A Short Chronology Of The Artist's Life: RETURN TO ARTIST'S RESUME
1939- Clayton G. Bailey is born in Antigo, Wisconsin .
1958- Clayton and Betty were married, and they used their savings ($600 each) to purchase a 33 foot, 1949 Spartan house trailer. Clayton took a job as a clerk at the Rennebohm Rexall Drug Store #25 near the University of Wisconsin campus in Madison, Wisconsin where he was a pre-pharmacy student.
1959-Several of his cartoons are published in the U.W. humor magazine, "The Octopus". He wins first prize in an Easter Egg decorating contest at the Student Union. Encouraged by these artistic successes, and discouraged by a "D" grade in math, he decides to abandon plans to be a pharmacist, and to seek a career as a cartoonist, sign painter or window trimmer. These are the chores he enjoyed at the drug stores.He can't find any classes on these subjects at the University, and he takes a Pottery class because it is the only art class that is available. He is immediately hooked on clay, and decides to major in ceramics with Harvey Littleton, through whom he is exposed to folk pottery traditions, and to the avant garde in ceramic art. Bernard Leach and Peter Voulkos both present workshops at the University while he is a student. He also studies with Toshiko Takaezu in the summer of 1959, and with Clyde Burt in the summer of 1960. He wants to do unique ceramic works so no one can call him "one of Littleton's followers", and this attitude probably causes him to focus on handbuilding experiments, rather than throwing pots, as most of the other students are doing.
Bailey attempts to sell his ceramics at the Chicago area Street Fairs for three summers beginning in 1959
1960- Inspired by the abstract expressionist work of Peter Voulkos, he begins to make ripped and torn ceramic forms, and begins a series of unique "pinch pots". He meets Alex Jordan, builder of the "House on the Rock". Jordan gives him his first ceramic show at the House on the Rock in Dodgeville, Wisconsin.
He sets-up a temporary pottery shop at Lake Arbutus, Wisconsin, and secretly throws pit fired pottery shards into the lake for future archaeologists to discover.
1961- Bailey and Jim (Gritty) Grittner are students and friends in the U.W. Ceramic Shop. They often go to the Rathskeller at the Student Union to "smoke cigars and talk big" with friends and instructors. After smoking a few 5 cent William Penn cigars, they decide to open a gallery, called Shop 5 near the campus with one of their instructors, Richard Mazur. They exhibit their own work, and that of other local artists, students, and faculty from the University; and they feature exhibits of ceramics, drawings, paintings and prints. Bailey's brother, Earl, who is an accounting student at the University, lives upstairs, and tends shop in exchange for his rent. Shop 5 closes a year later when the partners go on to other things. Grittner recalls; "We sold our pots to pay the rent. In the end, we had no pots and no money."
Bailey receives a B.S. Degree in Art Education in January 1961, and continues in the Graduate Program. Littleton hires him as studio technician, and instructor of a beginning pottery class.
1962- Bailey receives an M.S. Degree in Art and Art Education. He attends the Toledo Museum of Art Glassblowing Seminars as a scholarship student and technical assistant to Littleton. He and Betty sell the Spartan house trailer, and move their family to an apartment near Verona, Wisconsin, where he becomes the first employee of Littleton's Paoli Clay Company. Bailey operates the clay mixer which is located in the old milking parlor of Littleton's unheated barn. A thick layer of cow manure is firmly frozen onto the floor. Bailey mixes and bags the clay, and delivers it to local schools and colleges.
During the summer of 1962, Mabel Curtis of the People's Art Center in St. Louis calls Littleton, asking him to recommend someone to teach ceramics classes at $4,800./ year.He recommends Bailey for the job.
He begins teaching at the People's Art Center in Saint Louis in September 1962. His students in ceramics are children aged 4 to 18 years old, and adults of all ages; and his classes meet six days of the week. His most famous students are Michael and Leon Spinks, who are 7 and 9 years old at the time. His studio at the Art Center only has electric kilns, so he is forced to use low-fire glazes on his work. The St. Louis Post Dispatch calls his works "tasteless and obscene". He teaches a ceramic sculpture class at the school of Architecture at Washington University, and there he meets H.C. Westermann who is also a guest artist. Bailey wants to continue salt firing in St. Louis, so he builds a 5 cubic foot, brick and mud, diesel-fired salt kiln in the middle stall of the 3 car garage behind his home in University City, MO. The garage is surrounded by 4 story apartment buildings. When he lights the kiln the first time, it roars like a jet engine, and the smell of unburned diesel fuel permeates the neighborhood. Within minutes, the police arrive and force him to shut-off the kiln. The unused salt kiln still occupies a parking space in the garage when Bailey leaves St. Louis a year later.
1963- Bailey teaches at the University of Iowa during the summer. Iowa has large salt kilns, so he makes the largest of his salt-fired pieces during this period. Among his beginning students is Fritz Dreisbach who claims that Bailey started him on his glassblowing career by telling him he had "no talent in ceramics".
He receives a Louis Comfort Tiffany Grant, and an American Crafts Council Research Grant to support his work with salt glazes.
He builds a glass furnace and annealing oven in his garage on Clay Street, and blows steam bubbles with a wet stick. (Marvin Lipofsky says that Bailey is the first studio glassblower to blow glass from a tank furnace without using a blow pipe. Bailey abandons glassblowing, and fixes his attention on ceramics.)
Hired as artist in residence at Whitewater State University, in Wisconsin, Bailey sets-up a ceramic studio for himself and the students, and teaches a beginning ceramics class. The ceramic studio starts out as a room in the basement of the Old Main building. The carpenters build shelving, Bailey orders clay, builds two electric kilns, and a ceramic studio is born. The janitors soon object to the dust and mud in the ceramics shop, so they lock the doors leading to the upper floors of the building. Within 3 years, the ceramics studio has taken over all the rooms in the basement of Old Main, and a new building is being planned. Bailey's personal studio is a hallway 6 feet wide and 40 feet long.
The slogan, "Think Ugly" is painted on the wall of the ceramic shop by one of Bailey's students as a rationalization for the ugly sculptures they are making. Bailey notes that "beauty" is an attribute of the familiar and the comfortable. The artist, he claims, should seek to discover the new and unusual, and should not strive for beauty.
Bailey meets Wayne Taylor, (Robert Arneson's former classmate at Mills College), and is inspired by Taylor's brightly glazed Slot machines. Bailey goes to New York City for the opening of his Critters show at the Museum of Contemporary Crafts, and he also sees Arneson's Toilet show at the Alan Stone Gallery. Resolving to do more colorful ceramics, he begins a series of painted clay, Nitepots, Urinals, and First Aid Boxes.
1964- Warren MacKenzie invites Bailey to be a panelist at the College Art Conference. The panel topic, "Whither the Pot?" sends Bailey in search of the "far out" in American ceramics. He writes to Arneson, Jim Melchert, Brother Bruno, Michael Frimkess, David Gilhooly, Chris Unterseher, Steve Kaltenbach, Peter VandenBerge, and others, to collect slides of their work for his lecture about the new and unusual in American ceramics. He calls his correspondence with these California artists his first "mail-art" project as he makes acquaintances and exchanges slides. These connections lead to his appointment as a visiting artist at U.C. Davis in 1967, and to his decision to move to Northern California in 1968.
1965-Bernard Pyron calls Bailey "The Grand Guignol of Ceramics". Bailey begins making latex rubber masks, and Inflatable Rubber Grubs in an attempt to create lightweight, unbreakable sculptures that can be cheaply shipped to Museums and Galleries. Bailey invents the inflatable Whoopie Necktie and the Repeating Whoopie Cushion.
1966- The Milwaukee Art Center purchases a Dead Critter for its permanent collection. His exhibit of inflatable sculptures at the Beloit Art Center keeps the janitors busy re-inflating the Rubber Grub Sculptures each day.
1967- One of Bailey's colleagues at Whitewater is Francis Coelho, an art educator with revolutionary ideas. The President of the University of South Dakota asks Coehlo to organize a new art department and curriculum based upon his non-structured "Challenge System". In the Challenge System, students work in any studio area they wish, and "challenge" for art courses and credits when they feel they have earned them. Coelho chooses five new artist-teachers for his new department. Bailey and his colleague, the painter, Gary Bower join Coelho at U.S.D., along with 20 of their top students, who are offered scholarships to study at the University of South Dakota. Another new faculty member at U.S.D is the "light artist", Boyd Mefferd, and because of him, Bailey again becomes interested in using electricity to create light and movement in his work. Bailey makes electric Jumping Machines and Shocking Machines from hardware store items.
Bailey teaches at the University of California- Davis, during the winter of 1967 when Robert Arneson takes a leave of absence, and hires him as a temporary replacement. This brings Bailey to the San Francisco Bay Area where he meets Roy deForest, Richard Artschwager, David and Maija Zack, Chris Unterseher, David Gilhooly and other California artists. He shows his work at the Candy Store Gallery in Folsom, CA. beginning in the winter of 1968. The Sunday afternoon openings at the Candy Store are a meeting place for the Funk artists from the San Francisco, Davis and Sacramento areas. Bailey resolves to bring some of them to the University of South Dakota for a workshop when he returns in the spring.
1968-The Funk Art Festival is organized by Bailey and Coelho at U.S.D., Vermillion. California artists Roy DeForest, David Gilhooly, David and Maija Zack are the invited guests. The students of the U.S.D. Art Department are well-prepared for the event. They make flights of ceramic police helicopters and rows of gaudy ceramic cowboy boots which await the Funk Artists from the West Coast. Upon their arrival,Maija Zack supervises the painting of the University armored car with psychedelic beasts, and together the artists produce a 2 hour T.V. interview and performance in which they discuss the stuffed animals borrowed from the University's natural history collection. The mangy menagerie includes an alligator, a wild pig, a giraffe head with its entire neck, and numerous tropical birds. The artists talk to the stuffed animals, and create a dust cloud, while moderator Coelho's serious dialogue demonstrates the irrationality of logical thought.
Coelho's non-structured art department is very successful, but it is too revolutionary for the University, and Coelho is fired. The University President Moulton, who hired Coelho and defended his program is fired the following year. The rest of the art faculty are asked to stay, but most of them leave U.S.D. to pursue other interests when Coelho leaves. Boyd Mefferd, John Torreano and Gary Bower go to New York. Coelho goes to San Francisco to become the Chairman of the Art Department at San Francisco State University. Bailey teaches Ceramics at the University of Southern California, Los Angeles, during the summer of 1968.
Bailey and his family decide to seek their fortune in the San Francisco Area. Because of Roy DeForest, they settle in Crockett on the Carquinez Strait. Crockett reminds them of a quiet, midwestern town, and it is centrally located within commuting distance to several Colleges and Universities. They improvise a live-in studio in the vacant Dairyville Cafe.
In September 1968, Bailey makes a list of Colleges, and Universities within 60 miles of his studio in Crockett. He updates his resume, dusts off his slide portfolio, and goes to the first school on the list- Cal State- Hayward for an unscheduled appearance. He happens to arrive at Cal State- Hayward during the week of registration, and there is a waiting list of students who want to take a beginning ceramics class. The art department chairman, Joe Pugliese, offers Bailey the extra class; and this part-time employment continues until Bailey is given a tenure track appointment in the department starting in 1970.
He meets "Trader Jack" Ford, who makes drawings and prints inspired by his many collections. Ford introduces Bailey to the Alameda Flea Market, and to the joy of collecting. Two of Bailey's students, Willie Leighton and Bill Hanlon, inspire him to collect toys. The first toy in his collection is a battery operated Frankenstein monster that was a gift from his mother-in-law, Hazel Graveen years earlier. Frankenstein lurches menacingly for a few moments, then his pants drop to the ground, and he looks down at his candy-striped shorts and blushes. During the next decades, this toy collection will grow to many hundreds of battery operated space and robot toys.
A feature article about Bailey, written by Gary Bower, appears in Craft Horizons Magazine.
The Museum of Contemporary Crafts purchases a set of his Nose Cups.
1969-Bailey builds a Tesla coil with a six foot spark. He discovers the principle of Infra Heat, and makes a kiln for demonstrating Bare Hands Raku. Bailey begins a series of Pinkware Monster Lamps, and a series of Burping Bowls, Burping Busts, Wall Gargoyles and Dribbling Gargoyle Fountains for the windows of the Dairyville Cafe.
He is a featured ceramic artist, along with Peter Voulkos, Toshiko Takaezu, and Paul Soldner, in the ABC-TV prime time special; "With These Hands; The American Craftsman", sponsored by the S.C. Johnson Co.
He becomes an ordained minister of the Universal Life Church in 1969, and forms The First Psychoceramic Church with headquarters in the Dairyville Cafe in Crockett. The purpose of his church is disseminating crackpot ideas (and occasionally performing marriage ceremonies.)
Roy DeForest coins the term "Nut Art", saying that "it has to do with phantasmagoric ideas and fantasies. In every human being there exists this area of fantasy. When you create something like that, it brings out the nut in everybody, basically because it is meaningless and pointless." David Zack writes extensively about California Nut Artists in the late 1960's and the 1970's; creating myths about this group of artists.
Bailey and friends often meet at the Dairyville Cafe or at the Rainbow House in San Francisco where they smoke sculptured pipes and talk about fictitous Nut Artists whos' work satirizes the efforts of successful conceptual and minimalist artists. William Twigg, and Jasper Lemming are created by Harold Schlotzhauer, and Ralph "Doggie" Dinsmore by Roy DeForest. Bailey creates Dr. Gladstone, a nut artist/scientist about whom he can tell stories. In a letter sent to several museum directors, Gladstone falsely claims that the artist Robert Cumming is a fictional character invented by Twigg, Lemming and himself. He claims that Cumming was fabricated as a fictitions entity through whom they might enter exhibits, create unique social circumstances, and act as a buffer against legal action.
1970- Bailey moves to a studio in rural Port Costa, California, and makes several collaborative Dog Lamps with his neighbor, Roy deForest.
Kurt Bailey, writes an article, "My Father is a Sculptor", for Jack and Jill Magazine.
1971- Dr. Gladstone discovers a Bigfoot Skeleton in a mud slide near Port Costa. With Lowell Darling, he makes a TV documentary about the discovery. Utilizing the principle of Kaolism, he begins to collect skeletons of mythical animals, and to create a backyard museum of kaolithic wonders. He begins lecturing about the Kaolithic Wonders of the World that are found by Dr. Gladstone. He makes the sculpture of the Demented Pinhead, and calls it a portrait of Dr. Gladstone.
Newsweek Magazine calls his work "Crock Art".
1972- California State University-Hayward is the site of a major exhibit of "Nut Art". Co-curated by Bailey and the Gallery Director, Irene Keil, the exhibit brings together the work of more than 18 artists, and a catalog is produced. The Nut artists include: Robert Arneson, Clayton Bailey, Victor Cicansky, Robert Cumming, Lowell Darling, Roy DeForest, Jack Ford, David Gilhooly, Dr. Gladstone, Jerry Gooch, Peter Saul, Harold Schlotzhauer, Richard Shaw, Irv Tepper, Chris Unterseher, Peter VandenBerge, Franklin Williams, Maija Zack and David Zack. 1973- The "Kaolithic Wonders of the World" are shown at the Richmond Art Center, CA. Curated by Dr. Gladstone, the exhibit is a collaborative effort with Al Tratnyek of I.C.A.S., (Independent Ceramic Archaeological Society) of San Diego. Dr. Gladstone invents the Kaolithic Bone Detector which he calls "Findicus Wishbonus", and he continues development of his backyard museum; accepting donated specimens from around the world. Bailey starts a series of sculptures depicting scenes from the Mad Dr.'s Laboratory, and publishes a paper on Internal Combustion Ceramics, in which clay and dung are mixed, and then ignited.
1974- He collaborates with Peter Saul, and they complete two works: Mad Dr's Experiment and Cannibal Feast. He makes ceramic Blobs and Meat for the Mad Dr.'s Laboratory which is shown at the Leslie Wenger Gallery in San Francisco. This exhibit is given an award by City Magazine; as one of the outstanding San Francisco art events of the year. Two others on the "Top Ten List" are retrospective exhibitions of the work of Robert Arneson, and Roy deForest at the San Francisco Museum of Modern Art. The Candy Store stops selling his work because Adeliza McHugh, the "Godmother of Nut Art", cannot sleep when Bailey's new creatures are in the house.
1975-Bailey builds Science Machines. Dr. Gladstone's Wonders of the World are exhibited at the M.H. deYoung Museum, and the Catalog of Kaolithic Curiosities is published. Clayton is nominated for a Piltdown Award. He demonstrates Psychic Ceramics at the "Super Mud Conference" at Niagara Falls, NY. He begins a Studebaker automobile collection with a 1948 Champion Business Coupe (The collection will eventually number 15 Studebakers). Bailey is a long time admirer of the work of Basil Wolverton, a cartoonist who came to fame in the 1940's and 1950's for his "preposterous portraits of peculiar people". Bailey's favorite "Wolvertoon" is Lena the Hyena, Lower Slobbovia's ugliest woman. It became Wolverton's most famous drawing, when it won the title; "ugliest woman in Lower Slobbovia" in the Li'l Abner comic strips of 1948. In 1975, Bailey goes to the "Realistic Tattoo" studio of Don Ed Hardy in San Francisco, and has Lena the Hyena tattooed on the inside of his left bicep.
1976- The Wonders of the World Museum opens in Downtown Port Costa, CA. Bailey builds a robot costume; ON/OFF the Wonder Robot, to lure tourists into the museum. Dr. Gladstone is nominated for a Nobel Prize in Physics for his discovery of Kaolism, and his work is featured in a special edition of the Unnatural Enquirer. Bailey makes a group of realistic Giant Bugs for the Museum,and claims that they came from Juanita's Restaurant downstairs. He makes Electro-Medical Devices, which receive a Citation from the Universal College of Electrotherapy, in Minneapolis.
1977- Bailey is elected to the Port Costa Town Council. He invites Lowell Darling from The Center of World Problems, to perform acupuncture on the Town's troubled sewage treatment system. Clayton builds a racing car, The Bone of Contention, for the San Francisco Museum of Modern Art Soap Box Derby. He is chased down the racetrack by a large dog. Bailey and ON/OFF the Robot, and his son, Kurt, begin a Rent-A-Robot service in the San Francisco Bay area.
1978- The Wonders of the World Museum closes in Downtown Port Costa after 2 1/2 years in business, and returns to Bailey's back yard.
S. Clay Wilson draws a portrait of Lena the Hyena's boyfriend to be tattooed on Bailey's right bicep. In exchange for his new tattoo, Bailey makes a Realistic Tattoo Machine and Tattoo Remover for Don Ed Hardy. The machine has a vibrating needle which draws on the skin with a ballpoint pen. This allows Hardy to pretend to make a mistake, or tattoo something outrageous on his victim and later, to remove it with soap and water. The tattoo remover is a revolving wire brush that removes unwanted tattoos. It has a hidden bladder that allows Hardy to splatter "blood" on his victim while pretending to remove their skin with the wire brush.
With collaborator, Jack Dollhausen, they demonstrate "The Compression Strength of Classical and Modern Ceramics" at NCECA.
ON/OFF the Wonder Robot stars in the film "Troubled Zone", produced by Dana Atchley and Willie Walker.
1979- Bailey receives a National Endowment for the Arts Craftsmen's Fellowship. He designs and begins producing the slip-cast Robot Teapot. He makes Giant Foetus, and an Incubator for Alien Foetus, and begins making life-size metal robot sculptures out of found objects. He demonstrates how to do Bare-Hands Raku at NCECA.
1980-Bailey teaches a two week course: "Clay from Molds" at the Kohler Company Factory where he designs a combination toilet-teapot. He continues experimenting with his Trick Cup designs, and continues to make metal Robot Sculptures.
1981- The Robot Sculptures are shown at the Triton Museum, and The Robot Builder's Manual is published. The robots are featured in an exhibition at the Pacific Science Center in Seattle, and they travel to exhibitions in Japan, Germany, and Brazil.
1982- Bailey receives an Honorary Fellowship Award from N.C.E.C.A. for his contributions to education in the ceramic arts. The Wonders of the World are shown at the San Diego Natural History Museum. Dr. Gladstone finds a Sea Serpent at Daytona Beach, FL. ON/OFF the Robot demonstrates "The Role of the Robot in the Artist's Studio", at the International Sculpture Conference at Oakland, CA. With Misch Kohn's help, Bailey makes the Robug Etching for the Cal State-Hayward Print Portfolio.
1983- ON/OFF the Wonder Robot and Sweetheart, his girlfriend, are invited to attend a Rendezvous With Robots at the Lawrence Hall of Science at the University of California, Berkeley, where they meet Nobel Laureate, Glenn Seaborg. Sweetheart, also known as Marilyn Monrobot, the world's most beautiful robot, is ejected from the show because of her large breasts. This results in an international media circus about the robot's rights to have breasts.
1984- Bailey is appointed Chairman of the Art Department at California State, Hayward. He serves in this capacity for three years.
A Robot Calendar, "Metal Menagerie", is published by Landmark Calendars. Inc.
Bailey is awarded U.S. Patent #4440390 for a Novelty Cup for Forcibly Ejecting Liquid into the Drinker's Face (A squirt cup)
He builds a Coin Operated Electric Chair which causes a large controversy when shown at the Triton Museum.
1985- Bailey works with the artists from the Creative Growth Studio in Oakland, CA. on a figurative sculpture project. While making a portrait of himself as a devil, he develops the concept of Psychic Immunization, and builds the first Fight Satan device. He also begins working on a Donation Collecting Robot for the Exploratorium in San Francisco. ON/OFF And his Robot Friends star in Playboy TV feature: "Erotic Robots". Sylvester Stallone and Bridgette Nielsen discover the Robot Sculptures at the Henry Gallery in Seattle, and give them a role in their film, "Cobra". (Cannon Films)- 1985
1986- Bailey imagines himself to be in the 15th Century, and he builds Leonardo's X-Ray Machine. and the Crime Fighting Device, using the principle of psychic immunization.
1987- Bailey is commissioned to design a porcelain $16.00 Bill for the pavement of the 16th Street Station of the Sacramento Light Rail system. He joins the Crockett / Carquinez Volunteer Fire Department, and is a firefighter at Station #77 in Port Costa. He collaborates with Greg Mac Gregor to launch The First Artist in Space. Mac Gregor attempts to send Bailey and his rocket ship into space with a gunpowder charge. He begins a series of Skinhead Jugs, and Demon Dogs, and experiments with Tobacco Spit glaze. He begins making Raku Geyser Bottles, and organizes contests with students at Cal State, Hayward, to see which geyser bottle can blow off the most steam.
1988- Returning his mind to the 15th century, Bailey makes his second version of the coin- operated sculpture, Fight Satan, and builds a Claytonium Ray-O-Scope, inspired by apparatus seen in one of Brueghel's drawings.
1989- He works on a series of Alchemist Stills and medieval Laboratory Apparatus. He makes 50 gallon Snake Oil Bottles. He is a co-organizer with Greg MacGregor, of the media event,The Crockett Rocket, a speed trial of the world's first rocket powered bicycle.
1990- Bailey continues his medieval Laboratory Apparatus, and makes Ray Jugs and a Solar Pyrograph. He organizes a Geyser Bottle Demonstration for the California Conference for Education in the Ceramic Arts (CCACA) at Davis, CA.
He is a panelist for the California Arts Commission Fellowship Program.
1991- He invents the Pyrosphere which keeps a daily record of the sunshine in his yard by burning a plank of wood. He creates giant jugs of Unobtainium, Claytonium and Mustache Oil. Bailey's mustache is measured during the annual Bull Valley Festival. Tip to tip, it measures twenty four inches. He keeps a fifty gallon jug of Mustache Oil in his studio, and has a collection of mustache hairs lost during washing and waxing, planning to make a mattress out of them some day.
Bailey was ordained as a Minister of the Universal Life Church in 1968, and as a sideline, he has performed numerous marriages since that date. To make these marriages permanently successful he creates the golden Bone of Contentment. Prior to the marriage ceremony, a large gilded ceramic wishbone is made with the bride and grooms' names imprinted on its sides, and a lock of hair from each is sealed inside. This Bone of Contentment is presented to the bride and groom during the wedding ceremony.
1991- He organizes 2nd Annual Geyser Bottle Demonstration for CCACA in Davis, CA.
1992- He makes large group of Jugheads, and Demon Dogs. He organizes 3rd Annual Geyser Bottle Demonstration for the CCACA, in Davis, CA.
1993- He begins working with Hyperthermic clay experiments.
1996- Clayton Bailey is a guest "fan" in Beavis and Butthead Comics #27
1997- Bailey begins making functional metal Space Guns: Pop Guns, and Potato Guns
1998- www.Claytonbailey.com is founded
2004- Clayton Bailey's portrait is painted by Deladier T. Almeida.
2008- Click here to visit Clayton Bailey's workshop. See and hear him talk about his work. Your visit includes a 360 degree panorama of his studio; courtesy of the Tech Museum of San Jose, CA.
2011-Artist's 50 Year Retrospctive Exhibition: "Clayton Bailey's World of Wonders", at the Crocker Art Museum in Sacramento, CA (Catalog)
2013- The Bailey Art Museum is established in Crockett, CA, showing the ceramic and metal work of Clayton G. Bailey, and the drawings of Betty Bailey. May 4, 2013
2014- Bailey Art Museum is named "Sight of the Week" by Roadside America- December 2014
2017- Documentary film, "INDISPUTABLE TRUTH" is completed ... a 45 minute documentary of the srtist's life produced by Mike Walz.
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