Colleges and one Citrus Community College student mentored 55 high school ARTstARTers as they planned and presented exhibit-based art lessons to 4th – 6th grade students at all five Title 1 elementary schools. Field trips to the local museums were enhanced by multiple classroom art-making lessons.

In addition, ARTstARTers served BLAST, ACES, and AVID aftercare students at all seven CUSD main elementary campuses each month with art-making workshops. Hundreds more children participated in art activities at community festivals and ARTStation, drop-in workshops on Free Family Day at CMA on the first Sunday of every month, generously sponsored by Wheeler Steffen Sotheby’s International Realty and Broadview Mortgage.

Project ARTstART is produced solely by the Claremont Museum of Art in partnership with the Claremont Unified School District (CUSD) and provides programming for students from eight participating schools: Chaparral, Condit, Mountain View, Oakmont, Sumner, Sycamore, and Vista del Valle elementary schools, along with Claremont High School.

The program is funded by generous donations and by gifts-in-kind from the Los Angeles County Arts Commission; Claremont Lincoln University; the City of Claremont Community-Based Organization grant (CBO); the Spearman Charitable Foundation; the Claremont Community Foundation; the Claremont Education Foundation Community Partnership Grants (CEF); Kiwanis Club of Claremont Foundation; Scripps College Fine Arts Foundation; the Rotary Club of Claremont; American Museum of Ceramic Art (AMOCA); Pomona College Museum of Art, Ruth Chandler Williamson Gallery at Scripps College; The Sam and Alfreda Maloof Foundation for Arts and Crafts, as well as CMA Board members and many dedicated community donors.

More information on Project ARTstART



May 10 – August 25, 2019
Claremont Museum of Art, 200 W. 1st St, Claremont  

Andrew M. Wenrick, “I wonder…Los Angeles” 2017-18, diptych, maps, watercolor paper, mat board and acrylic.

The Claremont Museum of Art exhibition Displacement Zero presents work by Claremont born, London based conceptual artist Andrew M. Wenrick. Maps of the Los Angeles area and beyond have been reconstructed into unexpected configurations, challenging our perception of place.

The exhibition, on view May 10 through August 25, 2019 at the Museum located in the historic Claremont Depot at 200 W. First Street, is generously sponsored by Sandy Baldonado, Susan Guntner, Catherine McIntosh, and Elaine Turner.

The public is invited to the Art Walk opening reception on Saturday, June 1 from 6:00 to 9:00 p.m. The museum is open Friday, Saturday and Sunday, noon to 4:00 p.m.

About the Artist

Born in Claremont in 1971, Andrew Wenrick spent his formative years immersed in Claremont’s Village, attending Oakmont Elementary School, Our Lady of Assumption School and Claremont High School. In 1994, he graduated with a BA in Industrial Design from California State University, Humboldt and in 2002 earned an MA in Architecture from the University of Oregon. After practicing architecture in Boston, he moved to Europe to pursue life as a conceptual artist. Wenrick’s resume includes solo exhibitions in London and Switzerland, and numerous group exhibitions. His works  can be found in private collections in no fewer than fifteen countries.

Artist website:

About the Exhibition

In his work, Andrew Wenrick deconstructs geography, in this case the United States, and then reconstructs and restructures fragments into new realities. As he points out, the single most important identifying quality of geography is shape. When familiar boundaries are altered, ambiguity results, a blurring of the relationships that allow us to locate and ground ourselves. The result is deliberate ambiguity and, for the viewer, thought-provoking perceptual shifts.

Since the industrial revolution, and particularly in our age of sophisticated communications technology, the world has come to feel not only smaller but also seamless. Photographs of earth from space reinforce this truth, as the imagined hard outlines around cities, states, and countries become less distinct in our minds. We are global citizens, an abstract concept but one that we can now better visualize, and that, one hopes, will lead us to strive toward collective goals.

In practice, Wenrick’s acrylic and paper constructions involve cutting, layering, and reshaping familiar map images, place names, and symbols into unexpected configurations. Accepted geographical “truths,” both physical and experiential, are questioned as the seen and the unseen are laid out before us, challenging our preconceptions about place and opening our minds to untapped potential.

Andrew M. Wenrick, “Everything in the middle” detail, 2012, Acrylic and maps on wood.

Andrew M. Wenrick, “I did…permissive block”, 2019, maps, acrylic and electrics on painted skateboard deck with map filled light bulb + mixed media.

Andrew M, Wenrick, “I did…diverging clear” detail, 2019, maps and acrylic on painted skateboard deck with map filled light bulbs + mixed media.


May 23, 2019 – What the Butler Saw Arts Magazine: The Poetically Intelligent Design of Andrew Wenrick, by James Scarborough

May 02, 2019 – Claremont Courier: London-based artist back home in Claremont for show

April 22 – What the Butler Saw Arts Magazine: A Conversation with Andrew Wenrick on the Occasion of his Exhibition “Displacement of Zero” at the Claremont Museum of Art

LIVING WITH CLAY: The Julie and David Armstrong Collection

January 18 – April 20, 2019
Claremont Museum of Art
200 W. 1st St, Claremont

Paul Soldner, Sculpture #16, 2000, Salt-fired, stoneware, Julie and David Armstrong Collection. Photo: Eric Stoner

The Claremont Museum of Art is pleased to announce an exhibition that invites us to enter the home of ceramic collectors Julie and David Armstrong. Perhaps best known for having founded the remarkable American Museum of Ceramic Art in Pomona, the Armstrongs’ love of clay is evidenced equally in their extensive private collection.

The exhibition, Living with Clay: The Julie and David Armstrong Collection, curated by Rody N. López, will be on view January 18 through April 20, 2019 at the Claremont Museum of Art, located in the historic Claremont Depot at 200 W. First Street.

The exhibition is generously sponsored by Art Braeger and Janell and Randall Lewis.

The opening reception will be on Saturday, February 2 from 6:00 to 9:00 p.m.

The museum is open Friday, Saturday and Sunday, noon to 4:00 p.m., and on Art Walk, the first Saturday of every month, from 6:00 to 9:00 p.m. For more information, visit

About the Collectors

Julie and David Armstrong in the living room of their home in Claremont in 2018. Photo: Eric Stoner

Julie and David Armstrong met while attending Pomona College and eventually settled in Claremont; David also holds an MFA (ceramics) from Claremont Graduate University. Julie is now retired from Foothill Country Day School, where she taught for many years and continues to teach a weekly art history class. David has long been an important member of the Claremont and Pomona business communities, and together, they founded AMOCA. The couple are well known for their philanthropy as well as their enthusiasm for collecting.

Over a period of sixty years, they have amassed a large and eclectic collection of contemporary paintings, decorative arts, and most impressively, ceramic art, for which they have an apparently insatiable passion. Included in the exhibition are original ceramics by such renowned artists as Rudy Autio, Ralph Bacerra, Frank Boyden, Tom Coleman, David Furman, Shoji Hamada, Robin Hopper, Harrison McIntosh, Mata Ortiz, Don Reitz Paul Soldner, Robert Sperry, Peter Voulkos, and Patti Warashina, among many others.

About the Exhibition

Curator Rody N. López is a graduate of Pomona College who served as an Associate Curator at AMOCA for several years and recently completed his MFA at California State University, Fullerton. For the Claremont Museum of Art, López has drawn on the Armstrong Collection section of his recently acclaimed exhibition Living with Clay: California Ceramics Collections at the Nicholas & Lee Begovich Gallery of CSUF. Staged to simulate the manner in which Julie and David Armstrong display their collection in their home, alongside paintings and furnishings, the exhibition reveals the integration of art in their daily lives while also saluting the collectors’ taste, ideas, and the uniqueness of their vision.  Within the walls of a public museum, thus, we are given a taste of the private environment of two dedicated, knowledgeable, and highly influential collectors.

LIVING WITH CLAY Press Release, Nov 20, 2018

Primal Nature: Animalia by Women in Post-War Claremont

September 21 – January 6, 2019
Claremont Museum of Art
200 W. 1st St, Claremont

Animals, both real and fantastic, occupied an important place in artistic expression in mid- twentieth-century Claremont, appearing in the work of ceramists, painters, enamelists, and sculptors. Primal Nature: Animalia by Women in Post-War Claremont, curated by Susan M. Anderson, focuses on this phenomenon, particularly in the work of women artists who played a vital role in the development of the arts in Claremont.

The exhibition, sponsored by Gould Asset Management LLC, will be on view September 21, 2018 through January 6, 2019 at the Claremont Museum of Art, located in the historic Claremont Depot at 200 W. First Street. The museum is open Friday, Saturday and Sunday, noon to 4:00 PM, and during Art Walk, the first Saturday of every month from 6:00 to 9:00 PM.

The exhibition is generously sponsored by Gould Asset Management LLC.

Gould Asset Management


Mid-century modern art, architecture, and design in Claremont were influenced by the Arts and Crafts Movement that developed in 19th-century Great Britain and flourished in the United States through the 1920s. Although the movement was multi-centered in America, the fullest expression of its ideals was to be found in Southern California. Here, with a focus on traditional craftsmanship and a lifestyle that promoted immersion in nature, artists drew sustenance from local flora and fauna, and vernacular design.

In Claremont, the ethos of the Arts and Crafts Movement lingered during the Depression era and experienced an extraordinary resurgence in the post-war period. This was due in large part to the influence of Millard Sheets and to the artists, designers, craftspeople, and architects he drew to the growing Claremont art colony beginning in 1932.

In the post-war period, Sheets’s exhibition programs at the Los Angeles County Fair included almost yearly arts and crafts shows, including the regionally important “The Arts of Daily Living” and “The Arts of Western Living.” These helped foster Claremont’s creative community, as did the Millard Sheets Studio on Foothill Boulevard where dozens of artists, craftspeople, and architects worked on landmarks, in Claremont and beyond, such as the Home Savings and Loan buildings with their signature mosaics.

Themes drawn from nature, especially animal forms, were common. Since classical antiquity, artists have assigned meaning to animals real and imagined. At the same time. animals—wild, domesticated and fantastic—often functioned for artists as creative muses or effective design solutions.

Primal Nature explores the significance of this shared theme and the context for its emergence in the work of pivotal figures in Claremont such as Jean Goodwin Ames, Betty Davenport Ford, Barbara Beretich, and Susan Hertel. The exhibition also includes works by Marjorie Burgeson, Dora de Larios, Ingrid Petersen, Hildred Reents, Martha Underwood, Nina de Creeft Ward, and Ellamarie Wooley.

Susan M. Anderson is an independent curator and art historian with a focus on the art of California. She is a former chief curator of Laguna Art Museum. Assisting the guest curator in her research, Scripps College undergraduate Linnea Rosenberg participated in the organization of this exhibition as this year’s Millard Sheets Art Intern.


Jean Ames, Untitled, detail, c.1962, enamel and bronze. Claremont Museum of Art, promised gift from Kathleen Wicker and Lois Langland.

Jean Goodwin Ames’ (1903-1986) preferred medium was enamel, but she was also a painter. Ames, who taught at Scripps College and Claremont Graduate School from 1940 to 1962, described her oeuvre as being filled with “enchanted birds and beasts.” Her commitment to enamel contributed to the recognition of the medium as an art form in the years following World War II.

Barbara Beretich’s (1936-2018) ceramic sculptures of cats, which she often finished in bronze, also recall archaic sculpture while being highly polished and stylized. From 1962 to 1965, Beretich attended Claremont Graduate School, receiving an MFA. From 1973 to 1978, she operated Gallery 8 on Harvard Avenue, and, from 1978, Galleria Beretich, located in her home. Both offered important exhibition venues for local and regional artists.

Betty Davenport Ford, Clouded Leopard, c.1976, Stoneware. Collection of the artist.

Archaic animal forms recalling Egyptian, Greek, and Romanesque styles were popular among sculptors. The ceramic anincmal sculpture of Betty Davenport Ford (b.1924) exhibits this historicizing approach. Ford aims to balae the capture of the animal’s essential spirit with sound design. She graduated from Scripps College in 1946 and remained a vital part of the community through her work with the Millard Sheets Studio.

Susan Hertel (1930-1993) mused in a poem that she was “not a person of the people tribe,” suggesting a closer kinship to the animals she often portrayed in her paintings of everyday life. Hertel received her BA from Scripps College in 1952. Working in the Millard Sheets Studio, she subsequently became chief designer and executor of murals throughout Southern California, Texas, and Arkansas, for Home Savings and Loan.

Intersecting at the Edge: Karl Benjamin, Heather Gwen Martin and Eric Zammitt

For Immediate Release

May 17, 2018

Karl Benjamin, #8, 1972, oil on canvas.

Intersecting at the Edge: Karl Benjamin, Heather Gwen Martin and Eric Zammitt 
July 13 – September 16, 2018

The Claremont Museum of Art presents Intersecting at the Edge, an exhibition that juxtaposes recent works by Los Angeles artists Heather Gwen Martin and Eric Zammitt with paintings and sculptures by seminal Claremont artist, Karl Benjamin. Using bold colors and clean edges each artist expresses a distinct sensibility that may allude to the refinement of architectural structure, the mesmerizing dazzle of echoing shapes, or the vastness of atmospheric luminosity. The exhibition is curated by Los Angeles-based artist Dion Johnson and sponsored by Louis Stern Fine Arts.

Intersecting at the Edge: Karl Benjamin, Heather Gwen Martin and Eric Zammitt will be on view July 13 through September 16, 2018 at the Claremont Museum of Art, located in the historic Claremont Depot at 200 W. First Street. The museum is open Friday, Saturday and Sunday, noon to 4 p.m.

In 1959 Karl Benjamin was featured in the groundbreaking exhibition Four Abstract Classicists at the Los Angeles County Museum of Art. Art critic Jules Langsner, who wrote for the catalogue, is credited with coining the term “Hard-edge” painting. While New York based abstract painters were making expressive canvases with gestural brushstrokes, stains or drips, California artists like Benjamin were synthesizing geometry and color by painting sharp edges, smooth surfaces and solid hues.

Like the California hard-edge painters, contemporary works by Heather Gwen Martin and Eric Zammitt embrace lyrical forms and chromatic sensations. The spatial explorations in Martin’s oil on linen paintings employ vivid colors and crisp graphic elements to produce lively activity and unexpected situations. Comprised of precisely assembled bands of colored plexiglas, Zammitt’s pristine surfaces shimmer and glow.

About the Artists

A dazzling practitioner of hard-edge painting, Karl Benjamin fills each canvas with meticulously orchestrated color. His intuitive sensitivity to the peculiar union of form and color produces works that defy reason and return the viewer to the purely sensual delight of seeing.

Karl Benjamin (1925 – 2012)
Born in Chicago, Benjamin graduated in 1949 from Southern California’s University of Redlands with a B.A. degree in English literature, history and philosophy. He began his career as a teacher with no intention of becoming an artist. However, his relocation to Claremont, California in 1952, shortly after he began “playing” with paint in 1951, galvanized his sense of his career path. Benjamin was awarded the National Endowment for the Arts Grant for Visual Arts in both 1983 and 1989. His work has been featured in numerous museum exhibitions and is included in the public collections of the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, Israel; San Francisco Museum of Modern Art, CA; and the Whitney Museum of American Art, NY, among others. Louis Stern Fine Arts is the exclusive representative of the estate of Karl Benjamin.

Heather Gwen Martin, Source Code, 2016, oil on linen

Dancing is too polite a term to describe the kinetic energy in Heather Gwen Martin’s oil paintings; it’s more like choreographed turbulence where weightless color formations blossom and flutter in crosswind currents. Her use of dramatic scale shifts amplifies the chromatic choreography and also allows for quiet moments where smaller slender shapes gently tip-toe around the vast swells of flowing space.

Born in 1977 in Saskatchewan, Canada, Martin studied at the University of California, San Diego and The School of the Art Institute of Chicago. Her work has been seen in museum and gallery exhibitions as far afield as Italy, New York, Detroit and Houston. Her work will also be featured in the forthcoming exhibition Chaos and Awe Painting for the 21st Century at the Frist Art Museum, Nashville, TN, and traveling to the Chrysler Museum of Art, Norfolk, VA. Martin lives and works in Los Angeles and is represented by L.A. Louver.

Eric Zammitt, Triangular Straight, 2015, Plexiglas

Eric Zammitt’s carefully placed color juxtapositions often produce curvilinear waveform compositions that appear to be the visual equivalent of a tremolo sound with progressively changing notes and volume. His work feels both natural with its radiant glow and digital with its planned structure. His sculptural pieces are towering stacks of horizontal color that fit perfectly together like a cross-section of an architectural prism.

Born in 1960 in Los Angeles, California, Zammitt creates paintings and sculptures in the medium of colored plexiglas. His intricately composed and assembled paintings and sculptures are often associated with light, music, mosaics, energy fields, and concepts of quantum theory. He has shown in the U.S. and internationally, and his work is part of many private and public collections including the Los Angeles County Museum of Art, Los Angeles, the Museum of Art and History, Lancaster, California, and the Gerald E. Buck Collection.

More Information About the Artists

Karl Benjamin on Color Theory video –

Heather Gwen Martin video –

Eric Zammitt video –

About the Exhibition

Curated by Dion Johnson, Intersecting at the Edge reveals the rich interplay between chromatic space and pictorial motion that unites these artists’ works. In Benjamin’s Black and Gray Curves with Purple (1960), a breeze seems to gently animate planes of color; similarly, the shapes and hues in Martin’s Cue (2017) appear airborne like sails and streamers. Benjamin’s #1 (1992) feels like a party where curvy shapes dance to color rather than music, and in Zammitt’s Grey Spectral Nocturne II (2014), the party confetti rhythmically forms colorful trajectories.

About the Museum

The Claremont Museum of Art is located in the historic Claremont Depot at 200 W. First Street in Claremont just steps away from the Metrolink Station. The museum is open Friday, Saturday and Sunday, noon to 4 p.m. Admission is $5 and free for CMA members and children under 18. The museum is also open from 6 to 9 p.m. on the first Saturday of every month for the Art Walk.The first Sunday of the every month is Free Family Day with free admission and ARTStation, a place for children to experience art and engage with local culture. High school students in CMA’s Project ARTstART lead visitors in an art activity related to the current exhibition. ARTStation is generously sponsored by Wheeler Steffen Sotheby’s International Realty and Broadview Mortgage.

Roland Reiss: Unapologetic Flowers and Small Stories

April 6 – July 8, 2018
Claremont Museum of Art
200 W. 1st St., Claremont

The Claremont Museum of Art’s exhibition Roland Reiss: Unapologetic Flowers and Small Stories will focus on the work of acclaimed Los Angeles artist Roland Reiss who devoted much of his teaching career to the Claremont community. On view will be selections from two of Reiss’s best-known bodies of work: the “miniatures,” sculptural tableaux suggesting human dramas in familiar settings (1970s-90s), and recent floral paintings that vastly expand the expressive potential of one of the most conventional subjects in the history of painting.

Roland Reiss, Fleur du Mal II, 2008, acrylic on canvas, 68 x 52 in.

Roland Reiss holds an honored role in Claremont. As Chair of the Claremont Graduate University Art Department from 1971 to 2001, he taught and mentored generations of students in an innovative program that he developed and that set a standard for graduate art education. An artist of international stature and wide acclaim, Reiss has maintained an extraordinarily successful career that has extended for more than 60 years. Long known for his warmth, generosity and professionalism, he has been characteristically helpful in the organization of this exhibition.

About the Exhibition

The exhibition, generously sponsored by Peggy Phelps, Jane Park Wells and Bill Wells, will include a selection of “miniatures” dating from the mid-1970s-90s. Among the artist’s best-known works, these boxed, sculptural tableaux are simultaneously familiar, mysterious, and provocative. Also on view will be a selection of Reiss’s floral paintings drawn from a series begun in 2007 that continues to this day. The decision to focus on flowers, a subject generally undervalued in the history of painting, reflects the artist’s ongoing determination to challenge himself, to push limits, to employ the breadth of his experience in compositions far more complicated than they first appear. Taken together, these examples of two of Reiss’s signature bodies of work convey a sense of the artistic and intellectual breadth of his remarkable career and, in so doing, honor an individual who has contributed profoundly to the development of the arts in Claremont.

Roland Reiss, The Dancing Lessons: Reconciliation, of Yes and No, 1977, mixed media, 14 x 24 x 24 in.

About the Artist

Born in Chicago in 1929, Roland Reiss has been making art continuously since 1956 and teaching for almost that long. After earning BA and MA degrees at UCLA (1952-56), he taught at the University of Colorado, Boulder, and, in 1971, was named Chair of the Art Department at Claremont Graduate University. At CGU he held the Benezet Chair in the Humanities; in 2010, an endowed chair in art was established in his name.

During his long tenure in Claremont, Reiss taught and mentored generations of students in the innovative, widely acclaimed program he developed, enabling them to enter the art world prepared to launch successful careers. When Reiss won the prestigious College Art Association Award for Excellence in Teaching in 2009, the citation noted: “An exceptional teacher can connect with the current generation of students and lead them into the future. It is a rare educator who can do this generation after generation, deeply penetrating the pulse of the times. “Many of his student’s grace Claremont’s art community today.

In light of Reiss’s long commitment to teaching and administration, the extraordinary career he has maintained as an artist seems all the more remarkable. His work has been exhibited internationally, recognized by no fewer than four NEA Visual Arts Fellowships, among many other honors, and is to be found in major museums and private collections in this country and abroad.

Kindred Natures: Aldo Casanova and James Fuller

December 2, 2017 – March 31, 2018
Claremont Museum of Art, 200 W. 1st St, Claremont

This exhibition reintroduces two highly respected and revered local artists, Aldo Casanova and James Fuller. For over 30 years, each artist influenced generations of students while teaching at Scripps College, as well as maintaining active careers as exhibiting artists throughout the country. Sharing an affinity for the beauty of nature, this exhibition will highlight the kindred links between the sculptures of Aldo Casanova and the paintings of James Fuller.

Organized by Steve Comba in collaboration with Casanova and Fuller family members, the exhibition is generously sponsored by Jill Fulton, Joe and Georgette Unis, and Fritz and Mary Weis.

Aldo Casanova

Aldo Casanova, Torso I, 1963. Cast bronze on travertine base. Claremont Museum of Art collection. Gift of the artist in honor of Felice and Teresa Casanova

Aldo Casanova, Torso I, 1963. Cast bronze on travertine base. Claremont Museum of Art collection. Gift of the artist in honor of Felice and Teresa Casanova

Aldo Casanova was born in San Francisco in 1929, the son of Italian immigrant parents. He received both BA and MA degrees from San Francisco State University, and the PhD from Ohio State University. While still completing his doctorate, Aldo was awarded the prestigious Prix de Rome, becoming artist in residence at the American Academy for eight full years. The experience remained a point of pride for him.

In 1992, Aldo was elected to the National Academy of Design, and in 1994, designated a fellow of the National Sculpture Society. His work can be found in numerous collections including the Franklin Murphy Sculpture Garden, UCLA; the San Francisco Museum of Modern Art, The National Academy of Design; and Scripps College.

Inspired by nature, Aldo was acutely aware of its splendor and equally of our obligation to protect it. “I comment on the condition of the planet, political and environmentally, though my work,” he once said.  His oeuvre includes both naturalistic portrayals, of animals for example, and abstract organic forms that evoke the generative power of the earth. He also cited Picasso as a source, motivated particularly by the renowned artist’s intent to be “inquisitive, inventive, and productive to no end.”

Aldo was a model of the dedicated artist teacher—one committed equally to his students and his own work. Over the years, he taught at Antioch University, San Francisco State, Temple, SUNY Albany, the renowned Skowhegan School of Painting and Sculpture, and, from 1966-1999, Scripps College. To students he communicated his passion for sculpture, once commenting that, “The most wonderful medium in the world is the young person.”

Aldo passed away on September 10, 2014

James (Jim) Fuller

James Fuller, Untitled (from the Zion series), 1998, watercolor on paper. Collection of Steve Comba.

James Fuller, Untitled (from the Zion series), 1998, watercolor on paper. Collection of Steve Comba.

Born in Pierre, South Dakota in 1927, Jim Fuller exemplifies a generation of artists who, in the years following World War II, looked west for inspiration and education. He found California and ultimately Claremont, maturing here as an artist, educator, and enthusiastic advocate for the arts of this community.

He earned his A.A. degree at Chaffey College in 1949, and continued at U.C. Berkeley, where he earned both the B.A. and M.F.A. An accomplished printmaker, sculptor, and painter, he accepted a position at Cal State Los Angeles in 1955, teaching there until 1967.

In 1967, Jim joined the faculty at Scripps College where he would serve for nearly 30 years, retiring in 1996. His wise, always gentle, guidance would influence generations of artists, not only at Scripps and the other undergraduate Claremont colleges, but also at Claremont Graduate University. A devoted teacher, Jim also maintained an active career as an exhibiting artist, with numerous solo and group exhibitions throughout the country to his credit. His works are to be found in prominent private and public collections such as the Los Angeles County Museum of Art; the Pasadena Art Museum (Norton Simon); Cal State Chico; U.C. Davis; Scripps College; and the City of Claremont.

Awards and honors span his career, from a Junior Art Council award from LACMA in 1957, to a six-month residency in Brittany under the auspices of the Albert and Elaine Borchard Foundation in 1993. In 2008, Jim was honored by the Claremont Museum of Art for his many contributions to the arts in Claremont and, specifically, to the founding of the museum.

Jim passed away on November 28, 2017.

Milford Zornes: The Claremont Years

Milford Zornes painting at Claremont Colleges circa 1958. Photo: Collection of Maria (Zornes) Baker.

November 10 – February 25, 2018
Rancho Santa Ana Botanic Garden
1500 N. College Ave., Claremont. Exhibition is open Daily 10am-4pm
Garden admission is $8 for adults, $6 for seniors and students, $4 for children and free for CMA and RSABG members.

Milford Zornes: The Claremont Years presents watercolor landscapes from the years the artist lived and worked in Claremont: as a young man in 1930s; 1948-66 when he served as the director of the Padua Hills Art Institute; and his final years 1998-2008. The exhibition is generously sponsored by Curtis Real Estate.

Milford Zornes, Mt San Antonio, 2003 Watercolor. Collection of Richard Martinez.Photo by Gene Sasse.

Milford Zornes, Mt San Antonio, 2003 Watercolor. Collection of Richard Martinez.Photo by Gene Sasse.

Born in the panhandle of Oklahoma, Milford Zornes was known early on as “the kid who could draw.” After moving to California, Zornes attended Pomona College and began his career in watercolor and during the Depression painted a large number of works for the WPA. Locally his most famous work is the mural in the Claremont Post Office produced in the 1930s. He became President of the California Watercolor Society and in 1943 was drafted into the Army/Air Force as a war artist in China, Burma and India until 1945. He became an art professor at Pomona College and then worked for the Air Force in Thule, Greenland where he produced a collection of paintings.

Back in Claremont, he became the Art Director of the Padua Hills Art Institute, where he arranged shows of regional art in the lobby of the Theatre. He had become a leader of the California watercolor movement and mentor to dozens of younger artists.

In 1963 Milford and his wife Pat bought artist Maynard Dixon’s estate in Southern Utah but maintained an apartment at an adobe in Pomona. Through these years he held workshops and led painting trips all over the world. During the 1980s he developed macular degeneration but continued to paint full time even with limited vision. In 1998 the couple moved back to Claremont where he died in 2008 at the age of 100. His work is in countless collections and museums and had a painting selected by Eleanor Roosevelt for the White House.

Curtis Real Estate - Claremont's longest established real estate firm

Dee Marcellus Cole and Carnival Seekers

Dee Marcellus Cole and Carnival Seekers
Friday, August 4 – November 26, 2017
Claremont Museum of Art at the Depot

Dee Marcellus Cole, a self-proclaimed faux-folk artist, creates vibrant sculptures constructed of wood and layered paper at her home in Upland in 2017.

Known as the “Goddess of Pomona,” Dee is an artist focused primarily on papier-mâché sculpture. She was an instructor at the University of La Verne and an Artist in Residence for San Bernardino County. She has led many workshops at venues ranging from the Maloof Foundation to the California State Woman’s Prison, and has received much acclaim for her pieces. Most recently, she was awarded Artist of the Year at the Chaffey Community Museum of Art in Ontario.

Inspired by her many travels to Mexico, Guatemala and throughout South America, Dee will transform the Claremont Depot into a carnival of bright colors, iconic images, and spiritual messages.  She has chosen to collaborate with some of Claremont and Pomona’s most distinctive artists for this exhibition including Johnnie Dominguez, Cathy Garcia, Sandy Garcia, Karen and John Neiuber, Christian Ornelas and Dan Romero to highlight celebration, in all shapes and forms.

Dee Marcellus Cole earned an MA in art from the Claremont Graduate School in 1984 and taught at La Verne University for twelve years. Known as the Goddess of the Pomona Art Colony she has inspired generations of artists, hosted studio tours, presented workshops and been exhibited in numerous solo shows.

Claremont Museum of Art, 200 W. 1st St, Claremont
August 4 – November 26, 2017

The exhibition, generously sponsored by Gould Asset Management LLC.

Gould Asset Management

About the Artists

Dee Marcellus Cole

Known as the Goddess of Pomona, Dee is an artist focused primarily on papier-mâché sculpture. She was a professor at the University of La Verne, Chaffey College, and a Partner of Art in San Bernardino County Ontario. She has led many workshops ranging from the Maloof Foundation to the California State Woman’s Prison, and has received much acclaim for her pieces. Most recently, she was awarded Artist of the Year at the Chaffey Community Museum of Art in Ontario.

Many travels to visit folk artists in Mexico, Central and South America have influenced my work. I observed folk artists using influences, colors and designs.

Paper is my primary material. The pieces are constructed on a wooden armature. I then apply the paper to lightweight cardboard to give the pieces form. In order to give the piece strength, it is stuffed with newspaper.

The textiles and potter I have collected from Latin American countries inspire the colors, designs, and textures used in my art.

I see the work as whimsical and containing the best of life.

Johnnie Dominguez

Johnnie Dominguez is a fine art surreal illustrator.

Using primarily a Papermate ballpoint pen as the weapon of choice, I use personal experiences throughout my life from private school and foster care all the way to stab wounds and frozen yogurt to put bullet holes in the hypocrisy of the popular narrative. With a keen eye to spot the ugliness in a loving man’s heart, I reveal the dangers of diversity without law served up on a smorgasbord of degeneracy.

His newest work is visually representative of a positive alternative to his aforementioned series of works, sprinkled with hits of order and discipline, with a dash of proud Western chauvinism.

Cathy Garcia

Cathy is a self-taught mosaic artist who has worked in this medium for over 12 years. A psychotherapist by training she graduated from Cal Poly, Pomona and received her Masters at Phillips Graduate Institute in Encino, California. She maintained both a private practice and was employed by the County of San Bernardino as a Marriage and Family Therapist until she retired in 2007. Her mosaic work has been displayed in over 40 art shows and she was featured in 5 one- woman shows.

I love color and enjoy combining textures and shapes to bring vibrancy, movement and life to my pieces. A key component is to reinvent the old and unused into a thing of beauty. A “treasure hunt” for my supplies takes me to yard sales, thrift shops and friend’s garages. The mosaic process is similar to building a jigsaw puzzle without a map. The pieces unfold themselves. My current passion is creating human busts and animal figures which seem to have personalities of their own.

Sandy Garcia

Born in El Paso, Texas, and raised in East Los Angeles, exposure to Latino Chicano art inspired Sandy to pursue colorful and simple works of art.

As she paints, her attraction to Mexico’s bright colors become her pallet. Her expressions on faces, spirits of birds and nature are a few deep connections of her interpretation of Folk Art. She shares her passion with others with Folk Art Painting workshops.

My goal is to eliminate barriers that divide people from each other by focusing on the passion, emotion, and humanity we all share. In order to do this, I prefer the free, bold expressions of strong brush strokes and the vibrant colors associated with traditional folk art, these are elements that appeal more directly to the senses. I consider my art to be spiritual because I want to reflect a notion of freedom of the soul. My form of communication is to write with a paintbrush so that others can read it.

My desires are my paintings to become beautiful things in one’s private surroundings. Enjoy as you encounter my beautiful culture with the love of Folk Art.

John Neiuber

John was born in Wisconsin and grew up in Southern California. He did his undergraduate and graduate studies at California State University San Bernardino. He has worked in the music industry, public education and is currently a chief executive officer for a nonprofit children’s agency, in addition to his volunteer work with community groups.

John creates custom, one-of-a-kind, artistic light fixtures, using recycled materials and found objects. He currently resides in the Claremont Village where he shares a studio with his wife, Karen.

When I was a child I would collect any small electric appliance, light fixture or gadget that anyone was throwing away. I would combine elements from my various finds and create something new. I was often told that the things I created did not serve a purpose. But they did; they all provided light in some way.

Years later when I wanted a light fixture that was unique or to serve a certain purpose, I would make it, because what I envisioned could not be purchased. Today, I still take found pieces and combine them into light fixtures. I may make a pair of table lamps or floor lamps, but otherwise I don’t mass produce pieces; they are always hand painted and decorated—they are all one of a kind.

I have had no formal art training. I have experimented with painting, collage and assemblages, all of which have found their way into the illumination pieces I create. I suppose the lack of formal training makes my pieces folk art, along with the use of found objects. I like to inject humor and social commentary into my pieces, typically with the decoration or the title of the piece.

My inspiration, however, is derived from functional art and design. The various light fixture and other parts in my studio are sorted by purpose, and as I work, the parts just seem to find one another. I make them to light, create mood and have function. If someone then likes the combination of light, design and color, the piece has found a home.

Karen Neiuber

Karen was born in San Francisco. She has a BA in art from Cal State Fullerton. After retiring from 40 years in public education as an elementary teacher and District Curriculum Administrator she is using her art background to delve into colors and textures by producing monoprints and ceramic assemblages. She currently resides in the Claremont Village where she shares a studio with her husband, John.

My art is about texture – mixing various textures to form a cohesive whole. Using mosaic, I explore themes ranging from religion to the power of nature by way of the icon. By placing famous symbols next to everyday objects, I transform the well-known images into something wholly unique. It’s not that I’m deeply religious or spiritual; it is by combining prints, tile, ceramics, everyday objects, textiles and metal I create an inventive, sometimes defiant new perspective. Because these altered symbols are approached in new ways, I don’t take them seriously. If there is meaning to be derived from my work, I leave that up to the viewer – since meaning is arrived at differently for every individual.

Neighbor Kid

My name is Christian “Neighbor Kid” Ornelas. I am a 20-year-old artist that resides in Pomona, California. I began to learn to make sculptures when I was 14 under renowned sculptor Dan Romero. Since then I have accomplished many things to better my craft. I graduated from The Fab School in Rancho Cucamonga in 2016, where I became a certified welder and fabricator. I consider myself to be an artist for I am working to better myself and my work. As a creator you are able to do more. You can use your power to build something tremendous.

Dan Romero

Dan Romero is a metal sculptor who primarily works in large public sculptures. These are often kinetic.

What I like about sculpture is that it escapes no form of physics. I mean, it has to stand there all on its own and be art from all sides and all angles. Everything has to actually work if it is a kinetic. It has a purpose for being there, with a job to do. It’s a real thing that should last for centuries in this way.

This work of sculpture requires the full time involvement of Dan and Dina Romero. Their work can be seen at the Google Campus in Venice Beach, Calnetics Corp. (a Mitsubishi subsidiary), Ontario City Hall, Ed Hales Park in Redlands, Ordruff Germany, the Maloof Foundation in Alta Loma, La Verne, and the Orange County Fair.