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Dear Fellow Creative Spirits and California Makers:

the months ahead are filled with exhibitions and experiences that celebrate the creative process in california. As you receive this—the second edition of Inside out—we are celebrat-ing the first special exhibition to open since

omcA’s transformation: pIXAR: 25 years of Animation. this comprehensive exhibition of artwork created by pixar’s artists returns home to the bay Area after a worldwide tour that began at the museum of modern Art in New york. we are delighted to be the only other host in the United States of this presentation of a quintessentially california phenomenon: bringing together art and technol-ogy in the service of creativity.

this fall, we will open two additional special exhibitions: the marvelous museum: A project by mark Dion and our annual Days of the Dead show. Artist mark Dion has delved into the museum’s collections to convert little-shown treasures into installations that tell the fascinating story of the museum’s history. And we look forward to welcoming visitors back to the Days of the Dead exhibition, a beloved tradition at the museum as well as an important reflection of the mexican practice of acknowledging life’s passing.

while many of us think of the creative process as an indi-vidual endeavor, all these projects share a deeply collabora-tive spirit. pixar films are collaborations—between artists, animators, and technology gurus—that result in films of wonder and delight. mark Dion’s project is a manifestation of the partnership between our collections staff and the art-ist. VIVo: Days of the Dead 2010 is a collaboration between artists, staff, and community members, who together transform the museum into a sacred creative space.

our hope is that you are inspired to become not just a creative observer but a creative participant. At omcA, we offer many ways for you to become a creator, whether through our new evening programs or our “Family explora-tions.” too often we forget that the creative impulse is in all of us, and that it is at the heart of the california experience. we hope you will visit us in the next few months and tap into your own creativity—again and often!

Lori Fogartyexecutive Director

Inside Out is published three times a year by

the Oakland Museum of California,

1000 Oak Street, Oakland, CA 94607.

www.museumca.org. ©2010.

Editor: Ann Dickson

Contributors: Lori Fogarty, Maggie R. Pico,

Sunny Green, Gail Bernstein, Rue Flaherty

Produced by Diablo Custom Publishing

dcpubs.com

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features6Pixar Comes Home

pIXAR: 25 years of Animation is an intriguing look at the artistic and technical genius behind such beloved films as the toy Story trilogy, Finding Nemo, Ratatouille, and Up. plus: an inside look at how these timeless movies are produced right here, in our very own neighborhood.

12State of Wonder omcA’s collections contain countless “orphans,”

which artist mark Dion draws upon to create provocative installations and interventions that reflect the evolving role that museums play in our lives.

14VIVO! this fall, we celebrate the creativity, humor, and

life-affirming spirit of Days of the Dead with a new exhibition curated by Jaime cortez.

departments4 Opening EventsA look at the special festivities surrounding omcA’s grand reopening in may.

5 Retail Talesthe omcA Store offers a tempting variety of artistic, fun, and educational items that tell the narratives of california.

16 38 Million Storiesenvironmentalist Jennifer Stock is passionate about raising awareness of the bay Area’s glorious marine ecosystem.

17 Member Spotlightthree creatively inclined omcA members explain their decisions to join the museum.

18 CalendarA guide to the museum’s exhibitions, events, and programs.

The Story of California. The Story of You.

Oakland Museum of California

ON THE COVER:bob pauley, buzz, toy Story, 1995. pencil. © Disney/pixar.

opening Season Sponsors:

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| opeNINg EVENTS

SCENE aND bE SEEN the entire community joined us to celebrate our grand reopening in may. to see more photos of the festivities, please visit www.myomca.net and click on the opening celebrations link.

There is still time to be part of California’s story and to join the community of donors that are making OMCa’s transformation possible. To find out more about the Museum of California Campaign, please contact Linda Larkin at 510-238-2918 or lalarkin@museumca.org.

1. lion dancers escort campaign

donors to the new galleries.

2. congresswoman barbara lee addresses the

crowd at the opening celebration on may 1.

3. Visitiors enjoy the Jukebox lounge in the gallery

of california History.

4. golden gala guests check out the gallery of

california Art.

5. Dance lessons at the Nonstop bhangra

bollywood party.

6. A tour of omcA’s grounds with landscape architect

walter Hood.

7. Fun with bubbles on the omcA terraces.

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RETaIL tAleS |

Visitors to the new omcA Store are in for a treat. Here, in the store’s inviting new location, they can browse a distinctive selection of items that evoke the golden State—whether literally or by conjuring the thrilling sense of discovery that california is all about.

located on the building’s second level, the 2,000-square-foot store features an ever-changing mix of products that relate to omcA’s art, his-tory, and natural sciences collections, as well as its special exhibitions. the store—which does not require museum admission to visit—also includes a designated area for exhibitions of works by california artists and artisans and a flexible space for events such as book signings, artist demonstrations, and children’s storytelling.

“the store responds to current events, cultural trends, and customer needs very quickly,” says Howard thornton, general manager of retail and visitor experience. “we showcase edgy, culturally diverse, and relevant art; just-released books by californians; and state-of-the-art research in the natural sciences and ecology.”

For parents, the store offers a trove of family-friendly items. In addi-tion to a well-chosen array of books, postcards, toys, and games, the store carries things visitors would be hard-pressed to find elsewhere, including omcA’s own guides to bay Area creeks and watersheds, and a folding com-muter bicycle (“very californian in its eco-friendly spirit,” adds thornton).

“california is a melting pot of cultures,” says thornton. “telling their stories is what the museum is all about, and I try to reflect that in the store.”

New and Noteworthy at the OMCA Store

- PIXaR: 25 Years of animation Relive the enchantment of the exhibition with the new edition of this lavishly illustrated catalog, which features several special omcA exclusives.

- bags by Elbow Grease Designsberkeley designer Jenny Hurth, of elbow grease Designs, transforms exhibition banners into one-of-a-kind tote bags and other colorful household items.

- Fun for the Whole Familythe store carries fun and educational items for kids of all ages, including activity books, puzzles, and a unique line of locally made, recycled playthings called green toys.

For more information and to shop online, visit www.museumca.org/store.

SHOP TALkThe new OMCa Store is a don’t-miss emporium of unique, beautifully designed, and educational items that reflect the stories of California

pixarBehind the BlockbustersIf there’s an experience that can rival the

fun, inspiration, and sheer fascination

of watching a film from world-renowned

Pixar Animation Studios, it is the chance to

glimpse works in progress of the Emeryville-

based enterprise, up front and personal.

That’s exactly what’s in store at PIXAR:

25 Years of Animation, a major exhibition at

the Oakland Museum of California that runs

from July 31, 2010, through January 9, 2011.

The show celebrates Pixar’s artists and the

development of their creations: the concept

drawings; paintings in acrylic, gouache, and

watercolor; and sculptures that underlie

Pixar’s computer-animated movies, and

define story lines, characters, and scenery.

The exhibition comes to Oakland after

a world tour that began at New York’s

Museum of Modern Art in 2005 and wended

its way to venues from Finland to Japan to

Australia. During PIXAR’s Bay Area engage-

ment, OMCA will offer members-only view-

ing hours, and all visitors will enjoy hands-on

activities and demos, tours by Pixar artists,

and a special OMCA film series, drawing on

Pixar’s feature and short films. For details,

visit www.museumca.org.

—

PIXAR: 25 Years of Animation is made

possible in part by generous support from

the Oakland Museum Women’s Board and

the OMCA Art Guild.

Teddy Newton, Miscellaneous superhero,

The Incredibles, 2004. Collage. © Disney/Pixar.

Robert Kondo, Remy in the kitchen, Ratatouille, 2007. Digital painting. © Disney/Pixar.

6 O A K L A N D M U S E U M O F C A L I F O R N I A

comes homepixar

“The art challenges technology, and the technology inspires the art.”

—John Lasseter, chief creative officer, Walt Disney and Pixar Animation Studios; principal creative advisor, Walt Disney Imagineering

GET A bEhIND-ThE-SCENES TASTE OF RATATOUILLE, FIND NEMO’S SEAFARING COMPANIONS, AND wITNESS ThE bIRTh OF wOODy IN ThIS NEw ExhIbITION, bACK FROM A whIRLwIND wORLD TOUR.

DON’T MISS ThIS RARE ChANCE TO vIEw ThE hUMAN ARTISTRy ThAT INFORMS AND ENLIvENS PIxAR’S COMPUTER- ANIMATED wIzARDRy.

Tony Fucile, Edna Mode (aka “E”), The Incredibles, 2004. Marker and pencil. © Disney/Pixar.

Ralph Eggleston, Sequence pastel: First day, Finding Nemo,

2003. Pastel. © Disney/Pixar.

bob Pauley, buzz, Toy Story, 1995. Pencil. © Disney/Pixar.

S U M M E R / F A L L 2 0 1 0 7

“how does creativity work? It’s not something you can do on demand, in a box, and immediately get it right. It’s not formulaic; it’s a process of exploration. … we’re constantly reviewing work. you have to check your ego at the door and hear everyone’s responses and ideas. It’s an iterative process.” —Elyse Klaidman, director of Pixar University and Archives

22That’s the number of Academy

Awards© won by Pixar

Animation Studios to

date. Prior to the release of

Toy Story 3 in June 2010,

Pixar’s ten feature films had grossed

more than $5 billion at

the worldwide box office.

Peter Docter; Sullivan and Mike; Monsters, Inc.; 2001. Marker. © Disney/Pixar.

8 O A K L A N D M U S E U M O F C A L I F O R N I A

Demystifying the Creative Process“You can’t rush art,” the old man repairing Woody tells the fidgety toy collector,

Al, in a scene from Toy Story 2. That’s also how the folks at Pixar describe their

own production process, in which films progress painstakingly through four

stages: development, preproduction, production, and postproduction.

The PIXAR exhibition offers a revealing perspective on the studio’s intentional-

ly collaborative creative process; most of the featured art reflects concept design

and story development. “Without a fabulous story, it doesn’t matter how beautiful

a film is or how technologically advanced,” says Elyse Klaidman, director of Pixar

University (the studio’s in-house education and training department) and Archives.

“We spend an enormous amount of time on story. It’s an iterative process that can

continue through a significant chunk of the four to five years that it takes to make

one of our films. Within that story, you have to have characters that are compel-

ling, characters that you care about. And they have to exist in a world that’s unique

to the story and to those characters.”

Jerome Ranft, Sullivan, Monsters, Inc., 2001. Cast urethane resin. © Disney/Pixar. Tia w. Kratter, Sullivan fur pattern studies, Monsters, Inc.; 2001. Mixed media. © Disney/Pixar.

bud Luckey, woody, Toy Story, 1995. Mixed media. © Disney/Pixar.

S U M M E R / F A L L 2 0 1 0 9

Q: What’s changed and what’s remained

constant at Pixar since you joined the

studio in 1994?

A: It’s obviously grown exponentially since I

started. I think there were 120 people when

I came in, and there are almost 1,100 or

1,200 now. It was a mom-and-pop grocery

store of a building in Point Richmond, and

now we have this beautiful building, and

we’re building another one to accommodate

all the space and the people and the ideas.

And it’s more visible. But the thing that has

stayed the same, and we’re very proud of

this, is we just make movies that we want

to see. As big as Pixar has become, we’ve

managed somehow to hang on to that.

Q: How have changes in technology

impacted Pixar’s work?

A: Technology has gotten so much better;

at Pixar, we tend to eat those gains immedi-

ately. As soon as there’s a jump in technol-

ogy, the ideas and the creative desire seem

to surpass it instantly. Actually, it’s no

faster today to render these films than it

was in the ’90s, even though the machines

are a million times faster and everything

is better. We just make bigger and better

ideas that require all that.

Q: What are other characteristic aspects of

Pixar’s creative process?

A: The thing that’s unique at Pixar is we all

rely on each other a lot to take an idea and

“plus” it. Everyone feels like he or she is

relying on the team downstream to take the

work and set it up even higher. Nobody is

overprotective of his or her work; we want

to hand it off and have it get better.

Q: How does it feel for you and your col-

leagues to know that your work is being

shown at OMCA and in museums around

the world?

A: The word is “pride.” It felt really, really

special to be in these great museums. It

just made us feel proud that the stuff held

up at that level. I’m just thrilled that the

exhibit is in Oakland and that it’s home.

This is where I’m taking all my friends and

family to see it.

A Producer’s LifeOakland resident Jonas Rivera says his role as producer of Oscar- winner Up was “two parts air traffic controller and one part head

coach. My job was to take the director’s concept and help flesh it out, get it into script form, manage the process of getting it storyboarded,

and build the team that actually produced the animation.” Here, Rivera chats with Inside Out about how he and his colleagues

create their unique brand of movie magic.

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500That’s a rough

count of the artworks in the PIXAR

exhibition—some never

before on display. Also

featured: footage of

Pixar’s creative

process and interviews

with artists.

The Quintessential California EnterpriseThere’s a good reason that Lori Fogarty,

OMCA executive director, regards Pixar

Animation Studios as “the ideal unifica-

tion of art and technology, the hallmark of

California innovation.” Located on a 22-acre

campus just a few miles from OMCA, the

studio carries on the state’s legacy of ani-

mation, particularly Walt Disney Animation

Studios’ pioneering work. John Lasseter,

Pete Docter, Andrew Stanton, and others

in the Pixar brain trust attended California

Institute of the Arts, the school created by

Walt Disney to fuel growth in the field.

From its founding in 1986, Pixar has

created films that have pushed the limits of

traditional animation artistry and computer

applications. Today, Pixar is a wholly owned

subsidiary of The Walt Disney Company.

John Lasseter, Luxo, Luxo Jr., 1986. Pastel. © Disney/Pixar.

Tia Kratter, The Offering Stone, A bug’s Life, 1998. Acrylic. © Disney/Pixar.

S U M M E R / F A L L 2 0 1 0 1 1

FOR MEMBERS ONLY: VIEWINGS AND MASH-UPS WITH PIXAR ARTISTSThe PIxAR exhibition is reserved for members-only viewing beginning opening day, July 31, and continuing every Saturday morning from 9 to 11 a.m. through October 30. Get insights into animation production from Pixar artists on August 21, Septem-ber 11, and October 16: Learn about early concept design, char-acter and story development, and finished film sequences. For details on other PIxAR events at OMCA, see pages 18 and 19.

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State of Wonder

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The odd. The orphaned. The overlooked. In an exciting new project, Mark Dion explores the intriguing treasures in OMCA’s

collections, creating a series of magical encounters.

“M useums began as places for the marvelous,” says sculptor and installation artist Mark Dion. “They offered encounters with the extraordinary, the spectacular. Wonder was the key to intellectual investigation.”

In The Marvelous Museum: A Project by Mark Dion, opening on September 11, Dion recaptures that sense of wonder by drawing on rarely seen treasures from OMCA’s collections. his goal: to do a deep dive into the Museum’s holdings and find resonant objects that, for various reasons, would never otherwise be shown in the Galleries.

Dion calls such items “orphans,” and OMCA has a vast quantity of them. because the Museum was originally formed by the union of three very different institutions—the Oakland Art Gallery, the Oakland Public Museum, and the Snow Museum of Natural history—many items no longer neatly fit the Museum’s mission and thus fall between the cracks.

“Lots of things were left high and dry when OMCA was founded,” explains Dion. “Things like carved hornbills’ beaks, taxidermied animals, and cordage. I looked for orphans that illuminate the Museum’s history and embody the stories of how we got where we are now. They all have to be visually compelling, and they have to tell stories.”

On many levels, The Marvelous Museum examines the role museums did, do, and perhaps should play in our culture. In nearly 20 interventions, Dion introduces

“A museum is where the spark of inspiration happens. It lights the fuse and motivates knowledge.” —Mark Dion

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unexpected objects into the Gallery of California Art, asking viewers to see them in thought-provoking contexts. To the Gold Rush Gallery, for example, he adds a giant stone coin from the Micronesian island of yap, raising questions about the arbitrari-ness of our value systems. A sweet-faced giraffe in the midst of the Portraiture Gallery, says Dion, “begs the question, What is personhood?”

As part of this self-described effort “to turn the Museum inside out,” Dion has created and installed three “offices” that reflect the Museum’s different disciplines and eras. These include the office of a nineteenth-century natural sciences curator, complete with scientific specimens; a museum registrar’s desk from 1976, when the United States celebrated its bicentennial; and a contemporary art curator’s workspace, which uses the actual furnishings from the office of OMCA Senior Art Curator René de Guzman.

visitors can expect to be surprised by what they encounter, which is precisely the artist’s intention. “It’s giving people the opportunity for wonder,” says Dion. “People gain knowledge through direct encounters with things—and that’s what museums are all about.” —The Marvelous Museum: A Project by Mark Dion is made possible in part by generous support from the Andy Warhol Foundation for the visual Arts, the FOR-SITE Foundation, Sheila Duignan and Michael Wilkins, and the OMCA Art Guild.

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A gifted writer, artist, and curator, Jaime Cortez is rarely at a loss for words. But when he was invited to curate Oakland Museum of California’s 2010 Days of the Dead (Días de los Muertos) exhibition, he struggled to find a single word to name the

show that would capture the many dimensions of the Mesoamerican celebration.

The challenge proved enormous because Days of the Dead means many things to many people: joy, sorrow, love, humor, faith, creation, the passage of time, the continuum of life. Over the centuries, Days of the Dead has continued to evolve, fusing pre-Hispanic traditions with Catholic symbolism. Today, the holiday is widely observed on November 1 and 2 in Latin Amer-ica and by Latinos in the United States as a way to remember deceased family members and friends. Altars, or ofrendas,

are made for departed loved ones and typically include sugar skulls, marigolds, candles, and the deceased’s favorite foods and drinks.

ShadeS of MeaningWith so many facets to consider, Cortez drew up a long list of words that, in one way or another, connote Days of the Dead. After much reflection, he chose vivo—a Spanish word with almost as many layers of meaning as Days of the Dead itself.

“In creating this show, I felt like I must contend with tradi-tion, roots, and spirituality, and at the same time ask: How can we move forward in a new direction?” says the Oakland-based Cortez, who also curated OMCA’s Days of the Dead exhibition in 2005. “I chose vivo because it means ‘I live,’ an affirmation that is an essential aspect of Days of the Dead. But vivo also

Soul of the Dead, by Jesse Hernandez, participating artist in VIVO: Days of the Dead 2010.

S U M M E R / F A L L 2 0 1 0 1 5

This fall, curator Jaime Cortez presents oMCa’s annual days of the dead show, illuminating the many layers of meaning behind the beloved Mesoamerican tradition

ViVo!ViVo: days of the dead 2010 will be on view in Open Space 3 in the Gallery of

California Art from October 6 through December 5, 2010.

means ‘living’ and ‘vivid,’ which correlate to the intense emo-tions and bright colors that characterize the altars.

“And vivo has yet another meaning. When I was a kid, my grandmother used to say to me, ‘no seas vivo’—which loosely means, ‘don’t be such a trickster.’ This connects with the trick-ster spirit that infuses Days of the Dead, with its satiric poems, fancy-dress skeletons, and chummy familiarity with death.”

PoinTS of deParTureWhen VIVO opens on October 6, visitors will experience this multiplicity of meanings firsthand. The nine artists Cortez selected work in vastly different styles yet have created pieces that share the qualities he sought to capture: sensuality, play-fulness, color, warmth, and surprise. The artists are mostly of Latino descent, have ties to the Bay Area, and will be exhibiting

at OMCA for the first time. Cortez encouraged them to think about the word vivo as they developed their works, which range from installations and paintings to spray art and plant design.

One prominent installation, a ten-foot pyramid by Jesse Hernandez and Cristianne Dugan-Cuadra, combines elements of graffiti art with indigenous themes. “The pyramid is about pulling from the past and moving to the present,” says Cortez. “It was inspired by the Gallery’s new high-ceilinged exhibition space, which we wanted to maximize.

“I hope visitors will come to VIVO and see the humor that lies at the heart of Days of the Dead,” he continues, “because there’s something funny about trying to fight death. People always try, through plastic surgery or denying their age, or in a million other ways. But death is always with us. Life and death are always coexisting.”

1 6 O A K L A N D M U S E U M O F C A L I F O R N I A

| 3 8 MILLION stories

“My hope is for people to feel connected to every creek and path of water that goes into the Bay and drains into our beautiful, productive marine environments.”

steward of the sea raising awareness of California’s fragile marine ecosystem is top priority for environmentalist Jennifer stock

Like many of us, Jennifer Stock was filled with “sadness and anger” upon learning of the recent BP Gulf Coast oil spill. But, as Education and Outreach Coordinator at the Cordell Bank National Marine Sanctuary, near Point Reyes, Stock also can relate the disaster to her own work. “It’s a reality we have outside

the Golden Gate, with the huge ships coming in,” she says. “There have been spills in the past, and there probably will be again.”

The sanctuary—529 square miles of ocean centered on its namesake undersea rock formation—will be featured in OMCA’s Gallery of California Natural Sciences, set to open in 2012. Cordell Bank’s food-rich waters attract hundreds of species of fish, invertebrates, marine mammals, and seabirds. “It’s like a little city, twenty miles off the coast,” Stock says.

A similar plethora of marine wildlife extends up and down the Golden State. “The entire coast of California is unique, in that we have the California Current that generates incredibly productive areas for wildlife and feeding,” says Stock. “The combination of this current being so productive and the diverse topography of the sea floor makes unique feeding areas for different types of marine wildlife.”

Stock is excited about the upcoming Cordell Bank exhibits within the Natural Sciences Gallery, which she hopes will raise awareness of this hidden network of species and incredible undersea habitat. Considering that well over three-quarters of all ocean debris originates from land-based sources, educating landlubbers makes sense and is critical to the future of the ocean’s health. “Any trash or candy wrapper that makes it to the ground—unless it is picked up and put in the garbage—will find its way to a storm drain, then to a creek, which will drain to the Bay, and then to the ocean,” Stock says. “If there’s one thing humans can do to be great ocean stewards, it’s to keep their trash off the ground.”

The consequences of marine habitat degradation—whether by mas-sive oil spill, global warming, or tiny Twinkie wrappers—are real, says Stock. “If we lose habitat due to any type of destructive practices, we miss out because a large population relies on the ocean for food for at least a part of its diet. If you take away the habitat, you lose the potential for life to exist.”

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member SPOTLIGhT |

Why I JOINEDThree members give Inside Out the inside story

Interactive Instincts: Arsenio Santos, Individual Member“when i went to omCa on the reopening weekend, i was struck by how fresh it is. most museums take a do-not-touch-anything approach, but not omCa,” says arsenio santos, an engineering lead at digg, a social news website. “the combination of inter-activity and creativity is something i respond to, and i like what omCa is doing in that respect.” A Sculptor’s POV: Ama

Torrance, Patron Member“i appreciate omCa’s celebration of local talent like Joan brown, david ireland, and squeak Carnwath,” says ama torrance, a sculptor who creates large, toylike animals and trees. “i am particularly excited to see the new directions [senior Curator of art] rené de Guzman will bring in the future.”

“As an artist and Oakland resident, I feel strongly about supporting local arts organizations.”

Supporting a Local Gem: Natalie Compagni Portis, Donor Forum Member

“i’ve always loved omCa and have been bringing my son here ever since he could crawl. Last year, it hit me after seeing the wonderful squeak Carnwath exhibit that

i wanted to support this gem of a museum,” says Natalie Compagni Portis, a psychotherapist who is involved with many local arts groups. “as a new member,

i look forward to members’ previews and to interacting with artists.”

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| CALENDAR

August

aug. 13 • o Zone: second Fridays at omCaIt’s all about Bugs! So buzz over to OMCA for dance music, in-gallery explorations, and fun activities based on PIXAR: 25 years of Animation. 5–9 p.m.

aug. 14 • members-only viewing hours of PiXar 9–11 a.m.

aug. 15 • Family explorations! Finding Nemo in California Observe fish, talk with a fish expert, and make your own sea

creatures. Chat with Pixar animators. Made possible by Chevron. 1–4 p.m.

aug. 21 • members-only viewing hours of PiXar and mash-up with a Pixar artist 9–11 a.m.

aug. 28 • members-only viewing hours of PiXar 9–11 a.m.

September

sept. 4 • members-only viewing hours of PiXar9–11 a.m.

sept. 5 • Free First sundayAdmission free to visitors all day. Made possible by Wells Fargo.

sept. 10 • o Zone: second Fridays at omCa It’s all about Adventure! Dance music, in-gallery explorations, and fun activities. 5 p.m.–12 a.m.

sept. 11 • exhibition: the marvelous museum: a Project by mark dion Through March 6, 2011.

sept. 11 • members-only viewing hours of PiXar 9–11 a.m.

sept. 18 • members-only viewing hours of PiXar and mash-up with a Pixar artist 9–11 a.m.

sept. 19 • Family explorations! scouting California Inspired by Pixar’s Up, we invite you to scout around the Galleries to find new favorite characters. Participate in activities to earn an OMCA badge. Made possible by Chevron. 1–4 p.m. sept. 25 • members-only viewing hours of PiXar 9–11 a.m.

JoiN us oN the seCoNd Friday oF eaCh moNth For o ZoNe, our New eveNiNG ProGram FeaturiNG musiC, PreseNtatioNs, aNd other eXPLoratioNs oF our CoLLeCtioNs aNd eXhibitioNs. this seasoN, we are FeaturiNG the theme oF “Creative ProCess” as we iNvestiGate what Creativity eNtaiLs—From dyNamiC CoLLaboratioNs at PiXar to woNdrous iNstaLLatioNs by mark dioN to sPirituaL Pursuits iN hoNor oF the days oF the dead. aLL aGes weLCome.

eXhibitioNs, eveNts, AND ProGrams

museum GuiLd triPsExplore California and the world of art, history, and natural sciences. OMCA’s volunteer guilds provide an amazing array of day trips as well as national and international tours. All trips are open to guild members, who must also be OMCA members. Join the Natural Sciences Guild for sierra Nevada and the white mountains (Sept. 10–12) and a volcanic trip to the California Cascades (Oct. 7–10). The history Guild is offering a trip to the historic hudson river valley (Oct. 5–11), and the Art Guild is presenting tahoe: the Gem of the sierras and Nevada’s art Capital, reno (Sept. 12–17); China: yesterday, today and tomorrow (Sept. 14–30, with an optional extension to Taipei from Sept. 30 to Oct. 4); and art in the heart of america: omaha and des moines (Oct. 4–10). For more information, visit www.museumca.org.

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Far left: young visitors

enjoy OMCA’s reopen-

ing. Left: virgo Paraiso,

sketch for viva la vida.

Featured in vIvO: Days of the Dead 2010.

MuseuM hoursMonday Closed

Tuesday Closed

Wednesday 11 a.m.–5 p.m.

Thursday 11 a.m.–8 p.m.

Friday 11 a.m.–8 p.m.

Saturday 11 a.m.–5 p.m.

Sunday 11 a.m.–5 p.m.

Second Friday of Month 11 a.m.–9 p.m.

oct. 17 • vivo: days of the dead 2010 Gallery talk 2 p.m.

oct. 23 • members-only viewing hours of PiXar 9–11 a.m.

oct. 23 • Community Celebra-tion for days of the dead In its 16th year, this family event features food, music, dance, and more. Included with Museum admission. 12–4:30 p.m. oct. 30 • members-only viewing hours of PiXar 9–11 a.m.

November

Nov. 4 • vivo: days of the dead 2010 Gallery talk 6:30 p.m.

Nov. 7 • Free First sunday Admission free to visitors all day. Made possible by Wells Fargo.

Nov. 12 • o Zone: second Fridays at omCa5–9 p.m

Nov. 12 • vivo: days of the dead 2010 Gallery talk 7 p.m.

Nov. 14 • vivo: days of the dead 2010 Gallery talk 2 p.m.

Nov. 18 • Curator’s talk Louise Pubols, chief curator of history, will discuss her book,

The Father of All: The de la Guerra Family, Power, and Patriarchy in Mexican California. Presented by the OMCA history Guild. 1 p.m.

Nov. 21 • Family explorations! tales and traditions of California indians Explore the heritage of Califor-nia’s First Peoples. Enjoy hands-on activities and meet artist in residence Linda yamane. Made possible by Chevron. 1–4 p.m.

Ongoing Events

architecture tour by the Council on architecture First Sunday of every month at 1 p.m.

docent tours of the Gallery of California art Saturdays and Sundays at 2 p.m.

October

oct. 2 • members-only viewing hours of PiXar 9–11 a.m.

oct. 3 • Free First sundayAdmission free to visitors all day. Made possible by Wells Fargo.

oct. 6 • exhibition: vivo: days of the dead 2010 Through Dec. 5, 2010.

oct. 8 • o Zone: second Fridays at omCaIt’s all about Incredibles! Incred-ible objects, incredible you! 5–9 p.m. oct. 8 • vivo: days of the dead 2010 Gallery talk 7 p.m.

oct. 9 • members-only viewing hours of PiXar 9–11 a.m.

oct. 14 • Film: the Legend of Pancho barnes and the happy bottom riding Club The OMCA history Guild presents a film about a woman who became a stunt pilot in 1930. 1 p.m.

oct. 16 • members-only viewing hours of PiXar and mash-up with a Pixar artist 9–11 a.m.

docent tours of the Gallery of California history Sundays at 3 p.m.

oakland on two wheels Explore Oakland with our bike-tripping docents. Participants must be 12 years of age or older. Bring your own bikes, helmets, and repair kits. Meet at Oak Street entrance. Third Sunday of every month at 10 a.m. Free. Reservations: docentcenter@museumca.org or 510-238-3514.

omCa highlight tour visit the Galleries and Gardens with docents. Wednesdays and Saturdays at 1 p.m.

Note that events and programs are subject to change. For updated listings, please visit www.museumca.org.

oakland museum of California

1000 Oak Street

Oakland, CA 94607-4892

NONPROFIT ORGU.S. POSTAGE

PAIDSALT LAKE CITY, UTPERMIT NO.6563

Set aSide a Special time

juSt for you

NEED MORE TIME WITh WOODy, NEMO, AND ThE PIXAR CREW?

the exhibition is reserved exclusively for MeMbers-only viewing every saturday Morning froM 9 to 11 a.M. through october 30.

The Story of California. The Story of You.

Oakland Museum of California

www.museumca.org