James Deitz, an art lecturer at CSU Stanislaus, has been involved in the art industry for over forty years and has been helping students expand their artistic palette, knowledge and craft. But how did his story begin?

Deitz began attending the University of North Dakota in 1980 for his undergraduate degree in engineering.

After being prompted to take a general education class by an academic advisor, Deitz signed up for a drawing class, where he came across a newfound passion.

Despite not having a background in drawing, Deitz found that he was good at organizing three-dimensional objects and recreating them two-dimensionally. Not long afterwards, he explored another medium by enrolling in a painting class.

“So from there I took painting, a natural progression. And then I started to figure out light,” he said. “Light is important. And once I had taken the second semester, I dropped out of my original major into art and I have never left.”

Deitz ultimately decided to shift majors in 1982 to pursue a Bachelor of Fine Arts in Drawing and Painting. After graduating in 1984, he applied to graduate school, continuing to expand his artistic palette.

Deitz was accepted to the University of Washington and began working towards earning his Master of Fine Arts in Drawing and Painting degree in the fall of 1984.

During his time in grad school, Deitz had the opportunity to work with ‘big gun’ artists, including: Nora Lundin, Jacob Lawrence, Francis Celentano and Michael Spafford.

After graduating from the University of Washington in 1986, Deitz was set on continuing forging his own artistic career.

“I started looking around. I realized Seattle is what was blowing up right now, so I stayed.” Deitz said. “I had a graduate degree from a very good school, but I didn’t want to teach right away. I wanted to be an artist and see if I could cut it – kind of sort of make it.”

Deitz continued, noting the vibrant culture of the Seattle scene during his time living there.

“I learned that early in Seattle, when, with the musicians and the painters – in the late 80s and early 90s, there was a group of us who just fed off of each other. Seeing other people’s works and critiques is really good, and talking about it is a really good way of realizing that you don’t have to reinvent the wheel,” he said.

Deitz began applying to different art galleries across the city and was accepted to the King County Arts Commission as well as the Seattle Arts Commission.

In 1991, he applied to show his artwork at the Bumbershoot Music Festival, a large arts and music festival hosted in Seattle. He was accepted to display his work, and while watching a local band, The Seattle Art Museum purchased one of his pieces.

Not long thereafter, Deitz was contacted by Francine Seders, a prominent art gallerist in Seattle, and was asked to see his artwork in person.

“Her and one of her assistants came to my studio and looked at the work, and after about 45 uncomfortable moments, she just turned and patted me on the shoulder and said ‘You’re in’. I spent 25 years with her until she closed her doors,” he said.

After having more art shows in Seattle as well as being involved in the trades, and having his family, Deitz decided to settle down and began applying to varying positions.

He was then contacted by the former art department chair, Gordon Senior, inviting Deitz to come to CSU Stanislaus for a semester as a visiting artist.

“We came down for a semester and then they gave me another semester to back it up. When that ran out, we went back to Seattle and I went back to work,” he said, “Then he called again a year later and said ‘We want you to come back, more or less full time visiting lecturer.’”

Deitz notes that he was grateful for having previous experience of visiting Stan State and interacting with the students, noting the campus culture.

“Fortunately, I had had the experience here before because what I really liked was, I liked the students a lot.” Deitz said. “The students here are extremely decent to each other. They’re caring, they’re friendly, they’re like any other students. They’re just as engaging. They treat each other right… That’s not always the case. So we came back and we’ve been here ever since.”

When it comes to the arts, Deitz has a few critical points of advice for fellow artists.

One of those pieces of guidance is remaining consistent in creating artwork and not relying on motivation or inspiration as fuel for creating.

“Go to the studio. It really is that simple. When I have music majors or art or business majors or whatever – it’s go to work,” Deitz said. “Have a regular routine. Do it every day, if possible… I couldn’t wait to get off work to get downtown, to get to my studio, and then I would be there until 12:00 or 1:00 in the morning and then go home and go to bed and get up and go to work and then do that day after day, year after year.”

Another critical piece of advice Deitz offers to students creating art is to memorize and master the basic elements and principles of design – as these components are significant throughout the artistic process.

“If you have the basics figured out, that is actually your freedom. If you’re always locking those down, that gives your mind the opportunity to go someplace else.” Deitz said. “You’re not correcting mistakes, you’re just intuitively figuring it out as you go, and if something’s awkward, you see it. But if you don’t lock those basics down and make them an intricate part of what you’re doing, then things begin to fall apart.”