know this because we've seen x rays that appear to be a confident choice. my father was interested in the evidence of the change, as it evolved. i learned about his values as a painter over time. when i had my first lead in the play the director sent me a but can of roses. i asked him to paint them for me. he explained he didn't paint what others wanted him to paint only what he felt moved to paint. i was disappointed but i understand because of the way he presented it. imagine my surprises when he did

paint them. i suppose because i understood he can't be expected to paint it my roses became an instrument afterward. people knew he loved cigars. he always stored things in the boxes and the dollhouse painting were presented to my daughter in a cigar box that was decorated. he always stored things and in the 70s he painted on cigar box lids. they were only given to fame and close friends. for a man that appreciated the continuum and the history of art

as highly as anyone i've ever met my father valued his own ideas very much. he resisted being a member of this and that movement. this very labeling caused him to explore some variant or new way of looking. although it seems in some way that the bay area became visually tiresome he would be many different individual painter rather than a member of the bay area figure active school. he thought of himself as a pa t

painter. he was a very opinionated man. he was not very good at compromise and i mean that in a positive way as well as the negative sense. he was a combination of judgemental and concerning that was complex. i announced no one night at dinner that was a matter of opinion he said not really (laughter) we once had a conversations about what was nude and naked. i choose a woman who was naked and he pointed out that out she was naked not nude. nude was impressing on the

photograph there was a spifrt. when was the work finished he was very clear on this subject. sometimes those would be released but a bit of doubt remained. my mother kept in the house this picture this was hers my facility was making noises it was unfinished. sometimes he worked on a picture and a became less satisfied and destroyed it. every time my father saw this picture then one christmas the roost beef was out of the oven

he asked my son to take the frame off the picture and cut out a shape in the paper quite small really. right here. painted it the lighter color he wanted it to be it used to be black. so it formed this parallel that's not parallel suddenly it's gone but glued in this the upper left hand quadrant of the work. my son put the frame back together and he never brought it up again and the picture was better. the first time i saw one of the ocean park pictures was quite a shock (laughter) in 1968 my husband and i were

investing my parents and my father wanted to go to the studio. the last work was represental. it was terrifying to me so comprehended what was being there. i'm really referring to the mental, visual vocabulary that is unexpected and unimagined. i was so patient he enjoyed our shock. gradually as we worked and stopped trying to place this work we a began to appreciate is enormously. as - those photos were taken by

my husband. there were certain themes he was taken with the golden section. the smaller is to the larger as the larger is to the sum of the two. some of the symbols like the diagonal quadrants i fascinated him. those are related to clubs. then in the 80s he worked on the more recognized ocean park paintings. this last slide here is a print that he did at crown white press during this time in the 80s.

he worked with captain brown and her team when this was in the basement all the way up until actually, the time he died. he was very comfortable there. it was great and i love - he did a whole series of those clubs. the next slide is an egg an easter egg and if you role it you'll see the spade on the egg. 3 are 3 pictures. a book he showed me was an examination of the various themes. an early work of his marine jacket relates to some of his

drawings of coats in the 60s and to the latter each otherizing that were print in the armenian that was published shortly before he died. some of you may know the yates - the imagine of the coat has to do with approaching death and this was one of the things he worked on. my father painted 3 hundred and 65 days of the year. he was also looking and noticing. recreation was basically uninteresting to him so the ski trips and the trips to hawaii were not a part of our life. i was well traveled because we drove across the country and my father took jobs in colorado and

where we render houses. but he rented the studio daily as usual. he and my mother took several trips to europe to invest friends but even on trips he looked in his particular way and sketched and sometimes painted. i have a hard time with tenss when talking about my father. i continue to find my father very present in my life. i think of my father's work as a series of unlimited spades. there is a sense of order even in emphasis chaotic works that

pleas me on a level. when he died someone i wish i could remember who said he had a sense that my father that entered into the place that is represented in the paintings. his last work is a drawing he gave me on my 30th birthday. i've seen it every morning. very much for your attention. thank you (clapping) i'm happy to answer questions. i'm not sure how much time we have but someone will tell me. yes jim. any questions if the audience.

the music he listened to and the way he - >> the obvious parallel has to do with how he believed in - for president of a - the history of siefgs. so he listened to really, really early music and contemporary music. he listened to everything. he listened to a lot of jazz when he was connected with the art institute and had a lot of good recordings of jazz. he listened to bach and mozart and others. i mean everything. he particularly liked quite spare music he was not

particularly fond of opera. he and i went to the opera but he didn't play in his life. does that answer our question? and a yes >> what did he tell you was the difference between reality and - >> basically, he felt there should be the way i apply it - is that one is very aware of fancy so it's possible to go in and out of it without being in my mind. in his work allowing his

creativity images to be expressed in his paintings await judgment. oh, tables don't look like that or you can't see that because i see that. he was very he's about movie back and forth in that way >> did he express - and a oh, yes, he read books all the time. by that i mean really as much as read but he looked at constantly he had a huge library of books that was the present my mother game for christmas. the trips in europe for example were all scheduled around what museum and what particular pictures. he loved all kinds of artists.

the portraits if you're familiar with those which are very old posters. oh, and later in his life we had a conversations about bill trader who was let's see how would you describe him >> outsider. >> yes outsider. he really liked everything that was really visually complete to him. and so he was not judgemental about what period he was looking at he looked at everything. yes >> would you say he had some

kind of sensitive toward - >> no in fact he was very negative about that. we have in the family varies works of his students none of which look like his that he liked. no, he wouldn't have done that. i i understand from other artists now i was not a painter so take this as a second opinion. but he apparently was a very good teacher that's what i heard. the way he talked about things with other people's work - and i can say that first hand for myself. he wouldn't criticize it if it didn't work he would say so.

this area bothers me or it doesn't quite come together or something like that. i never observed him in the classroom so this is second-hand information but i never heard from anyone that we've had teachers like i had i do it my way or else. he wasn't like that. >> his mother was very busy all the time. she didn't work but she shlt out to lunch and went to parties so she wasn't around much. they had a cook and the cook in order to keep him occupied handed him my grandfather game

cards. and his own imagination became very important because there wasn't anyone else to play with. he grew up in san francisco and it was a relatively simple life. his father worked for the hotel supply company as a designer - he started out as a sweeper at 16 and ended up

. he also loved poetry that he he read a lot and as an only child that's what happens you tend to side things on your own time. of course, no television. he went to the movies every

saturday and watched those action pictures. those were very important to him. i remember cartoons and action pictures were you a part's of his childhood. anybody else >> he was a physicist. we knew they had drawing nights with my parents and another friend of theirs who was a psychiatrist. my parents adored them and when they diet it was a great loss yeah. >> why did he decide to join the marines. he wanted to be a pilot i'm glad

he wasn't. he had terrible allergies and they wouldn't accept him but in the mid of the war he was drafted so he joined the marines. he was in officer candidate school and dropped his didn't think the day he was going to be an officer and was demooted. it was very scandal lose. my parents flew back to see his graduation and see the officer son but he ended up going to monoare a and to hawaii to be trained as a map to draw maps

and he was going to be dropped behind enemy lines and draw what was going on in the interiors of japan. and fortunately the war ended. and the folks who were promoted to officers died in the pacific. yes >> it's small - it's about this big. it was overwhelming given to my mother and when my father died we were allowed to choose a few works and my moth mother allowed me to choose that. i can't describe why i love it. it's hanging in my mothers house.

i don't know there's something that feels comfortable about it just really right. yes. >> (inaudible) he choose performing arts. >> i probably - he did not understand about actresses and musicians. i was a singer as well and he didn't really understand although he liked to go to the theatre and he loved film and music as i said earlier. i don't know why that happened. i know why i stopped drawing in fourth grade i won first prize and it was hung out in the haul for parents night and i heard all those people whispering oh,

she's following in her fathers footsteps and i never drew again. i was in my first play at age 67 it was something i wanted to do. but we were very different. he wasn't particularly as i said comfortable talking to groups like this. when he received his houry degree from ucla the students were all drunk and they give him this award and said oh, lord we have to listen to a long speech and he said thank you very much and sat down and they were 3rd.

anyone else new have i gone on too long? thank you very much for coming good morning, everybody. lots of people know each other here, wonderful. it will be a great day. welcome, everybody, welcome to san francisco. to some of you, welcome to the presidio, welcome to this absolutely gorgeous futures without violence center. i want to start by thanking futures without violence and esther solar for giving us this beautiful space to meet in today. is esther here? i haven't seen her. we'll thank

her later. they made this space available for us. good morning, my name is me linda hague for those of you who don't know me. i was appointed by president obama a little more than two years ago to be united states attorney and it is my incredible honor to represent the president, the obama administration here in the northern district of california. welcome to the stop bullying summit. i'm a federal prosecutor so it may seem odd that here we are talking about bullying and we asked all of you to be here and i want to explain the origin of that and why this happened. you people, everybody in this room, has been involved in this issue and is doing incredible work on this issue and we were so honored to be a part of it and to meet with all of you and to speak with you about it. the origin is that as the united states attorney, the

administration wants me, wants all the united states attorneys, to go out into the community. it's actually a very different role for the united states attorney is envisioned by this administration. this administration, the president, attorney general holder, they want the u.s. attorneys to go out into the attorney to talk to the communities in our district to understand what the issues are and challenges are and to do what we can to help, to convene meetings, to do whatever we can to help on behalf of the administration. and as part of that i welcomed that request that the attorney general made of us and the president made of us and as a result i've gone out into my community and my district goes from the oregon border to monteray, and i've met with all kinds of different people. we have 33 indian tribes in the northern district of california, most people don't know, and i've met with those people. i've met with the muslim community, with the siekh american community, with the lgbq community, with the

human rights commission in san francisco, all kinds of people, and we talk about all kinds of things. we talk about things that are more common to the u.s. attorney. we talk about fraud and identify theft and hate crimes and civil rights issue and there's one thing that comes up in absolutely every conversation that i have had with people in the district, and that was bullying. and it really, it was, it's not surprising to the people in this room, i know. it was not surprising to me but it was troubling to me that in every community that i was meeting with, this was an issue prrp violence, harassment, physical, cyber, social, children on children, this kind of behavior is so disturbing and so troubling and so heartbreaking to so many people. even in this place, even in san francisco, california and northern california, which has

got to be if not the most tolerant place in the country certainly amuck the most tolerance and diverse places in the community, this is what i was hearing out in the community and it's something we wanted to get involved in. and i'm so grateful that as a result of that all of you have agreed to come together to have a conversation about this issue with us included. i can't tell you how much we appreciate it. so thank you very much for being here. as i said, we're grailsd with the presence of everybody who is anybody on this issue. people who have been involved in this issue for a long time who understand it much better than we do, we are here to learn from you and to be part of the discussion. we've got federal, state and local policy makers, elected officials, educators, law enforcement officials and leaders from the private and public sector, all of whom have traveled here from washington, dc from sacramento and all over

the bay area. so thank you for being here today. we are grateful for an opportunity to come together with you to create schools and communities where young people are healthy and safe and feel welcome and they are allowed to learn and they are allowed to thrive. this day is devoted to help all of us deepen our understanding of this issue of the problem through data, through research, through anecdotes, to put real solutions in place, to comply with new state and draw laws on bullying and to measure our progress. it's a promise we want to join you in keeping to our children and our youth in california. some of you know that we started this summit yesterday with a screening of the documentary film, bully, to 3,000 students in san francisco from san francisco's public schools. the superintendent of schools you're going to hear from in a minute, he was there, i know ter theresa