What are you doing with your special moment in time today? This pointed challenge culminates an inspiring TEDx Talk by Graphic Design alumnus Dan Goods, who works as a visual strategist (aka resident artist) at NASA’S Jet Propulsion Laboratory (JPL) in Pasadena. Here’s how Goods answers his own question: “I’m creating experiences for people that give them a moment of awe and wonder about the universe we live in.”
Posts Tagged ‘Williamson Gallery’
Seeing stars with Dan Goods: NASA’s resident wizard of wonderment and REALSPACE exhibitioning artistThursday, October 16th, 2014
The painter Willem de Kooning once said that the idea of space “is given to the artist to change if he can.” And of the real, Robert Rauschenberg opined that a painting “is more like the real world if it’s made out of the real world.” Space in painting is measured on a scale that begins with deep illusion depicting what appears beyond the window of the canvas, and moves successively forward to tangible real tactility in front of the canvas.
Where an artist chooses to work on that illusion-to-reality scale can have meaning in and of itself. And the modern history of those choices can be viewed as a kind of archeology of existential change. The exhibition REALSPACE, opening October 4 at Art Center College of Design’s Williamson Gallery, is meant to reflect on how science intersects with that history. Poeticized by artists and studied by scientists throughout human history, the intractable reality of the natural world is examined by contemporary art and artifacts included in REALSPACE.
REALSPACE will be installed in the Williamson Gallery October 4, 2014 through January 18, 2015. The public is invited to an opening reception on Friday, October 3, from 7 to 10pm. Artists in the exhibition include Adam W. Brown and Robert Root-Bernstein, James Griffith, Dan Goods, David Delgado, Santiago Lombeyda, Rebeca Méndez and Jennifer Steinkamp. Artifacts and writings by James Ferguson (1710-1776), William Herschel (1738-1822), and Sir Isaac Newton (1642-1727), on loan from The Huntington Library, are also featured in the exhibition that combines works from contemporary art and science. At its opening, the exhibition will be accompanied by a 20-page free booklet and, eventually, a 40-page catalog.
Origami seems an odd and roundabout way to arrive at the realistic likeness of a scorpion. Clay would be faster, more direct, less convoluted. And yet there’s an edgy charm to it—the calculated, maybe obsessive, brain teasingly affectionate practice of folding paper. It is, in essence, design. Good design.
It’s an old process. After paper was invented in about the 2nd century CE, it took another 400 years to migrate from China to Japan, and a few centuries more to infiltrate Europe. Folding followed along, creased and sharp, and largely ignored as a serious art until the middle of the last century when poverty-stricken factory-worker dropout Akira Yoshizawa changed everything. His experimentation risked tradition, and his introduction of a wet-folding technique expanded origami’s visual vocabulary, inviting greater artistic expression.
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 Boulevard in Venice during the 80s, 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 been assembling and archiving, with assistance, the Eames design history, 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.
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 firstname.lastname@example.org.
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.
Bricks. You know, those hard rectangular cubes made of heavy solid stuff like cement, stone, concrete, rock . . . and fungus. Yes, fungus. Clean, lightweight, extremely durable, sustainable, (dead) fungus. There’s a sculpture made of those fungal bricks shaped into a half-arc tunnel – not to mention two fungus-grown chairs – on display in the Williamson Gallery’s current exhibitionIntimate Science (through August 18).
Known for its curatorial connections to the burgeoning ArtScience movement, the Williamson Gallery’s recent projects have extended this theme to include artists who are productively reckless when considering the boundaries between traditional domains. Stitching together performance, installation art, design, citizen science, and maker-ingenuity into a complex fabric of artistic practice, ArtScience artists are challenging older single-channel paradigms.
Originally organized by curator Andrea Grover for Carnegie Mellon University’s Miller Gallery and now on a national tour, Intimate Science includes a compelling assemblage of crossover objects and intentions. The exhibition’s stop at the hillside campus has brought works by artists from London, Seattle, San Francisco, Pittsburgh, and Tokyo to join hometown L.A. participant Machine Project in provoking students, faculty, staff and a stream of inquisitive visitors.
Two recent workshops organized by Machine Project transformed a section of the gallery into an interactive learning lab for unconventional artistic palettes. Attendees examined processes that might inform future hybrid projects by harnessing the behavior of sound vibrations and twisting auditory perceptions, and interfacing with the dynamics of electricity and the natural flow of current in the human body.
At the exhibition’s opening reception on May 30, scientists from Caltech and Jet Propulsion Lab mixed with artists, designers, writers, students, faculty, and the generally curious. Carnegie Mellon’s Astria Suparak remarked on bringing the exhibition to Art Center’s gallery: “We were thrilled to open Intimate Science at the Williamson Gallery — to have the opportunity to bring the gallery’s work to Los Angeles, to be seen by a wider audience and have a larger impact.”
Intimate Science, an exhibition showcasing contemporary artists conducting projects in scientific and technological domains, opens at Art Center College of Design’s Alyce de Roulet Williamson Gallery on Friday, May 31. An opening reception, free to the public, will take place Thursday, May 30, from 7 to 9 p.m.
The Williamson Gallery, says Stephen Nowlin, founding director of the Gallery, has helped define this “briskly emerging international cultural movement.” He explains, “Science enjoys a popular patina of certainty, while behind art there is in fact cerebral order, structure and intent. The true kinship of art and science is to be found…when each discipline is allowed to encourage and ignite each other.”
Curated by Andrea Grover and organized by the Miller Gallery at Carnegie Mellon University in Pittsburgh, Intimate Science explores the shift from artists aiding science to artists “doing” science, and how this impacts the way scientific knowledge is acquired, used and shared. The exhibition continues through Aug. 18 at Art Center’s Hillside Campus in Pasadena.
In the March 2013 issue of ARTnews Magazine, arts writer Suzanne Muchnic features the Alyce de Roulet Williamson Gallery on the Art Center Hillside Campus and its nearly two decade-long series of exhibitions. The cover story, “Under the Microscope,” also features other leading contributors to the burgeoning art/science movement, noting that “in museums, schools, and research facilities, scientists and artists are swapping methods.”
“Strict old-style boundaries like the ones assumed to exist between art and science are eroding,” said Stephen Nowlin, an Art Center alumnus and founding director of the Williamson Gallery, which opened in 1992. “Traditional dichotomies such as intellect versus emotion, reason versus intuition, and the poetic versus the practical, are becoming less distinct under the influence of unprecedented communication networks and analytical tools that reveal in higher resolution and greater clarity the complex layers of things and ideas.”
VIDEO: Watch artists Augustyniak, Amzalag in conversation with Illustration Associate Chair Aaron Smith and instructor Nancy Reigelman here.
Art Center College of Design is pleased to announce the first ever West Coast exhibition by M/M (Paris), the celebrated Paris-based art and design partnership created by Mathias Augustyniak and Michaël Amzalag in 1992.
The exhibition M/MANIFESTATION runs March 8–April 28 at the Alyce de Roulet Williamson Gallery at Art Center’s Hillside Campus.
The free opening night events on Thursday, March 7 begin with a conversation with M/M (Paris) at 7:30 p.m. in the Ahmanson Auditorium, followed by a book signing and reception in the gallery. Please R.S.V.P. to email@example.com.
M/M’s close associations with the art, music and fashion worlds have led to their becoming one of the most distinctive and acclaimed creative voices of their generation, within graphic design and beyond.
As a Graduate Art student at Art Center, Lynn Aldrich experienced a creative paradigm shift after realizing “that fine art was something philosophical and critical of the status quo and yet something that could be beautiful and pleasurable and generous to the viewer.” That philosophy has consistently to informed her body of work, constructed from the ephemera of domestic life (from Brillo pads to garden hoses), over the course of her twenty-plus year career as a celebrated sculptor whose work has shown in museums around the world and is featured in the permanent collections of both LACMA and MOCA.