2017 Murphy Award and Cadogan Scholarships
The Jack K. & Gertrude Murphy Award and the Edwin Anthony & Adalaine Boudreaux Cadogan Scholarships help fuel the continued forward-thinking visual arts movement that makes the Bay Area unique. Established in 1986, these awards are designed to further the development of Bay Area MFA students and to foster the exploration of their artistic potential in hybrid practice, installation, mixed media, painting, photography, and sculpture. The winner of the Murphy Award receives $40,000 and winners of the Cadogan Scholarships receive $6,500 each; all awardees will have their work displayed in a professionally-curated exhibition at SOMArts Cultural Center in September 2017.
For more information, please see the Guidelines for the awards.
Gertrude Murphy was a San Francisco-based sculptor. She was a recipient of numerous art awards, and exhibited her work at the deYoung Museum and the San Francisco Museum of Modern Art. Her husband, Jack K. Murphy was a civic leader who served as president of the Jackson Square Association.
Edwin Anthony and Adalaine Boudreaux Cadogan met while attending the San Francisco Art Institute and later were both active members of the Marin Society of Artists. Adalaine devoted herself to painting and sculpture and Edwin worked primarily in oil painting and stoneware pottery. He was an alumnus of Berkeley High School and served as the head the art department at College of Marin, where Cadogan Hall is named in his honor. Adalaine and Edwin both experienced financial difficulties while in art school and understood the great impact scholarships could make during this early phase in an artist’s career. The Cadogans never had children, but in a handwritten letter to the foundation, Mrs. Cadogan wrote that she wished for the “art students of the future to be our children.”
2017 JACK K. & GERTRUDE MURPHY AWARDEE
Sherwin Rio, Sculpture, San Francisco Art Institute
2017 EDWIN ANTHONY & ADALAINE BOUDREAUX CADOGAN SCHOLARSHIPS
Emily Budd, Sculpture, California College of the Arts
Rafael Bustillos, Mixed Media, San Francisco Art Institute
Amy Cella, Hybrid Practice, San Francisco State University
Troy Chew, Painting, California College of the Arts
Kira Dominguez Hultgren, Hybrid Practice, California College of the Arts
Abby Gregg, Painting, San Francisco Art Institute
Keyvan Heydari Shovir, Installation, California College of the Arts
Amber Imrie-Situnayake, Hybrid Practice, Stanford University
Chris Marin, Painting, California College of the Arts
Nick Mittelstead, Printmaking, San Francisco Art Institute
Hannah Perrine Mode, Hybrid Practice, Mills College
Natani Notah, Sculpture, Stanford University
Gianna Paniagua, Sculpture, California College of the Arts
Nancy Sayavong, Sculpture, University of California Berkeley
Keith Secola, Hybrid Practice, California College of the Arts
Lauren Szabo, Painting, San Francisco Art Institute
Victor Yañez-Lazcano, Hybrid Practice, Stanford University
Kevin B. Chen is a curator, writer, and visual artist. He currently serves as co-chair for the City of Oakland’s Public Art Advisory Committee and member of Recology’s Artist in Residence Program Advisory Board and Root Division’s Curatorial Committee. He also manages the Artist Residency Program and Public Programs at the de Young Museum and is visiting faculty at Stanford University. He was Program Director of Visual Arts at Intersection for the Arts for over 15 years, where he curated over 60 exhibitions and hundreds of public programs. He has also curated projects for Headlands Center for the Arts, San Jose Institute of Contemporary Art, San Francisco Arts Commission Galleries, and Chinese Culture Center of San Francisco & Kearny Street Workshop. His curatorial work has been reviewed in publications nationally, including Art in America, afterimage: the journal of media arts and cultural criticism, Sculpture Magazine, and the Huffington Post. His own visual work has exhibited locally at San Jose Institute of Contemporary Art, Southern Exposure, Palo Alto Art Center, Jack Fischer Gallery, and nationally at Angel’s Gate Cultural Center (San Pedro, CA), Harn Museum of Art (Gainesville, FL), Bob Rauschenberg Gallery (Ft. Myers, FL), Bruno David Gallery (St. Louis, MO), and The Kitchen (New York, NY).
Dr. Lizzetta LeFalle-Collins worked as an independent museum curator in the San Francisco Bay Area since 1991 and before that a curator at the California African American Museum, Los Angeles (1984-1990). Much of her curatorial work centers on mature artists, documenting their stories of a life in art. She was also a visiting faculty in art history at Bay Area colleges and universities. In 2012, she limited her curatorial and teaching work to focus on writing creative non-fiction and poetry. Her inspiration came from family stories that provided ongoing life lessons, which helped her navigate through an imperfect world. She has terminal degrees in art history and art practice since and as such she has searched for ways to blur the line between both practices while revisiting creative writing, a personal avocation that she has made public. She arrived at book arts as a way of blurring genres.
In 2016, The American University of Paris Conference, A Language to Dwell In: James Baldwin, Paris, and International Visions, selected her essay “James Baldwin, Beauford Delaney, and Light” for presentation at the conference. While in France, she received notification of an award for fiction and mix genre writing from Money for Women /Barbara Deming Memorial Fund, Inc. Her project is an artist book inspired by her longer monograph entitled Painting Like A Man: Mary Lovelace O’Neal. While researching artist books, Mesa Refuse and the Point Reyes National Seashore Association, a joint project, invited her to participate in Climate Change at the Western Edge for her creative non-fiction manuscript, Lakeside Dairy: Lessons in Self-sufficiency and Sustainability.
In Spring 2017, she was the Denise Beirnes Endowed Fellow in Art History at Mills College, Oakland, CA and in Fall 2017, she is a participant in Mills’ Community Engagement Learning program. She is also the Camille Billops and James V. Hatch Fellowship awardee for a short term research residency for a book art project in the Rose Library at Emory University in Atlanta, GA. She will also contribute to the Rose Scholar Blog. PhD (Art History), University of California, Los Angeles. MFA (Fine Art-Painting), University of California, Santa Barbara.
Maria Ester Fernandez is the Curator of Art & Education at the Triton Museum of Art. She has curated group and solo exhibitions, notably, Xicana: Spiritual Reflections/Reflexiones Espirituales in 2010 and Consuelo Jimenez Underwood: Welcome to Flower-Landia in 2013. Along with serving on the curatorial team, she specializes in developing visual arts curriculum reflective of diverse or under-served audiences, drawing from her focus in ethnic studies. She has been a grant reviewer, most recently with the Silicon Valley Creates Artist Laureate Grant. In addition, she is the recipient of the Standing Committee on Education (EdCom) American Association of Museum’s Multicultural Fellowship and the Smithsonian Latino Museum Studies Program Fellowship, and a member of the first ACT of Silicon Valley’s Multicultural Arts Leadership Initiative (MALI).
2013 Murphy & Cadogan Contemporary Art Awards Exhibition Video