Art Center College of Design SPRING 2012 • 01 ARTCENTER.EDU/DOT SCAN QR CODE FOR INSTANT ACCESS.

BESPOKE INNOVATIONS’ CUSTOMIZED “FAIRINGS” FOR PROSTHETIC LIMBS ADDRESS THE HUMAN NEEDS OF THE USER. SEE PAGE 8.

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Interim Co-Editors: Jered Gold, Mike Winder Writer s: Rebecca Epstein, Jered Gold, Mike Padilla, Mike Winder Art Director : Winnie Li Designers : Andrea Carrillo, Winnie Li, Miguel Ramirez Production Manager : Audrey Krauss Web Designer: Eliana Dominguez 02 27 A Web Production: Chuck Spangler SPRING 2012 r

around the world feature Dot Center t Board Chairman: Robert C. Davidson, Jr. Smart products, exhibitions, ventures Replacing Pigment with People President: Lorne M. Buchman Senior Vice President, Development and and experiences by Art Center  Artist and Graduate Art faculty External Affairs : Arwen Duffy students, alumni and faculty. member Lita Albuquerque revisits  Associate Vice President, Advancement and expands her seminal 1980 Services : Armik Allen Associate Vice President, Development : 08 earthwork, Spine of the Earth, in Maya Chalich Los Angeles’ Baldwin Hills Scenic Associate Vice President, Marketing and feature Communications : Wendy Shattuck Outlook for the Getty’s Pacific Director, Communications: Teri Bond Custom Made for the Soul Standard Time. Director, Design Office: Ellie Eisner Student Seth Astle, designer of  Director, Promotion and Public Affairs: an award-winning foot and pedal  Jered Gold system for para-cyclists, and 35 Cover: Stellar Axis: Antarctica by Lita Bespoke Innovations, the makers  dot news Albuquerque. Photo by Jean de Pomereu. of “Fairings” for prosthetic limbs, Campus news: TEDx meets Art Photography: © Art Center College of share the same goal: improving  Center, Dwell on Design, Kickstarter, Design/Steven A. Heller; Vahé D’Ala; the quality of people’s lives. South Campus expansion, Honoring Catherine R. Wygal & Deanna McClure Civility, DOT Launch. © 2012 Art Center College of Design. All rights reserved. Dot, Art Center, and 15 Art Center College of Design are trade- annual report 39 marks of Art Center College of Design. A look at many of Art Center’s spotted Student works reproduced or referenced accomplishments for fiscal year  Were you there? Recent events both in this publication are for educational 2010–2011, including the “80 for 80” on and off campus. purposes only. No part of this publication scholarship initiative, Art Center’s  may be reproduced or transmitted in any form or by any means, electronic or strategic plan, the Designmatters  mechanical, including photocopying, concentration and more. Lita Albuquerque recording, or any information storage or retrieval system, without written For her 2006 work Stellar Axis: Antarctica (see cover), artist permission of the publisher. and Graduate Art faculty member Lita Albuquerque led  a team of scientists, researchers and artists to Antarctica  Printed on Utopia 1X: Green with 20% post-consumer waste and French Paper, to create a sculpture and ephemeral event on an unprece- Construction, both FSC-certified Mix. dented scale—99 fabricated blue spheres were placed on th Ro the ice, each corresponding to a specific star in the sky above, resulting in an earthly constellation at the planet’s  rissa Ma pole. For more on Albuquerque and her most recent  VISIT US ON large-scale ephemeral work in Los Angeles, Spine of the FACEBOOK AND Earth 2012 (pictured here), see page 27. FACEBOOK.COM /ARTCENTER.EDU

litaalbuquerque.com Photograph: TWITTER.COM /ART_CENTER • 02 SPRING 2012 • 03 ARTCENTER.EDU/DOT

Not Your Father’s Magic 8 Ball A Portrait of a Celebrated Artist DIANE LANE, Audrey Liu PROD 07 Richard Bunkall ILLU 75 ROBERT PULCINI, around SHARI SPRINGER BERMAN, AFFONSO BEATO. Are you a “Tunnel Visionary,” “Fuzzy Forecaster” or “Idle Art Center alumnus and former faculty member Richard PHOTOGRAPHER: Achiever?” Better download Unstuck, an iPad app that Bunkall ILLU 75 passed away from Lou Gehrig’s disease PETER LOVINO, COURTESY HBO the promises to kick-start “personal growth for anyone who in 1999, but his influence and impact lives on. During his FILMS. wants to live better every day.” An offshoot of SYPartners,  25-year career as a painter and sculptor, he created a a creative consultancy whose clients range from Johnson significant body of artwork that was both original and & Johnson to Target, Unstuck was designed by SYPartners’ emotionally compelling. The Pasadena Museum of  world Audrey Liu PROD 03 and offers interactive tools to help Art recently mounted an exhibition, Richard Bunkall: A “stuck” users get motivated, make decisions and overcome Portrait, and hosted a book launch celebration for Richard obstacles. In other words, the free app offers the same Bunkall, the first published survey of the artist’s work. services that SYPartners offers all its big-name clients. Featuring more than 200 color plates of paintings, works on  “(SYPartners Founder and Chairman) Keith Yamashita really paper, sculptures and personal sketches, as well as essays believes in making what we do accessible to anyone,”  by art critics Peter Frank, B.R. Gilbert and Peter Clothier, the says Liu, who believes that with Unstuck, her company is 300-page tome is the definitive homage to the man and his blazing a trail for others to follow. Signs point to yes.  extraordinary talent. Keeping it Real unstuck.com richardbunkall.com Affonso Beato FILM FACULTY

Long before Snooki got punched or Jon and Kate had eight, there were the Louds of An American Family. That ground- breaking 12-part PBS documentary series from 1973

chronicled the events that led to the divorce of Bill and AROUND THE WORLD

Patricia Loud, the couple at the head of an upper-middle Dot Center Art class American family living in Santa Barbara, and effectively  gave birth to the reality television genre. Last year the HBO film Cinema Verite told the behind-the-scenes story of the

Art Center Dot series, and there to recapture the look and feel of early 1970s 

AROUND THE WORLD California was Film instructor Affonso Beato, the picture’s director of photography. The film, whose predominant  look Beato described to American Cinematographer as “a Kodachrome dream: colorful, bright and sunny,” stars Tim coming Robbins and Diane Lane and is now available on Blu-ray. : UPRISING The Game Has Changed summer hbo.com/movies/cinema-verite COURTESY 2012 DISNEY XD. Annis Naeem ENTD 6TH TERM

Fans of Tron and its 2010 sequel, Tron: Legacy, are already PATRICK FUGIT, SHANNA COLLINS, well acquainted with heroes Flynn, Sam and Quorra and the TIM ROBBINS, Light Cycles, Light Jets and Light Runners they use to blaze DIANE LANE. PHOTOGRAPHER: across the digital frontier. Now, with this summer’s Tron: PETER LOVINO, Uprising animated series, Disney upgrades the grid with COURTESY HBO new characters—Beck (Elijah Wood), Mara (Mandy Moore) FILMS. and Pavel (Paul Reubens)—new vehicles—Light Crawlers  and the mass transit Light Rail—and a narrative that bridges the gap between the two films. And right there in the middle of the uprising is current Entertainment Design student  Annis Naeem, who began working on the Disney XD channel show between his fourth and fifth terms and whose “user powers” touched both the show’s vehicles and futuristic environments. End of line. disney.go.com/disneyxd • 04 SPRING 2012 • 05 ARTCENTER.EDU/DOT

Appetite for Discussion Amie Thăo ILLU 07

This summer, Amie Thăo ILLU 07 and Finnish musician Olli Tumelius will cycle 15,000 miles across Europe and Asia  to document “real people, real food, and real stories,” for their storytelling project “The International Supper Club,” which aims to build connections among people using the social space of shared meals and stories. Thăo believes stories are important because they help us empathize  and connect with each other and remind us of our shared humanity. The idea came to Thăo during a solo cycling trip she took through 15 different European countries in 2011. “Everywhere I went, I found that people were struggling with how to make meaning from their lives,” she says. “Meal time is the perfect space to sit together and tell stories.”  internationalsupperclub.org

“Three Boys” Return Home

While enrolled in Art Center’s Photography program in AROUND THE WORLD 1979, Mark Arbeit PHOT 79, George Holz PHOT 80 and Just Art Center Dot Center Art Loomis PHOT 80 found themselves in the enviable position of assisting fashion photographer Helmut Newton during one of his most prolific periods. Following his death in 2004, Newton’s wife conceived of and curated Three Boys

Art Center Dot from Pasadena: A Tribute to Helmut Newton, an unusual

AROUND THE WORLD memorial to the iconic photographer and a revealing look at the personal and professional relationships that exist between artists and their protégés. The exhibition includes each photographer’s individual work as well as snap- shots, hand-written notes, journal pages, contact sheets A Ghostly Win and other mementos. The exhibition debuted in Berlin, traveled to Paris and New York, and this summer the boys return home—an expanded version of the original show Thanks to the combined talent of nine Art Center alumni will run in Art Center’s Williamson Gallery from June 14 to —David Goodwin TRAN 97, Derek Hibbs ENVL 05, Sameer August 26, 2012. Kawash ENVL 96, Ed Li ILLU 98, Chuck Roberts ILLU 84, Ken Of Maps and Men threeboysfrompasadena.com Saba GFILM 01, Lidat Truong ILLU 07, Kyle Valentic GRPH 07 and Nathaniel West ILLU 03—BRC Imagination Arts recently Wendy MacNaughton FINE 99 took home the Themed Entertainment Association’s 2012 Thea Award for Best Cultural Heritage Attraction on a For years, Wendy MacNaughton FINE 99 has documented Limited Budget for The Ghost of the Castle. The focal point San Francisco residents—everyone from Market Street of the visitor experience at the Louisiana Old State Capitol in  chess players to Civic Center Farmer’s Market farmers— Baton Rouge—the former statehouse now acts as a political in their own words. Now she’s been named a 2012 Artist  history museum—The Ghost of the Castle is an immersive in Residence at the Intersection for the Arts, a community- theatrical presentation in which the ghost of Sarah Morgan, oriented, multidisciplinary artists’ space in the City by  an authentic Civil War-era heroine, tells the castle’s history the Bay. During her residency, she’ll be building upon the as chronicled in her book, A Confederate Girl’s Diary. installation she created at Intersection as part of the recent louisianaoldstatecapitol.org group show Here Be Dragons: Mapping Information and Imagination. Titled “Around Here,” her installation used portraits and “corresponding psychological and physical

maps” to document the populations in the neighborhoods HELMUT NEWTON and communities near Fifth and Mission. “It’s going to  (ABOVE) BY grow in all directions, all over the walls, ceiling, everywhere,” MARK ARBEIT PHOT 79 says MacNaughton of the project’s expansion.  theintersection.org ATELIER SYLVIE BERRY (BELOW) BY MARK ARBEIT PHOT 79 • 06 SPRING 2012 BEHANCE NETWORK network.artcenter.edu

Your Get These Shoes Were Made for Skating Peter Treadway MS INDU 04

Peter Treadway MS INDU 04 recently launched a Kickstarter campaign to cover the final production costs for spnKiX, battery powered, motorized skates that strap on to your shoes. Thanks to help from Nikolai Cornell’s MDP 04 and Portfolio Eric Boisvert’s MDP 04 marketing and creative firm PUSH, within weeks the $25,000 goal was surpassed nearly five- Art Center Dot fold and the first factory shipment is due to arrive this spring.  AROUND THE WORLD by Dubbed “wearable mobility,” Treadway’s spnKiX use a hand- controlled wireless remote to direct both shoes at once.  Men in Vintage Black opens All hardware and electronics are integrated into the fiber- 05.25.2012 reinforced nylon frame that affixes to your shoe, with one join Craig Shoji ENTD 06 motor and battery pack per foot. SpnKiX also come with training wheels to help get you on your (motorized) feet. Seen today!

MEN IN BLACK 3, It’s been 10 years since actors Will Smith and Tommy Lee www.spnkix.com COURTESY Jones donned their signature black sunglasses as extra- PICTURES. terrestrial-busting Men in Black Agents J and K. Now the boys—and director Barry Sonnenfeld—are back for another intergalactic smackdown in Men in Black 3. This time around, J (Smith) travels back in time to 1969 to prevent the younger  K, played by Josh Brolin, from being assassinated. When  Created exclusively for the Art Center it came time to reimagine MIB headquarters in the ‘60s, the Millionsading community, the Art Center Gallery filmmakers turned to Craig Shoji ENTD 06, who designed le provides a space for alumni, students, a space filled with sweeping curved benches, egg chairs, rld’s wo faculty and staff to promote their work glass stairs and two columns of outrageously supersized the owcase torchiere lamps. Sadly, his Art Center-centric suggestion of is to sh rk and collaborate with peers. orange upholstery didn’t make the final cut. The film opens wo Memorial Day weekend.  Behance platform eative And since Behance seamlessly meninblack.com cr online integrates with LinkedIn, the world’s discover and largest professional network, the Gallery doubles as a powerful tool to seek out new opportunities. • 08 SPRING 2012 • 09 ARTCENTER.EDU/DOT

CUSTOM MADE FOR THE A r t Center Dot Center t BY MIKE WINDER FEATURE

PRODUCT DESIGN FEATURE t Center Dot r

A STUDENT SETH ASTLE AND BESPOKE INNOVATIONS SHARE THE SAME GOAL: IMPROVING THE QUALITY OF PEOPLE’S LIVES

KINESTHETICALLY PLEASING Last year, upper-term Art Center student Astle’s Cadence project began two years attention as the Olympics, yet contains Seth Astle made waves when he won the ago in instructor Fridolin Beisert’s INDU 08 just as many dramatic stories of per- International Design Society of America’s Product Design 2 course. Beisert’s brief severance and triumph over adversity. (IDSA) Gold IDEA Award for Cadence, his for the course was deliberately vague: Then it all clicked: he would design a prosthetic and pedal system designed for “Design an innovative product for the prosthetic to assist para-cyclists, spe- below-the-knee amputee para-cyclists. Olympics.” As somebody who grew up cifically for below-the-knee amputees, While winning the award was an achieve- active—running, swimming, surfing, the biggest group of amputees in the ment in itself, equally noteworthy is how skateboarding and, above all else, cy- United States. the Product Design major’s project came cling (“I started riding a two-wheeler Astle began his research by going to to fruition and how its success put him when I was three years old,” said Astle) the Home Depot Center Velodrome in in touch with Bespoke Innovations, a  —the assignment intrigued him. As he Carson, Calif., to observe competitive pioneering human-centered design firm began exploring ideas, the notion of indoor cycling. While there he acquired that creates what it calls “Fairings”— designing a product for the Paralympics several good leads for para-cyclists, 3D-printed coverings that surround an took shape in his mind. He relished conducted several interviews, and existing prosthetic leg and are custom- the idea of focusing on an event that gained valuable insights into three chal- ized for each individual. receives nowhere near the amount of  lenges para-cyclists face:

SETH ASTLE AND HIS PROSTHETIC AND PEDAL SYSTEM FOR PARA-CYCLISTS. • 10 SPRING 2012 • 11 ARTCENTER.EDU/DOT

A) Below-the-knee amputees experience a “dead zone” in the split-toe design, so that para-cyclists can visually line up the circular phase of pedaling because they are unable to create cleat with the receptacle on the pedal. And the issue of para- forward or backward movements; cyclists falling while trying to clip out? Rather than relying on a pivoting motion to unfasten, the Cadence utilizes a magnetic B) Amputees have difficultly “clipping in” to a clipless pedal system that disengages when the cyclist pedals backwards. system—the system favored by professional cyclists that  While a prosthetic that tackles as many problems as the  eschews pedals with toe clips for shoes with sole-mounted Cadence does is reason enough to celebrate, Astle’s design cleats that snap into the pedals—because they can’t feel their is so visually striking that it wows purely based on its aes- way into the pedal’s receptacle; and thetics. “I didn’t want it to look exactly like a leg, but I also didn’t want it to look like a super-engineered piece,” said C) Para-cyclists often fall when “clipping out” because doing so Astle of his design that both echoes the dramatic lines and requires pivoting the ankle to unlatch the cleat from the pedal, forms of a cycling helmet while also looking like a natural an action which a below-the-knee amputee cannot do. extension of the human body. “I wanted it to land somewhere BEYOND NUTS AND BOLTS  in between.” One of those companies that called couplings and lots of nuts and bolts. Over the course of 14 weeks, Astle developed his Cadence   And where exactly did the Cadence land? Everywhere. Last was San Francisco-based Bespoke  There’s very little consideration of system that solves these challenges in a number of innovative  July it won IDSA’s Gold IDEA award for Product Design. A few Innovations, a firm founded by indus- the human being as something more ways. That dead zone due to a lack of forward and backward months later it won the U.S. James Dyson Award. And this July trial designer Scott Summit and Ken  nuanced than a robot. Our goal is to pedaling movements? Cadence solves this with an elastomeric it will be on display in a special exhibition at the London 2012 Trauner, a practicing orthopedic sur- address the human needs—the person- band that accumulates potential energy—as the foot rotates Olympics. With all this attention, Astle’s phone began ringing geon, whose Fairings—3D-printed and ality, life and soul of the person.” to the bottom phase of the pedaling cycle, kinetic energy off the hook, with calls coming in from Brazil, Chile, Australia customized coverings that surround an One major way Bespoke’s Fairings snaps the foot and leg back up and around to the top phase. and New Zealand. “People were asking me, When is it coming existing prosthetic leg—had also won address human needs is by restoring The difficulty of clipping in without being able to feel if the out?” said Astle. “And then the prosthetics companies started a Gold IDEA Award (Astle won in the its user’s symmetry, which is achieved foot is in the correct position? The Cadence foot features a calling me.” Student Designs category; Bespoke in  digitally: Bespoke 3D-scans the ampu- the Personal Accessories category).  tee’s remaining limb, mirrors the scan Summit had seen the Cadence, recog- and then 3D-prints a part that perfectly nized a like-minded designer in Astle, blends in with the user’s symmetry. But and contacted him to see if he was as innovative as that technology might FEATURE t Center Dot r looking for work. Astle told him he be, the true magic behind Bespoke’s A was still studying, but that he’d love to Fairings lies in how the company goes do an internship. He went up to San one step further by soliciting and incor- Francisco, met with the company, and porating the aesthetic preferences of was hired the next day. the user. Summit describes Bespoke as an Those preferences can come in experiment in bringing industrial de- many forms—whether it’s a unique sign to devices where design is typi- interpretation of the contours of their  cally more utilitarian and pragmatic. body (creating division lines for a “Things which are pretty lifeless and bodybuilder that don’t violate his body  soulless for anybody who has to use shape) or in the choice of materials them,” Summit explained. As the son used to create the Fairing (copper of a special education teacher, Summit fairings for a client who wants her pro- has a lifelong understanding of how sthetic limb to match her red hair).  poorly designed products tasked with One of Summit’s favorite case studies addressing an individual's special is James, a motorcycle rider in the San needs can negatively impact feelings Francisco Bay Area who lost his leg in of self-worth. a motorcycle accident two decades “They are usually such a mechanically ago. The Fairing Bespoke created for driven product when you see them,” him perfectly accentuates his Harley  said Summit, who believes prosthetic Davidson—a black carbon fiber interior,  limbs have been stuck on the bottom a polished chrome exterior embossed level of Maslow’s hierarchy of needs with tattoos similar to those on his pyramid for far too long. While they arm, and contours that blend seam- may address the immediate utilitarian  lessly with his bike (at left). “The net needs of the user, prosthetic limbs fail effect is fascinating because the to tap into the individual’s personality. Fairing becomes an aesthetic liason “They have every hallmark of some- of sorts,” said Summit. “It really looks thing that was designed by engineers like man meets machine through this  —they’re essentially a titanium pipe, surrogate body part." BESPOKE CREATES FAIRINGS, CUSTOMIZED (TOP) SKETCHES FOR ASTLE’S IDEA GOLD BESPOKE’S FAIRINGS ADDRESS THE HUMAN PROSTHETIC COVERINGS. AWARD-WINNING CADENCE SYSTEM. NEEDS OF THE USER. • 12 SPRING 2012 • 13 ARTCENTER.EDU/DOT

“WE HAVE A COMMUNITY OF STUDENTS WHO WANT TO LEVERAGE THEIR CREATIVITY TO IMPACT PEOPLE’S LIVES”

— KAREN HOFMANN A r t Center Dot Center t FEATURE Bespoke also sees a good deal of veterans who have lost “When Frido [Beisert] told me his Product Design 2 course limbs in Iraq and Afghanistan, as the U.S. Department of  was centered on the Olympics, we imagined we’d have a lot FEATURE t Center Dot Veteran Affairs is very receptive to improving the quality of of interesting performance apparel and footwear projects,” r

A life, and often covers the cost of Fairings, for soldiers. “In said Hofmann. “But as the midterms approached, Frido came many ways, soldiers are ideal candidates because some of  into my office and said, ‘You’re not going to believe this. We them are larger-than-life characters and they’re typically in have half a dozen students who have, on their own, decided their 20s and still very much in touch with their body image,”  to focus on the Paralympics instead of the Olympics.’” said Summit, who adds that while veterans and motorcycle Projects in that class ranged from Astle’s Cadence to  accident victims make up a good share of his business, there’s Product Design student German Aguirre Raeder’s Centaur  a much larger demographic out there in need of prosthetic High Performance Quad Rugby Wheelchair to Daniel Huang’s limbs. “As morbid as it sounds, the wars only add up to a few PROD 11 Tanggo, a futuristic concept that enables amputees thousand people a year,” said Summit. “That’s a small number to move fluidly and dance while atop a robotic Segway- considering that limbs lost to diabetes account for more than like device. And the thing that impressed Hofmann the most 100,000 people a year.” is that all these projects were student-driven. “We have  a community of students who want to leverage their creativ- ity to impact people’s lives,” said Hofmann. “That’s the most LEVERAGING DESIGN meaningful work designers can do.” “That was an incredibly special moment” said Karen Hofmann, For Summit, the appeal goes back to infusing design into Chair of Art Center’s Product Design Department, on how  products where it has traditionally been lacking. “It’s a lot cooler Astle and Bespoke, both IDEA Gold winners working on  to be working on the next sports car or motorcycle than it is solving similar problems, came to work together. And for to be working on a crutch for the elderly, but the impact you Hofmann, just as special was the fact that Astle wasn’t the can have is so much greater.” only student in the Olympics-themed class who focused on And Astle concurs. “I’m not a big fan of cell phones or individuals with similar needs. gadgets. But something that helps people achieve their best? That excites me.”

(BOTTOM) IN CLASS, ASTLE CREATED MANY (TOP RIGHT) ASTLE’S CADENCE SYSTEM ACTS BESPOKE’S FAIRINGS RESTORE THE MOCKUPS OF HIS CADENCE SYSTEM. AS A NATURAL EXTENSION OF THE BODY. USER’S BODY SYMMETRY. ANNUAL GIVING artcenter.edu/giving Annual Report Give today 2010–11 Hatcher

Chris Dear Friends, In recent months you have probably heard about many extraordinary changes taking  place at Art Center. From the launch of our community-created strategic plan for  2011–2016, to the development of new leading-edge degree programs, to the purchase give of a new property that will double the size of South Campus (see page 38 for the complete story), the progress we are making in re-imagining Art Center for future generations represents a pivotal moment in our history.

In this issue of Dot, I’m delighted to be able to introduce yet another change—the inclusion of the Art Center Annual Report, which will now appear in the first magazine of each calendar year.

Why this new addition? Because as we prepare to seize new opportunities that will advance our mission, it is of utmost importance that we understand our strengths. On the surface, annual reports are about numbers—from a summary of audited financial empower statements to endowment market value to total philanthropic support—but reflected in these numbers is a human story about our students’ growth and their efforts to  improve lives and empower communities. It is this story that reminds us of the value of the work we do, and encourages us as we look to the future to do it even better.

Total philanthropy for fiscal year 2010-2011, the best we have seen in three years, aligns  with a range of milestones that are quickly reshaping the landscape of Art Center. Becoming the preeminent college for art and design in the 21st century will, however, require the ongoing dedication of the entire Art Center community—trustees, alumni, transformArt Center's artists and faculty, staff, families and friends alike. Gifts of every size are helping us realize our designers are transforming vision, and all of us at the College are profoundly grateful for your support. We hope you will be inspired by what you read here, and recognize the very real ways you are for our world for the better. making a difference. Because of your commitment, the future of Art Center has never empower looked brighter. us udents help st me Every day. And there's no center to co better way to support art their extraordinary efforts generations than with a gift to the Robert C. Davidson, Jr. Art Center Annual Fund. Chairman Art Center College of Design Board of Trustees • 16 SPRING 2012 • 17 ARTCENTER.EDU/DOT

Annual Report “In 2011, I had the opportunity to meet regularly with Art Center’s 2010–11 Office of Development, and was pleased to discover the level of effort that went into looking for new scholarships. When I first heard of the ‘80 for 80’ Initiative, I was ex- cited to see our 80th anniversary being used to remind everyone in the Art Center community about what is really most important— Six Art Center the ability for students to attend Completed a great college. “Students want to be able to easily The “80 for 80” access a good education, and more Milestones scholarships allow that to happen. Scholarship Initiative As president of Art Center Student Government, I would often hear FY2011 was a banner year stories about the financial chal- for new student support at lenges that many students face. and what they mean When I reported back to my fellow Art Center. As part of the Student Government officers re- College’s 80th anniversary garding the success of ‘80 for 80,’ in 2010, Art Center launched

they were astounded. The Office ANNUAL REPORT 2010–11 the “80 for 80” Scholarship of Development not only met their goal, they exceeded it. Initiatives for the Future of A Initiative to raise $2 million r for annual and endowed like this provide hope for students Dot Center t in need, and assure us that the scholarships. Friends, alumni College is headed in the right and other partners joined direction.” t Center Dot r

A the College together to surpass that goal by 56 percent, for a Erik Molano graphic design student, former Student ANNUAL REPORT 2010–11 total of more than $3 million Government president “Invigorating and transformative.” — the equivalent of 124 $25,000 scholarships. That’s how President Lorne M. Buchman recently described Art Center’s accom- plishments of fiscal year 2010–2011. During the period starting July 1, 2010, and ending June 30, 2011, the College saw growth in private giving for the second year in a row. Moreover, FY2011 set the stage for even greater achieve- ments to come as Art Center re-imagines itself as the world’s leading college for art and design. We chose six milestones and asked a different person from the College community to talk about what one of them means to him or her—and to the future success and relevance of Art Center in the 21st century. • 18 SPRING 2012 • 19 ARTCENTER.EDU/DOT

“As Chair of the Advancement Committee, I was thrilled to be able to work closely with so many talented and thoughtful people in our Art Center community to create the strategic plan. Together we rolled up our sleeves and took on the complex task of examining the many interconnected questions surrounding the direction the College should take. In our first 80 years, Art Center has undoubtedly created an extraordinary educa- Launched tional tradition. Yet, to remain relevant in today’s fast-changing The Art Center world, we must strengthen our core values, adapt to change, and Strategic Plan promote innovation at every level.

If you’ve been paying atten- “Ultimately, we discovered that tion to goings-on at Art the strategic plan is not about any Center this past year, you’ve one program, initiative or building. “Improving the lives of others is “The Parsons Demonstration Shop It is about serving students. It is Created not just a part of governments or Built is enhancing Art Center’s level of probably seen two words about providing them with the charitable organizations anymore. instruction, allowing us to provide appear in our publications tools they need to succeed in their The Designmatters Every person has the opportunity The Parsons students with greater knowledge again and again: Create desired professions and in making Concentration to confront issues; the skills to Demonstration Shop and flexibility in the types of proj- Change. It’s what the College our world a better place. It’s the understand, research, analyze and ects they’re tackling in the early faculty, staff, trustees reason that I and many others tackle conflict are an essential terms. When it is not in use as a joined the Board of Trustees to In FY2011, Art Center part of any education. In FY2011 a generous grant classroom, Industrial Design and and students named their begin with, and the reason I have launched the Designmatters from The Ralph M. Parsons other students may use it as an collective new vision for found this year to be so personally t Center Dot r “Designmatters gives students additional shop and work space.

A 2011–2016. The plan’s three rewarding. I am confident that

Art Center Dot concentration, a new course Foundation created a new at Art Center the opportunity to The purchase of model-scale tools we are strengthening Art Center AROUND THE WORLD of study offered to under- Demonstration Shop, where pillars—The Conservatory create innovative solutions to complements the current array in a way that will create leaders ANNUAL REPORT 2010-11 graduates wishing to focus students from all majors Spirit, Convening Diverse overcome challenges within our of equipment we already have, for decades to come.” on the use of art and design society by collaborating with are able to learn and apply and allows all students access to Communities & Disciplines, for meaningful social impact. people outside of one’s major and skills such as woodworking, appropriate tools for their projects, and New Spaces for Learn- Judy Webb From innovating design career path. Tackling real-world metal fabrication, vacuum regardless of major. The Parsons ing—are aligning Art Center trustee, founder and president of solutions to overcome water problems through Designmatters forming, and plastic sheet grant also funds upgrades to with the needs and aspira- Lothrop Ventures, Inc. poverty in Peru to designing has given me a new passion to fabrication. The shop is another classroom, and creates a tions of future generations supplement the skills I have already clean space for our popular rapid an art park to foster safe, acquired. Working with people where many students now prototyping equipment. At the end of designers and artists. artistic expression among at- from federal agencies and being have their first experience of the term the Shop also functions risk teenagers in Pasadena, exposed to their issues, capabilities working with power tools. as an exhibit space for critiques. Art Center students can now and understanding, and learning declare the concentration to apply a designer’s research and “What does the Shop mean for the knowledge to co-create strategic future of Art Center? Our ability during their third term. solutions, have been invaluable to program this space for multiple parts of my Art Center experience. uses acts as the perfect model These projects have permanently for the kinds of multifunctional changed how I view myself as a classrooms we are seeking to cre- designer. Designmatters is perma- ate in the remodel of the Ellwood nently changing our understanding building and the development of of what a design school can do.” the South Campus. We are all very grateful to The Ralph M. Parsons Bianca Chin Fuchs Foundation for their generosity and graphic design student for recognizing the far-reaching value of such a venture.”

Wendy Adest chair of the Integrated Studies Department • 20 SPRING 2012 • 21 ARTCENTER.EDU/DOT

“I liken my relationship with Art “Augmented reality is changing Engaged Center to a marriage. It requires Programmed how people interact with informa- unconditional dedication on both tion, artifacts and spaces, and Global Alumni Events with ends to make it work. Art Center LAYAR DAY L.A. how we navigate through life. It is the President enjoys its legendary reputation for challenging our perceptions and fostering innovative designers In May, augmented reality changing the very way we think and problem solvers due, in large about how to employ technology. Beginning in July 2010 and part, to its commitment to alumni; leader Layar sponsored LAYAR DAY L.A. provided Art Center continuing through June and Lorne’s dedication to foster- a full day of space- and students with an invaluable oppor- 2011, Art Center President ing this bond with the alumni time-hacking at Art Center, tunity to explore this fascinating Lorne Buchman set off network ensures that the school consisting of a hands-on area that is blurring the lines around the globe to meet will continue to remain at the cut- workshop teaching how to between what is real and what is ting edge of innovation. computer-generated, and to meet with College alumni. His make augmented reality and be inspired by the creative mission: to strengthen and “As one of Art Center’s (many) experiences on the Layar minds driving this field. invigorate relationships husbands, I must say it is essen- platform, and a symposium among alumni and the tial that we continue to grow and with visionaries in the field. “The project also reflects the way school, share the College’s prosper together—we’ve always Among the luminaries Art Center is moving forward, managed to keep it fresh. I’ve where new boundaries are con- new strategic plan, and transitioned from a student taking featured who are changing stantly being pushed. For the create new opportunities for an unconventional educational the way we view the world: College to be at the center point internships and for students path, to a faculty member in the Layar co-founder Maarten of innovation, this is how it must abroad. He hosted events Transportation Design Department, Lens-FitzGerald, Scott continue to imagine itself—at the from Berlin to Portland, from to establishing a professional Fisher of USC’s School of border between what we know partnership between my company, and what we have yet to imagine.” Vevey to San Diego, affirm- Conscious Commuter Corporation, Cinematic Arts, and Dutch ing at each step that alumni and the College’s Entrepreneurial artist Sander Veenhof. Karen Hofmann are one of Art Center’s most Mentorship Initiative. Art Center chair of the Product Design Department; Art Center College of Design’s strategic valuable assets. has supported every level of director of the Color, Materials and engagement I’ve asked of it; and Trends Exploration Laboratory plan, “Create Change,” challenges us I continue to commit myself to Art Center because it continues to be ever more nimble, strong and pur- its commitment to me. poseful. It asks us to innovate, to adapt

“It’s the way a meaningful relation- and to create. We have always done this ship works.” exceptionally well. The challenge is to Gabriel Wartofsky TRAN 09 now do these things with a view toward cofounder of Conscious Commuter Corporation broader outcomes and more ambitious goals. The accomplishments of the past year, as well as the bold initiatives we are undertaking for the future, are shaped by our understanding that, more than ever, education must be an effort that combines expertise from both inside and outside the institution, from the academic to the philanthropic, from the nonprofit to the corporate, working together as a team to create change that not one of us could fully imagine on our own.

Fred Fehlau provost • 22 SPRING 2012 • 23 ARTCENTER.EDU/DOT

Art Center College of Design Gifts and Government Grants Statement of Activities for the Year Ended June 30 by Source

(IN THOUSANDS)

Temporarily Permanently Gifts Unrestricted Restricted Net Restricted Net Net Assets Assets Assets Total  Trustees $ 1,165,286 Operating Revenues Alumni 218,434 Net tuition and fees 60,622 60,622 Parents 24,700 Private gifts and grants 404 1,670 1,263 3,337 Faculty / Staff / Administration 17,749 Investment and other income 716 716 Other Individuals 272,756 Sales and services of auxiliary enterprises 507 507 Corporations 1,912,631 Other sources 558 1,054 1,612 Foundations 952,812 Amounts released from restrictions 5,013 (4,426) (587) $ 4,564,368 Total revenues 67,820 (1,702) 676 66,794 Government Grants 90,000 Total $ 4,654,368

Operating Expenses ANNUAL REPORT 2010–11 Education 44,642 44,642 A

Student services 5,935 5,935 r t Center Dot Center t Administration 8,413 8,413 Advancement 2,606 2,606 Auxiliary services 565 1,054 565 Gifts and Government Grants Total revenues 62,161 (1,702) 676 62,161 by Purpose Increase (decrease) in net assets in operations 5,659 (1,702) 676 62,161

Other Changes in Net Assets Endowment income 999 999 Net change in actuarial obligations 46 46 Net appreciation in fair value of investments 1,481 7,282 8,763 Loss on interest rate swap (1) (1) ENDOWMENT Donor re-designation (41) 41 Other expenses (1,129) (1,129) Increase in net assets from other changes 397 8,240 41 8,678 29% Increase in net assets 6,056 6,538 717 13,311

Net Assets at June 30, 2010 35,418 5,077 43,953 84,448 CURRENT EXPENDITURE Net Assets at June 30, 2011 $ 41,474 $ 11,615 $ 44,670 $ 97,759 71%

THE FAIR MARKET VALUE OF ART CENTER COLLEGE OF DESIGN’S ENDOWMENT ON JUNE 30, 2011 WAS $50,393,000. • 24 SPRING 2012 • 25 ARTCENTER.EDU/DOT

National Collegiate Inventors and Innovators Susan and Clark Valentine (PROD 71) Wendy West Brenninkmeijer Eric C. Otto David Buxton and Domenique Sillett (ILLU 94) Donor Honor Roll Alliance Paul A. Violich Susan Brown (PROD 76) Panavision Kristine Bybee (GRPK 83) Nestlé USA, Inc. Wallis Foundation Linda Brownridge and Edward Mulvaney Phoenix Decorating Co., Inc. M. Estelle Byrne (ADVT 58) July 2010 – June 2011 State Farm Insurance Wells Fargo Bank, N.A. Wendy Bruss Judy and Ben Reiling (Reiling Family Foundation) Bruce Carroll (PHOT 75) Surdna Foundation John R. Burrows Gloria R. Renwick Caruso Management Co. Ltd. Toyota Motor Corporation $5,000–$9,999 California Community Foundation Andrew Scott Robertson (TRAN 90) Karen and Murray Chalmers The support of our generous Un Techo para Chile adidas North America, Inc. Sioux Cann Matthew Rolston (PHOT 78) Wayne Chang (GRPH 06) donors makes all that we do at ALIPH Paul and Sherrill Colony Ray and Janet Scherr Foundation Judy M. Chin and Gary L. Woods $25,000–$49,999 Avery and Andrew Barth Jon Conrad (ILLU 82) Yvonne de C. Segerstrom Ophelia Chong (FINE 89) Art Center possible. This honor Anonymous Kathy and Frank Baxter Arthur L. Crowe David Shannon (ILLU 83) Ivan Chu and Hua Ling (ENVL 94) roll acknowledges all contribu- Aquarium of the Pacific Beatrice and Paul F. Bennett Timothy J. Delaney (PROD 72) Charles M. Smith Wayne Clark (GRPH 78) tors to the College in 2010–2011, The Ayrshire Foundation Lorne Buchman and Rochelle Shapell Design Studio Press Joni J. Smith Russ Cohen (ADVT 88) Cavalli Motors, LLC Courtney and John Hotchkis (TRAN 86) Linda Stewart Dickason Sony Corporation Bob Cooley (ADVT 49) including active pledges and Bettina Chandler Joan and John Hotchkis Jennifer Diener Katie Johnson Sprague (GRPH 91) Francine Tolkin Cooper and Herbert Cooper gifts made from July 1, 2010, The Foundation Johnson Controls, Inc. Kristen Ding (GRPH 94) and Mitchell Chang Ginny Stever David Coulson (ADVT 81) through June 30, 2011. On behalf Corbis Corporation Stacy and George H. Ladyman, Jr. (TRAN 87) Louise O. Dougherty Herbert W. Swain, Jr. (ADVT 76) David Cunningham Faye and Robert Davidson John Love Darian Marvin Dragge Carol and Charles R. Swimmer William Wesley Davis (ILLU 51) of the Art Center community, Fujitsu Ten Corporation of America Michelin North America, Inc. Arwen and Sean Duffy Ginny and David Sydorick Mrs. Arden Day, Jr. we thank you, our friends and Herman Miller, Inc. The Organization of American States Betty and Brack Duker Mark Tansey (FINE 72) DC Shoes, Inc. Adelaide Hixon Pasadena Community Foundation Jay M. Eitel Laney Techentin Alphonsus H. de Klerk (PHOT 84) supporters, for helping to make Nancy and Jerry V. Johnson (ADVT 59) Ann Peppers Foundation Phyllis and Donald Epstein Geneva and Charles Thornton, Jr. Lorinda P. de Roulet Art Center the leading college Legendary Pictures Peggy Phelps Georgianna and Paul Erskine Steven A. Trank (PHOT 80) Kenneth R. Deardoff (ILLU 56) of art and design. We have LG Electronics Inc. Tom Price Fred Fehlau (FINE 79, MFA ART 88) Universal Protection Service, LP Joe Del Rosario (PROD 95) lynda.com Rick Rosenfield Fidelity Investments Charitable Gift Fund Elizabeth P. Urban Jane Delancey (ILLU 74) made every effort to ensure the Emily and Sam Mann Carole Spence Barbara Kitasako Finn Andrea Van de Kamp Pia DeLeon and Michael Neumayr (PROD 91) accuracy of this document. If an Elise Mudd Marvin [d] John and Beverly Stauffer Foundation, Inc. Constance and Gordon Fish Volvo AB Warren Dern error or omission has occurred, Metal Finishing Association of Southern  Universal City Studios Follett Corporation Christian von Sanden (GRPH 96) Susan Dewey California, Inc. Mary Alice and Richard Frank Carolyn Watson John R. Dickson please contact the Office of National Association for Surface Finishing $2,500–$4,999 Earl Gee (GRPH 83) Aaron and Valerie Weiss Patti Digh Development at 626.396.4267 Pasadena Art Alliance Douglas S. Andelin (ILLU 87) Gensler Sally and Russell White Elaine Dine ANNUAL REPORT 2010–11 David and Fela Shapell Family Foundation Ann Dobson Barrett THE GROOP Mr. and Mrs. Norman B. Williamson Neda and Timothy Disney so that we can correct our Warner Bros. Entertainment Inc. David C. Bohnett Carol and Warner Henry Nina and Stephen Winterbottom Michael J. Doyle II (GRPH 94) A

Lynda Weinman and Bruce Heavin (ILLU 93) Hilary E. Crahan Christine and Curt Hessler Doyald Young (ADVT 55) [d] Beth Duffy and Erik Kistel r

records. Contributions made Dot Center t by two or more individuals with Alyce and Warren Williamson Creative Artists Agency Josh Higgins Design Haruko Eann (ADVT 71) Dandelion Foundation Ethie and Steve Hitter (PROD 69) (Hitter Family $999 AND BELOW Tim Effler (ILLU 79) different surnames are listed $10,000–$24,999 Stephen T. Daugherty (ADVT 71) Foundation) Anonymous (9) Arthur W. Ellsworth (PROD 57) t Center Dot r alphabetically by only one of the Kathleen and Frederick Allen Dito Devcar Foundation Gail H. Howland (PHOT 03) Aalto University Erma Engels and Joanne Engels A surnames; please check under Grace Ray Anderson Mark Fennimore (ADVT 86) Donald Huie (PROD 62) Meredith Abbott (ILLU 62) Rose Friesen Faler (ILLU 82) Laura and John Babcock fuseproject Wayne Hunt and Carla Walecka Antoinette Adams and Frederic Cohen Donald Far (PROD 50) all related surnames to find the Anita and Michael Bates The Getty Foundation, Los Angeles Roberta Huntley Laine Dunham Akiyama (ILLU 81) Rosa M. Farrer ANNUAL REPORT 2010–11 acknowledgment. Bernhardt Design Hagerty Insurance Agency Ann Hazeltine Hyde Gene Albert (PHOT 57) Natalie Montoya Farrow Linda and Douglas Boyd (TRAN 66) Matthew A. Haligman (ADVT 81) IMAX Corporation Lynn Aldrich (MFA ART 86) Ferrari Club of America Margaret A. Cargill Foundation Bradford Hall Innovative Office Solutions Mary and Nicholas Alexander Jack Richard Finegan (TRAN 59) Collectors Foundation Kelsey Browne Hall Aya and Akira Ito (PROD 91) Roy Alexander (ILLU 65) William J. Finnegan [d] = deceased Christian Denhart (PROD 10) The Hathaway Family - Brian Hathaway  Barbara and Frank Jameson Ashley and Theodore Alexopoulos (MFA MEDE 07) Lisa and Brad Freer Eight, Inc. Memorial Scholarship Ryan Jimenez Charles L. Allen, Jr. (PROD 68) Margaret and James Galbraith GE Yvonne and Wayne Herron Sally and Allan Johnson (PROD 51) American Motor Co., Inc. Daniel Gambito (FILM 93) $1M AND MORE Jeffrey Glassman Mr. and Mrs. William D. Horsfall Stephen A. Kanter, M.D. Walter Andrus (FILM 75) Beverly (ILLU 57) and William Geck (PHOT 57) Judy C. Webb Bill Gross and Marcia Goodstein Marie and Louis Jones Patricia H. Ketchum David R. Arnold (ADIL 63) Glenn C. Gee (PROD 73) The Kinyon Family Judith G. Kelly Robert Knechel Gale and Dokson Arvanites R. Gerstenberger (TRAN 70) $100,000–$999,999 Tim Kobe (ENVL 82) Neiman Marcus Terri and Jerry Kohl Chris Arvetis (ADVT 49) Alfred Gescheidt (PHOT 49) The Ahmanson Foundation Layar Donald R. Pennell (THE LIGATURE) G. Kondrup (MFA GRPH 93) Marla (ILLU 83) and Michael Baggetta (ILLU 84) Bruce Geyman (PROD 65) CODA Automotive Lockton Insurance Brokers, LLC Helen M. Posthuma Andrew Kramer (ENVL 73) Dave Bailey (MFA ART 95) Mal Giaimo The Nathan Cummings Foundation, Inc. The McKelvey Foundation Tadatoshi Sato (GRPH 74) Deanna M. Kuhlmann-Leavitt Robert L. Bailey (PROD 60) Mary and Robert Gilmartin Honda R & D Co., Ltd. McLaren Automotive Ltd. Barbara Mann Steinwedell Ming Lai Roberta Bailey (ADVT 61) Thomas A. Gleason (ADVT 57) Hutto-Patterson Foundation Raylene and Bruce Meyer Uliko Studio Frank L. Lanza (ADIL 57) Patricia and Charles Bakaly Katherine Go (ADVT 78) Johnson & Johnson Consumer Companies, Inc. Clement K. Mok (GRPH 80) Joyce and Harold Ward Richard Kenneth Law (INDU 58) Joan and Robert Banning Goethe-Institut Los Angeles Nestle Purina PetCare Ramone C. Muñoz (ADVT 77, MFA ART 90) and Joyce and Tom Leddy Jacques Barret Jered Gold Nestlé S.A. Tom Jacobson $1,000–$2,499 Ronald and Elaine Lee Adele Bass (GRPH 81, MFA NEWM 01) Walter H. Gollwitzer (PROD 63) The Ralph M. Parsons Foundation National Endowment for the Arts Anonymous Barbara and Geza Loczi (PROD 65) Jeannie and Kurt Beckmeyer Mrs. Douglas Goodan United States Geological Survey (USGS) National Science Foundation Connie and Mel Abert (ADVT 66) Spencer L. MacKay (PROD 74) Roger Behrens (PHOT 68) Tom Graboski (ENVL 71) Nokia Inc. Apple, Inc. Jon A. Masterson Richard Biersch (ADVT 70) Mr. and Mrs. Max L. Green $50,000–$99,999 The Kenneth T. and Eileen L. Norris Foundation Argonaut Charitable Foundation Kaholyn and Carson McKissick Carolyn and Mac Billups (ENVL 69) David Griffiths (PROD 65) The Richard and Jean Coyne Family Foundation Wilhelm Oehl (PROD 94) Daniel Ashcraft (PROD 73) Meguiar’s, Inc. Mia Carpenter Block (ADVT 56) Dora A. and William H. Grover, F.A.I.A. (PROD 62) Dai Nippon Printing Company James R. Powers (TRAN 56) Desdy Kellogg Baggott Gary M. Meyer (ILLU 59) Peter L. Bloomer (PHOT 67) Evi and Daniel S. Gurney (Gurney’s All American  Daimler Trucks North America Project Concern International Rob Ball (ENVL 83) Stanley Mikolajczk (PROD 55) Betty and Duane L. Bohnstedt (TRAN 51) Racers, Inc.)  The Richards Group Chantal and Stephen Bennett Fred A. Miwa (ADVT 57) Archie Boston Graphic Design Thomas Hale (TRAN 66) Ford Motor Company Fund Rustic Canyon Partners Edward (Ted) Bethune (ADVT 50) Lorraine Molina (PHOT 96) and Jose Caballer Gail Bove (PROD 73) Anthony B. Haller (ADVT 48) General Motors Corporation Joanna and Julian Ryder (ADVT 72) The Beulah Fund (GRPK 96) Robert Brackenbury (PROD 50) Emily and Henry Hancock General Motors Foundation Esther Sinclaire Paul Bielenberg (PHOT 98) D. Harry Montgomery Claire and Brad Brian John Hanna (PROD 62) Phil Hettema (ILLU 81) Sodexo, Inc. Helen and Peter S. Bing Seeley W. Mudd Foundation Victoria Bromley (FINE 74) Mitchell B. Harmon (ADVT 78) Linda (ADVT 64) and Kit Hinrichs (ADVT 63) Tavat Eyewear Jeannie Blackburn Dave Muhs and Jill Farrer Muhs Seth Buchman Cherie W. and Mark Harris Doug Johnson and Valerie Gordon Johnson  Tides Foundation Joan and Roger Blackmar, Jr. Wendy Munger and Leonard Gumport Henry and Czarina Buckingham (PHOT 95) Frances Harvey (ILLU 99) (FILM 78) Reiner Triltsch Marsha and Vern Bohr Maggie W. Navarro Anita Bunn (PHOT 90) Richard B. Hatch (PROD 67) Lowell Milken Family Foundation and Professor Palencia Turner Judith B. Brandt Eric Newman William P. Burchett Kasey Worrell Hatzung (GRPH 95) Leah Toby Hoffmitz, Honorary Alumna Tom Unterman Virginia B. Braun Cory Noonan (ADVT 93) Bruce Burdick (ENVL 61) and Susan Burdick Kathryn E. and Jack Hermsen (ADVT 72) • 26 SPRING 2012 • 27 ARTCENTER.EDU/DOT

Phyllis and Ronald Hill (TRAN 54) Niki and Andy Rapattoni (Rapattoni Corporation) Ed Young (ILLU 57) Karen Hofmann (PROD 97) Maria Rendon (ILLU 92) and Robert Giaimo Susan Zehnder (ILLU 88) Gina Knox Holzman (ADVT 74) Bob and Patty Zuber Maura and Martino Hoss (ADVT 87) Barbara Davis Reynolds (ILLU 80) Annie S. Huang (GRPH 91) Debby and Bill Richards GIFTS-IN-KIND Sally and Bill Hurt (William H. Hurt Foundation) Ruth and Steven L. Rieman (PROD 74) Aquarium of the Pacific Suk Hyon and Yong Hyon Kim (Western Building  Ricki and Marvin Ring AutoPacific Cleaning Co.) Hector Robledo (ADVT 56) Elizabeth Bayne (MFA FILM 11) Baruch Inbar (ILLU 01) Bobbiedine Rodda Maria Biber-Ferro (MFA FILM 10) Christopher Ince Phillip Ross (GRPH 76) Theresa and Jeff Burnett Norman K. Inouye (PROD 68) Robert Ruby Canon U.S.A., Inc. Kunihisa Ito (TRAN 77) Sherry Nicolai Russell (GRPH 86) Clear Image Printing Co. Gabrielle Jennings (MFA ART 94) Mark Ryden (ILLU 87) David Curry Jewish Community Fund William L. St. Clair (PROD 56) Spencer G. Davis (ILLU 90) Replacing Kyle Jochai (ILLU 03) Steven Saitzyk and Anne Anderson Saitzyk  Pamela (PHOT 75) and James Elyea (ILLU 73) Avery and Fred Johnson (ILLU 91) Frank Garcia Carolyn and Ernest Johnson San Marino League Greater Los Angeles Auto Show George Johnson Leonard Schachner (PROD 65) Kristina Halcromb Andrew Kaiser Joseph H. Schmidt Joseph R. Henry and S. Stanley Gordon Pigment Yasushi Kato (TRAN 90) Randi E. Schmidt (TRAN 95) Gweneth H. Hourihan Kristin Keller (GRPH 04) Eileen Schoellkopf Huntington Library Paul Kleiter (ADVT 66) Harry Schoepf (PROD 66) Japanese American National Museum Daniel Ko (GRPH 90) Theodore Schroeder (PROD 62) Jan Kesner Gallery Phillip Komai (ADVT 71) The Schwab Fund for Charitable Giving Jill Kollmann Lisa and Stan Kong (PROD 83) David H. Schwarz (MFA MEDE 04) Amanda Lane with People Kubly Family Scholarship Gretchen and David C. Seager Mary E. Lee Suzanne Labiner Joseph B. Seibold (PROD 55) Los Angeles County Museum of Art George Larkins II (PHOT 93) Suzanne M. Shakespeare lynda.com Sandra and Chuck Law Paul Shaw Jillian Mamey (FINE 10) LITA ALBUQUERQUE REVISITS Anita Lawson Mike Shinoda (ILLU 98) Wendy E. McClay Elaine Lax Susan MacCaul Siegmund Meguiar’s, Inc. AND EXPANDS HER SPINE Wendee H. Lee (PROD 02) Alissa Brownrigg Small Museum of Contemporary Art A

Harvey A. Lerner (ADVT 68) Jeffrey Smith (ILLU 80) Natural History Museum of Los Angeles County r t Center Dot Center t

OF THE EARTH FOR PACIFIC FEATURE David Ligare (ILLU 65) Erne Soos (ENVL 79) The Petersen Automotive Museum Gary Lim (PROD 87) Brien Spanier (ADVT 88) Ed Thaden STANDARD TIME. Beverly and Chester Limbaugh (PROD 58) William Sparling Diana and Randy Triplett t Center Dot

r Helen R. Litt J. Michael Spooner (ILLU 75) Kevyn Wallace (ILLU 90) [d]

A Carol and Sarah Lobb Pamela and Foster Stahl Ronald R. Wilkniss Eileen Longacre (FINE 73) Ken Staley (ADVT 48) Paul D. Loomis (ADVT 76) Paula and Bill Steele  ANNUAL REPORT 2010–11 Eleanor Cohen Louis (ILLU 89) Timothy Steinmeier (ILLU 75) By Rebecca Epstein Lorraine Lum (ADVT 76) Jillian D. Stern (ADVT 86) Judy MacCready Brigitte and Frank Sterrett Rosie and Pedro Magdaleno (PHOT 87) Susan and Loren Stirling (PROD 62) Trustees Jay Malloy (PROD 84) George Stokes (ILLU 90) Diana Taylor Malotte (GRPH 85) Tia Stoller (GRPH 87) Mr. Robert C. Davidson, Jr., Chairman  Peter M. Marino (TRAN 61) Davidjohn Stosich (PROD 67) Mr. Carl Bass Dorothy and John Matthiessen Paula Sugarman (GRPH 84) Mr. Douglas C. Boyd (TRAN 66) Jeanne and John Matthiessen Amy and Mark Swain Dr. Lorne M. Buchman Charles McVicker (ILLU 57) Delbert A. Swanson (PROD 68) Thomas Franklin Meredith, Jr. (GRPH 04) Gail and William Taber Mr. Wesley A. Coleman  Pablo Meyer (PROD 82) Naomi (Hata) Taube (ADVT 79) Mr. Jeffrey L. Glassman Microsoft Corporation TerryTours.com, LLC Ms. Linda M. Griego Brian Moreno (ILLU 71) Keith Thorne (PROD 70) Mr. William T. Gross  Jennifer Morita (ADVT 99) Erick Thorpe (ILLU 96) Caroline Labiner Moser and Franklin Moser Maximilian Toth (FINE 03) Mr. Kit Hinrichs ( ADVT 63) THE LANDSCAPE IS LISTENING Heidrun Mumper-Drumm Susan and Michael Toth Mr. William D. Horsfall THIS IS SUNDAY, JANUARY 22 OF THE YEAR 2012 Matt Murphy (ENVL 93) Toyota Motor Sales U.S.A, Inc. Mr. Charles Floyd Johnson AT 11:45 A.M. NBC Universal Lenna Tsutsumi (GRPH 01) Mr. Timothy M. Kobe (ENVL 82) CULVER CITY, CALIFORNIA Mateo Neri (GRPK 93) A.T. Ueland (PHOT 89) Helen Ng (ENVL 82) Takao Umehara (GRPK 02) Mr. George H. Ladyman, Jr. (TRAN 87) UNITED STATES OF AMERICA Marilyn (ILLU 74) and Dale Nordell (ILLU 73) Mary and Bill Urquhart Mr. Samuel J. Mann WESTERN HEMISPHERE Trina (GRPK 88) and Frank S. Nuovo (PROD 86) Julie Veitch (PHOT 82) Mr. Peter W. Mullin PLANET EARTH Kay and Steve Onderdonk Charles Wackerman Mr. Reiner M. Triltsch PAY ATTENTION TO THE FEET Victor and Sandra Faye Oppegard (ILLU 63) Torey and Erik Wahlstrom Harry L. Oppenheimer, Jr. (PHOT 66) Steve Walag (PHOT 88) Mr. Raymond C. Vicks, Jr. YOU EXTENDED FROM EARTH TO SKY Original Paint & Equipment Inc. Dana L. Walker (PHOT 95) Mr. Paul A. Violich  RED EARTH Randy Oxley (ILLU 95) Judith and Roger Wallenstein Mrs. Judy C. Webb BLUE Justine Limpus Parish (ILLU 73) Jenny W. Wang (GRPH 99) Mrs. Alyce de Roulet Williamson FROM INSIDE THE RED Gordon J. Pashgian Ralph Waycott III (PHOT 78) Joanna Paterson Ardyss and John Wherry BLUE PLANET Robert J. Pedersen (ADVT 69) Renee and Galen Wickersham (TRAN 59) YOU ARE Richard Pietruska (TRAN 70) Robert A. Wilson (PROD 52) SURROUNDED IN BLUE Pascal Pinck (GRPH 96) George Windrum (PROD 52) ONE VERTEBRAE IN THE SPINE OF THE EARTH Stanley Pisakov Glen Winterscheidt (PROD 57) David L. Provan (PROD 52) Jo Ann and Edward Yamada (ENVL 66) • 28 SPRING 2012 • 29 ARTCENTER.EDU/DOT

IMAGE #1 IMAGES: EARLIER THIS YEAR, ARTIST AND GRADUATE ART FACULTY MEMBER LITA ALBUQUERQUE CREATED A CONTEMPORARY RE-ENACTMENT OF HER SEMINAL 1980 EARTHWORK, SPINE OF THE EARTH, IN LOS ANGELES’ BALDWIN HILLS SCENIC OUTLOOK.

THE RE-CREATION ELABORATED ON HER ORIGINAL WORK AND INVOLVED A SKY DIVER (5) WITH RED SMOKE TRAILING FROM HER SHOE (2) AND 300 VOLUNTEERS IN RED JUMPSUITS, INCLUDING SOME ART CENTER STUDENTS, FORMING A MASSIVE MOVING SPIRAL (3–4, 6, 11–14). Notes: PST --Notes: [Pacific Standard Time] * LITA Skydiver 1945-1980 ALBUQUERQUE Red smoke Spiral

OCTOBER 2, 2011 JANUARY 22, 2012

7 p.m. / The Getty Center / BRENTWOOD 2:13 p.m. / Baldwin Hills Scenic Overlook / CULVER CITY

On the night of October 2, 2011, the Getty Foundation Despite predictions of rain, it is a sparkling winter and Getty Research Institute held a long-anticipated grand day in L.A. Two thousand feet above Culver City, a skydiver party. The occasion was the launch of Pacific Standard in a red jumpsuit leaps from an airplane. Red smoke trails Time: Art in L.A, 1945-1980, a six-month arts initiative from her shoe, tracing her path toward Earth. more than 10 years in the making. What began as an archival IMAGE #2 project had become an unparalleled exhibition and event Two minutes later the diver lands, exactly hitting program inclusive of more than 60 Southern California cul- her mark. Waiting to greet her are approximately 300 tural institutions, featuring the work of more than 1,300 volunteers dressed in similar red suits. As soon as she artists who had lived and worked in postwar Los Angeles. touches down, 100 of the volunteers begin their walk, creating a spiral around her. They hold onto each other’s PST advertisements enticed visitors to “celebrate the shoulders and count aloud to keep pace, filling the space FEATURE t Center Dot birth of the L.A. art scene.” Yet before long, one of the with sound in addition to color, movement and line. Soon, r

A initiative’s greatest strengths proved its declaration the remaining volunteers lead the entire group toward an of not one, but multiple art scenes previously hidden from immense stretch of stairs on which they will all stand, IMAGE #4 view. Suddenly the city known best for putting conceptual one volunteer on each of the 287 steps, for four minutes. art, the movement, and the Ferus group Today those stairs connect earth and sky, each red-suited of white male artists on the contemporary art map was person a vertebrae in Spine of the Earth 2012. diversifying and adding nuance to its narrative. Curators presented work that reflected innumerable styles and influ- A half hour before the performance began, Albuquerque, ences made by artists of varying ethnic groups, as well the only performer dressed in white, read aloud the fol- as artists who were female and ardently feminist. lowing instructions:

Although the majority of participating institutions presented work in the fine arts, postwar literature, architecture and design were also warmly illuminated by PST THE LANDSCAPE IS LISTENING light. Then, in January 2012, an 11-day Performance and THIS IS SUNDAY, JANUARY 22 OF THE YEAR 2012 Public Art Festival presented more than 30 performances, AT 11:45 A.M. including “contemporary re-enactments” by renowned local CULVER CITY, CALIFORNIA IMAGE #5 artists Judy Chicago, Suzanne Lacy and . Lita UNITED STATES OF AMERICA Albuquerque, an acclaimed environmental artist since the WESTERN HEMISPHERE 1970s and a Graduate Art instructor at Art Center since PLANET EARTH 1987, also answered a call to revisit an earlier work. PAY ATTENTION TO THE FEET YOU EXTEND FROM EARTH TO SKY RED EARTH BLUE FROM INSIDE THE RED BLUE PLANET YOU ARE SURROUNDED IN BLUE ONE VERTEBRAE IN THE SPINE OF THE EARTH

IMAGE #3 • 30 SPRING 2012 • 31 ARTCENTER.EDU/DOT

IMAGE #6 “I was interested in that impossi- bility of vision: being able to Spine of the Earth of the ‘spine’,” she says. “While we focused intently (1980/2012) perceive only on our own breaths and footsteps, we were simultaneously connected to the other volunteers, most of whom were -- Los Angeles what is around strangers. It was a powerful representation of our con- nection to each other as well as our relationship to the Notes: PST sky and earth.” [Pacific Standard Time] us, yet aware 1945-1980 Of course, perception is in the eye of the beholder, and Raymie Iadevaia, another Graduate Art student and volunteer, there is a much perceived something more visceral than visual: “The most IMAGE #9 thrilling aspect for me was the sense of energy that kept larger picture.” building while waiting for the skydiver to drop,” he

-- Lita Albuquerque Lita -- says. “Then, when she landed, she produced a force that reverberated, unclasping the spiral of bodies, propelling them down the mountain. I was really struck by the rise IMAGES: IN ALBUQUERQUE’S ORIGINAL SPINE OF THE and fall of energy in the performance.” EARTH (1, 9–10), PARTICIPANTS USED RED, YELLOW AND BLACK PIGMENT TO DRAW A 600-FOOT Indeed, while numerous artists who taught at Art Center DIAMETER SPIRAL ON THE FLAT MOJAVE DESERT. in the 1970s and ’80s were showcased in PST exhibitions HER RECENT SHOW, 287 STEPS, AT CRAIG KRULL --including but not limited to Karen Carson, Richard GALLERY IN SANTA MONICA INCLUDED HER Diebenkorn, Lorser Feitelson, Llyn Foulkes, Roger Herman, SERIES OF WIND PAINTINGS (7), WORKS IN WHICH STREAKS OF RED PIGMENT WERE RELEASED Mike Kelley, Ed Ruscha and Allen Ruppersberg--Albuquerque’s ABOVE AN ULTRAMARINE CANVAS AND SCATTERED participation proved uniquely spectacular. FEBRUARY 20, 2012 BY THE WIND.

And this reinvention of her 1980 earthwork Spine of the Earth , which itself was a reinvention of a two-dimensional 11:44 a.m. / Albuquerque Studio / drawing into a “social sculpture” in three-dimensional 18th St. Art Center, #4 / SANTA MONICA space, involved significant changes in not only physical but also conceptual terrains. Two days after attending a walkthrough of 287 Steps, her show at Craig Krull Gallery—created while planning Spine In the 1980 performance, participants used red, yellow of the Earth 2012 and also dealing with “bodies in space, and black pigment to draw a 600-foot diameter spiral transmutation, and shifts in materiality” (visit Dot’s coming out of two intersecting lines on the flat Mojave website for additional information on the show)--I’m Desert. In Spine of the Earth 2012, she “replaced pigment sitting with Albuquerque in her Santa Monica studio, asking with people,” as she likes to say, bringing geometry to her about her early years in L.A. A large ultramarine life with a human line attaching earth and sky. Because sphere from Stellar Axis: Antarctica (2006) lurks behind of the performance’s scale and verticality, only indi- me. The color, she tells me, was a chemical invention viduals who flew overhead (including fine art photographer made through a process of mixing clay with sulphur. She Michael Light, who documented the event) could see the uses it to explore how unnatural colors shift perception entire performance. This was deliberate. “I was interested of the natural environment in which they are placed. in that impossibility of vision: being able to perceive only what is around us, yet aware there is a much larger Albuquerque moved to L.A. in 1964 to study art history picture,” Albuquerque later told Whitehot Magazine. at UCLA. Once she started meeting artists--including Robert Irwin, Alice Aycock, Allan Kaprow, Billy Al Bengston, Alexandra Noel, a student in Art Center’s Graduate Art among countless others--she decided to become one, too. IMAGE #7 program, was among the volunteers particularly moved by “It was right when so much was going on in art with that idea. “What most impressed me about the performance Conceptualism, performance art, earth art and ,” was my overall consciousness that resulted from being part she says. “There was a lot happening. And nothing really

IMAGE #8

IMAGE #10 • 32 SPRING 2012 • 33 ARTCENTER.EDU/DOT “I was interested in that impossi- bility of vision: being able to Notes: Anthrosphosophy Notes: [*Spiritual Science] perceive only a) Desire/kids humans/devotion to detail b) LA: diversity, extraordinary what is around b) PST description

us, yet aware IMAGE #13

made me want to leave. Thethere quality of isthe aenvironment much and Remarkably, after 30 years of showing work based on landscape were things I also really responded to. It made light, perception, and the cosmos, Albuquerque agreed to sense to me coming from North Africa, which is desert and exhibit some deeply personal 1977 paintings in the PST show larger picture.” Breaking in Two: A Provocative Vision of Motherhood

sea, and California is desert and sea.” Albuquerque Lita -- at Santa IMAGES: Monica’s Arena 1 Gallery. Desire and Memory is a series of FOR SPINE OF THE EARTH 2012, ALBUQUERQUE, -- Lita Albuquerque Lita -- DRESSED IN WHITE (11), LED 300 VOLUNTEERS Although she had initially gravitated toward painting, the small oil paintings on fragile plastic paper about “the kind IN RED SUITS DOWN THE 287 STEPS OF THE expansive ideas around her and the sense that her paintings of a personal desire for what would happen at the horizon BALDWIN HILLS SCENIC OUTLOOK.

were “getting too personal” led her to globally shift her line--hoping that the ship would appear,” she says. “In the VIEWED FROM ABOVE, THE PERFORMERS RESEMBLED practice. “I decided, I want to stop painting and just go out process of making it, I realized that the desire for me was A RED SPINE IN THE FISSURE OF THE LANDSCAPE into the world. I thought ‘the world,’ but it turned out it about having children.” (3, 8, 14). was the Earth.” -- Her practice may have changed dramatically since 1977, PHOTO CREDITS: Albuquerque also became interested in anthrophosophy but her desire to make art in L.A. has not. “I travel a lot 1, 9, 10: LITA ALBUQUERQUE --a “spiritual science” developed by Austrian philosopher but when I’m here it is the most exciting place because it 2, 5, 11: MARISSA ROTH 3, 4, 8, 14: MICHAEL LIGHT IMAGE #11 Rudolf Steiner in the early 20th century that posits a has such diversity,” she says. “It’s one of the most diverse 6, 12, 13: IRIS SCHNEIDER spiritual world is not only real, but tangible and accessible cities socially, economically, racially. It’s become just --a philosophy which still informs her work. “I felt I was extraordinary that way.” blazing my own path,” she recalls, “especially with those ART CENTER’S NEW BRANDED NETWORK ON BEHANCE, kinds of esoteric ideas. At least then, they weren’t espe- Such diversity is also reflectedA BETA VERSION in theOF WHICH young IS PICTURED, artists IS FREE TO cially accepted in the art world.” living in L.A. today, for whom ARTPST CENTER was anSTUDENTS, exceptional ALUMNI, FACULTYboon. AND STAFF. Many Art Center classes this school year included field trips This also explains why although her work has spiritual to PST exhibitions. “PST has provided our students with an dimensions concerning humans’ ‘place’ in the universe, opportunity to see the actual art created in Los Angeles, Albuquerque has a scientist’s devotion to details: She is and learn our unique art history,” Dreiband says. routinely noting dates and times and atomizing location as she did on the overlook: 11:45 AM, CULVER CITY, CALIFORNIA, Albuquerque agrees. She describes PST as an extraordi- UNITED STATES OF AMERICA, WESTERN HEMISPHERE, PLANET EARTH. nary gift to the community, and to the students, she feels it’s been a revelation, “I lived that time, and all my IMAGE #14 Albuquerque began teaching art in 1982. Five years later, friends lived that time. But to see the current generation... Laurence Dreiband, chair of Art Center’s Fine Art program, I took one student to see the Phenomenal show on Light and invited her to join the faculty at Art Center’s new Graduate Space artists at the Museum of Contemporary Art, San Diego. Art program, where she’s been ever since. She was so blown away, she kept saying, ‘I can’t make art anymore.’ And then she ended up making this pretty incredible “I’m in the best place now that I’ve ever been with work, which came out of that experience.” teaching. The kind of work I do and the ideas I have are a little more accepted,” she says. “I also think we’re in a really good place in terms of the department itself. It’s a really varied faculty and the students are terrific.” FOR MORE ON IMAGE #12 ALBUQUERQUE AND HER WORK VISIT: ARTCENTER.EDU/DOT • 35 ARTCENTER.EDU/DOT NEW PROGRAMS artcenter.edu/new 626 396 2373

her fellow TEDx co-organizer, recent Department, and co-taught by instruc- Graphic Design alumnus and former tors Robert Ball (Environmental) and TEDX ART CENTER COLLEGE OF DESIGN Student Government President Erik Petrula Vrontikis (Graphic Design). dot CO-INSTRUCTOR Molano GRPH 12, realized they had “Our challenge, in 14 weeks, is to ROBERT BALL. independently decided they wanted curate a memorable and unique expe-

to bring TEDx to Art Center. The two rience,” said Molano. “As a class, we’re THE TEDX ART spent months meeting with TEDx orga- asking ourselves. What does it look like  CENTER COLLEGE OF news DESIGN CLASS nizers, rallying Art Center administration when Art Center takes on a TEDx event?  same And the bigger question is why do the topics of social change and sustain- ability have a place at a design school?” At press time, the TEDx event has confirmed five outside speakers who have all advocated for sustainability and more responsible approaches to design: Douglas Powell, the president of AIGA; Terry Irwin, head of the School NOW of Design, Carnegie Mellon University;  rigor Allan Chochinov, chair of the MFA Prod- ACCEPTING ucts of Design Department, School of  APPLICATIONS Visual Arts; Charlie Cannon, a designer (M.S.) at Local Studios; and Robin Bigio, an Design industrial designer at IDEO. Transportation “The response from students, faculty Matters (M.F.A. Track) and staff has been wonderful, which Design has led us to dream a second dream,” A Media r DOT NEWS Design (M.S.) said Prieto. “We’d like to turn this into Dot Center t Environmental an annual experience where students and setting goals for the conference. choose their theme, choose their Design (B.S.) Art Center and TEDx Team Things really took off when they speakers and continue to inspire our  Interaction Up to Fill in the Blank organized a transdisciplinary studio growing community of talented artists course for the Spring 2012 term with and designers that can—and will—make Orange will mix with red this summer the goal to bring the event to fruition. a difference in the world.” when the student–driven TEDx Art The course is being sponsored by the Center College of Design conference College’s Designmatters Department, Visit artcenter.edu/tedx for more takes over the College’s Hillside Campus hosted by the Environmental Design information. on Saturday, June 9 to explore the topic  “Design a ______for Social Impact.” For the uninitiated, TED is a non- profit organization that brings together  luminaries from a multitude of disci- plines to disseminate “ideas worth new spreading.” The foundation holds two annual conferences, hosts free videos of the conferences’ talks on its website, and has spurred the development of TEDx events, independently organized TED events that stimulate dialogue at a community level. “TED believes in spreading ideas and Art Center teaches us how to imple- ment them,” said Mariana Prieto, TEDx programs co-organizer, eighth-term Product Design major and president of Art Center’s Impact student organization. “It seemed natural for us to put these two organizations together and to New programs join Art Center's internationally create the first TEDx at our school.” Natural? Yes. Easy? No. The road renowned curriculum in Fall 2012 to bringing TEDx to Art Center began in June of last year, when Prieto and • 36 SPRING 2012 • 37 ARTCENTER.EDU/DOT

Kickstarter recently acknowledged alumnus Joe Tan PROD 94 and Vice THE MOLO Living Large at Dwell How Will You Kickstarter Art Center as one of the world’s fore- President of Design Markus Diebel DOMENIC MOEN ON EXHIBITION, A THE SET OF “ONE CROWD FAVORITE on Design Your Next Project? most creative communities by inviting PROD 94. The event was presented BAD THING.” AT LAST YEAR’S the College to curate a page of its very  by Art Center’s Alumni Relations PHOTO: TOR ROLF JOHANSEN. DWELL ON DESIGN This summer, Art Center is proud to be Conscious Commuter. One Bad Thing. own. This allows Art Center to curate Department and the College’s new EVENT. PHOTO: LAURE JOLIET. an official partner of the West Coast’s [SIC] Apparel. spnKiX. Turtle / Turtle. all the great projects being dreamed up  DOT Launch Entrepreneurial Initiative. largest design event, Dwell on Design, These are just a few of the projects Art by our talented students, faculty and Tan and Diebel's presentation which boasts three days of the best Center students, faculty and alumni alumni in one place. One important provided insight into their company’s and brightest products, services and have successfully launched with back- distinction: Kickstarter projects are all background, projects and design pro- thought leaders in modern design. ing from the Kickstarter community. individual efforts. This isn’t the College cess. The two shared stories behind Dwell on Design will be held from June several of their company’s products, 22–24 at the L.A. Convention Center. including: an iPhone case inspired  As the only educational institution by the Beijing National Stadium; a named a Silver Sponsor, Art Center Macbook sleeve made out of Neoprene  will make a significant impact during (“There’s quite a few surfers at Incase.”); the event. The College will occupy products designed in collaboration 1,000 square feet of exhibition space; with others (artist Shepard Fairey, lead a series of creative, hands-on skateboard designer Paul Rodriguez); workshops on the show floor; and has and its latest endeavor, the Audio line  lined up students, faculty and alumni of “natural sound” headphone products. presentations on three separate stages DOT Launch Director Mateo Neri view at the event. Additionally, Art Center  GRPK 93 called the event a huge success our curated and Dwell are discussing ideas to se- page at and said both the presentation and the  cure a keynote speaker, host a special networking that took place afterward Kickstarter. event for Dwell VIPs and a private com/art fit perfectly into DOT Launch’s goal

alumni/industry reception. center of putting entrepreneurial students, A r DOT NEWS The genesis of this collaboration  alumni and faculty in touch with like- Dot Center t occurred last year when Product Design  minded individuals. “The whole mission  Chair Karen Hofmann, after serving on What is Kickstarter? Kickstarter is asking for money. The request comes  of DOT Launch is to empower design t Center Dot DOT NEWS r

A the jury at last year’s Dwell on Design the world’s largest “crowd funding”  directly from the artists or designers  entrepreneurs,” said Neri, who added awards, was approached by Michael platform, providing individuals an out- themselves and the money goes  that upcoming DOT Launch events Sylvester, Dwell on Design Managing let to ask friends and strangers alike to directly to them as well. A curated include a crowdfunding event in the Director, with thoughts about striking support creative projects by making a page simply allows Art Center to round  summer and a pitch event in the fall. up a partnership. “We were asked if small (or large) donation in exchange up the Kickstarter projects being con- rather than just having a booth on the for a modest award, which may be a ceived of by our creative community showroom floor, if we’d like to curate a magazine hot off the press, a limited to help generate awareness for those compelling design experience for the and consumers to experience the best  hold matters? What does civility mean edition print, or your name in the credits bold ideas that need a little funding  event,” Hofmann said of her initial con- in modern design. Free admission is  in the context of an art and design of a film. to get off the ground. Much like the  versation with Sylvester. “We thought offered to those working in the design education? This month, Art Center At the same time, Kickstarter says, College’s recent partnership with  it would be an exciting opportunity for trade, including faculty and alumni, on  President Lorne M. Buchman will “This is about more than money. It’s Behance, the promotional opportunities  our Product Design and Environmental Friday, June 22 and Friday attendees engage with leaders from Pasadena’s about enabling pure creativity, out- afforded Art Center students, faculty Design departments to connect with will receive a free weekend pass for the  other higher education institutions side of the constraints of traditional and alumni with this online platform are  the Dwell design community, the gen- rest of the show. Students with valid in a panel discussion moderated by systems.” Project creators always keep limitless. To inform the College of any eral public and to convey a clear mes- ID will be admitted for free throughout Southern California Public Radio’s full ownership and control of their work, recent, current or future Kickstarter ALUMNI JOE TAN AND sage about our innovative programs at the weekend as well. Don’t miss out. Larry Mantle to discuss the notion and in the process gain direct access projects that you’d like us to feature, MARCUS DIEBEL, Art Center.” For more information and to get your of civility. Honoring Civility for a Civil to an audience deeply connected to  email [email protected]. BOTH PROD 94, INCASE Of the collaboration, Sylvester tickets, visit dwellondesign.com. Society is the first event of its kind—a their efforts—an audience which is more  said, “Art Center College of Design is forum organized by Pasadena’s higher likely to provide financial backing. SONIC OVER-EAR renowned as a center of excellence for educational community and inspired by  Film student Domenic Moen was DOT Launch Event Peeks HEADPHONES, PART OF INCASE education and intelligent discourse on Civil Discourse for a Pasadena’s City of Learning initiative to  one of the first to inform Art Center of Inside Incase MINIMALIST AUDIO important design questions. The ex- Civil Society generate intelligent, thought-provoking  the possibilities. “One Bad Thing was LINE OF PRODUCTS. perience, insight and creativity of Art discussion and connect Pasadena’s such an ambitious project but Kick- If you own an Apple product, chances Center alumni, faculty and students is What does it mean to be “civil” in a academic leaders with the community.  starter enabled us to reach out to a are you own an accessory designed by an invaluable resource for Dwell as we world that seems at times to be on the Organizing partners include Art Center, vast network of generous and creative San Francisco-based company Incase. look to develop the stature of Dwell verge of falling apart? What is the role California Institute of Technology, Fuller  people,” the film’s writer and director The company, known for its minimal on Design on the international design of higher education in encouraging Theological Seminary, The Huntington said. “We not only raised the money and functional products ranging from calendar.” civil discourse, whether discussing art, Library, Pacific Oaks College, Pasadena  we needed, but formed professional iPhone cases to backpacks, visited Dwell on Design and Dwell Design politics, science, religion, healthcare, Community College and Flintridge relationships that have opened many Art Center’s L.A. Times Media Center Week, a series of L.A.-design focused literature, lifelong learning or when Center. doors for us, and built a huge buzz on this February for “Inside Incase,” a activities leading up to the main event, engaging in everyday business activities, the Internet that is helping us promote standing-room only lecture and Q&A encourages both design professionals  community relationships, and house- the film in ways we never dreamed of.” featuring company co-founder and • 38 SPRING 2012 • 39 ARTCENTER.EDU/DOT

property, in an urban environment on ART CENTER HAS the edge of Old Pasadena where all ACQUIRED THE the action is, as well as public transit, FORMER U.S. POSTAL spotted SERVICE PROPERTY is a great example of renewing older ADJACENT TO SOUTH areas, creating a vital, energetic place. CAMPUS. In today’s culture, this is exactly how a Recent events both campus should be.” on and off campus Plans to develop a shuttle service between campuses and to move some programs to the expanded South Campus will further relieve stress on our students but are also, in part, a 

response to neighbor concerns. “I have  FALL 2011 GRADUATION: JONATHAN JARVIS GRAD MDP 09 a lot of respect for our Hillside neigh- ACCEPTS YOUNG ALUMNI INNOVATOR AWARD. bors,” Buchman said. “While it’s my responsibility to provide our students with the best art and design education possible, I want to do so in a way that’s in sync with our environment.” Buchman is no stranger to thought- ful and sensitive approaches to campus  Not only do students need more expansion. As president of California College Expansion Serves space, they need different kinds of College of Arts and Crafts (now  Students, Generates spaces. Early ideas for an expanded California College of the Arts) in the Strong Alumni Support South Campus include areas for full- ‘90s, he spearheaded the development  scale prototyping, “clean” and “dirty” of the college’s San Francisco campus, A r t Center Dot Center t President Lorne M. Buchman recently spaces for learning and making, dedi- adapting a former Greyhound Bus shed  SPOTTED announced that Art Center will expand cated studios for transdisciplinary into what is now among the most NYC ALUMNI EVENT: (L > R) LORI LUM ADVT 76 AND ROYA PARTOVI ADVT 04 AT J&J GLOBAL STRATEGIC DESIGN OFFICE. its educational reach and resources projects, collaborative environments notable “green” buildings in the city. t Center Dot DOT NEWS r

A with the acquisition of the former U.S.  in which to convene diverse disciplines, Buchman reinforces that expansion Postal Service property adjacent to and, eventually, student housing—an of Art Center’s resources must be in South Campus. The acquisition is part  important step toward lessening our service to the College’s educational of the College’s strategy to create three  students’ financial burden. values and mission. “Not too long ago, centers of learning— an expanded The focus on students is what our community came together to envi- ALUMNI RELATIONS AND DOT LAUNCH ENTREPRENEUR INITIA- South Campus, a renovated Hillside many alumni have responded to. So sion Art Center’s future and create a TIVES: (R) SPENCER NIKOSEY PROD 08 AND SEVERAL CURRENT Campus, and a virtual campus— each far, alumni have donated $5 million strategic plan to realize it. Expanding  STUDENTS ENJOY THE RECEPTION FOLLOWING THE INSIDE optimized for the particular needs of toward the $7 million cost to acquire our academic programs—and providing  INCASE PANEL DISCUSSION AT ART CENTER. promising artists and designers, while the new property. Significant gifts the facilities they require—plays a cen-

at the same time fostering new col- include three seven-figure irrevocable tral role, and this purchase is a crucial ; laborations among disciplines. The  bequests made by award-winning first step in achieving our goals,” said expansion also provides opportunities environmental designer Richard Law Buchman. “All our plans are rooted in ILLU 88. ILLU 06 to strengthen Art Center’s engagement  INDU 58 kinetic sculptor Steven Rieman strong educational values and prin- with diverse communities because PROD 74 and his wife, Ruth; and Bruce ciples. It’s all about our students." of the proximity of South Campus to Heavin ILLU 93 and his wife, former public transportation and the contin- Art Center faculty member Lynda

ued presence of Art Center’s Public Weinman, owners of the innovative R) ANN FIELD, CHAIR ; ANDREW HEM > Programs at that location. online learning company, lynda.com. The need to further develop South “We aren’t as interested in a new

Campus from a satellite of our Hillside building as we are in the education ILLU 10 operations into its own fully functional inside that building, and in recognizing center of learning and activity boils the excellence of Art Center students down to the education of our students. and the critical importance and impact “They need more space to work,” of what they do,” the Riemans said of

Buchman stated. “This new property their bequest. “It’s clear to us that Art AND FACULTY MEMBER AARON SMITH

enables expansion and development of  Center is serious about broadening PANEL DISCUSSION: (L

our programs and infrastructure and  students’ opportunities and experience ILLU 07 enhances our capacity for teaching, by embracing new technologies and learning, creating and collaborating. We  new ways of collaborating and creating 

are ensuring that Art Center is able to in new spaces.” WUNDERKIND

fulfill its mission to educate students, “This is exactly what Art Center ILLUSTRATION; PATRICK HRUBY now and into the future.” should be doing,” Law said. “The SARAH AWAD • 40 SPRING 2012 • 41 ARTCENTER.EDU/DOT

MONSTROUS AMBITION, GIGANTIC TALENT SCREENING: (L ) STEFAN BUCHER ADVT 96 INTERVIEWED BY FACULTY MEMBER TERRY LEE STONE, PRESENTED BY ART CENTER AND LYNDA.COM.

LEGACY CIRCLE SPRING 2012 ORIENTATION BREAKFAST: (L > R) FREDERIC COHEN, CO-CHAIR GAIL HOWLAND PHOT 04, MEMBER AND SYD MEAD PROGESSIONS SHOW AT FOREST LAWN NEW STUDENT ANTOINETTE ADAMS WITH NICHOLAS ADAMS-COHEN. MUSEUM: (L > R) TRUSTEE DOUG BOYD INDU 66 AND RAMONE MUÑOZ ADVT 77/GART 90.

FALL 2011 GRADUATION: WENDY MACNAUGHTON FINE 99 ACCEPTS OUTSTANDING SERVICE ALUMNI AWARD.

MONSTROUS AMBITION, GIGANTIC TALENT: (L> R ) LYNDA WEINMAN AND BRUCE HEAVIN ILLU 93 OF LYNDA.COM INTRODUCE THE STEFAN BUCHER DOCUMENTARY.

SPOTTED SYD MEAD PROGESSIONS SHOW AT FOREST LAWN MUSEUM: Art Center Dot PASADENA CITY COLLEGE STUDENTS ENJOY THE SHOW.

LEGACY CIRCLE FALL 2011 EVENT: HOME OF SUSAN AND TIM DELANEY PROD 72. )

R SYD MEAD PROGESSIONS SHOW AT FOREST LAWN MUSEUM: SYD MEAD TRAN 59 FOLLOWING HIS LECTURE.

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R LAUNCHING IDEAS AT DESIGN GUILD SAN FRANCISCO: (L > MELISSA STONE AND PARTNER CHERYL MASSE.

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