Share your experience with the GALC!

The Graphic Arts Loan Collection (GALC) at the Morrison Library was created in 1958 by Professor Herwin Schaefer, who believed the best way to foster an appreciation of art was for students to live with actual art. With that in mind, we would love to hear about your experience living with your GALC piece.


Stephen Longstreet’s Untitled, Still-Life with Fruit

Untitled, Still-Life with Fruit

By Julia Hedelman

So grateful for this program! GALC provides a wonderful opportunity for students who may be limited for financial reasons or otherwise to make their living space feel more homey and comfortable. The pieces I had during my time at Cal were beautiful and I think it’s a lovely way to showcase art that may otherwise be sitting collecting dust in a basement for no one to enjoy. Hope this program can continue for many years to come! Thank you.


Corita’s h is for my heart & Otto Eglau’s Abstract Floating Landscape

h is for my heart         Abstract Floating Landscape (Abstakte Flotzlandschaft)

By Sarah Vernallis

My mother grew up in the San Fernando valley and remembers being taken to see exhibitions of work by Sister Corita Kent and her students. I remember being taken by my parents to see a documentary about her political art and radical teaching. It was a pleasure, then, to have one of Kent’s prints up in my home for a year, trying to decipher its poetic lines and staring at her penciled signature.


Hannah Ferenback’s Closing Up & Mark Daniells’ Garden Island III

Closing Up        Garden Island III

By Anonymous

The GALC prints that I checked out this year helped provide a burst of color on the walls. They were always a talking point whenever we had company and really made our apartment look classy and put-together. I hung Garden Island III on the wall across from the front door, and it provided a beautiful focal point as soon as we entered the apartment.


Gottfried Honeggar’s Forest Fruit & Herlinde Spahr’s Aeneid 7/12

Forest Fruit (Waldfrucht)       Aeneid 7/12

By Yuen Ho

These gorgeous prints allowed us to bring high quality art into our home. Whether decorating our bedroom or study nook, seeing these prints everyday gave us a jumping point for conversation, reflection, and aesthetic appreciation. Thank you for the opportunity to cultivate a love of art within our humble home.


Sigmund Ables’ Weekend Visitors & John W. Winkler’s Dusk at Fisherman’s Wharf

Weekend Visitors        Dusk at Fisherman\'s Wharf

By Evan Larson

The GALC program added so much to my years at Cal. Each year, my rommates and I enjoyed picking out the pieces of art that we would display in our rooms. Throughout the year, I get to enjoy looking up at a beautiful print. Whenever anyone comes over to visit, the usually make a remark about my GALC print – it’s the centerpiece of the room. I especially liked telling other Cal students about the program and seeing GALC pieces appear on their walls next year.


Wilder Bentley’s Entertainer of Our Armed Hosts & Mario Avati’s La Carpe

Entertainer of Our Armed Hosts        The Carp (La Carpe)

By Julia Sizek

Our dining room has been a wide open canvas in this giant house where I’ve been lucky to live for a year and a half. The room is one of the darkest in the house, a deep red color that the fast food industry would tell you makes you hungry. We would have never picked such a color, but it preceded us: the dining room, like the rest of the house, is owned by our landlords who are reoccupying the house this summer. When we gave our thirty days’ notice in advance of the impending move, I began taking down the prints in our dining room that we had to return to the library. I had borrowed two, as had one of my housemates. Each of them were beautiful, but the one that I spent the most time examining–mostly when I was pretending to write my dissertation, as I am also doing at this very moment–was “La Carpe” (“The Carp”) by Mario Avati. The print depicts a carp, its skeletal structure visible inside its fishy outline. One of the things that always vaguely upset me about the print is that the fish has no real eye, just a blank socket as one would expect in a skeleton. The blank eye circle is mirrored in the background, a horizontally pinstriped sheet with circular blots that look like carefully drawn circles from far away and water stains from close up. It’s fitting that the skeletal carp is surrounded by water circles, and it reminds me of one of the rules that they told us at the moment when they gave us the picture: don’t put it in the bathroom, they said. We agreed, and instead hung a cheap print of “St. Anthony Tempted by the Devil in the Form of a Woman” (Sausetta), a joke of sorts that we intended to leave to unsettle our bathroom users, a way to lighten the darkness of the house and the fact that it would never be ours.


Shiro Ikegawa’s Maru-to-Shima & Kogyo Tsukioka’s Naniwa: The Scholar Onin and the Spirit of Plum Trees

Maru-to-Shima        Naniwa: The Scholar Onin and the Spirit of Plum Trees

By Jonathan Anderson Curley

I love getting to hang out with prints from the GALC. This was my second year knowing about, and using the program. This year I had two prints by Japanese artists: a woodblock print of actors from the 1800’s and an abstract print from the 1970’s. I hung both in my bedroom at home. I like the experience of having artwork temporarily… I think I pay a little more attention to it, knowing we will soon part!