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Home , Clark Art Institute, Frank Jewett Mather, Hal Foster (art critic)

HAL FOSTER: CURRICULUM VITAE

Townsend Martin Class of 1917 Professor, Art & Archaeology,

Born: , August 13, 1955 Reside: 150 Fitzrandolph Road, Princeton, NJ 08540 Telephone: 609.924.6917 Married.

EDUCATION:

1990 Ph.D., , City University of 1979 M.A., English Literature, Columbia 1977 A.B., English Literature & Art History, Princeton

ACADEMIC POSITIONS:

2000- Townsend Martin 1917 Professor of Art & Archaeology, Princeton 2011- Professor, School of Architecture, Princeton 2007- Associate Faculty, Department of German, Princeton 1997- Professor, Art and Archaeology, Princeton 1996 Visiting Professor, Art History, UC Berkeley 1994-96 Professor, Art History & Comparative Literature, Cornell 1991-93 Associate Professor, Art History & Comparative Literature, Cornell 1987-91 Director of Critical & Curatorial Studies, Independent Study Program, Whitney Museum

PUBLICATIONS I (Books, in English only):

1. JUNK SPACE with RUNNING ROOM (coauthored with Rem Koolhaas), Notting Hill Editions, 2012 2. THE FIRST POP AGE: PAINTING AND SUBJECTIVITY IN THE ART OF HAMILTON, LICHTENSTEIN, WARHOL, RICHTER, AND RUSCHA, Princeton University Press, 2012 3. THE ART-ARCHITECTURE COMPLEX, Verso Press, 2011 4. THE HARDEST KIND OF ARCHETYPE: REFLECTIONS ON ROY LICHTENSTEIN, National Galleries of Scotland, 2011 5. POP ART, , 2005 6. ART SINCE 1900: MODERNISM, ANTI-MODERNISM, (coauthored with Krauss, Bois, Buchloh), Thames & Hudson Press, 2004 7. PROSTHETIC GODS, MIT Press, 2004 8. DESIGN AND CRIME (AND OTHER DIATRIBES), Verso Press, 2002 9. RICHARD SERRA (ed.), MIT Press, 2000 10. THE RETURN OF THE REAL, MIT Press, 1996 11. COMPULSIVE BEAUTY, MIT Press, 1993 12. RECODINGS: ART, SPECTACLE, CULTURAL POLITICS, Bay Press, 1985 13. VISION AND VISUALITY (ed.), Bay Press, 1988

1 14. DISCUSSIONS IN CONTEMPORARY CULTURE (ed.), Bay Press, 1987 15. THE ANTI-AESTHETIC: ESSAYS ON POSTMODERN CULTURE (ed.), Bay Press, 1983 NB: I have not included translations.

EDITORIAL POSITIONS:

1991- Editor, OCTOBER Magazine and Books 1985-92 Founding Editor, ZONE Magazine and Books 1992-98 Editorial Board, DIACRITICS 1995-96 Acting Editor, DIACRITICS 1992-97 Editorial Board, DOCUMENTS 1981-87 Senior Editor, ART IN AMERICA 1977-81 Staff Critic, ARTFORUM

ACADEMIC HONORS:

2013 Frank Jewett Mather Award for Art Criticism, College Art Association 2011 Siemens Fellow, American Academy in 2010 Clark Prize for Excellence in Arts Writing 2010- American Academy of Arts and Sciences 2010-11 Advisory Committee, Institute of Fine Arts, New York University 2007-10 Board, Center for Advanced Study in Visual Art, National Gallery of Art 2007-08 Research Forum Professor, Courtauld Institute of Art, University of London 2002-03 Paul Mellon Senior Fellow, National Gallery of Art 1999-02 Founding Fellow, Society of Fellows in the Liberal Arts, Princeton University 1998-99 Guggenheim Foundation Fellow 1992-93 Society for the Humanities Fellow, 1990-91 Paul Mellon Junior Fellow, National Gallery of Art 1988-89 City University of New York Dissertation Awards 1984-85 National Endowment for the Arts Art Criticism Fellowship 1978-79 President's Fellow, 1977 Magna Cum Laude, Princeton University

ACADEMIC OFFICES:

2013- Co-Director, Program in Media & Modernity, Princeton University 2012-13 Acting Chair, Department of Art & Archaeology, Princeton University 2010- Executive Committee, Ph.D. in the Humanities, Princeton University 2005-09 Chair, Department of Art & Archaeology, Princeton University 2000-05 Director of Gauss Seminars in Critical Theory, Princeton University

PROFESSIONAL ACTIVITIES:

2013- Board, Storefront for Art and Architecture, New York

2 2013- Advisory Board, The Kitchen, New York 2009- Advisory Board, ArtStor, Mellon Foundation 2009- American Advisory Council, Courtauld Institute of Art, University of London

PUBLICATIONS II (Articles: primary publication, in English only):

* “The Bourgeois,” Artforum (December 2013) * “What’s the Problem with Critical Art?”, London Review of Books, 10 October, 14-15 * “Ambiguities of Abstraction,” October 143 (Winter 2013) * “I am Like a Passenger Inside My Psyche”, Matt Mullican, Rizzoli * “History is a Hen Harrier (on Jeremy Deller)”, Venice Biennale 2013 * “To Forge” (on David Smith), Gagosian Gallery * “To Prop” (on Richard Serra), David Zwirner Gallery * “The Exterminating Angel” (on ), Ludwig Museum, Cologne * “Sense and Nonsense,” in Leah Dickerman, ed., Inventing Abstraction: 1910-1925, Museum of Modern Art, 2012, 274-87 * “Nine Reasons Why the Avant-Garde Shouldn’t Give Up, in Claire Fontaine: Foreigners Everywhere, Museum Bolzano, 2012, 144-58 * “Philosophical Toys and Psychoanalytic Travesties: Anthropomorphic Avatars in Dada and ,” in Isabelle Graw, ed., Art and Subjecthood, Sternberg Press, 20-33, 2012 * “The American Friend,” in Robert Longo Charcoal, Hatje Cantz, 2012, 22-27 * “Huh?”, in Ed Ruscha Catalogue Raisonné, 2012, 1-12 * “Claes Oldenburg: The Sixties,” Artforum, December 2012, 214-17, 301 * “Preposterous Timing,” London Review of Books, 8 November 2012, 12-14 * “Douglas Gordon: The End of Civilisation,” Gagosian Magazine, November 2012, 39-44 * “Trading Spaces,” Artforum, October 2012, 200-11 * “Critical Condition,” Artforum, September 2012, 147-48 * “, London Review of Book, 10 May 2012, 12 * “Creaturely Cobra,” October 141, Summer 2012, 4-21 * “More Light (on Gerhard Richter), Freize d/e, Spring 2012, 30-8 * “Post-Critical,” October 139 Winter 2012, 3-8 * “Diego Rivera,” London Review of Books, 26 January 2012, 30-1 * “Just What Was It…?,” in Artforum, January 2012 * “September 2001”, in Artforum, January 2012 *“Toward a Grammar of Emergency, in Thomas Hirschhorn, Critical Corpus (Venice Biennale), 162- 213 * “Camera Imaginaria,” in James Casebere: Works 1975-2010 (Damiana), 9-16 * “Go for Broke?”, in Paul Pfeiffer (Samlung Goetz, Munich), 128-43 * “Test”, in Carsten Höller: Experience (New Museum), 227-29 * “Double Impasse,” in Chantal Pontbriand, ed., Mutations () * “Cyprien Gaillard, The Recovery of Discovery,” Artforum, December, 194-95 * “On Richard Hamilton,” London Review of Books, 6 October, 37 * “The Last Column: Remnants of 9/11,” London Review of Books, 8 September, 17 * “Savage Minds: A Note on Brutalist Bricolage,” October 136 (Spring 2011), 182-91 * “Crossing Over,” The Berlin Journal (Spring 2011), 28-31

3 * “A Rrose in Berlin,” Artforum, April, 188-92 * “Towards a Grammar of Emergency,” New Left Review, March-April, 105-18 * “I Am the Decider,” London Review of Books, 17 March, 31-32 * “On ‘Chaos and Classicism: Art in Europe, 1918-1936’,” Artforum, January, 178-85 * “Van Doesburg and the International Avant-Garde,” Artforum, December 2010 * “Test Subjects” (on ), October 132, Spring 2010 * “Just what is that makes today’s homes so different, so…”, in The New Décor, Hayward Gallery * “Seriously Playful,” in , Rizzoli * “Contemporary Extracts,” E-Flux, December * “Precarious”, Artforum, December 2009 * “At the Hayward” (on Ed Ruscha), London Review of Books, 19 November 2009 * “Dan Graham,” Artforum, October 2009 * “Hostile Atmosphere” (on Peter Sloterdijk), Artforum, June 2009 * “The Situationist Moment,” London Review of Books, 12 March 2009 * “‘Hero, King, Creator, Favorite’: A Short History of Modern Reflections on the Semi-Mythical Figure of the Great Visual Artist,” Nexus 29, Amsterdam * “Herbert Bayer’s Advertising Structures,” in The Bauhaus, MoMA, 2009 * “Exercises for Color Theory Courses,” in The Bauhaus, MoMA, 2009 * “1968”, in Greil Marcus, ed., New Literary History of America, Harvard Press, 2009 * “Tales of Twentieth-Century Art” in Therese O’Malley, ed., Dialogues in Art History, National Gallery of Art, , 2009 * “Pop Pygmalion”, in Roy Lichtenstein, MIT Press, 2009 * “Light-Plays”, in Anthony McCall, Hangar Bicocca, Milan, 2009 * “My Year in the Premiership,” AA Files 57, Architectural Association, London, 2009 * “The Situationist Moment,” London Review of Books, 12 March 2009 * “The Medium is the Market,” London Review of Books, 9 October 2008 * “At Inverleith House: Hal Foster on Richard Hamilton,” London Review of Books, 14 August 2008 * “Citizen Hamilton, Artforum, Summer 2008 * “At the Grand Palais: Hal Foster on Richard Serra,” London Review of Books, 23 May 2008 * “Forms of Resistance,” Artforum, January 2008 * “This Funeral is for the Wrong Corpse,” in Florence Derieux, ed., Harald Szeemann: Individual Methodology, JRP Ringier, Grenoble * “The Confusion Machines of Doctor Höller,” in Nancy Spector, ed., theanyspacewhatever, Guggenheim Museum, New York * “Citizen Hamilton,” in Mark Francis, ed., Richard Hamilton: Protest Pictures, Inverleith House, Edinburgh * “Figment”, in Andy Warhol, Stedlijk Museum, Amsterdam, 2007 * “Pandemonium”, in Jon Kessler: The Palace at 4 A.M., Charta Press, 2007 * “Introduction”, in Pop Art at Princeton, Yale University Press, 2007 * “Preface”, in Roselee Goldberg, ed., Performa: New Visual Art Performance, DAP, New York, 2007 *“The Painting of Modern Life,” London Review of Books, 1 November 2007 * “Global Style” (Renzo Piano), London Review of Books, 20 September 2007 * “Architecture-Eye: Diller Scofidio + Renfro,” Artforum, February 2007 * “Wine Flasks in Bordeaux, Sail Spires in Cardiff” (Richard Rogers), London Review of Books, 19 October 2006 * “Dan Flavin and the Catastrophe of Minimalism,” in Jeffrey Weiss, ed., Dan Flavin:

4 New Light (New Haven: Yale University Press, 2006) * “New Fields of Architecture” (Zaha Hadid), Artforum, September 2006 * “Go, Modernity” (Norman Foster), London Review of Books, 22 June 2006 * “At the Guggenheim: David Smith,” London Review of Books, 9 March 2006 * “Blind Spots,” Artforum, March 2006 * “The Bauhaus Idea in America” in Achim Borchardt, ed., Albers & Moholy-Nagy (Tate Modern/Whitney Museum, March 2006) * “An Exchange with Retort on ‘Afflicted Powers’,” October 115, Winter 2006 * “Richard Serra in Conversation with Hal Foster,” The Matter of Time (Guggenheim Bilbao, Winter 2006) * “Double Exposure,” Artforum, December 2005 * “How Art Can Save Your Life,” The Nation, 7 November 2005 * “Richard Serra in Bilbao,” Parkett 75 (2005) * “On ‘The Matter of Time’,” Artforum, September 2005 * “In Venice: Hal Foster on the Biennale,” London Review of Books, 4 August 2005 * “Yellow Ribbons: Hal Foster on Kitsch in Bush’s America,” London Review of Books, 8 July 2005 * “A Little Dictionary of Design Clichés,” Kiss the Frog, Oslo Museum of Art, June 2005 * “Pop Pygmalion” (Roy Lichtenstein), Gagosian Gallery, London/NYC, June/September 2005 * “From Windscreen to Widescreen: On Ed Ruscha,” Modern Painters, June 2005 * “Six Notes on Vanishing,” Wexner Art Center, Ohio State University, May 2005 * “Ruscha Productions,” Ed Nahem Gallery (NYC), May 2005 * “Max Ernst: The Irony of the Bashed Ego,” The Dada Seminars, National Gallery of Art, May 2005 * “American Gothic: Hal Foster on Robert Gober,” Artforum, May 2005 * “New Ways to Narrate the Good Old Stories,” The Financial Times, 1 April 2005 * “Reader’s Guide: Hal Foster on Susan Sontag, Artforum, March 2005 * “Six Paragraphs on Dan Flavin,” Artforum, February 2005 * “Xu Bing, A Western Perspective,” in Jerome Silbergeld, ed., Persistence/Transformation: Text as Image in the Art of Xu Bing, Princeton University Press, 2005 * “Rem Koolhaas,” in Peter Brooker, ed., Geographies of Modernism, Routledge, 2005 * “It’s Modern But Is It Contemporary?” London Review of Books, 16 December 2004 * “Polemics, Postmodernism, Immersion, Militarized Space,” Journal of (December 2004) * “An Archival Impulse,” October 110 (Fall 2004) * “Vision Quest: the Cinema of Harun Farocki,” Artforum, November 2004 * “Image Building” (on Pop architecture), Artforum, October 2004 * “At the Whitney” (on Ed Ruscha), London Review of Books, 2 September 2004 * “Nine Questions About the Present and Future of Design,” Harvard Design Magazine (Spring/Summer 2004) * “A Dictionary of Design Ideas,” Arquitectonica (Spring 2004) * “At the Guggenheim” (on James Rosenquist), London Review of Books, 18 December 2003 * “Arty Party,” London Review of Books, 4 December 2003 * “A Conversation with ,” October 106 (Fall 2003) * “Medusa and the Real,” Res 44 (Autumn 2003) * “A Response to My Critics,” Praxis 5 (Summer 2003) * “Dada Mime,” October 105 (Summer 2003)

5 * “Long Live Aporia!” London Review of Books, 24 July 2003 * “Someone is Watching,” Los Angeles Times Book Review, 15 June 2003 * “At Dia:Beacon,” London Review of Books, 5 June 2003 * “Nutty Professors,” London Review of Books, 8 May 2003 * “The First Pop Age,” New Left Review (February/March 2003) * “Semblance According to Gerhard Richter,” Raritan (Winter 2003) * “Pop Eye” (on Roy Lichtenstein), London Review of Books, 22 August 2002 * “Expendabilia” (on Reyner Banham), London Review of Books, 9 May 2002 * “Andy Paperbag” (on Andy Warhol), London Review of Books, 21 March 2002 * “The ABCs of Contemporary Art,” October 100 (Spring 2002) * “Archives of Modern Art,” October 99 (Winter 2001) * “Bigness,” London Review of Books, November 2001 * “Violation and Veiling in Surrealist Photography,” in Surrealism Unbound (Tate and Metropolitan Museums/Princeton University Press, 2001) * “Blinded Insights: On the Modernist Reception of the Art of the Mentally Ill,” October 97 (Summer 2001) * “Why All the Hoopla?,” London Review of Books and Los Angeles Times, September 2001 * “Design and Crime,” London Review of Books, April 2001 * “Art Agonistes,” New Left Review (March/April 2001) * “Diary: The US Election Fiasco,” London Review of Books, 30 November 2000 * “Slumming…”, London Review of Books, 21 September 2000 * “No Man’s Land: On the Modernist Reception of the Art of the Insane,” The Prinzhorn Collection (The Drawing Center, 2000) * “Illuminated Structure, Embodied Space,” Richard Gluckman Architect (Monacelli Press, 2000) * "The Un/Making of Sculpture," in Richard Serra (LA Museum of Contemporary Art, 1998) * "The Art of the Missing Part," in Robert Gober (LA Museum of Contemporary Art, 1997) * "Prosthetic Gods," Modernism/Modernity (April 1997) * "Obscene, Abject, Traumatic," October 78 (Winter 1997) * "The Artist as Ethnographer," in Fred Meyer, ed., Traffic in Culture (NYU Press, 1996) * "The Archive without Museums," October 77 (Summer 1996) * "Death in America," October 75 (Winter 1995) * "The Cult of Despair," New York Times (December 1994) * "What's Neo About the Neo-Avant-Garde?," October 70 (Fall 1994) * "`Primitive' Scenes," Critical Inquiry (Autumn 1993) * "Image Machines," in Brian Boigon, ed., Image Machines (Princeton University, 1993) * "The Art of Fetishism," in E. Apter, ed., Fetishism as Cultural Discourse (Cornell Press, 1993) * "The Writing on the Wall," in Michael Govan, ed., AMERICA: Invention (Guggenheim, 1993) * "Postmodernism in Parallax," October 63 (Winter 1993) * "Postmodernism", The Village Voice (October 1991) * "Notes on the Artist-Teacher" (Herbert Johnson Museum, Cornell, 1991) * "Convulsive Identity," October 57 (Summer 1991) * "Armor Fou," October 56 (Spring 1991) * "Exquisite Corpses," Visual Anthropology Review (Spring 1991) * "Architecture, Development, Memory" (Harvard School of Architecture & Design, 1991) * "That Obscure Subject of Desire," Mary Kelly (New Museum of Contemporary Art, 1990) * "Uses and Abuses of Russian Constructivism, in R. Andrews, ed., Art into Life (Rizzoli, 1990)

6 * "Wild Signs: The Breakup of the Sign in 70s Art," in A. Ross, ed., Universal Abandon? The Politics of Postmodernism (University of Minnesota, 1989) * "Architecture & Technology," in AA Files (Architectural Association, London, 1987) * "1967/87" (Philadelphia Institute of Contemporary Art, 1987) * "The Crux of Minimalism" (Los Angeles Museum of Contemporary Art, 1986) * "The Future of an Illusion" (Boston Institute of Contemporary Art, 1986) * "(Dis)Agreeable Objects" (New Museum of Contemporary Art, 1986) * "Signs Taken for Wonders," Art in America (June 1986) * "L'Amour faux," Art in America (January 1986) * "The `Primitive' Unconscious of Modern Art," October 34 (Fall 1985) * "TV in Two Parts," in B. Kruger, ed., TV Guides (Kuklapolitan Press, 1985) * "Godard: An Excessive Sign?," Artpress (December 1984) * "Postmodern Polemics," New German Critique 33 (Fall 1984) * "Uncanny Images," Art in America (November 1984) * "For a Concept of the Political in Art," Art in America (April 1984) * "Sculpture after the Fall" (Philadelphia Institute of Contemporary Art, 1983) * "The Art of Spectacle," Art in America (March 1983) * "The Expressive Fallacy," Art in America (January 1983) * "Subversive Signs," Art in America (November 1982) * "Between Modernism and the Media," Art in America (Summer 1982) * "Re:Post," Parachute (Spring 1982) * "Seven Types of Ambiguity" (London Institute of Contemporary Art, 1982) * "Critical Spaces," Art in America (March 1982) * "The Problem of Pluralism," Art in America (January 1982) * "Note to Painting," Arts (May 1981) * "Pastiche, Prototype, Purity," Artforum (March 1981) * "Blasted Allegories," Artforum (October 1979) * Short articles and reviews: Art in America (1981-87), Skyline (1981-83), Artforum (1977-81)

LECTURES (selected):

2013: NOT UPDATED 2012: NOT UPDATED 2011: American Academy in Berlin, Jagiellonian University (Cracow), Moderna Museet (Stockholm), University of Stockholm, Free University (Berlin), University of Copenhagen, Städelschule (Frankfurt), Bard in Arles (France), Whitechapel Art Gallery (London), University of Bogota, Hirshhorn Museum, Temple University, Rice University, Clark Art Institute, University of Oslo 2010: , Contemporary Art Institute (Faenza, Italy), Städelschule (Frankfurt), Stone Theory Seminars (Chicago), University of Edinburgh, Whitney Museum 2009: Whitney Museum, SUNY Purchase, University of Chicago, China National Academy of Art (Beijing), University of Florida, York University, Ontario College of Art and Design, University of Toronto, Serralves Museum (Portugal) 2008: Whitney Museum, UCLA, Cornell University, University of Edinburgh, Harvard University 2007: UC Berkeley, Courtauld Institute (London), Cambridge University, University of Geneva, Goldsmith College (London), University of Pennsylvania, Ecole Nationale Superieure (Paris)

7 2006: University of Florida, University of Amsterdam, Clark Institute (Williams), Whitney Museum, Cornell University 2005: Yale, Columbia, Tulane, Slought Foundation (Philadelphia), University of Bristol, Tate Modern, National Gallery of Art, Clark Institute (Williams), University of Murcia (Spain) 2004: Whitney Museum, Architectural League, University of Mexico, Getty Museum, Tate Museum, Stanford, University of North Carolina, UC Berkeley, University of Delft, Whitechapel Art Gallery, Ulster University, National Gallery of Art 2003: Whitney Museum, National Gallery, St. Louis Museum of Art, Museum of Fine Arts (Boston), Cranbrook Art Institute, Clark Art Institute, Dallas Art Museum 2002: Whitney Museum, Institute of Fine Arts (NYU), University of Barcelona, MACBA (Barcelona), SUNY Purchase, University of Manchester, ICA (London), University of Berlin 2001: Whitney Museum, UC Berkeley, Goethe House, Clark Art Institute (), Ohio University, Institute of Advanced Study, Art Institute of Chicago 2000: Louvre Museum, , The Drawing Center (New York), UC Berkeley, Whitney Museum 1999: Ecole Normale (Paris), Royal College of Art (London), Courtauld Institute of Art, Columbia University, University of Brussels, Whitney Museum 1998: Brown University, Yale University, Trinity College (Texas), University of South Florida, Louvre Museum, University of Georgia, Melbourne University, Museum of Contemporary Art (Sydney), Columbia University, University of Bombay, Whitney Museum 1997: University of Amsterdam, Courtauld Institute of Art, Architectural Association, Institute for Contemporary Art (London), Glascow School of Art, Leeds University, Tate Gallery, UCLA, UC Berkeley, Stanford, University of Florida, Whitney Museum 1996: Whitney Museum, Columbia University, Malmo Art Academy (Sweden), University of Sao Paulo, Yale University, Williams College, SUNY Buffalo, University of Virginia, Emory University, University of Pennsylvania, Princeton University, University of London, Northwestern University 1995: Yale University, Columbia University, University of Pennsylvania, Colgate University, Georgia Tech, University of Southampton, University of Sussex, Witte de With (Rotterdam), University of Barcelona, University of Utah, Brigham Young University, Andy Warhol Museum, Architectural League of New York 1994: Centre Pompidou, Bonn Kunsthalle, UC Berkeley, Stanford University, Saint Lawrence University, City University of New York, University of Montreal, University of Wisconsin (Madison), Museum of Contemporary Art (Chicago), Alfred University, Museum of African Art (New York), , Whitney Museum, Yale University 1993: Institute of Fine Arts (NYU), Brown University, Columbia University, SUNY Buffalo, SUNY Stony Brook, Whitney Museum, Tate Gallery 1992: University of Chicago, University of Rochester, University of Copenhagen, University of Madrid, University of Washington, Wayne State University, Whitney Museum. 1991: Harvard University, University of Toronto, University of California at Irvine, Dalhousie University, Nova Scotia; College of Art and Design, Whitney Museum 1990: University of Rochester, Cornell University, University of California at Santa Barbara, University of Michigan, University of Washington, UC Berkeley 1989: UC Santa Cruz, Barnard College, Harvard University (2), Princeton University, Syracuse University, Institute of Contemporary Art (Boston)

8 1988: Columbia University, University of Washington, New School for Social Research, University of Rochester, Vienna Kunstverein 1987: Yale University, Stanford University, Boston University, York University, Tulane University, Institute of Contemporary and Architectural Association (London), Banff Center for the Arts, School of the Art Institute of Chicago, Southern California Institute of Architecture 1986: University of California, Institute of Contemporary Art (Boston), Cooper Union, Hunter College, UC Los Angeles 1985: Brown University, University of South Florida, University of Illinois (Chicago). 1984: UC Los Angeles, Calfornia Institute for the Arts, Otis Institute, Columbia University, University of Texas (Arlington) 1980-83: Rutgers University, Cornell University, , UC Los Angeles, UC Irvine, University of Southern California, California Institute for the Arts

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