Collage 12A Revision 2. Inkjet on watercolor and mulberry papers, watercolor, acrylic. 46″x16″. 2020. In the center is the fire station, built in 1933, much changed since. To its right, the empty lots where the Lanning buildings were until July, 2020 ( with lingering Melody Club signs.) El Molino Central, at center left, shows the effects of Covid 19: the awing reads “Carhop service.” This is the third version of this collage. The first one was made in 2009.

RESUME
Michael Acker
ackermichael6@gmail.com


Education:
MFA, Sculpture, San Francisco State University

Publications

Sonoma’s Fading Images of Highway 12, Boom- A Journal of California. August, 2017 https://boomcalifornia.com/2017/08/16/sonomas-fading-images-of-hwy-12/


Grants/Awards:
2019 Bay Area Masters, Peninsula Museum of Art, Third Place 2d
2019 Gallery Route One Annual Juried Show, M. Louise Stanley juror
Award of Merit
2014 Palo Alto Art Center Residency, finalist
2013 Creative Capital-On Our Radar
2012 Left Coast Annual Juror’s Exhibition Award, Sanchez Art Center, Pacifica, CA.
Michael Schwager, Juror
2011 Creative Capital, advanced to second round
2010 Pollok-Krasner Foundation grant
1992 California Works, Award of Merit
1994 SECA award semifinalist
1990 Pollock-Krasner Foundation grant
Commissions/Competitions:.
2013 Aptos Blue public art, finalist, Watsonville, CA.
2010 “Water(ing) Logic(ally), Site-specific Garden Installation, Sonoma Community Center, Sonoma, CA.
2001 Fountain, Creekside Court, Berkeley, CA.
2000 Fountain, Bayer Corp, Berkeley, CA.
Solo Shows:
January 2020 Sonoma Library
October 2019 FOG Gallery, San Francisco
2018 Resident Artist Show, Sonoma Community Center
2016Alley Gallery, Sonoma, CA.
2013 Sanchez Art Center, Pacifica, CA.
2012 Sonoma community Center offices
Group Shows (selected)
2020 Rough Around the Edges, online, curated by Jen Tough
2019 Bay Area Masters, Peninsula Museum of Art, Award
2019 Gallery Route One Annual Juried Show, M. Louise Stanley juror
Award of Merit
2018 Ingenuity, sculpture/craft Marin Society of Artists
2017 Celebrate, Sonoma Arts Guild
2016 Left Coast Annual, Sanchez Art Center, Pacifica, CA.
2015 Left Coast Annual, Sanchez Art Center, Pacifica, CA.
2013 IMBY Sonoma County Museum, Santa Rosa
2012 Petaluma Arts Center, Digital Mixed Media
Joe Doyle, curator
2012 Left Coast Annual, Sanchez Art Center, Pacifica, CA.
Michael Shwager juror. Juror’s Award
2012 Made In California, Brea Gallery, Brea, CA.
Rebecca Morse, juror
2011 Arts On Fire XV, Sanchez Art Center, Pacifica, CA.
2011 Works on/of Paper, Pacific Art League, Palo Alto
2011 Gallery Route One Juried Show
2010 Mapworks, Sebastopol Center for the Arts, Sebastopol, CA.
2009 Sonoma Valley Museum of Art Biennale
Frances McCormack, Juror
Collections:
King County Washington Portable Collection 2018
Simon Blattner Collection 2016
Kaiser Permanente, 2009
Special Projects:
2019 Juror, Sonoma Valley Museum of Art “Re-photography”
2018 Artist in Residence, Sonoma Community Center Fiber Arts Program
2017 Publication of Photo History of the Resorts of Sonoma Valley. Arcadia Publishing
2015 The Springs Museum of History, Art and Community-in progress
2010 Mural for the Sonoma Valley Grange
Online:
www.mca-studios.com
www.springsmuseum.org
www.valleyofthemoonmainstemproject.org/

BIO

Although I was born in New York City, I’ve lived on the West Coast since childhood. My art is concerned with my physical environment: its visual qualities and its natural and human history.  It is also grounded in the act of making both images and objects.  It is a series of processes that transform the base materials many times, resulting in richly multilayered work. I have exhibited for many years, principally in California and Washington State. I am the recipient of two Pollock-Krasner grants I received an MFA in sculpture from San Francisco State University. In March of 2017 Arcadia Publishing released my book, “The Springs, Resort Towns of Sonoma Valley,” a photo-history.

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ABOUT THE PROCESS

Photographs are my primary material. I compose my pieces in Photoshop, using only layer masks to blend, and contrast control. I print on watercolor and mulberry papers in various sizes, then cut, collage, and paint. Cutting and painting result in all kinds of interesting marks and lines. I build up layers with subsequent printings. I think of this as overpainting. The result is a richly textured surface and a bit of a visual puzzle. What is the result of digital collage? What lines are paper edges? How many angles are we viewing from? The work exists as image and as object.