Lady Gaga announced, earlier this week, that she’d make her SXSW debut, headlining the music festival on March 13. But the biggest surprise was not that the mother of all little monsters would join the hordes of outliers, outcasts, oddballs and out there futurists making the pilgrimage to the annual Austin cultural convergence. It’s that she waited this long to get there. “[I'll be performing] as part of the Born This Way Foundation night on the Doritos stage,” she said via video. “I believe being an individual and speaking your mind is one of the boldest things you can do. I will be celebrating that Thursday night. We are for the bold. This is a very special show…only people who prove their boldness are able to get in.”
Archive for the ‘Events’ Category
What does Charles Ray’s faintly lumpish, touched-all-over Tractor (2004) have in common with Jeff Koons’ glistening, meticulously machined Balloon Dog (1994–2000)? And what does either of these celebrated icons have to do with Katharina Fritsch’s fluorescent yellow, human-scaled apparition Madonnenfigur (Madonna Figure) (1987)?
Anticipating the Moderna Museet survey (October 2014–January 2015) that will bring together the sculptural work of Katharina Fritsch, Jeff Koons, and Charles Ray, the exhibition’s curator and Art Center adjunct faculty member Jack Bankowsky will present a distinguished panel at Art Center’s Pasadena campus to discuss the show-in-progress and the critical issues it raises.
Ray Eames at Art Center: An alum remembers the Modernist pioneer’s commitment to inspiring the next generation of designersThursday, February 27th, 2014
Ray Eames and I first met in Chicago while judging the 1980 Society of Typographic Arts 100 show. I was the Communication Department chairman at the time and President of the Art Center Alumni Association. We would often meet for lunch near her studio offices on Washington Blvd in Venice during the 80′s, and she attended several alumni functions at Art Center during those years.
Visiting her studio was always special. Everything was still in place as it had been when Charles was still alive. Ray had ben assembling and archiving, with assistance, the Eames design history at the time and delegating the items being sorted and donated to the library of congress. There were work tables full of documents and models. And at one time she considered donating the facility to Art Center for student research facilities, to be shared with UCLA as I recall. Art Center’s leadership at the time declined the offer.
The San Marino League, a nonprofit organization of women committed to philanthropic work in the community, has been supporting fine arts in the San Gabriel Valley for almost 60 years. The League’s relationship with Art Center dates back to the College’s earliest days in Pasadena and to date the League has donated more than $580,000 to Art Center.
On Friday, April 4 and Saturday, April 5 from 10:00 a.m. to 4:00 p.m. the League will host its biennial fundraiser, Art Walk XXVII, in appreciation of art, architecture and landscape design. A $40 ticket to Art Walk XXVII provides rare entry into four beautiful Pasadena homes and gardens and grants attendees access to amazing private art collections. The featured homes include a classic Mediterranean with Portuguese chimneys, an exquisitely restored Craftsman Japanese Farmhouse, a grandeur of French regency and a stunningly inspired French Provincial.
Tape Classified. Though it may sound like a chapter in a book on the Watergate scandal, in this case, those two loaded words are meant to be taken literally as the title and source materials for the first mural installed in the warehouse-sized West Gallery of the new 870 Building on Raymond, the latest addition to Art Center’s South Campus complex.
Measuring just shy of 70 feet, the installation consists of entirely student-created images made from tape inspired by ads on Craigslist. The idea for the mural was the result of a brainstorm by the students who wanted to tell many loosely connected stories, each sharing the same narrative DNA originating from a community based on the idea that one person’s trash (or Mid-Century Womb Chair) is inevitably another person’s treasure.
Instructor Brian Rea is thrilled with the results, not to mention the collaborative nature of the three-week exercise. “This one mural tells 80 stories with individual illustrations,” says Rea. “With eight different students, all with different styles, different attitudes, it’s been really interesting to try and systemize that on a wall.”
Before James Dyson first mesmerized TV viewers with his early demonstrations of his sleekly designed and innovatively engineered vacuum cleaner, capable of coaxing the dirt from off any surface, home cleaning devices were many things but sexy wasn’t one of them. But after Dyson’s invention captured the popular imagination (not to mention a landfill’s worth of grit and grime) and became the industry standard for home suction, consumers’ perceptions (and expectations) of vacuums were forever altered, in terms of both performance and prettiness.
Though such paradigm shifting innovations are dependent upon a mysterious combination of luck, timing, research and inspiration. The Dyson company has continued to expand upon its success by upholding its high standards for innovative design and engineering. Cultivating the next generation of design innovators is another vital part of the company’s forward-thinking ethos. To that end, the James Dyson Foundation has been rewarding ground-breaking feats of creative engineering with the James Dyson Award, created in 2002, which offers a $45,000 prize to a design that “solves a problem.”
The foundation has recently started seeding the field by conducting design engineering workshops with K-12 students in Chicago. Last week that strategy graduated to the college level, when a team of Dyson engineers lead Art Center students from three departments — Transportation, Product Design and Graduate Industrial Design — in an exercise testing their teamwork, problem-solving, creativity and craftsmanship.
Tiffany Trenda at Salon Hysterique: If you attend one feminist new media art opening this year, this would be a good betTuesday, February 11th, 2014
New media performance artist and Art Center alum, Tiffany Trenda (Fine Art, ’02) will unveil her video installation, Le Grande Odalisque, at SALON HYSTERIQUE in London next Tuesday, from 6 to 10 p.m. For those of us stranded on this side of the pond, here’s an advance glimpse at the spirit animating Trenda’s work, the soiree and the larger show of like-minded creative provocateurs, which runs through April 19, 2014.
It should come as no surprise to anyone who’s ever spent time at Art Center that this is not a college that attracts loafers and procrastinators. That creative drive doesn’t slow down after graduation, as evidenced in the following compendium of alumni accomplishments.
Yves Béhar PROD 91 was featured in a Vanity Fair story about his work at the nexus of technology, design and Silicon Valley. Vanity Fair
Victor Cass ILLU 89 has been elected president of the San Gabriel Chapter of the National Institute for Mental Illness. NAMI Press Release
URB-E, designed by Art Center faculty member and alum Grant Delgatty ENVL 95, was voted best of CES 2014 by TechCrunch. Best of CES 2014
When I think about what it takes to create a great Super Bowl spot, I can’t help but first think of all of the things we had to tell our teams NOT to do to create one.
- No animals doing things animals can’t do.
- No old people doing things old people can’t do.
- No inanimate objects doing things inanimate objects can’t do.
- No Martians or other forms of aliens.
- No cavemen.
- No deserted islands.
- Nothing that uses the soundtrack from “2001 Space Odyssey.”
- Nothing that features a chimpanzee, even if it is doing things chimpanzees can do.
- No one going to heaven.
- Nothing that requires you to play me a special effects reel from a company in Finland before telling me the idea.
- No 70′s hits and site gags.
- No patriotic attempts to make people cry.
- And please, no old chestnuts I killed last year.
“There is no true terror in the bang, only the anticipation of it.” — Alfred Hitchcock
Hitchcock’s wisdom provided the inspiration for the concept of “CATASTROPHE,” a month-long exhibition of elaborately staged, large-scale, dark-toned photos created by undergraduate Film alum Samuel Gonzalez Jr. opening today (Jan. 28) at the ArcLight Theaters in Hollywood.
The 30 photographs on display in the theater lobby through March 28 juxtapose surrealist images illustrating the turmoil of the human condition against period landscapes, all the while alluding to humanity’s relationship to the artificiality of a heightened cinematic experience. The psychological narrative animating the photos informs the show’s subtextual ideas about the collision between film and reality. Gonzalez’ eerie pieces blend beauty with horror, love with betrayal and truth with despair, suggesting an open world of endless interpretations and possibilities.
Gonzalez has gained an intimate understanding of this particular confluence of ideas, after spending much of his life creatively interpreting the world around him to create new opportunities for himself. As a young Army recruit stationed in Iraq, Gonzalez’ deployed a creative outlet to offset the stress of combat by starting a rock band called Madison Avenue (after the ironically named path on which his barracks were built). That experience paved the way (financially) for him to attend Art Center’s film department and has since provided the inspiration for the mini-series he’s currently developing with one of Hollywood’s most powerful producers.