When we were first approached to create this donor Thank You video, we were very excited and honored to represent Art Center by doing what we love. Projects that are about value is our niche and purpose. We knew it was an opportunity to write history and create a positive legacy by expressing our gratitude to those who helped us get where we are today.
Archive for the ‘Diversity’ Category
This guest blog post comes in response to recent digital conversation sparked by an article on MTV.com taking issue with the description for an undergraduate Fine Art course (co-taught, not incidentally, by a woman of color) entitled “Pretty Hurts.” This piece, composed by Fine Art department chair Vanalyne Green and course instructors Ariel McCleese and April Bey, was intended to contribute to this vital and momentous exchange as well as to elucidate the intentions animating the description’s provocation. We hope the dialogue will continue as we wholeheartedly embrace the values of inclusivity and gender equality that have informed this conversation as well as the work of all the artists discussed below. Please continue to weigh in with your thoughts and ideas on this dynamically shifting terrain in the comments section below.
Over 100,000 photographs, 2,000 films and videos and 500 linear feet of print materials—all documenting aspects of American design history—make the Art Center Archives a treasure trove for exploration by scholars, faculty, students and the general public. But making those materials accessible to a world beyond campus raises challenging questions: Who decides what to preserve first? Once digitized, where should a collection live online? How does one prepare for inevitable changes in technology?
To begin tackling questions like these—and to start the process of bringing the Art Center Archives to the world—the National Endowment for the Humanities in 2013 awarded the College a prestigious grant to launch a pilot project to digitize, preserve and make accessible a portion of Art Center’s industrial design collection. As the project wraps up one year later, Bob Dirig shares his thoughts about collaboration, unexpected outcomes and the future of the College as a locus of art and design scholarship.
A visiting artist and exhibition series sponsored by the undergraduate Fine Art department, open to the campus community and to the public, is bringing diverse voices and points of view to Art Center. (See full schedule of upcoming programs below.)
“Art students need to see a mix of people and perspectives, otherwise their assumptions about life, society and art are not questioned,” says Fine Art Chair Vanalyne Green. “And what is an art education for, if not to pose questions?”
The programming includes lectures, screenings, performances and exhibitions designed to expose students to artists whose work is thought-provoking and, in many cases, boundary-defying.
Last month, artist, educator and film curator Anuj Vaidya presented “Colour Me Queer: LGBTQ Voices From India,” an array of queer experimental shorts created by himself and others over the past decade.
When Fine Art faculty member Tom Knechtel and director of real estate and campus planning Rollin Homer were asked to sign a faculty and staff appeal for Art Center’s Annual Fund this past spring, they came up with a better idea: create a scholarship fund for Art Center students that would last forever.
Their idea become the Art Center Students First Scholarship, the College’s first-ever scholarship endowment supported entirely by College faculty and staff. The goal is to bring the fund up to the endowment level of $50,000 so that it can continue provide support for students every year—for as long as Art Center is around.
Our brief chat with Tom sheds some light on the impact that scholarships like Art Center Students First can have on young artists and designers and on the College.
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.