fine art at art center
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AT ART CENTER
AT ART CENTER
4 SECTION TITLE
FINE ARTAT ART CENTER
6 WhyStudyFineArtatArtCenter?
9 CHOICE
13 CRAFTSMANSHIP:THESATISFACTIONOFMAKINGTHINGSWELL
13 ONE-ON-ONEFACULTYMENTORS:PERSONALTEACHING
16 THIRDANDFIFTHTERMREVIEWS,SENIORPROJECTS
21 CoreFineArtFaculty
45 Faculty
49 VisitingArtists
61 Facilities
66 ON-CAMPUSSTUDENTSTUDIOS
69 ALYCEDEROULETWILLIAMSONGALLERY
77 LosAngeles:InternationalArtCapital
80 InnovativeCurriculum
89 MAKINGMEANING
96 TDS:TRANSDISCIPLINARYSTUDIOS
102 FINEARTSTUDYABROAD
107 StudentPortfoliosandTestimonials
147 ArtCenterAlumniMakingFineArt
152 PreparingforaLifeinArt
6 INTRODUCTION
WHY STUDY FINE ART AT ART CENTER?
Intoday’sglobalculture,theroleoftheartistismorevitalthanever.Arttranscendslanguage,addressessocialcon-cerns,expressessharedemotions,redefinesplay,challengesprevailingvalues,thoughtfullyentertainsand,fromtimetotime,becomesamasterpiece.
Arttodayisalsooftenasmuchabouttheproductionofknowledgeasitisaboutthevisualformalaesthetic.ThatisjustoneofthereasonswhyinArtCenterCollegeofDesign’sFineArtprogramweencourageourstudentstoseeartasnotjustapurelyexpressivepursuit,butalsoasanintellectualinquiry.
Ourprogramemphasizesthecreative,conceptualandtechni-calgrowthoftheindividualartistthroughacomprehensiveexplorationofallgenres—painting,photography,sculpture,installationandexperimentalfilmandvideo.We’vedesignedtheprogramtoprovideanenvironmentthatstimulatesthemind,nurturesindividualwork,respectsdiversityandmaxi-mizesourstudents’particularabilitiesandpotentialtohelpthemdiscovertheircreativeidentity.
Itisanexpeditionconductedbyawell-respectedfaculty,comprisedofactiveandaccomplishedartistswhoshareboththeirinsightsandtheirdedicationtoinspire.Andbecauseweareapartofwhatisarguablythemostvitalandinnovativedesignschoolinthecountry,ourstudentshaveunparal-leledaccesstonotableprofessionals,sophisticatedindustrialshops,cutting-edgecomputerlabs,avastartlibraryandanarrayofworkshopsnottypicallyavailabletofineartstudents.
ArtCenter’sflexible,interdisciplinaryprogrammingallowsFineArtstudentstotakeclassesandworkwithfacultyfromtheCollege’svariousappliedartanddesigndepartmentsincludingIllustration,Film,GraphicDesignandPhotography
FINE ART AT ART CENTER 7
andImaging.Theseopportunitieshelpourstudentsindi-vidualizetheirworkandacquirepracticalskillsnecessaryforworkinginrelatedprofessions—skillsthatcanhelpprovidefinancialsecurityinuncertaintimes.
Inthefollowingpages,youwillfindcoursepostersthatreflecttherangeofourinnovativeFineArtcurriculum—acurriculumthatcontinuouslyreconsiderswhatarthasbeenhistoricallyandsuggestspossibilitiesforwhatitcanbecome.Youwilllearnaboutourfacultyandnotablealumni,andreadfirst-handtestimonialsfromourdiverseandambitiousstudents.Finally,youwilllearnwhatitmeanstofindsuccessasanartistandthetypesofopportunitiesthatawaitanArtCentergraduate.
ArtCenterCollegeofDesignismorethansimplyanartschool.Itcanbeyourpathtovisualintelligenceandself-discovery.Andforthemotivatedstudent,itcanbeajourneyinwhichtheinterplayoftheeye,handandmindreleasethewonderoftheimagination.
LaurenceDreibandChair, Fine Art Department
8 SECTION TITLE
WHY STUDY FINE ART AT ART CENTER?
1. ChoiceTHREE FINE ART CURRICULUMSArt Center offers its Fine Art students a choice of three different tracks. Flexible programming, along with personal mentoring and guidance from the Department Chair, can provide an opportunity for a customized course of study. For example, students in the Core Track can structure a sequence of classes that combine specific interests such as video and installation or painting and digital photography.
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TERM 1
Rethinking Art
Design 1
Materials: Art and Design
Drawing Concepts 1
Writing Studio
TERM 2
Introduction to Modernism
Design 2
Digital Design 1
Studies in Contemporary Sculpture
Drawing as Process
Painting Strategies
One-on-One
TERM 3
Critical Practice 1
Installation Concepts
Art: Structures and Systems
Basics of Photography
One-on-One
History of Art 1, 2 or 3
TERM 4
Critical Practice 2
Language of the Moving Image
History of Art 1, 2 or 3
Studio Practice
Visiting Artist Workshop or
Dialogues with Visiting Artists
TERM 5
Readings in Fine Art
Studio Visits
Transdisciplinary Studies
Fifth Term Review
TERM 6
Visiting Artist Workshop or
Dialogues with Visiting Artists
Writing About Art
TERM 7
Professional Practice
Fine Art Seminar
Senior Projects 1
TERM 8
Senior Projects 2
FINE ART CORE TRACK
The Fine Art Core Track, the most open program, emphasizes the creative, conceptual and technical growth of the individual artist through an exploration of multiple mediums: painting, photography, sculpture, installation and experimental film/video. After a rigorous foundation curriculum and an introduction to a diversity of art genres, students pursue a sequence of core classes with occasions for interdisciplinary electives.
SHORT PAGE
TERM 1
RethinkingArt
Design1
Materials:ArtandDesign
DigitalDesignCapture
WritingStudio
TERM 2
IntroductiontoModernism
Black-and-WhiteLab
CoreLighting
ViewCamera
LanguageoftheMovingImage
One-on-One
TERM 3
CriticalPractice1
InstallationConcepts
Art:StructuresandSystems
Photoshop1
ColorTheoryApplied
One-on-One
HistoryofArt1,2or3
TERM 4
CriticalPractice2
HistoryofArt1,2or3
FoundationPhotoshop
Design2:Color
VisitingArtistWorkshoporDialogueswithVisitingArtists
TERM 5
HistoryofPhotography
Photoshop2
TransdisciplinaryStudies
FifthTermReview
TERM 6
VisitingArtistWorkshoporDialogueswithVisitingArtists
StudioVisits
ReadingsinFineArt
TERM 7
WritingAboutArt
ProfessionalPractice
FineArtSeminar
SeniorProjects1
TERM 8
SeniorProjects2
BestPractice
FINEARTPHOTOGRAPHY ANDIMAGINGTRACKTheFineArtPhotographyandImagingTrackcombinescoreandelectivefineartcourseswiththeessentialskill-buildingcoursesfromArtCenter’sPhotographyandImagingDepartment.Thistrack,whichsupplementstheartcurriculumwithclassesincamera,lighting,black-and-whiteandcolorfilmprintinganddigitalimaging,isforthestudentwhoiscommittedtodevelop-ingapersonalbodyofworkinphotography.
SHORT PAGE
Term1
RethinkingArt
Design1
Materials:ArtandDesign
DrawingConcepts1
WritingStudio
CompositionandDrawing
Term2
IntroductiontoModernism
Design2
DigitalDesign1
HeadandHands
CompositionandPainting
PaintingStrategies
One-on-One
Term3
CriticalPractice1
InstallationConcepts
Art:StructuresandSystems
One-on-One
HistoryofArt1,2or3
Term4
CriticalPractice2
Portraiture
HistoryofArt1,2or3
StudioPractice
One-on-One
Term5
ReadingsinFineArt
StudioVisits
TransdisciplinaryStudies
NudeBody
FifthTermReview
Term6
VisitingArtistWorkshoporDialogueswithVisitingArtists
WritingAboutArt
Term7
ProfessionalPractice
FineArtSeminar
TransdisciplinaryStudies
SeniorProjects1
Term8
SeniorProjects2
FINEARTPAINTINGANDILLUSTRATIONTRACK
TheFineArtPaintingandIllustrationTrackisforthestudentwhointendstofocusonthemediumofpainting.ThistrackworksprimarilywithFineArtandIllustrationfacultytoenhancerepresentationalandrenderingskillswithadditionalfoundation,illustration,figuredrawingandtechnicalpaintingcourses.
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FINE ART AT ART CENTER 13
2. CRAFTSMANSHIP
3. ONE-ON-ONE
14 WHY STUDY FINE ART AT ART CENTER?
CRAFTSMANSHIPTHE SATISFACTION OF MAKING THINGS WELL
Artistsmakethings.AtArtCenter,weteachourstudentsthevalueofmakingthingswell.
Wefocusontheintimateconnectionbetweentheheadandthehandinthepursuitofmakingandmeaning.Whatevertheendeavor,toolortechnology,webelievethereisabasichumanimpulsetodothebestjobpossible.ArtCenter’srigorousfoundationcurriculumteachesthepathtoexcellentcraftsmanship.
Arttodayembracesmanydiversemediums—suchasdrawing,paint-ing,sculpture,installation,photography,filmandvideo.Eachdistinctpracticerequirestheunderstandingofspecificmaterialsandtoolsalongsidetheknowledgeofparticularprocedures—fromoilpaintap-plicationstrategiestomasteryofthelatestdigitalsoftware.Learningtheseskillsservesthosewhoaspiretodoqualitywork,andcanenableartiststorealizealltheychoosetoimagine.
ONE-ON-ONE FACULTY MENTORSPERSONAL TEACHING
Therearedistinctadvantageswhenstudentsnurturetheirartatasmall,renownedcollege.AkeyaspectofArtCenter’sFineArtDepartmentisthecloserelationshipsthatformbetweenfacultyandstudents.Unlikeschoolsanduniversitieswithoversizedclassesandcoursesledbygraduatestudentteachingassistants,theoptimumclasssizeatArtCenterisjust12to15students,andclassesarealwaystaughtbydistinguishedfaculty.
AllFineArtstudentsareguidedintheirstudiesbyassignedcorefacultymentors.Theseessentialone-on-oneconversationsoccurthroughouteachterm,creatingopportunitiestomonitoreachstu-dent’sprogress.Inaddition,theDepartmentChairandDirectorofFineArtProgrammingkeepregularofficehours,andarealwaysavailabletomeetwithstudents.
FINE ART AT ART CENTER 15
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16 WHY STUDY FINE ART AT ART CENTER?
THIRD TERM REVIEW
Athirdtermreviewisscheduledattheconclusionofthefoundationcurriculum,allowingtheDepartmentChair,Directorandselectfacultytomeetwithstu-dentsindividuallyandassesstheirprogress.
Afterabroadexposuretothepluralismof21st-centu-ryartandanintroductiontoavarietyofartgenres,thethirdtermreviewprovidesanopportunitytosetindividualgoalsanddetermineacourseofstudythatwillallowthestudenttomasteraspecificmedium.TheideaistohelpeachstudentmakethemostoutofhisorhertimeatArtCenterbyrecommendingparticularclassesandsuggestingappropriatefacultymemberstoworkwith.Forthenovice,ArtCentercanseemlikeanendlessfeast;however,eighttermszoombyquickly,makingthistheidealtimetofocusone’sstudies.
SENIOR PROJECTS
TheFineArtDepartmentbelievesthatastudent’sabilitytoclearlyarticulatethepremiseandimplica-tionofhisorherartiscrucialtotheartist’sultimateaccomplishment.Senior Projectsisatwo-termcoursecomingattheculminationoftheundergraduateeducation.Itisdesignedtocultivatearesponsibleapproachtothepresentationandarticulationofone’spracticeasanartist.Studentsrefineexhibitionandinstallationstrategieswhilesimultaneouslydevelopinganartiststatementthatcandescriptivelyandconceptuallycontextualizetheirstudiopractice.Seniorsorganizebothsoloandgroupexhibitions,ver-ballypresentingtheirideastoaknowledgeableanddiverseFineArtfacultyaswellastotheirpeers.InSenior Projects,studentsareexposedtothedemands,rigorandvitalityofcontemporaryartpractice,andlearnhowcontemporaryartdiscoursescaninfluenceviewsonwhattheyproduce.
FIFTH TERM REVIEW
Atthefifthtermreview,corefacultyassembleto
considerastudent’sworkanddirectionduringanin-
depthcriticalexaminationofhisorherachievements.
Priortothereview,studentssubmitanartiststatement
outliningtherelevantcriticalissuesandhistorical
contextfortheirworktoserveasanintroductionfor
discussion.
Fifthtermreviewsmarkthecrucialtransitionpointbetweenassignment-basedworkandthebeginningsofworkinwhichstudentsdefinetheirownpractice.Thistransitionisanongoingprocesswithinanyyoungartist’sdevelopment,andwhileindividualcon-versationsbetweenstudentsandfacultycontinuouslyoccur,thefifthtermreviewisthedesignatedforumduringwhichstudentsintroducetheirindependentworkandideastothecorefaculty.Anticipatingtheoccasioncanmakestudentsabitnervous,butmostleavefeelinginspiredandenergetic.Theselivelydis-cussionsmovequickly,jumpingbetweenanalysisofconcreteprojectsandconsiderationoffuturepossibil-ities.Afterthereview,eachstudentreceivesawrittensummaryoffacultyinsightsandrecommendations.
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“�Being�an�artist�now��means�to�question�the��nature�of�art.”�
JOSEPH KOSUTH
SHORT PAGE SHORT PAGE
THIRD TERM REVIEW
Athirdtermreviewisscheduledattheconclusionofthefoundationcurriculum,allowingtheDepartmentChair,Directorandselectfacultytomeetwithstu-dentsindividuallyandassesstheirprogress.
Afterabroadexposuretothepluralismof21st-centu-ryartandanintroductiontoavarietyofartgenres,thethirdtermreviewprovidesanopportunitytosetindividualgoalsanddetermineacourseofstudythatwillallowthestudenttomasteraspecificmedium.TheideaistohelpeachstudentmakethemostoutofhisorhertimeatArtCenterbyrecommendingparticularclassesandsuggestingappropriatefacultymemberstoworkwith.Forthenovice,ArtCentercanseemlikeanendlessfeast;however,eighttermszoombyquickly,makingthistheidealtimetofocusone’sstudies.
FIFTH TERM REVIEW
Atthefifthtermreview,corefacultyassembleto
considerastudent’sworkanddirectionduringanin-
depthcriticalexaminationofhisorherachievements.
Priortothereview,studentssubmitanartiststatement
outliningtherelevantcriticalissuesandhistorical
contextfortheirworktoserveasanintroductionfor
discussion.
Fifthtermreviewsmarkthecrucialtransitionpointbetweenassignment-basedworkandthebeginningsofworkinwhichstudentsdefinetheirownpractice.Thistransitionisanongoingprocesswithinanyyoungartist’sdevelopment,andwhileindividualcon-versationsbetweenstudentsandfacultycontinuouslyoccur,thefifthtermreviewisthedesignatedforumduringwhichstudentsintroducetheirindependentworkandideastothecorefaculty.Anticipatingtheoccasioncanmakestudentsabitnervous,butmostleavefeelinginspiredandenergetic.Theselivelydis-cussionsmovequickly,jumpingbetweenanalysisofconcreteprojectsandconsiderationoffuturepossibil-ities.Afterthereview,eachstudentreceivesawrittensummaryoffacultyinsightsandrecommendations.
“�How�to�tell�the�difference�between�a�return�to�an�archaic�form�of�art�that�bolsters�conser-vative�tendencies�in�the�present�and�a�return�to�a�lost�model�of�art�made�to�displace�customary�ways�of�working?”�
HAL FOSTER
SHORT PAGE SHORT PAGE
“�Art�is�communication—it�is�the��ability�to�manipulate�people.��The�difference�with�show�business�or�politics�is�only�that�the�artist�is�freer.”�
JEFF KOONS
“��A�belief�is�like�a�guillotine:�just�as�heavy,�just�as�light.”�
FRANZ KAFKA
SHORT PAGE
THIRD TERM REVIEW
Athirdtermreviewisscheduledattheconclusionofthefoundationcurriculum,allowingtheDepartmentChair,Directorandselectfacultytomeetwithstu-dentsindividuallyandassesstheirprogress.
Afterabroadexposuretothepluralismof21st-centu-ryartandanintroductiontoavarietyofartgenres,thethirdtermreviewprovidesanopportunitytosetindividualgoalsanddetermineacourseofstudythatwillallowthestudenttomasteraspecificmedium.TheideaistohelpeachstudentmakethemostoutofhisorhertimeatArtCenterbyrecommendingparticularclassesandsuggestingappropriatefacultymemberstoworkwith.Forthenovice,ArtCentercanseemlikeanendlessfeast;however,eighttermszoombyquickly,makingthistheidealtimetofocusone’sstudies.
FIFTH TERM REVIEW
Atthefifthtermreview,corefacultyassembleto
considerastudent’sworkanddirectionduringanin-
depthcriticalexaminationofhisorherachievements.
Priortothereview,studentssubmitanartiststatement
outliningtherelevantcriticalissuesandhistorical
contextfortheirworktoserveasanintroductionfor
discussion.
Fifthtermreviewsmarkthecrucialtransitionpointbetweenassignment-basedworkandthebeginningsofworkinwhichstudentsdefinetheirownpractice.Thistransitionisanongoingprocesswithinanyyoungartist’sdevelopment,andwhileindividualcon-versationsbetweenstudentsandfacultycontinuouslyoccur,thefifthtermreviewisthedesignatedforumduringwhichstudentsintroducetheirindependentworkandideastothecorefaculty.Anticipatingtheoccasioncanmakestudentsabitnervous,butmostleavefeelinginspiredandenergetic.Theselivelydis-cussionsmovequickly,jumpingbetweenanalysisofconcreteprojectsandconsiderationoffuturepossibil-ities.Afterthereview,eachstudentreceivesawrittensummaryoffacultyinsightsandrecommendations.
“�Art�is�too�serious�to��be�taken�seriously.”�
AD REINHARDT
“�Employees�make�the�best�dates.�You�don’t�have�to�pick�them�up�and�they’re�always�tax-deductible”�
ANDY WARHOL
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Core Fine Art Faculty
22 CORE FINE ART FACULTY
DAVID HULLFISH BAILEYDave Hullfish Bailey’s practice investigates the geographic and social organization of places. His projects are highly researched, but also quite playful and speculative in the way they organize the diverse infor-mation and narratives they uncover. His sculptural installations, photographs, drawings, publications and workshops cel-ebrate art’s cultural function as a space for asking questions and earnestly pursuing curiosity about the world around us.
Bailey’s recent projects include solo exhibitions at the Secession, Vienna (2006); Casco Office for Art, Design and Theory, Utrecht (2007); and Raven Row, London (2009). His work has been included in prominent international group exhi-bitions including the Socle du Monde Biennale, Denmark (2004); and the Lyon Biennale, France (2007). His published works include three books: Union Pacific (1999), Elevator (2006) and What’s Left (2009).
FINE ART AT ART CENTER 23
24 CORE FINE ART FACULTY
LAURA COOPER
A synthesis of land art, gardening and botanical study, Laura Cooper’s installations trace and record change over time through the use of photography, drawing, sculpture and natural materials.
Cooper has exhibited at Angles Gallery, Santa Monica; Holly Solomon, New York; and The Contemporary Museum, Honolulu. Her site-specific installation and performance works include a week-long event at the Los Angeles Arboretum that incorporated landscape design, performance and art. Landscape design projects include the Kleinberg Residence and Contemporary Art Collection in Orange County, which was designed by Taalman Koch Architecture.
FINE ART AT ART CENTER 25
26 CORE FINE ART FACULTY
Dreiband’s work has been published and exhibited internationally. He has thought about art and art education for a long time, and writes, teaches and creates art pro-grams based on what he’s learned. Dreiband has chaired the Fine Art Department at Art Center since 1972.
LAURENCE DREIBAND
Laurence Dreiband is a productive loiterer. He makes things, sometimes exhibits them and sometimes lives in them. His art-work blurs genres of drawing, painting, photography and film, and addresses the representation of nature and the nature of representation. Dreiband’s architectural design incorporates geometry in pursuit of simplicity and the essential. These inter-penetrating structures of natural materials reveal time and process, light and space, and dissolve distinctions between interior and exterior.
FINE ART AT ART CENTER 27
28 CORE FINE ART FACULTY
At the heart of Katie Grinnan’s work lies a fundamental interest in the dislocated relationship among sight, site and the kinesthetic. She is interested in the entropy that occurs over time in both the physical and the illusionistic world. By combining photog-raphy and sculpture, she makes it possible for social, psychological, imagined, physical and visual space to exist simultaneously, while spotlighting the incongruities between the surface and structure of an object.
Grinnan has had solo exhibitions at the Whitney Museum of American Art at Altria, New York; the Aspen Art Museum, Colorado; and most recently the MAK Center for Art and Architecture, Los Angeles. She has been included in many group exhibitions, including the 2004 Whitney Biennial at the Whitney Museum of American Art, New York; Real World: The Dissolving Space of Experience at Modern Art Oxford, England; and Second Nature: The Valentine-Adelson Collection at the Hammer Museum, Los Angeles. Her work is in the collections of the Museum of Contemporary Art, Los Angeles; the Los Angeles County Museum of Art; and the Hammer Museum. She has been awarded the AXA Artist Award, a Guggenheim fellowship and a Pollock-Krasner Foundation grant. She is represented by ACME, Los Angeles.
KATIE GRINNAN
FINE ART AT ART CENTER 29
30 CORE FINE ART FACULTY
KEVIN HANLEY
Kevin Hanley’s body of work demonstrates an ongoing interest in the elusive nature of perception. Hanley experiments with video, photography, sound and painting to produce simultaneous but separate—and often mutually resistant—articulations of time, movement and memory. Exhibition titles such as Sentiment and Vagrancy and Bearing and Delinquency indicate that Hanley’s artworks are often described as mechanical and distant, but simultaneously playful and emotive.
Hanley’s international group exhibitions include: The 50th International Art Exhibition, La Biennale di Venezia, Venice; Site Santa Fe Second Biennale, Santa Fe; Delta, Musee d’Art Moderne, Paris; and Index, Museum of Contemporary Art, Los Angeles. He has been featured in numerous galler-ies including: ACME, Los Angeles; I-20, New York; Taka Ishii Gallery, Tokyo; and Galerie Christian Nagel, Cologne.
FINE ART AT ART CENTER 31
32 CORE FINE ART FACULTY
TOM KNECHTEL
Tom Knechtel’s paintings and drawings employ a visual language ranging from delicately descriptive to painterly and expressive, and feature a cast of men and animals and men in situations using narrative elements. They have been described as “rich and idio-syncratic” (Christopher Knight, Los Angeles
Times) and as “whispering their secrets like a love-struck moose” (art critic Benjamin Weissman).
His work is in the collections of the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; and the San Francisco Museum of Modern Art, among many others. In 2001, a survey of his art, On
Wanting To Grow Horns: The Little Theatre of Tom Knechtel, traveled the country.
FINE ART AT ART CENTER 33
34 CORE FINE ART FACULTY
TOM LADUKE
Tom LaDuke’s paintings and sculptures have been described by Artforum’s Micol Hebron as “a powerhouse of illusive—and elusive—imagery that is thoroughly seductive and magical in its technical virtuosity.” In LaDuke’s work, meaning is tied to its production, which involves not only skill but a singular commitment to process and investment of time. His interest also lies in a sense of poetics imbued in the work and the liminal effects of colliding the imaginary with the real.
LaDuke has been awarded the Trustee Merit Scholarship from the School of the Art Institute of Chicago. His work is in the collections of the Museum of Contemporary Art, Los Angeles, the Orange County Museum of Art, Newport Beach; the Solomon R. Guggenheim Museum, New York; and the Jumex Collection, Mexico, among others. He is represented by Angles Gallery, Santa Monica.
FINE ART AT ART CENTER 35
36 CORE FINE ART FACULTY
JOHN MILLEI
John Millei rummages though the history of painting, looking for formal clues to its past. His abstract paintings address the dialectic and sometimes polemical relation-ship between art history and the present. Los Angeles Times critic David Pagel once wrote of John Millei: “If he belongs to a respectable lineage of modern painters, his more perverse pedigree would include Albert Ohlen’s anxious abstractions; Sigmar Polke’s cunning ridicule of commercial
culture; Andy Warhol’s chilling expressions of alienation; and Jasper Johns’ uneasy fixation on the violent erasure of shared symbols in American abstract art.”
His paintings and drawings have been exhib-ited internationally for more than 25 years and are in several major public and private collections. Publications include: Terra Paintings, Personal, For Surfing and Procession.
FINE ART AT ART CENTER 37
38 CORE FINE ART FACULTY
JEAN RASENBERGER
Jean Rasenberger’s videos and photographs are an inquiry into portraits such as those found in nudie magazines, real estate listings, ethnographic films, paleontological sites, abandoned prisons and the headstones of dead revolutionaries. Her work explores the nar-rative matrixes and sinkholes of tropes and cues that potentially lead to subterranean passages and free-floating repositories of subject formation.
Rasenberger’s work has been exhibited internationally in museums and galleries, notably the Museum of Modern Art, New York; the Louisiana Museum of Modern Art, Kunstforeningen, Copenhagen; Renaissance Society, University of Chicago; Centro Colombo-Americano, Bogota; and the Long Beach Museum of Art. She has been awarded grants through such venues as the National Endowment for the Arts, Mid-American Arts Alliance, Brody Foundation and Long Beach Museum. She has also been the recipient of an Art Center Great Teacher Award. Her work is in private collections, and can be seen at jeanrasenberger.com.
FINE ART AT ART CENTER 39
40 CORE FINE ART FACULTY
ANTHONY ZEPEDA
In Anthony Zepeda’s work, the choice of materials and the process of making art are as important as the subject matter. His creative process reflects an investigation into a wide variety of media and subjects, including random patterns found in scientific forms, historical references, artifacts, personal and appropriated photography, and designs happened upon by chance. Much of his work has been informed by travels to remote destinations within Asia, South America and Europe.
A significant element of Zepeda’s practice comes from his exposure to artists through years of collaboration. As a former Master
Printmaker at Gemini G.E.L., his career includes working with renowned artists such as Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Richard Serra, Bruce Nauman, Richard Diebenkorn and Edward Ruscha. Zepeda has exhibited his personal work nationally and internationally since 1980. Recent group exhibitions include Confluence of 9 at the National Gallery of Thailand. Recent solo shows include exhibitions at Andlab, Los Angeles and MOMA, Rio de Janiero.
FINE ART AT ART CENTER 41
42 CORE FINE ART FACULTY
FINE ART AT ART CENTER 43
ABOVE/ POSTERS�FOR�CLASSES�TAUGHT�BY�THE�CORE�FINE�ART�FACULTY
SHORT PAGE
44 CORE FINE ART FACULTY
SHORT PAGE
Among the most memorable experiences in the
Fine Art program are the opportunities to
meet notable artists, see their work first-
hand, and hear them speak about where they
are in their lives and careers, and how
they got there.
Vis
itin
g A
rtis
t W
orks
hop
is a 14-week studio
where an invited artist lectures, critiques
and works one-on-one with students.
Dia
logu
es w
ith
Vis
itin
g A
rtis
ts is a class that
presents two artists and considers a par-
ticular set of issues.
Stu
dio
Vis
its is a three-hour class that meets
weekly at a different artist’s studio, or
occasionally at an exhibition, during which
artists discuss both how they create and
the ideas behind their current work.
ABOVE/ FACULTY�MEMBER�REBECCA�CAMPBELL�PAINTS�IN�HER�STUDIO.
Faculty
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ROSETTA BROOKS is an art critic, writer and curator. Formerly the editor and publisher of London’s ZG magazine, she is founding edi-tor of Zg Press. Brooks has writ-ten for numerous art magazines (Artforum, Flash Art), museum cata-logs and anthologies. She received her B.A. (Hons) and Master of Philosophy from London University.
REBECCA CAMPBELL has exhibited nationally and internationally at locations including the Gagosian Gallery, L.A. Louver Gallery, Ameringer-McEnery-Yohe Fine Art and the Hammer Museum. Her work is regularly presented at art fairs including Art Basel, Art Basel Miami Beach and ADAA’s The Art Show. Campbell has been fea-tured in several publications and received her B.F.A. from Pacific Northwest College of Art and her M.F.A. from UCLA.
Sculptor MASON COOLEY has been in several solo and two-person exhibitions in Los Angeles as well as group shows in Los Angeles, New York, London and Cologne. He received his B.F.A. and M.F.A. from Art Center.
ZOE CROSHER is a nationally and internationally exhibited art-ist who has shown her work in Los Angeles, New York, Vancouver and Rotterdam. She has served as an associate editor for the journal Afterall. Crosher published a mono-graph titled Out of the Window (LAX), as well as an upcoming monograph, The Reconsidered Archive of Michelle Dubois, published by Aperture Books. She received her B.A. from UC Santa Cruz and M.F.A. from CalArts.
M. A. GREENSTEIN is an internation-ally recognized researcher, pub-lisher, speaker and coach. She is a Fulbright Scholar and founder of the George Greenstein Institute, a 21st-century, whole-brain learn-ing and leadership institute. Greenstein earned her B.A. in art history and her M.A. in dance from UCLA, and her Ph.D. in inter-disciplinary arts education from Claremont Graduate University.
BRUCE HAINLEY is a poet, critic and writer who has contributed to several books on artists. He is a contributing editor for Artforum and writes for Frieze and Parkett, as well as various other contempo-rary art and culture publications. He earned his B.A. from the College of William & Mary, and his Ph.D. from Yale University.
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VISITING ARTISTS
Among the most memorable experiences in the
Fine Art program are the opportunities to
meet notable artists, see their work first-
hand, and hear them speak about where they
are in their lives and careers, and how
they got there.
Vis
itin
g A
rtis
t W
orks
hop
is a 14-week studio
where an invited artist lectures, critiques
and works one-on-one with students.
Dia
logu
es w
ith
Vis
itin
g A
rtis
ts is a class that
presents two artists and considers a par-
ticular set of issues.
Stu
dio
Vis
its is a three-hour class that meets
weekly at a different artist’s studio, or
occasionally at an exhibition, during which
artists discuss both how they create and
the ideas behind their current work.
MITCHELL KANE is the director of the Fine Art program at Art Center. He previously served as director and curator for the Hirsch Farm Project, an arts-based think tank. Kane has exhibited both nationally and internation-ally, receiving several awards for his graphic design work. He earned his M.F.A. from the School of the Art Institute of Chicago.
GARY KORNBLAU is the founder of Art Issues Magazine, a seminal arts journal that was instrumental in the rise of Los Angeles as an international art capital towards the end of the 20th century. He continues to publish and edit a series of fine art books. Kornblau earned his B.A. and M.A. in phi-losophy from Columbia University.
SOO KIM has curated numerous exhi-bitions and projects since 1990, and her work has been exhibited in Los Angeles, New York, London, Seoul and the Netherlands. Her work is included in many public and private collections, including the Los Angeles County Museum of Art and The Broad Foundation. Kim earned her B.A. from UC Riverside and her M.F.A. from CalArts.
LEFT/ SOO�KIM
JANE MCFADDEN is director of art and design history at Art Center. A historian of modern and con-temporary art, she is currently working on a book, Walter de Maria: Meaningless Work, segments of which have been published in Grey Room and Art Journal. She has written for Modern Painters and X-tra, and authored an essay in the anthol-ogy L.A. Artland: Contemporary Art from Los Angeles. McFadden earned her M.A. and Ph.D. from the University of Texas at Austin.
JAMIE MCMURRY has been an active artist and educator in the fields of installation, video, perfor-mance and conceptual art for more than 15 years. He has curated and organized numerous video and per-formance exhibitions in Seattle, Los Angeles, Boston and abroad. McMurry exhibits both nationally and internationally. He earned his M.F.A. from Donau-Universität Krems.
ADAM ROSS has exhibited in numer-ous museums, including New York’s New Museum, MOCA, San Francisco Museum of Modern Art, Museum of Contemporary Art San Diego and the ARKEN Museum of Modern Art in Copenhagen. His work is in numer-ous private and public collec-tions, including those of the Los Angeles County Museum of Art, MOCA and Orange County Museum of Art. Ross received his B.A. and M.F.A. from UC Santa Barbara, and attended the Skowhegan School of Painting and Sculpture.
JAN TUMLIR is an independent cura-tor and regular contributor to Artforum, Frieze and Flash Art. He earned his B.A. from UCLA and M.F.A. from CalArts.
49FINE ART AT ART CENTER
VISITING ARTISTS
Among the most memorable experiences in the
Fine Art program are the opportunities to
meet notable artists, see their work first-
hand, and hear them speak about where they
are in their lives and careers, and how
they got there.
Vis
itin
g A
rtis
t W
orks
hop
is a 14-week studio
where an invited artist lectures, critiques
and works one-on-one with students.
Dia
logu
es w
ith
Vis
itin
g A
rtis
ts is a class that
presents two artists and considers a par-
ticular set of issues.
Stu
dio
Vis
its is a three-hour class that meets
weekly at a different artist’s studio, or
occasionally at an exhibition, during which
artists discuss both how they create and
the ideas behind their current work.
“Mes
sage
sth
ata
rec
onve
yed
emot
iona
llya
nds
ensu
ousl
yca
nbr
eak
upm
ore
prej
udic
es
and
habi
tual
beh
avio
rpa
tter
ns
than
um
ptee
npa
mph
lets
and
in
telle
ctua
ltre
atis
es.”
PIPILOTTI RIST
49
50VISITING ARTIST WORKSHOP
VISITING ARTISTS50
51
DIALOGUES WITH VISITING ARTISTS
FINE ART AT ART CENTER
51
STUDIO VISITS52 VISITING ARTISTS
STUDIO VISITS
53FINE ART AT ART CENTER
VISITING ARTISTS, CRITICS AND CURATORS
At Art Center, Fine Art students learn to become
serious artists. One way they do this is by meeting
a variety of international artists. These encounters
can often serve to demystify the idea of “the art-
ist,” as students discover the ongoing challenges
artists face when making something meaningful.
Invariably, many artists share how they have come to
appreciate the importance of experimentation, and how
art which explores new and unfamiliar territories can
be a byproduct of failure.
Art Center’s Fine Art and Graduate programs offer a
diverse array of opportunities to encounter compel-
ling visiting artists and scholars through guest
lectures, studio visits, Graduate Art speakers and
Visiting Artist Workshops.
Cornelia Butler
(Mus
eum
of
Mod
ern
Art
)
Michael Brand
(J.P
aulG
etty
Mus
eum
)
Thomas Demand
Amy Adler
Lisa Lapinski
Patrick Hill
Thomas Schiebitz
Lecia Dole-Recio
Kristen Calabrese
Dave Hickey
Dan McCleary
Lari Pittman
Charles Garabedian
Monique Prieto
Sharon Ellis
Roy Dowell
Al Ruppersberg
Kerry Tribe
Lara Schnitger
Terry Winters
Francis Stark
Mungo Thomson
Sharon Lockhart
Edgar Arceneaux
Erica Rothenberg
John Sansini
Allegra Pesenti
(Ham
mer
Mus
eum
)
Michael McMillan
Jorge Pardo
Christopher Knight
(Los
An
gele
s Ti
mes
)
Jennifer Pastor
Jamie McMurry
Hirsch Perlman
Kurt Varnadoe
(Mus
eum
of
Mod
ern
Art
)
Derek Boshier
Alexis Smith
Paul Schimmel
Sandeep Mukherjee
Carole Caroompas
Steve Roden
Paul Sietsema
Tom Wudl
Jennifer Steinkamp
David Pagel
(Los
An
gele
s Ti
mes
)
Michael Darling
(Mus
eum
of
Con
tem
por
ary
Art
,Lo
sA
ngel
es)
Jeremy Blake
Sam Durant
Martin Kersels
Monica Majoli
Paul McCarthy
Diana Thater
Charles Long
Rachel Lachowicz
Monique Van Gendren
Lyle Ashton Harris
Toba Khedoori
Dana Duff
Bill Viola
Roy Dowell
Dagmar Demming
Karen Cason
Andrea Zittell
Lawrence Carroll
Mark Bradford
Christopher Williams
Sterling Ruby
Brad Spence
Ruben Ochoa
Uta Barth
Ingrid Calame
Michael Duncan
(Art
in A
mer
ica)
Gary Hill
Pipolotti Rist
Rienke Dijkstra
Linda Burnham
Marnie Weber
Alexandra Grant
Christopher Miles
(Art
foru
m)
Richard Jackson
Evan Holloway
Amy Gerstler
Taft Green
Bruce LaBruce
Jim Shaw
Laura Owens
Stan Douglas
Russell Crotty
Morgan Fischer
Richard Hawkins
Euan MacDonald
Michael Fried
WJT Mitchell
Alain Badiou
Pae White
Kim Fisher
Liz Craft
Christian Phillip Muller
Annette Weisser
Jason Meadows
Charlie White
Sylvere Lotringer
Yvonne Rainer
Glenn Phillips
(Get
tyR
esea
rch
Inst
itut
e)
Walead Beshty
Andrea Frasier
Katrin Pesch
Allan Sekula
Andrea Bowers
Michael Pisaro
Jean Pierre Gorin
CAMPUS VISITORS INCLUDE:
VISITING ARTISTS54
Cornelia Butler
(Mus
eum
of
Mod
ern
Art
)
Michael Brand
(J.P
aulG
etty
Mus
eum
)
Thomas Demand
Amy Adler
Lisa Lapinski
Patrick Hill
Thomas Schiebitz
Lecia Dole-Recio
Kristen Calabrese
Dave Hickey
Dan McCleary
Lari Pittman
Charles Garabedian
Monique Prieto
Sharon Ellis
Roy Dowell
Al Ruppersberg
Kerry Tribe
Lara Schnitger
Terry Winters
Francis Stark
Mungo Thomson
Sharon Lockhart
Edgar Arceneaux
Erica Rothenberg
John Sansini
Allegra Pesenti
(Ham
mer
Mus
eum
)
Michael McMillan
Jorge Pardo
Christopher Knight
(Los
An
gele
s Ti
mes
)
Jennifer Pastor
Jamie McMurry
Hirsch Perlman
Kurt Varnadoe
(Mus
eum
of
Mod
ern
Art
)
Derek Boshier
Alexis Smith
Paul Schimmel
Sandeep Mukherjee
Carole Caroompas
Steve Roden
Paul Sietsema
Tom Wudl
Jennifer Steinkamp
David Pagel
(Los
An
gele
s Ti
mes
)
Michael Darling
(Mus
eum
of
Con
tem
por
ary
Art
,Lo
sA
ngel
es)
Jeremy Blake
Sam Durant
Martin Kersels
Monica Majoli
Paul McCarthy
Diana Thater
Charles Long
Rachel Lachowicz
Monique Van Gendren
Lyle Ashton Harris
Toba Khedoori
Dana Duff
Bill Viola
Roy Dowell
Dagmar Demming
Karen Cason
Andrea Zittell
Lawrence Carroll
Mark Bradford
Christopher Williams
Sterling Ruby
Brad Spence
Ruben Ochoa
Uta Barth
Ingrid Calame
Michael Duncan
(Art
in A
mer
ica)
Gary Hill
Pipolotti Rist
Rienke Dijkstra
Linda Burnham
Marnie Weber
Alexandra Grant
Christopher Miles
(Art
foru
m)
Richard Jackson
Evan Holloway
Amy Gerstler
Taft Green
Bruce LaBruce
Jim Shaw
Laura Owens
Stan Douglas
Russell Crotty
Morgan Fischer
Richard Hawkins
Euan MacDonald
Michael Fried
WJT Mitchell
Alain Badiou
Pae White
Kim Fisher
Liz Craft
Christian Phillip Muller
Annette Weisser
Jason Meadows
Charlie White
Sylvere Lotringer
Yvonne Rainer
Glenn Phillips
(Get
tyR
esea
rch
Inst
itut
e)
Walead Beshty
Andrea Frasier
Katrin Pesch
Allan Sekula
Andrea Bowers
Michael Pisaro
Jean Pierre Gorin
FINE ART AT ART CENTER
55
56 SECTION TITLE
ABOVE/StudentsintheInstallation Conceptsclass//BELOW/AfieldtriptoRobertSmithson’sSpiral Jetty
1/ ArtCenter’sHillsideCampusbuilding 2/ ArtCenter’sSouthCampus|||||||||||||||||||||||||||||||||||||||||||||||||
ArtCenter’scutting-edgefacilitiesandresourcespro-videFineArtstudentswithalimitlessarrayofcreativelearningoptionsandopportunities.Theseincludeblack-and-whiteandcolorphotographylabs;filmandphotographystages;filmeditingequipment;computerlabs;arecordingstudio;fabricationshops;printmak-ingstudio;theTechnicalSkillCenter,includingthe3DRapidModelingLab,CNCmachines,modelingfacili-tiesandRapidPrototypingtechnologies;Archetype
Press,auniqueletterpressprintingfacility;theColor,Materials,andTrendsExplorationLaboratory(CMTEL),wherestudentsexplorematerialstechnologies,colorapplicationandsustainability;“smart”classrooms;exhibitionspaces;theJamesLemontFoggMemorialLibrary,offeringacomprehensivecollectionofre-sourcesonartanddesign;theFineArtSeniorProjectsGallery;andmanyothervitalresourceswhichsupportandenhancetheArtCenterlearningexperience.
2/ 1/
“ Art isn’t inherently anything. It’s nice that it’s socially ap-proved of, although the approval may be wishful inflation. The possibility that the whole thing is bullshit can’t be excluded.”
PETER SCHJELDAHL
“ From a certain point onward there is no longer any turning back. That is the point that must be reached.”
FRANZ KAFKA
“ Inspiration is for amateurs. The rest of us just show up and get to work.”
CHUCK CLOSE
ABOVE/StudentsintheInstallation Conceptsclass//BELOW/AfieldtriptoRobertSmithson’sSpiral Jetty
“ I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowl-edge. Knowledge is limited. Imagination encircles the world.”
ALBERT EINSTEIN
“ Art makes nothing happen.”
W. H. AUDEN
“ Art is the desire to be different, the desire to be elsewhere.”
FRIEDRICH NIETZSCHE
1/ ArtCenter’sHillsideCampusbuilding 2/ ArtCenter’sSouthCampus|||||||||||||||||||||||||||||||||||||||||||||||||
ArtCenter’scutting-edgefacilitiesandresourcespro-videFineArtstudentswithalimitlessarrayofcreativelearningoptionsandopportunities.Theseincludeblack-and-whiteandcolorphotographylabs;filmandphotographystages;filmeditingequipment;computerlabs;arecordingstudio;fabricationshops;printmak-ingstudio;theTechnicalSkillCenter,includingthe3DRapidModelingLab,CNCmachines,modelingfacili-tiesandRapidPrototypingtechnologies;Archetype
Press,auniqueletterpressprintingfacility;theColor,Materials,andTrendsExplorationLaboratory(CMTEL),wherestudentsexplorematerialstechnologies,colorapplicationandsustainability;“smart”classrooms;exhibitionspaces;theJamesLemontFoggMemorialLibrary,offeringacomprehensivecollectionofre-sourcesonartanddesign;theFineArtSeniorProjectsGallery;andmanyothervitalresourceswhichsupportandenhancetheArtCenterlearningexperience.
2/ 1/
ABOVE/StudentsintheInstallation Conceptsclass//BELOW/AfieldtriptoRobertSmithson’sSpiral Jetty
“ A photograph is a secret about a secret. The more it tells you, the less you know.”
DIANE ARBUS
“ The moment you think you understand a great work of art, it’s dead to you.”
OSCAR WILDE
61
1/ ArtCenter’sHillsideCampusbuilding 2/ ArtCenter’sSouthCampus|||||||||||||||||||||||||||||||||||||||||||||||||
FACILITIESArtCenter’scutting-edgefacilitiesandresourcespro-videFineArtstudentswithalimitlessarrayofcreativelearningoptionsandopportunities.Theseincludeblack-and-whiteandcolorphotographylabs;filmandphotographystages;filmeditingequipment;computerlabs;arecordingstudio;fabricationshops;printmak-ingstudio;theTechnicalSkillCenter,includingthe3DRapidModelingLab,CNCmachines,modelingfacili-tiesandRapidPrototypingtechnologies;Archetype
Press,auniqueletterpressprintingfacility;theColor,Materials,andTrendsExplorationLaboratory(CMTEL),wherestudentsexplorematerialstechnologies,colorapplicationandsustainability;“smart”classrooms;exhibitionspaces;theJamesLemontFoggMemorialLibrary,offeringacomprehensivecollectionofre-sourcesonartanddesign;theFineArtSeniorProjectsGallery;andmanyothervitalresourceswhichsupportandenhancetheArtCenterlearningexperience.
1/ 2/
2/ 1/
62 Facilities
||||||3/ PrintmakingStudioandDigitalImagingLab 4/ Black-and-WhiteandColorPhotoLabs 5/ PhotographyandFilm/VideoEquipmentIssueRoom6/ PaintingStudios 7/ UndergraduateFineArtStudios 8/ L.A.TimesMediaCenter 9/ TechnicalSkillCenter||||||||||||andState-of-the-ArtComputerLabs
3/
5/
4/
63
||||||3/ PrintmakingStudioandDigitalImagingLab 4/ Black-and-WhiteandColorPhotoLabs 5/ PhotographyandFilm/VideoEquipmentIssueRoom6/ PaintingStudios 7/ UndergraduateFineArtStudios 8/ L.A.TimesMediaCenter 9/ TechnicalSkillCenter||||||||||||AhmansonAuditorium andFabricationShops
9/
8/
6/ 7/
64 Facilities
||||||10/ CastingRoom,SprayBoothsandWeldingFacilities 11/ ExtensiveArtandDesignLibrary|||WritingCenter 12/ CNCandRapidPrototypingFabricationStudio|||CopyCenter13/HillsideCampusCafé||| CenterfortheStudentExperience•
10/
11/
12/
65
||||||10/ CastingRoom,SprayBoothsandWeldingFacilities 11/ ExtensiveArtandDesignLibrary|||WritingCenter 12/ CNCandRapidPrototypingFabricationStudio|||CopyCenter13/HillsideCampusCafé||| CenterfortheStudentExperience•
13/
66 Facilities
ON-CAMPUS STUDENT STUDIOSInadditiontoclassroomsandworkshops,theFineArtDepartmentprovidesstudiostouppertermundergraduatesatastageoftheireducationwheretheyareprimarilydevelopinganindependentbodyofartwork.ThesespacescreateasenseofcommunityamongFineArtstudentsandprovideapersonalspaceforthemtoreflectandtoexecutetheirwork.Theyalsoserveasplacestodevelopin-stallationsandtomeetwithfacultyandvisitingartiststodiscusstheirprojects.Alimitednumberofindividualspacesareavailableandareassignedbylotteryandfacultyrecommendation.
67
68 Facilities
69
Since its opening in 1992, Art Center’s Alyce de Roulet Williamson Gallery has served
as a unique voice in Pasadena and beyond, engaging art and ideas of both local
and international significance.
DesignedbynotedarchitectFrederickFisherwithconstructionfundedbyArtCenterTrusteeAlyceWilliamsonandtheJamesIrvineFoundation,thegal-lery’s4,600-square-footspaceatHillsideCampusdrawsinspirationfromallareasoftheCollege.
AnactivepartnerintheeducationofArtCenterstudents,thegalleryproducesthreemajorexhibitionsayear,lookingtobothhistoryandthepresentforinspiration.
ByengagingstudentsinartissuesandconnectingtheCollege’scurriculum,itlinksstudentstoawiderangeofbothestablishedandemergingartists.
Artistswhohaveexhibitedinsoloshowsatthegal-leryincludeSolLeWitt,JamesRosenquist,JudyPfaff,MichaelMcMillanandRobertMorris.TherecentexhibitionSIX: Alumni Making Fine ArtincludedworksbyCollegealumniSharonLockhart,CharlieWhite,
JenniferSteinkamp,MarkTansey,PaeWhiteandHiroshiSugimoto.Theexhibitionrevealedhow,sincetheirgraduationfromArtCenter,theworkofthesegraduatesgaineddepth,continuityandprominence.OthersoloexhibitionsincludeAndre Kertesz: On Reading;Russell Crotty: The Universe from my Backyard;andaHiroshiSugimotoinstallationdrawnfromhisphoto-graphicseriesArchitecture.
OtherimpressiveexhibitionsincludeRadical P.A.S.T.* Contemporary Art in Pasadena,includingmodernworksfromPasadena’sNortonSimonMuseumcollectionbyRoyLichtenstein,RobertMorrisandAndyWarhol;NEURO,acollaborationbetweenthegalleryandCaltech’sNationalScienceFoundation(NSF)CenterforNeuromorphicSystemsEngineering(CNSE)thatinves-tigatednewaestheticterritoriesforthe21stcentury;Paradise Now: Picturing the Genetic Revolution,focusingonthepolitical,socialandculturalramificationsofthemonocularvisionofscience;andregeneration,lookingat21stcenturyphotographyanditschangingrelationshipwithpictorialtraditionsandphotographictechnologiesofthepast.
Thegallerystrivestoengagethebroaderpublicinaprogressivedialogueaboutartanddesignforthe21stcenturywithexhibitionssuchas2005’sReverence: Poetics and Polemics of Sustainability.Pasadenaisacityknownworldwideforitsconvergenceoftheartsandsciences,andthiswasillustratedwith2004’sEAR(th),includingacollaborationbetweenartistSteveRodenandearthsciencesresearchersfromCaltech.In2007,In the Dermispheresurveyedtheart,scienceandcultureofskinaspartofPasadena’sArt&Ideasfestival.
TheWilliamsonGalleryhaswhollyembracedtheexplorationoftheartsandsciencesasoneofitsmainprogrammaticgoals.Thegalleryseeksprojectsthatwillresonatedeeplywiththetenorofourtimes,pro-vokeintellectualdissonanceandconjureunexpectedpathwaysofthinkingforArtCenter’sstudents,faculty,alumniandthepublic.
ALYCE DE ROULETWILLIAMSON GALLERY
ABOVE/Russell Crotty:The Universe from my Backyard,installationview
70 Facilities
BELOW/InstallationviewofJennifer Steinkamp: Stiffs
ABOVE/James Rosenquist: Recent Paintings,installationviewBELOW/ ArtCenter’ssculpturegarden,withworkbyAnthonyCaro,MichelGérard,DonaldJuddandBruceNauman
71
BELOW/InstallationviewofJennifer Steinkamp: Stiffs
ABOVE/ TwoviewsofHiroshi Sugimoto: Architecture / /BELOW/InstallationviewofRobert Morris: The Fallen And The Saved
72 Facilities
ABOVE/InstallationviewsofSIX: Art Center Alumni Working in Fine Art / /BELOW/InstallationviewofRadical P.A.S.T.*
BELOW,FROMLEFT/InstallationviewofEAR(th)bySteveRoden,MarkSimonsandAnnMariePolsenberg andNEURO: An Art And Science Collaboration
LOSANGELESInternationalArtCapital
Los Angeles is known for its unique culture, year-round sunny climate and close proximity to beaches and mountains. It also has one of the largest artist communities in the world, a rich resource for Art Center students, offering dialogues with visiting art-ists, visiting artist workshops, one-on-one mentoring, studio visits and guest lectures.
Neighboring Art Center’s Pasadena campus is an impressive collection of cultural institutions, includ-ing the Norton Simon Museum (formerly called the Pasadena Art Museum) which hosted Marcel Duchamp’s first retrospective in 1963 and today houses one of the world’s most prestigious collections of classical and modern art. Also in Pasadena is the Armory Center for the Arts, Pacific Asia Museum and Huntington Library, Art Collections and Botanical Gardens.
Students can take advantage of the Los Angeles Metro light rail system, taking the Gold Line from Pasadena to historic Chinatown, where several art galleries and an active artist community have taken root. One stop away, and just 10 miles from campus, is the heart
of downtown Los Angeles and the Arts District. Los Angeles County is composed of distinctive cities and neighborhoods, including the Miracle Mile district, Culver City, Beverly Hills and Santa Monica, where hundreds of galleries provide a large, thriving and diverse art scene.
World-class museums including the Getty Center, Los Angeles County Museum of Art and the Museum of Contemporary Art are complemented by a wide array of artist collectives and workshops, alterna-tive spaces and nonprofit institutions, notably the Museum of Jurassic Technology, Center for Land Use Interpretation, MAK Center for Art and Architecture, Hammer Museum, Outpost for Contemporary Art, Machine Project and Farmlab, among many others.
Overall, such artistic diversity and opportunity has contributed to the region’s reputation as a world center for innovative art and thinking.
FINE ART AT ART CENTER73
“IfmostAmericancitiesareabouttheconsumptionofculture,LosAngelesandNewYorkareabouttheproductionofculture—
notonlynationalculturebutglobalculture.”��
BARBARA KRUGER
ABOVE/InstallationviewsofSIX: Art Center Alumni Working in Fine Art / /BELOW/InstallationviewofRadical P.A.S.T.*
“�The�art�of�seeing�well�is�a��necessary�skill,�which�fortunately�can�be�learned.”�
MICHAEL KIMMELMAN
ABOVE/InstallationviewsofSIX: Art Center Alumni Working in Fine Art / /BELOW/InstallationviewofRadical P.A.S.T.*
BELOW,FROMLEFT/InstallationviewofEAR(th)bySteveRoden,MarkSimonsandAnnMariePolsenberg andNEURO: An Art And Science Collaboration
ABOVE/InstallationviewsofSIX: Art Center Alumni Working in Fine Art / /BELOW/InstallationviewofRadical P.A.S.T.*
LOSANGELESInternationalArtCapital
Los Angeles is known for its unique culture, year-round sunny climate and close proximity to beaches and mountains. It also has one of the largest artist communities in the world, a rich resource for Art Center students, offering dialogues with visiting art-ists, visiting artist workshops, one-on-one mentoring, studio visits and guest lectures.
Neighboring Art Center’s Pasadena campus is an impressive collection of cultural institutions, includ-ing the Norton Simon Museum (formerly called the Pasadena Art Museum) which hosted Marcel Duchamp’s first retrospective in 1963 and today houses one of the world’s most prestigious collections of classical and modern art. Also in Pasadena is the Armory Center for the Arts, Pacific Asia Museum and Huntington Library, Art Collections and Botanical Gardens.
Students can take advantage of the Los Angeles Metro light rail system, taking the Gold Line from Pasadena to historic Chinatown, where several art galleries and an active artist community have taken root. One stop away, and just 10 miles from campus, is the heart
of downtown Los Angeles and the Arts District. Los Angeles County is composed of distinctive cities and neighborhoods, including the Miracle Mile district, Culver City, Beverly Hills and Santa Monica, where hundreds of galleries provide a large, thriving and diverse art scene.
World-class museums including the Getty Center, Los Angeles County Museum of Art and the Museum of Contemporary Art are complemented by a wide array of artist collectives and workshops, alterna-tive spaces and nonprofit institutions, notably the Museum of Jurassic Technology, Center for Land Use Interpretation, MAK Center for Art and Architecture, Hammer Museum, Outpost for Contemporary Art, Machine Project and Farmlab, among many others.
Overall, such artistic diversity and opportunity has contributed to the region’s reputation as a world center for innovative art and thinking.
FINE ART AT ART CENTER75
“IfmostAmericancitiesareabouttheconsumptionofculture,LosAngelesandNewYorkareabouttheproductionofculture—
notonlynationalculturebutglobalculture.”��
BARBARA KRUGER
“�Nothing,�I�think,�is��more�interesting,�more�poignant,�and�more��difficult�to�seize�than�the�intersection�of�the�self�and�history.”
LINDA NOCHLIN
“�Art�is�not�a�reflection�of�reality—it�is�the��reality�of�a�reflection.”
JEAN-LUC GODARD
“�Bad�art�is,�‘Wow!�Huh?’�and�good�art�is,�‘Huh?�Wow!’”�
ED RUSCHA
ABOVE/InstallationviewsofSIX: Art Center Alumni Working in Fine Art / /BELOW/InstallationviewofRadical P.A.S.T.*
BELOW,FROMLEFT/InstallationviewofEAR(th)bySteveRoden,MarkSimonsandAnnMariePolsenberg andNEURO: An Art And Science Collaboration
“�Desire�exceeds��the�object.”
JACQUES LACAN
“Goodtasteisthefirstrefugeofthenon-creative.Itisthelast-ditchstandoftheartist.”
MARSHALL McLUHAN
FINE ART AT ART CENTER 77
ABOVE/InstallationviewsofSIX: Art Center Alumni Working in Fine Art / /BELOW/InstallationviewofRadical P.A.S.T.*
LOSANGELESInternationalArtCapital
Los Angeles is known for its unique culture, year-round sunny climate and close proximity to beaches and mountains. It also has one of the largest artist communities in the world, a rich resource for Art Center students, offering dialogues with visiting art-ists, visiting artist workshops, one-on-one mentoring, studio visits and guest lectures.
Neighboring Art Center’s Pasadena campus is an impressive collection of cultural institutions, includ-ing the Norton Simon Museum (formerly called the Pasadena Art Museum) which hosted Marcel Duchamp’s first retrospective in 1963 and today houses one of the world’s most prestigious collections of classical and modern art. Also in Pasadena is the Armory Center for the Arts, Pacific Asia Museum and Huntington Library, Art Collections and Botanical Gardens.
Students can take advantage of the Los Angeles Metro light rail system, taking the Gold Line from Pasadena to historic Chinatown, where several art galleries and an active artist community have taken root. One stop
away, and just 10 miles from campus, is the heart of downtown Los Angeles and the Arts District. Los Angeles County is composed of distinctive cities and neighborhoods, including the Miracle Mile district, Culver City, Beverly Hills and Santa Monica, where hundreds of galleries provide a large, thriving and diverse art scene.
World-class museums including the Getty Center, Los Angeles County Museum of Art and the Museum of Contemporary Art are complemented by a wide array of artist collectives and workshops, alterna-tive spaces and nonprofit institutions, notably the Museum of Jurassic Technology, Center for Land Use Interpretation, MAK Center for Art and Architecture, Hammer Museum, Outpost for Contemporary Art, Machine Project and Farmlab, among many others.
Overall, such artistic diversity and opportunity has contributed to the region’s reputation as a world center for innovative art and thinking.
FINE ART AT ART CENTER77
“IfmostAmericancitiesareabouttheconsumptionofculture,LosAngelesandNewYorkareabouttheproductionofculture—
notonlynationalculturebutglobalculture.”��
BARBARA KRUGER
78 INNOVATIVE CURRICULUM
79FINE ART AT ART CENTER
INNOVATIVE CURRICULUM
It is an exciting time to be
an emerging artist.
Both the methods for creating art and the audience
for art are expanding, and advances in technology are
offering artists an amazing assortment of creative
opportunities.
At the same time, art’s purpose and meaning is
constantly being challenged. We live in a time of
contradictory values, accelerated change and multi-
culturalism, where universal notions of quality have
been discredited and conceptions of art’s “progress”
no longer hold true.
And as the incessant influence of popular culture—
television, movies and music—continues to redefine the
cultural zeitgeist, today’s artists find themselves
questioning the conventions of established genres.
So how is it possible to teach art today? And where
is art headed?
To help make sense of it all, Art Center’s Fine Art
Department offers an innovative curriculum, taught by
a perceptive faculty that shed light on the ways in
which artists reconsider the possibilities of art.
The following posters present just a taste of the
imaginative courses our program has offered.
80 INNOVATIVE CURRICULUM
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MAKING MEANING
Earning
a bachelor’s degree in Fine Art
at Art
Center
means
learning how to think critically, learning how
to understand and build upon cultural legacies, and
learning how to make sense of a rapidly changing world
in order to take advantage of timely opportunities. It
entails not only creating meaningful and imaginative
artwork, but also developing the ability to convinc-
ingly articulate the ideas that provoke that work.
This ability to think critically and to persuasively
express ideas also enhances employability. A life in
art should balance intellectual curiosity with the
pleasures of physical production. In the end, it is
a life that searches for meaning through making, and
desires to make a significant cultural contribution.
89FINE ART AT ART CENTER
90 INNOVATIVE CURRICULUM
THE BIG PICTURE
RECENT SPEAKERS:
Julia
Bry
an-W
ilson is an art histo-
rian and director of the Ph.D.
program in visual studies at
UC Irvine. Her research focuses
on the intersection of art and
politics since the 1960s. She
has published writings on topics
such as the visual culture of the
nuclear age, the impact of AIDS
on contemporary art and the pro-
fessionalization of institutional
critique. In her 2009 book,
Art
W
orke
rs: R
adic
al P
ract
ice
in t
he
Viet
nam
W
ar E
ra, she explores the politi-
cization of artistic labor in the
U.S. in the late 1960s and early
1970s, particularly within the
Art Workers’ Coalition and the
New York Art Strike.
Mar
gare
t Wer
thei
m is the author of
books on cultural history includ-
ing
Pyt
hag
oras
’ Tro
use
rs and
The
Pea
rly
Gat
es o
f C
yber
spac
e: A
His
tory
of
Sp
ace
from
Dan
te t
o th
e In
tern
et.
Wertheim and her twin sister
co-founded the Institute for
Figuring, an organization dedi-
cated to the poetic and aesthetic
dimensions of science, mathemat-
ics and the technical arts.
Through their work at IFF (IFF),
the Wertheim twins have curated
exhibitions on scientific and
mathematical themes at several
noteworthy galleries and museums.
Thie
rry
de D
uve is a professor of
modern and contemporary art
theory, and actively teaches and
publishes in the field. He was
a fellow at the Center for the
Advanced Study of the Visual Arts
(CASVA) at the National Gallery
of Art in Washington, D.C. He has
been a visiting professor at the
University of Lille 3 (France),
the Sorbonne (France) and at the
Hogeschool Sint-Lucas Beeldende
Kunst in Ghent (Belgium).
Kur
t And
erse
n is a best-selling
author and host of the Peabody
Award-winning public radio show
Stu
dio
360. Andersen was the co-
founder of the legendary
Spy
M
agaz
ine and authored the
New
Yor
k Ti
mes bestseller
Hey
day (Random
House), which won the Langum
Prize for the best American
historical fiction of 2007.
Each term the Humanities and Design Sciences Department
presents a lecture series titled
The
Big
Pic
ture. This series
brings leading figures and scholars to Art Center to
explore key issues of our time as well as their histori-
cal antecedents. These presentations broaden our students’
knowledge in fields outside their major, stimulate their
creative processes and enhance the intellectual climate of
the College.
91FINE ART AT ART CENTER
With
neu
rosc
ient
ists b
lazi
ng th
e tra
il to
und
erst
andi
ng th
e neu
robi
olog
y of h
uman
per
cept
ion
and
com
puta
tiona
l tec
hnol
ogist
s cr
unch
ing t
he n
umbe
rs to
crea
te n
ew m
eans
of n
euro
imag
ing,
artis
ts ar
e com
pelle
d to
ask n
ew an
d di
ffer
ent k
inds
of q
uest
ions
ab
out t
heir
own
enga
ged
proc
ess o
f loo
king
, see
ing a
nd d
oing
.
Pivo
ting o
n th
e Allo
sphe
re re
sear
ch co
nduc
ted
by th
e Art
, Med
ia an
d Tec
hnol
ogy t
eam
at U
C San
ta B
arba
ra, N
euro
ns Sp
arki
ng!
intr
oduc
es st
uden
ts to
the c
ontin
uum
of in
telle
ctua
l hist
ory,
aest
hetic
s and
syst
ems t
hink
ing t
hat e
nrich
es to
day's
bio
tech
pra
ctice
s, e.g
., cog
nitiv
e sci
ence
and
neur
opsy
chol
ogy.
We w
ill vi
sit th
e Allo
sphe
re an
d w
ith ou
r min
ds an
d br
ains
fully
rew
ired,
take
up
an
info
rmed
disc
ussio
n of
per
cept
ion
in 21
c. R
eadi
ng w
ill in
clude
wor
ks b
y key
auth
ors f
rom
pas
t and
pre
sent
(Kan
t, Be
rgso
n, Ja
mes
, Ra
mac
hand
ran,
Vare
la, S
chw
artz
, Sta
ffor
d). A
dditi
onal
view
ing w
ill in
clude
wor
ks b
y art
ists a
nd sc
ient
ists w
ho ar
e cur
rent
ly re
inve
stig
atin
g per
cept
ion
from
phe
nom
enol
ogic
al an
d ne
uro-
aest
hetic
poi
nts o
f vie
w.
Neur
ons S
park
ing:
The
orie
s of P
erce
ptio
n in
21C.
M. A
. Gre
enst
ein
Wed
nesd
ay 4
-7pm
92 MAKING MEANING
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FINE ART AT ART CENTER 95
RIGHT /MichaelFried,“WhyPhotographyMattersAsNeverBefore“GradArtSeminarlectureseries
TRANSDISCIPLINARY
STUDIOS
In the 21st century, new forms of fine
art are dissolving the boundaries between
mass media, design, film and the performing
arts. Today’s artists are reimagining how
art functions, how it is distributed, and
how its role in culture is expanding. Art
Center’s open, flexible and interdisciplin-
ary programming allows Fine Art students
to take classes in design and applied art
from other departments, and the Integrated
Studies department presents interdisciplin-
ary workshops that can sharpen skills in a
variety of mediums.
In addition to our open, flexible and inter-
disciplinary programming, Art Center offers
an innovative educational concept called
Transdisciplinary Studios (TDS). Taught by
a diverse team of faculty, these studio
workshops bring together students from dif-
ferent departments to investigate a subject
or issue of mutual interest. Popular Fine
Art-sponsored TDS courses combine graduate
and undergraduate faculty with students
from four or five departments. The Fine Art
TDS experience is distinguished from other
studio offerings in that it incorporates
a humanities course or lecture series,
providing additional critical depth and
historical context.
Recent Fine Art TDS topics have covered
a wide array of issues, from identity
politics to 21st century painting. Popular
workshops include
Dir
t, investigating cur-
rent cultural representations of landscape
in film, photography, painting and site-
specific installation and including a visit
to Robert Smithson’s
Sp
iral
Jet
ty;
Lovi
ng
Ugl
y, examining artists’ ongoing attrac-
tion to horror, the grotesque and abject
subject matter in painting, literature,
music and cinema;
Ste
alin
g P
ictu
res, consider-
ing how painting has borrowed from film,
and how in turn painting has influenced the
visualization of movies; and
Tool
s, explor-
ing the handmade in an age of digital
representation.
96 TRANSDISCIPLINARY STUDIOS
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100 TRANSDISCIPLINARY STUDIOS
10
1FINE ART AT ART CENTER
102 INNOVATIVE CURRICULUM
Today’s artists must have a global perspec-
tive. At Art Center, our participation in a
broad variety of art and design opportuni-
ties has made the world our campus. Through
collaborations with other educational
institutions, governments, organizations and
other
enterprises, our
students have recently
studied in England, Germany, France, Italy,
Japan, China, Mexico, Chile and Singapore.
GRAND TOUR
Recently, 12 Fine Art students and three
faculty members traveled to Europe to expe-
rience first-hand the extraordinary cultural
treasures as well as important international
art exhibitions including the
Ven
ice
Bie
nn
ale
in Italy;
Doc
um
enta in Kassel, Germany; and
the
Sku
lptu
r P
roje
kte
in Münster, Germany.
The grand tour began in London with pri-
vate viewings conducted by curators at the
Tate Modern, along with presentations at
the Institute of Contemporary Arts (ICA),
Serpentine Gallery, Whitechapel Gallery,
Saachi Gallery, Hayward Gallery and White
Cube. Notable scholar Chris Townsend led
studio visits with prominent artists work-
ing in England. In Venice, curatorial
scholars and artists conducted visits to
the city’s cultural treasures and guided
students through the
52n
d B
ien
nal
e d
i Ven
ezia.
In Germany, there were lectures at
Doc
um
enta
and bicycle tours of Münster. In Berlin
the brilliant editor of
Fri
eze, J
örg Heiser,
conducted tours of the Hamburger Bahnhof
Museum of Contemporary Art, Berlin’s Museum
for Photography, Kunst-Werke Institute for
Contemporary Art, and private studio visits
with prominent Berlin artists such as Thomas
Demand and Thomas Schiebitz.
Powerful experiences such as this immersive
art tour of Europe can be transformative—
dramatically expanding students’ ideas about
how and why art is produced. This is why, at
Art Center, we consider study abroad to be a
vital component in an artist’s education.
FINE ART
STUDY ABROAD
“�Banal�ideas�cannot�be�rescued�by�beautiful�execution.”
SOL LEWITT
FINE ART
STUDY ABROAD
“�Being�sure�of�yourself�means�you’re�a�fool.”
JENNY HOLZER
“�Skill�without�imagination�is��craftsmanship…�Imagination��without�skill�gives�us�modern�art.”�
TOM STOPPARD
“�The�only�thing�standing�between�me�and�great-ness�is�me.”�
WOODY ALLEN
FINE ART
STUDY ABROAD
107
Student Portfolios
108 Student Portfolios
“The Fine Art Department is rather remarkable. Every term I feel that I have been pushed to my limits, and as a result, my work is getting stronger both conceptually and formally.”RICHARD GALLING
RichardGalling�PHOTOGRAPH
RichardGallingPAINTING
109
LaurenKing�PAINTING/INSTALLATION
110 Student Portfolios
JordanSwerdloffandJenniferJoseph�SCULPTURE/INSTALATION�(1000�SQ.�FT.�PLASTIC�WRAP).
JohnKuhl�DIGITAL�IMAGE/INSTALLATION
111
“Art�Center’s�Fine�Art�program�has�shattered�my�previous�conceptions�of�art.�It�has��transformed�my�work�into�a�more�conceptual�and�conscious�practice.”�JACQUELYN DE LONGE
JacquelynDeLongeINSTALLATION
RichardCorral�PAINTING
112 Student Portfolios
“Art�Center�has�been�such�a�pivotal��and�guiding�part�of�my�education.��It�was�crucial�in�my�decision�to�ask�larger�questions�about�the�direction��of�my�work.”�JANE ANNE THOMAS
JaneAnneThomas�SCULPTURE
113
CathrinaKapteyn�WALL�SCRATCH/INSTALLATION�DETAIL�(LATEX�PAINT,�DRYWALL)
RichardGoodwin�SCULPTURE
114 Student Portfolios
“Art�Center�has�destroyed�and�reinvented�everything�I�previously�loved.�It�has�shown�me�the�complexity�and�the�roots�to�all�that��I�knew,�as�well�as�an�enormous�world�that��was�previously�unknown�to�me.�Art�Center�has�shown�me�that�the�view�of�the�eye�is�only��the�tip�of�the�iceberg.”�JAMONN ROBERTS
JamonnRoberts�PHOTOGRAPH
115
WillaimKaminski�SCULPTURE/INSTALLATION
116 Student Portfolios
GrantVetter�PAINTING�(DETAIL)
“The�Fine�Art�Department�has�been�a�wonder-ful�educational�opportunity�for�me.�So�many�of�my�teachers�prepared�great�classroom�expe-riences.�They�also�took�extra�time�to�help�me�with�graduate�school�applications�and�to�introduce�me�to�galleries.”GRANT VETTER
117
“My�experience�at�Art�Center�has�been�more�grati-fying�than�I�could�have�expected.�I�have�become�fully�involved�in�my�work�for�the�first�time.�And�I’m�in�an�environment�that�is�designed�to�grow�students�through�challenges,�encouragement�and�knowledge.”ANASTASIA HILL
AnastasiaHill�VIDEO�STILL
118 Student Portfolios
AlziraLenaRuano�VIDEO/PERFORMANCE
JeffHastings�INSTALLATION
AimeeMacabeoVIDEO�INSTALLATION
119
AlziraLenaRuano�VIDEO/PERFORMANCE
AdamMason�MIXED�MEDIA�SCULPTURE
SarahCromarty�PAINTING
120 Student Portfolios120 Student Testimonial
TheodoraAllen�PAINTING
“My work is a way for me to artic-ulate and understand the moments and sensations in my life that would otherwise remain intangible.”THEODORA ALLEN
TheodoraAllen�PHOTOGRAPH
121
AndrewCameron�PHOTOGRAPHY
122 Student Portfolios
VincentAlpino�INSTALLATION
123
JesseGillan�VIDEO�INSTALLATION
“When�I�look�back�at�the�first�pieces�I�made��at�Art�Center,�I�wonder,�‘What�was�I�thinking?’��I�had�no�idea�what�I�was�making�or�why�I�was�making�it.�Art�Center�has�completely�changed��my�life�for�the�better.�I�don’t�know�of�any�other�school�I�would�rather�attend.”JESSE GILLAN
124 Student Portfolios
NinaWaisman��INTERACTIVE�SOUND�INSTALLATION
ZhonePing�DIGITAL�PAINTING
125
“Whether�it’s�sharing�my�interests,�having�intelligent�debates�or�trading�a�little�gossip,�my�friends�at�Art�Center�keep�me�informed,�intrigued�and�entertained.”�ASHLEY LANDRUM
AshleyLandrumMIXED�MEDIA/SCULPTURE
126 Student Portfolios
EowynWilcox�DRAWINGS
127
128 Student Portfolios
“My�experience�here�has�been�one�of�immense�and�positive�change.�One�of�the�Fine�Art�Department’s�great�strengths�is�the�range�of�diversity�it�offers�students.�It�has�provided�me�the�level�of�indepen-dence�to�develop�my�practice�according�to�my�own�specific�needs�as�an�artist.”GEORGE STUBBS
GeorgeStubbs�SCULPTURE/INSTALLATION
129
DETAIL�OF�DIGITAL�IMAGE
GeorgeStubbs�DIGITAL�IMAGE
130 Student Portfolios
TristaMetz�SCULPTURE/INSTALLATION�AND�WALL�TEXT
131
EvelenaRuether�PHOTOGRAPHIC�SCULPTURE
132 Student Portfolios
JenniferJoseph�DRAWING�(GRAPHITE�ON�TORN�PAPER)
JenniferJoseph�DRAWING�(DETAIL)
133
JakeMichaels�PHOTOGRAPHS
134 Student Portfolios
ZacharyMontanaro�INSTALLATION�(DETAIL)
ElleniSclavenitis�PAINTING
135
“My�Art�Center�experience�has�been�terrify-ing,�stressful,�fun,�interesting,�overwhelming,�satisfying,�frustrating�and�rewarding.�I�am�learning�to�be�confident�about�my�vision�and�to�take�risks�with�my�work.”�ELLENI SCLAVENITIS
“I’ve�learned�to�question�in�a�way�that��gets�closer�to�the�issues�at�hand.�I�also�now�understand�that�criticism�is�not�a��negative�thing,�but�rather�a�tool�that��leads�you��toward�a�more�aware�and�com-plete�state.”��CONAN DYNES��
ConanDynes�PAINTING
136 Student Portfolios
TakayukiShimada�PAINTINGS
137
ScottMoore�DIGITAL�IMAGE
MikelleWalker�INSTALLATION�(TEA�BAGS)
138 Student Portfolios
CarlaDeasy�VIDEO�STILL
DanielleKinshella�SCULPTURE�(OIL�FILTERS)
139
“I�chose�Art�Center�because�of�its�amazing�faculty�and�visiting�artists.�I�knew�being�at�such�a�prestigious�school�would�put�me�in�a�position��to�explore�new�ways�of�identifying�with�art.”�RYAN MARK PEREZ
RyanMarkPerez�PHOTOGRAPHS
140 Student Portfolios
JordanSwerdloff�PAINTING�(60"�X�80")
JordanSwerdloff�PAINTINGS
141
JordanSwerdloff�PAINTINGS
“I have wanted to attend Art Center ever since I took my first Saturday High class in eighth grade. The training here is unmatched.”JORDAN SWERDLOFF
142 Student Portfolios
“At Art Center, I learned how to more clearly articulate what it is that I am making, and how I am making it.” ERIKA WONG
ErikaWong�INSTALLATIONS
MikelleWalker�INSTALLATION
The Fine Art program at Art Center is proud of the extraordinary achievements of its undergraduate alumni. Below are seven alumni who have achieved both recognition and suc-cess through their fine art:
DOUG AITKEN
LAWRENCE CARROLL
JORGE PARDO
JENNIFER STEINKAMP
HIROSHI SUGIMOTO
MARK TANSEY
PAE WHITE
TOP/ JenniferSteinkamp;SIX,WilliamsonGallery;projection,2007
ARTCENTERALUMNIMAKINGFINEART
FINE ART AT ART CENTER 143
“�To�travel�in�space�you�must�learn�to�leave�the�old�verbal�garbage�behind:�God�talk,�country�talk,�mother�talk,�love�talk,�party�talk.You�must�learn�to�live�alone�in�silence.�Anyone�who�prays�in�space�is�not�there.”�
WILLIAM BURROUGHS
144 Student Portfolios
“�You�shouldn’t�be�a��prisoner�of�your�own�ideas.”�
SOL LEWITT
The Fine Art program at Art Center is proud of the extraordinary achievements of its undergraduate alumni. Below are seven alumni who have achieved both recognition and suc-cess through their fine art:
DOUG AITKEN
LAWRENCE CARROLL
JORGE PARDO
JENNIFER STEINKAMP
HIROSHI SUGIMOTO
MARK TANSEY
PAE WHITE
TOP/ JenniferSteinkamp;SIX,WilliamsonGallery;projection,2007
ARTCENTERALUMNIMAKINGFINEART
FINE ART AT ART CENTER 145
“�I�am�interested�in�the�difference�between�what�I�expect�and�what�actually�happens.”�
VANESSA BEECROFT
146 Student Portfolios
“�I�prefer�to�see�with�closed�eyes.”�
JOSEF ALBERS
ArtCenteralumniworkinginfineartareadiversegroupofartistswhoexploreawidespectrumofideas,mediaandmethods.Someareacknowledgedtobeamongthemostimportantartistsworkingtoday.
What,ifanything,connectsthesealumnibesidesthefactthattheyallattendedthesameschool?Thebesttendtobethoughtfulindividualswhosecreativeendeavorsdenotetheworkofeducatedartists—artistsarmedwithaskepticalyetfertileknowledgeofhistoricalprecedent,visualcultureandwithaparticularinsightintocontemporarycriticalthinking.ThebestoftheirworkembodiestheessenceofArtCenter’sFineArtDepartment:excellencerevealedthroughanintegrationofmakingandmeaning.
Weliveinamulticulturalagefloodedwithinformation,endlessentertainmentoptions,rapidtechnologicalinnovationandincreasedglobalism.Thesecircum-stancesmirrorthecollisionofidealsweseedailyintheworkofourstudentsinbothappliedartandfineart.SoitisalsonotunexpectedthattheworkofmanyArtCenteralumniactivelydissolvestraditionalboundariesbetweenartanddesign,andartandmassmediainvariousways.Thisperpetualconflictofvaluesisincreasinglyunderstoodandilluminatedthroughtheopen-mindedandcomplexworkexploredbyArtCenter’sFineArtalumni.Theyhaveinventedartformsandstrategiesthatallowustoseeandexperiencetheworldweallinhabitinanewway.
The Fine Art program at Art Center is proud of the extraordinary achievements of its undergraduate alumni. Below are seven alumni who have achieved both recognition and suc-cess through their fine art:
DOUG AITKEN
LAWRENCE CARROLL
JORGE PARDO
JENNIFER STEINKAMP
HIROSHI SUGIMOTO
MARK TANSEY
PAE WHITE
TOP/ JenniferSteinkamp;SIX,WilliamsonGallery;projection,2007
ARTCENTERALUMNIMAKINGFINEART
FINE ART AT ART CENTER 147
NotableAlumni
BasedinNewYork,Doug Aitken (’91)navigatesbetweentheworldsofpopcultureandfineartwithaplomb.Headeptlyemploysabroadarrayofmediaandisbestknownforhisinnovativefilmandvideoinstallations.Adirectorofmorethan20musicvideos,Aitken’sworkhasbeenexhibitedattheCentreGeorgesPompidou,ParisandtheMuseumofModernArt,NewYork,amongothers.In1999,AitkenwontheGoldenLionawardatthe48th Venice Biennale.
TheworkofLosAngeles-basedLawrence Carroll (’80)breaksdownthedistinctionbetweenpaintingandsculpture.Carroll’spaintingsoftenextendbe-yondthecanvas,andinthecaseofhis“tablepaint-ings,”transformorganicallyintothree-dimensionalworks.CarrollhashadsoloexhibitionsatMuseoCorrer,Venice,Italy;andHoteldesArts,Toulon,France,amongothers.Hisworkcanbefoundinthecollectionsofseveralinstitutions,includingtheSolomonR.GuggenheimMuseum,NewYorkandtheLosAngelesCountyMuseumofArt.
Famousforbreakingdownthebarriersbetweenart,furnitureandarchitecture,LosAngeles-basedJorge Pardo(’88)createsworkthatrangesfromsmall,brightlycoloredobjectssuchaschairsandlampstolarge-scalearchitecturalpieceslike4166 Sea View Lane,hishousewhichhetemporarilyopenedtothepublicuponitscompletion.PardohashadsoloexhibitionsattheTheDiaFoundation,NewYork,andFundacióLaCaixa,Barcelona,amongothers.In2008,theMuseumofContemporaryArtinNorthMiamiorganizedacomprehensiveretrospectiveofhiswork.
Jennifer Steinkamp (’91)isaLosAngeles-basedinstallationartistwhoworkswithnewmediaandvideoprojectiontoexploreideasaboutarchitecturalspace,motionandperception.ShehashadsoloexhibitionsatLehmanMaupin,NewYorkandACME,LosAngelesandwasincludedinascreeningattheNationalGalleryinWashingtonD.C.Steinkamp’sworkwasfeaturedaspartofU2’sPopMart(1997)andElevation(2001)tours;andin2008,shewasselectedastheUnitedStatesartistrepresentativeinthe11th International Cairo Biennale.
Believingthatphotographyactsasatimemachinebypreservingmemory,NewYork-andTokyo-basedHiroshi Sugimoto (’72)stylesandphotographssubjectsthatpresentcapturedmomentsintime:waxfigures;three-dimensionalmodelsoftrigono-metricfunctions;andtheglowingscreensofmovietheaters.HisworkhasbeenthesubjectofsoloexhibitionsattheMetropolitanMuseumofArt,NewYorkandtheMuseumofModernArt,NewYorkandaretrospective,jointlypresentedbytheHirschornMuseumandSculptureGarden,WashingtonD.C.,andtheMoriArtMuseum,Tokyo.
TheworkofNewYork-basedMark Tansey (’69)featuressubjectsthatfunctionasmetaphorsonthestateofart,cultureandsociety.Tansey’spaintingsarerootedinillustrationandteasetheviewerbypresentingseeminglystraightforwarddepictionsthat,uponfurtherinspection,transformintofantas-ticimagery.TanseyhashadexhibitionsatGagosianGallery,NewYorkandtheLosAngelesCountyMu-seumofArt,andhisworkisheldinthecollectionsoftheSmithsonianAmericanArtMuseum,Washing-tonD.C.andtheWalkerArtCenter,Minneapolis.
LosAngeles-basedPae White (’91)explorestheareabetweenart,design,appliedartsandarchitecture.White’ssculpturesandinstallationsarefrequentlysite-specificandoftenappearinmuseumspacesthatdefyexhibitionconventions(abookshop,anof-fice,achildren’slearningarea).Herrecentexhibitionatthe2009VeniceBiennalefeaturedhersignaturelarge-scalemulticoloredtapestriestransformedintoadistortedbirdcage,completewithactorsportray-ing“escapee”birds.WhitehashadsoloshowsattheHammerMuseum,LosAngeles,andtheMiltonKeynesGallery,MiltonKeynes,UK;amongothers.
148 ALUMNI
TOP/DougAitken;Migration[still],2008;singlevideoprojection;24:28minuteduration;Ed.of4.
BOTTOM/ JorgePardo;Untitled—Light house,2002.
FINE ART AT ART CENTER 149
150 ALUMNI
TOP(OPPOSITEPAGE)/ LawrenceCarroll;Sala 1,2009;VeniceStudio,Italy.
BOTTOM(OPPOSITEPAGE)/ HiroshiSugimoto;Empire State Building,1997;©HiroshiSugimoto;CourtesyGagosianGallery.
TOP/ MarkTansey;Forward Retreat,1986;TheBroadFoundation,SantaMonica;©MarkTansey;Photo©DouglasM.ParkerStudio,LosAngeles.
BOTTOM/ PaeWhite
FINE ART AT ART CENTER 151
PREPARING FORA LIFE IN ARTAlifeinartdemandsacommitmenttoexcellence,arestlessimagination,endlessquestioningandapassionforproductivework.Forstudents,decidingwhattodowiththeirartisticgiftandwhattypeofcareertoembarkoncanbechallenging.
Whileacareerinfineartcanenrichlifeimmeasur-ably,itisunlikeanappliedartcareer,wherecreativeaptitudeservestheneedsofaclientortherequire-mentsofaproduct.Afineartistsetsouttofulfilltheircreativepotentialthroughthepursuitofideas,self-expressionandtheundeniablesatisfactionsofartisticproductivity.
ArtCenter’sFineArtDepartmentbelievesanabilitytothinkcomplexly,coupledwithcreativeinventionandapursuitofperfection,cangeneraterewardingopportunities.
Inthefinalanalysis,artistschoosetomakeartbecauseitisanincomparablygratifyingenterprise.Makingartandmakingmoneydon’tnecessarilygohandinhand.Onewayforartiststotemperthevagariesofthemarketplaceandensureameasureoffinancialstabilityistomasteravisualmediumwhileatartschool.Bygainingappliedartskills,artistscanpotentiallysustaintheirpracticeduringchallengingtimes.
BecauseArtCenter’slocationinPasadenaisjust10milesfromdowntownLosAngeles,ourstudentsareexposedtowhatisarguablythemostactiveproduc-tioncenterforcontemporaryartintheworld.LosAngelesisalsotheheartofthevastentertainmentindustry.ArtCenterstudentsoftenfindjobs—eitherwhileinschoolorimmediatelyaftergraduating—
“Livelikeyouwilldietomorrow,learnlikeyouwillliveforever.”
Mahatma Gandhi
“Idon’tliketosayIhavegivenmylifetoart.Iprefertosayarthasgivenmemylife.”
Frank Stella
152 PREPARING FOR A LIFE IN ART
workingasartfabricators,exhibitionpreparatorsforgalleriesandmuseums,filmandsoundeditors,fashionphotographersandstoryboardillustrators.Othersfindworkinvariousaspectsoffilmproduc-tion,animation,gamedesignandspecialeffects.Stillothersfindworkasartcriticsorartteachers.TheCollegecanhelpstudentsevaluatetheirpartic-ularaptitudesandinterestsinrelationtopotentialemploymentopportunities.
AtArtCenter,theFineArtmajorundertakeschal-lengingcourseworkthatintegratespracticalmeth-odswitharigorous,liberalartseducation.Unliketypicalartprograms,ArtCenter’sFineArtDepart-mentoffersstudentsthechancetostudywithsomeofthemostestablishedartistsinthecountry,aswellaspreeminentdesigners,photographers,filmmakersandillustrators.Studentsadditionallyinterfacewithcuttingedgeandestablishedartists,critics,curatorsandwriterswhovisittheprogram.UndergraduateshaveaccesstotheMasterofFineArtsprogram’sweeklyGraduate Seminar,wheretheycanencounternotableinternationalartistsandthinkers.Additionally,artstudentshaveopenac-cesstoallotherlecturesprovidedbythedesignandappliedartfieldswithintheschool.Thisexposuretoadynamicartscene,fromthebeginningoftheprogramtoitscompletion,helpsstudentstransitionfromthinkingofthemselvesasstudentstobelievinginthemselvesasprofessionalartists.
Ratherthanseparatetherealmsofthecommercialandfineartcommunities,weofferourstudentsabroaderunderstandingoftheartindustry.Thisbroadperspectiveopensup,ratherthanlimits,thekindsofcollaborativeprojectsourstudentscanparticipateinanditchallengesboththefineartandappliedartcommunitiestoredefinetheroleoftheartist.ManyofArtCenter’sdistinguishedFineArtalumni—JorgePardo,PaeWhite,JenniferSteinkamp,DougAitkenandMarkTansey,tonameafew—arerecognizedforbreakingdowntheseboundariesandredefiningwhatartmeansandhowitfunctions.Contemporarycultureisrapidlychang-ingasdesignersandarchitectsjoinwithartistsinreimaginingthevisuallandscape.Byofferingacur-riculumthatencompassesbothdesignandfineart,wearepreparingourstudentstohelpnegotiateandbuildthisterrain.
TheFineArtDepartmentatArtCenterdoesnotmaintaintheromanticmythsofthestrugglingartist.Manystudentsandparentsassumemoretraditionalcommercialartendeavors(illustrationorgraphicdesign)willofferthesecurityoffutureemployment,whilefineartoffersonlydeprivationanduncertainty.
Itisnotthatsimple.
Successinart,asinanyfield,isdifficulttopredict.Thefieldsofappliedartcanbeextremelycom-petitiveandgenerallyonlytheverybestgraduatescanexpecttoearnhighincomes.Fineart,thoughsomewhatmoreuncertain,hasthepotentialtobesurprisinglylucrative.
Therearemanyfactorsthatcontributetoone’sachievementinart.Yes,talent,skill,ambitionandhardworkareessential,butsoaretiming,personalrelationships,opportunityandluck.Theparticu-larnatureofanindividual’sworkandtheoveralleconomicclimatewillundoubtedlyinfluencewhattheycanexpecttoearnandaccomplish.And,again,successasanartistand“makingit”intheartworldarenotnecessarilyoneandthesame.
Whenconsideringwhethertopursueart,eachindividualshouldconsiderwhatlevelofuncertaintythey’recomfortablewith,aswellaswhatkindofrewardsthey’reseeking.
OnecertaintyisthatArtCenter’sFineArtprogramcomprehensivelyexaminesthenumerousopportu-nitiesthatexisttodayforartists,andteachesstu-dentsrealisticstrategiesforachievingtheirdreams.
FINE ART AT ART CENTER 153
154 SECTION TITLE
PublishedbytheFineArtDepartment,ArtCenterCollegeofDesign
Editorial and Curatorial Direction:LaurenceDreiband
Design:KatieHanburger,YasminKhanfortheArtCenterDesignOffice
Design Office Director:EllieEisner
Project Manager:JeredGold
Production Designer:AudreyKrauss
Associate Designers:MiguelRamirez,BrianSaldivar,MayaShin
Photography:StevenA.Heller
Faculty Portraits:RichardChoi
Additional Photography:VahéAlaverdian,LaurenceDreiband,
KenMerfeld
Writer:LaurenceDreiband
Editors:LaraWarren,MikeWinder
Copy Editor:AlexCarswell
Research:JenniferJoseph,JordanSwerdloff
Course Poster Design:LaurenceDreiband,MitchellKane
Printer:ClearImagePrintingCompany,Glendale,CA
Colophon:ThisbookwassetinSwift,designedbyGerardUnger;CourierSans
designedbyJamesGoggin;andAkkurat,designedbyLaurenzBrunner.
Additional Photography:page 73:LosAngelesimages:BroadContemporaryArtMuseum(BCAM)
castfaçadeincludinginstallationofUrban LightbyChrisBurdenby
RobertIrwin,©2009MuseumAssociates/LACMA
©2009ArtCenterCollegeofDesignTM
Allrightsreserved.Nopartofthispublicationmaybereproducedor
transmittedinanyformorbyanymeans,electronicormechanical,
includingphotocopying,recording,oranyinformationstorageor
retrievalsystemwithoutwrittenpermissionofthepublisher.
Poster art credits:Painting Strategies:DavidSeidner;TDS: Second Nature:LevivanVeluw,
CatherineOpine,ParamountVantage&CoenBrothers’“NoCountryFor
OldMen”;Verisimilitude:JamesCasebere;The Mischievous Image:JeffWall
&GerhardRichter;Experimental Film—Bodies In Orbit:BillViola&Robert
Boyd;L.A. Art & Culture:JohnBaldessari,EdRuscha&ChrisBurden;
Critical Practice:EarleLoran;Theories of Perception—Neurons Sparking:
ThomasDemand;Readings in Fine Art:FrancisAlys;Readings in Fine Art—
Art of Seeing:LeonardodaVinci&RichardAvedon;Fine Art Seminar—Sea
of Dreams:DougAitkin&HieronymousBosch;Drawing As Process:Julie
Mehretu;TDS: Wild Culture:AndreasGursky;Studio Visits—Painting in Los
Angeles:TomWudl;Studio Visits—Experimental Film/Video:DianaThater;
Professional Practices:MaurizioCattelan;Fine Art Seminar—Naked:Stanley
Spencer,RobertMapplethorpe&NobuyoshiAraki;Cream:TonyOursler;
Basics of Sculpture—Isa Genzken;TDS: Geography Is Destiny:ZoeCrosher;TDS:
Women In Art:VanessaBeecroft;TDS: Beautiful Networks:VijaCelmins;
TDS: Steeling Pictures:EdRuscha;TDS: Tools:WarnerBrothers&Stanley
Kubrick’s2001: A Space Odyssey;TDS: Loving Ugly:WernerHerzog&Klaus
Kinski’sNosferatu,PaulMcCarthy,MikeKelley,FrancisBacon,Joel-Peter
Witkin,GeorgBaselitz;Rethinking the 80s:RobertLongo
Variouscopyrightedimageshavebeenusedinthecreationofcourse
posterstohelpillustratetheissuesthatwillbediscussedintheclass-
room,andhavebeenreproducedinthispublication.Theseimageshave
beenusedforeducationalpurposesonly,andarenotintendedinany
waytoimplyorsuggestthattherespectiveownersoftheseimagescon-
sentto,approve,endorse,sponsor,orintendtoassociatewithArtCenter
CollegeofDesignoranyofitsaffiliates.Whereverpossible,wehave
attemptedtoidentifyandgivecredittothecreatorsoftheseworks.
FINE ART AT ART CENTER 155
Aleaderinartanddesigneducationfor80years,ArtCenterCollegeofDesignisdedicatedtoacademicexcellenceandoffersarigorousandtransdisci-plinarycurriculum,afacultyofnotableartistsandacommitmenttosociallyresponsibleartanddesign.Ourstudentschallengeboundariesandtakerisks,preparingthemtorealizesuccessandfulfillmentintheworldofartanddesign—andbeyond.
ArtCenterCollegeofDesign1700LidaStreetPasadena,CA91103www.artcenter.edu
Admissions Office
626.396.2373admissions@artcenter.edu
Fine Art Department
LaurenceDreibandChair,FineArtDepartmentdreiband@artcenter.edu626.396.2348
MitchellKaneDirector,FineArtDepartment626.396.2480mitchell.kane@artcenter.edu
www.artcenter.edu/fineart/infopo
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