Another controversy arose when Jackson and Ellamarie Woolley were asked to produce a twenty-seven foot mural for the new courthouse, then under construction. It was to be an enameled copper panel depicting three stylized figures representing Justice, Defense, and Prosecution. When the design was made public, it was announced that members of the bar, the municipal judges and the art community approved it. The County Supervisor Austin DeGraft was publicly reported as being against it, an opinion that the general public shared, as evidenced by many letters-to-the-editor in the local press. The $10,000 commission was never executed.

     In the Guild minutes written on December 14, 1961 the Board discussed the Spanish Village relationship.
     "Studio 31 Spanish Village--Shall we re-organize staffing procedure or shall we drop the studio? It was noted that Studio 31 provides a link between Spanish Village and the Art Guild. Members discussed the problem. Denny Davis volunteered to operate Studio 31 during December."
     During the next meeting on January 11, 1962 the minutes read:
     "A motion was passed that we remove our responsibilities with Studio 31 in the Spanish Village."

     From February 2-25, 1962 the Fine Arts Gallery held a memorial exhibition for Dan Dickey. One of his paintings, "By the Sea", was also purchased for the museum collection.
     Published in the Guild Bulletin in March 1962, Paul Lingren, President, stated in his special message concerning the relationship between the Guild and the Fine Arts Society:
     "The Guild had a closer association with the Fine Arts Gallery, operated by the Fine Arts Society, than is the case in most cities. I refer not only to the association relative to exhibitions and programs, but also to the responsibility to the society…
     As representative of the Trustees of the Fine Arts Society, The Director of the Gallery has therefore the responsibility of acting to prevent the Guild…. From doing something, which he believes will be detrimental to the best interests of the whole society….
     As long as the members of the Guild are also members of the Fine Arts Society they have a dual responsibility."

     Also in the Bulletin for March 1962:
     "Clarification of Guild Fine Arts Society relationship. Guild President serves on the Fine Arts Society Board of Trustees. Only twice were works of art removed from a Guild Exhibition. Once by Director Reginald Poland and the other by Director Mr. Beach. The Director is obligated to attend Guild Board meetings. Article 1 of the 1960 revised Bylaws states: 'The San Diego Art Guild which is a branch of the Fine Arts Society.'"

     In December 1961 a three-page questionnaire was inserted in the Guild Bulletin and sent to all members. There were about 220 sent out; only 80 had been returned by June 1962. On June 14, the information on these questionnaires was compiled and an analysis was presented to the Guild Board. There were 153 suggestions made. The following are excerpts from the "Analysis of Questionnaires":
     "Twenty-three members volunteered for committee work. A list of their names, addresses and phone numbers is attached.
     Thirty-seven, or almost half of those returning questionnaires, are or have been teachers of art. A list of their names, addresses and phone numbers is attached.
Members listed 88 persons known to have purchase art in San Diego. A list of their names, addresses and phone numbers is attached.
     Although only one-third of the members returned their questionnaires, it is obvious that the information received will be of great help in planning future activities. From the large number of members who want open membership meetings, workshops and tours, it would seem that Guild members are interested in close association with each other through these special projects. Prior to this time, it was maintained that members were too busy and uninterested in special activities of any kind. Just in case the other two-thirds of the members (or those who did not return questionnaires) are still uninterested, it might be wise to begin a program of extra activities gradually and add to it as interest develops.
     The large number of constructive suggestions and the relatively small number of complaints denotes a keen interest in the future of the Guild. Most of the complaints were around the regular shows and the Guild Corner shows, the feeling being expressed that non-objective work has been shown, regardless of quality, and to the exclusion of conservative art, regardless of quality.
     The majority of members did not list any known art collectors. Apparently these members do not sell their work regularly or neglect to keep records if they do. Members should be encouraged to submit names of collectors at any time to Board members or auction committee so that eventually we have a long and valuable list at our disposal.
     If the percentage of members who are teachers (almost one-half) is the same among those who didn't return forms, it is obvious that we must plan meetings and activities with schedules of teachers in mind. Also, the level of education and training of Guild members at large would therefore seem extremely high, seminars and lectures should be of an extremely challenging nature.
     This questionnaire has pointed up the need for two more things, (1) A method of obtaining information on each new member and (2) A method of finding out opinions of the membership at large…
     Apparently many members feel that there is a definite lack of interest in the Art Guild by members of the Fine Arts Society and the San Diego public alike. It seems that a Community Relations committee or Public Relations committee could be set up to function as a liaison in many ways…
     An auxiliary would be a welcome addition to the Guild, however the organization of such a group had been found to be an almost impossible task. Logically, such a group should be formed within the Fine Arts Society, but this is not feasible for two reasons: the present lack of rapport between this group and the Guild, and the attitude that Fine Arts members who would be willing to help us are those whose help is need by the Fine Arts Society and that conflict might develop. Either the enlistment of Fine Arts Society members who have been inactive or the location of interested persons outside the Society is obviously necessary. The list of art collectors might be searched for possible auxiliary members."

     Also presented at the June 1962 meeting was a list of several dozen suggested locations for "Special Shows". These included other art association facilities, universities and colleges, hotels, banks, department stores, and other businesses, theaters, hospitals and libraries, as well as locations in other cities and states, and exchange shows with Yokohama, London, and Edinburgh.
     In 1962 the California South show was again criticized and the one-man juror system was considered responsible.
     Guild member Donald Brewer was the director of the La Jolla Art Center, which went on to become the La Jolla Museum of Contemporary Art.
     Studio 25 in Spanish Village showed more traditional paintings by Guild members whose work was largely omitted from the Fine Arts Gallery show's jurors.
     Throughout the 60's the Guild artists exhibited in various business venues. During the 1960's the Guild held bank accounts in several banks throughout San Diego.

     From June 25 - July 15 of 1962 Russell Forester was given a one-man show.
     Olaf Weighorst was given a one-man show in the gallery in 1962 from July 20 - August 31.

     In July 1962 this article appeared in the local media.
Artists Hit Nudity Law
     "City government is tampering with the free study of local artists in a recently adopted ordinance to control studios where nudes are sketched or photographed, a group of artists charged yesterday.
     And City Mgr. Tom Fletcher admitted that the ordinance may have been a little to strict.
     'We're going to seek amendments to it.' Fletcher told a reporter. 'Maybe we'll confine regulation to photographic studios using nude models, leaving artists out of it.'
     The City Council adopted the new ordinance on July 12, and no one appeared then to speak against it….
Artists Protest Nude Posing Curbs
     Fletcher said Police Chief Wesley Sharp recommended that ordinance to prevent the troubles Sharp said Los Angeles authorities have encountered with studios employing nudes as models.
No Trouble
     'They've had trouble with such places in Los Angeles,' Sharp said yesterday. 'Some of the studios were used as a contact point for prostitutes. A lot of girls who go in for nude posing don't have what you'd consider the highest morals.'
     Sharp said no local studio has been troublesome, but the police had received notice that new studios intended to move in here. The request for the ordinance was the result.
     The ordinance's main points require studios to take out a $100 annual permit fee, and for models to register at the police station. A spokesman for one artists group said the requirement for legitimate models to register at the police station 'was degrading'….
Intent Approved
     While approving the intent of the ordinance, the artists group charged that it was destructive to San Diego as a metropolitan city….
     'When the free study of fine artists of an area is tampered with, the gradual decline of the area occurs… An atmosphere of freedom must be maintained for the literary artist, the visual artist, and the scientist…'"

     Austin F. Kilian, President of the Guild wrote this letter to the Honorable Charles C. Dail, Mayor of San Diego on September 11, 1962 regarding this ordinance:
     "The San Diego Art Guild, under a resolution taken at the recent meeting of the executive board, wished to deplore the conditions in Ordinance 8679, City of San Diego, as they affect artists, art students, and legitimate professional models.
     We appreciate the problems in writing and maintaining laws, particularly those surrounding this rather ancient aesthetic question.
     Artists and models concerned will be very interested in a new revision of this law. The Art Guild, constituted by the artist-members of the Fine Arts Society of San Diego, would like to inquire as to the present state of this ordinance."

     In August 1962, the Guild was invited to show their work on a rotating basis at an architectural firm Deems-Martin Associates and at KPRI FM's new store and gallery called Stereo Fair. From August 15 - September 5, 1962 the Guild held a Watercolor show at the Islandia Hotel lobby juried by Jean Swiggett. From August 25 - September 8, 1962 the Guild held their fifth annual show at Benbough's furniture store co-chaired by Rossie Wade and Dr. Harold Gregor.

     John Baldessari resigned from the Guild in August 1962. (He later rejoined for a very short period in August 1970) In this letter written to his friend, John Clark, he stated some of his reasons:
     "I am answering your letter at length since you have written such a letter to me, although you may have preferred a simple yes or no answer. Please bear in mind that these reasons are my personal ones; I ask nobody to adopt them.
     I have shown in many Guild shows and have served on its board, and arranged the first Calif. South show. I guess then is when the light dawned.
     It occurred to me that no matter how hard I or others worked, things would always remain the same at the FAG. Even a change in directorship wouldn't help, since another of the same type would be appointed (I'm talking about the man's viewpoint, not the man).
     I felt that the FAG gives only lip service to contemporary art, doesn't understand it, and gives little or no support to local artists (where are the one-man shows? where are the acquisitions? where are the grants?). The Guild is of little value to the FAG simply because it serves to keep some artists appeased.
     I admire the record of Rudy Turk however, and his being hired puzzles me. I would guess he was hired for some other qualifications than those I admire.
Do you really want to improve the state of art locally? Why not paint, or work at your particular craft?
     I think the 'brave, free, voice…' will fall on deaf ears, be tabled, or be compromised.
     Shows could be improved by the FAG enlisting some pro-fund raisers, penny-ante efforts don't work. A good juror can be picked by a director with guts, not by a democratic Guild committee. A good show can be accomplished in this way--a no compromise juror (who paints, sculpts, etc.) and sizable prize money.
     I might add that good installation helps and attractive brochures. Why not donate some money to the FAG to buy picture wire without knots in it and a can of putty to fill nail holes.
     Artists should stay in their studios, they make enough sacrifice in loss of income without having to go out and raise money, add glamour, and twist arms.
     You might call my position in regards to the FAG a one man boycott for all it stands for."

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