Special exhibition VIDA RATZLAFF HACKMAN 1st of Nov 2016 – 1st of Apr 2017

Vida Hackman, ECLIPSE II

Vida Hackman, kunstGarten 2016/17

Vida Hackman, kunstGarten 2016/17

Vida Hackman, kunstGarten 2016-11-01

Vida Hackman, kunstGarten 2016-11-01

Opening VIDA HACKMAN, 2016-11-01

Opening VIDA HACKMAN, 2016-11-01

Vida Ratzlaff Hackman; A kind of conceptual artist. Opening: 1st of Nov 2016

Vida Ratzlaff Hackman, 64, an artist in a variety of media who exhibited extensively in the Los Angeles area for nearly 20 years and was one of the founders of Triad Graphic Workshop. Born in Bakersfield, Hackman received her bachelor’s and master’s degrees at UC Santa Barbara and a second master’s at Cal State Northridge. She began an on-and-off teaching career at several institutions, including West Los Angeles College, in 1969. Her art making was a succession of meditations upon ideas. Etymological analysis coupled with humor and a profound sense of the ironic were among her tools. She had at least seven solo exhibitions at the Orlando Gallery in Sherman Oaks. Of her last show at the Orlando in 1998, a Times critic said, “The conceptual art spirit is alive and well in her.” But as with many artists, Hackman’s success in her field did not always yield financial rewards. “The better she got, the less money she made as an artist,” her friend and printmaking colleague Henry F. Klein said. Her final show, “The Bridge and the Boat,” is on display at the the Todd Madigan Art Gallery at Cal State Bakersfield through May 6. Of cancer at Cedars-Sinai Medical Center on April 15.

May 03, 1999 Los Angeles Times

Informations below by Vickiy Strutt-Hackman (who is married to VIDA’s son Jon:

A print is a mirror image of its matrix, and a backward rendering of its original state. Multiplicity, also inherent to printmaking processes, allows for innumerable variations, and replication of parts can suggest waves, vibrations, images that pale and reflect, and a duality of vision that reverberate in time and space. My work has consistently focused on natural imagery and my earliest images depicted landscapes with low horizons viewed from vast differences (i.e. Landscape Double X). Unlimited perspective alternatives are offered by landscape as subject matter, and my intermediate imagery employed duplicates of positions and multiple points of view. In terms of perspective, they were based on traditional foreshortening and composition on the horizontal/vertical grid. In Japan, 1973, I was particularly intrigued by a series of screen paintings that were composed of fans collaged to gold leaf backgrounds – their arc shapes read curiously like holes yet the depicted landscapes within were active with another kind of perspective contradiction. The fan shapes employed isometric or reverse perspective (lines converge in the eye of the spectator rather than in the vanishing point). In the etchings using triangular modules, isometric perspective was a natural consequence of the horizontal/vertical grid. I was employing multiple points of view by combining sections of landscape, but each landscape still represented a fixed point of view. In the newer prints represented by the collages (i.e. Cascade), I’ve begun using fan shaped plates that use either the fixed space of scientific perspective or reverse perspective within the arc shapes. These plates are primarily sections of complete circles that quite naturally revolve back upon themselves thus confining space rather than implying expanded space. Since executing the plates represented in the collages, I have designed a radial grid. The shapes and/or forms of the plates will not be sections of complete circles; each succeeding arc will not have parallel boundaries, but will rather be composed of arcs that reflect expanding boundaries. The object: to imply more space extending in all directions beyond the picture plane. In the Black Warrior Series A, the arc shaped plates with expanding rather than parallel boundaries extend into and beyond the paper edge and the images within attempt to suggest moving focus, multiple points of view, and an oblique movement that implies more space beyond the picture plane. My work is cyclical and “San Simeon Suite” represents a return to a stationary point of view. My concerns, however, are still with change, and the numerous color states afforded by a subtractive relief process – the engraving technique used for the suite – visually emphasize temporal rather than spatial change. Vida Ratzlaff Hackman Dec 1978?


Studio: 6333 Rivergrove Ave. Bakersfield , CA 93308 (805) 399-2849, Fax (805) 399-2849*51

Home: 3940 Sunswept Dr. Studio City, CA 91604 (818) 763-4882, Fax (818) 761-4828


1956 B.A.University of California, Santa Barbara 1965 M.A.California State University, Northridge 1967 M.F.A.University of California, Santa Barbara


1993-98 Trustee, Adobe Krow Archives for Vivian E. Browne, Bakersfield, California
1997 Juror, Visual Arts Festival, 1997, Bakersfield Museum of Art
1996-97 Board Member, Arts Council of Kern, Bakersfield, CA
1994 Juror, Regional Exhibition, Faulkner Gallery, Santa Barbara, California
1990-93 Instructor, Bakersfield College; Drawing and Art Appreciation 1992 Membership Juror, Los Angeles Printmaking Society, Los Angeles, California
1989 Adjunct Professor, Franklin and Marshall College, Lancaster, Pennsylvania; Drawing and Printmaking
1987 Juror, Carnegie Art Museum Fifth Annual, Oxnard, California
1985 Visiting Lecturer in Art, Fall Quarter, University of California, Santa Cruz; Printmaking and Special Projects in Print 1983 Visiting Lecturer in Art, Fall and Winter Quarters, University of California, Santa Cruz; Printmaking, Artists’ Books
1978-82 Part-time Lecturer, California State University, Northridge; Design and Printmaking
1980 Guest Lecturer, California State University, Long Beach; Printmaking
1979-80 Guest Instructor, Santa Barbara City College; Figure Drawing
1968-78 Partner, Triad Graphic Workshop, North Hollywood, California (The Triad artist partners were Jean Burg, Vida Hackman, Bong Tai Kim, Judy Strick, and Robin  Vaccarino, Triad Graphic Workshop, North Hollywood )
1977 Juror, California State Polytechnic University, Pomona; “Ink and Clay V” 1969-77 Instructor, Los Angeles Community College, West Los Angeles College; Design and Drawing 1965-67 Assistantship, University of California, Santa Barbara; Painting


1998 Recpient, Richard Florsheim Art Fund Grant 1998 Arts Council of Kern Arts Awards, Arts Advocate 1996 Cash Award, San Diego Art Institute 41st. Annual International Exhibition, San Diego, CA, Peter Frank, Juror


1996 Arts Council of Kern Arts Awards, Cultural Arts Achievement
1988 Guest Artist, Slide Lecture, Douglass College, Rutgers University, New Brunswick, NJ
1987 Guest Artist, Franklin and Marshall College, Lancaster, Pennsylvania
1984 Recipient, Design and Printing Arts, Woman’s Building Annual Vesta Awards and Mayor’s Certificate of Appreciation, Los Angeles, California, October 21, 1984
1984 Residency Grant funded in part by the National Endowment for the Arts, Woman’s Graphic Center, Los Angeles, California
1983 Artist-in-Residence, ARCO Grant, Intergenerational Pilot Program, San Fernando Valley Arts Council, Northridge, California
1981 “Seventh National Print Exhibition,” co-sponsored by the Los Angeles Printmaking Society and the Grunewald Center for Graphic Arts, Dickson Art Center, University of California, Los Angeles; Purchase Award
1977 Guest Artist, Black Dolphin Workshop, California State University, Long Beach
1974 “Second New Hampshire International Graphics Annual,” Nashua, NH; Cash Award 973 Library of Congress and National Collection of Fine Arts, “23rd National Print Exhibition,” Washington, D.C.; Purchase Award
1973 “Los Angeles Printmaking Society First National Print Exhibition”, Barnsdall Park, Los Angeles Municipal Gallery, Los Angeles, California; Purchase Award
1970 Manchester Institute of the Arts and Sciences, Manchester, New Hampshire; Purchase Award 1969 James D. Phelan Award in Printmaking, San Francisco, California
1969 St. Lawrence University, Canton, New York; Purchase Award
1969 “DeKalb National Prints and Drawings Exhibition,” Northern Illinois University, DeKalb, Illinois; Purchase Award
1969 Ohio University, “Ultimate Concerns Exhibition,” Athens, Ohio; Purchase Award


1998 Orlando Gallery, “Panorama Bluffs and Quackcycle”, Sherman Oaks, CA
1994 Orlando Gallery, “Tributes”, Constructions and Drawings, Sherman Oaks, CA
1992 Orlando Gallery, Drawings and Prints, Sherman Oaks, California
1990 Orlando Gallery, Constructions and Drawings, Sherman Oaks, California
1988 Douglass College, Woman Artists Series, Mixed Media Installations, Rutgers University, New Brunswick, New Jersey
1988 Franklin and Marshall College Fine Arts Gallery, Mixed Media Constructions, Lancaster, PA
1987 Orlando Gallery, Mixed Media Works, Sherman Oaks, California
1986 Soho 20, Mixed Media Works, New York, New York 1986 Los Angeles Valley College Fine Arts Gallery, Constructions and Artist’s Books, Van Nuys, CA
1985 Orlando Gallery, Prints and Mixed Media, Sherman Oaks, California
1984 Orlando Gallery, Prints and Artist’s Books, Sherman Oaks, California
1979 M. Shore & Son Gallery, Print Collages, Santa Barbara, California
1976 L.A. Louver Gallery, Paintings and Prints, Venice, California
1976 College of St. Catherine, Prints, St. Paul, Minnesota
1976 West Coast Gallery, Paintings and Prints, Newport Beach, California
1975 ADI Gallery, Paintings and Prints, San Francisco, California


1999 “Out West: The Artist Book in California”, Center for Book Arts in New York, curated by Gloria Helfgott
1998 “A Century of Art, Bakersfield
1898-1998”, C. L. Clark Gallery, curated and catalog written by C. Lee Clark
1998 “Boundless Book Arts”, San Francisco Center for the Book, curated by Judith Hoffberg
1997 “West Coast Painting and Sculpture”, Oceanside Museum of Art, Oceanside, CA
1997 “Beyond the Shadow”, Oakland Museum of California
1997 “L. A. Slide”, Special Projects in Contemporary Art, Santa Monica, CA
1997 “Changing Media: Books and Prints”, Armory Center for the Arts, Pasadena, CA
1995 “Within a Protected Space”, Rachele Lozzi Gallery, Los Angeles, CA
1994 “One in Eight”, Santa Monica College Art Gallery, Santa Monica, CA
1992 “Artist’s Books”, Armory Center for the Arts, Pasadena, California
1991 “Photographic Book Art in the United States”, University of Texas, San Antonio, Texas
1991 “Boundless Vision”, San Antonio Art Institute, San Antonio, Texas
1988 “The Right Foot Show”, San Francisco International Airport, San Francisco/, CA, Sept. 1987, Los Angeles/August 1988 (Community Arts Inc., San Francisco, California)
1988 “Visual Satire: Artist Books”, Florida State University Fine Arts Gallery, Tallahassee, Florida, January 1988
1987 “Women’s Autobiographical Artist Books”, University of Wisconsin, Milwaukee Art Museum Fine Arts Gallery, October 1987
1987 “Art from the Page”, Fresno Art Center, Fresno, California, Texas Women’s University, Denton, Texas, Irvine Art Center, Irvine, California, April -October 1987
1985 “Recent Works by Contemporary Women Artists”, California State Polytechnic University, Pomona, California
1985 “Experimental Bookworks”, Brand Art Gallery, Glendale, California
1984 “Paper Forms,” El Camino College Gallery, Torrance, California
1984 “California Bookworks,” Exhibition Center, Otis Art Institute, Los Angeles, California
1983 “At Home,” Books by Women Artists, Long Beach Museum of Art, California
1983 “Print Collages,” Kauffmann Galleries, Houston, Texas
1982 “Prints America,” Abington Art Center, co-sponsored by The Print Club, Philadelphia, PA
1982 “Books by Printmakers,” The Print Club, Philadelphia, Pennsylvania
1983 “Faculty Exhibition,” University of California, Santa Cruz, California
1980 “Artists’ Books and Drawings,” Artworks, Venice, California
1979 “The Process in Printmaking,” Occidental College, Los Angeles, California
1978 “Black Dolphin Prints,” California State University, Long Beach, California
1978 “The Oriental Mystique,” California State University, Los Angeles, California
1977 “New Directions in Printmaking,” The Print Club, Philadelphia, Pennsylvania
1976 “Photo/Synthesis,” Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY
1975 “The Photographic Process,” University of California, Riverside, California
1974 “Recent Works by UCSB M.F.A. Graduates,” Santa Barbara Museum of Art, Santa Barbara, California
1972 “California Printmakers,” Achenbach Foundation, San Francisco, California

1984 “Objects in Transition: Contemporary Book Art”, Temari Center, Honolulu, Hawaii
1981/83 Los Angeles Printmaking Society Exchange Exhibition, Seoul, Korea
1973 “Folio Seventy-Three,” International Exhibition of Prints, sponsored by the California College of Arts and Crafts, San Francisco Museum of Art, San Francisco, California
1973 “Sixth International Triennial of Coloured Graphic Prints,” Grenchen, Switzerland
1970 “Second British International Print Biennial,” Bradford City Art Gallery and Museum Yorkshire, England


Fresno Museum of Art, Council of 100, Fresno, CA, January, 1999
Fresno Museum of Art Graphic Arts Council, Fresno, California, 1995
Rutgers University, Newark, New Jersey, March 1990
Women Painters West, Burbank, California, April 1988
Douglass College, Rutgers University, New Brunswick, New Jersey, September 1988
Franklin and Marshall College, Lancaster, Pennsylvania, February 1988
Los Angeles County Museum of Art, Los Angeles, California, April 1987
California Assn. of Independent Schools Conference, University of Southern California, Feb. 1987 Trinity College, Hartford, Connecticut, March 1986
Rhode Island School of Design, Providence, Rhode Island, February 1986
Woman’s Graphic Center, Los Angeles, California, January 1986
Loyola Marymount University, Los Angeles, California, 1982


Woodard, Josef, “A Referential Tone”, L.A. Times, June 18, 1998
Frank, Peter, “Art Picks of the Week”, L.A. Weekly, March 27, 1997
Wilson, William, “Prints in ‘Changing Media’ Take an Introspective Turn”, L.A.Times, Feb. 18, 1997 Knaff, Devorah, “A Conversation with Vida Ratzlaff Hackman”, ARTWEEK, December, 1994
Roth, Charlene, “Quoting the Raven”, ARTWEEK, December, 1994
Anderson, Isabel, “Vida Hackman”, ART SCENE, November, 1994
Geer, Suvan, “A Few Good-Natured Blows”, L.A. Times, March 23, 1990
Klein, Henry F., “Beneath the Bucolic Reverie”, ARTWEEK, March 22, 1990
Bozanic, Nick, “Artists Battle Image Overload”, Tallahassee Flambeau, January 11, 1988
Welles, Elenore, “Vida Hackman”, Los Angeles ART SCENE, April 1987
Weisberg, Ruth, “Contrasts of Metaphor”, ARTWEEK, November 15, 1986
Shipper, Merle, ESSAY, Los Angeles Valley College, August 1986
Welles, Elenore, “The Look of Los Angeles”, L.A. READER, September 1985
Muchnic, Suzanne, “The Art Galleries”, Los Angeles Times, September 20, 1985
Weisberg, Ruth, “The Structure of an Enigma”, ARTWEEK, June 16, 1984
Kort, Michele, “Women Who Impress.” L.A. READER, October 28, 1983
Welles, Eleanor, “Personal Books,” ARTWEEK, October 1983
Anderson, Isabel, “Reading Artists’ Books”, ARTWEEK, July 19, 1982
Crane, Tricia, “The Artists’ Picture Books,” Valley News, August 1, 1980
Lorenz, Mindy, “East-West Synthesis,” ARTWEEK, December 5, 1979


Muchnic, Suzanne, “The Galleries,” Los Angeles Times, October 13, 1978
Jarmusch, Ann, “The Nation: Philadelphia,” Art News, Volume 76, #9, November, 1977
Cieri, Marie, “Vida Hackman and Don Suggs,” ARTWEEK, March 13, 1976
de Shong, Andrew, “Vida Hackman Graphics,” ARTWEEK, January 18, 1975
Canavier, Elena, “Drawings ’73,” ARTWEEK, August 1973


American Telephone and Telegraph Corporate Collection, New York and Chicago California Exposition Permanent Collection, Sacramento, California California State University, Long Beach, California California State University, Northridge, Special Collections Chase Manhattan Bank Corporate Collection, New York Coos Art Museum, Coos Bay, Oregon Credit Lyonnaise, Atlantic Richfield Plaza, Los Angeles, California Delaware Art Museum, Wilmington, Delaware Dow Corning, Miami, Florida Fluor Corporation, Irvine, California Grunewald Center for the Graphic Arts, Dickson Art Center, UCLA Home Savings and Loan Association, Los Angeles, California Huntsville Museum of Art, Huntsville, Alabama Library of Congress Permanent Collection, Washington, D.C. Otis Art Institute of Parsons School of Design, Special Collections, L. A., CA Penn Square Bank, N.A., Oklahoma City, Oklahoma Riverside Art Museum, Riverside, California Sackner, Dr. Marvin, Sackner Archives, Artist Books, Miami, FL Security Pacific National Bank, Los Angeles, California Southeast Banking Corporation, New York, New York Standard Oil/Graphic Arts Corporate Collection, Chicago, Illinois Transamerica Corporation, San Francisco, California U.S. Department of State, Permanent Collection, Washington, D.C. University of Arizona, Tucson, Arizona University of California, Santa Barbara, California University of California, Santa Cruz, California, Special Collections University of Michigan, Ann Arbor, Michigan University of Dallas, Irving, Texas Women’s Clinic and Family Counseling Center, Los Angeles, CA PUBLICATIONS Canning, Paul, Editorial Director, Who’s Who in the West, 26th Edition, Marquis Who’s Who, New Providence, NJ, 1997 Jorgenson, Lawrence C., “The San Fernando Valley, Past and Present”, back cover and pages 206-7, Pacific Rim Research, 1982


Milant, J. and Pascal, B., Artists/Prints, Contemporary Art Publications, Inc., Los Angeles, California, 1979 (p. 72) Firpo, Patrick and Katayangi, Claudia, Copy Art, Horseguard Lane Productions, New York, New York, 1978 (p. 114) Weisberg, Ruth, “All the News that Fits the Print: An Ecology of Southern California Printmaking, Visual Dialog, Volume 3, No. 3, San Francisco, California, March -May 1978 Loach, Roberta, “Marcia S. Weisman…with Roberta Loach, Visual Dialog, Volume 3, No. 1, San Francisco, California, September -November 1977 Newman, Thelma, Innovative Printmaking, Crown Publications, New York, New York, 1977 (pp. 23, 27-29)