Twentynine Palms City Council
December 13, 2022

SAN BERNARDINO REGIONAL HOUSING TRUST STRATEGIC PLAN | 79 are predictable and adjust annually for inflation. This influences debt capacity and provides invaluable predictability for securing financing. However, since rental assistance in the form of project-based vouchers is considered an operating subsidy, it is not often included as part of the permanent financing information on TCAC applications15. This is the case with several of the recently completed and pipeline TCAC project in Table 7. While not included as part of the project’s capital stack funding sources, the Bloomington Housing Phase III, Las Terrazas Apartments, and Rialto Metrolink South pipeline projects received rental subsidies in the form of HUD project-based Housing Choice Vouchers, in addition to two of the recently completed projects (Day Creek Villas (CA-18-130) and Crestview Terrace (of Arrowhead Grove)).

Leveraging LIHTCs with project-based Housing Choice Vouchers can make projects more attractive to private lenders who underwrite loans to projects based on their income potential, and their ability to pay debt service on a loan. Project-based vouchers provide the difference between the fair market rent paid by the Housing Choice Voucher rent subsidy program and the affordable rent that could otherwise be charged to a low-income household under the LIHTC program. Higher rental income means a project can support higher debt service payments, which means the property can support a larger loan from a private lender. Leveraging projectbased vouchers with LIHTCs combines the equity generated through LIHTCs with the longterm, comparatively higher income from the project-based Housing Choice Vouchers to maximize the benefits of both programs16.

The stable source of future income for a development offered by project-based Housing Choice Vouchers can be integral to the financing package that makes constructing or rehabilitating affordable housing possible. The commitment of project-based rental subsidies is a vital part of affordable housing financing by providing ongoing funding that ensures that the housing development will remain financially viable while continuing to serve extremely low-income households for many years. When used with additional government subsidies, project-based vouchers can help to make development feasible.

While the Housing Choice Voucher program is a federal program, its effectiveness depends on local initiative and policy determinations. Leveraging project-based voucher can help local governments to maximize the impact of their limited gap financing budgets to serve more households, while helping developers offer rental apartments to households at lower incomes.

By project-basing a share of their Housing Choice Vouchers, local public housing agencies within the region expand the potential for leveraging project-based vouchers, and thereby the opportunity for millions in additional funding for the development of affordable housing in the region. By working together, cities and public housing agencies can allocate projectbased vouchers to units in new or rehabilitated developments funded or facilitated by the city with HOME, CDBG or local housing trust funds17. By layering local funds for development and rental subsidies administered by public housing agencies, these developments can serve households at a broader range of income levels than they would otherwise be able to and increase the supply of affordable units in the region.
15 https://ternercenter.berkeley.edu/wp-content/uploads/2021/04/LIHTC-Complexity-Final.pdf 16 https://1p08d91kd0c03rlxhmhtydpr-wpengine.netdna-ssl.com/wp-content/uploads/2015/11/25 MacArthurS8Rept 2008_11_09.pdf 17 https://localhousingsolutions.org/plan/pha-city-collaboration/

LOCAL FUNDING GAP ANALYSIS

SAN BERNARDINO REGIONAL HOUSING TRUST STRATEGIC PLAN | 80 Findings on Per Unit Gap Funding Need
Based on the development costs and funding sources analyzed above, local funds provide a notable layer of financing that closes the gap between available funds and the project’s cost, highlighting the important role that local resources can play in funding affordable housing in the County and underscoring the importance of supplementing federal or state funding with local resources. As previously noted, local gap funding sources account for roughly 34 percent of the required funds to support affordable projects in the County that were recently completed or in the project pipeline. In areas where the local jurisdiction is unable to provide local supporting funds, the above analysis suggests that the Housing Trust should aim to provide an average (either on its own or leveraged with another source) of nearly $160,000 per unit in gap financing to support the delivery of units throughout the San Bernardino region. Gap financing in this amount would result in approximately six (6) units for every $1 million in funds allocated to gap financing from the Housing Trust. However, this does not account for any other gap funding sources that are likely to be provided. This figure is based on the average local gap financing provided for recently completed and pipeline projects in the County.

LOCAL FUNDING GAP ANALYSIS

1 SBCTA/SBCOG in Collaboration with
Regional Housing Trust
San Bernardino Region
PRESENTED BY DUDEK NOVEMBER 2022

2 What is a Housing 01 Trust?

3 Housing Trust Benefits
Flexible
Source of
Gap
Financing
• Revolving
Loan Funds
Ability to
Compete
for State
Funds
• Local Housing
Trust Program
Targeted
Solutions for
Regional
Issues
• Workforce
Housing
Ability to
Pool
Resources
• Helps funds
go further

4 Housing Trust Vision and Goals
• Attract affordable housing developers.
• Increase/preserve the region’s affordable
housing supply.
• Increase equitable access to community
resources.
• Provide financial relief for vulnerable and
cost-burdened households.
• Protect against displacement and poor
housing conditions
Attract significant
funding and
affordable housing
development
interest into the
San Bernardino
region.

5 Why Do We Need a 02 Housing Trust?

6 Why are we here?
Household Overcrowding
(more than 1 persons per bedroom)
• The Region has Census tracts with concentrations
of more than 20% of households that experience
overcrowding.

Household Overpayment
(spending more than 30% of income on housing
costs)
• Renters are especially cost burdened
• The Region has Census tracts where more than
80% of renters are burdened by the cost of
housing.

7 Why are we here?
Poverty
(varies by number of people per household – a family
of 4 [2 adults and 2 children] are considered to live in poverty if they earn less than $27k per year)
• The Region has Census tracts with concentrations
of more than 40% of households living below the
poverty level
Cost of Transportation
(as a percent of total household income)
• Regional average transportation cost is 27%
• Regional average combined housing and
transportation cost is 59%
Tax Credit - Higher Resource Areas
(higher resource areas are more competitive for
accessing TCAC funds for affordable housing)
• Most areas in the region fall within the
moderate to low resource categories.

8 5th Cycle 6th Cycle
22,663
34,543
2,216
25,220
Lower-Income Moderate/ Above Moderate-Income
5th Cycle RHNA Compared to Units Permitted
San Bernardino County
RHNA Units Permitted
10%
of LowerIncome
RHNA
Achieved
57,570
80,540
Lower-Income Moderate/ Above Moderate-Income
6th Cycle RHNA Allocation
San Bernardino County
RHNA
Increase
of 140%
73%
of Mod/Above
Mod-Income
RHNA
Achieved
Regional Housing Needs Assessment (RHNA) Cycles

9 03 Steps Taken To Date

10 Strategic Plan
Outreach
Summary
Housing Need
Analysis
Funding
Opportunity
Analysis
Housing Trust
Activities
Affordable
Housing and
Project Pipeline
Inventory
Local Funding
Gap Analysis

11 Outreach Summary
Outreach to all SBCOG member jurisdictions
Individual meetings with 15 member jurisdictions
16/25 member jurisdictions – Interested/Potentially Interested with many “unknown” Interviews with outside organizations
• Orange County Housing Finance Trust
• County of Orange
• San Gabriel Valley Regional Housing Trust
• Inland SoCal Housing Collective
• San Diego Innovative Housing Trust
Group Presentations
• SBCOG Board
• City/County Managers
• Planning Directors

12 Funding Opportunity Analysis
Grant
Funding
Pursuits
Member
Agency
Revolving
Loan Fund
• Interest gained
over time
Nonprofit
Component
• Private
Donations
VMT
Mitigation
Bank
Earmark
Funds

13

14 Local Funding Gap Analysis
5 Recently Completed Developments
• 445 affordable units created
• $247,258,861 total investment
• Local funding share is 33% total project cost
4 Pipeline Projects
• 321 affordable units
• $146,880,151 total investment
• Local funding share is 35% total project cost
*Local funds provide a notable financing layer that closes the affordable housing development gap.

15 04 Housing Trust Structure

16 Purpose and Structure
 Includes the following:
 Vision
 The San Bernardino Regional Housing Trust will attract significant funding and affordable housing development interest into the San Bernardino region. Through strong participatory governance, member jurisdictions will increase the region’s affordable housing supply, reduce household overcrowding, increase equitable access to community resources, and provide financial relief for vulnerable and costburdened households.  Goals
 Increase/preserve region’s affordable housing supply
 Attract affordable housing developers
 Increase housing opportunities
 Protect against displacement and poor housing conditions

17 A program or
organization
that raises
funding for:

New Construction of Affordable Housing
Affordable Housing Preservation or Rehabilitation
Community Land Trusts
Workforce Housing
Pre-Development Loans
Down Payment Assistance
Financing for the Purchase of Land
Programming Priorities

18 05 Administration

19 Board of Directors Composition
 Board of Directors:
 One Director per Party (elected or designee by the jurisdictions’ appointed body)
 Alternates for each Director position
 Members will be incentivized to join as founding members  Members will be penalized for joining the Trust late
 Two (2) year term limit (no limit to number of terms)

20 Administration
 Staffing
 Independent contractors, agents, volunteers, and consultants  Treasurer and Auditor/Controller
 Lumped in with COG Annual Audits
 Attorney
 Accounts
 Need to establish accounts and subaccounts in commercial banking institutions

21 06 Cost of the Trust

22 Projected Cost
 $315,000 Annual Operating Budget
Population Annual Admin Fee
Up to 25,000 $10,000
25,001 – 50,000 $15,000
50,001 – 75,000 $20,000
75,001 – 100,000 $25,000
100,001+ $30,000

23 Visualizing How it 07 Works

24

25

26

27 08 Next Steps

28 Steps to Establish a Regional Housing Trust
Identify Participating Jurisdictions
Draft Administrative Plan
REAP 2.0 Funding Application
Establish a Joint Powers Authority (JPA)
Adopt an Administrative Plan

29 Schedule
October November December January February March April May • CCMTAC
• Letters
of
Interest
• CCMTAC
• GPC
• MVSS
• Mtn/
Desert
Committ
ee
• Board • REAP 2.0
Applicati
on
• Board • Establish
JPA
(Ongoing)
• Launch
Housing
Trust
(Ongoing)
2022 2023

30

CITY OFFICES: COUNCILMEMBERS
6136 ADOBE ROAD McArthur Wright, Mayor
TWENTYNINE PALMS, CA 92277 Steve Bilderain, Mayor Pro Tem (760) 367-6799 Joel Klink
Fax (760)367-4890 Daniel L. Mintz Sr.
www.29palms.org Karmolette O’Gilvie

CITY MANAGER
Frank J. Luckino, MPA

LETTER OF INTENT
December 15, 2022
Josh Lee, Deputy Planning Director
San Bernardino Council of Governments
1170 W. Third Street, 2nd Floor
San Bernardino, California
92410
RE: INTEREST IN PARTICIPATING IN SAN BERNARDINO REGIONAL HOUSING TRUST Dear Mr. Josh Lee,
The City of Twentynine Palms is interested in participating in the San Bernardino Regional Housing Trust (SBRHT) to be established by the San Bernardino Council of Governments (SBCOG).

Through the SBHRT, the City of Twentynine Palms intends to further the SBHRT’s goal to attract significant funding and affordable housing development interest into the San Bernardino region.

The City of Twentynine Palms anticipates that SBCTA/SBCOG will administer SBRHT and that each participating Party shall make annual contributions toward the budgeted administrative costs of SBRHT. In return, SBRHT will provide services and support to the region and its Parties to carry out the purpose of SBRHT.

This letter of interest is not a commitment, and we are providing this letter only to further the planning for the establishment of the SBRHT. Final commitment to join the SBHRT will be subject to City of Twentynine Palms City Council approval, funding availability, and other factors.

Should you have any questions regarding the City of Twentynine Palms interest, please contact Frank Luckino, City Manager at [email protected] or at 760-367-6799.

Thank you.

Sincerely,
_________________________________
McArthur Wright, Mayor
On behalf of the City of Twentynine Palms

STAFF REPORT
TO: City Council
FROM: Community Development Director
FOR MEETING: Dec 13 2022
SUBJECT: Public Arts Advisory Committee (PAAC) Appointment.

RECOMMENDATION:

The City Council appoint one member, Cindy Bernard, to the Public Arts Advisory Committee (PAAC).

ORDER OF PROCEDURE:

Request Staff Report (Community Development Director
Presenting)
Council Questions of Staff
Request Public Comment
Council Discussion
Motion / Second
Discussion of Motion
Call the Question
ATTACHMENTS:
• Bernard_CV_Redacted
• PAAC Member Application
BACKGROUND:

The Public Arts Advisory Committee (PAAC) is appointed by the City Council and is directed to make recommendations towards placing high-quality public art in the city with the following objectives:
- To enrich the public environment for both residents and visitors - To nurture, enhance, and encourage the community's participation in the arts - To enable Twentynine Palms to enhance its identity as an arts community - To increase public access to promote an understanding and awareness of the arts The PAAC is composed of seven voting members and follows the rules of the Brown Act. Currently, there are 5 active members. The City advertised for new members and received one applicant, whose resume is attached.

ENVIRONMENTAL:

Not applicable.

ALTERNATIVES:

The City Council could choose not to appoint the applicant to the PAAC, and direct staff to advertise for members.

FISCAL IMPACT:

None.

Cindy Bernard
Born:

Email:

Website: www.cindybernard.com
Education:

California Institute of the Arts (CalArts), M.F.A., 1985 California State University, Long Beach, B.A., 1981

SOLO MUSEUM PROJECTS
2013 Stedelijk Museum, Amsterdam
2011 Los Angeles County Museum of Art

SOLO MUSEUM AND GALLERY EXHIBITIONS
2021 Lazy Eye Gallery, Yucca Valley
2017 Richard Telles Fine Art, Los Angeles
2014 Fralin Museum of Art, University of Virginia
2008 Tracy Williams LTD, New York
Mills Gallery, Boston Center for the Arts
2005 Tracy Williams LTD, New York
2004 Margo Leavin Gallery, Los Angeles
University of Nevada, Las Vegas
The Suburban, Chicago
2002 Lemon Sky Projects + Editions, Los Angeles
2000 MAK Center for Art and Architecture (Schindler House), Los Angeles 1997 Lotta Hammer, London
1996 Air de Paris, Paris
1995 James Hockey Gallery, WSCAD, Farnham, England
traveled to: Viewpoint Gallery, Salford, England
1993 Center for Creative Photography, University of Arizona, Tucson traveled to: Southeast Museum of Photography
1992 Richard Kuhlenschmidt Gallery, Santa Monica
1991 Air de Paris, Nice, France
1990 Richard Kuhlenschmidt Gallery, Santa Monica
1988 Michael Kohn Gallery, Los Angeles

SOLO SCREENINGS AND PERFORMANCES
2013 Human Resources, Los Angeles
2010 SASSAS, Fiesta Hall, Los Angeles
2009 USC School of Cinema, Los Angeles
2005 Tonic, New York
2004 University of Nevada, Los Angeles
2001 Goldman-Tevis Gallery, Los Angeles*
Beyond Baroque, Los Anglees*
2000 MAK Center for Art and Architecture (Schindler House), Los Angeles 1999 Santa Monica Museum of Art*
*projections+sound w/Joseph Hammer

Cindy Bernard - 2 –

GRANTS, AWARDS AND FELLOWSHIPS
2020 Pollock-Krasner Foundation Grant
2017 Foundation for Contemporary Arts Emergency Grant
UCross Residency
2016 National Endowment for the Arts Fellow at the MacDowell Colony 2013 Ruffin Distinguished Artist In Residence, McIntire Dept. of Art, University of Virginia 2012 Faculty Enrichment Grant, Art Center College of Art 2011 CCF Fellowship for Visual Artists, mid-career
2010 ARC Grant, Durfee Foundation
Harpo Foundation Fellowship
Center for Cultural Innovation, Investing in Artists Fund 2004 Los Angeles COLA Individual Artist Fellowship
2002 Creative Capital (w/Joseph Hammer)
2001 ARC Grant, Durfee Foundation
2000 Smithsonian American Art Museum New Media/New Century Award 1998 John Simon Guggenheim Memorial Foundation
Anonymous Was A Woman
California Arts Council
1996 Art Matters Inc.
1988 J. Paul Getty Trust Fund for the Visual Arts (now the CCF Emerging Artist Fellowship) GROUP EXHIBITIONS, PERFORMANCES, SCREENINGS (selected)
2020 Not I: Throwing Voices (1500 BCE - 2020 CE), Los Angeles County Museum of Art 2019 Once Upon A Time in the West, Frac Nouvelle-Aquitaine Meca, Bordeaux, France 20 HRS / 20 YRS, MAK Center for Art and Architecture at the Schindler House 2018 Forsaken Utopias: Photographs from the OCMA Permanent Collection, Orange County Museum of Art, OCMAEXPAND -SANTA ANA, California
2016 Don’t Look Back: MOCA in the 1990’s, Museum of Contemporary Art, Los Angeles In the Cut, Gallery Luisotti, Los Angeles
Camouflage: In Plain Sight, Anchorage Museum, Alaska
2015 Walkers: Hollywood Afterlives in Art and Artifact, Museum of the Moving Image, New York
2014 Another Cats Show, 356 S. Mission Rd., Los Angeles What's Your Favorite Idea, The Institute of Jamais Vu and Short House at the Bolsky Gallery, Otis Art Institute, Los Angeles
2013 Hitchcock & Co: A La Mediatheque Le-Corbusier Val-De-Reuil , FRAC Haute-Normandie, Normandie, France
2011 Long Range, LTD, Los Angeles
Act Natural Listening Party, organized by Taft Green, Human Resources, Los Angeles 2010 The City Proper, Curated by James Welling, Margo Leavin Gallery, Los Angeles The Artists’ Museum, Museum of Contemporary Art, Los Angeles California Dreamin’, Arte 10 Portugal, Lisbon, Portugal and vicinity Beer Drinking Sonata (for 13 players), Tom Marioni, participant, Hammer Museum, Los Angeles 2009 Collection: The First 30 Years, Museum of Contemporary Art, Los Angeles The Anniversary Show, Tracy Williams LTD, New York

Cindy Bernard - 3 –
GROUP EXHIBITIONS, PERFORMANCES, SCREENINGS (continued) 2008 Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles
(dis)concert, Steve Turner Gallery, Los Angeles
Video Programme, Brandenburgischer Kunstverein, Potsdam Under the Influence, Art and Culture Center of Hollywood and the Girls Club, Florida 20 Years Ago Today: Supporting Visual Artists in L.A., Curated by Rita Gonzalez and Kris Kuramitsu, Japanese American National Museum
2007 Radio Daniéle, organized by Christopher Williams and John Kelsey, broadcast by Citta del Capo Radio Metropolitana, in collaboration Museo d'Arte Moderna di Bologna, Radio Citta del Capo, Italy
traveling to: Kunsthall Zurich, Switzerland, Performa07, New York Telecom Prospect 2007: New Art New Zealand, City Gallery, Wellington, New Zealand 2006 Les Peintres De La Vie Moderne, Centre Pompidou, Paris Suspension, Dunn and Brown Contemporary, Dallas
2005 Visual Music, Museum of Contemporary Art, Los Angeles Echo/Anti-Echo, Galerie Barbara Thumm, Berlin
2004 Cindy Bernard, Richard Dupont, Judy Ledgerwood, Tracy Williams Ltd., New York COLA 2004 Individual Artist Fellowships, Los Angeles Municipal Art Gallery Mail in show, London Street Projects, Los Angeles
100 Artists See God, curated by John Baldessari and Meg Cranston, sponsored by Independent Curators International;
traveling to: Contemporary Jewish Museum, San Francisco; the Laguna Museum, Laguna Beach, CA;, Institute of Contemporary Art, London; Contemporary Art Center of Virginia; Albright College Freedman Art Gallery, Reading, Pennsylvania; Cheekwood Museum of Art, Nashville
2003 The sonic residue on these walls is only imagined, otherwise it would be taboo, collaboration w/Gean Moreno and Jesse Bransford, Ingells & Associates, Miami Artist's Gifts, Museum of Contemporary Art, Los Angeles 2002 soundCd no. 1, 1301PE, Los Angeles
Art/Women/California: Parallels and Intersections, 1950-2000, San Jose Museum of Art 2001 Recasting the Past: Beneath the Hollywood Tinsel, CSU, Fullerton, California 2000 Made in California, Los Angeles County Museum of Art Alfred Hitchcock and Art: Fatal Coincidences, Montreal Museum of Fine Arts traveled to: Centre Georges Pompidou, Paris
1999 One Night Stand, Park Plaza Lodge, Los Angeles
Notorious, Museum of Modern Art, Oxford, England
traveling to: Museum of Contemporary Art, Sydney; Art Gallery of Hamilton, Ontario; Kunsthalle Brandts Klædefabrik, Odense; Fondació "la Caixa," Madrid; Tokyo Opera City Art Museum, Tokyo; The Museum of Modern Art, Gunma; Hiroshima City Museum of Contemporary Art, Hiroshima; Millenium Art Gallery, Sheffield; Provinciaal Centrum voor Beeldende Kunsten, Hasselt, Belgium
Bodies of Work: Series and Obsessions, Center for Creative Photography, University of Arizona, Tucson

Cindy Bernard - 4 –
GROUP EXHIBITIONS, PERFORMANCES, SCREENINGS (continued) 1999 Multiplicity, Angles Gallery, Santa Monica
Software '99, Three Day Weekend @ The Suburban, Chicago (collaboration with Joseph Hammer)
Interactive Frictions, Fisher Gallery, University of Southern California Objects in the Mirror May Be Closer Than They Appear, Max Hetzler Galerie, Berlin Moving Images, Galerie für Zeitgenössische Kunst, Leipzig, Germany O Hitchcock, Kunsthalle Tirol, Switzerland
The Cinema Project, Künstlerhaus Bethanien, Berlin
Ghost Story, Künstlerhaus, Vienna
Three Day Weekend @ Art and Appenzell, Appenzell, Switzerland Instants paysagers, La Gallerie De Petit Chåteau, Sceaux, France Sonopticon, Foundation for Art Resources@Action Space, Los Angeles 1998 Point Blank, Charim-Klocker, Vienna
Remake, L’École D’Art de Grenoble, France
Air de Paris, Paris
Lotta Hammer, London
Woman Artists Read Their Favorite Children’s Stories, Beyond Baroque, Venice, CA 1997 Developing a Collection: The Ralph M. Parsons Foundation and the Art of Photography Los Angeles County Museum of Art
On Space, Memory and Metaphor, Maison de la culture Frontenac, Montreal, Canada Fictions, Caisse des Dépots et Consignations, Paris
Le petit Setland, Shed im Eisenwerk, Fraenfeld, Switzerland Just A Minute, Los Angeles Center for Photographic Studies West Coast, du Fonds Regional d’Art Contemporain Poitou-Charentes, France 1996 Just Past: The Contemporary in the Permanent Collection, 1975-96, Museum of Contemporary Art, Los Angeles
Hall of Mirrors: Art and Film Since 1945, Museum of Contemporary Art, Los Angeles traveling to: Wexner Center for the Arts, Ohio; Palazzo delle Esposizioni, Rome; The Museum of Contemporary Art, Chicago
Oeuvres de la Collection du Fonds Regional d’Art Contemporain Poitou-Charentes, Centre d’Art contemporain Rur’Art, Rouille, France
Nature Redux: Photographs by Ten Artists, Channing Peake Gallery, Santa Barbara, Calif.

Found Footage, Klemens Gasser und Tanja Grunert GmbH, Koln, Germany 1995 Biennale d’ Art Contemporain de Lyon 95, Musee d’Art Contemporain, Lyon, France L’Effet Cinema, Musee du Luxemborg, Paris
Assembled Images, Los Angeles County Museum of Art
Collection, fin XXe, FRAC Poitou-Charentes, Angouleme, France Smells Like Vinyl, Roger Merians Gallery, New York
The Big Night, The Bradbury Building, Los Angeles
P.L.A.N. (Photography in Los Angeles Now), Los Angeles County Museum of Art 1994 In the Field: Landscape in Contemporary Photography , Margo Leavin Gallery, Los Angeles
Contemporary Collections, Los Angeles Center for Photographic Studies 1993 Screening Space, Jan Kesner Gallery, Los Angeles
A Room With Some Views, Sonnabend, New York
Not Painting: Photography in the Permanent Collection, Museum of Contemporary Art, Los Angeles

Cindy Bernard - 5 –
GROUP EXHIBITIONS, PERFORMANCES, SCREENINGS (continued) 1993 The Return of the Cadavre Exquis, The Drawing Center, New York traveling to: Corcoran Gallery of Art, Washington D.C., Fundacion para el Arte Contemporaneo, Mexico City, Santa Monica Museum of Art, Forum for Contemporary Art, St. Louis, Miss.

Salad Days, Margo Leavin Gallery, Los Angeles
Futura Book Collection, Air de Paris, Nice, France
Points De Vue et Images Du Monde, Galerie Pierre Nouvion, Monte Carlo 1992 Exhibit A: Eight Artists from Europe and America
The Serpentine Gallery, London
Tattoo Collection, Air de Paris (a Paris), Paris, France traveled to: Daniel Buchholz, Koln, and Andrea Rosen Gallery, New York Speaker Project, traveled to: Molteplici Culture, Convento de S. Egidio, Rome, Italy and ICA, London
Still, Andrea Rosen Gallery, New York
Vers Une Attitude Photographique, Caisse de Depots, Paris Hollywood, Hollywood: Identity Under the Guise of Celebrity, Alyce de Roulet Williamson Gallery, Art Center College of Design, Pasadena, CA 1991 John Baldessari, Cindy Bernard, Fischli-Weiss, Hirsch Perlman Monika Sprüth Galerie, Köln, Germany
Group Show, Air de Paris (á Paris), Paris, France
1990 Nachschub: The Köln Show, Monika Sprüth Galerie, Köln, Germany Spiel der Spur: The Poetry of Chance, Shedhalle, Zurich, Switzerland Catalogue, Gracie Mansion Gallery, New York
Biennial I, California Museum of Photography, Riverside, California 1989 Biennial, Whitney Museum of American Art, New York The Photography of Invention: American Pictures of the Eighties, National Museum of American Art, Washington DC.; traveled to Museum of Contemporary Art, Chicago and Walker Art Center, Minneapolis
Cinderella Rockefeller, Feature, New York
Strange Attractors: The Spectacle of Chaos, Dayton Street, Chicago 1988 Abstraction in Contemporary Photography, Fred L. Emerson Gallery, Hamilton College, Virginia; traveled to Anderson Gallery, Virginia Commonwealth University
1988 CalArts: Skeptical Belief(s), Newport Harbor Art Museum, Newport Beach, California
Information as Ornament, Feature, Chicago
After Abstract, Art Center College of Design, Pasadena, California Recent Art from Los Angeles, Cleveland Center for Contemporary Art, Cleveland, Ohio
Near Mis, Feature, Chicago
Contention, New Langton Arts, San Francisco, California 1987 The Hallucination of Truth, Institute for Art and Urban Resources, PS1, New York
Spiral of Artificiality, Hallwalls, Buffalo, New York
New Photography, Feature, Chicago

Cindy Bernard - 6 –
GROUP EXHIBITIONS, PERFORMANCES, SCREENINGS (continued) 1987 Cindy Bernard, Richard Rezac, Kay Rosen, Nancy Shaver, B. Wurtz, Jan Baum Gallery, Los Angeles
Breaking Through the Looking Glass: West, Fahey/Klein Gallery, Los Angeles Breaking Through the Looking Glass: East, Holly Solomon Gallery, New York CalArts: Skeptical Belief(s), Renaissance Society, Chicago Room 9, Tropicana Motel, Los Angeles
1986 TV. Generations, Los Angeles Contemporary Exhibitions (L.A.C.E.), Los Angeles 1985 Woman Photographers in America 1985, The Woman’s Building, Los Angeles 1984 The Cotton Exchange Show, Los Angeles Contemporary Exhibitions (L.A.C.E.)

SELECTED BIBLIOGRAPHY
2021 Mole, Aurélien and Tauuchi, Éric, Un être, un acte, un lieu, un object, France: Tombolo Presses, 2021, pp. 47-48.
2017 Mizota, Sharon, “Turning the humble quilt into a powerful symbol of choice,” LATimes.com, May 27, 2017,
http://www.latimes.com/entertainment/arts/la-et-cm-cindy-bernard-review-20170527-htmlstory.h tml
Black, Ezrha, Jean, “Cindy Bernard – Things Change, Things Stay The Same,” Artillerymag.com, June 8, 2017, http://artillerymag.com/cindy-bernard-things-change-things-stay/ Drohojowska-Philp, Hunter, “Art Talk,” KCRW, Air date June 29, 2017 2016 Muenzer, David, “Critics’ Picks: In the Cut,” Artform.com, September 2016, http://artforum.com/picks/id=63189
2015 Rubin, Robert, Walkers: Hollywood Afterlives in Art and Artifact, ill. 2014 Sprengler, Christine, Hitchcock and Contemporary Art, New York: Palgrave MacMillan, 2014, pp. front/rear cover, 10-11, 26-30, 76-79, 83, 171, ill.

Scott, Peter, Social Photography, Carriage Trade, 2014, ill. 2013 YouTube Curated By, MOCA TV, Museum of Contemporary Art, Los Angeles, April 2013 URL: http://youtu.be/A5clT8FkWLI
Boehm, Mike and Finkel, Jori, “LACMA's bid for MOCA gains support,” Culture Monster Blog, Los Angeles Times, 3/8/213
Finkel, Jori, “Artist, former trustee react to possible LACMA/MOCA merger.” Culture Monster Blog, Los Angeles Times, 3/8/213
Halperin, Julia,“MOCA Mobilization Speaks Out About Possible LACMA Merger,” In The Air Blog, Blouoin Artinfo, 3/8/2013
“Southland billionaire Eli Broad now at center of LACMA-MOCA merger discussions,” KPCC, Los Angeles, Air date 3/9/13
Olney, Warren, “MOCA, LACMA, and the Future of Art in Los Angeles,” Which Way LA, KCRW, Los Angeles, Air date 3/13/2013
Boehm, Mike and Finkel, Jori, “MOCA board says museum will stay independent,” Culture Monster Blog, Los Angeles Times, 3/20/213

Cindy Bernard - 7 –
SELECTED BIBLIOGRAPHY (continued)
2012 Cunningham, Douglas, The San Francisco of Alfred Hitchcock’s Vertigo: Place, Pilgrimage and Commemoration, Scarecrow Press, 2012
Cunningham, Douglas, “Its All There, It’s No Dream: Vertigo and the Redemptive Pleasures of Cinephilic Pilgrimage,” pp. 104-106, 112, 114, ill.

Cunningham, Douglas, “Proposed Locations: On Postmodern Tribute to Vertigo and Place: Cindy Bernard in conversation with Douglas Cuningham, pp. 211-225, ill.

Sprengler, Christine, “The Vestiges of Vertigo in Contemporary Art,” 227, 230, 232-234, 236, 239-240, 242-243, ill.
2011 Tumlir, Jan, The Long Range, http://www.ltdlosangeles.com/past_exhibition_longrange.html Knight, Christopher, Art Review: ‘The Long Range’ at Ltd. Los Angeles, Los Angeles Times, http://latimesblogs.latimes.com/culturemonster/2011/10/art-review-the-long-range-at-ltdlos-angeles.html, October 27, 2011 Lefebvre, Martin, “Landscape and Narrative Cinema,” Canadian Journal of Film Studies, Vol. 20, No. 1, Spring 2011 pp. 66 – 70, ill.

Tuck, Geoff, “Congratulations to CCF Fellows, part one,” Notes On Looking, July 21, 2011, http://notesonlooking.com/, ill.
2010 Tuck, Geoff, “Thursday night so far,” Notes On Looking, July 28, 2011, http://notesonlooking.com/
Poundstone, William, “A Prehistory of Cindy Bernard’s Security Envelopes,” Los Angeles County Museum on Fire, William Poundstone on Art and Chaos, ARTINFO, http://blogs.artinfo.com/lacmonfire/2010/11/15/a-prehistory-of-cindybernard%E2%80%99s-security-envelopes/, November 15, 2010 Knight, Christopher, “Art Review: ‘The Artist’s Museum’ @ MOCA’, Los Angeles Times, http://latimesblogs.latimes.com/culturemonster/2010/10/art-review-the-artists-museummoca.html, October 31, 2010 Grabner, Michelle, et al., Can I Come Over to Your House? The First Ten Years of the Suburban, Poor Farm Press, pp. 89 – 99, ill.

Goldstein, Ann, “The Museum Revisited,” Artforum, Summer 2010, pp. 292-293 2009 McQuaid, Cate, “Postcards from the Edge,” The Boston Globe, January 28, 2009, ill.

Haithman, Dianne, “A Year in the Life of Mt. Washsington.” The Los Angeles Times, September 19, 2009
2008 Haithman, Diane, “Culture Monster: MOCA Bailout praised but…,” The Los Angeles Times, December 24, 2008, Section B3
Wyatt, Edward and Finkel, Jori, “$30 Million Rescue for Los Angeles Museum,” The New York Times, December 23, 2008
Garza, Evan, “Instant Messages: Cindy Bernard at the Mills Gallery,” The Boston Phoenix, December 9, 2008
Haithman, Diane, “Culture Monster: MOCA Mobilization 2.0,” The Los Angeles Times, December 5, 2008
Finkel, Jori, “Public Shows Support for California Art Museum,” The New York Times, November 23, 2008
Haithman, Diane, “Culture Monster: More than 400 turn out at the Geffen Contemporary to support troubled MOCA,” The Los Angeles Times, November 23, 2008 Roderick, Kevin, “MOCA Mobilization on Sunday, LA Observed, November 22, 200, www.laobserved.com
Baker, R.C., “Voice Choices: Cindy Bernard: Silent Key,” The Village Voice, October 24, 2008, Ill.

Harvey, Doug, “Reviews, “ THE magazine, Sept. 2008, pg 50, ill.

Cindy Bernard - 8 –
SELECTED BIBLIOGRAPHY (continued)
2008 Cornand, Brigitte, Radio Nova, “Interview with Cindy Bernard on Silent Key,” Original broadcast on Radio Nova, Paris, Sunday, September 21, 2008
“Interview with Cindy Bernard,” The Lament Project: Texts, virelnet.org, May 2008, ill.

Cunningham, Douglas, “’It’s all there, it’s no dream’”: Vertigo and the redemptive pleasures of cinephilic pilgrimage,” screen, Vol. 49, Number 2, Summer 2008, pp. 123-141, ill.

Wappler, Margaret, “SASSAS merges sound and vision.” LATimes.com, August 15, 2008 2007 Molon, Dominic, et al., Sympathy for the Devil: Art and Rock and Roll Since 1967, Yale University Press, pg. 171
Haruko Tanaka, New York: Cue Art Foundation, pp. 2-6, 17, 19 Woodard, Josef, “Humming with history and experimental tones,” Los Angeles Times, August 27, 2007, Section E, pg. 4 (SASSAS)
Haithman, Diane, “A Patron at the Helm?,” Los Angeles Times, January 7, 2007, Section F, pp. 1, 8
2006 Kelley, Mike, “Top Ten,” Artforum, December 2006 (SASSAS) Carpenter, Dave, “Creative Financing for Struggling Artists,” Associated Press, August 2, 2006 Swed, Mark, “An ode to ‘Forbidden Planet,’ Los Angeles Times, August 28, 2006, Section E, pg. 8 (SASSAS)
Maxwell, Mark, radio interview, broadcast December 17, KPFK 90.7 FM, Los Angeles, (SASSAS) Schlegel, Eva, LA Women: Artists and Architects, Vienna: Schlebrügge.Editor, pp. 10-11, 136. 2006 Bluhm, Eric, “Petra Haden/Stephen Prina,” artUS, Dec-Feb 2006, pg. 9, ill. (SASSAS) 2005 Visual Music: Synaesthesia in Art and Music Since 1900, New York: Thames and Hudson, Hirshhorn Museum, Smithsonian Institution, Museum of Contemporary Art, Los Angeles, pp. 198, 203, ill. pp. 180, 198-201.

Cornell, Lauren, “Cindy Bernard/Tracy Williams Gallery,” Time Out New York, Dec. 1-7, 2005 pg. 72, ill.
2005 Burk, Greg, “Go: Kelan Phil Cohran,” LA Weekly, July 29-August 4, 2005, pg. 142 (SASSAS) Holte, Michael Ned, “Scene and Herd: Petra Haden and Stephen Prina,” Artforum.com, July 8, 2005 (SASSAS)
Tumlir, Jan, “Cindy Bernard/Margo Leavin Gallery.” Artforum, March 2005, pg. 244-245, ill.

Knight, Christopher, “What Color is Music?” Los Angeles Times, February 27, 2005, Section E, pp. 37, 44
Harvey, Doug, “The Colors! The Colors!” LA Weekly, February 25-March 3, 2005, pp. 28-30 Frank, Peter, “Cindy Bernard at Margo Leavin Gallery,” Artweek, February 2005, pg. 19, ill.

O'Sullivan, Michael, "Visual Music's Colorful Cacophony," The Washington Post, July 1, 2005, pg. WE 48
2004 100 Artists See God, New York: Independent Curators International, ill. pg. 107 Bell, Clive, “The Compiler,” The Wire, December 2004, pg. 64 (SASSAS) Artner, Alan, “Successful variations on a theme in Oak Park,” Chicago Tribune, March 5, 2004, section 7, pg. 17, ill.

COLA 2004 Individual Artist Fellowships, Los Angeles: City of Los Angeles Cultural Affairs Department, pg. 12-15 ill.

Deville, Patrick, “Esquina Tacon, KM 37,” Beaux Art Magazine, ill. 2003 Burk, Greg, “Live in LA: Exquisite Corpse at the Schindler House.” LA Weekly,” July 30, 2004 Pg. 34 (SASSAS)
Schneider, John, radio interview, broadcast July 15th, KPFK 90.7 FM, Los Angeles The Suburaban, The Early Years 1999-2003, Chicago: The Suburban, pg. 24

Cindy Bernard - 9 –
SELECTED BIBLIOGRAPHY (continued)
2003 Heinz Peter Schwerfel, Kino und Kunst - Eine Liebesgeschichte, Köln: DuMont Literatur und Kunst, ill pg. 82-83
Art and Photography, David Campany, Ed., London:

Phaidon Themes and Movements series, ill pg. 119.

Taylor, James, “Polar Cats Revel in Originality,” Los Angeles Times, July 28, 2003 2002 Durant, Sam, “Top Ten,” Artforum, November 2002, ill. (SASSAS) Harvey, Doug, "Sound and Beyond: The music of art, the art of music," LA Weekly, July 19-25, 2002, pg. 36 (sound./SASSAS)
Frank, Peter, "Pick of the Week: sound. at the Schindler House, Works by John Cage," LA Weekly, June 28-July 4th, pg. 88, ill. (sound./SASSAS) "Arts Feature - sound.", broadcast July 22-26th, KUSC 91.5 FM , Los Angeles (sound./SASSAS) Schneider, John, radio interview, broadcast June 20th, KPFK 90.7 FM, Los Angeles (sound./SASSAS)
Farber, Jim, "Site and Sound,", Daily Breeze Rave!, June 28, 2001, pp 34-35, ill. 2002 untitled (gel/sound), Los Angeles Metropolitan Transportation Authority, brochure, ill. 2001 Taylor, Sue, "The Man Who Saw Too Much," Art in America, June 2001, pp 36-41. ill. p. 39.

Museen Ohne Zukunft/Museums Without Futures, Peter Noever, ed., Vienna: MAK, pg. 14-15
Carles, Edwin, "Valse herinneringen," Tijd, December 12, 2001 Fernandez, Victor, "La Fundacio La Caixa revisa en Lleida la obra de Alfred Hitchcock," La Razon, 9/25/2001
Woodard, Joseph, “This Old Sonic House,” Los Angeles Times Sunday Calendar, July 10, 2001, pg. 10, 52-53, ill. P. 10, p. 52.

Gardetta, Dave, “The Gong Show,” Los Angeles Magazine, September 2001, Pg. 48-49, ill. pg. 48. (sound./SASSAS)
Schneider, John, radio interview, broadcast Sept. 27th, KPFK 90.7 FM, Los Angeles (sound. / SASSAS)
Hart, Jane, “Hollywood 101: deconstructing tinsel town,” Zing Magazine, curated artist project, Spring/Summer 2001
Harvey, Doug, "Scopophilial Pleasures," LA Weekly, March 30-April 5, 2001, pg. 36 Farley, Maggie, "Alfred Hitchcock Becomes a Real Museum Piece," Los Angeles Times, March 5, 2001, F1, ill.
“California Classroom: A Learning Link to LACMA,” Los Angeles Times, May 10, 2001, ill. 2000 Mouridsen, Bjarne, "når de indre dåaemoner slippes løs," Blender DK, September 2000, pp. 65-70 ill. p. 69
Hitchcock and Art: Fatal Coincidences, Montreal/Milan: The Montreal Museum of Fine Arts and Mazzotta Press, ill. pg. 342.

Burk, Greg, “New Music Pick of the Week,” L.A. Weekly, July 21-27, 2000 (sound./ SASSAS) Robbins, David, "Top Ten", Artforum, March, p. 44, illus.

Dusini, Matthais, "Oh Hitchcock", Camera Austria 68, pp. 80-81, illus.

Frank, Peter, "Installation of the Week", LA Weekly, February 11-17, pg. 166, illus. 1999 Zellen, Jody, "Interactive Frictions," Art Press 249, September 1999, pp. 269-70.

Labelle, Charles, "Escape Trajectory," World Art, Issue 20, pp. 40-45, illus. p. 42 Searle, Adrian, "Hitch and Run Tactics", The Guardian, July 20, 1999, illus.

Notorious: Hitchcock and Contemporary Art, Oxford: Museum of Modern Art, pp. 11, 38-39, illus.

Strong, Gabie, "Nightstick: Cindy Bernard and Joseph Hammer", New Times, July 15 -21, 1999 pg. 64.

Cindy Bernard - 10 –
SELECTED BIBLIOGRAPHY (continued)
1999 Interactive Frictions, Los Angeles: Annenberg Center for Communication at the University of Southern California, pp. 26-7, illus.
"Selections from Matrix-L", Extra, Spring 1999, pg. 15
1998 Auiler, Dan, Vertigo: The Making of a Hitchcock Classic, New York: St. Martins Press, pp. 184-85, 186, illus.

Ghost Story (nachbilder des kinos), Text by Alexander Horwath and Bert Rebhandl, Vienna: Künstlerhaus, illus.

Durden, Mark, "Screen Memories," Architectural Design, March/April 1998, pp. 8-9, illus.

Alexander Horwath and Bert Rebhandl, "Brennpunkt Kino", NOEMA, September-November 1998, pp. 69, 70.

Falter, "Das Kino auf der Couch", February 1998 p.62.

Stefan Grissemann, "Frag Den Staub!", SCHAUFENSTER, August 1998, pg.5, illus. pg 7. 1997 Sur l‘espace, la mémoire et la métaphore, Montréal: Vox Populi, pp. 5, 9-10, illus. pp. 20-21, 29.

Kunstforum, “Ästhetik Des Reisens”, February - May 1997, illlus. pp. 230-231 1997 Smolik, Noemi, “Found Footage”, Kunstforum, February - Mai 1997, pp. 416-417 Ebner, Jörn, “Wer reichist, hat Geschichte,” Frankfurter Aligemeine Zeitung, April 26, 1997, pg. 40.

Herbert, Martin, “Cindy Bernard”, Time Out, April 16-23, 1997, pg. 46. 1996 Ferguson, Russell ed., Art and Film Since 1945: Hall of Mirrors, Los Angles/New York: Museum of Contemporary Art and The Monacelli Press, pp. 131, 318, illus. back cover, pp. 130-131, 132.

Bleuve: Journal Schweizer Kunst Råume, “En Route”, October 1996, Illus. cover, pp. 2-4, 9,10, 19 Langford, Martha, “Heaven’s Gaze: The Filmic Geographies of Cindy Bernard”, Border Crossings, Fall 1996, pp. 50-55, illus. pp. 50, 53, 54.

Albera, François, “Cinema as Exhibit”, artpress, May 1996, pp. 51-55.

Albertini, Rosanna, “Hall of Mirrors: Art and FIlm Since 1945”, artpress, June 1996, pp. 76-78.

Knight, Christopher, “A Fun-House ‘Mirror’”, Los Angeles Times, March 19, 1996, pp. F1, F8-9.

Lunenfeld, Peter, “Focus: Hall of Mirrors: Art and Film Since 1945”, Artforum, Summer 1996, pp. 102-3, 136, 139, illus. pp. 2-3.

Seven Perspectives, Los Angeles: Museum of Contemporary Art and Round Rock Productions, film/video
LIfe and Times, April 18, 1996, Los Angeles: KCET, Television Broadcast 1995 Cindy Bernard, Text by Mark Durden, Manchester: Viewpoint Gallery and James Hockey Gallery at the Surrey Institute of Art and Design with English Arts Council funding 40pp., illus.
biennale de lyon, France: Reunion des Musees Nationaux, pp. 310-313, illus. pp. 275, 310-312 biennale de lyon (CD-ROM), France: Reunion des Musees Nationaux, illus.

Bureaud, Annick, “Subject-Body-Society”, artpress, December 1995, illus. pg. 36.

Douglas, Anna, “American Dreaming”, W.A.G., December 1995, illus.

P.L.A.N. (WWW), Los Angeles County Museum of Art,
http://www.lacma.org/Exhibits/PLAN/PLAN.html
Blind Spot, Issue 5, Spring/Summer 1995
Greene, David A., “Photography Los Angeles? Not Now”, Los Angeles Reader, September 8, pp. 17, 22.

Bond, Henry, “Cindy Bernard:James Hockey Gallery”, Creative Camera, p. 35, illus.

Stallabrass, Julian, “Authentic Fakes”, Art Monthly, June 1995, pp. 12-15, illus.

Collection, fin XXe: 1983-1995 Dououze ans d’aquisition d’art contomporain en Poitou-Charentes, France: FRAC Poitou-Charentes, pp. 16-17, illus.

Cindy Bernard - 11 –
SELECTED BIBLIOGRAPHY (continued)
1994 Color This!, Los Angeles: Foundation for Art Resources, 1994, illus.

Higgens, Gary, “Logic of Concealment: Cindy Bernard in Tucson”, Creative Camera, December/January 1994, pp. 43-44, illus.

Frank, Peter, "Art Pick of the Week: Screening Space", L.A. Weekly, August 12-18 Pagel, David, "Reflections on Cinema Offers Tarnished Perspective", Los Angeles Times, Section F, July 22, 1994
1993 Photographie D'Une Collection: Oeuvres Photographiques de la Caisse des Depots et Consignations, France: Caisse des depots et consignations, 1993, pg. 167, pp. 76-79 illus.

Troncey, Eric, l'endroit ideal (ideal place,) Val de Reuil, France: L'lle de Roy, Centre d'art et Jardin, pp. 44-5, illus.

Cindy Bernard: Security Envelope Grid, Text by Trudy Wilner-Stack, Tucson: Center for Creative Photography, University of Arizona, 1993, illus.
1992 Kandel, Susan, “Photographic Duality”, Los Angeles Times, March 5, 1992, Section F, pp. 4-6, illus
Bond, Henry ed., Exhibit A, London: The Serpentine Gallery, 1992, Vol 1 (Artist pages): pp. 6-7,22; Vol 2 (critical texts): pp. 11-12, 24-27 “The Week in Focus: Opening Shots”, Time Out, May 6-13, 1992 , illus. “Manipulating Images”, The New Line, May 15, 1992, pg. 9 Kent, Sarah, “Photocopies”, Time Out, May 20-27, 1992, pg. 35 Silver, Robert, “Exhibit A”, What’s On, May 27, 1992, pg. 35 Bush, Kate, “Exhibitions: Exhibit A”, Art Monthly, June 1992, pp. 15-16 Bond, Henry, “There is no democracy...”, Creative Camera, May 1992, pp 15-16, illus.

Hall, Charles, “Exhibit A”, Arts Review, June 1992, pg. 243 Cotter, Holland, “Art in Review: ‘Still’”, New York Times, July 24, 1992, pg. B7 1991 Hollywood, Hollywood: Identity Under the Guise of Celebrity, Pasadena: Pasadena Art Alliance, 1992, pg. 12, ill. pg. 41
Clearwater, Bonnie, Cindy Bernard, Mexico City: Centro Cultural Arte Contemporaneo AC, illus.

Troncy, Eric, “Cindy Bernard: Air de Paris,” Flash Art, Summer 1991, pp. 142-3, illus.

Kornblau, Gary, “Cindy Bernard: Richard Kuhlenschmidt Gallery,” Art Issues, February/March 1991, pg. 31, illus.

Troncy, Eric, “Cindy Bernard, Hirsch Perlman, Rodney Graham,” Metropolis M, No. 4, illus.
1990 Gardner, Colin, “Reviews: Cindy Bernard - Richard Kuhlenschmidt Gallery,” Artforum, December 1990, pg. 147, illus.

Cindy Bernard: Ask the Dust, Los Angeles: Richard Kuhlenschmidt Gallery, Fiction text by Benjamin Weissman, illus.

Curtis, Cathy, “Bernard Offers A Challenge to Reflex Viewing,” Los Angeles Times, October 5, 1990, Section F, Pg. 9
Spiel der Spur: The Poetry of Chance, Zurich, Switzerland: Shedhalle, 1990, illus. pp. 44-46, 52, Artist pages: 86-88
Grundberg, Andy, “A Moment for Dusting Off Faded Reputations,” New York Times, May 20, 1990, Section 2, pg. 35, 44
Nachschub (Supply), Köln: Germany: Spex Magazine and The Köln Show, 1990, illus. pg. 31
“Art: LA/Orange County,” California, February 1990, pg. 39 Grundberg, Andy, “Abstraction Returns to Haunt Photography,” New York Times, February 25, 1990, Section 2

Cindy Bernard - 12 –
SELECTED BIBLIOGRAPHY (continued)
1989 American Art Today: A View From the Whitney: 1989 Biennial Exhibition, New York:

Whitney Museum of American Art, 1989, video
Abstraction in Contemporary Photography, Virginia: Virginia Commonwealth University and Hamilton College, 1989, pg. 9, illus. pg. 21 Brougher, Kerry, “Exposed Cinema: Art and Film in the Postmodern Era,” Visions, Summer 1989, pp. 28-31
Grundberg, Andy, “The Pendulum Swings Away From Cynicism,” New York Times, October 22, 1989, Section 2, pg. 41, 45
Biennial I, Riverside: California Museum of Photography, University of California, 1989, pg. 8, illus. pg. 9
McCracken, David, “Bringing Order to the Spectacle of Chaos”, September 9, 1989, Chicago Tribune, URL
Strange Attractors: The Spectacle of Chaos, Chicago: Kaos Inc., 1989, illus.

Deitcher, David, “1989 Biennial,” Artforum, September 1989, pp. 143-144 Leigh, Christian, “Opening Night at the Whitney,” Contemporanea, July/August 1989, pg. 84-85, illus.

Von Kunstadt, Theador. “”Spotlight: Whitney Biennial: A Triumphant Commingling of Heterogeneity and Blandness,” Flash Art, Summer 1989, pg. 139 1989, San Francisco: New Langton Arts, 1989, illus. pg. 31 Clearwater, Bonnie. “Our Gang,” Visions, Summer 1989, pg. 8-12, illus. pg. 12 Schjeldahl, Peter. “The Muses On Strike,” 7 Days, May 17, 1989, pg. 67, illus.

Levin, Kim. “The Whitney Biennial: Coming Up Empty,” Village Voice, May 9, 1989, pg. 99-100
Larson, Kay. “The Children's Hour,” New York, May 8, 1989, pg. 94-95 Knight, Christopher. “Bland View of Art Served at Biennial,” Los Angeles Herald Examiner, May 7, 1989, Section E, pg. 1-2
Biennial, New York: Whitney Museum of American Art & W.W. Norton & Co., 1989, pg. 21, illus. pg. 20, 22-23
The Photography of Invention: American Pictures of the Eighties, Washington DC.:

National Museum of American Art & MIT Press, Cambridge, Mass., 1989, pg. 21, illus. pg. 41
1988 Frank, Peter. “”After Abstract,” L.A. Weekly, October 28, 1988, pg. 45 Hugo, Joan. “Oppositions in Abstraction,” Artweek, October 22, 1988, pg. 3 After Abstract, Pasadena, California: Art Center College of Design, pg. 15, Illus. pp. 24-25
Information as Ornament, Chicago: Feature and Rezac, 1988, illus. pg. 27 Selwyn, Marc. “New Art L.A.: Eight Young Artists Discuss Their Work,” Flash Art, Summer 1988, pp. 109-115, illus. pg. 111
Knight, Christopher. “Pictures envelope traditions,” Los Angeles Herald Examiner, Weekend Magazine, May 13, 1988, pg. 30, illus.

Knight, Christopher. “Focusing on the Hidden Meaning of ‘Untitled’ Works,” Los Angeles Herald Examiner, February 7, 1988, Section E, Pg. 2 Jalon, Allan. “ ‘Skeptical Belief(s)’ Exhibit Displays Varied Styles of CalArts Graduates,” Los Angeles Times (Orange County Edition), Calendar, January 24, 1988, pg. 49C-D
CalArts: Skeptical Belief(s), Newport Harbor Art Museum and the Renaissance Society at the University of Chicago, 1988, illus. pg. 21.
1987 Grundberg, Andy. “From New Talent, Bold New Images,” New York Times, November 13, 1987, pg. 17, 24
Huntington, Richard. “At Hallwalls: Visiting Curators to Focus on Photo/Painting Interplay,” The Buffalo News, November 1, 1987, pg. G1, G6 The Spiral of Artificiality, Buffalo, New York: Hallwalls, 1987, pg. 18., illus. pg. 22 Rugoff, Ralph. “Art Pick of the Week,” L.A. Weekly, June 24, 1987, pg. 130

Cindy Bernard - 13 –
SELECTED BIBLIOGRAPHY (continued)
1987 Knight, Christopher., “Sixties Sculpture relieves summer doldrums,” Los Angeles Herald Examiner, Weekend Magazine, July 10, 1987, pg. 33, 37 Yood, James. “Reviews - CalArts: Skeptical Belief(s), New Art Examiner, Summer 1987, pg. 45
Knight, Christopher. “ ‘Looking Glass’ reflects art’s new identity,” Los Angeles Herald Examiner, Weekend Magazine, July 17, 1987, pg. 36 Conal, Robbie. “Good Times: View with a Room,” L.A. Weekly, March 27, 1987, pg. 62 1986 Martin, Tim, T.V. Generations, Los Angeles: Los Angeles Contemporary Exhibitions, illus. pg. 13
La Palma, Marina. “Beware the Grids,” Artweek, March 29, 1986, pg. 1 Rugoff, Ralph. “Artists on TV.,” L.A. Weekly, March 29, 1986, pp. 51-53 1986 McKenna, Kristine. “Techno-fest Opens Art Center,” Los Angeles Times, March 3, 1986, Part IV, pg. 1,6
1985 Woman Photographers in America 1985, Los Angeles: The Woman’s Building, Los Angeles, Illus. pg. 28
PUBLIC COLLECTIONS (Selected)
Center for Creative Photography, University of Arizona
Centre Pompidou, Paris
Coleccion Fotograficia de Fundacion Televisa, Mexico City FRAC Poitou Charentes, Angouleme, France
Grunwald Center, Hammer Museum, Los Angeles
Los Angeles County Museum of Art
Museum of Contemporary Art, Los Angeles
Museum of Contemporary Photography, Chicago
Museum of Modern Art, New York
Nouveau Musee d Art Contemporain, Lyon, France
Orange County Museum of Art
Princeton University Art Museum
Whitney Museum of American Art

PUBLISHED WRITINGS
2015 “Untitled Poem,” Schindler Lab, online publication, 2015: MAK Center for Art and Architecture at the Schindler House, http://schindlerlab.org/musing/cindy-bernard/ 1999 "I Have Gettyphobia", Extra, Winter 1999, pg. 7
"Solid Eye: Fruits of Automation", Great God Pan, Number 13, pp. 119-122.

PUBLIC PROJECTS
2002 untitled[gel/sound], Metrolab, Los Angeles Metropolitan Transit Authority (collaboration w/Joseph Hammer)
Projection, "Location #2: Shot 15", Warehouse No. 1, San Pedro, CA 2000 Projection, "Location Proposal #2: Shot 9", Old Sante Fe Depot, Los Angeles, CA 1999 Projection, "Location Proposal #2: Shot 12", Pt. Fermin Park, San Pedro, California PUBLIC PROJECTS (Continued)

Cindy Bernard - 14 –
1998 Projection, "Location Proposal #2: Shot 8", Desert Christ Park, Yucca Valley, California Projection, "Location Proposal #2: Shot 11", Silverlake, Los Angeles Projection, "Location Proposal #2: Shot 14", Angels Gate Park, San Pedro, California Projection, "Location Proposal #2: Shot 2", Treptow, Berlin Projection, "Location Proposal #2: Shot 7", Starkman Building, Los Angeles 1997 “Windows on Wilshire”, Los Angeles County Museum of Art 1993 City of Manhattan Beach, Art in Public Places (completion date: Winter 1995)

EDITIONS
soundCd no. 1, special artists edition, collaboration w/Tom Recchion, published by SASSAS, Lemon Sky Projects and 1301PE, 2002
space, climate, light, mood, single print in a portfolio with John Baldessari and James Welling, published by Art Metropole, Toronto, 2000
Phantom Barn Raising, published by Side Street Projects, Los Angeles, 1999 The MOCA Photography Portfolio, curated by Cindy Sherman, published by the Museum of Contemporary Art, Los Angeles, 1999
Location Proposal #4, set of 7 iris prints, published by Muse-X Editions, Los Angeles, 1997

INTERNET AND WEB BASED PROJECTS
2004 soundCommons, collaboration w/Joseph Hammer
2001 projections+sound[web], collaboration w/Joseph Hammer Smithsonian Museum of American Art
corridor, collaboration w/Joseph Hammer
Museum of Contemporary Art, Los Angeles
2000 Location Proposal #6: Site Street, designed for Site Street, the web mag of Side Street Projects, Los Angeles (no longer on-line)
1998 Matrix-L, a discussion list dedicated to issues in visual culture with an emphasis on contemporary art and theory (to 2002)
1996 Core, a weekly web site/commentary that ran news related buzz words through a search engine to generate hit lists (no longer on-line)
CURATING AND PRODUCING (selected)
2020 20 HRS / 20 YRS, MAK Center for Art and Architecture at the Schindler House (SASSAS) 20th Anniversary Corpse, Baldwin HIlls Scenic Overlook, Culver City, California (SASSAS) 2016 “sound.” concert series, Baldwin Hills Scenic Overlook, artists included Bobb Bruno, Dan Clucas, Simone Forti (SASSAS)
2015 “Bootleg LPs by Artists,” 1301PE, Pop up exhibition support SASSAS “SASSAS Records Volume 1,” four LP collection with unreleased recordings paid with covers by visual artists, participants include Aaron Dilloway/Dave Muller, Nels Cline/Sterling Ruby, Lee Ranaldo/Sharon Lockhart and Alex Slade, Julia Holter/Analia Saban

Cindy Bernard - 15 –
CURATING AND PRODUCING (continued)
2014 “sound.” concert series, Baldwin Hills Scenic Overlook; Kings Road Park Pavilion; players included Charles Curtis, composers included Elaine Radigue, Alvin Lucier, Southern California Sound Ecology, Matt Barbier
2013 “sound.” concert series, Baldwin Hills Scenic Overlook; 356 Mission Road, Eagle Rock Center for the Arts; composers included Mural, Rangda Aaron Dilloway, Jason Lescalleet (SASSAS)
2012 “Welcome Inn Time Machine,” The Pacific Standard Time Performance and Public Art Festival, producer, co-curator (SASSAS)
“Fix-It-Up Too,” Blum & Poe, Los Angeles (SASSAS)
2011 “sound.” concert series, Baldwin Hills Scenic Overlook; Schindler House, King’s Road Park Pavilion, composers included Stephanie Taylor, Alex Cline, Lady Noise, William Roper (SASSAS)
2010 “sound.” concert series, Fiesta Hall, King’s Road Park Pavilion, performers, artists and scholars include Luke Fowler, Scott Benzel, Wadada Leo Smith, Art Desano, Branden Joseph, Dont Rhine, Bob Ostertag (SASSAS)
2009 “Mapping sound.: the SASSAS 10th Anniversary Concert, multiple artists and venues 2008 “soundCd no. 3," CD compilation of live recordings from "sound.", producer, SASSAS, publisher (April)
“The Lament Project,” on line sound project, Viralnet.net and the Center for Integrated Media, CalArts, co-curator with Kathy Brew, Beth Rosenberg, Martha Wilson and Tom Leeser “sound.” concert series, MAK Center for Art and Architecture (Schindler House), Glow Festival, producer; co-curator w/ dubab (Glow), Tom Recchion, Joe Potts, Jeremy Drake, Danny Gromfin (MAK), performers and video artists included Cal Crawford, Jessica Bronson, White Rainbow, Steve Roden, Jozef Van Wissem (SASSAS)
2007 “Haruko Tanaka,” Cue Art Foundation, New York (catalogue) “sound.” concert series, REDCAT, MAK Center for Art and Architecture (Schindler House), Steve Allen Theater, producer, co-curator w/ Jeremy Drake, Kathleen Johnson; performers include Jessica Rylan, Fred Frith, Ikue Mori, Zeena Parkins, David Watson, Jackie Stewart (SASSAS)
2006 “sound.” concert series, The Ford Amphitheatre and MAK Center for Art and Architecture (Schindler House), producer, co-curator w/Renee Petropoulos, Jeremy Drake, Joe Potts, Carl Stone; performers include Roscoe Mitchell, Tetuzi Akiyama, and Thomas Dimuzio (SASSAS)
2005 “sound.” concert series, The Ford Amphitheatre and MAK Center for Art and Architecture (Schindler House), producer, co-curator w/Carole Ann Klonarides, Renee Petropoulos, performers include Petra Haden and the Sell Outs, Stephen Prina, Kelan Philip Cohran, Tom Recchion , Michael Webster (SASSAS)
2004 “sound.” concert series, REDCAT and MAK Center for Art and Architecture (Schindler House), producer, co-curator w/Tom Recchion and Joe Potts, performers include Chas Smith, Petra Haden, Harold Budd (SASSAS)
“soundCd no. 2," CD compilation of live recordings from "sound.", producer, SASSAS, publisher

Cindy Bernard - 16 –
CURATING AND PRODUCING (continued)
2003 "sound." concert series, MAK Center for Art and Architecture (Schindler House), producer co-curator w/ Sam Durant and Christopher Williams, performers included Danny Cohen Polar Goldie Cats, Rüdiger Carl, Raymond Pettibon, and Joseph Jarman (SASSAS) 2002 "soundCd no. 1," double CD set of live recordings from "sound.", producer, SASSAS and 1301PE, publishers
"sound. @ Amoeba Music,", in-store improviation featuring Nels Cline, Rick Potts, Heather Lockie, Lynn Johnston, Michael Intriere, Rich West (SASSAS) "sound." concert series, MAK Center for Art and Architecture (Schindler House), producer, curator; performers included Joe Potts, Carl Stone, evening of John Coltrane performed by Nels Cline and Gregg Bendian, evening of Cage performed by James Tenney (sound./SASSAS)
2001 "sound." concert series, MAK Center for Art and Architecture (Schindler House), producer, curator; performers included Pauline Oliveros, Glenn Branca, William Winant performing works by James Tenney
2000 "sound." concert series, MAK Center for Art and Architecture (Schindler House), producer, curator; performers included Kraig Grady, Vinny Golia, Wadada Leo Smith, Carla Bozulich, Extended Organ
"sound." experimental music series, performers included Mark Trayle, Nels Cline, Vetza, Bonnie Barnett, Joe Potts Sacred Grounds, San Pedro, California 1999 "sound." experimental music series, performers included Solid Eye, William Leavitt, Lynn Johnston, Don Bolles, Joe Potts, Kraig Grady, Anna Homler Sacred Grounds, San Pedro, California
1998 "angels gate. 8.16.98 dusk. : installations + trios pulled from a hat", participants included Sam Durant, Joseph Hammer, Joe Potts, Dave Muller, Liz Larner, Marina Rosenfeld, Jim Shaw, Francis Stark, Mike Watt 1987 “Nothing Sacred,” (co-curator w/Brad Dunning), participants included Mike Kelley, Liz Larner, Louise Lawler, Clegg and Guttman, Stephen Prina, Chris Williams, Margo Leavin Gallery, Los Angeles
1986 “Media Shelter,” (co-curator w/ Liz Larner), Foundation for Art Resources, Los Angeles 1985 “Art Talk Art” lecture series, Foundation for Art Resources, Los Angeles LECTURES (selected)
2021 Artist conversation, Mountain School, Los Angeles
2019 Visiting Artist Lecture, Otis College of Art and Design, Los Angeles 2012 Visiting Artist Lecture, Cardiff School of Art and Design, University of Wales Visiting Artist Lecture, Department of Fine Art, Southampton Solent University Visiting Artist Lecture, Department of Fine Art, University of California, Los Angeles Visiting Artist Lecture and Graduate Studio Visits, CalArts 2009 Visiting Artist Lecture, University of California, Irvine “Mitigating the Obvious Culture and the Search for Broader Humanity: Bridging the Gap Between Us and Them”, CAA Panel
Visiting Artist Lecture, California State University, Los Angeles

Cindy Bernard - 17 –
LECTURES (continued)
2008 Artist Talk, Mills Gallery, Boston Center for the Arts Visiting Artist Lecture, "Studio Visits", Art Center College of Art & Design, Pasadena Department of Fine Art
2007 Visiting Artist Lecture, University of Southern California 2006 “Telephones, Puddles, Saxophones and Motors: Two Evenings on Noise, Silence and Sound,” Visiting Artist Lecture, University of Southern California, Los Angeles
Visiting Artist Lecture, California Institute of the Arts Visiting Artist Lecture, “Pilot: Spheres of Interest, Experiments in Thinking and Action,” San Francisco Art Institute
Visiting Artist Lecture, “Global Experimental SOUNDSCAPES Now,” University of California, Los Angeles
Visiting Artist Lecture, School of the Museum of Fine Arts, Boston 2005 Visiting Artist Lecture, Otis College of Art and Design, Los Angeles 2004 Visiting Artist Lecture, Department of Art Practice and Theory, Northwestern University, Evanston
Studio Visits, School of the Art Institute of Chicago
2003 Visiting Artist Lecture, Otis College, Graduate Fine Art 2000 Visiting Artist Lecture, "Studio Visits", Art Center College of Art & Design, Pasadena Department of Fine Art
1999 Visiting Artist Lecture, Visiting Artist Series, California Institute of the Arts Visiting Artist Lecture, "Advanced Photo", University of California, Los Angeles Visiting Artist Lecture, Dept of Studio Art, University of California, Santa Barbara 1998 Location Proposals: Landscape, Film and Memory”, lecture, Simon Fraser University, Vancouver, Canada
1995 Guest Lecturer, "Studio Visits", Art Center College of Art & Design, Pasadena Department of Fine Art
1994 Guest Lecturer, Museum of Contemporary Art, Los Angeles 1993 Guest Lecturer, "Studio Visits", Department of Fine Art, Art Center College of Art & Design, Pasadena
Guest Lecturer, Center for Creative Photography, University of Arizona Guest Lecturer, "Studio Visits", Art Center College of Art & Design, Pasadena Department of Fine Art
1992 Panelist, “Hollywood, Hollywood: Identity Under the Guise of Celebrity”, Art Center College of Art & Design, Toyota Lecture Series
1990 Guest Lecturer, “Graduate Seminar”, Art Center College of Art & Design, Pasadena, Department of Fine Art
Panelist, “Artist Survival Skills,” California Institute of the Arts, Valencia Guest Lecturer, Curator’s Council, Los Angeles County Museum of Art, Los Angeles 1989 Guest Lecturer, “Graduate Seminar”, Otis Parsons Los Angeles, Department of Fine Art

Cindy Bernard - 18 –
LECTURES (continued)
1988 Panelist, “Post-Radical Abstraction,” Art Center College of Art & Design, Pasadena

TEACHING
2021 Artist Lecture, The Mountain School, Los Angeles
2019 Visiting Faculty Department of Fine Art, Otis College of Design, Spring Semester (Undergrad) Visiting Faculty, Department of Studio Art, California State University, Los Angeles, Fall Semester
2018 Visiting Faculty, Department of Studio Art, California State University, Los Angeles, Spring Semester (Grad), Fall Semester (Undergrad)
2017 Visiting Faculty Department of Fine Art, Otis College of Design, Fall Semester (Undergrad) Visiting Faculty, Department of Studio Art, California State University, Los Angeles, Spring Semester (Grad), Fall Semester (Undergrad)
Adjunct Professor, Graduate Fine Art, Art Center College of Art and Design (since 1999) 2015 Visiting Faculty, Department of Fine Art, University of California, Los Angeles, Spring Quarter 2013 Ruffin Distinguished Artist-In-Residence, University of Virginia (academic year 2013/14z) 2012 Visiting Faculty, Department of Fine Art, University of California, Los Angeles 2009 Visiting Artist, Luckman Project, California State University, Los Angeles, Spring quarter 2007 Visiting Faculty, University of California, Riverside 2006 Visiting Faculty, Department of Visual Art, University of California, San Diego, Winter Quarter
2005 Visiting Faculty, Department of Visual Art, University of California, San Diego, Winter Quarter 2004 Visiting Faculty, Department of Art Practice and Theory, Northwestern University, Evanston, Winter Quarter
Visiting Faculty, University of Nevada, Las Vegas, Spring 2003 Visiting Faculty, Department of Visual Art, University of California, San Diego, Spring Quarter 2002 Visiting Faculty, Department of Visual Art, University of California, San Diego, Fall Quarter 2001 Visiting Faculty, Departments of Art (Photo) and Integrated Media, California Institute of the Arts, Spring Semest
Visiting Faculty, Department of Fine Art, University of California, Los Angeles, Fall Quarter 2000 Visiting Faculty, Loyola Marymount University
Visiting Faculty, Department of Fine Art, University of California, Los Angeles, Fall Quarter 1999 Visiting Faculty, Loyola Marymount University
1999 Visiting Faculty, Department of Studio Art, University of California, Irvine, Winter Quarter, Spring Quarter
1998 Visiting Faculty, Department of Studio Art, University of California, Irvine, Fall Quarter Visiting Faculty r, Department of Fine Art, University of California, Los Angeles, Winter Quarter Adjunct Faculty, School of Fine Art, University of Southern California 1997 Adjunct Faculty, School of Fine Art, University of Southern California Senior Lecturer, Otis College of Art and Design, Fall Semester 1996 Lecturer, Graduate Advisor, Dept. of Fine Art, University of California, Los Angeles, Fall Quarter Adjunct Faculty, School of Fine Art, University of Southern California Lecturer, Dept. of Art Studio, University of California, Santa Barbara, Winter Quarter 1991 Lecturer, Art Center College of Art & Design, Pasadena, Department of Fine Art/Photography, Spring Term

Cindy Bernard - 19 –

PROFESSIONAL ORGANIZATIONS AND NON-PROFITS
2002 - 2022 The Society for the Activation of Social Space through Art and Sound (SASSAS) Founding Director
2012 – 2017 Faculty Council, Art Center College, Pasadena 2012 – 2016 Artist Council, ICA, Los Angeles (was Santa Monica Museum of Art) 2008 MOCA Mobilization, co-founder with Diana Thater (to 2014) 1999 “sound.” concert series, Founder, Director (incorporated as SASSAS in 2002) 1999 College Art Association (to 2007)
1989 Treasurer, Founding Board Member, Coalition for Freedom of Expression, Los Angeles (to 1990)
1987 Board of Advisors, Foundation for Art Resources (FAR), (to 1990) 1985 Treasurer, Board of Directors, Foundation for Art Resources, Los Angeles (to 1987)

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STAFF REPORT
TO: City Council
FROM: City Manager
FOR MEETING: Dec 13 2022
SUBJECT: Selection of Mayor and Mayor Pro Tem.

RECOMMENDATION:

The City Council select the Mayor and Mayor Pro Tem.

ORDER OF PROCEDURE:

Request Staff Report (City Manager Presenting)
Council Questions of Staff
Request Public Comment
Council Discussion
Motion/Second
Discussion of Motion
Call the Question
BACKGROUND:

When the City incorporated in November of 1987, the original City Council developed a selection procedure for the Mayor and Mayor Pro Tem seats that would provide stability to the City Council and allow for orderly succession. The selection procedure adopted by the City Council established that the Councilmembers ascend to the Mayor's seat and the order of succession is determined by the number of votes received in the elections.

Since the Mayor and Mayor Pro Tem change annually, as the Mayor Pro Tem ascends to the Mayor's seat, the individual who received the next highest votes becomes the Mayor Pro Tem. As was indicated earlier, this system allows for an orderly succession of City Councilmembers.

Notwithstanding the abovementioned procedure, the City Council may deviate from tradition as it deems appropriate. Staff recommends that the City Council select the Mayor and Mayor Pro Tem and that the following procedures be used:

1. City Clerk will ask for nominations for the position of Mayor.

2. After one nomination is made, the City Clerk will ask if there are additional nominations.

3. At the conclusion of the nominations, the City Clerk will close the nominations. If only one individual is nominated for the office, the selection can be made by a motion, seconded and followed by a roll call vote. If more than one individual is nominated, the City Clerk will ask if the selection is to be made by voice vote or written ballot. This decision is made by a motion, seconded and followed by a roll call vote.

The same procedure is used for selection of the Mayor Pro Tem. Once the Mayor and Mayor Pro Tem are selected, the meeting is turned over to the newly selected Mayor.

2020 Election Votes Percentage of
Votes
Steven Bilderain 961 100%
Joel Klink 538 52.23% in District 2
ENVIRONMENTAL:

N/A
ALTERNATIVES:

N/A
FISCAL IMPACT:

None.