Today, the BBC’s Autos section published the following story about Art Center Grad ID alum, Peter Treadway’s ingenious antidote to urban commuter blues: RocketSkates. Treadway (MS, ’08) began devising these motorized shoe attachments (which resemble a futuristic take on the Roman chariot, with two large red wheels attached to a metal carriage) as part of his thesis project at Art Center. Seven years later, his high concept roller skates have come to fruition, lending new dimensions of fun and functionality to the booming wearable tech space. Read on to learn more.
The age of the rocket-powered roller skates has arrived, like a futuristic ’70′s fever-dream made realTuesday, July 29th, 2014
Big in France…and beyond: Two-time Cannes Lions award winner Sebastian Leda conquers the Hispanic commercial marketFriday, July 18th, 2014
To be embraced by the notoriously finicky French is a badge of distinction for any artist. Just ask Jerry Lewis. Or Mickey Rourke. Or Charles Bukowski. Or for that matter, Sebastian Leda (00 Film), who won his second award at Cannes Lions this past May for a commercial entitled “Robocop.”
What separates Leda from the legions of directors and producers who have exited the festival with statuettes in hand is that Leda and his longtime creative collaborator, Francisco D’Amorim, are the only winners to have received prizes for spots targeted at the Hispanic market. Both “Robocop,” which took home this year’s Silver Lion award, and “Crying,” which garnered the Gold Lion at the 2010 festival, represent the kind of high production value commercials tailored to Latino audiences defining all the work produced by Dos Ex Maquina, the company Leda formed with D’Amorim shortly after graduating from Art Center.
Cannes Film Festival voters are far from alone in recognizing the value and vast reach built into Leda and D’Amorim’s business plan. The duo has been thriving both critically and commercially ever since they made the fortuitous (or prescient) decision to distinguish themselves from LA’s mob of young, hungry directors by catering to an under-served and rapidly growing viewership.
In the Q&A below, Leda gamely agreed share a few ingredients in the special sauce that’s given him a competitive advantage in the world’s most competitive (and lucrative) industry.
Of all the ways Mike Kelley has been celebrated for his pivotal contributions to contemporary art, since his death on January 31, 2012, his impact as an educator may be the most significant aspect of his legacy to go relatively unexamined, if not unsung. Kelley was a faculty member of Art Center’s Graduate Art Department from 1992 to 2007. And during his time teaching at Art Center, Kelley mentored such monumental talents as video artist Diana Thater (who now chairs the department from which she graduated), multimedia artist Pae White, installation artist Jennifer Steinkamp and Fine Art faculty member Jean Rasenberger.
In the above video, inspired by Kelley’s MOCA retrospective, these artists examine the ways in which Kelley influenced the kind of artists they’ve become, the work they create and, perhaps most importantly, how they go about crafting and sustaining a life as an exhibiting artist. Kelley has often been credited with helping raise the clout and visibility of LA’s art scene when his career took off and he declined to follow the well-worn path previous west coast supernova artists had followed to New York. As one of the first internationally acclaimed artists to root himself in Los Angeles, Kelley was, in essence, laying the groundwork for his students and their contemporaries to do the same.
If these artists’ upwardly-tilting career paths are any indication, Kelley’s impact on his students, his city and his creative discipline only gets deeper as time goes on.
After logging 11 years as Chair of Art Center’s Graduate Art department, Jeremy Gilbert-Rolfe handed over the reigns to incoming co-chairs Diana Thater and Jason Smith. Gilbert-Rolfe has spent a total of 28 years on Art Center’s faculty, and will migrate into a full-time teaching position in 2015 after a sabbatical during which he’ll dedicate himself to one of the many writing projects vying for his attention (see Q & A below for details).
Throughout his tenure with the college, Gilbert-Rolfe has had a hand in educating an impressive array of art world luminaries, including Lynn Aldrich, Lisa Anne Auerbach, David Bailey, Olivia Booth, Mason Cooley, Aaron Curry, Kevin Hanley, Nate Hylden, Melissa Kretschmer, Sharon Lockhart, T. Kelly Mason, Rebecca Norton, Steve Roden, Sterling Ruby, Frances Stark, Jennifer Steinkamp, Alexis Marguerite Teplin, Diana Thater, Pae White, Jennifer West and T.J. Wilcox. At the same time, he has distinguished himself as a formidable writer and critical thinker, best known for probing philosophical and aesthetic ideas around beauty and other issues informing the way we interact with art.
Gilbert-Rolfe makes clear in his candid and enlightening responses to our questions below that he will continue to build upon this legacy as an educator and critic.
The future of the digital novel is here thanks to Art Center faculty members Norman Klein and Margo BistisFriday, June 20th, 2014
Built with a team of artists and designers, Art Center Humanities & Sciences faculty Norman Klein and Margo Bistis released The Imaginary 20th Century, a ‘wunder-roman’ online narrative engine where fact and fiction split off and return to each other to tell the story in a unique form.
The Imaginary 20th Century is a tale of seduction, as well as espionage; of archiving and the transitive poetics of excavation. According to legend, in 1901 a woman named Carrie selects four men to seduce her, each with a version of the coming century. Inevitably, the future always spills off course. We navigate through the suitors’ worlds, follow Carrie on her travels and discover what she and her lovers forgot to notice. In 1917, Carrie’s uncle sets up a massive archive of her life. For decades, Uncle Harry had worked for the oligarchs of Los Angeles erasing crimes that might prove embarrassing. Thus, as he often explains, seduction itself is a form of espionage. In 2004, this archive was unearthed in Los Angeles.
Warner Bros. President Greg Silverman, Directors Tarsem and Tom Kuntz offer insider tips at Dot Independent Film FestivalThursday, June 5th, 2014
Film lovers and film makers from around the world will be celebrated and honored at DIFF LA, the Dot Independent Film Festival of Los Angeles, a student organized gathering on Saturday, June 7, 2014 from 9 a.m. until 10 p.m. on the Art Center College of Design Hillside Campus at 1700 Lida Street in Pasadena. The event is free and open to the public. More than 200 U.S. and international student filmmakers vying for exposure in the celluloid landscape submitted work hoping to be selected to screen and maybe even stand out as an award winner in this 2nd annual festival.
Kicking off the event is Greg Silverman, president, Creative Development and Worldwide Production, Warner Bros. Pictures and Art Center Trustee. Additional special guests making appearances during the day are film director and Art Center alumnus Tarsem (Immortals, Mirror Mirror, The Fall) and commercial director Tom Kuntz (Old Spice, Skittles, The Man Your Man Could Smell Like).