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School of Art Dean Tom Lawson quoted about MOCA's future

March 15, 2013
Los Angeles Times

Eli Broad remains a player in LACMA's proposed takeover of MOCA

His 2008 bailout gave him provisions, but not absolute veto, that could complicate a deal between the L.A. museums. He's also reached out to National Gallery of Art.

By Mike Boehm

Michael Govan came to the Los Angeles County Museum of Art seven years ago with a mission to make it one of the most prestigious institutions in the country, one worth mentioning alongside New York City's Metropolitan Museum of Art and Museum of Modern Art.

Now he's trying to seize an opportunity to gain ground on them in a single stroke. Govan and LACMA's trustees have proposed a takeover of L.A.'s financially adrift Museum of Contemporary Art and its crown jewels: a 6,000-piece collection that's one of the world's most admired troves of post-World War II art.

But Govan has an imposing rival in billionaire Eli Broad, L.A.'s eminence grise of art philanthropy. And Broad has cards of his own to play.

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Former student Victoria Shen offers Modernist Manicures free of charge

March 14, 2013
Dorchester Reporter

Pop-up salon in Fields Corner offers ‘digital’ makeovers

By Chris Harding

Here’s an opportunity you definitely don’t want to let slip through your fingers.

Free artsy manicures! The Howard Art Project on the top floor of 1486 Dot Ave. in the middle of Fields Corner is currently offering fashion-forward folks of whatever gender the chance to have a once-in-a-lifetime digital makeover.

What’s the catch? There’s no catch.

The Modernist Manicure is an innovative art project by 24-year-old Victoria Shen, who is originally from San Francisco. She studied at CalArts and then graduated from the School of the Museum of Fine Arts, Boston two years ago. She also did a lengthy internship with the Yerba Buena Center for the Arts, San Francisco.

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Slavs and Tatars exhibition at REDCAT reviewed

March 11, 2013
Art Info

Reverse Optimism: Slavs and Tatars Brings Its Collective Irony to L.A.'s REDCAT

By Fionn Meade

The founding narrative of the artist collective Slavs and Tatars is a well-branded dictum that precedes each of its projects, setting up a scenography of production and presentation replete with multiple entrances and exits. Begun in 2005, Slavs and Tatars describes its members as “a faction of polemics and intimacies devoted to an area east of the former Berlin wall and west of the Great Wall of China.” Initially a reading group, the collective now orbits around two central members who wish to remain anonymous, while the retinue can expand and contract to include others in response to a given project.

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Walt Disney Family Museums pairs work by Disney Designer and Chouinard Art Institute graduate Mary Blair with work by contemporary artist

March 10, 2013
Jim Hill Media

The Walt Disney Family Museum Reexamines Alice in Wonderland with Contempora​ry Artist Camille Rose Garcia alongside works by Disney Legend Mary Blair

San Francisco, CA, (March 11, 2013) - The Walt Disney Family Museum is pleased to present the exhibition Camille Rose Garcia: Down the Rabbit Hole. On view from May 9 to November 3, 2013, the exhibition features some 40 works by Garcia alongside seven Alice in Wonderland concept paintings by Disney artist Mary Blair from the Museum's collection. Organized by guest curator Tere Romo, the exhibition celebrates not only Garcia and Blair's artistry across decades and artistic styles, but also the power of art to draw us into magical worlds that spark engagement and inspiration.

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Actor Jack Black to highlight REDCAT gala

March 13, 2013
Los Angeles Times

Jack Black, Seth Rogen, the Osbournes part of spring social scene

By Ellen Olivier

As the spring social season gets underway, make no mistake: Angelenos are generous with their support of good causes, and they certainly enjoy a good party. But nowadays, it takes more than a fancy dinner to attract a crowd.

The watchword for today’s fundraisers is “fun” — with “fresh” and “original” also part of the lexicon. This is especially true if the objective is to reach the up-and-coming younger demographic. The good news is that much of what’s ahead on L.A.’s social scene handily fits the bill.

Seth Rogen and his wife Lauren Miller, planning an event April 25 to raise their generation’s awareness of Alzheimer’s disease, realized that they needed to raise the fun factor by multiples. The result: “Hilarity for Charity,” conceived as an “anti-gala” filled with comedy, magic and music performances and with proceeds going to the Alzheimer's Assn.

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Interview with "prolific and original avant-garde film and video artist" Lewis Klahr


The Illustrated Man

March 11,2013

For more than three decades, Lewis Klahr has been among the most prolific and original avant-garde film and video artists in America, producing over seventy-five works to date. A perennial presence in the New York Film Festival’s Views from the Avant-Garde, Klahr has shown as well in three Whitney Biennials (in 1991, 1995, and 2006) and at the International Film Festival Rotterdam; in 2010, his work was the subject of a retrospective at the Wexner Center for the Arts in Columbus, Ohio. A running loop of his films is currently on view at the Los Angeles County Museum of Art (through month’s end), and on March 9 and 10 the Museum of the Moving Image in New York will present a substantial program of his digital work, including The Pettifogger (2011), his first feature-length movie, and the world premiere of a new series, the “False Aging” trilogy (2008­–12).

Though he has made live-action and found-footage films—mostly in the 1970s and ’80s—Klahr is best known for his cutout movies, in which appropriated images of people, objects, and places culled from a variety of sources are inserted and manipulated in front of the camera, all within an area no larger than a standard sheet of paper. While his films in this mode resemble what other practitioners have labeled “animated collages,” Klahr does not consider himself an animator. He conceives of the screen neither as a painter’s canvas nor as the illusionary three-dimensional field beloved of photography and mainstream cinema. Set against a two-dimensional plane, typically with little perspectival depth, his cutouts are not animated like traditional cartoons but maneuvered into place by hand, their interactions, entrances, and exits controlled moment by moment. Klahr exploits the flatness of his images, though their contextual positioning—e.g., small equals far, big near—often alludes to a “pretend” screen depth. Occasionally, his sound tracks suggest an aural dimension, evoking proximity or distance, but he prefers to keep sounds lo-fi to match the flatness of the visuals. Even popular songs played in their entirety—e.g., those of Frank Sinatra or the Velvet Underground—and excerpts from pieces by Igor Stravinsky or Alban Berg are often treated this way without diminishing their importance to a film’s meaning or mood.

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School of Critical Studies faculty Douglas Kearney's poem in Poetry Magazine


The Labor of Stagger Lee: Boar

By Douglas Kearney

March 2013
Poetry Foundation

Listen Here.

pigs prey to piggishnesses. get ate from the rooter to the tooter.
I’m a hog for you baby, I can’t get enough go the wolfish crooner.
the gust buffeted porker roll in the hay or laid down
in twig rapine. let me in, let me in.

no drum-gut, Stagger’s stomach a tenement:
his deadeye bigger than his brick house.
Stagger Lee live by the want and die by the noose,
whose greedy void like a whorehouse
full of empties getting full. can’t get enough!

rumored Stagger would root through pussy
to plumb a fat boy. here piggy! what Lee see he seize.
manful, ham-fisted. sorry Billy,
your name mud and who love dirt like swine?

they get in it like a straw house. it’ll be cold out
before Lee admit his squeals weren’t howls.
he got down. he get dirty.

New York Times cites CalArts in article about on-line learning


Creative Learning Pay Off for Web Start Ups

March 10, 2013
New York Times

Anyone who wants to learn calculus, statistics or ancient Greek history can take free online courses in those subjects at a variety of sites from instructors with distinguished academic pedigrees. For more mundane pursuits, like learning how to paddleboard or build a planter box for the garden, there is an inexhaustible supply of free how-to videos on YouTube, eHow and other sites.

But if you’d like to watch a recording of a three-day course on the minutiae of photographing clients who commission high-end portraits of themselves in lingerie, that will cost $149 on a Web site called CreativeLive.

While companies like Udacity and Coursera — providers of giant online open courses — are just beginning to introduce courses with fees that count for academic credit, other online learning companies have carved out a lucrative niche in courses on design, photography and other creative pursuits. CreativeLive, Lynda.com and others have tapped into an audience of customers who are highly motivated to hone skills that might help enhance their careers. The online courses are usually less expensive than intensive in-person workshops on photography and other subjects, and can attract top-notch instructors with their promise of big national audiences. Read More.

Disney green lights new series Star and the Forces of Evil created by alumna Daron Nefcy


The Middle’s Eden Sher Joins Disney’s Star And The Forces Of Evil as New Princess

March 9, 2013

By Brody Gibson

Somebody higher up at Disney must have taken a look at the success of Disney Junior’s Sofia the First and thought “We should try and replicate that, but this time target it toward an older audience.” More princess cartoons means more merchandise to buy at your local Disney store! While the motivation for wanting a new animated series is obvious, it’s a little out of the ordinary which series they recently greenlit. Star and the Forces of Evil (working title) came from the mind of young artist and writer Daron Nefcy. Usually big companies like Disney look for their next big series from more experienced writers.

Star and the Forces of Evil has a terrific concept, which explains why Disney would so readily grab at it from a youngster like Nefcy. It’s already got a voice-actor attached to play the lead of Princess Star Butterfly: The Middle’s Eden Sher. Deadline reported the series as being a comedy adventure about Star, the fun-loving magical teen princess from another dimension. Sounds pretty badass, yeah? After getting into a fight with some otherworldly creatures, her royal parents send her off to live with the Diaz family of Earth. Is it just me, or does this suddenly sound like a twisted version of The Fresh Prince of Bel Air? She inevitably takes their teenaged son Marco on adventures, battling evil villains in the universe and high school to protect Star’s powerful magic wand, which she hasn’t quite figured out how to use properly. Read More.

Alumna created animated comedy comes to Disney Channel

A new animated comedy comes to Disney Channel

March 9, 2013
Chip and Company

Disney Channel has ordered “Star and the Forces of Evil” (working title), an animated comedy adventure about a fun-loving magical teen princess from another dimension who — after a few bold skirmishes with other-worldly monsters — is sent by her Royal Parents to live with the Diaz family on Earth. Eden Sher (ABC’s “The Middle”) provides the voice of the lead character, Star Butterfly. Production has begun for a scheduled Fall 2014 premiere. The announcement was made today by Eric Coleman, Senior Vice President, Original Series, Disney Television Animation.

Artist and writer Daron Nefcy is the series creator and co-executive producer. She is a 2009 California Institute of the Arts (CalArts) graduate whose work has been showcased throughout the Los Angeles underground art community. Her television credits include recent work on Disney Channel’s upcoming animated series, “Wander Over Yonder,” and the Warner Bros. animated series “MAD.” Emmy and Annie Award-winning director Dave Wasson (“The Buzz on Maggie,” “Making Fiends”) is co-executive producer and director, and Annie Award-winning writer Jordana Arkin (“Melissa and Joey,” “Will & Grace”) is co-executive producer and story editor. Read More.

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