OMAG #15 - Otis College of Art and Design

Transcription

OTIS COLLEGE OF ART AND DESIGN MAGAZINE
SPRING 2014
ISSUE 15
in this issue:
04 - ALUMNI AND FACULTY
INSPIRED BY L.A.
06 - KEEPING IT SIMPLE AND FRESH:
MEG CRANSTON
18 - OTIS REPORT ON THE CREATIVE
ECONOMY: 1 IN 10 JOBS IN CA
I remember L.A. as blackety-black shadows
cast from brutalist blocks that take the
history of architecture and reduce and
contain it silently, like lunary tombs or Aztec
temples morphed into Fome-Cor® cartoons.
This kind of light makes decisions easier,
more black and white. Good-vs-bad, pure-vsimpure, aspiration-vs-collapse, determined
grim optimism-vs-self-indulgent despair.
The suggestion of an old Hollywood monolithic black-and-white movie set encourages
self-invention and self-consciousness as
you make your way down an imaginary long
white staircase. There’s not another living
soul on the set and the spotlight is on you,
wiping out any flaw or imperfection,
hallucinating yourself into who you wanna
be … exactly how I remember it … forward Fashion designer Rick Owens (’81) moved
from L.A. to Paris in 2003.
01
03
05
06
1. George Maitland Stanley (’24)
2. Kent Twitchell (’77 MFA)
3. Judithe Hernández (’74 MFA)
4. Insung Kim (’97)
5. Robert Irwin (’50)
6. Hillary Jaye (’90)
Muses Fountain, Hollywood Bowl
Harbor Freeway Overture mural,
New Spring, mural for the Expo Line
for Hunt Design Associates
The Central Garden, The Getty
for Sussman/Prezja & Co.
1938
1993
Terminus Station in Santa Monica,
Identity and wayfinding program
Center, 1997
Wayfinding and bus graphics
Photo courtesy: Hollywood Bowl
opening in 2016
for downtown L.A.
Photo courtesy: The J. Paul Getty
Van Nuys FlyAway for Los Angeles
Museum and Music Center Archives
Commissioned by the LACMTA
Museum
World Airports
02
LACMA Director Michael Govan explains the
allure of Los Angeles in this simple statement:
“Where the modern world was imagined and
continues to be reinvented.”
04
Since 1918, Otis alumni, faculty members, and
students have imagined the city’s future, created positive change, and made connections
across the globe. As artists and designers,
they are committed to incorporate human
values, social responsibility, and ethics in their
thinking and action.
For this issue on Otis in Los Angeles, we
designed an interactive map with projects
by alumni and faculty members, including
public art, monuments, and retail stores.
Visit www.otisinla.com and plan your trip to
see them all. Share photos of your visits with
the world via social networks using #otisinla.
Keep your eye out for this symbol
throughout the issue for more location
information
02
12
A Fond And Forward-Looking Farewell
Otis has a uniquely powerful educational
approach and social vision, as well as a long
tradition of partnering with diverse sectors to
elevate the role of artists and designers in Los
Angeles and beyond. Today, an Otis education
takes full advantage of the fact that L.A. and the
College are both fertile grounds where cultural
practices, social engagement, and the creative
economy converge, resulting in new ideas and
approaches that address the emerging needs
of our time and lead to a better future.
As I look back on my fourteen years as
president of this great institution, I feel extremely
honored to have helped shape Otis in partnership
with the gifted and dedicated boards, faculty
and staff. Above all, I feel privileged to have
participated in the transformative education
of our students, who blossom into achieving
alumni and whose creative practices reward their
lives and benefit the world. It is gratifying that
my final OMAG introduction is for an issue that
demonstrates Otis’ imprint in the L.A. region and
across the globe with the success stories of our
alumni, students, and their faculty mentors.
When I depart at the end of this academic
year, I will do so with an optimistic outlook on
Otis’ future. The College’s educational and social
mission has never been more clearly articulated
and manifested. The reimagined curriculum
strengthens student learning and success.
Exciting plans are in place to expand campus
facilities and transform Otis into a residential
college. There is incredible momentum that will
take the College to new heights. I cannot imagine
a better interim president than Provost Dr. Kerry
Walk to lead the great Otis team into its next
phase of service and success.
I am deeply grateful for the opportunity to
have served the College since 2000. As I bid
farewell, I know that I will be continually inspired
from a distance by the extraordinary talent and
spirit of the Otis community of students, faculty,
staff, alumni, and board members. Otis will
always be in my heart.
President Hoi and Provost Dr. Kerry Walk
Samuel Hoi, President
Editor: Margi Reeve, Communications Director
Photography: Lane Barden, Deborah Bird, Chris Bliss,
Back Cover: John Mason (’57)
Coeditor: Laura Daroca (’03 MFA Fine Arts), Director of
Joe Bruns, Kristina Campbell, Benny Chan Fotoworks,
“Folded Cross, Yellow-Gold,” 2002
Alumni Relations
Kai He/The LA Fashion Magazine, Katie Hotchkiss
ceramic
Alumni Relations Coordinator: Shefali Mistry
Contributors: freelance writers George Wolfe and
Mimi Zeiger; copy editor Michelle Ghaffari
39 x 31.5 x 24"
Creative/Design: Mark Caneso (’04)
from Crosses, Figures, Spears, Torques
David Kordansky Gallery, LA.
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SPRING 2014
OTIS COLLEGE OF ART AND DESIGN MAGAZINE
FEATURE:
VOL. 15
CONTENTS
Otis In L.A.
04
Faculty architecture projects; Annetta Kapon video; JT Steiny drawings;
Meg Cranston interview; Lalo Alcaraz profile; Literary L.A.; Broad-Minded;
City as Classroom
College
News
Alumni Around
the World
Class
Notes
14
42
44
Transformational Leadership
Scholarship Benefit and Fashion Show
Creative Economy Report
Teaching Awards
Buzz
Commencement
Annual Exhibition
Class of 2013
Bangladesh
Mumbai
Alumni
Anniversaries
Generations Connect in S.F.
Otis Supporters: Sharma Family
Otis prepares diverse students of art and design to enrich our world
Otis College of Art and Design
through their creativity, their skill, and their vision.
Established in 1918, Otis College of Art and Design is a national leader in art and design
Otis enrolls approximately 1,100 full-time students, and offers Bachelor of Fine Arts degrees
Publication of material does not necessarily
education. The College mission is to prepare diverse students of art and design to enrich
in Architecture/Landscape/Interiors, Digital Media (Game and Entertainment Design, Animation,
indicate endorsement of the author’s viewpoint
our world through their creativity, skill, and vision. Alumni and faculty are Fulbright, MacArthur,
and Motion Design), Fashion Design, Communication Arts (Graphic Design, Illustration, and
by Otis College of Art and Design
and Guggenheim grant recipients, Oscar awardees, legendary costume designers, leaders
Advertising Design), Fine Arts (Painting, Photography, and Sculpture/New Genres), Product
of contemporary art movements, and design stars at Apple, Abercrombie & Fitch, Pixar,
Design, and Toy Design. Otis also awards the Master of Fine Arts degree in Fine Arts, Graphic
DreamWorks, Mattel, Nike, and Disney.
Design, Public Practice, and Writing.
© Otis College of Art and Design
Otis Faculty in L.A.
Otis faculty members draw
inspiration from L.A., and
reflect its vibrant communities
in their work.
Architecture/Landscape/Interiors
Faculty Projects
01. Chava Danielson
Principal, DSH
Para Los Ninos
849 East 6th St., L.A. 90013
02. David Reddy
Principal, R&D Architects
Breeze House
23 Breeze Ave., Venice 90291
(artwork by Nancy Monk)
03. Linda Pollari
Principal, P XS
“off-use" (office-house)
950 S. Highland Ave, L.A. 90036
01
04. Matias Creimer
Bower Reidence
(renovation)
16417 Otsego St., L.A. 91436
05. Richard Lundquist
ChoSun Galbee
3330 W. Olympic Blvd. L.A. 90019
03
02
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04
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Spring 2014
ANNETTA KAPON
JT STEINY
Professor and Assistant Chair, Graduate Fine Arts
Senior Lecturer, Communication Arts: Illustration
The Line Between L.A.
and Beverly Hills
Drawing
While Driving
JT Steiny (’86) contributes illustrations to the Los Angeles Times,
USA Today, Smart Money, Sony Records, Rhino Records, and
LA Weekly. Everywhere he goes, he draws. An entire series he titles
“Drawing While Driving.” In this series, he captures the challenges
of dog walking in a car-oriented city.
Kapon (‘85) created this video to be shown on L.A. Metro
buses as part of Freewaves’ “Out the WIndow” project,
April 2013. She walked the line between Beverly Hills’ freshly
paved streets and Los Angeles pavement’s holes and
cracks, capturing both the visual and the auditory contrasts.
SARA DALEIDEN
Lecturer, Graduate Public Practice
Urban Rangers
As a Senior Ranger with the The Los Angeles Urban Rangers, Sara
develops guided hikes, campfire talks, field kits, and other interpretive
tools to spark creative explorations of everyday habitats in L.A.
Founded in 2004, the Rangers are dedicated to asking questions
about the abundant and often unseen complexities of the places
in our lives, whether a freeway, an office park or a living room.
l to r: Therese Kelly, Nicholas Bauch, Sara Daleiden,
Ron Milam and Jenny Price.
5
Cranston reveals her favorite
MEG CRANSTON
museums, the book she would take to
a desert island, her thoughts on art
Fine Arts Chair
and media, the pinata, and more at
www.otis.edu/omagcranston
Keeping It Simple and Fresh
Why is teaching important to you? In Los Angeles, teaching is a normal part of an artist’s
career. That isn’t true everywhere but it is definitely true
here. Initially, I taught for the same reason most artists
teach—to support my work. What I found out was
that teaching not only provided financial support but it
also informed and energized my work. Teaching forces
you to constantly reevaluate your own ideas and as a
result, your work stays fresh. You have to stay relevant
to the students, and that helps you stay relevant to a
wider audience.
L.A. is a great place for an artist to teach because you
are in such good company. The list of artists who teach or
have taught here is a who’s who of the art world. Otis
plays a crucial part in that with an amazing number of
world-famous artists who have taught/continue to teach
including Paul McCarthy, Carole Caroompas, Alex Slade,
Mike Kelley, Steve Prina, Chris Williams, Frances Stark,
Liz Glynn, Laura Owens, Jack Goldstein, Alexis Smith,
Monique Prieto, and Jorge Pardo. We take risks by hiring
young artists whose work we believe in, and it pays off
both for the artists and for the students.
L.A. art colleges have produced an enormous number
of artists and trained the teachers who have gone on to
develop international programs. What we might call
collectively “the L.A. method” has been imitated in
colleges and universities around the world. Otis has a
central role in making L.A. the most important city in the
world for art education today.
What do you find unique about Otis students?
Artists love teaching at Otis because the students are so
cool. Our students are more independent and empathetic
than students at other schools where I’ve taught. I think
L.A. has a lot to do with that. We are a metropolitan art
school so our students live and work in the city. That gives
Otis students a more informed perspective on life, and
makes them more cosmopolitan. They deal with a broad
range of people, and negotiate life in one of the greatest
cities in the world.
Describe your collaborations with John Baldessari
Over the years, we have collaborated on a variety of
projects with a shared objective of mixing thing up—
always wanting to try something new. We work together
mostly because it’s fun to see what you generate when
you work with another artist. We have curated a few
shows together, including one for the Santa Monica
Museum on the work of Norm Laich, an L.A.-based artist
and sign painter who has worked with many important
artists. Curating is a thankless job for artists. You definitely
don’t make any friends, but John and I do it because we
feel it is important for artists to show the world the
exhibitions that artists want to see.
6
Last year we finished a book that took seven years to
complete. More Than You Wanted to Know About John
ladies in gypsy costumes. In ’68 it was impossible to paint
those things. By 2013 things had changed.
Baldessari is an anthology of John’s complete writing,
from his days at Otis in 1957 to the present. I coedited it
How does your anthropology background influence
with Hans-Ulrich Obrist, a curator and codirector at
your work? Serpentine Gallery in London.
My anthropology major at Kenyon College provided a
Last year we did two sets of paintings using texts
good foundation for art making because anthropologists
from John’s early writing. The colors came from Pantone’s
see meaning as relative, conditioned by cultural context.
forecast for the top women’s fashion colors for 2013.
In art it’s very similar. You have to understand the context
We wanted to juxtapose older texts with the latest
you are working in. In art you wouldn’t say red necessarily
fashion colors. For one set I selected a short text that is
means love. You’d say, in a certain context, shown in a
my favorite bit of advice:
certain composition, presented in a certain way, red might
“Whatever you decide to do, remember to keep it
connote love. Artists need to be very sensitive to the time
simple, keep it fresh, and have some idea what you are
and place in which they are working to be understood.
going to do.”
Like anthropologists, they have to understand everything
We showed one set of these at Galerie Michael
about a culture—religion politics, economics, etc. Cultural
Janssen in Singapore. That went well, so we made
conditions manifest belief, and belief gets manifested
another set based on texts from 1968 for Michael’s gallery
materially in art and design. Art and design are 100%
in Berlin. These related to subjects that John said he
about belief. They both reflect it and generate it.
could not paint: sad doggies, squint-eyed tigers, and
Spring 2014
by George Wolfe
LALO ALCARAZ
Lecturer, Communication Arts: Illustration
Redrawing Borders
A Most Imperfect Union:
A Contrarian History of the U.S.
will be released by Basic Books in
June with illustrations by Alcaraz
and text by Ilan Stevans
For editorial cartoonist and faculty member Lalo Alcaraz,
having one foot inside and the other outside the circle
has been an ongoing metaphor for his life. Born in the
San Diego area, he notes that he was not quite Mexican
enough for some relatives across the border and yet not
American enough for those in the States. His academic
degrees include the fields of environmental design and
architecture, yet he's best known for creating the first
nationally syndicated, populist, politically-themed Latino
My work urges people to think, maybe in the
way I present it in my work, and maybe not.
I’m not telling people how to think, just, you
know . . . use your noggin.
daily comic strip, La Cucaracha, which appears in the
Los Angeles Times. He also hosts a radio show and runs
a satirical website. Now, once again, he finds himself
exploring new territory as a writer on an upcoming Seth
MacFarlane (Family Guy) project: an animated show for
Fox featuring a largely Latino cast of characters, due
to premiere in fall 2014.
Luckily for Alcaraz, what once raised eyebrows and
Alcaraz has taught editorial illustration at Otis for
This humble stance isn’t false modesty. He’s
nearly three years but will be taking a break to make
genuinely fond of his simple-yet-proud roots and current
ample space for his new full-time gig. It's a bittersweet
middle-class lifestyle, and content to trade his once-
caused judgment is now an increasingly accepted part of
time. "At Otis, I was reminded of how cool and fun college
angry 20-something years for the challenges and
the times. On the federal level, it’s business as usual with
can be. Some of our best classes were when we threw
pleasures of life at home in Whittier with his wife and
an African American president; in a city like Los Angeles,
everything out and just sat there and talked—I had young
three kids. At the base of all he does, however, are the
you can’t throw a rock without hitting a hybrid car or a
students from here and international students from all
demands of his nagging muse, calling him to grind out his
food truck touting a fresh confluence of ethnic cuisines;
over the world, and it always gave me great hope that
daily work, to fulfill his creative duty.
and at a college like Otis, interdisciplinary cross-training
these kids remind me of how I was way back then.
is fast becoming not only an advantage in the art
And we’re all the better for it [this merging of cultures].
artists. I’m not the most organized person, but I’ve
and design professions but is practically a necessity for
I hope they’ll be able to carry on with what I’ve tried to
managed to piece together a career and show that by just
getting ahead of the status quo. And in this type of
teach them. But the truth is that I’ve really learned so
doing your art, steadily over time, it can be done. However
twister-like environment, artists like Alcaraz, who can
much from them."
dire the environment is out there, every career is
keep their balance while straddling these various circles,
Despite using his craft to speak out on substantive
"I’m okay with simply being a role model for working
fragmented, and we all have to figure out ways to make it
are faring well.
issues like Proposition 187 (immigration) and federal
work. My work urges people to think, maybe in the way I
Whether working on an editorial cartoon or creating
elections (voting), and making both real and symbolic
present it in my work, and maybe not. I’m not telling
content for his website (pocho.com), he attributes
inroads professionally in ways that offer a model of
people how to think, just, you know . . . use your noggin.
his original interest in biting social commentary to
achievement for Latinos and Chicanos, Alcaraz doesn’t
There’s a great saying in Spanish that uses the word
Mad magazine: “I used to tell parents to be careful:
see himself as any kind of spokesperson or cultural hero.
maceta—which is slang for flowerpot—something like
that publication can make a critical thinker out of a kid.
“Most of all,” he notes, “what I can offer is my work, to
use what the good Lord gave you between your ears.
For me, Spanish was my first language, then I learned
support causes I care about. “
So in short, use your flowerpot. There’s stuff in there!"
English in school and, finally, I learned satire . . . so it
was like a third language for me.”
7
Literary
L.A.
PAUL VANGELISTI
Founding Chair, Graduate Writing
Memory and Daily Life
in the Invisible City
I must begin by mentioning the debt
“splendid isolation.” Memory in so willfully
of gratitude I owe the Parisian poet
forgetful a place is critical, defining an
Mohammed Dib, who consistently
almost palpable dimension of daily life,
made me aware that L.A. was indeed
which is all the more vivid in contrast
the Invisible City, borrowing from me, as
to the perpetual elsewhere that best
it were, the title for my literary magazine,
describes one’s writing practice there.
Invisible City, which I edited with John
in the daily and often dull ineptitude of
in L.A., Dib would often smile capriciously
a grammar that might describe such as
and ask, as the afternoon began to
fictive utility as L.A. Time, for instance,
cool, if it weren’t time to set off in
may function as a property of light, a per-
my Datsun sedan and visit our invisible
petual present or “timelessness” in close
city, so that we might add to our
relationship to the peculiarly isolate and
“petites histoires.”
meditative light that is the single most
Poetry, for me, then, issues from the
distinguishing characteristic of our city.
invisible city, the big nowhere that is L.A.
“Lots and lots of light–and no shadows,”
Ours is a city of “theatrical imperma-
notes artist Robert Irwin, “Really peculiar,
nence,” as Christopher Isherwood called
almost dreamlike.”
it, the home of tautological architecture
I am suggesting that a preoccupation
where hot dog and hamburger and donut
with our daily bread is a poet’s attempt
stands take on the shape of hot dogs
to ground his or her work if not exactly in
and hamburgers and donuts, where at any
some form of realism, at least in a realis-
given time only a little more than one-
tic attitude or position within this wacky
third of the population has lived there for
environment. Lacking the public occasion
more than five years. L.A. is blessed, in
and certainly the public form for serious
Tennessee Williams’ words, with “wonder-
literature—museums and other educa-
ful rocking horse weather, and a curious
tional and public institutions in our city
light so mesmerizing that, as Orson
are hardly more than specimen boxes in
Welles once noted, ‘You sit down, you’re
today’s cultural marketplace—some poets
twenty-five, and when you get up, you’re
instinctively employ the daily to create a
sixty-two.‘” It functions, according to the
context for their work, social, dramatic
poet Thomas McGrath, as the “Asia Minor
or otherwise. In a city where the image is
of the intellect,” a place where, in the im-
considered truthful, and entrepreneurs
mortal words of the legendary producer
the likes of (fill in the name of whatever
This piece is excerpted from a longer essay that first appeared in
Irving Thalberg (namesake for the Acad-
current pop culture boss) are discussed
Seeing Los Angeles: A Different Look at a Different City, edited by
emy’s Oscar for “life-time achievement”),
in university and college classrooms as
Guy Bennett and Beatrice Mousli; Otis Books/Seismicity Editions, 2007
the writer is no less than “a necessary
creative geniuses, a poet may look to his
evil.” L.A. is also a place that has afforded
or her own isolated daily life to fashion a
Graduate Writing faculty member Martha Ronk’s poems
writers and artists, to borrow a phrase
background against which language may
also appeared in this publication.
from long-time resident Igor Stravinsky,
be given room for serious play.
Sumi-e drawing by Les Biller
Time and place operate curiously in
the daily and often dull ineptitude
of a grammar that might describe
such as fictive utility as L.A.
Editor’s Note:
8
Time and place operate curiously
McBride from 1971–82. During his stay
Spring 2014
PETER GADOL
Professor, Graduate Writing
Silver Lake
And then it was autumn again, and Saturdays they would
Editor’s note:
wake early when the first clean light came up over the
oak and fir at the top of the ridge and eased its way
Gadol was recently
down across their glass house and overgrown slope,
awarded an NEA Creative
down to the pitched yards and shingled cottages along
Writing Fellowship
the street below their street, down across timber and
brush and fallen limbs, across the boulevard all the way
to the patient lake, where it would linger on the water,
and ancient and forgiving light by noon.
These were cold mornings suddenly and so they
dressed quickly in fraying clothes. One made coffee, the
other swiped jam across toast. They traded sections
of the paper. One started in on the crossword, the other
scanned the financial pages. Then they headed out to
the garage and pulled on work gloves and selected rakes
and clippers, and there was little conversation except
to agree the movie they had watched the night before
was not sitting well with them. A simple story snapped
when stretched into an epic. Actually one man fell
asleep before the film ended, and the other man had to
wake him only to guide him to the bedroom and back to
sleep again.
Rain all week had left the air crisp but also made the
ground behind their house muddy and not entirely suitable for the chore at hand, yet each man took a flank of
hill as if it were his side of the bed and began pulling out
the dead sage and trimming back the excess tea bush
and clearing out the persistent sumac. There was nothing to be done about the thicket of rosemary, they’d long
since given up. There was enough of a drop-down to the
backyard of the property below theirs so that even at the
edge of their land, they enjoyed an unobstructed view of
the Silver Lake Reservoir.
excerpted from Silver Lake, a novel
MARTHA RONK
Senior Lecturer, Graduate Writing
from "State of Mind"
Driving
The Moon over L.A.
Pico Boulevard
The film breaks into dialogue after long stretches
The moon moreover spills over onto
From behind the glass they are unmitigatedly still
Of the sort of silence associated with wet roads
The paving stone once under foot.
or passed over. Pico is another.
And the sounds of tires hissing in the trees as
Plants it there one in front.
Driving is to driving as from one end to the other
The wind’s an artificial product of moving
She is no more than any other except her shoulders
over bridge and vale. Their eyes unnervingly swerved.
forever.
Celan says over wine and lostness, over
As enclosure’s only a category of mind.
Pull over and give us a kiss.
The running out of both.
And then the final exchanges about the weather first
When it hands over the interchange
I don’t find you behind any eyes you open.
And tentative efforts to snare the other’s litany
She and she and she. A monument to going nowhere,
After the earthquake it was closed to traffic.
A piece of work unmade by man. O moon,
I look at the eyes, the sex, the eyes.
The very act of driving was designed to eliminate
Rise up and give us ourselves awash and weary—
We lap at it fearful of running out,
We’ve seen it all and don’t mind
Gulps of red wine. He says
toward the horizon
of complaints
any sense of.
What can the translator mean by over?
9
LEWIS MACADAMS
Senior Lecturer, Graduate Writing
From Confrontation
to Cooperation
Editor’s Note:
Skid Row as a "40-year artwork to bring the river back to life." I donned
a white suit and painted myself green as if i were the ghost of William
A longer version of this
Mulholland.
Op Ed piece appeared in
In the mid-1980s, a lawsuit by Heal the Bay forced L.A. to build a
water reclamation plant that would ultimately send millions of gallons a
year of reclaimed water through the Glendale Narrows. For the first time
since the last Ice Age, the river was year-round. Willows and sycamore
trees began to reappear.
In preparation for a predicted El Niño, the County and the Army
In the late 1930s, in response to a pair of deadly floods, the L.A. County
Corps decided to bulldoze everything growing in the river's natural
Board of Supervisors called in the U.S. Army Corps of Engineers to con-
bottom. Standing in front of the machines, I nearly got myself killed. But
trol the unruly L.A. River. The mission was to get the water to the ocean
the action got FoLAR its first meeting with the head of the L.A. County
as fast as possible. The idea that it might make sense, in a city that gets
Department of Public Works. Every time he said the words "flood control
less than 15 inches of rain a year on average, to conserve some of
channel," I interrupted him and said "river." I had planted the linguistic
those hundreds of millions of gallons of freshwater seems to have never
seeds. Today nearly everybody calls it a river.
occurred to the Army Corps.
It took many years, thousands of workers, and some 3 million
barrels of concrete to bring the river to heel. By some measures, the
Cleanup, has grown from 10 people to several thousand. Two former
project was a triumph: floodwaters have not topped the river levees
railroad yards are now state parks, half a dozen riverfront pocket parks
since. But it was also an ecological holocaust.
were created, and a bike path continues to grow.
Within a very few years, important native species were largely gone.
Every one of these victories was the result of patience, willpower,
Yellow-billed cuckoos and least bell's vireo no longer sang in the wa-
and perseverance. Yet none of them opened up the channel itself. In
tershed. Red-legged frogs, which hibernated by burrowing into the river
2010 it was still a crime to stick your toe in the river. Then, this fall, after
bottom’s mud, couldn‘t penetrate the concrete.
seven years of work and almost $10 million, the Army Corps released a
For half a century after the work was finished, the river was little
more than a concrete scar, separated from the city by chain-link fences
study with a range of alternatives for the river's future.
It was a stunning development. FoLAR could now work hand in
topped with razor wire and signs warning visitors to keep out or face
hand with the Army Corps to restore miles of habitat, eliminate miles of
fines and/or jail.
concrete, restore wetlands, and reconnect the main stem of the river to
In 1986, Roger Wong, Pat Patterson and I borrowed some wire
cutters, snipped the fence that separated the river from the city, and
10
In recent years, more and more Angelenos have discovered the
river. FoLAR's annual Gran Limpieza, the Great Los Angeles River
the mountains.
As I look back on a lifetime of poetry and politics, on 27 years of
declared the river open. We asked the river if we could speak for it in the
working on the river, I see a journey from confrontation to cooperation.
human realm. We didn't hear it say no, and Friends of the L.A. River was
It has created a wider and deeper community not just of humans but of
born. FoLAR began life as a performance piece in a basement theater on
flying, swimming, and four-legged creatures as well.
the Los Angeles Times,
October 27, 2013.
City as Laboratory
City as Laboratory
Students thrive in L.A., using the city as a
laboratory for exploration and creation.
From innovative architecture to leading
contemporary museums and galleries,
opportunities abound. With dynamic
community partners and cultural institutions,
students work on complex art and design
issues to find solutions that that lead to
social, economic, and cultural change.
Museum Visit
LACMA
“If there’s one thing I didn’t expect to be
doing the week before Halloween and Día
de los Muertos, it was following a trail of
Getty
Exhibition
Design
dismembered body parts. Don’t fret,
they’re made from plaster and wire by
Otis students for an interactive, walk-in
altarpiece in the Getty Center’s
auditorium lobby. The project grows out
of the Getty Museum’s long-standing
collaboration with Otis, which seeks to
engage students with the Museum’s
exhibitions and events.”
“I was primarily excited about the visit to
“I grew up in a small town, and its only
the Natural History Museum because it
museum was about the town’s history.
seemed to have nothing to do with
The L.A. museum visits and special tours
—Sarah Waldorf, "Student-Built Día de
design. Dinosaur bones? Insect samples?
by the curators helped me see art in a
los Muertos Altar Pays Tribute to L.A.’s
Taxidermies in elaborate dioramas? In
new light. It gave me a new understanding
Saints," Iris, Getty blog, October 30, 2013
fact, museum visits became a great eye
and a critical eye on how to read a
opener, a change of perspective that
museum’s rooms.” - Jamal Polk (‘13)
changed my thinking and methodologies.”
- Emi Tamaru (‘12)
11
City as Laboratory
Exterior of The Broad from 2nd St.
and Grand Ave; image courtesy
of The Broad and Diller Scofidio +
Renfro
Broad
Minded
By Mimi Zeiger
Last year, students in Architecture/Landscape/Interiors (A/L/I) watched L.A.’s
architect, and the future lobby already framed, they garnered a greater understand-
newest art museum, The Broad, take life as they participated in hard hat construc-
ing of the shear amount of thought, coordination, and labor that goes into the
tion tours. Designed by the New York-based firm Diller Scofidio + Renfo (DS+R)
construction process. They were exposed to how complex computational forms
and commissioned by Eli and Edythe Broad, the 120,000 square foot building on
made in digital modeling software such as Rhino are built in the field. “To see how
downtown’s Grand Avenue (adjacent to Disney Hall) will feature large gallery spaces
highly nonorthogonal models made with the most contemporary of tools are
and an archive shrouded in an innovative, exoskeleton structure when it opens in
translated into architectural space by such a rudimentary and hand-labor intensive
2014. Behind the complex façade, which doubles as a shading system, works by
process was eye-opening,” says Ragle. But however complicated the construction
Jeff Koons, Roy Lichtenstein, Cindy Sherman, and Jean-Michel Basquiat will be on
process, student Diana Gonong remained undaunted by the experience: “We all
view to the public.
arrived on site curious, and we all left amazed and inspired.”
For architecture and design students, who often spend long hours in design
studio, the act of building can seem a bit foreign. Although skilled at rendering,
drawing, and making models, young designers lack real-life experience, but DS+R’s
design for The Broad offers an object lesson taking an idea from concept to
construction. “Site visits are a critical part of any design education,” says faculty
member Greg Kochanowski. “They provide the students an opportunity to engage
the world and broaden their horizons and level of understanding beyond what is
taught within the confines of the studio environment.” When he and his students
visited The Broad, they toured the main gallery on the upper level, and learned
how the museum’s large span steel structure was engineered and constructed.
“It is at these moments when a more full-bodied level of understanding occurs—
some of them hear the ‘click,’” he explains. “Students experience the synthesis of
organizational, spatial, material, and technological systems that make up buildings
and our built environment.”
For student Izzy Savage, that click came when she saw the “large pillows”
Creative Action
Throughout their studies, students participate in Creative Action:
Integrated Learning projects with community partners. They learn
that identifying problems and developing strategies for solutions
result from examining and understanding multiple perspectives,
dealing with ambiguity, and collaboratively developing flexible,
adaptable approaches.
that were weighing down the roof in order to simulate the weight of the skylights
that would be installed later, noting, “This ingenious technique demonstrated the
creativity in both design and in building.”
When faculty member Ben Ragle’s class visited the site, interior framing was
underway and students got to see hundreds of custom-curved metal studs that will
be skinned with thin veneers of plaster to form the interior walls. As they toured the
racks and racks of organized pieces, plaster samples waiting for sign-off from the
12
Some recent partners and projects include:
Spring 2014
Annual
Kite
Festival
Every year in early April, students and
alumni design and fly kites with families
from the L.A. area. World-renowned
kite maker Tom Van Sant (‘57) and
other artists provide tips, and all enjoy
caricature drawing, sand castle building,
and face painting.
Museum Visit
L.A. Sports Museum
Faculty member Bob Dob (’01) and his illustration students worked with
Trustee Gary Cypres to create work based on Cypres’ extensive collection
of sports memorabilia. Cypres is owner of the Los Angeles Sports Museum,
a 30,000 sq. ft. private museum with 30 galleries dedicated to some of
the most prominent sports figures and teams, including players Babe Ruth,
Joe Dimaggio, and Lou Gehrig; and the Los Angeles Dodgers, Brooklyn
Dodgers, New York Yankees, and Los Angeles Rams. The students were
particularly inspired by cartoons by Willard Mullin, who popularized the
stubble-faced Brooklyn bum of “Dem Bums.”
826LA
Culver City Senior
Film Aid International
H.E.L.P.E.R v2k
KXLU—Radi-O
Surfrider Foundation
Collaborate with
Center
View and analyze
Foundation
Produce original radio
Develop “Ban the Bottle,
underserved children
Transcribe life histories
films with socially
Work with Homeboy
content and broadcast it
Abolish the Bag”
to create a cultural
and stories
or environmentally
Industries ex-gang
on a public station
campaign focused on
relevant messages
members to discover the
exchange booklet
Downtown Women’s
eliminating single-use
roots and causes of gang
Museum of Social
plastics
Center For the Study of
Center & Venice
BreatheLA
violence, and learn about
Justice
Political Graphics
Family Clinic
Increase awareness of
identity, creativity, and
Develop a plan to exhibit
Westside Awareness
Examine the historical
Propose ways to alleviate
respiratory illnesses in
community
and archive issues of
Magnet School
and cultural context of
difficulties of the
underserved communi-
social justice and cultural
Produce workshops for
political art and media
healthcare system
ties through branding
Holy Nativity Episcopal
memory related to La
students’ needs
and design
Church Community
Plaza Methodist Church
Garden
on Olvera Street
Junior Blind
Coolhaus
City of El Segundo Fire
Research the political
Department
The Getty
Design a community
context of mobile,
Design projects that
Examine the role of
garden and propose ways
Museum of Tolerance
addresses the senses of
guerilla-style community
respond to a large-scale
spirituality in cultural
in which food can be a
Craft a comic book
sound and touch
organizing
disaster
identity, and design
platform for social
narrative and design that
exhibitions that honor
change
builds empathy and
Create art and design that
spiritual and cultural
understanding among
expression
visitors
13
College News
14 Years of Transformatio
Sammy Hoi has been a transformational
leader for Otis. His passionate commitment
to art and design education has been vital to
the College’s growth and prosperity during
his fourteen-year presidency. A champion of
creativity as an engine for economic growth
and community development, Sammy
has also been widely influential across the
Los Angeles region and the state, working
to build a coalition of public and private
leaders to advocate for the arts.
Sammy’s legacy at Otis is palpable—in
new facilities, such as the Bronya and Andy
Galef Center for Fine Arts; in the dramatic
increases in the number of students and
faculty during his tenure; in the tripling of
the endowment and the high level of alumni
giving; and, finally, in such new academic
programs as Creative Action and Public
Practice, which give Otis students the
chance to leverage the power of art and
design to make a positive difference in local
communities.
But Sammy’s legacy will be defined as
much by his intangible accomplishments as
by those we can readily see. Sammy has
infused our college with a deep community
feeling, an entrepreneurial spirit, and a
sense of purpose in our shared work of
preparing students to be leading creative
professionals who enrich our world.
The Otis family—the family Sammy has
so thoughtfully nurtured—will certainly
miss him.
Thanks to Sammy’s vision, Otis is on a
pathway to continued success as we
approach the College Centennial in 2018.
2000
2005
Samuel Hoi appointed President
Product Design major launched
Graduate Writing Program launched
2006
2001
Creative Action: An Integrated
Learning Program launched
Bronya and Andy Galef Center for Fine Arts
opens
Scholarship Benefit and Fashion
Show tops $1 million
2003
First strategic plan and branding study
2007
$1.8 million grant from U.S. Dept. of
Education for new majors
Graduate Public Practice
Program launched
2004
First Otis Report on the Creative
Economy of the L.A. Region
John S. Gordon appointed first Provost
New Media Consortium Award for
excellence in teaching and learning
Dr. Kerry Walk, Provost
2001
2006
2009
Bronya and Andy Galef Center for Fine Arts
Cirque de Soleil performance, Scholarship
Mattel design for an original Otis Barbie
Benefit and Fashion Show
”Sammy has been a fantastic spokesman for
the creative sector in California, and an
extraordinaray partner for the Getty Foundation.
Whether working together on Pacific Standard
Time or Otis Creative Economy Reports,
we always knew Sammy would provide fresh
insights and concrete results. He is a rare
leader—an innovator who really makes things
happen. We will miss him in Los Angeles, but
are delighted to see him bring his tremendous
skills to another fine arts institution.”
Deborah Marrow, Director, and Joan Weinstein
Deputy Director, The Getty Foundation
14
“What I appreciate most about Sammy Hoi is his
ability to exercise great leadership and vision
with such energy, enthusiasm, and joy. This is
part of the ‘secret sauce’ that has built Otis into
a formidable institution, and encouraged Los
Angeles, for the first time, to think of itself as a
truly creative economy.”
Cora Mirikitani, President and CEO
Center for Cultural Innovation
“For many of us, Sammy is why we came to
Otis. And what we found, once there, is that
his leadership—marked by a deep respect
for people and a generosity of spirit—has
created a truly community-based organization, with a strong focus on engagement,
sustainability, and community service.”
Suzanne Lacy, Chair
Otis MFA Public Practice
Spring 2014
onal Leadership
2008
2011 2013
Graduate Graphic Design Program launched
Dr. Kerry Walk appointed Provost
Graduate Studios open in Culver City
Nike and Hurley endow $1 million
scholarship
Students Design Freedom Memorial in Palau
Sustainability Alliance inaugurated with
apparel partners
Sustainability minor launched
Student enrollment = 1200
2012 90th birthday celebration
Doin’ It in Public: Feminism and Art at the
Woman’s Building, featured in The Getty’s
Pacific Standard Time: Art in L.A. 1945-1980
2009 $1.8 million grant from Mattel
First Kite Festival, Santa Monica Pier
2010 Princeton Review selection: “2014 Best
Colleges: Region by Region/Best in the West”
New Digital Media areas of emphasis:
Animation, Game & Entertainment Design,
and Motion Design
Otis Report on the Creative Economy expands
statewide
Students design sustainable toys in China
North Building studios open
2014
President Hoi steps down; Dr. Kerry Walk
appointed Interim President
2011
2012
2013
Students and faculty members in Palau
“Sammy is a visionary leader who has guided
Otis through an extraordinary period of
growth and innovation. The values he so
well embodies—mission focus, excellence,
teamwork, optimism, and community care—
are an enduring legacy that will propel the
College into a bright future.”
Thomas R. Miller, Chair,
Otis Board of Trustees
Executive Vice President of Marketing and
Product Strategies, City National Bank
”Sammy Hoi has been a wonderful trustee and
particularly valuable to the arts program because
of his deep understanding of our field. His
capacity for listening, learning, and giving gracious
advice and support has been an extraordinary gift
to us and has strengthened our work in California.“
Josephine Ramirez, Arts Program Director
The James Irvine Foundation
“To see the impact of Sammy Hoi’s passion for
educating the next generation of creative
leaders, one needs only to visit any retail toy aisle
in the world. Mattel is proud to be one of the
largest employers of Otis graduates because the
program nurtures students’ talent; helping them
to unleash their creative spirit in ways they will
benefit from for a lifetime. Sammy’s passion for
arts education globally serves as a wonderful
example to our community.”
Bryan Stockton, Chairman and CEO
Mattel, Inc.
15
College News
Scholarship Benefit and
Fashion Show
16
Spring 2014
The 31st annual Scholarship Benefit and Fashion Show raised more than $1 million for
scholarships, highlighting faux fur apparel, sustainable sportswear, and the new The Otis
Sustainability Alliance with inaugural partners—Eddie Bauer, Disney, Nike, Patagonia, Quiksilver,
and Todd Oldham. Kirk Nix of KNA Designs was honored with the Creative Vision Award
for his iconic work around the globe, and the inaugural Style Icon Award went to Sally Perrin,
Creative Director of Perrin Paris 1893, who combines a feminine eye with French tradition.
Opposite Page
Top: Bob Mackie
Bottom row from left
Above: Christopher Wicks
Below: Marisol Gerona (’93)
for Disney
Cynthia Vincent (’88)
Above: Billabong
Below: Western Costume with
Betsy Heimann
Claire Pettibone (’89)
This Page
Top: Venus Williams for EleVen
Bottom row from left
Above: Heather Brown (’04)
for Urban Outfitters
Below: Mary Jo Bruno
Halston with the Humane Society
17
College News
2013 Otis Report on the
Creative Economy:
1 in 10 Jobs in California
Since 2007, Otis has commissioned the
Professions and Economic Development
L.A. County Economic Development Cor-
Committee); Otis President Samuel Hoi;
poration (LAEDC) to produce an annual
Director, Western Region of the Actors
Report on the Creative Economy of the
Fund Keith McNutt; CAC Director Craig
Los Angeles Region. This report has been
Watson, and Executive Director of Arts
an invaluable tool to assess the tremen-
for L.A. Danielle Brazell. An addendum
dous impact and influence of the area's
to this year's report is "L.A. Creates," a
creative sector on the region’s economy.
special report by McNutt, detailing the
In 2013, the California Arts Council
way in which deliberate, collaborative, and
(CAC) awarded Otis funds to expand the
regional efforts can support and develop
report to show how the state's economy
the region's creative industries.
is affected by jobs in the arts, design,
726,300
10.4%
10.4% of the L.A.
Region’s total
economic output
Jobs in Los Angeles &
Orange Counties (direct,
indirect, induced)
1 in 7 in the L.A. region
1.4
FAST
FACTS
MILLION
44%
about the
creative economy
Jobs in California
(direct, indirect, induced)
1 in 10 in the state
At the conclusion of the event,
education, entertainment, nonprofits,
President Hoi announced the new
and independent creative professions.
Creative Economy Catalyst Grants
Their commitment underscores the belief
program, a strategic initiative that
that creativity is essential to California's
supports L.A.’s creative entrepreneurs,
successful workforce investment and
and promotes innovative practices to
economic development strategies.
advance the city’s creative economy.
On February 6, 2014 at the Broad
Stage in Santa Monica, Robert Klein-
This program will be administered by
the Center for Creative Innovation.
henz, LAEDC’s Chief Economist at the
One week later in Sacramento,
Kyser Center for Economic Research,
Senator Lieu convened an informational
presented the 2013 Otis Report findings
hearing, and President Hoi presented
to a crowd of more than 400 audience
the report data. Lieu proposed a bill
members from multiple sectors. Other
to stimulate the creative economy by
speakers included California State Sena-
increasing state tax fund contributions
tor Ted Lieu (Chair of the Joint Commit-
to the CAC funding from $1 million to
tee of the Arts, and Chair of the Business,
$25 million.
of the state’s creative
economy workers are in
the L.A. region
“The California story
(Apple, Google, Mattel)
is based on great ideas
that are born in garages.”
California State Senator Ted Lieu
President Hoi with State Senator Ted Lieu at the Broad Stage, Santa Monica
18
California hosts more nonprofit
arts and cultural organizations
than do most countries in the world.
10% of California’s jobs are
in the creative economy
Ann Markusen, “California’s Arts and Cultural Ecology”
Robert Kleinhenz, LAEDC Chief Economist at
the Kyser Center For Economic Research
Spring 2014
Those Who Can,
Teach
2013 Awards
Every year, Otis honors three outstanding faculty members with teaching awards. They are awarded based
on their commitment to Otis, clear and effective teaching, and exceptional ability to respond to a diverse
student body. Comments from student, faculty, and alumni nominations are excerpted below.
Harry Mott
Renée Petropoulos
Bill Kelley, Jr.
Distinguished Educator
Teaching Excellence,
Full-Time Faculty Member
Teaching Excellence,
Part-Time Faculty Member
Harry is unconditionally supportive of his students.
Renée is so generous with her knowledge and
Bill Kelley helps graduate students learn to write well,
He creates a unique, creative hub for thriving
time. She encourages her students to dig deeply
brings in international public speakers, connects
young artists.
into their interests, and she goes there with them.
students to the world of professionals through recom-
She gives so much of her time to visit studios of
mendations and internships, and is a very committed
Harry is loved and respected by all because he is
current students and alumni. Plus she has a fabulous
and congenial colleague. Although he is a part-time
completely honest and fair. Students know they will
sense of style!
faculty member, his generosity is unmatched.
Renée is an exciting and engaged teacher—she
Bill put heart and soul into his classes and changed
not only loves her position as an educator but is
my life! His dedication, time, and enthusiasm for art
Whether he suggests an old movie or gives advice
also an active contemporary member of the L.A.
history, teaching, and assistance with the thesis writing
about how to present work to professionals, Harry
art and music scene!
process cannot be surpassed.
benefit from his tough love, and faculty members
value his support.
is always ready to help.
Renée is a brilliant teacher who is constantly updat-
Bill understands each student’s different history. He
Harry is an altruist, in the best sense of the word,
ing her information and methods. She keeps herself
meets students outside of class to provide helpful
to his staff, fellow teachers and students.
enthusiastic and invested in her students. Her visiting
guidance and deep, nuanced feedback. He introduces,
artist lecture series is phenomenal. She is approach-
recommends, and advocates for students within a
able and yet challenging.
larger art-world context.
Harry has guided hundreds of students to success in
the entertainment field. He is patient, understanding,
caring, thorough, and intelligent in all his work, and he
Bill challenges his students to reflect on their work, to
reassured me and helped out in every way he could.
understand how each choice fits within a larger con-
He is truly a great educator.
text. He encourages his students to honestly confront
their work and its many possible readings.
19
Otis B
College News
Ben Maltz Gallery Highlights
Art Critic Roberta Smith
Roberta Smith, Visiting Critic in Fine
The Ben Maltz Gallery collaborated with Loyola Marymount’s
Arts, spoke to a standing–room-only
Laband Gallery on Tapping the Third Realm, an exhibition of
crowd about her career as an art critic,
work by 34 artists who explore spirituality through conjuring,
from early freelancing to her current
communication, collaboration, and chance (at left).
position as Senior Art Critic for the
Following this two-venue show, the Gallery presented Binding
New York Times, where she has been
Desire: Unfolding Artists Books, an exhibition of more than 120
since 1986. She spoke of the
artists books from Otis’ Millard Sheets Library’s 2,100 artists
challenges and rewards of art
books collection, one of the largest in Southern California.
criticism, stating her view that the
advent of blogging keeps the
conversation alive.
Collaborating on Sustainability
At the fourth annual PALS (Partnership for
Academic Leadership on Sustainability)
Summit, hosted by Otis and Art Center in
October, representatives from 18 art and
design colleges and universities continued
to develop a vision for the future of sustainability in art and design
education. As part of their collaborative culture, members used the
summit to share the their institutions’ progress around academic and
institutional change, reflecting on the challenges and opportunities
Renovating Barbie's Malibu Dreamhouse
they face as PALS moves beyond their initial five-year commit-
With partner Mattel, students participated in a unique
ment. The keynote address by professor Ezio Manzini from Milan
creative collaboration to celebrate Barbie's dreamhouse
Polytechnic, a leading expert on sustainable design, focused
in Malibu. Their work was on display at Santa Monica
on scenario-building toward solutions encompassing both environ-
Place for two weeks, and included swimsuits, interior
mental and social quality. PALS fellow Otis Assistant Professor
accents, paintings, a guest house, and short videos. As
Michele Jaquis and others from Art Center, Pratt, MICA, RISD, Emily
first-year Liberal Arts and Sciences student Natasha
Carr, and CCA presented their research and academic initiatives.
Carovska says, “Barbie has had every single career
under her pink belt as if to say, ‘Hey, yeah. I'm a girl. I
can do anything…and in heels, too!’”
20
Buzz
Spring 2014
El Capitan Display
Yo Homeboy
Fashion Design students, working with
Disney Consumer Products, designed
original costumes for three characters
With participants in downtown’s successful Homeboy Industries
in the Disney/Pixar Monsters University
program, Otis students created hand painted sneakers, donated by
animated film. Their work, displayed at
Converse. This Creative Action: Integrated Learning project
the El Capitan Theater on Hollywood
focused on identity and the way in which it is expressed. The $100
Blvd. last summer, incorporates
price (contact mtecle@otis.edu) benefits Homeboy Industries.
recycled materials such as household
mops, sponges, and repurposed fabrics.
International Artists Symposium
MFA Graphic Design's summer 2013 Design Week included international visiting artists Pinar + Viola, Amsterdam; Morag Myerscough +
Luke Morgan, London; Jean Francois Porchez, Paris; Eric de Haas,
Eindhoven; Team Thursday, Rotterdam; Alejandra Quinto, Mexico
City, and Raw Color, Eindhoven.
Chair Kali Nikitas invited visitors who conducted seven different workshops that addressed the students’ diverse interests. In Myerscough
and Morgan’s workshop, students designed and built the social
environment for crits, meals, happenings, and parties. Otis MFA
candidates were joined by students from partner institutions Sint
Lucas-Gent, Sint Lucas-Antwerp, Amsterdam’s Sandberg Institute,
CalArts, and UCLA. Design week concluded with “work + play,” a
symposium open to the design community. See photos at http://
otismfagraphicdesign.tumblr.com
21
College News
The Lucky
Ones
Honorary degree recipient Lucy Lippard began
her Commencement remarks by saying “You have no
idea yet how lucky you are to have gone to Otis.”
Other excerpts from the speech by this leading voice in
contemporary art and ethical activism follow:
In our world,
VISION IS
DEFINITELY
NEEDED,
and envisioning is the
artist’s business.
Artists can't change the world alone but
with good allies and hard work they can
collaborate with life itself. You can
provide models for new approaches and
ask questions without knowing the
answers. Otis has served you very well in
this regard with programs in interdisciplinary community engagement and
creative action.
I CAN’T WAIT
to see what you
PRODUCE
President Hoi, Lucy Lippard, and Trustee Bronya Galef
22
Spring 2014
Each of you will be
RESPONSIBLE
in your own way
for the ways society
PERCEIVES
& DISCOVERS
its visual surroundings.
With this responsibility comes the
necessity to think critically as well as
affirmatively; to see brutality as well
as beauty; to celebrate birth and still
decry the fact that so many children
[There are] all the new forms hovering out
in this world grow up in poverty;
there, buried in social energies that haven’t
to celebrate death as the natural end
yet been imagined. In my opinion, the most
of a meaningful life and still deplore
exciting art today enters the fray—it is
the fact that so much of our resources
pandisciplinary and can creep in through
go to prisons, executions, and the
all the cracks. According to the Kabbalah,
military; and to bailing out banks
if you wish to get hold of the invisible, you must
rather than helping people.
penetrate as deeply as possible into the visible.
23
College News
Annual Exhibition
24
Spring 2014
Opposite Page
Top: Architecture/Landscape/
Interiors
Bottom: Communication Arts,
Toy Design
This Page
Top: Product Design
Bottom: Fine Arts, Digital Media
25
Class of 2013
Best of
the Best
Meet the Class of 2013
Academic Excellence Award Winners
and Valedictorian
These awards are bestowed upon students in each major
who have attained the highest level of achievement.
Selections are made by department leaders and faculty;
criteria include a cumulative GPA of 3.5 or higher (for
undergraduates), quality of work, personal character,
and contributions to Otis and the larger community. Christopher Cherrie ,
Communication Arts: Advertising Design
Silvia Juliana
Mantilla Ortiz
MFA Public Practice
Lori Choi
Architecture/Landscape/Interiors
Renee Rasmussen
Communication Arts: Graphic Design
Alec Egan
MFA Fine Arts
David Roy
Fine Arts: Photography
Caroline Fullerton
Product Design
Wendy Silva
Fine Arts: Painting
Lilit GarIbian
Fashion Design
Brandon Waybright
MFA Graphic Design
Miles Gracey
Fine Arts: Sculpture/New Genres
Dustee Womack
Toy Design
Kirby Israelson
Communication Arts: Illustration
Rachel Kaminer
MFA Writing
Carolyn Moskowitz
Digital Media
26
Spring 2014
CAROLYN MOSKOWITZ
DIGITAL MEDIA
The Class Valedictorian is
selected from the pool of
undergraduate Academic
Excellence Award recipients
by a special committee
consisting of the Provost,
Vice Provost, and several
faculty members who hold
appointments in two or
more departments.
Carolyn Moskowitz, Valedictorian, was chosen for her
consistently stellar academic performance and the
exceptional quality of her work, which has focused on
concept art in both digital and traditional formats.
In the words of Digital Media Chair Harry Mott,
Carolyn is a tremendously gifted and hardworking
artist and designer who is generous with her time and
always ready to help others. An amazing talent, she
creates the most surprising and gorgeous solutions to
story and design challenges. She is a force to be reckoned with, and she would be honestly surprised to hear
that said of her; she is so modest. She truly embodies
the aspirations of the College.
Hometown?
Agoura Hills, California
Your thesis project?
I reinterpreted Sergei Prokofiev’s
“Peter and the Wolf,” and
designed characters, creatures,
and environments.
Interesting things you did outside
of school?
I was quite busy during college so I
did not participate in extracurricular
activities. However, I celebrated my
graduation with a family trip to
Hawaii, which I enjoyed very much!
Most influential class?
I really enjoyed the “Drawing the
Fantastic.” I have a passion for
drawing characters and creatures.
Most influential faculty member?
I’ve had many great teachers but Bill
Eckert and Gary Geraths were most
supportive to my growth as an artist.
Favorite place in L.A.?
Disneyland, California! I am most
fortunate to have an annual pass
and take frequent trips to “The
Happiest Place on Earth!” For me, it
is a place of inspiration and beauty.
Impact on your work/life?
I interned under faculty member
Cecil Kim at Section Studios in 2012,
where I worked on art for video
games and mobile games.
What’s next?
I am currently a freelance artist.
WHY OTIS?
I wanted to pursue a career in the arts,
with a focus in concept art and illustration. Otis has a wonderful reputation, and I was
happy to be accepted.
Something unusual/idiosyncratic?
I am an avid collector of pressed
pennies. You can find them almost
anywhere, and I really enjoy building
my collection.
Information/tips to share with
future students?
Work hard, listen to your teachers,
and remain confident in yourself—
and if all else fails, go to the
cafeteria and get yourself a delicious
hot chocolate for 50 cents. When
you’ve been up for 48 hours straight,
it will pick you right up!
27
Class of 2013
LORI CHOI
ARCHITECTURE/LANDSCAPE/INTERIORS
IMPACT ON YOUR
WORK/LIFE?
Otis is where I organized
my dreams. Now that I’ve
graduated, my dreams
are slowly becoming plans. Hometown?
This question seems irrelevant in
today’s world. My family currently
lives in Houston, Texas.
Why Otis?
Otis’ attraction was its location—
the city of Los Angeles.
In Studio VI, we focused on buildings
in relation to the surrounding
landscape. We traveled to Seattle to
get a good sense of the context,
researched and observed the
coastal conditions, and predicted
the rise of sea level in increments
of ten years. My final project,
“INFILTRATION—Pacific Rim Disaster
Research and Education Center,”
focused on the exchange of
overflowing seawater, urban runoff,
and visitors in a single location.
Some of the design challenges were
to provide a safe environment for
the community during a flood, to
incorporate constructed wetlands,
28
and to consider marine life and
filtration of urban runoff.
of school?
A/L/I offers charrettes (practice
competitions) every semester in
which I participated. I moved to
city-wide charrettes where my usual
partner, Rodrigo Zayas (A/L/I, '13),
and I competed against architecture
students from other Southern
California schools. We were
successful in many ways—prizes,
connections, and exposure to the
professional working environment.
Chair Linda Pollari informed us of all
L.A. student competitions, which
were the highlights of my education. Most influential class?
Studio courses are top priority and
most thought-provoking.
I'm grateful for all of my studio
instructors, who were very helpful
and inspiring in different ways: Linda
Pollari, Chava Danielson, Richard
Lundquist, Matthew Gillis, Matias
Creimer, Greg Kochanowski, and
Jean-Michel Crettaz. Favorite place in L.A.?
My apartment. It's where I sleep.
And sleep is so important.
What’s next? I'm very busy applying to grad
schools to start a Master of
Architecture program in fall 2014.
Time management was always my
forte until I started architecture
school. Being punctual is very
important to me.
Information/tips for future Otis
students?
Get ready to eat, sleep, breathe, and
basically live architecture. It's fun!
Spring 2014
KIRBY ISRAELSON
COMMUNICATION ARTS: ILLUSTRATION
WHAT’S NEXT? I’m sending out my manuscript and trying to
sell my character design, so I’ve become somewhat of an entrepreneur, oddly enough. I’ve
started a face painting business (with classmates!), a window painting business, and a
design consulting business. I’m doing a lot of
things, but it’s fun. Exciting.
Hometown?
I was raised in Beaumont, California,
but I've been in L.A. for the past
fifteen years.
Why Otis?
I believe one of my high school art
teachers recommended it to me.
When I took a summer course here
and visited the campus, I knew it
was the right choice.
As an overachiever, I decided to
write and illustrate a book, “Lucky
Charms: Book One,” the first
installment in my interactive novel
series in which the reader can live
the life of a serial killer. Haven't you
always been curious?
Interesting things that you did
outside of school?
I typically didn't do much outside of
school aside from sleep (if I ever had
the free time). But I did become a
window painter through connections I made in one of my classes.
All of my classes left an impact. My
Creative Action “Festivals” class with
Andy Davis was the most influential
because it gave me networking
opportunities that are still helping
me. I don't think I would be as
confident at this moment without it.
I loved all of my teachers! I know it
sounds like a cliché, but I really did. If
I had to choose one, JT Steiny (’86)
is the one I could really hold an
argument with.
Any bookstore. I adore books.
I'm addicted to them.
Everything. Otis forced me to get
everything I've wanted to do on
paper (so to speak), and introduced
me to all of the right people so
that I could do it. It made me push
myself harder than I've ever had to,
and I am extremely pleased
with the results. I turned out pretty
awesome, if I say so myself.
To tell you the truth, it's hard to find
something that isn't unusual about
me. . . . Ask anyone who's met me.
future students?
Put your all into it. Your life is going
to be hard, you're going to be
frustrated, and you will never sleep,
but it's worth it. You will only get out
of Otis what you put into it, so don't
regret that you didn't do your best
while you were here.
29
Class of 2013
BRANDON WAYBRIGHT
MFA GRAPHIC DESIGN
allow me to blend my ideas, writing,
and image-making, I came across
Otis' website and video interviews
with some of the professors. I
visited a seminar class and came
away excited by the students
and their conceptual approaches.
Meeting Kali Nikitas and other
professors sealed the deal. I was
certain that the students and faculty
would push, prod, criticize, and
support me.
Hometown?
Chicago
Why Otis?
I was hunting for a school in L.A.,
as the city fascinated me. I was
working as a web designer, sensing
that I wanted to do more meaningful
work but unsure of what form that
work might take. In searching for a
strong MFA program that would
“Chasing After Kandinsky” revolved
around synesthesia. Conceptually I
wanted to uncover ways to
condition my mind to experience life
through another person's sensory
perceptions. This project also
explored how design might be
expanded to use conditioning while
incorporating more sensory
signals—particularly those of taste,
sound, and scent. The final work
was a combination of a website, a
publication, and an installation
called ”Blue Communion,” where
viewers could engage in a ritual
focused on Kandinsky’s experience
of the color blue.
of school?
Inspired by Situationist International,
I spent one semester meandering
the streets of L.A. This led to all
kinds of surprising discoveries. At
one point I photographed every
step I took on the Sunset Strip.
Ultimately these meanderings and
explorations were combined into
a publication called “Los Angeles
Mythology,” which was a fairly
strong turning point in my work. During my last summer [at Otis], I
secretly began learning Parkour,
even though I am not particularly fit,
flexible, or capable of gymnastics. It
was the best, most foolish thing I've
done, and involved me falling from
stairwells, tripping over my own feet,
and discovering the PKLA community, which is just about the most
eccentric group of people I know.
In my first spring semester, the
faculty really held my feet to
the fire, and forced me to move
past cliché and toward purposeful,
exploratory work.
Tucker Neel is the man . . . in the
good way. He spoke my language,
challenged me, called me on
my BS, celebrated my better work.
He's amazing.
Favorite place(s) in L.A.?
Any and all public transit, Tommy
Lama's Boot Emporium, the
Museum of Jurassic Technology,
and Skid Row
Revolutionary. I am not at all the
maker I was when I came into the
program, and it is all for the better.
I love what I am doing, I have a
group of peers that I think the world
of, and faculty who continue to
challenge me, even though I am no
longer in school. It was a turn in the
road for me, and a great one.
What’s next? I am teaching graphic design at a
tiny liberal arts college [Trinity
International University], and
launching a design studio called
CAPE design. I plan to use this
studio to continue my explorations,
invite collaborators, and see how I
can do a small part to make the
world a bit more wonderful. Something unusual/idiosyncratic?
I live for bad Sci-Fi, think the world
of Katy Perry's delightfully terrible
pop music, and given the choice
between a dusty motel and a
high class hotel, I’d go for the motel
every time.
Information/tips for
future students?
Embrace obstacles and challenges.
If you don’t have any in your path,
then make a few. Become a person
who habitually throws a wrench
into your own system, because
you’ll learn a lot about yourself
and your limits when you attempt
to overcome challenges.
30
Spring 2014
CHRIS CHERRIE
COMMUNICATION ARTS: ADVERTISING DESIGN
SOMETHING UNUSUAL/IDIOSYNCRATIC?
Using graphic design as an educational tool allows
me to focus on the social equality and responsibility
of our future global community.
Hometown?
Toronto, Ontario, Canada
Why Otis?
I was attracted by the idea that
I didn’t have to specify a major
until junior year within the
Communication Arts department.
I felt that I could be in charge of
my own education.
Developed as a solution to the
problems articulated in my capstone
thesis paper, “Fraternize” is a
community of guys who like guys.
They connect, learn, and explore
manhood. This project encompasses
a geosocial smartphone application
and website to provide homosexual
healthcare and lifestyle information.
I am developing this project in
partnership with VeryNice Design;
we plan to have the first live site
up soon.
gofraternize.tumblr.com
of school?
I had the joy of exploring L.A., and
taking advantage of diverse cultural
experiences. I can identify three
events that were amazing—
Coachella Music and Arts Festival,
camping and hiking at Point Mugu
State Park, and the Creative Arts
Emmys 2012.
Capstone, as I continue to put my
research to good use.
Erin Hauber was right; the lessons
didn’t hit me until a year later. I
hated learning them but through her
lessons, I’ve become a confident
producer and designer of content.
Ana Llorente clarified what it means
to be a great designer;
it’s putting things in simple terms,
something others can absorb.
That’s the difficult part.
Home
For four years, Otis was my life. I
think it would be impossible for
anyone to attend Otis and do
anything else because artists,
designers, and writers are studying
their passion.
What’s next?
Currently I am the Entrepreneur in
Residence at VeryNice Design,
where I am developing a socially
innovative sexual health and
lifestyle program for young guys
who like guys.
I work as a graphic designer and
curatorial assistant at the Museum
of Public Fiction. I plan to continue
my multidisciplinary design practice
in Toronto and Los Angeles.
future students?
Be open; you don’t know anything,
so always ask questions.
31
Class of 2013
MILES GRACEY
FINE ARTS: SCULPTURE/NEW GENRES
MOST INFLUENTIAL FACULTY MEMBER?
You cannot run around Otis with scissors in your
hands without accidentally bumping into a teacher
that will change your life. They are abundant.
Hometown?
Cambria, California
Why Otis?
It’s really serendipitous. I originally
attended Otis for its Graphic Design
program.I had a few really influential
teachers who led me to seek out
something a bit more challenging;
the rest is history.
I built a wall.
outside of school?
Outside of school?
Any class that made me question
everything I had already learned up
to that point. Otis was a pattern of
education followed by de-education, the exact antithesis of what
came before. It’s an important value
to have throughout life, learning to
listen while simultaneously ignoring
everything.
I seek out the places in which L.A.
shows its seams: places where
you get a sense that it is all just
make-up on a desert: the back
of the Hollywood sign, infamous
sites where celebrities have
died, the river. These are truly
beautiful places.
32
I have realized that I am not me but
rather a consequence of my last
meal (which happened to be a Big
Mac and fries). I go through life
consuming the world around me.
At some point I must have ingested
someone with dark brown hair,
possibly tall, but not too. So exactly
who was I before I ate myself?
Was I horny? And moreover, how
piquant would he or she have
been fricasseed?
What’s next?
Anything and everything. I think that
is the real beauty of an art education, because you are never acutely
trained to do one thing. There will
never be precisely one thing to do.
It is never a good career move to
go to art school, but it can allow you
to never really have a career. I hope
never to work a single day as an
artist. I think that is where the true
cultural significance of the artist
emanates from.
I eat people. I am a cannibal.
Information/tips for future
students?
Don’t worry, about a thing, ’cause
every little thing, is going to be
all right...
Spring 2014
SILVIA JULIANA MANTILLA ORTIZ
MFA PUBLIC PRACTICE
Hometown?
Bogotá, Colombia, and Edison, N.J.
Why Otis?
I was looking for a program that
would support my interests in both
art and activism, and Otis was the
right choice.
My thesis project, “Talk Is Cheap:
Unincorporated Language
Laboratories,” focuses on issues
of migration, assimilation, and
miscommunication. While it has
many components, one of its
"laboratories" is a customized
Bike-B-Q that I use to cook arepas
(Colombian corn patties), which
I exchange for stories of miscommunication. For two months I took
the bike out in the West Adams
neighborhood and exchanged
stories with my neighbors. Then
I took it on a weeklong tour from
L.A. to Portland, Oregon. Interesting things that you did
outside of school?
During my first year I did a lot of
Capoeira. I love the way that it
reconnects me with my body. Most influential class?
I took an amazing performance
class with Allison O'Daniel that
helped me develop what would be
the core of my thesis. Plus it was so
much fun!
INFORMATION/TIPS FOR FUTURE STUDENTS?
Take care of each other. Being an artist is a hard
road. The only way to succeed with sanity and joy is to
support one other and avoid jealousy. Most influential faculty member?
Bill Kelley, Jr. for theory and
conceptual frameworks, and Sandra
de la Loza for methodology.
Slanguage Studios. There are always
people making amazing art there,
and after working and hanging out,
we'll go out and eat, hang out some
more, and laugh way too loud. Impact on your work/life?
Otis introduced me to new contexts,
methodologies, and frameworks. I
met fantastic people and was
challenged to develop my ideas and
my politics.
What’s next? I am living in Queens, New York,
doing a year-long fellowship with
the Queens Museum of Art Public
Events. I am also transcribing all
the oral histories I collected for
my thesis.
I sneeze very many small sneezes
in a row. My record is 18. Sometimes
people think I’m beat-boxing!
33
Class of 2013
WENDY SILVA
FINE ARTS: PAINTING
Hometown?
Los Angeles
Why Otis?
It always seemed to be the school I
was headed towards. I was accepted
into the Ryman Arts Program in high
school. My art teacher encouraged
me to go to art school, and said that
Otis was one of the top local
schools. I also won a Gold and Silver
Key from the Scholastic Art and
We completed both a thesis project
and a paper. Writing my thesis paper
helped me understand my work
better. I examined culture, tradition,
and the idea of becoming a figure
for future generations to look up to,
as my grandmother was for me.
outside of school?
I worked on side projects, creating
small handmade objects. Most influential class?
Christine Fredrichs’ “Extended
Painting Techniques” sparked my
infatuation with different mediums
and techniques.
Chris Wilder was a great mentor
who made me question my ideas
and use different perspectives, and
try new things. Favorite place in L.A.?
Culver City born and raised, but
currently living in Torrance.
At times it was overwhelming. The
workload was fair, but I tend to be
very detail-oriented and meticulous.
It was inspiring to share a studio
space with two other artists. I was
usually the first to arrive and the last
to leave.
INFORMATION/TIPS TO SHARE
WITH FUTURE STUDENTS?
Do it all! There is so much to learn and
explore. Take advantage of every course
you take. I regret not taking more classes
but I ended up taking 18 units almost every
semester. It is ok to be different, because
that is what sets you apart as an artist.
34
Writing Awards, and the Award
Ceremony was held at Otis. After
high school, I helped my parents out
with rent by working and going to
school part-time at Santa Monica
College, where I took my first
painting course with (Otis faculty
member) Nathan Ota, who is an
amazing teacher and mentor. I also
had the privilege of meeting Bob
Dob, and found out that he studied
with Nathan at Otis.
What’s next?
Getting a studio space, where I
have the freedom to experiment.
I’m currently an artist assistant
and I’m really enjoying the
creative atmosphere.
I can work on paintings for hours,
and feel like I spent ten minutes.
And I will never walk away from a
work that I feel is unfinished.
Spring 2014
RENEE RASMUSSEN
COMMUNICATION ARTS: GRAPHIC DESIGN
INTERESTING THINGS YOU DID OUTSIDE
OF SCHOOL?
Road trips and surfing.
Hometown?
Independence, Iowa
Why Otis?
Right time at the right place. I have
wanted to attend art school since I
was young but was always told it
wasn’t an option. When I moved out
to L.A. and had some real life/work
experience, I knew that art school
(Otis) was the best option for my
career path and for me as an artist.
I became very interested in the old
theaters on Broadway [in downtown
L.A.]. My thesis evolved into more of
a fine art installation piece, with
sound and image through analog
and digital technologies.
Downtown
The opportunities are endless now
that I have finished my degree. I’m
much more confident that I am
headed in the right direction and
doing what I love.
What’s next? My search for the next best thing!
students?
There will be many, many sleepless
nights but hang in there! Where
there’s a will, there’s a way.
35
Class of 2013
RACHEL KAMINER
MFA WRITING
Hometown?
I was born in San Luis Obispo
[California] and grew up in the
mountains around Asheville, N.C.
Why Otis?
I decided to pursue an MFA in L.A.,
and Paul Vangelisti conveyed to me
that Graduate Writing is about
reading and writing and making and
translating, in what we might call the
“Un-American Tradition.” I knew I
wanted to be in the company of
writers and artists who conducted
themselves as colleagues, who
brought diverse life experience to
their practices. I remember reading
the book list Jen Hofer posted
online for one of her courses with
such excitement. That’s when I
knew I would apply. And the web
page had such lovely design. I
guessed that meant Otis was a
good fit for students who pay
attention both to form and content.
A book-length work of poetry—this
means the poetry is talking to itself
across the breadth of the whole
work. The book is about listening.
Or, put another way, it’s the joy and
responsibility that we have in
language; that we make meaning;
that it’s musical. Then again, it
recently became apparent to me
that I may complete an entire book
of poetry with these philosophical
ideas as an influence—and then it
will turn out to be about heartbreak.
The joke is on me for being the last
one to get it.
outside of school?
I’ve done all sorts of interesting
things through WriteGirl, a nonprofit
based in my neighborhood. My
favorite has been facilitating writing
workshops for incarcerated young
women.
36
Impossible to say. I worked with
and for Sarah Shun-lien Bynum
and Dr. Carol Branch, and they are
supremely influential role models,
personally and professionally. I have
to point out how influential my
poet-colleagues have been, along
with Jackie Young, the mastermind
of two graduate departments
and my supervisor, in shaping my
time here.
Walking in my neighborhood is
pretty great: the 6th Street Bridge,
the channelized L.A. River, La Reyna
taco stand at 7th and Mateo, and
my neighbors at Factory Place, who
have become hearth and home.
What’s next? Writing, teaching, editing, choosing
additional rent-paying professions.
Publishing. Going to the desert
when the Perseids fall. SOMETHING UNUSUAL/IDIOSYNCRATIC?
I lived in a wilderness setting for about two years
facilitating experiential education and therapy.
I can carve a bow-drill set and bust a coal.
students?
The poetry alums have an ongoing
conversation in poetry and in life,
and that’s the best reason to attend.
Choose your community of
colleagues. And explore every
neighborhood you can. Spring 2014
DUSTEE WOMACK
TOY DESIGN
Hometown?
Visalia, California
Why Otis?
I had a degree in business from
SDSU [San Diego State University]
and worked various jobs in marketing and sales. It was great experience but I was not creatively
satisfied. While my husband was in
Iraq with the Army, I took art classes
at night at OCC [Orange Coast
College] and focused on painting
and ceramics. Much of my work
looked “toylike,” and my painting
teacher noticed this. He mentioned
Otis’ program, and I immediately got
excited! The moment I saw the toy
design online that night, I was
determined to go. My husband
reenlisted in the National Guard in
order to transfer his GI Bill to me so
we could afford it.
of school?
Making earrings; camping and
hiking; bicycling; scavenging around
swap meets to find cheap, weird,
little treasures; and having all these
adventures with my husband and
my little puggle, Odashi.
Preschool with Joyce Mesch,
sponsored by Spin Master. Our class
had a unique bond together and
with our instructor. We worked
as if we were at a toy company. We shared ideas, provided feedback,
collaborated and improved our
concepts each week, and shared
them with the Spin Master team.
It was challenging, intimidating,
and fun all wrapped into one. This class was the foundation of
my confidence in my design ability.
Mike Andrews’ model-making
knowledge opened my eyes to the
idea that if you can think of it, there
is more than likely a way to make it. I have always made little sculptures
and dioramas but many times hit a
wall when I didn’t know how to make
them work. He also showed us the
value of making a quick model to
test out an idea. Jeannie Hardie, my
games theory instructor, taught my
most challenging class, and I worked
myself to the bone. She told it like
it is, was honest, and let us know
where to improve. Learning game
theory helped bring out the logical
thinking I tucked away in my brain,
and has helped me in all aspects
of design. If you can explain how
to play a good game well, you can
explain almost anything.
The Barcade on Western has old
arcade games for 25 cents, affordable drinks, and good music. . . .
It’s a good “end of your day” treat!
I had been working for the last ten
years and completed a business
degree. At Otis, I learned how to
make the work enjoyable.
What’s next?
I landed an amazing job as a
designer for Disney Planes at
Mattel. It is much more rewarding,
challenging, and fun than anything
I have ever done.
I eat popcorn almost every night,
make earrings out of almost anything,
I am drawn (like a bug) to anything
that glows, and I have a special voice
that my dog understands.
students?
Extend yourself past what’s offered
in your major. Seek out the class
that can help you improve. I knew I
needed help with Photoshop and
drawing, so I took special classes.
Don’t be afraid to ask for help, and
pinpoint where you need to improve.
37
Class of 2013
DAVID ROY
FINE ARTS: PHOTOGRAPHY
Hometown?
Los Angeles
Why Otis?
Of all the schools I visited, Otis was
the most welcoming. I really liked
the campus, and I was offered a very
good financial aid package.
My thesis project examined transdisciplinary art and the ongoing
relationship between art,
technology, and industry. I also
participated in a collaborative
project with my classmates.
It’s a tie between Sohrab Mohebbi’s
Critic in Residence course on art
and labor, and Dani Tull’s class on
unconventional aesthetics.
INTERESTING THINGS YOU DID OUTSIDE OF SCHOOL?
I mostly did a lot of bike riding. I did some epic rides on a special bike that I
built for exploring the local fire roads and mountain trails. I did some longer
rides including many centuries, and one from L.A. to San Diego. My favorite
thing was organizing parties and art shows with Centaur, my art collective.
Wherever I am on my bike. I am
quite fond of a decommissioned
Nike missile base in the Santa
Monica Mountains.
I learned to think deeply, critically,
and creatively in all aspects of my
life. Studying here taught me to
push myself to do more than I
thought was possible.
What’s next?
I am building my portfolio to apply to
graduate school next year. My new
body of work uses my pinhole
cameras and some experimental
printing techniques that I developed
at Otis. I organize shows, and I
recently started restoring a
ceramics studio in Little Tokyo.
I have a ham radio license, which
gives me an excuse to use the NATO
phonetic alphabet on a regular
basis. My call sign is Kilo-Juliet-SixZulu-Foxtrot-Victor!
students?
Work hard because you’ll only get
out what you put in. It’s a great
privilege to go to art school; don’t
take it for granted.
See David’s experiments with his pinhole cameras at
www.youtube.com/user/OtisCollege
38
Spring 2014
CAROLINE FULLERTON
PRODUCT DESIGN
IMPACT ON YOUR WORK/LIFE?
My four years have undoubtedly given me all the skills and tools I need
to realize my dream as a product designer; but even more so, Otis has
shaped who I am (as friend, sister, daughter) in unimaginable ways.
Hometown? I was born in Hørsholm, Denmark,
and moved to Beaverton, Oregon,
with my family. I consider both
my hometowns.
Why Otis?
I was drawn to Otis’ energy, location,
and people.
I believe that when people feel
comfortable, they feel selfconfident. With an empathetic,
user-centric approach, I provide
comfort to the consumer. Comfort
can be functional, physical or
psychological. Understanding
and identifying the specific areas
of users’ discomfort determines
if the design is a tangible or
intangible solution.
of school?
I regularly danced around my
apartment with my roommates to
take small breaks while doing
homework.
The beach and viewpoints from
hikes like Griffith Observatory.
When I was a little girl, I would sit on
the floor and cut out paper hearts
using just my toes.
future students?
Enjoy it while it lasts! Four years
sounds like a long time, but it flies
by. Be an amazing student but
explore and try to do, see, and eat
as many new, unusual, and exciting
things as possible.
What’s next?
I just finished a product design
internship with a company called
LOOPTWORKS, based in Portland,
and am now working as a material
designer at Nike.
39
Class of 2013
ALEC EGAN
MFA FINE ARTS
Hometown?
Los Angeles
Why Otis?
Otis was always on my mind
because Phillip Guston, my favorite
painter, attended Otis.
I had been out on the road and
alone for a long time, all over the
country, thinking that something
was going to happen with my
painting career. After a few pitfalls,
I decided I didn’t know as much as I
thought I did, and decided to go to
grad school. I saw being back in L.A.
and going to Otis as having a
grounding effect on me, allowing me
to produce work in a place with
some modicum of familiarity and,
therefore, safety (which I needed). Your thesis project?
It was more or less about “the
personal”; my inability to create a
fantasy to deal with my fear of the
“unknown.” In many ways, it was a
kind of existential quest about a
fantasy that falls apart.
of school?
I tried a food challenge in Burlington,
Vermont three times one year,
and ate five pounds of barbecue in
an hour. I failed all three times. WHAT’S NEXT? I had a show in Amsterdam, which was
a really amazing experience, and have
several shows coming up in L.A.
40
Critique was both the most
influential and traumatizing.
My bedroom
Otis changed my work and my life a
lot. It was the most intense
experience I’ve ever had. In the best
way, it showed me how to go
forward with my work rather than
being simply happy to do it.
I don’t like transitions but I am
addicted to them.
future students?
Keep your head down. Just because
you’re an inmate doesn’t mean you
have to act like one. Don’t trust the
guards, and make as much work in
your cell as possible. Good luck!
Spring 2014
LILIT GARIBIAN
FASHION DESIGN
Hometown?
Glendale, California
Your thesis project? In my senior year I worked with two
mentors—Cynthia Vincent (’86) and
Betsy Heimann of Western Costume.
The process includes developing
material boards, illustrations, sketch
selection, pattern drafting, draping
and sewing, and several fittings. We
create all the garments from scratch.
WHY OTIS?
Seeing the display of student work convinced
me. Also, I was really excited about working
on mentor projects!
of school?
Last summer I interned in New York.
I knew I’d love the city, and it was
everything I thought it would be.
Design/portfolio, especially the
CFDA (Council of Fashion Designers
of America) project. We had to
complete the project in a very
intense and short few weeks, and
for the first time we were working
on our own concepts and ideas.
I learned a lot about myself as a
designer, as I was allowed almost
total creative freedom.
I had the pleasure of working with
many great instructors, but I have
to say that Jill Higashi had a huge
impact on me. Her work ethic and
the discipline she instills are a big
part of the success of Otis fashion
design! She continually inspired me,
believed in me, and molded me into
a much better designer!
I’ve been going to the Getty since I
was a kid. Other than the beautiful
art, I love the architecture and the
tram. My favorite part is the garden.
Also, the view of L.A. is wonderful! Impact on your work/life?
My three years were a life-changing
experience. Many difficult times
seemed impossible to overcome,
but I always came through; every
time I accomplished something,
I proved to myself that I could do
it. After surviving Otis, there is no
task that I cannot handle. Bring it
on! Also, I made some of the best
friends I’ve ever had. We were like
crazy family members who loved and
sometimes hated each other. We
couldn’t have done it without each
other’s support.
What’s next? I am living in Seattle and working as
an associate designer for women’s
knits at Eddie Bauer. I was a bit
hesitant at first about moving to
Seattle, but I really love it here. It’s
perfect for me! Something unusual/idiosyncratic?
I usually have extreme feelings about
things/people.
students?
Go to Otis only if you are very serious
about becoming a professional
artist/designer. Take it as the
greatest challenge of your life, and
set your mind to believing that you
will get through it no matter what
and see it to the end. I focused 98
percent of my life on school. It was
extremely challenging, but in the end
it was so worth it. If you are really
passionate, then it shouldn’t feel too
much like work.
41
Alumni Around the World
BANGLAD
MUMBAI
A Startup in
Mumbai, India
Murad Currawalla | (’07 Digital Media)
After that it’s been one project
introduce our services, I mention the
intern at a small boutique studio in
my own, and decided it would be ideal to
after another. CG Lab Pvt Ltd.
Otis alumni who work in their studio,
Mumbai. While studying digital media,
do this while I was still young and living
(www.thecglab.com) has completed
establishing an immediate connection
I interned in the summers and learned a
at home, not having to pay rent. I was
more than 350 projects in four years
and comfort level.
lot about the entertainment industry in
lucky to meet an investor who wanted to
for clients from the U.S. Canada, U.K.,
the U.S. After graduating, I did freelance
start a partnership. We got office space,
France, Peru, and India. We have never
motion graphic work in Los Angeles for
and everything looked like it was going
advertised our service but depended
a year.
to go through. He set up the infrastruc-
on word of mouth. Our work focuses on
ture while I contacted people I knew in
postproduction and 3-D modeling.
I started working at the age of 18 as an
Moving back to India was a difficult
transition. The working conditions are
quite different. When a film is close to
I always wanted to venture out on
the industry, both in the U.S. and India.
Although this partnership didn’t work
Looking back, I realize that I built
very strong foundation skills while I was
delivery, I never go to work and return
out, what really paid off was talking to
at Otis, which were invaluable when I
home on the same day. Facilities have
my contacts and spreading the word. I
joined the profession. For me, another
showers and rooms for sleeping, and
got my first break through fellow alumnus
big advantage of Otis is the contacts I
everyone works and lives in the office
Ben Go (‘00) of Brand New School.
made. When I approach new clients to
during these crunch times.
42
Spring 2014
Bangladeshi Women
Making it Count
Peter Zokosky | (’81 Fine Arts)
ADESH
O. What were the challenges?
disadvantages, and they intend to return and improve
Z. Since the students come from so many different
conditions at home. Their sense of social responsibility
countries, there had to be a common language. English
was impressive. Their artistic growth was significant,
proficiency is incredibly advantageous, so all classes
and they saw the value in creative thinking for artists
are taught in English but the various accents were a real
and in other spheres of life.
challenge at first. I learned that there are not any art
supply stores in Chittagong, so I contacted some
O. Has Bangladesh influenced your painting?
American manufactures, California retailers, individu-
Z. I’m still processing it; that part takes time for me.
als, and colleges for donations. They very generously
One project that we’re involved in is a documentary
gave lots of supplies, which we brought with us. In
film about the experience. So many people were very
Bangladesh, the per capita income is $923 a year, so
interested in what we were doing, and many donated
there’s a lot of poverty. The infrastructure isn’t what
money, books, and supplies. It’s a fascinating part of
Otis. You introduced the first art class to a new
westerners are used to. There are daily blackouts and
the world, and there’s lots of interest in the condition
university in Bangladesh. How did this come about?
frequent hartals, which are widespread general strikes
of women in the Islamic world. In our film we want to
Zokosky. My wife and I learned about the Asian
used as a political tool. The weather is a challenge too;
examine the experiences of of U.S. and Bangladeshi
University for Women from a friend who teaches there.
we were there for the monsoon season and it was quite
students. In hours of interviews and documentation
She raved about the university, and mentioned the
hot and humid. Bangladesh is about 95 percent Muslim
of daily life, we collected remarkable content.
desire to introduce art into the curriculum. It’s privately
and the university population is largely Islamic.
O. Will you be editing the film yourself?
funded, independent, and provides a free or subsidized
liberal arts education to deserving women from the
O. Was that an issue?
Z. I’m applying for grants so that we can hire a talented
region. It’s located in the port city of Chittagong,
Z. Not really, the students dress fairly conservatively by
editor. We’re looking for someone who is interested in
Bangladesh. The students come from 12 countries
Western standards and they were really eager to learn
this sort of issue.
including Afghanistan, Pakistan, Bangladesh, Nepal,
to draw. I was worried, being a male teacher, that I
Sri Lanka, Cambodia, Vietnam . . . it’s a broad cross
could unintentionally violate some social norms.
O. Did you get involved in other projects there?
section of the South Asian developing world. The more
The students quickly put me at ease about that; they
Z. I met local artists and lectured at an art gallery in
we looked into it, the more convinced we were that we
were as adventurous and open-minded as students
Chittagong about the art scene in America and my own
wanted to go there and teach. The university opened in
here. For life drawing, I had the models wear modest
work. I mounted a show of student drawings. Karole
2008 and they had not yet offered art classes. I teach
bathing suits.
adapted and produced the Greek classic “Medea,” and
I got involved in theater sets and designed the poster.
drawing and painting, and my wife, Karole Foreman, is
an actress and an acting teacher. We put together a
O. What are the students like?
I also illustrated a book, which was just translated into
proposal, and the university invited us to come teach
Z. It’s an all-female university, but there is profound
Bengali, about how to raise healthy babies. I’m glad I
summer courses. Karole taught introduction to acting,
geographic, social, and economic diversity. The
have a broad art education and technical skills, because
and I did a Foundation drawing class.
students are all very smart, dedicated, and curious.
you never know what you might be called upon to do.
Their attitude toward education is inspiring. They
O. What were your impressions of Bangladesh?
recognize the life-changing value of an education and
Z. It’s an amazing country with remarkable people,
they want to make it count. I interviewed dozens, and
huge challenges, lots of poverty, and an enormous
none mentioned money as a goal. Some of them come
population. It’s visually stunning and a little surreal.
from small rural villages where women face great
43
Class Notes
ALUMNAE
ALUMNUS
ALUMNI
ALUMNA
Michael Lin ‘90 Fine Arts Sharawadgi installation, 2013 California Pacific Triennial, Orange County Museum of Art
This special annual issue of OMAG
includes highlights of alumni achievements over the past year. To see
a more complete listing and share
your new accomplishments, visit
the Alumni News blog. Also, keep
in touch with one another and Otis
through alumni social media. Go to
otis.edu/alumni for links or contact
us at alumniupdate@otis.edu.
SOLOISTS
Gary Lloyd
’70 MFA Fine Arts
They: An Answer Driving the Problem
Revisited
Cal St Channel Islands
Ron Ownbey
’65 MFA Fine Arts
From Mind thru Hand: A 60 Year
Laura Daroca
’03 MFA Fine Arts
Director of Alumni Relations
Retrospective
Mt. San Antonio College Art Gallery
Kim Gordon
’77 Fine Arts
Design Office with Kim Gordon—Since
1980
White Columns, N.Y.
44
Mari Andrews
Liz Craft
’82 MFA Fine Arts
’94 Fine Arts
Over, Under, and Inside Out
The Temple of Folly
San Jose Institute of Contemporary Art
West Hollywood Park
Darren Waterston
Marco Rios
’88 Communication Arts
’97 Fine Arts
Ravens and Ruins
Anatomy of an Absent Artist
Haines Gallery, San Francisco
Santa Monica Museum of Art
Michael Lin
Juan Capistran
’90 Fine Arts
’99 Fine Arts
Place Libre
What We Want, What We Believe:
Tang Contemporary Art Center, Beijing
Towards A Higher Fidelity
Visual Arts Center, Univ of Texas, Austin
Spring 2014
Tim Biskup
‘88 Fine Arts
A Subtle Advertisement for Mind-Numbing Pain
Martha Otero, L.A.
Mario Ybarra Jr.
Rashell George
’99 Fine Arts
’05 Fine Arts
Books of Drawings, Beyond Our Dreams,
Downpour
Blame Our Dads, Brains on Drugs, Better
Lora Schlesinger Gallery, Santa Monica
off Dead
The Fabric Workshop and Museum,
Michael Brunswick
Philadelphia
’07 MFA Fine Arts
79th Organ
Molly Corey
Gusford Gallery, L.A.
‘01 MFA Fine Arts
A Little Joy of a Bungalow
Sojung Kwon
MAK Center for Art and Architecture,
’07 MFA Fine Arts
West Hollywood
Ramen Blues
Commonwealth and Council, L.A.
Wendy Given
’02 MFA Fine Arts
Flora Kao
Claw, Shine, Gloam and Vesper
’08 Fine Arts
Whitespace Gallery, Atlanta
Flora Kao: Homestead
Pasadena Museum of California Art
Tofer Chin
’02 Fine Arts
Melise Mestayer
Ar
’10 MFA Fine Arts
Lu Magnus, N.Y.
Reef Cycle
GROUP EXHIBITIONS
IN THE MEDIA
Bruce Yonemoto (’79 MFA)
Tom Van Sant
Home Away
’57 MFA Fine Arts
Armory Center for the Arts, Pasadena
Honored at the 50th anniversary of the
Inglewood Public Library for his sculpted
Mark Dean Veca (’85 Fine Arts)
concrete mural, The Written Word
2013 California-Pacific Triennial
Orange County Museum of Art,
John Baldessari
Newport Beach
’58 Fine Arts
More Than You Wanted to Know About
Gajin Fujita (’97 Fine Arts) and
John Baldessari: Volume 1 and 2
Edith Beaucage (’10 MFA Fine Arts)
Edited by Fine Arts Chair Meg Cranston
L.A. Heat: Taste Changing Condiments
and Hans-Ulrich Obrist
Chinese American Museum, L.A.
Stamberg, Susan. “For John Baldessari,
Conceptual Art Means Serious Mischief,”
Jacob Melchi (’03 MFA), Matt Lifson
National Public Radio, March 11, 2013
(’12 MFA) and Alec Egan (’13 MFA)
Five New Artists—On the Map
Susan Moss
California Heritage Museum,
’71 Fine Arts
Santa Monica
Published the novel, The Accident Stager
Angels Gate Cultural Center, San Pedro
Jacob Melchi
’03 MFA Fine Arts
Brian Ricci
nothing is plural: paintings
’12 MFA Fine Arts
George Lawson Gallery, San Francisco
Terra Incognita
Launch Gallery, L.A.
Sabine Dehnel
’03 Fine Arts
Alexandra Cantle
MONA
’13 MFA Public Practice
Museum Wiesbaden, Germany
Porch Gallery, Ojai
Eduardo Sarabia
’99 Fine Arts
Moctezuma’s Revenge
Arizona State University Art
Museum, Tempe
Christopher Badger
’05 Fine Arts
Lunar Mirror
Jessica Silverman Gallery, San Francisco
45
Class Notes
John Sweeney
’11 Digital Media
“Remembering” for the new video
game The Last of Us featured in the E3
conference exhibition, Into the Pixel
46
Spring 2014
Carlos Mollura
In the Media Continued
‘91 Fine Arts
Steven Learner
’86 Environmental Design
Installation view
Ulysses Jenkins
Lasky, Julie. “In a Creative Season,
The Luckman Gallery, Cal St L.A.
’79 MFA Fine Arts
a New Design Fair,” New York Times,
Cake Walk, Mass of Images, and
May 1, 2013
Without Your Interpretation
videos acquired by the Film, Video,
Alan Nakagawa
and New Media department of the
’86 Fine Arts
Whitney Museum, N.Y.
Jao, Carren. “Hearing with the Whole
Body: Alan Nakagawa’s Reverberating
Rick Owens
Composition,” KCET Artbound,
’81 Fine Arts
May 13, 2013
Yaeger, Lynn. “American Gothic,”
The Wall Street Journal, April 25, 2013
Sandow Birk (’89 Fine Arts) and
Annie Buckley (’03 MFA Fine Arts)
Greg (Nikolai) Galle
Featured in “Inside the Artists’ Studio,”
The Huffington Post, September 17, 2013
Co-founder of Future Partners
“Jumping the Ingenuity Gap,”
Claire Pettibone
TEDxGrandRapids May 9, 2013
’89 Fashion Design
Hallett, Stephanie. “Claire Pettibone,
Bridal Designer, Mentors Otis Students,”
The Huffington Post, May 10, 2013
47
Class Notes
John Mason
(‘57) installation view
Crosses, Figures, Spears, Torques
David Kordansky Gallery, L.A.
Mason’s work is included in the
2014 Whitney Biennial through May 25.
In the Media Continued
Joe Sola
Tucker Neel (’07 MFA Fine Arts)
’99 MFA Fine Arts
profiled alumnus Lorenzo Hurtado
Williams, Maxwell. “Joe Sola Shows
Segovia (’07 MFA Fine Arts)
Microscopic Paintings in Dealer’s Ear,”
Artillery Magazine, April 24, 2013
Art in America, October 2, 2013
Claire Oring
Rob Spruijt
’11 Digital Media
’01 Fine Arts
Frederickson, Lori. “Dreams Realized:
Contributed an essay to Aesthetics
Art and Commerce Meet in Claire
in Present Future: The Art and the
Oring’s Fairy-Tale Visions,”
Technological Horizon, 2013
American Photo, December 12, 2013
Jessica Silverman
Gianni Washington
’05 Fine Arts
’13 MFA Writing
Hodge, Brooke. “By Design: A Place
“Be Grateful” included in
Where Art and Design Collide,”
Brief Grislys, an anthology of
T Magazine (New York Times),
horror stories, 2013
June 24, 2013
Michelle Andrade
COOL DESIGNERS
’07 MFA Fine Arts
Included in Between the Lines, a coloring
China Young
book for children in U.S. hospitals
Acquired the original Dubbel Duffel
J.A.W. Cooper
brand and relaunched the product on its
35th anniversary
Shapeshifter from Laid Bare
La Luz de Jesus, L.A.
48
Spring 2014
Tula Pink
Small write up here
Anniversaries
A monograph celebrating 20 years of work by Mark
Dean Veca (’85 Fine Arts) was accompanied by an
exhibition at Western Project, Culver City, co-owned
by alumna Erin Kermanikian (’00 MFA). Veca was
also recently commissioned by Nike to create a painting
commemorating Kobe Bryant’s all-star MVP in 2011
Generations Connect in S.F.
using colors from the reissued “Kobe 6” shoe.
Alumni Relations hosted a gathering in
Ingred Sidie’s (’89 Communication Arts) Design
October for Bay Area alumni at the Walt
Ranch, a nationally recognized design agency in Kansas
Disney Family Museum in San Francisco’s
City, Missouri, celebrates 15 years, and was featured in
Presidio, which featured concurrent
HOW magazine as a design firm to watch.
exhibitions by alumni Tyrus Wong (’32)
and Camille Rose Garcia (‘92 Fine Arts).
Wong is best known for the background art
he created for Disney’s Bambi, and Garcia
exhibited work created for a recent edition
of Alice’s Adventures in Wonderland
(Harper Design, 2009). Alumni enjoyed a
special curator-led tour, and toasted Wong
for his 103rd birthday. Garcia posted on
Facebook “Oh, have you heard of the movie
Bambi? This amazing man painted all of
the backgrounds, and that was only four
years of his amazing life. Tyrus Wong and
I held hands for like five whole minutes.
Raddest moment ever.”
Museum Exhibitions in D.C.
Fashion lines started by Cynthia Vincent (’88 Fashion
Design) and Red Carter (’92 Fashion Design) celebrate
a decade of success. Carter’s work was featured in the
swimwear issue of Sports Illustrated, 2014.
Kerry James Marshall (’78 Fine Arts), who was
Carlos Almaraz (’74 MFA), Alumni Council Chair
recently appointed to President’s Committee on the
Judithe Hernández (’74 MFA), and Patssi Valdez
Arts and Humanities, is celebrated with major shows in
(’85 Fine Arts) were included in Our America:
the U.S. and overseas. One exhibition, In the Tower, was
The Latino Presence in American Art at the Smithsonian
at the National Gallery in D.C., and another exhibition,
American Art Museum, which will tour the U.S.
KJ Marshall: Paintings and Other Stuff, is traveling to
until 2016.
three international museums.
49
Class Notes
Jillian Pasztor
’13 Product Design
Solo exhibition
Industry Gallery
Pacific Design Center, L.A.
Janice Tieken
’74 Fine Arts
Blue Tango from Janice
Tieken: Orchid Requiem
Lancaster Museum of
Art and History, CA
Tula Pink (Jenny McLean)
“Modernitional,” American
Patchwork and Quilting,
October 2013
Daniel Nolan
Travis Swingler
Amy Fortunato
’02 Environmental Design
Selected by Sunset magazine as one
Art directed TBWA\Chiat\Day’s
With Lorraine Wild, designed the
of five designers for “Reimagining the
Nissan Global campaign, “The World’s
catalog James Welling: Monograph Sunset Home,” May 16, 2013
Fastest Man”
for an exhibition at the Hammer
Museum, UCLA
Suzan Kim ’05 Digital Media
Heather Goldberg
and Sara Cembalisty ’02 Fine Arts
Joshua Brian Smith
Modeler and look development artist,
Debuted clothing line, Haber
’12 Digital Media
respectively, on the Oscar-winning
L.A. boutique TENOVERSIX
Concept artist for Riot Games’
Disney 3-D animated feature film Frozen
League of Legends
Devin Week
Ashkahn Shahparnia
’06 Fine Arts
Interviewed for Civil Clothing’s
Packaging for Garrett Leight
“Celebrate the Difference” feature on his
and Thierry Lasry eyewear
furniture company, Onebooktree
design collaboration
50
AWARD WINNERS
Tracy Cheney Williams
California Art Educators’ Outstanding
Elementary Visual Art Teacher 2013
Paul Wee
Emmy for Outstanding Individual
Achievement in Animation (Character
Animation), “Treehouse of Terror XXIII,”
The Simpsons, Fox, 2013
Spring 2014
Lorenzo Hurtado Segovia
’07 MFA Fine Arts
installation view
Ni tanto que queme
al santo, ni tanto que
no lo alumbre
CB1 Gallery, L.A.
Ruben Ochoa
Greg Wilken
Joong Han Lee
’97 Fine Arts
’04 Fine Arts
2013 California Community Foundation
Creative Arts Fulbright Grant for a study
3-D human printing machine project
Fellowship for Visual Arts
of land use in the Republic of Kiribati,
featured at the 2013 IEEE World Haptics
Central Pacific Ocean
Conference
Flora Kao (’08 Fine Arts)
Matt Nava
Elena Rosa
Awarded two of eleven Artists’
’08 Digital Media
’12 MFA Fine Arts
Resources for Completion Grants from
Included in Forbes magazine’s
Awarded the 2014 Feitelson/Lundeberg
the Center for Cultural Innovation
“30 Under 30: The Brightest Young Stars
Fellowship
Shana Mabari (’98 Fine Arts) and
IN MEMORIUM
John Richard Martin
’76 MFA Fine Arts
Passed away February 2014
in Video Games,” December 17, 2012
Mark Caneso
Christina Sanchez
‘12 MFA Public Practice
Multiple projects featured in
One of three inaugural grants from SPArt
Communication Arts typography annual
in support of work aimed at creating
and Print Regional Design annual
social change in the L.A. region
51
Class Notes / Giving
SHYAM, MAUREEN, AND SARAH SHARMA
Shyam and Maureen Sharma have been generous supporters of Otis scholarships, helping students like their
daughter Sarah become successful creative professionals.
“I am currently working for Jupi Corporation, a production company with a series of different lines. I am junior
designer for the Kardashian Kollection! We are filming an
episode of “Keeping Up with the Kardashians,” and I may
appear on an upcoming episode working together with
them on their collection, which is so exciting! The line is
for Sears mass market.
I learned so much at Otis, and feel that I am more than
qualified for my duties. Going to Otis was the best choice
I ever made. I have never been so happy doing everything
I ever dreamed of!” —Sarah Sharma (’13 Fashion Design)
Sarah Sharma with her parents Shyam and Maureen at the Beverly
Hilton Hotel for the Annual Scholarship Benefit and Fashion Show
MAKE A GIFT TO O-FUND
PARTICIPATE IN PLANNED GIVING
JOIN THE PATRONS CIRCLE
Annual gifts to the O-Fund directly assist
Legacy Society Membership
Patrons Circle members play a leader-
students in the form of scholarships,
Charitable Gift Annuities (CGAs)
ship role in supporting priority needs
campus improvements, and specific
and Bequest Intents are great ways to
at Otis. Your annual gift of $1,000 or
program support. Each gift, each year,
support Otis. Donors establishing one
more provides critical funding to sustain
makes a significant difference for
of these or any other planned gift will be
academic excellence, and creates greater
our students. You may double or even
recognized as part of our Legacy Society.
access for all students. Members also
triple your gift if your employer has
One of the great benefits of membership
enjoy several exclusive art experiences
a matching gift program. Contact your
is the opportunity to meet with students
each year, such as private art tours
Human Resources Department for
and see firsthand how your gift impacts
to Marfa, Texas, and Ojai, as well as
more information about your company’s
the lives and careers of young artists
hands-on art experiences on campus.
matching gift programs.
and designers.
Above: Patrons Circle member Ellen Castleman
on San Diego Art and Design Tour
The greatest satisfaction will come from knowing that your gift will continue
the work of Otis College of Art and Design. For information about these
exciting giving opportunities, please contact Kristi Kraemer, Director of
Development, at (310) 665-6859, kkraemer@otis.edu, make your gift
today using the envelope in this magazine, or online at www.otis.edu/givenow.
52
01
310.
665.
6859
02
03
otis.edu/
givenow
Spring 2014
Kour Pour
All The King’s Horses And All The King’s Men, 2013
Acrylic on canvas over panel
96” x 72”
from his solo exhibition at Untitled, N.Y.
Otis College of Art and Design
9045 Lincoln Boulevard, Los Angeles, California 90045
VOL. 15
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