Michael Freund directs an actor in Sony: Change the World
Struck by a single image of a community organizer using a handheld camera to document the plight of low-income workers in Los Angeles, alumni Michael Freund and John Savedra took it upon themselves to create a Sony Electronics spec film, to honor mobile media’s power to create positive change.
Sin Palace: Horizontal Section Cut by Michael Webb, published in The Car in 2035.
Spearheaded by Graduate Art alumna and former faculty member Kati Rubinyi, The Car in 2035: Mobility Planning for the Near Future seeks to engage a broad readership in the aesthetically and intellectually complex relationship between cars and the physical environment. More than a handful of Art Center folks have contributed to the book, which features essays by Graduate Transportation Design Executive Director Geoff Wardle and Graduate Art Chair Jeremy Gilbert-Rolfe, among others, and illustrations by alumna Jiha Hwang GMDP 11. Published in March, the book and the issues it addresses became the driving force behind the creation of the nonprofit Civic Projects Foundation, founded and led by Rubinyi. Its mission—initiating projects for the public benefit that break down silos among professional disciplines—was inspired, in part, by Art Center. “My education and later experience at the College did nothing less than pry open my mind to new values and to other communities of practice, which was a much-needed antidote to my professional experience at that time,” says Rubinyi, whose background is in urban planning, architecture and art. Civic Projects welcomes collaboration and support from anyone who recognizes the need for more creativity in positively shaping the future of urban and suburban Southern California.
This story originally appeared in Art Center’s Dot magazine. Check out Dot online for more news of alumni and faculty exhibitions, products, books, films and social impact. For a closer look at Art Center’s role in shaping the future of car design, check out this recent Westways magazine profile of Geoff Wardle.
The Rytm student project tackles the “silent killer” of hypertension.
If you’ve ever watched Star Trek, even casually, chances are you’ve seen Captain Kirk, Mr. Spock or Dr. McCoy use a tricorder, a hand-held device capable of detecting everything from an object’s chemical composition to an individual’s vital signs (“He’s dead, Jim.”).
Thanks to the tricorder, the concept of a hand-held non-invasive device that can diagnose whether somebody is pregnant, experiencing abnormal neural activity, or countless other medical scenarios, has persisted as a dream gadget for decades.
But the powerful processing capabilities and the myriad of sensors found in today’s smartphones make a tricorder seem less the stuff of science fiction and more a very tangible, and inevitable, outcome of our current technology.
Or, at least that’s what the XPRIZE Foundation thinks.
Last year the foundation launched the $10 million Qualcomm Tricorder XPRIZE competition to challenge teams from across the globe to design a device (or suite of devices) that can both accurately diagnose a set of 15 diseases independent of a healthcare professional or facility and also provide an appealing and engaging consumer user experience.
Thousands of individuals are participating in this challenge, including 14 students in an XPRIZE sponsored project at Art Center–an activity not part of the Tricorder XPRIZE but that paralleled the main competition–co-taught this past Summer term by Brian Boyl and Jeff Higashi.
In the class, students were encouraged to design a device concept that conforms to the guidelines of the XPRIZE competition. But they were also allowed to take their creations in a different direction altogether, with the understanding that their projects could serve as design inspiration for the final teams–which XPRIZE plans to name later this month–who will be in the running to create the actual medical device. Another possible outcome is that students from this class could join a like-minded team in the competition.
Continue past the break to see some of the projects the students created.
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Hannah Megery creates a painting for each bat mitzvah scholarship donor
This is a story about how even a 13-year-old can, with a little creativity, make a big difference in the lives of others.
Eighth-grader Hannah Megery had yet to choose her mitzvah (Hebrew for worthy deed) project for her upcoming bat mitzvah when her mother decided to take her and her sister Madeline on a tour of Art Center. The girls’ father, John Megery (ADVT ’95), had recently and unexpectedly passed away, and mother, Laurie, wanted them to see the school their father had attended and loved so much.
George Widodo’s witty campaign for Joe’s Pizza.
The best way to understand the essence of Art Center is to pay a visit to Pasadena and get to know some students. The quickest (and cheapest) route, however, is to travel to our recently refreshed “Students” page where you’ll find a mosaic of Polaroid-style snapshots of unfamiliar faces, containing inspiring Q&As about each student’s creative journey.
Over the next few weeks, we’ll be rolling out a series of deeper dives into the creative lives of those profile subjects, with highlights from the body of work they’ve produced at Art Center. Today’s installment looks at the winding path that lead George Widodo to study Advertising at Art Center.
How/Why did you choose Art Center?
Art Center has a reputation on its own among art schools in California and greater parts of the world for having graduates who simply don’t work at Starbucks. From what I had heard and perceived, this school is a military base camp for the creative minds. Art Center allows me to relentlessly train all the muscles in my right brain.
What was your background prior to Art Center?
Science School + Otis College of Art and Design + Life full of curiosity.
Biggest creative challenge/breakthrough you’ve faced while at Art Center?
Getting ideas, great ones. Ideas are free, anyone can grab them, yet they cannot be controlled, confined, or formulated. It has, is, and will be the challenge of every creative who makes a living with conceptual thinking.
In what ways has Art Center helped you grow as an artist/designer?
Work ethic, lifetime opportunities and the realization of how much power an artist has to influence the world.
Describe your most gratifying collaboration with a faculty member or another student?
Working on a real brief, representing the school to collaborate with Wieden + Kennedy.
How has Art Center changed your worldview and/or creative sensibility?
Everything created and invented is interesting. In visual arts, nothing is new under the umbrella. There are only new ways of seeing things.
How do you hope to change the world through your work?
I commit to make advertising that is intelligent and memorable, which compels you to think and act.
Behold the Tom Peters-designed Stingray
Ranked #1 on Automobile Magazine’s “100 Coolest Cars” list, the 1963-1967 Sting Ray designed by Art Center alumnus Peter Brock set the standard for all sports and muscle cars to follow. That achievement in design, performance and pure chrome and steel sex appeal has been near impossible to meet, which Chevrolet all but conceded to when they retired the Sting Ray name in 1976.
Now, 50 years after the original Sting Ray first hit the road, Chevrolet’s parent company, General Motors, is reviving the brand and launching a car worthy of the (now slightly altered) name. Meet the 2014 Chevrolet Corvette Stingray. You might say it takes a certain sensibility to capture the visceral appeal of that first Sting Ray and reinvent it for the 21st century. So it seems only natural that—just like the original—the 2014 Stingray would be designed by an Art Center alum.
Art Center will celebrate this transportation design legacy at its annual Car Classic on Sunday, October 27, where the College will present alumnus Tom Peters (TRANS ’80) with the Lifetime Achievement Award for his many design accomplishments with General Motors, including his work for Chevrolet and Corvette, and his leadership role in breathing new life into the legendary Stingray.
Art Center invades Myspace homepage
Update: Our quartet of students leading our Myspace occupation has produced a new batch of posts — three videos and one written narrative. Visit our Myspace profile for the latest news on how these artists and designers are devising solutions to the roadblocks and detours they encounter en route to their destination: creating something of lasting value that didn’t exist before.
Space. Whether it comes in the form of a blank canvas, an empty sound stage, a blinking cursor on a computer screen or a room of one’s own — space itself has always been fundamental to the act of creation. Art Center has long provided that space for its community of compulsively creative forward-thinking doers and makers, united by a desire to disrupt the status quo with explosive feats of imagination and artistry.
At its most basic level, it’s an invitation to create, explore and invent. And put simply, artists need their space. This was the operative principle behind the supernova success of Myspace, the 1.0 generation social network that became a hub where music lovers connected to their favorite bands. Ten years later, Myspace has reinvented itself, beginning with its June 2013 relaunch, as a social network “purpose-built to empower an infinitely expanding creative community.” The new Myspace has been designed around 21st Century creators’ needs to “connect, make, discover, collaborate, promote and expand.”
And what better place to seed that artistic ecosystem than the hothouse of creativity that is Art Center? So, for the next week, Art Center’s unique approach to bringing audacious ideas to fruition will receive unprecedented exposure as it stages an occupation of the MySpace homepage, which has a massive global reach of 35 million users.
President Lorne M. Buchman
Being surrounded each and every day by thought-provoking ideas and inspiring individuals is perhaps the greatest benefit of working at Art Center. As President, I’m in a unique position to see so much of the remarkable work created here.
A clear side effect—and thankfully, it’s a good one—is that at the end of the day I have a lot on my mind. Which is why I’d like to start sharing with you here, on occasion, my thoughts on what I’m seeing, hearing and experiencing around campus and in the larger community.
First things first: The Fall 2013 term is well underway. Before we reach that busy midterm crunch, I’d like to tell you a few things about our latest incoming class. After receiving the highest number of applicants across all disciplines in our 83-year history, Art Center this fall welcomed 361 undergraduates and 68 graduate students, our largest incoming class ever. The increase reflects the strength and growth of our academic programs, as well as the planned expansion envisioned in Create Change, Art Center’s 2011–2016 strategic plan.
In her quest to transform the known into something curious and unexpected, Los Angeles-based artist Lynn Aldrich makes a habit of scouring hardware stores such as Home Depot for materials she re-fabricates into colorful new constructions reflecting playfully on domestic architecture.
“By making these sorts of archaic physical objects that one has to walk around in reality and be near to experience,” says Aldrich, “I’m attempting to call attention to your physicality in a world that is more and more in a cloud of information.” Out of Ink, In the Dark might at first glance be mistaken for an assemblage of pads of the digital era, instruments of that very cloud. Instead, it’s a classic Aldrich “object,” as sly as it is seductive. Made of old-school ink pads, the piece sold the same day we caught up with the artist while she was installing a two-decade retrospective exhibition of her work, Lynn Aldrich: Un/Common Objects, on view through January 2014 at the Alyce de Roulet Williamson Gallery. The San Francisco gallery where Out of Ink was on display called to tell her that an East Coast collector had just purchased it.
The exhibition opens Friday, October 11 in celebration of ArtNight Pasadena. The opening night reception on Thursday, October 17, from 7 to 9 p.m., is free and open to the public. RSVP by sending a note to events@artcenter.edu.
Guest co-curators of Un/Common Objects are Christina Valentine, faculty member at Art Center College of Design and G. James Daichendt, Ed.D. associate dean and professor of art history at Azusa Pacific University.
Earlier this month, we posted a teaser trailer capturing highlights from a DesignStorm in which students conceived innovative uses for click-on attachments (code name: Blades) to Microsoft’s Surface tablet. The three-day session consisted of a group of students from the College’s various design departments facilitated by Graphic Design faculty member Gerardo Herrera along with Product Design instructor, Todd Masilko and Jeff Higashi, who teaches both Graphic and Product Design.
DesignStorms are Art Center’s trademarked immersive workshops which pair expert faculty with select upper-term design students with sponsors to form multidisciplinary teams. Over the course of the collaboration, the teams apply an intensive design methodology to identify opportunities for deeper exploration and innovation.