OTIS COLLEGE OF ART AND DESIGN MAGAZINE 310.665.6800 / OTIS.EDU in this issue: Non-Profit Org U.S. Postage Otis College of Art and Design PAID Spring 2011 No Finish Line 9045 Lincoln Boulevard, , California 90045 Los Angeles, CA Permit No. 427 pg.10 ISSUE 10 - Proving the Power of Art and Artists pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU pg.20 09 14 22 28

A Foundation for the Future

This issue of OMAG highlights the Foundation connected. Through the Foundation Integrated Otis prepares diverse students of Program, a beloved first-year educational Learning course, freshmen work with an art and design to enrich our world VOL.10 IN THIS ISSUE: SPRING 2011 experience that generations of Otis alumni have external, real world “site partner.” The site- through their creativity, their skill, credited for much of their success and penchant partner project focuses on sustainability and and their vision. for lifelong learning. Otis is the only college of the environment, and embodies another Foundation Development art and design on the West Coast that offers a tenet of Foundation: Knowledge carries with Founded in 1918, Otis is L.A.’s first 02 24 full Foundation Year curriculum. The program is it a responsibility to use it mindfully within independent professional school of Makers + Thinkers Mei-Lee and the Art of Legacy also unique in its approach to preparing students the community. visual arts. Otis’ 1200 students pursue for the competitive, fast-paced 21st century while Students share their first-year engagement BFA degrees in advertising design, continuing to honor time-tested fundamentals. within a learning community of 18 peers. architecture/landscape/interiors, College News Alumni Around the World Throughout Foundation, students learn Research shows that students are more creative, digital media, fashion design, graphic 10 26 Do it Now - Think Different: Profit, Chatard in Cannes aesthetic fundamentals, sharpen their visual motivated, and willing to stretch academically design, illustration, interactive product People and the Planet Akashi in Berlin acuity, develop their cultural and information when bonded with a cohort group. At the close design, , photography, Designing for Atheletes and the Planet literacy, begin a connection with the larger of Foundation, Otis students emerge as creative, President Hoi with NEA Chairman Rocco Landesman and James Irvine /new genres, and toy design. Foundation President and CEO, James Canales The Clay’s the Thing community as emerging artists and designers, skilled and collaborative individuals, ready MFA degrees are offered in fine arts, Splendid Entities: 25 Years of Objects by and hone the essential “thinking and making” to continue focused study in the upper levels. graphic design, public practice, and Phyllis Green Class Notes skills required for creative professionals who will Strong friendships with peers and faculty, writing. Otis has trained generations of 28 Dismantled Featured Alumni enjoy career success. The faculty—all of whom combined with the accomplishments of the artists who have been in the vanguard Figuration and Configuration: Alumni Connect are working artists and designers—serve as role past year, give them confidence that, after three of the cultural and entrepreneurial life Donghia Designers in Residence Doin it in Public models. Talented, passionate, and thoughtful more years of intensive and rewarding study, of the city. Nurtured by Los Angeles’ Nader Tehrani and Sharon Johnston Otis in the Art Scene professionals, they are accessible to students they will lead a fulfilling life as art and design forward-thinking spirit, these artists Proving the Power of Art and Artists of Southern California both inside and outside the classroom. professionals and engaged citizens. and designers explore the landscape Only the Beginning: The holistic and forward-looking philosophy An Otis education cultivates students’ capacity of popular culture and the significant Graduate Graphic Design that underlies Foundation is based on educational to reach their full potential. The Foundation Year impact of identity, politics, and A Magnet for Controversy: research. Through courses such as Critical provides the solid first steps on that path. social policy at the intersection of art Kent Twitchell (’77) Analysis and Semiotics, students learn both to and society. question everything and to see that everything is Samuel Hoi, President After the Fall: From Punk From Punk to Pornetration to ‘Let’s Be Facebook Frendz!!

Editor: Margi Reeve, Communications Director Contributors: Rose Brantley, Fashion Design Chair; S.A. Bachman, Graduate Public Front cover: Lauren Barnette (’12), © Otis College of Art and Design Practice faculty member; Scarlet Cheng, Liberal Arts and Sciences faculty member; Co-editor: Sarah Russin, Assistant VP, Institutional Advancement Foundation Form and Space, Publication of material does not necessarily Linda Hudson, Foundation faculty member; Randy Lavender, Interim Provost; Meg “Meaning of Form” project indicate endorsement of the author’s viewpoint Photography: Photography: Kristy Campbell, Lee Salem, Linton, Ben Maltz Gallery Director; Kali Nikitas, Graduate Graphic Design Chair; Katie Back cover: Sarmista Pantham (MFA ’10) by Otis College of Art and Design FPO Artie and Kent Twitchell Phillips, Foundation Chair; Linda Pollari, Architecture/Landscape/Interiors Chair; Rush Otis College of Art and Design detail from Weekend Crafts poster Creative/Design: Mark Caneso (‘04) White, Foundation faculty member; Jackie Wickser, Fashion Design faculty member; Alexandra Pollyea, Media Relations Manager; George Wolfe, freelance writer OMAG 2 section: Feature Otis College of Art and Design Alumni Magazine Spring 2011 3 OMAG The FOUNDATION of MAKERS + THINKERS

In the first semester, students take two drawing courses (Life Drawing, and Drawing and Composition) and I two design courses (Principles of Design, and Form and Space). They spend eighteen hours in these studio classes and nine hours in Liberal Studies classes each week. In the second semester, they continue in Life Drawing or select Creative Practices and Responses. They also choose an elective, which is based on one of the upper-division majors. In addition, students can also select the elective class to travel to Paris where they study French art, history, and culture during spring break. Students’ choices allow for varied experiences; a student who chooses creative practices and the sculpture/new genres elective will have a very different experience than one who continues with the core and takes an advertising design elective. Each choice helps to define a path of personal vision. In the spring, students take their first Integrated Learning (site- based team project) class. Because of the focus on sustainable practices in the professional world, most students work with community environmental groups such as Friends of Ballona Wetlands. In the Foundation year, students learn skill sets that support the informed making 1 I learned things I never thought I’d of art and design, as well as thinking skills have opportunity to, I tried things that for all visual arts. Very basic to the creation of art and design is “construction of Kelly Dawn Hopkins (’13) I never thought I would, and honestly, meaning.” Students learn that each visual I’ve turned into someone I never thought choice they make in constructing their work carries meaning. They ask what their I’d be. I went from being a distant choice means in the context in which it wallflower to being a bold, confident is meant to be seen or used. Why select a certain color? Why choose a jagged rather nutcase. The people I’ve met along the than a curved line? What does the choice way have been incredibly inspiring, of scale imply? unbelievably annoying, simply beautiful, and everything in between. OMAG 4 section: Feature Otis College of Art and Design Alumni Magazine Otis College of Art and Design Alumni Magazine DRAWING + FORM +

COMPOSITION students blend information, SPACE blur boundaries, and expand domains

SEMESTERS CREDITS STUDIO HOURS SEMESTERS CREDITS STUDIO HOURS

Fall X 2.0 Fall X 2.0 6 hrs per week 6 hrs per week Spring X 2.0 Spring X 2.0

In Drawing and Composition, students Form and Space is a uniquely develop the ability to confidently challenging course for many I organize and construct a drawing F students because it focuses on (and drawing-driven painting) in three-dimensional design, or which spatial organization is supreme. They composition in-the-round, a method of visually communicate from a chosen point visual organization that manifests clearly of view and construct the perspective that from all angles and perspectives. This goes with it. By observation of increasingly demands visual sensitivity that counters complex still life set-ups, they develop today’s highly pictorialized experience. the ability to depict the three-dimensional Form and Space introduces students world in roughly three zones: foreground, sequentially to the exciting possibilities middle ground and background. On field of form-making. They investigate primary trips, they sketch and create mixed building blocks of Western form such as media drawings. Media experiences shift cubes, tetrahedra, and polyhedra as a basis from initial graphite line, to charcoal tone, for composition, use negative and positive pastel color, Adobe Ilustrator, and mixed volume interactions to activate forms and media water-based painting. In the final the spaces between them, and develop landscape project, they create a three- relationships between liner, planar, and dimensional illusion of the world through volumetric elements to engage all three in diligently rigorous observational accuracy complex, visually organized, and beautifully synthesized with their own unmistakable constructed compositions. personal mark-making. Students then apply the fabrication, visual organization, and spatial skills gained from early compositions to more individualized and expressive works: connotations of meaning in form result from themes that inform visual and media decision- making, the human body is used as a basis for design in fabrics and fibers, and architectonic scale is achieved by means of modular construction, or multiples. By the end of the 30-week course, students transfer compositional, fabrication, and meaning-making skills to all endeavors of art and design to heighten the visual and expressive quality of their work in any discipline or media. OMAG 6 section: Feature Spring 2011 7 OMAG LIFE PRINCIPLES I went to business school for two years, and of DRAWING DESIGN the entire time I was painting and creating Kyle O’Malley, Foundation things. Then I decided that’s what I wanted: student SEMESTERS CREDITS STUDIO HOURS SEMESTERS CREDITS STUDIO HOURS to do what I love as a career. 2 Fall X 3.0 Fall X 2.0 6 hrs per week 6 hrs per week Spring X 2.0 Spring —

Learning to draw from the human Developing facility in two- figure is at once natural and dimensional design is fundamental to overwhelming. Each successive the study of visual arts. We live in a LDlayer or mark translates the 3d three-dimensional world, so skeleton to the 2d picture plane, and translating that world into reductive two- then the figure is depicted in a system dimensional forms is basic to constructing that indicates perspective and volume. a visual language. Although paint is the Life drawing is based on the principle most-used medium in two- dimensional of structural drawing as students designs, other mediums as well as digital analyze the figure in order to plot visual skills such as Photoshop are introduced. relationships and positions in space. Students learn basic organizing They begin drawing from the inside out— principles based on visual patterning, and starting with the gesture, and considering study and apply symmetries, compositional proportion and scale. As they develop the weightings, rotations and tessellations, drawing, they add muscular structure. as well as value, color, and scale to enhance They gain an understanding that the Otis meaning in their compositions. They system of life drawing is transferable examine line, form and value, and the to any object they wish to record by stylistic attitudes of design. observational drawing. During the first semester, students visit a museum for a lecture on the semiotics of visual construction. In the second semester, Connections through Color and Design, they begin the Integrated Learning sequence, in which they solve problems presented by their community partner. They also participate in an intensive study of color theory and continue developing Photoshop skills. OMAG 8 section: Feature Otis College of Art and Design Alumni Magazine Spring 2011 9 OMAG CREATIVE PHILOSOPHY

PRACTICES + “Aesthetic fundamentals Otis' Foundation Program integrates have not changed, but the RESPONSES critical thinking with aesthetic practice. As Chair Katie Phillips explains, "Aesthetic way we teach them has.” fundamentals have not changed, but SEMESTERS CREDITS STUDIO HOURS the way we teach them has." Foundation faculty members have been working on Fall — the problems associated with teaching 6 hrs per week Spring X 2.0 and learning for many years, and consider education their life’s work. They have developed a research-based first-year curriculum that promotes individual Creative Practices and Responses expression by helping students to move is an individual educational from solving problems posed by instructors C adventure. In this second-semester to defining and solving problems for elective, students respond to two themselves. Students learn to become prompts: the first involves line and the successful students of art and design by development of iterations in the creative critiquing their own work and pursuing a process, the second considers pattern, spirit of investigation. research and project development. The alignment of Foundation and Liberal Students are free to create their own Arts and Sciences leads students to examine projects using any material and process. how meaning is constructed during the They identify and question individual creative process. The program supports assumptions to break out of familiar students in the development of strong ways of making and thinking. As they critical thinking skills through courses move beyond their comfort zones, they such as Critical Analysis and Semiotics and become increasingly aware of the value Introduction to Visual Culture, in which of observing their thinking process they learn both to question everything and to develop a creative practice that is to see that everything is connected. It is constantly refined, and redefined. important that future artists and designers recognize the relationship and interplay between text and image, making and thinking. In the spring semester, the Form and Space project, “The Meaning of Form,” reinforces critical thinking in preparation for more individualized final projects. YouTube After the Foundation year, students have built a strong and broad base on which to continue developing their individual voices Tips from the Pros in the major of their choice. Several Foundation faculty members, Gary Geraths Chris Mounger many of whom have been teaching for Structural Life Drawing Graphite Pencil Value Drawing more than 30 years, have created YouTube 140,000 views views “how- to” videos that have attracted Portrait Drawing 19,000 thousands of viewers. 80,000 views Gouache Color Harmony Planar Head Drawing 20,000 views 37,000 views Gouache Value Step Scales Barry Fahr 23,000 views Cross Contour Drawing 30,000 views Chris Warner Digitally Photographing Randy Lavender 2d Art Building a Six-Inch Cube 7,500 views 7,500 views OMAG 10 section: College News Spring 2011 11 OMAG

Do it now

Rosemary Brantley with Scott Williams (’90), Design Think Different: Director for Olympic Apparel at Nike in Beaverton, Oregon Profit, People No Finish Line and the Planet Designing for Athletes and the Planet

Where do I start? asked Fashion Design faculty member Jackie Wickser during a visit to the Nike cafeteria in the first week of her two-month sabbatical. The company’s commitment to sustainability in everything they do was evident in the variety of clearly labeled recycling bins and the eco-friendly cutlery, plates, bowls and cups. She quickly became part of the flow of ideas, meeting designers in the Advanced Innovative Technol- ogy Group. Their Considered Design Project, led by Rick MacDonald, represents Nike’s ongoing commitment to sustainable design innovation. For the Hurley Nike project, As they phrase it, “When it comes to finding the best solutions for both students produced sketches that Over the last seven years, Brantley has introduced design problems that address “Now that I know more about the importance athletes and the planet, there is no finish line.” For example, Nike has incorporate reversible fabrics and issues of local traditions and production; building supply communities; recycled, detachable elements recycled the ground-up soles of 21 million shoes for flooring in 285 sports of sustainability, I approach design differently,” vintage, and found materials; and reuse, with mentors such as Alabama Chanin, courts. Their football jerseys for South Africa 2010, made from 100% says fashion designer Rosemary Brantley, Chair Todd Oldham, Anthropologie and Yeohlee Teng. Last year, working with industry leader Patagonia and avant-garde designer Isabel Toledo, students designed recycled polyester, diverted 13 million plastic bottles from landfill. of Otis Fashion Design. “The new ‘triple bottom multi-functional, fashionable garments, with the goal of doing the least harm to Wickser soon began working with Nike’s Advanced Innovative Tech- line’ is profit, people and the planet. If you take the environment. nology and Materials team, experimenting with woven fabric rather than Otis students are on the front line of these changes in the industry. “Regen- knits, to come up with high-performance garments. Woven fabric is more care of people and the planet, profit will fol- eration—Revolution,” their current project exemplifies this shift. As Brantley ex- eco-friendly than knits because it uses less yarn. low.” She believes that we have no choice, that plains, “For the past twelve months, with support from Nike and Hurley, we have Nike’s “Whole System Change” approach depends on changes in retooled our curriculum to teach the Whole System Change—a business model technology. Using 3d software, their tech designers create patterns and tomorrow is the new now, and that the whole that considers profits, people and planet altogether. What can we create that re- sew them together, place the garments on an avatar, and motion-test duces waste, uses less resources, and is more respectful of human life? Because them with the 3d figures, all within virtual reality. They send the virtual fashion system has to change. Brantley is of Nike and Hurley’s generosity, not only are talented and deserving students designs to Nike offshore prototype centers so that the contractors can receiving scholarships for an innovative design education, but those students will certain that sustainability is the megatrend more closely execute their prototypes. eventually make our world a much better place.” that will dominate the fashion industry for Students are working in three teams in collaboration with Hurley Senior VP of For the last six years, Scott Williams (‘90) Design Director for Olympic years to come. Design John Cherpas and design team members Nimma Bhusri and Nadid Barien- Apparel, has worked with industrial and fashion designers to meet Nike’s brock; Nike VP of Apparel Product Creation, Diana Crist, and Director of Design goals of performance and sustainability. Designed and built over seven Connections at Nike/Hurley/Converse/Umbro, Betsy Parker. The teams consider years with a six million dollar investment, Nike’s environmental apparel garment design in terms of its regenerative, heirloom, and sustainability aspects, design tool measures and reduces the impact of their products on the with a focus on youth appeal. They explore personalization, self-expression, con- environment. Their designers evaluate new sports apparel design based sumer participation, and input. Using reversible fabrics and clean stitching, they on the “considered index,” which measures pattern marker efficiency create garments with a “second life” rather than a “closed look.” Their designs (waste), garment treatment (dyeing, laundering, distressing), and materi- incorporate seasonless looks; wrapping, tying and folding for flexible fit, detach- als (chemical and energy consumption, water use). able collars and cuffs; educational care labels; and repair kits. Youth leads the way, As CEO Mark Parker stated, “We’re equally committed to leading our as Hurley’s tagline “Microphone for Youth” proclaims. industry in climate change and sustainability. We’re entering a new era Convinced that consumer habits are changing, Otis fashion design students intend to educate shoppers about the environmental issues that design and fab- of open-source collaboration that commits to sharing intellectual and pat- rication pose, including washing, excessive consumption of low-priced clothing, ent property. It’s the kind of behavioral change that can help lower carbon and the value of “heirloom” and multipurpose clothing. Their goal is to design emissions, reduce waste, and close the loop on the resources required by investment-quality garments with sustainable materials and methods, always product manufacturing.” Nike’s invitation to Wickser and Department considering the global impact. Some were inspired by last June’s clothing diet, the Chair Rose Brantley to visit their Oregon campus and present “old school”

Working with Isabel Toledo and Patagonia, “Six items, 31 days” web-based experiment in which people all over the world hands-on techniques such as draping was one step in the whole system students designed multi-functional garments selected six garments, wore only these garments for a month, and blogged about change that is now firmly implanted in Otis’ curriculum. This collabora- such as this jacket that becomes a parachute their experiences. As one student states, “There is much more consumer aware- tion and sharing of ideas will inspire others in the fashion design industry ness of ecological impact, and multifunctional fashion is becoming a trend.” to move more quickly toward a sustainable future. OMAG 12 section: College News Otis College of Art and Design Alumni Magazine Spring 2011 13 OMAG

All students can take clay electives—and focus on studio ceramics In the inaugural Boardman Visiting Artist series last fall, students The Clay’s if they wish—but the possibilities of clay in the context of product in painter/sculptor Ruby Neri’s class made large-scale sculptural design as well as fine art are significant new developments. Sev- objects, primarily hand-built. This semester, Adam Silverman, an artist eral faculty members have spearheaded this resurgence, with the who is studio director of Heath Ceramics, is working with students generosity and vision of the Boardman Family Foundation, which to understand clay as a material that can be used on its own or in the Thing has funded a Visiting Artists series, the “Clay in L.A.” symposium, combination with other materials. He aims to have students broaden by Alexandra Pollyea and the purchase of kilns and other key resources. Clay was also their scope, in keeping with the name he has given the course, Clay: integral to many of the in the elegant retrospective Thinking and Making. “In a lot of schools, you take wheel throwing “Splendid Entities: 25 Years of Objects by Phyllis Green” at Otis’ 101, learn how to throw a cylinder, how to throw a bowl, and how to Ben Maltz Gallery through March. throw a closed shape form. I want this course to be in the service of “ Clay in L.A.,” a one-day symposium, drew several hundred “Joan Takayama-Ogawa, Associate Professor, Liberal Arts something greater. The end isn’t a cylinder.” ceramics fans to Otis on March 12. Panelists included and Sciences and I started talking a few years ago about wanting Silverman asked students to choose a piece of music and Adrian Saxe, Peter Shire, Jo Lauria (MFA ‘90), and Boardman our students to work in clay again,” notes Fine Arts Department respond to it. Some based their project on the title or the lyrics; Chair Meg Cranston. “It’s a natural for a young artist because it’s others focused on the rhythm, beat, or timing; one is doing a Phyllis Green, Bonnet, 2001, ceramic and acrylic with steel base Visiting Artists Ruby Neri and Adam SIlverman. plentiful, inexpensive and malleable. And of course we have this political critique. In the first few classes, Silverman demonstrated Phyllis Green, Lulu, 2003, wonderful history at Otis.” slip casting, wheel throwing, slab making, and hand making, ceramic and acrylic The goals for the return of clay at Otis were much larger. “We presenting the range of methods. “So now they’re all slogging decided that we would develop a program that looked at clay’s through the reality,” he notes. “I try to keep them realistic.” On “I never took ceramics and I really want to learn,” says painting industrial and fine arts uses, and maybe discover a middle ground,” a recent field trip to a group exhibition by artists (primarily painters) major Marcela Gottardo. “I want to see how I like the materials explains Cranston. “One student could use rapid prototyping to working in clay, Silverman observed that the students “all had and how I feel I can send my message through this medium.” make ceramic tiles for interiors or other industrial purposes, and some ‘aha’ moments.” Splendid Entities: another could hand-build a sculpture; and they could be working Joan Takayama-Ogawa came to Otis as as a Continuing 25 Years of Objects by Phyllis Green at the “It’s a totally different mindset from painting,” explains Carlos together in the same room. We’ve shown that students using clay Education student intent on learning glaze chemistry. She became Ochoa, painting major. “It helps me out as a painter to think in in different ways can live peacefully together.” a ceramics major, and joined the faculty, teaching over the years Ben Maltz Gallery, January 18 - March 19 three dimensions.” Fine Arts now offers at least one clay/ceramics course every in several departments. Her ceramics classes include a Product semester. “Ultimately, the palpability of working with clay is Design elective, where students use 3d software and render by Boardman Artist in Residence The experiences of these students and many more signal the re- profoundly rewarding,” observes Cranston. “If you grew up playing rapid prototype, then cast in plaster and create multiples. “We are Adam SIlverman works with fine birth of clay at Otis over the past five years. Long revered for artist/ video games and pushing buttons, it feels good to work with clay. making things that I would not be able to make by hand,” says I’ve never had the chance to see all my work together before. I can arts students teachers and Ralph Bacerra and their students who You use your body in all media but in clay in particular because it Ogawa. Learning the process helps students become much more remember the excitement of making them. Twenty-five years is a long (inset, student in Ruby Neri’s revolutionized clay as art, Otis now reflects 21st-century realities. ceramics class) has weight. It is a body; it doesn’t want to stand up; it doesn’t want informed designers.” time but it seems shorter to me. When I embraced ceramics again it to do things; it is very much itself.” One aspect of clay she has noticed over the years is its capacity was particularly to challenge the notion that considers clay and other to help students develop fine and gross motor coordination. “I can’t materials made out of craft as women’s work or second class. It’s privi- think of any material but clay that can give feedback as to how good leged in the art world now. There’s a lot of interest in clay from students. your hands really are, and how well your hand and your mind work Phyllis Green, Artist together,” says Ogawa. “Within the first class I can see growth in students’ abilities; their hands actually start talking with their brains.” She has also observed that clay builds the capacity of students to Read full interview withstand disappointment. “We say fail and fail often; just do not fail with Phyllis Green at every time. Clay creates a tight community. We share the triumphs otis.edu/green that come out of the kiln.” Lois Boardman, of the Boardman Family Foundation, has a long association with clay. Her interest began when she was living in Lausanne, Switzerland, and took classes in ceramics at a grocery store below the apartment where she and her family were living. After she returned to Los Angeles, she worked in a studio down-

town run by Dora De Larios and Cliff Stewart, and went on to installation view of “Splendid Chouinard, where she studied with and became good friends with Entities” at the Ben Maltz Gallery Ralph Bacerra. She continued her studies with him when he moved to Otis. Although she terms herself now a “talking potter,” Boardman is It’s unusual to see a show with so Phyllis’ show is a great springboard – as captivated as ever with the material that delighted her many years much ceramics, and wonderful that her work bridges the gap between the ago. “To be able to see the possibilities and then do something Otis is exhibiting Phyllis’ work. She decorative and the contemporary art about it immediately is a really a big thing. Working with clay is the is a great example for our students. worlds. It was an enriching experi- link to going into art, because it’s a tactile experience. It’s the bridge The world has come around to her. ence to work with an artist who has a if you want to do something with your hands.” Meg Cranston, Chair, Fine Arts definite vision of who she is and what Boardman and her husband Bob felt compelled to step up for her work says. the burgeoning clay program at Otis. She appreciates the contempo- She has spent 25 years finding her Jo Lauria (MFA ’90), Independent curator, rary approach of the offerings. “It’s invaluable the way it is being set voice, expressing herself, and finding art and design historian, and co-curator of up. If you want to go into studio ceramics, that’s fine. But to be able the issues that interest her. The exhibi- “Splendid Entities” to know contemporary technology is very important as well.” tion reveals a dedicated self-investi- No discussion of clay at Otis would be complete without gation that included clay as well as Phyllis is a good example of an artist mention of the kiln in the parking structure. Explains Joan Takayama- flocking, velvet and concrete polymers. who employs clay in a thoughtful and Ogawa, “When we moved from downtown to the our current loca- What she has done in her own work is meaningful way. tion, by accident we put one of the kilns that Pete Voulkos, what we at Otis do—help students find Adam Silverman, Studio Director of Heath who started Otis’ ceramics program in 1954, built in the core their voice and discover the media they Ceramics, Boardman Artist in Residence of the structure. It’s entombed. I look at it now and then and say, need to project their ideas. ‘We’ve come a long way.’” Meg Linton, Director of Galleries and Exhibitions, Ben Maltz Gallery OMAG 14 section: College News Otis College of Art and Design Alumni Magazine Spring 2011 15 OMAG

Class participants, working in teams, Figuration and considered two modes of architectural inquiry: figuration and configuration. For the first exercise, they investigated Configuration: the techniques of tailoring, upholstery, and weaving, and explored various ways in which these techniques may evolve Dismantled Tufting, Darting, Pleating, and Tucking three-dimensionally at the scale of interi- ors and architecture, developed through Sharon Johnston and Nader Tehrani with Donghia master class students by S.A. Bachman geometry, material behavior, and methods of assembly. Architecture/Landscape/Interiors students In the second half of the Master tradition to contemporary techniques. His In 2010/2011, MFA Public Practice students worked with artists S.A. in this year’s Donghia Master Class, led Class, the five teams of students proposed most recent projects include the Macallen Bachman and Krista Caballero to present , an innovative interventions between two buildings Building in Boston, the first Leadership visual arts collaboration. As students across California faced tuition by Nader Tehrani and Sharon Johnston, on Otis’ campus, producing form and in Environmental and Energy Design hikes, emerging artists from Otis participated in an exploration of public investigated adjoining practices—between structure using the upholstery techniques (LEED)-certified condominium building and the first phase of the Tongxian Art education, critical pedagogy, and the privatization of our school system. furniture, upholstery, and tailoring—“as a of tufting, welting, pleating, darting, and This statewide project acknowledges California’s unique history while tucking. The interventions included cano- Center in Beijing. simultaneously questioning what the future holds if our institutions of way of expanding our domain, challenging pies, a wall transforming into a canopy Sharon Johnston, partner of John- learning are no longer shaped by the core principles of accessible and af- the way in which the industry is accustomed and an eroded tunnel-like form (with stonMarklee, presented projects ranging fordable education for all. It was shown in San Diego in November and in portions of floor, walls and roof) squeezed from residences in Santa Monica, Kauai

On display in downtown Fresno Fresno in early December. to build, and speculating on how techniques between the two buildings. and Buenos Aires to a winery in Tuscany  employs outdoor projection and performance to from digitization to the handmade may Tehrani and Johnston concluded and an art foundation in Rome. She spoke frame key issues such as the severe cutbacks in funding, charter schools, their residency with Nip Tuck Diptych, a about working with artists, fabricators, students and families burdened by debt, financial aid, and access to edu- offer new opportunities for fabrication, and Combined Perspective on Geometry and and engineers to customize and integrate Graduate students installing at UC San Diego cation. Highlighting populations the government and media often ignore, imagining design methodologies beyond the Perspective, a lecture at the Museum of formal, material, and component-building  integrates interviews from a cross-section of Californians fundamentals taught in the academy today.” Contemporary Art, Los Angeles. Though systems, and explained the office’s engage- DISMANTLED opened my eyes to different challenges What are the limits and supports from with provocative visual analysis. In addition, images of blowing bubble Tehrani and Johnston work on opposite ment with sustainable design incorporat- of education in California and how access can be the university of art practices that gum and superhero school uniforms, along with historical footage from —Nader Tehrani and Sharon Johnston coasts, they had collaborated on the ing environmentally-friendly materials blocked by systems of power. I learned that one should function as institutional critique? Brown vs The Board of Education raise awareness and incite questions. award-winning eco-conscious design for and construction techniques. take action for her/his belief rather than neutrally sit – Ricardo Dominguez, Educator Audience members can participate in the project’s ongoing interviews as Helios House, a BP gas station in L.A. The Angelo Donghia Foundation has around and watch the failure of the system. As an im- that is the first LEED-certified gas station supported the Designer-in-Residence Pro- The goal of action is not to preserve well as contribute to the creation of a site-specific installation. Projection migrant, this project was a launching point for my own gram for three years. Previous Designers- public education, but to wrest public sites serve as gathering spaces for sidewalk conversations and run the in the U.S. Its canopy of 90 solar panels education in a new environment as well as an impera- life from private powers, with the gamut from neighborhood storefronts to museums, colleges and libraries. supplies energy for the station, landscape in-Residence were Eva Maddox, a princi- tive source of new methodologies for teaching. educational sphere being one arena California educators including Peter McLaren, Gilda Haas, Janna Shad- planting is drought tolerant, and recycled pal of Perkins+Will, Chicago, in 2008-09, – Neda Moridpour, Graduate Student for that effort. dock Hernandez and Ricardo Dominguez have informed this project. The glass is mixed into the concrete pavement and LTL Architects, New York, in 2009-10. – Ken Ehrlich, Artist and Author It was important to bring DISMANTLED to Fresno, CA Scan-Tron Video animation was courtesy of Jen Schmidt. to stem heat gain. As a component of the Residency, the Tehrani, currently principal of Angelo Donghia Foundation initiated and because there is a struggle for education in the Central Her father told her that they built Valley. By projecting onto the city’s vacant Metropoli- the University walls higher than the NADAA and Professor and Head of the has supported the Donghia-Otis Portfolio tan Museum of Art, DISMANTLED not only brings this prison because guarding thoughts is Department of Architecture at the MIT Awards. Master class students prepare struggle to light, but calls for action from every person much harder than guarding crimes. School of Architecture and Planning, portfolios in advance of the course, and on the street. –Community member spoke of his exploration of material quali- the Donghia Designers review and select – Teresa Flores, Graduate Student ties in conjunction with both traditional the winners. This year four students were Sherry said, “I heard the most beautiful and digital techniques of design and as- presented with Portfolio Awards, includ- music; it made me cry. It was his first sembly. He showed projects from around ing the first-place $3,000 scholarship won lesson—he’s in prison for murder, age the world that marry local craft and by Senior Sam Tanis. 15. What if he had met the piano before the gun?” – Community member OMAG 16 section: College News Otis College of Art and Design Alumni Magazine Spring 2011 17 OMAG

The Creative Economy web site, funded by the James Irvine Foundation, was designed by hello design of Culver City

America’s Artist Super City, demon- Proving the Power strates that artists are L.A.’s hidden developmental dividend, and offers policies and programs to make the of Art and Artists region a more supportive place for artists. Her analysis indicates that L.A. has the largest pool of artists of any 2010 Otis Report on the Creative Economy U.S. metropolitan area; gained two artists for every artist who left from stills from “Share the Facts” animation. See the full presentation 1995-2000; and has a concentration of at otis.edu/econreport artists that is eight times as prominent as in the U.S. as a whole. According to President Hoi, “The Resounding applause greeted the mes- region are in the creative sector; it is Otis Report measures more than the sage “Creativity cannot be outsourced. the second largest business sector in impact of the creative economy. It is Innovation stays onshore,” at the the region; impact amounted to $286.3 the story of possibilities made real by release of the third annual Otis Report billion in 2010; the average salary in a combination of education, talent, en- on the Creative Economy of the Los digital media is $136K, and this sec- trepreneurial drive, and opportunities. Angeles Region. The capacity audi- tor has the highest growth prospect The lives, work, and achievements of ence at Zipper Hall, Colburn School, through 2014 (10.4%). In fact, despite creative professionals, such as Otis gathered on November 11 to hear manufacturing downturns, employ- alumni, illustrate the power of the arts NEA Chairman Rocco Landesman, ment in the creative sector is projected and artists in our economy, culture and University of Minnesota Professor to grow faster than other sectors in the communities.” Ann Markusen, and Irvine Founda- next five years. The Otis Report focuses on South- tion President James Canales speak Creativity provides a long-range ern California and its role as a global about “The Power of Art and Artists.” and sustainable competitive edge for cultural capital. As arts sector leaders Days before the event, gubernatorial the U.S. economy. As Rocco Landes- increasingly understand, acknowledge, candidate Jerry Brown stated that man stated, “When you bring arts and champion their financial value, they “creativity and imagination are what organizations and arts workers into a will influence policy makers, business California needs.” The data produced neighborhood, the place changes to leaders, and other key constituencies. by the LAEDC for this report provided a vibrant and sustainable community. Otis’ advocacy role for the creative real numbers to support his assertion. The arts complement and complete economy is consistent with the spirit Creativity is serious business in South- other sectors of the economy.” Ann of innovation that guides the College’s ern California: one of six jobs in the Markusen’s policy brief, Los Angeles: approach to 21st century education. OMAG 18 section: College News Otis College of Art and Design Alumni Magazine Spring 2011 19 OMAG

by Kali Nikitas, Chair, Graduate Graphic Design

Sarmista Pantham was selected as one of “20 under 30” Only the in PRINT magazine’s annual international competition, New Visual Artists Review. Beginning For the last thirteen years, the magazine has identified the most promising rising talents in graphic design, advertising, illustration, digital media, photography, and animation under the age of 30 from nominations made by art The MFA Program in Graphic Design graduated its directors, designers, critics, first class in the summer of 2010. I am happy to say and industry professionals. that I could never have anticipated so many successes from a newly formed program. Several of the alumni and current students have already begun their careers and post-graduate adventures that speak to the spirit of diverse practices that are embraced in our curriculum. UC Irvine Berlin Coursework, visiting artists, workshops, hosting 3 international symposia, and field trips have all been Diane O’Rourke 3 Sam Anvari major contributors to defining our graduate program. Students have lectured nationally and “The MFA program opened my mind “During the past two years I’ve learned a new mean- to new ways of thinking about design ing for the word “design.” I’ve learned that a design- internationally; published texts; won national and and entirely new ways of making work. er can use any material at hand to establish commu- international awards for their work; been selected as It probably sounds cliché, but I truly nication and engage with society. The MFA program top talent and won prestigious scholarships. It is with feel that a new world opened up to me has helped me to build my self-confidence and make as a result of my experiences with my quick judgments based on thorough research. great pride that I introduce to the reader a selection classmates and instructors. Much to Last year I began working under the supervi- of stories. my surprise and delight, my studies sion of professor Dr. Erik Spiekermann, studying at Otis have led me to continue as an We trust that it’s only the beginning... “P-English” (Persian-English) and researching the artist and pursue a second MFA, this phonetic usage of the Latin alphabet used by Persians time in studio art at UC Irvine where to communicate in Farsi over the Internet. This is I am focusing primarily on drawing a typographical (typo-grapheme) approach to write and painting.” a non-Latin language that has no standard yet. My internship at Edenspiekermann AG in Berlin also in- New York Amsterdam LACMA Los Angeles volves an info-graphic poster design, and micro web- site designs, as well as the design for an exhibition in March 2011 at the Bauhaus archive in Berlin.”

Ramon Tejada 3 Hazel Mandujano 3 Gilbert Garcia 3 Sarmishta Pantham 3

Ramon is in New York, working in “The MFA Graphic Design program has “A distinct characteristic I particularly “As an independent design consultant, my current practice his studio, teaching, and skiing through really shifted my point of view on the enjoyed about the MFA program is the includes print design, apparel design, identity, graphics the snow. The rest of his time possibilities of all design and how it is bond between the students. We were and illustration for fashion as well as personal work such has been spent doing work for the defined. Currently I am doing post-grad- actively involved with one another as souvenir design. My clients are the fashion brand Brooklyn Philharmonic. uate studies at The Sandberg Institute in a shared environment, creating a Bebe, Otis (poster above), and a yet-to-be-launched cultural in Amsterdam with instructors Daniel true sense of “family.” During these non-profit organization. I am also doing further research van der Velden and Rob Schroder. It’s eight weeks, we grew and developed and collaboration on my thesis project, a design-based great to be surrounded by different as creators. schooling system for a “globalized” India. perspectives. During my time at The I currently work at LACMA on Having been an apparel designer for almost seven Sandberg I will develop a project that I a number of projects, ranging from years, it was extremely exciting to have spent the last began in my final summer in the MFA website banners, installation graph- two-and-a-half years at Otis, experiencing the crossovers program, a free arts educational pro- ics, special event brochures, and the between different design disciplines with my classmates gram for young girls in under-resourced monthly film series posters.” while adding several layers to my interests such as educa- areas of Los Angeles.” tion and culture. I have discovered that the parameters of these disciplines, whether through real-time projects or in theory, are sometimes in collision, sometimes in harmony and at other times mutually exclusive.” OMAG 20 section: College News Otis College of Art and Design Alumni Magazine Spring 2011 21 OMAG

by George Wolfe

“The Conservancy of L.A. was born out of the “Originally, Thierry Noir and I were asked to Freeway Lady’s demise. Bill Lasarow, publisher of paint on an exact replica of the wall that was to be Art Scene (and founder of MCLA in 1987), and arts made, to cover ten segments (approximately 12’ x attorney Amy Nieman (one of its original board 4’ each). Thierry was possibly the first artist to paint A Magnet members) raised their voices to get me to see the on the Berlin Wall. He could see the ugly face of importance of standing up for artists’ rights. She tyranny each time he looked out his kitchen window. made me understand that although property owners One night in the mid-‘80s he painted a cartoon face for Controversy have the right to do as they wish, the law states on it so it wouldn’t seem so intimidating. It’s kinda that they must be civilized and perhaps notify the like picturing a mean boss wearing long underwear. artist, who may want to remove the mural, or at least Eventually he and other artists painted more and document it one last time. It hit me that all good laws more. Justinian Jampol, Wende Museum founder simply keep us at least acting civilized, even during and City Councilmember Tom LaBonge invited me to times when we don’t feel like it.” paint on an exact replica of the Wall as part of L.A.’s Years later, when the Ruscha case came to celebration of the 20th anniversary of its tearing- light, Twitchell had legal experience under his belt. down. Berlin then offered to ship pieces of the actual Even though pushing the boundaries—for art’s sake wall. I found out that ten segments were coming, —is something that he’s proud of, he nonetheless and decided to paint half faces, leaving segments In 1992, Kent Twitchell (‘77) was awarded damages for the destruction of his acknowledges “it wasn’t a very productive time for for other artists. Artists Farrah Karapetian and Marie mural The Freeway Lady, making him the poster boy for the protection of my art. It’s hard getting into and then staying in the Astrid Gonzalez were selected to join us. I requested as public art. In 2008, using innovative legal tactics, he settled a land- art-making zone while pursuing a lawsuit, but it’s a particular photograph of Kennedy from the Wende good that we did it.” and visited the Reagan Library to study a chunk of mark lawsuit for the painting-over of his mural portrait of artist Edward And although his 2009 Berlin Wall project didn’t the real wall and look for Reagan images that had the Ruscha. Over the years, Twitchell has been on the front lines of public art involve activism, he ended up in the middle of a slight same lighting and perspective as my JFK portrait.” activism, steadily carving a niche in the history and legal matters of mural controversy—this time about art censorship. The These days, Twitchell is working on a mural Wende Museum of the Cold War, which sponsored that includes George Washington, James Madison, art. You might think he’s a natural rabble-rouser with a bulldog-like persona. the project, requested that Twitchell complete only Alexander Hamilton and Benjamin Franklin in the But the mild-mannered artist simply notes: “I don’t think of myself as an ac- the Kennedy half of his Kennedy-Reagan diptych, due main lobby of the Bob Hope Patriotic Hall in downtown L.A. He also plans to paint a new and tivist at all. Sometimes you’re forced to respond because not to do so would to space limitations. To quell the firestorm, Twitchell’s solution was to include portions of both presidents, larger version of the The Freeway Lady, slated for result in even worse conditions for yourself and/or others.” each on a single wall panel. a new building at L.A. Valley College. And his Steve McQueen Monument is almost fully restored, SPARC, and was instrumental in getting grants and Otis had successful artists having been painted over by accident. Twitchell has government funding for mostly Latino murals. Jane been working on it with Fresco School, which now Golden started painting murals under Citywide in who also taught, wrote oversees most of his mural projects, allowing him the mid ‘70s and is now in Philadelphia running the books, etc. and I needed to to spend more of his time doing the art. most successful murals program in the world. Baca’s Twitchell also wants to paint a monument to murals programs brought large numbers of artists be accountable to people his mentor Charles White (on the south wall of the into the murals movement, and all these traditions like that in order to get to original Otis Art Gallery, overlooking Wilshire Blvd). together made L.A. the ‘Mural Capital of the World.’ As part of Twitchell’s graduate thesis project, he One reason I decided to attend Otis was to get the next level. drew a twelve-foot version of White that is now part scrubbed down with an MFA. I’d continue doing my of LACMA’s permanent collection. “That’s the pose afterwards, but maybe with a chance of I want to use for the mural, casting a shadow off to being considered as serious as the artists painting the west,” says Twitchell. “The school is now pictures for galleries. I remember while putting the the Charles White Elementary School. Seems like finishing touches on my Steve McQueen Monu- a good fit.” ment in 1971, someone came by and told me there Reminiscing on how he got to the present, was a picture of it on the Otis bulletin board. I was Twitchell recalls, “Before Otis, I was considered a elated. To think someone at Otis actually liked it! So, leading street artist, but that meant nothing serious four years after the McQueen mural and one year then (1975). Today it’s all the rage, but in the late ‘60s after the Freeway Lady, I decided I needed a shot of and early ‘70s when the LA Fine Arts Squad (Terry seriousness and applied to Otis’ grad school. I didn’t Schoonhoven and Vic Henderson) worked in Venice take myself seriously enough to explore and push. and Ocean Park, and I worked in Downtown L.A. and Otis had successful artists who also taught, wrote Hollywood, we were considered second-class by books, etc. and I needed to be accountable to people most of the ‘artworld.’ Rozelle and Roderick Sykes like that in order to get to the next level. At Otis I and Alonzo Davis (‘73) painted amazing murals in met Charles White, who started my love for drawing. South Central L.A. Alonzo, both artist and administra- His love for and experience with murals gave me tor at his Brockman Gallery Productions, changed the more confidence that I was on the right track, just face of South Central. In East L.A., the Goez Gallery, doing what was natural for me—street art—but then, David Botello, Willie Herron and Los Four (Carlos suddenly, I wanted to master color, to paint in the Almaraz, (‘74) Judithe Hernandez (‘74), etc.) did streets as if it was for a museum. I may not have street art of another kind. Judy Baca came along, done that on my own.” carved out the Citywide Murals Program and later

Right: mock up; Above: Twitchell at work on Kennedy portrait; Left: final Berlin Wall mural, sponsored by the Wende Museum to commemorate the 20th anniversary of the removal of the Wall OMAG 22 section: College News Otis College of Art and Design Alumni Magazine Spring 2011 23 OMAG

After The Fall:

From Punk to Pornetration to Many 21st century I’d like to end by The desert is where ‘Let’s Be Facebook Frendz’!! cultural phenomena shifting the focus to the both the buck and would probably have remained unthink- place where I live a lot of the time now able if UK punk hadn’t come along to in the States—with some remarks on the bucks stop in terms Or how contemporary art and media violate what used to be called ‘good the subcultures I’ve become affiliated of consumption and consumerism. taste’ and ‘good manners’ to wage with or have been living alongside for It’s where people with few resources Editor’s Note: culture, ideas about and attitudes toward war on what Norbert Elias called ‘the the past ten years or so in the Mojave make do and mend, get by and These are excerpts from youth and youth culture, consumerism, civilizing process.’ Such a list would Desert, because I believe that continu- entertain themselves. It’s where you a lecture given by Visiting definitely include, somewhere near the ities and discontinuities with ‘70s punk can see laid out as in a diagram the Critic in Fine Arts, Dick embodiment and bonding, the power of unsustainable consequences of spend- top, reality TV shows like Jersey Shore are discernible there, too. North of my Hebdige, at the Broad and-burn consumerism. For instance and Jackass along with indiscriminate house is Joshua Tree, 800,000 acres Stage in November. perversion, the politics of insubordination, public disclosure and what I call porn- of protected wilderness, some of it there’s a mountain of garbage grow- friendship, sex and love have changed etration—the penetration of the public sacred territory to the nomadic bands ing visibly higher week by week out sphere by pornography via the internet. of Cahuilla Indians who’ve inhabited at the municipal dump on the Joshua See video excerpt in the three decades since punk first ------the region for hundreds of years—a Tree Mesa. You haul your garbage up otis.edu/academics/ exploded on the scene pristine New World paradise. Nearby there and they just rake it in, cover it fine_arts/faculty.html is the 29 Palms Marine Base—960 with dirt and add another layer the next and read entire lecture square miles of military-owned desert day. It’s in your face, not out of sight otis.edu/hebdige I know this sounds —an area larger than the state of and out of mind. The deserts of the curmudgeonly and I’m Rhode Island on which the military test American southwest are on the front not saying that punk is singlehandedly weaponry and rehearse for engage- line of suburban sprawl and it’s here responsible for the global jihad but I ments with the enemy in other deserts that the sub-prime mortgage crisis has damentalisms of every stripe, the rise don’t think it would be stretching the on other continents. I’m situated hit deepest and hardest. In places like Because punk is and fall—at least the rise and stall—of Why punk? point to suggest that UK punk offered geographically, ideologically, spiritually Las Vegas and Phoenix and Riverside, in a sense how I got to this country, U.S. global economic dominance and one or two quite pointed and heavy in a sense in a place that’s somewhere foreclosure rates are running at more thanks to a skinny little book (Subcul- during those three decades we’ve also duty provocations to the international near the current epicenter of what I than 30%. ture: The Meaning of Style) published witnessed, at a somewhat lower level community of the modest, the pious, like to call the apocalyptic drama of ------in 1979, when I was young, that’s of world historical significance, the the God-fearing and authority-bound. American becoming. I always say if the shaped the way I live and what I am. stabilization to permanence of punk as But the economy of scale that really wind is in the right direction I can stand ------fashion statement (or alternatively as seems to count from the interested on the edge of my property and lean 1970s punk was anti-fashion) statement, as marketable vantage points of the multitude of out into Armageddon. music genre, as casual leisure option about appropriating monitoring agencies that cluster on the ------never just and secessionist lifestyle choice. That A moment’s reflec- internet is the individual user: the cook- commodities to construct new social same period has also witnessed the ie cut-up on-line user profile that gets identities—repurposing utilitarian to establish invasion of the international art-and- tion is enough updated, tracked and monitored with Beyond servicing the designs, for instance, as some kind that so much, in fact, has changed fashion conscious mediascape by each keystroke, download, posting, of purely decorative arts project— since 1979 that we might as well Japanese digital imagery and narra- military there is very little real purchase, Google search or credit card making safety pins and bin liners into be living on a different planet. In the tive forms—anime and manga (visual economy this far out in the upper application. Make no mistake, when fashion statements. It was also always intervening decades we’ve witnessed, novels), video game scenarios—the desert. There are a lot of artists and we gaze up in wonder at the night sky about the politics of consumption and among other things, the fall of the digital tooning—as in cartooning—of musicians drawn to the scenery and while out there in the wilderness on a consumerism, not just the politics of Berlin Wall, the World Trade Center self-presentation, social networking low property prices. There are bikers, camping trip or into the clear blue light identity. To put it more precisely, punks and the organized Left; the global and self-imagining protocols and the recreational vehicle enthusiasts, Viet- of the cell phone as you upload a text were always positioning themselves spread of Starbucks and smoking associated rise within the globally nam vets, Native Tribes people, tweak- while sitting in your car stuck in traffic, at the awkward point of intersection bans; the rise of neo-tribalism, ethnic expanded confines of the art world ers, second home owners, retired something beyond human, something between the politics of identity and the cleansing, the internet, the cell phone, of Japanese Business Art superstar military personnel and a lot of people post-human, something alien (if you politics of consumption and consumer- iPod, iPad, MySpace, mega-churches, Takashi Murakami. who washed up here simply because like) that couldn’t care less about ism. ‘70s punk as a prophetic End Time and the War on Terror. We’ve seen the ------they had no place else to go. There’s a our individual welfare is looking back punks were always positioning discourse always involved an ethically rise and fall (or maybe just the rise and growing nucleus of neo-homesteaders, unblinkingly at us. based critique of and resistance to stall) of financial derivatives, sub-prime themselves at the awkward point eco-pagans, secessionists, home ------late capitalist spend-and-burn dispos- loans and beyond-our-means easy of intersection between the politics schoolers and burners (as in Burning ability and waste. It staked its claim credit consumerism. We’ve witnessed Man desert counter-cultural survivalists) in the dirty unwanted and unwashed the return with a vengeance on a of identity and the politics of that congregate round a thriving local remainder of hippie Utopianism—in possibly unprecedented scale of high music scene. everything the organic movement seas piracy, slavery and child soldiers. consumption and consumerism defined itself against—in plastic and We’ve seen the global spread of fun- industrial detritus. They stuck their face in the mess we’ve made of things, then stuck their face in your face. OMAG 24 section: Development Otis College of Art and Design Alumni Magazine Spring 2011 25 OMAG

by George Wolfe ANNUAL GIFTS PROVIDE SUPPORT TO A VARIETY OF AREAS, INCLUDING:

Scholarships Mei-Lee Ney soul by connecting us to the universe and And with regard to Mei-Lee’s to each other in the global community in philanthropic involvement, she adds, which we share similar thoughts and feel- “Including Otis as part of my Living and the ings, no matter how diff erent our cultures.” Trust, via the Legacy Society, is my way of Technology for Mei-Lee has never been content to participating and making a contribution teaching and learning sit on the sidelines, even while making to a better world, of giving back and being Art of Legacy signifi cant contributions to the College on the side of what’s good in life. What’s via Otis’ Legacy Society. Her multi-leveled good in life is what makes you happy. I involvement with the College runs deep. don’t mean the happiness that comes from Campus upgrades The Saturday art history class with teacher transient experiences (although I have Bill Kelley changed the way she looks nothing against them). There is a happi- at art. She eagerly awaits Otis’ annual ness that sticks with you from the joy of Creative Economy Report event, which learning and understanding and feeling at New initiatives, such she believes just keeps getting better. She peace with yourself and the world. While as Integrated Learning has also enjoyed Otis-sponsored lectures, this is always a work in progress, the arts in particular the one by French intellectual/ facilitate that process like nothing else philosopher/journalist Bernard-Henri Lévy. can. My gift to the Otis Legacy Society Alumni participation affects Otis in many She looks forward to activities with the is one of the ways I can give meaning to ways. Your gifts to Otis underscore the value Patrons Circle, which she joined in 2010. my own eff orts and life. I enjoy thinking of your education. Some work at developing their art. Others Other annual events on her calendar about the lives of the students, most of are the Scholarship Benefi t and Fashion whom I’ll never know, but whose lives Every gift, no matter the size, makes a work at developing their business. Rare are Show and the annual year-end exhibition I’ve been able to touch and infl uence by signifi cant difference in the lives of Otis by graduates. supporting Otis. Small stories can have big students. Your contribution also helps us those such as Mei-Lee who are committed “It’s always very inspiring to see the impacts. And on a larger scale, it makes increase our alumni participation rate— to bridging the chasm between the worlds work of the graduating classes in the me feel that I can leave something behind a key statistic used by corporations and diff erent departments and to share in the that will continue to benefi t mankind and foundations for awarding grants. of business and art. excitement of the students whose work is make the world a better place. on display. The air is fi lled with electric- “I would encourage those thinking ity! Every fl oor of Otis is abuzz with activ- about becoming involved with the Otis Mei-Lee Ney, who hails from Hong Kong, know that he always advocates for the ity. The students’ excitement rubs off on Legacy Society to think about what the WAYS 01 is an investment adviser who loves the greater good, not for his own benefi t. He all the visitors. I love to ask students ques- arts mean to society and how graduates The easiest and otis.edu/ arts. Five years ago, at a dinner party embodies what the arts aspire to do—to tions about their work and hear what they of art colleges can and do make contribu- TO GIVE most convenient givenow hosted by friend Lyn Kienholz, she met make us better human beings. have to say. I still enjoy two by a tions to our society. Donors should take way to give is by Otis President Samuel Hoi. He invited her “I was drawn to the concept that Otis senior that I bought three years ago— even the time to learn more about Otis and its visiting our secure to tour the Otis campus. educates and hones the talents of young more so now than when I fi rst saw them.” leadership, and evaluate for themselves giving site at otis.edu/givenow. “I was so impressed by the energy I artists who will contribute toward making “And the Scholarship Benefi t, with whether this is an art institution that can felt as I observed classes in progress and the world a better place because the arts its fashion show and silent auction, is a fulfi ll its mission. I believe that if they do, saw work by students,” recalls Mei-Lee. have simply made my life richer and given knockout every year—nothing short of they will discover—as I did—that Otis is a 02 “As Sammy and I became better friends, me greater balance. I fi rmly believe that spectacular. The highlight is the fashion place bursting with creativity, a vision for I learned more about Otis and admired societies would wither and die without the show, in which student designs are a better future and a deep love for the arts By Mail its mission—and also developed great arts. They express and reveal not only the displayed on the runway by professional with the kind of leadership that can chan- confi dence in its ability to execute it under best of humanity, but also the worst. The models who really help bring the fashions nel this spirit into creations that will ben- “ his leadership. Sammy is one of the most beauty found in art, including art that’s to life. The designs are sophisticated, efi t us all. By leaving something behind I would encourage those thinking about be- coming involved with the Otis Legacy Society eff ective leaders I’ve ever met, this sounds interwoven into everyday objects, gives hip, and in many cases, stunningly beauti- that helps make the world a better place, 03 like an overstatement, but it’s not. Every- us great joy. If we didn’t have the arts, and ful. The entire evening is quite a blast. donors will receive in return the lasting to consider what the arts mean to society Call in your gift to the 310. one who knows Sammy likes and respects places like Otis, we’d lose the link to the I also love seeing the excitement of the happiness of making their own lives a lot 665. and how graduates of art colleges can and do Annual Giving offi ce 6869 him, and wants to follow his lead. People essence of our humanity. Art feeds the winners of the student design awards.” more worthwhile.” at (310) 665-6869. make contributions to our society. ” For information on the Legacy Society, please contact Sarah Russin, Assistant Vice Your participation makes a difference. President, Institutional Advancement, (310) 665-6937 or [email protected] It doesn’t matter how much you give. OMAG 26 section: Alumni Around the World Otis College of Art and Design Alumni Magazine section: Alumni Around the World Spring 2011 27 OMAG

CANNES BERLIN In June 2008, I moved with Nate Hess (’06) from my exceptionally free class structures, enjoying the social hometown of Los Angeles to Berlin, both of us in search lessons behind the regular monthly class dinners and of something different from L.A. The super-low rent and frequent bar nights, as well as the customary studio A Cinematographic Different abundance of galleries (traditional, phantom, and DIY in dinners, breakfasts, and lunches, where we would often spades) were of interest, not to mention the abstract novel attempt to make Mexican food in Germany, and drink Experience Yet Familiar concept of starting a new life, one detached from ours as espresso in between, and with, every meal. It goes without college art students. Many of the most visible contempo- saying that I ended up taking quite a liking to the notably rary artists in Europe reside in Berlin but Nate and I began international student body. I respect them immensely as Olivier Chatard | Fine Art (’07) Kelly Akashi | Fine Art (’06) to long for a more centralized art community, eventually artists, and some have become my closest friends. applying to the most visible and experimental fine art My four months back in Los Angeles have been academy in Europe, Städelschule, in Frankfurt am Main, extremely busy. I immediately began writing, and was which was originally suggested to me by my Otis mentor, awarded a Durfee ARC grant for my recent show at 3001 Do we intuitively connect our actions to something bigger? Alex Slade. It goes without saying that we were both utterly Gallery at USC. Artist Morgan Cuppet (’08), with whom I floored when we received our acceptance letters from our have been in close conversation during these past few How spontaneous and determined must we be to achieve respective professors. years, along with artist and professor Sharon Lockhart, and create what we feel? In the ensuing year, I adapted to the harsh, hyper- invited me to install my first solo L.A. show at USC, and critical Städel environment and came out of it with a more later invited Nate to exhibit in the neighboring space, As a creative artist, these two questions have always resonated with me. The definition of clear and confident understanding of what I want from life Station. I was able to pursue a project long under “to create” is “to bring into being.” And that is exactly what drives me — consistently and why I make art. Being back in school was very familiar development on southern California pastiche architecture, pushing my boundaries to pursue and effect innovation. to me. The feel of the institution, its cold white walls and working with artist and designer Aida Klein (’05) on the Possessing a keen interest in environmental issues, I selected water awareness as the exposed construction, the mentorship, the peer competi- design and fabrication of six elaborately joined frames. topic for my senior thesis. I researched the pressing issues concerning water on our tion and air of anxiety all reminded me of my past Life back in L.A. has been eventful, and I’m happy to be planet, and created an interactive visual tool to convey that information. My efforts were experiences inside these sorts of spaces. I navigated the driving around my hometown again. successful, and I was honored by 1st prize in an artistic design competition sponsored by the gaming company Electronic Arts. It was then that I decided to create a film one day that would represent our everyday life in relation to water. After graduating from Otis and working at Yahoo! for two years, I decided to produce and film this short film. Although I had no prior movie production experience, I had a

specific vision in mind; guided by my intuition, I set forth to transform “Awareness” into “ The Grand Elegance,” exhibition by reality. (The best advice I can offer any artist is to trust in and connect with yourself and Kelly Akashi at the Beige Cube, run by Philip Zach, Frankfurt, July 2010 your artistic visions, no matter what hurdles may seem to exist). I began work on a storyboard, cast two amazing actors, Zoi Kottas and Olivier Riquelme, and asked my very good friend Laurent Vizzacchero to work on editing. With less than $1,000, I filmed “Awareness” in just four days. After several months of editing and many hours creating the 3d effect at the end, I was finally pleased with the result. My friends who saw it encouraged me to submit it to various film festivals. “Awareness” was pre-selected for the International Green Film Festival in Seoul, South Korea, and the Awareness Festival and the New Media Film Festival in Los Angeles. And, much to my surprise, it was selected for screening at the Short Film Corner of the internationally prestigious Cannes Film Festival. The journey was an extraordinary one. In addition to walking the red carpet and screening “Awareness” to many industry professionals, we attended workshops and

Chatard in Cannes with conferences, and met some of the world’s most intriguing and talented producers, actress Zoi Kottas directors such as Woody Allen, and actors such as Benificio Del Toro. The world-class festival-related nightlife in stunning Cannes topped off the experience. My experience in Cannes taught me a great deal. The most important lesson for me, however, was just how critical it was to me to convey the message embodied within “Awareness.” My insistence on following my goals and belief in what I created sustained me. We all possess hopes, dreams and ideas that need to be expressed in some artistic form. “Awareness” was, for me, an inimitable opportunity to give a voice to my vision of the crucial role water plays in our lives. We are water. It is our common bond, uniting us as human beings and as citizens of this planet. “Awareness” celebrates life and describes what water means to us. It acts as a bridge between people and their emotions. I wanted to make people vibrate with their inner choir, as if they are seeing and experiencing the beauty of life. (We all deserve seven I adapted to the harsh, hyper-critical minutes 19 seconds of good in our life). Städel environment, and came out Presenting “Awareness” at Cannes was more than just a personal and professional coup; it was an opportunity to share my vision of the intersection between beauty and of it with a more clear and confident advocacy. And it has also inspired a new film, which is currently in production. But that, understanding of what I want from as they say, is another story… life and why I make art. oliandjoe.com OMAG 28 section: Class Notes Otis College of Art and Design Alumni Magazine section: Class Notes Spring 2011 29 OMAG ALUMNAEALUMNUSALUMNIALUMNA The Otis Times, the new alumni blog, launched in October as a forum and format for alumni to share news and opportunities, post images and video, and connect with fellow alumni. Please continue to use the Otis Alumni Facebook page to keep in touch with us. Go to otis.edu/alumni for links to both The Otis Times and Facebook. Let us hear from you at [email protected]

Kirk Von Heifner (’06 Fashion Design) Edith Beaucage (’10 MFA Fine Arts) in her studio Deborah Sabet (’05 Fashion Design) Design Director, Fall 2011 collection for “Glee” star Darren Criss wore Sabet’s label eco-conscious brand Vicarious by Nature District Homme to the 2011 Grammy Awards

Annetta Kapon Joseph Sola Andy Manoushagian ’09 MFA Public ’85 Fine Arts ’99 MFA Fine Arts Practice, Paige Tighe ’10 MFA Public “The Measure of Value” “I found some Bic pens by the Practice and Hataya Tubtim ’10 MFA Las Cienegas Projects, L.A. railroad tracks”... Public Practice as Pedestal & the All The Happy Lion, Chinatown, L.A. Girl Band Lawrence Gipe “A Little Louder: Performance in ’86 MFA Fine Arts Juan Capistran Conversation” Tucson Museum of Art ’99 Fine Arts Kristi Engle Gallery, Highland Park Hespe Gallery, 2010 California Biennial Orange County Museum of Art Matthew Warren ’09 MFA Fine Arts and Sandow Birk Sergio Bromberg ’10 MFA Fine Arts ’89 Fine Arts Lee Clark “First Month Free” “The Word of God: Sandow Birk’s ’01 Fine Arts Extra Space Storage, L.A. American Qur’an” Sylvia White Gallery, Ventura The Andy Warhol Museum, Pittsburgh Jonathan Stofenmacher Karen Nakashima ’10 Fine Arts David Gallup ’02 MFA Fine Arts “Walks Through Walls” ’90 Fine Arts James Gray Gallery, Santa Monica Highways Performance Space, “Channel Islands” Santa Monica Frederick R. Weisman Museum of Art, Tofer Chin , Malibu ’02 Fine Arts Edith Beaucage “Courtesy Valley Phone” ’10 MFA Fine Arts James Thegerstrom Reserve L.A. “hurluburlu” ’91 Fine Arts CB1 Gallery, L.A. “Bound” Mary Younakof Gallery 825, L.A. ’06 MFA Fine Arts “The Chromatic Convergence Project” Sandeep Mukherjee Judithe Hernandez Myrna Katz SOLOISTS Camille Rose Garcia Pacific Design Center, West Hollywood (‘96, Fine Arts) ’74 MFA Fine Arts ’80 MFA Fine Arts, ’78 Fine Arts ’92 Fine Arts Untitled, 2010 “La Vida Sobre Papel/Life on Paper” “Alchemy” John M. White “Snow White and the Black Lagoon” Kuger Peterson acrylic, acrylic ink and embossed National Museum of Mexican Art, Ann 330 Gallery, L.A. ’69 MFA Fine Arts Michael Kohn Gallery, L.A. ’06 Fine Arts drawing on duralene Chicago “Lifelines: A Retrospective Exhibition of “DON’T BE EVIL” Mineko Grimmer Performance, Installation, Sculpture, Dana Montlack Urban:Sanctuary, L.A. Kerry James Marshall ’81 MFA Fine Arts, ’79 Fine Arts Painting and Drawing” ’94 Fine Arts ’78 Fine Arts “Dialogue” Armory Center for the Arts, Pasadena Joseph Bellows Gallery, Art San Diego Alexander Kroll Vancouver Art Gallery, British Columbia Koplin del Rio, Culver City ’08 MFA Fine Arts Greg Kucera Gallery, Seattle “Gongs.Wires.Bamboo.” Harrison Storms Trine Wejp-Olsen “Unfoldings” Main Gallery, Irving Arts Center, TX ’72 MFA Fine Arts ’94 Fine Arts CB1 Gallery, L.A. Bruce Yonemoto “John’s Canyon” “Volcanic Puffs and Other Tales” ’79 MFA Fine Arts Mark Dean Veca Thomas Paul Fine Art, LA George Billis Gallery, L.A. Alexander Gray Associates, N.Y. ’85 Fine Arts

“When the Shit Hits the Fan”

Suzanne Caporael Western Project, Culver City

’79 MFA Fine Arts Scott Derman (‘05, Toy Design) “The Memory Store” Porkchop Spaceship from “Toy Story 3” OMAG 30 section: Class Notes Otis College of Art and Design Alumni Magazine section: Class Notes Spring 2011 31 OMAG

Read entire essay at otis.edu/PST

At the time ceramics was craft-oriented ALUMNI CONNECT Otis in the Art Scene and decorative, and the classroom was minimally equipped. He returned to Otis of Southern California when he met Voulkos, who arranged a By Scarlet Cheng scholarship. “The main thing for me was LA to get off the craft track,” Mason says. “Voulkos’ vision was that you could be Aaron Kupferman Ruben Ochoa Beginning in October 2011, Pacific an artist and still work in clay. It was that ’05 Digital Media ’97 Fine Arts Standard Time: Art in LA 1945-1980, vision that made the difference. If you Compositing Lead, Sony Pictures One of 21 shortlisted artists for the Future a Getty initiative, will explore and think about innovation, it’s always about Imageworks team for “Alice in Generation Art Prize (Victor Pinchuk celebrate the legacy of contemporary art that—it’s about a contextual shift. It’s not Wonderland,” winner of Academy Award Foundation) in Southern California. For far too long in the old linear progression.” for Outstanding Visual Effects the achievements of this region’s artists The gravitational pull of Voulkos’ Christopher Rowland and art movements—some of which have energy was powerful. Billy Al Bengston Ashkahn Shaparnia ’00 MFA Fine Arts, ’93 Fine Arts spread far beyond its geographic borders (’57) remembers the moment he and ’06 Fine Arts Completed documentary, “Red Hope? —have been under-recognized and under- fellow Otis student Ken Price (’57) Designed skate shoes as a guest artist for The Blacklisting of Hope Foye: Her Story, documented. witnessed a demonstration Voulkos Circa Skateboards Her Songs” Above: Feminist Art Workers (Nancy Angelo as Sister Critic Arthur Danto has defined gave when he first arrived in L.A. Angelica Furiosa), Nothing to Say?, 1977, (photo from the “art world” as composed of artists Bengston found his own medium as one Chin Ko Ben Go performance) and “certain curators, dealers, critics, of the leading lights of the Finish Fetish ’06 Digital Media ’00 Digital Media collectors.” Here in Southern California, movement in the 1960s, which used new Visual Development Artist, Dreamworks’ Director, Brand New School “Honda Left: Feminist Art Workers (Cheri Gaulke), Heaven or Hell?, 1979 (photo from performance) we would add a handful of colleges and materials such as paints designed for the “Megamind” CVR-V” ad featured in Regional Super Images © Feminist Art Workers (Nancy Angelo, Candace universities that have contributed to automotive and aerospace industries. Bowl Spot Compton, Cheri Gaulke, Vanalyne Green, Laurel Klick), the essential strength and vitality of our Another landmark for the school Brian Cuartero Collection of Woman’s Building Image Archive at Otis cultural universe—with Otis College of Art was when Ralph Bacerra took over the ’10 Digital Media Kenneth Cowan and Design key among them. ceramics department in 1983, with an 3D stereoscopic compositor, “Chronicles ’06 MFA Fine Arts and NY Since 1918 Otis has served as an aesthetic as precise and deliberately SF of Narnia: Voyage of the Dawn Treader” Whitney Stolich incubator for innovation. In the post- exquisite as Voulkos’ was rough-hewn ’04 MFA Fine Arts war era, pivotal was the arrival of Paul and spontaneously expressive. Bacerra Seleted for “Jeunes Talents” Project, Voulkos in 1954 to set up the ceramic arts covered smooth surfaces with eye- IN PRINT France Doin’ it in Public: Feminism and department at the Los Angeles County popping geometric forms created through Art Institute (later Otis). His work with multiple layers of over-glazing. He Alonzo Davis Jules Rochielle Art at the Woman’s Building ceramics had quickly moved into drew freely on both Asian and Western ’73 MFA Fine Arts, ’71 Fine Arts ’09 MFA Public Practice the sculptural. Assembling, tearing and motifs. He, too, touched the lives of The Bamboo Muse, Blurb LACE Residency, “Portable City Projects” gouging pieces of clay, he created an many students, including Paul Soldner aesthetic that paralleled the Abstract (’56), who went on to make ceramics or Terrance Zdunich Hazel Mandujano On October 1, Otis’ Ben Maltz Gallery will open the exhibition Doin’ it in Public: Expressionist movement in painting teach or both. Although they made very ’98 Communication Arts ’10 MFA Graphic Design, ’03 Fine Arts Feminism and Art at the Woman’s Building, a project directed by Meg Linton, on the East Coast. The work was different art, Voulkos and Bacerra shared 5th issue of The Molting, “Mother’s Day” and Sergio Bromberg ’10 MFA Fine Arts Director of Galleries and Exhibitions, and Sue Maberry, Director of Library and revolutionary, especially because clay the ethos of hard work, combined with a Residents at Sandberg Institute, Information Technology. The Woman’s Building (WB) was a public center of was generally considered more craft fearlessness in using any and all material Los Angeles Blaine Fontana Amsterdam women’s culture founded by artist Judy Chicago, art historian Arlene Raven, COOL DESIGNERS than art in those days. that served their expression. At the Luckman Gallery, alumni viewed ’02 Communication Arts and designer Sheila Levrant de Bretteville in 1973. Others who were part of Through his own work and its – the exhibition Psychic Outlaws, curated Eduardo Lucero Amalgamate, Zero+Publishing, Inc. Andrew Clinico this pioneering institution are Leslie Labowitz-Starus (’72) and Chair of Graduate exposure in art galleries, Voulkos Lynn Zelevansky, former LACMA by John Souza and Annie Buckley (’03 ’89 Fashion Design ’10 Fine Arts Public Practice Suzanne Lacy. Doin’ it in Public contextualizes and pays tribute challenged this concept and curator, wrote “But even under the MFA) and based on her book. Work by Fall/Winter 2010 Collection at BOXeight’s Aaron Philip Clark Member of Incan Abraham band, to the groundbreaking work of feminist artists and art cooperatives at the WB revolutionized the practice of ceramics. best of circumstances, museums only Tami Demaree (’03 MFA), Rashell George “Fashion: Refocus” for L.A. Fashion Week ’08 MFA Creative Writing described on NPR as “Deftly infusing from 1973-1991. The WB was an epicenter of explosive art making and political He also deeply influenced a generation provide part of the support needed for (’05), Fay Ray (’02), and Liz Young (’84) The Science of Paul: A Novel of Crime, generations of rock music into a graceful activism that reverberated across the nation and continues to effect the art of students, among them John Mason contemporary art. In the absence of a was featured. Marco Rios (’97) is Gallery Derek Thompson New Pulp Press and subtly innovative product” world today. (’57) and Ken Price (’57), two of the most diverse critical press and a strong art Curator, and the book was designed by ’94 Communication Arts The exhibition is part of respected ceramic artists today. While market, since the 1920s the [art] schools Hazel Mandujano (’10 MFA, ’03). Pixar story artist lectured and led work- Pacific Standard Time: Art in L.A. 1945-1980, their work is very different from Voulkos,’ have been the glue that has held the Los shops on creature design and storytelling IN THE NEWS IN MEMORIAM an unprecedented collaboration that brings together more than 60 Southern they internalized the lesson that an Angeles art world together.” New York at Otis California cultural institutions for six months to tell the story of the birth of artist can harness any materials to his or Yes, the glue, and the spawning At Haunch of Venison, alumni and Eloy Torrez Paul Soldner the L.A. art scene. Pacific Standard Time is an initiative of the Getty. The her expression. ground and laboratory for new ideas and members of Otis’ Patrons Circle heard Consuelo Asper Valdes ’77 MFA Fine Arts ’56 MFA Ceramics presenting sponsor is Bank of America. Additional support for Doin’ It in Public Mason had been interested in ways of working, as well as the incubator from architect Steven Learner (’86), who ’01 Fashion Design Documentary “Eloy: Take Two” follows Ceramics pioneer passed away in his has been provided by The Andy Warhol Foundation for the Arts, The Henry ceramics the first time he attended of the young talent that will lead us designed the gallery. “Coco Lancellotti” Spring 2011 line the L.A.-based artist in his journey to cre- home in Claremont, CA in January. Paul Luce Foundation, Supporters of the Woman’s Building and the Barbara Lee Otis, travelling from Nevada in 1949. through this new century. ate art and music was Otis’ first ceramics student and stud- featured in Fashion Week N.Y. Family Foundation. San Francisco ied with Peter Voulkos. Masami Teraoka (’68) spoke to alumni at Zoe Hong Kim Gordon the Catharine Clark Gallery’s exhibition of ’02 Fashion Design ’77 Fine Arts Karly Kojimoto his work. Solo show, “The Noise Paintings” at John ’09 Digital Media Pacific Standard Time: American Museum of Hammer Museum, UCLA Museum of Contemporary Santa Barbara Museum Collection featured in “Project San Ceramic Art, Pomona Alonzo Davis (’73) Art, San Diego of Art McWhinnie Gallery, N.Y.; designed three Passed away in , June Francisco” runway show Art in L.A. 1945-1980 Paul Soldner (’56), Billy Al LACE Robert Irwin (’50) John Altoon (’49) Bengston (’56), John Mason limited edition pieces for Italian luxury Leslie Labowitz-Starus (’72), Museum of Latin American Scripps College Williamson (’56), Ken Price (’57) John White (’69 MFA) Art, Long Beach Gallery, Pomona Hillary Coe label Sportmax, and performed at the John Hebard As plans for the fall Pacific Standard Time: Art in L.A. Getty Museum LACMA Carlos Almarez (’74), John Mason (’56), Hollywood Bowl with Sonic Youth ’71 Fine Arts 1945-1980 exhibitions unfold, Otis has learned about Carlos Almarez (’74), Gil de Montes (’74) Ken Price (’57) ’04 Digital Media Patssi Valdez (’85) Passed away in August, 2010 many institutions that will feature alumni. Keep your John Mason (’57), Ken Price Norton Simon Museum, UCLA Fowler Museum Art Director, ad campaign for “Call Of (’57), Billy Al Bengston (’56), Laguna Art Museum Pasadena Patssi Valdez (’85), johnhebard.com eyes open for alumni and faculty work in many other Norman Zammitt (’61) Robert Irwin (’50), Duty: Black Ops” John Altoon (’49), Carlos Almarez (’74) John Mason (’56) museum and gallery shows! Getty Research Inst. Ken Price (’57) Vincent Price Art Museum, John Baldessari (’58) Museum of Contemporary Art Pomona Museum of Art Monterey Robert Irwin ’50), Tyrus Wong (’32), www.pacificstandardtime.org Bas Jan Ader (’65), Bas Jan Ader (’65) George Chann (’42) Billy Al Bengston (’56)

Wendy Given ’02 MFA Fine Arts “Wake, 2010” C print OTIS COLLEGE OF ART AND DESIGN MAGAZINE 310.665.6800 / OTIS.EDU in this issue: Non-Profit Org U.S. Postage Otis College of Art and Design PAID Spring 2011 No Finish Line 9045 Lincoln Boulevard, Los Angeles, California 90045 Los Angeles, CA Permit No. 427 pg.10 ISSUE 10 - Proving the Power of Art and Artists pg.16 - Magnet for Controversy VOL.10 310.665.6800 / OTIS.EDU pg.20