Fine Art at Art Center

AT ART CENTER

4 SECTION TITLE

FINE ARTAT ART CENTER

6 WhyStudyFineArtatArtCenter?

9 CHOICE 13 CRAFTSMANSHIP:THESATISFACTIONOFMAKINGTHINGSWELL

13 ONE-ON-ONEFACULTYMENTORS:PERSONALTEACHING

16 THIRDANDFIFTHTERMREVIEWS,SENIORPROJECTS

21 CoreFineArtFaculty

45 Faculty

49 VisitingArtists

61 Facilities

66 ON-CAMPUSSTUDENTSTUDIOS 69 ALYCEDEROULETWILLIAMSONGALLERY

77 LosAngeles:InternationalArtCapital

80 InnovativeCurriculum

89 MAKINGMEANING

96 TDS:TRANSDISCIPLINARYSTUDIOS

102 FINEARTSTUDYABROAD

107 StudentPortfoliosandTestimonials

147 ArtCenterAlumniMakingFineArt

152 PreparingforaLifeinArt

6 INTRODUCTION

WHY STUDY FINE ART AT ART CENTER?

Intodaysglobalculture,theroleoftheartistismorevitalthanever.Arttranscendslanguage,addressessocialcon-cerns,expressessharedemotions,redefinesplay,challengesprevailingvalues,thoughtfullyentertainsand,fromtimetotime,becomesamasterpiece.

Arttodayisalsooftenasmuchabouttheproductionofknowledgeasitisaboutthevisualformalaesthetic.ThatisjustoneofthereasonswhyinArtCenterCollegeofDesignsFineArtprogramweencourageourstudentstoseeartasnotjustapurelyexpressivepursuit,butalsoasanintellectualinquiry.

Ourprogramemphasizesthecreative,conceptualandtechni-calgrowthoftheindividualartistthroughacomprehensiveexplorationofallgenrespainting,photography,sculpture,installationandexperimentalfilmandvideo.Wevedesignedtheprogramtoprovideanenvironmentthatstimulatesthemind,nurturesindividualwork,respectsdiversityandmaxi-mizesourstudentsparticularabilitiesandpotentialtohelpthemdiscovertheircreativeidentity.

Itisanexpeditionconductedbyawell-respectedfaculty,comprisedofactiveandaccomplishedartistswhoshareboththeirinsightsandtheirdedicationtoinspire.Andbecauseweareapartofwhatisarguablythemostvitalandinnovativedesignschoolinthecountry,ourstudentshaveunparal-leledaccesstonotableprofessionals,sophisticatedindustrialshops,cutting-edgecomputerlabs,avastartlibraryandanarrayofworkshopsnottypicallyavailabletofineartstudents.

ArtCentersflexible,interdisciplinaryprogrammingallowsFineArtstudentstotakeclassesandworkwithfacultyfromtheCollegesvariousappliedartanddesigndepartmentsincludingIllustration,Film,GraphicDesignandPhotography

FINE ART AT ART CENTER 7

andImaging.Theseopportunitieshelpourstudentsindi-vidualizetheirworkandacquirepracticalskillsnecessaryforworkinginrelatedprofessionsskillsthatcanhelpprovidefinancialsecurityinuncertaintimes.

Inthefollowingpages,youwillfindcoursepostersthatreflecttherangeofourinnovativeFineArtcurriculumacurriculumthatcontinuouslyreconsiderswhatarthasbeenhistoricallyandsuggestspossibilitiesforwhatitcanbecome.Youwilllearnaboutourfacultyandnotablealumni,andreadfirst-handtestimonialsfromourdiverseandambitiousstudents.Finally,youwilllearnwhatitmeanstofindsuccessasanartistandthetypesofopportunitiesthatawaitanArtCentergraduate.

ArtCenterCollegeofDesignismorethansimplyanartschool.Itcanbeyourpathtovisualintelligenceandself-discovery.Andforthemotivatedstudent,itcanbeajourneyinwhichtheinterplayoftheeye,handandmindreleasethewonderoftheimagination.

LaurenceDreibandChair, Fine Art Department

8 SECTION TITLE

WHY STUDY FINE ART AT ART CENTER?

1. ChoiceTHREE FINE ART CURRICULUMSArt Center offers its Fine Art students a choice of three different tracks. Flexible programming, along with personal mentoring and guidance from the Department Chair, can provide an opportunity for a customized course of study. For example, students in the Core Track can structure a sequence of classes that combine specific interests such as video and installation or painting and digital photography.

SHORT PAGE

TERM 1

Rethinking Art

Design 1

Materials: Art and Design

Drawing Concepts 1

Writing Studio

TERM 2

Introduction to Modernism

Design 2

Digital Design 1

Studies in Contemporary Sculpture

Drawing as Process

Painting Strategies

One-on-One

TERM 3

Critical Practice 1

Installation Concepts

Art: Structures and Systems

Basics of Photography

One-on-One

History of Art 1, 2 or 3

TERM 4

Critical Practice 2

Language of the Moving Image

History of Art 1, 2 or 3

Studio Practice

Visiting Artist Workshop or

Dialogues with Visiting Artists

TERM 5

Readings in Fine Art

Studio Visits

Transdisciplinary Studies

Fifth Term Review

TERM 6

Visiting Artist Workshop or

Dialogues with Visiting Artists

Writing About Art

TERM 7

Professional Practice

Fine Art Seminar

Senior Projects 1

TERM 8

Senior Projects 2

FINE ART CORE TRACK

The Fine Art Core Track, the most open program, emphasizes the creative, conceptual and technical growth of the individual artist through an exploration of multiple mediums: painting, photography, sculpture, installation and experimental film/video. After a rigorous foundation curriculum and an introduction to a diversity of art genres, students pursue a sequence of core classes with occasions for interdisciplinary electives.

SHORT PAGE

TERM 1

RethinkingArt

Design1

Materials:ArtandDesign

DigitalDesignCapture

WritingStudio

TERM 2

IntroductiontoModernism

Black-and-WhiteLab

CoreLighting

ViewCamera

LanguageoftheMovingImage

One-on-One

TERM 3

CriticalPractice1

InstallationConcepts

Art:StructuresandSystems

Photoshop1

ColorTheoryApplied

One-on-One

HistoryofArt1,2or3

TERM 4

CriticalPractice2

HistoryofArt1,2or3

FoundationPhotoshop

Design2:Color

VisitingArtistWorkshoporDialogueswithVisitingArtists

TERM 5

HistoryofPhotography

Photoshop2

TransdisciplinaryStudies

FifthTermReview

TERM 6


StudioVisits

ReadingsinFineArt

TERM 7

WritingAboutArt

ProfessionalPractice

FineArtSeminar

SeniorProjects1

TERM 8

SeniorProjects2

BestPractice

FINEARTPHOTOGRAPHY ANDIMAGINGTRACKTheFineArtPhotographyandImagingTrackcombinescoreandelectivefineartcourseswiththeessentialskill-buildingcoursesfromArtCentersPhotographyandImagingDepartment.Thistrack,whichsupplementstheartcurriculumwithclassesincamera,lighting,black-and-whiteandcolorfilmprintinganddigitalimaging,isforthestudentwhoiscommittedtodevelop-ingapersonalbodyofworkinphotography.

SHORT PAGE

Term1

RethinkingArt

Design1

Materials:ArtandDesign

DrawingConcepts1

WritingStudio

CompositionandDrawing

Term2

IntroductiontoModernism

Design2

DigitalDesign1

HeadandHands

CompositionandPainting

PaintingStrategies

One-on-One

Term3

CriticalPractice1

InstallationConcepts

Art:StructuresandSystems

One-on-One

HistoryofArt1,2or3

Term4

CriticalPractice2

Portraiture

HistoryofArt1,2or3

StudioPractice

One-on-One

Term5

ReadingsinFineArt

StudioVisits


NudeBody

FifthTermReview

Term6


WritingAboutArt

Term7

ProfessionalPractice

FineArtSeminar


SeniorProjects1

Term8

SeniorProjects2

FINEARTPAINTINGANDILLUSTRATIONTRACK

TheFineArtPaintingandIllustrationTrackisforthestudentwhointendstofocusonthemediumofpainting.ThistrackworksprimarilywithFineArtandIllustrationfacultytoenhancerepresentationalandrenderingskillswithadditionalfoundation,illustration,figuredrawingandtechnicalpaintingcourses.

SHORT PAGE


2. CRAFTSMANSHIP

3. ONE-ON-ONE

14 WHY STUDY FINE ART AT ART CENTER?

CRAFTSMANSHIPTHE SATISFACTION OF MAKING THINGS WELL

Artistsmakethings.AtArtCenter,weteachourstudentsthevalueofmakingthingswell.

Wefocusontheintimateconnectionbetweentheheadandthehandinthepursuitofmakingandmeaning.Whatevertheendeavor,toolortechnology,webelievethereisabasichumanimpulsetodothebestjobpossible.ArtCentersrigorousfoundationcurriculumteachesthepathtoexcellentcraftsmanship.

Arttodayembracesmanydiversemediumssuchasdrawing,paint-ing,sculpture,installation,photography,filmandvideo.Eachdistinctpracticerequirestheunderstandingofspecificmaterialsandtoolsalongsidetheknowledgeofparticularproceduresfromoilpaintap-plicationstrategiestomasteryofthelatestdigitalsoftware.Learningtheseskillsservesthosewhoaspiretodoqualitywork,andcanenableartiststorealizealltheychoosetoimagine.

ONE-ON-ONE FACULTY MENTORSPERSONAL TEACHING

Therearedistinctadvantageswhenstudentsnurturetheirartatasmall,renownedcollege.AkeyaspectofArtCentersFineArtDepartmentisthecloserelationshipsthatformbetweenfacultyandstudents.Unlikeschoolsanduniversitieswithoversizedclassesandcoursesledbygraduatestudentteachingassistants,theoptimumclasssizeatArtCenterisjust12to15students,andclassesarealwaystaughtbydistinguishedfaculty.

AllFineArtstudentsareguidedintheirstudiesbyassignedcorefacultymentors.Theseessentialone-on-oneconversationsoccurthroughouteachterm,creatingopportunitiestomonitoreachstu-dentsprogress.Inaddition,theDepartmentChairandDirectorofFineArtProgrammingkeepregularofficehours,andarealwaysavailabletomeetwithstudents.

SHORT PAGE

16 WHY STUDY FINE ART AT ART CENTER?

THIRD TERM REVIEW

Athirdtermreviewisscheduledattheconclusionofthefoundationcurriculum,allowingtheDepartmentChair,Directorandselectfacultytomeetwithstu-dentsindividuallyandassesstheirprogress.

Afterabroadexposuretothepluralismof21st-centu-ryartandanintroductiontoavarietyofartgenres,thethirdtermreviewprovidesanopportunitytosetindividualgoalsanddetermineacourseofstudythatwillallowthestudenttomasteraspecificmedium.TheideaistohelpeachstudentmakethemostoutofhisorhertimeatArtCenterbyrecommendingparticularclassesandsuggestingappropriatefacultymemberstoworkwith.Forthenovice,ArtCentercanseemlikeanendlessfeast;however,eighttermszoombyquickly,makingthistheidealtimetofocusonesstudies.

SENIOR PROJECTS

TheFineArtDepartmentbelievesthatastudentsabilitytoclearlyarticulatethepremiseandimplica-tionofhisorherartiscrucialtotheartistsultimateaccomplishment.Senior Projectsisatwo-termcoursecomingattheculminationoftheundergraduateeducation.Itisdesignedtocultivatearesponsibleapproachtothepresentationandarticulationofonespracticeasanartist.Studentsrefineexhibitionandinstallationstrategieswhilesimultaneouslydevelopinganartiststatementthatcandescriptivelyandconceptuallycontextualizetheirstudiopractice.Seniorsorganizebothsoloandgroupexhibitions,ver-ballypresentingtheirideastoaknowledgeableanddiverseFineArtfacultyaswellastotheirpeers.InSenior Projects,studentsareexposedtothedemands,rigorandvitalityofcontemporaryartpractice,andlearnhowcontemporaryartdiscoursescaninfluenceviewsonwhattheyproduce.

FIFTH TERM REVIEW

Atthefifthtermreview,corefacultyassembleto

considerastudentsworkanddirectionduringanin-

depthcriticalexaminationofhisorherachievements.

Priortothereview,studentssubmitanartiststatement

outliningtherelevantcriticalissuesandhistorical

contextfortheirworktoserveasanintroductionfor

discussion.

Fifthtermreviewsmarkthecrucialtransitionpointbetweenassignment-basedworkandthebeginningsofworkinwhichstudentsdefinetheirownpractice.Thistransitionisanongoingprocesswithinanyyoungartistsdevelopment,andwhileindividualcon-versationsbetweenstudentsandfacultycontinuouslyoccur,thefifthtermreviewisthedesignatedforumduringwhichstudentsintroducetheirindependentworkandideastothecorefaculty.Anticipatingtheoccasioncanmakestudentsabitnervous,butmostleavefeelinginspiredandenergetic.Theselivelydis-cussionsmovequickly,jumpingbetweenanalysisofconcreteprojectsandconsiderationoffuturepossibil-ities.Afterthereview,eachstudentreceivesawrittensummaryoffacultyinsightsandrecommendations.

SHORT PAGE

Beinganartistnowmeanstoquestionthenatureofart.

JOSEPH KOSUTH

SHORT PAGE SHORT PAGE

THIRD TERM REVIEW



FIFTH TERM REVIEW







discussion.


Howtotellthedifferencebetweenareturntoanarchaicformofartthatbolstersconser-vativetendenciesinthepresentandareturntoalostmodelofartmadetodisplacecustomarywaysofworking?

HAL FOSTER

SHORT PAGE SHORT PAGE

Artiscommunicationitistheabilitytomanipulatepeople.Thedifferencewithshowbusinessorpoliticsisonlythattheartistisfreer.

JEFF KOONS

Abeliefislikeaguillotine:justasheavy,justaslight.

FRANZ KAFKA

SHORT PAGE

THIRD TERM REVIEW



FIFTH TERM REVIEW







discussion.


Artistooserioustobetakenseriously.

AD REINHARDT

Employeesmakethebestdates.Youdonthavetopickthemupandtheyrealwaystax-deductible

ANDY WARHOL

SHORT PAGE

Core Fine Art Faculty

22 CORE FINE ART FACULTY

DAVID HULLFISH BAILEYDave Hullfish Baileys practice investigates the geographic and social organization of places. His projects are highly researched, but also quite playful and speculative in the way they organize the diverse infor-mation and narratives they uncover. His sculptural installations, photographs, drawings, publications and workshops cel-ebrate arts cultural function as a space for asking questions and earnestly pursuing curiosity about the world around us.

Baileys recent projects include solo exhibitions at the Secession, Vienna (2006); Casco Office for Art, Design and Theory, Utrecht (2007); and Raven Row, London (2009). His work has been included in prominent international group exhi-bitions including the Socle du Monde Biennale, Denmark (2004); and the Lyon Biennale, France (2007). His published works include three books: Union Pacific (1999), Elevator (2006) and Whats Left (2009).


LAURA COOPER

A synthesis of land art, gardening and botanical study, Laura Coopers installations trace and record change over time through the use of photography, drawing, sculpture and natural materials.

Cooper has exhibited at Angles Gallery, Santa Monica; Holly Solomon, New York; and The Contemporary Museum, Honolulu. Her site-specific installation and performance works include a week-long event at the Los Angeles Arboretum that incorporated landscape design, performance and art. Landscape design projects include the Kleinberg Residence and Contemporary Art Collection in Orange County, which was designed by Taalman Koch Architecture.


Dreibands work has been published and exhibited internationally. He has thought about art and art education for a long time, and writes, teaches and creates art pro-grams based on what hes learned. Dreiband has chaired the Fine Art Department at Art Center since 1972.

LAURENCE DREIBAND

Laurence Dreiband is a productive loiterer. He makes things, sometimes exhibits them and sometimes lives in them. His art-work blurs genres of drawing, painting, photography and film, and addresses the representation of nature and the nature of representation. Dreibands architectural design incorporates geometry in pursuit of simplicity and the essential. These inter-penetrating structures of natural materials reveal time and process, light and space, and dissolve distinctions between interior and exterior.


At the heart of Katie Grinnans work lies a fundamental interest in the dislocated relationship among sight, site and the kinesthetic. She is interested in the entropy that occurs over time in both the physical and the illusionistic world. By combining photog-raphy and sculpture, she makes it possible for social, psychological, imagined, physical and visual space to exist simultaneously, while spotlighting the incongruities between the surface and structure of an object.

Grinnan has had solo exhibitions at the Whitney Museum of American Art at Altria, New York; the Aspen Art Museum, Colorado; and most recently the MAK Center for Art and Architecture, Los Angeles. She has been included in many group exhibitions, including the 2004 Whitney Biennial at the Whitney Museum of American Art, New York; Real World: The Dissolving Space of Experience at Modern Art Oxford, England; and Second Nature: The Valentine-Adelson Collection at the Hammer Museum, Los Angeles. Her work is in the collections of the Museum of Contemporary Art, Los Angeles; the Los Angeles County Museum of Art; and the Hammer Museum. She has been awarded the AXA Artist Award, a Guggenheim fellowship and a Pollock-Krasner Foundation grant. She is represented by ACME, Los Angeles.

KATIE GRINNAN


KEVIN HANLEY

Kevin Hanleys body of work demonstrates an ongoing interest in the elusive nature of perception. Hanley experiments with video, photography, sound and painting to produce simultaneous but separateand often mutually resistantarticulations of time, movement and memory. Exhibition titles such as Sentiment and Vagrancy and Bearing and Delinquency indicate that Hanleys artworks are often described as mechanical and distant, but simultaneously playful and emotive.

Hanleys international group exhibitions include: The 50th International Art Exhibition, La Biennale di Venezia, Venice; Site Santa Fe Second Biennale, Santa Fe; Delta, Musee dArt Moderne, Paris; and Index, Museum of Contemporary Art, Los Angeles. He has been featured in numerous galler-ies including: ACME, Los Angeles; I-20, New York; Taka Ishii Gallery, Tokyo; and Galerie Christian Nagel, Cologne.


TOM KNECHTEL

Tom Knechtels paintings and drawings employ a visual language ranging from delicately descriptive to painterly and expressive, and feature a cast of men and animals and men in situations using narrative elements. They have been described as rich and idio-syncratic (Christopher Knight, Los Angeles Times) and as whispering their secrets like a love-struck moose (art critic Benjamin Weissman).

His work is in the collections of the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; and the San Francisco Museum of Modern Art, among many others. In 2001, a survey of his art, On Wanting To Grow Horns: The Little Theatre of Tom Knechtel, traveled the country.


TOM LADUKE

Tom LaDukes paintings and sculptures have been described by Artforums Micol Hebron as a powerhouse of illusiveand elusiveimagery that is thoroughly seductive and magical in its technical virtuosity. In LaDukes work, meaning is tied to its production, which involves not only skill but a singular commitment to process and investment of time. His interest also lies in a sense of poetics imbued in the work and the liminal effects of colliding the imaginary with the real.

LaDuke has been awarded the Trustee Merit Scholarship from the School of the Art Institute of Chicago. His work is in the collections of the Museum of Contemporary Art, Los Angeles, the Orange County Museum of Art, Newport Beach; the Solomon R. Guggenheim Museum, New York; and the Jumex Collection, Mexico, among others. He is represented by Angles Gallery, Santa Monica.


JOHN MILLEI

John Millei rummages though the history of painting, looking for formal clues to its past. His abstract paintings address the dialectic and sometimes polemical relation-ship between art history and the present. Los Angeles Times critic David Pagel once wrote of John Millei: If he belongs to a respectable lineage of modern painters, his more perverse pedigree would include Albert Ohlens anxious abstractions; Sigmar Polkes cunning ridicule of commercial

culture; Andy Warhols chilling expressions of alienation; and Jasper Johns uneasy fixation on the violent erasure of shared symbols in American abstract art.

His paintings and drawings have been exhib-ited internationally for more than 25 years and are in several major public and private collections. Publications include: Terra Paintings, Personal, For Surfing and Procession.


JEAN RASENBERGER

Jean Rasenbergers videos and photographs are an inquiry into portraits such as those found in nudie magazines, real estate listings, ethnographic films, paleontological sites, abandoned prisons and the headstones of dead revolutionaries. Her work explores the nar-rative matrixes and sinkholes of tropes and cues that potentially lead to subterranean passages and free-floating repositories of subject formation.

Rasenbergers work has been exhibited internationally in museums and galleries, notably the Museum of Modern Art, New York; the Louisiana Museum of Modern Art, Kunstforeningen, Copenhagen; Renaissance Society, University of Chicago; Centro Colombo-Americano, Bogota; and the Long Beach Museum of Art. She has been awarded grants through such venues as the National Endowment for the Arts, Mid-American Arts Alliance, Brody Foundation and Long Beach Museum. She has also been the recipient of an Art Center Great Teacher Award. Her work is in private collections, and can be seen at jeanrasenberger.com.


ANTHONY ZEPEDA

In Anthony Zepedas work, the choice of materials and the process of making art are as important as the subject matter. His creative process reflects an investigation into a wide variety of media and subjects, including random patterns found in scientific forms, historical references, artifacts, personal and appropriated photography, and designs happened upon by chance. Much of his work has been informed by travels to remote destinations within Asia, South America and Europe.

A significant element of Zepedas practice comes from his exposure to artists through years of collaboration. As a former Master

Printmaker at Gemini G.E.L., his career includes working with renowned artists such as Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Richard Serra, Bruce Nauman, Richard Diebenkorn and Edward Ruscha. Zepeda has exhibited his personal work nationally and internationally since 1980. Recent group exhibitions include Confluence of 9 at the National Gallery of Thailand. Recent solo shows include exhibitions at Andlab, Los Angeles and MOMA, Rio de Janiero.


ABOVE/ POSTERSFORCLASSESTAUGHTBYTHECOREFINEARTFACULTY

SHORT PAGE


SHORT PAGE

Among the most memorable experiences in the

Fine Art program are the opportunities to

meet notable artists, see their work first-

hand, and hear them speak about where they

are in their lives and careers, and how

they got there.

Visiting Artist Works

hop

is a 14-week studio

where an invited artist lectures, critiques

and works one-on-one with students.

Dialogu

es with Visiting Artists is a class that

presents two artists and considers a par-

ticular set of issues.

Studio Visits is a three-hour class that meets

weekly at a different artists studio, or

occasionally at an exhibition, during which

artists discuss both how they create and

the ideas behind their current work.

ABOVE/ FACULTYMEMBERREBECCACAMPBELLPAINTSINHERSTUDIO.

Faculty

SHORT PAGE

ROSETTA BROOKS is an art critic, writer and curator. Formerly the editor and publisher of Londons ZG magazine, she is founding edi-tor of Zg Press. Brooks has writ-ten for numerous art magazines (Artforum, Flash Art), museum cata-logs and anthologies. She received her B.A. (Hons) and Master of Philosophy from London University.

REBECCA CAMPBELL has exhibited nationally and internationally at locations including the Gagosian Gallery, L.A. Louver Gallery, Ameringer-McEnery-Yohe Fine Art and the Hammer Museum. Her work is regularly presented at art fairs including Art Basel, Art Basel Miami Beach and ADAAs The Art Show. Campbell has been fea-tured in several publications and received her B.F.A. from Pacific Northwest College of Art and her M.F.A. from UCLA.

Sculptor MASON COOLEY has been in several solo and two-person exhibitions in Los Angeles as well as group shows in Los Angeles, New York, London and Cologne. He received his B.F.A. and M.F.A. from Art Center.

ZOE CROSHER is a nationally and internationally exhibited art-ist who has shown her work in Los Angeles, New York, Vancouver and Rotterdam. She has served as an associate editor for the journal Afterall. Crosher published a mono-graph titled Out of the Window (LAX), as well as an upcoming monograph, The Reconsidered Archive of Michelle Dubois, published by Aperture Books. She received her B.A. from UC Santa Cruz and M.F.A. from CalArts.

M. A. GREENSTEIN is an internation-ally recognized researcher, pub-lisher, speaker and coach. She is a Fulbright Scholar and founder of the George Greenstein Institute, a 21st-century, whole-brain learn-ing and leadership institute. Greenstein earned her B.A. in art history and her M.A. in dance from UCLA, and her Ph.D. in inter-disciplinary arts education from Claremont Graduate University.

BRUCE HAINLEY is a poet, critic and writer who has contributed to several books on artists. He is a contributing editor for Artforum and writes for Frieze and Parkett, as well as various other contempo-rary art and culture publications. He earned his B.A. from the College of William & Mary, and his Ph.D. from Yale University.

SHORT PAGE

VISITING ARTISTS






they got there.


hop

is a 14-week studio



Dialogu









MITCHELL KANE is the director of the Fine Art program at Art Center. He previously served as director and curator for the Hirsch Farm Project, an arts-based think tank. Kane has exhibited both nationally and internation-ally, receiving several awards for his graphic design work. He earned his M.F.A. from the School of the Art Institute of Chicago.

GARY KORNBLAU is the founder of Art Issues Magazine, a seminal arts journal that was instrumental in the rise of Los Angeles as an international art capital towards the end of the 20th century. He continues to publish and edit a series of fine art books. Kornblau earned his B.A. and M.A. in phi-losophy from Columbia University.

SOO KIM has curated numerous exhi-bitions and projects since 1990, and her work has been exhibited in Los Angeles, New York, London, Seoul and the Netherlands. Her work is included in many public and private collections, including the Los Angeles County Museum of Art and The Broad Foundation. Kim earned her B.A. from UC Riverside and her M.F.A. from CalArts.

LEFT/ SOOKIM

JANE MCFADDEN is director of art and design history at Art Center. A historian of modern and con-temporary art, she is currently working on a book, Walter de Maria: Meaningless Work, segments of which have been published in Grey Room and Art Journal. She has written for Modern Painters and X-tra, and authored an essay in the anthol-ogy L.A. Artland: Contemporary Art from Los Angeles. McFadden earned her M.A. and Ph.D. from the University of Texas at Austin.

JAMIE MCMURRY has been an active artist and educator in the fields of installation, video, perfor-mance and conceptual art for more than 15 years. He has curated and organized numerous video and per-formance exhibitions in Seattle, Los Angeles, Boston and abroad. McMurry exhibits both nationally and internationally. He earned his M.F.A. from Donau-Universitt Krems.

ADAM ROSS has exhibited in numer-ous museums, including New Yorks New Museum, MOCA, San Francisco Museum of Modern Art, Museum of Contemporary Art San Diego and the ARKEN Museum of Modern Art in Copenhagen. His work is in numer-ous private and public collec-tions, including those of the Los Angeles County Museum of Art, MOCA and Orange County Museum of Art. Ross received his B.A. and M.F.A. from UC Santa Barbara, and attended the Skowhegan School of Painting and Sculpture.

JAN TUMLIR is an independent cura-tor and regular contributor to Artforum, Frieze and Flash Art. He earned his B.A. from UCLA and M.F.A. from CalArts.

49FINE ART AT ART CENTER

VISITING ARTISTS






they got there.


hop

is a 14-week studio



Dialogu









Messagesthatarecon

veyed

emotiona

llyand

sen

suou

sly

canbrea

kup

moreprejud

ices

andha

bitualbeh

aviorpa

tterns

than

umptee

npa

mph

letsand

intelle

ctua

ltreatises.

PIPILOTTI RIST

49

50VISITING ARTIST WORKSHOP

VISITING ARTISTS50

51

DIALOGUES WITH VISITING ARTISTS

FINE ART AT ART CENTER

51

STUDIO VISITS52 VISITING ARTISTS

STUDIO VISITS


VISITING ARTISTS, CRITICS AND CURATORS

At Art Center, Fine Art students learn to become

serious artists. One way they do this is by meeting

a variety of international artists. These encounters

can often serve to demystify the idea of the art-

ist, as students discover the ongoing challenges

artists face when making something meaningful.

Invariably, many artists share how they have come to

appreciate the importance of experimentation, and how

art which explores new and unfamiliar territories can

be a byproduct of failure.

Art Centers Fine Art and Graduate programs offer a

diverse array of opportunities to encounter compel-

ling visiting artists and scholars through guest

lectures, studio visits, Graduate Art speakers and

Visiting Artist Workshops.

Cornelia Butler

(Mus

eumofMod

ernArt)

Michael Brand

(J.P

aulG

ettyM

useu

m)

Thomas Demand

Amy Adler

Lisa Lapinski

Patrick Hill

Thomas Schiebitz

Lecia Dole-Recio

Kristen Calabrese

Dave Hickey

Dan McCleary

Lari Pittman

Charles Garabedian

Monique Prieto

Sharon Ellis

Roy Dowell

Al Ruppersberg

Kerry Tribe

Lara Schnitger

Terry Winters

Francis Stark

Mungo Thomson

Sharon Lockhart

Edgar Arceneaux

Erica Rothenberg

John Sansini

Allegra Pesenti

(Ham

merM

useu

m)

Michael McMillan

Jorge Pardo

Christopher Knight

(Los

Ange

les Times

)

Jennifer Pastor

Jamie McMurry

Hirsch Perlman

Kurt Varnadoe

(Mus

eumofMod

ernArt)

Derek Boshier

Alexis Smith

Paul Schimmel

Sandeep Mukherjee

Carole Caroompas

Steve Roden

Paul Sietsema

Tom Wudl

Jennifer Steinkamp

David Pagel

(Los

Ange

les Times

)

Michael Darling

(Mus

eumofCon

temporaryArt,

LosAng

eles

)

Jeremy Blake

Sam Durant

Martin Kersels

Monica Majoli

Paul McCarthy

Diana Thater

Charles Long

Rachel Lachowicz

Monique Van Gendren

Lyle Ashton Harris

Toba Khedoori

Dana Duff

Bill Viola

Roy Dowell

Dagmar Demming

Karen Cason

Andrea Zittell

Lawrence Carroll

Mark Bradford

Christopher Williams

Sterling Ruby

Brad Spence

Ruben Ochoa

Uta Barth

Ingrid Calame

Michael Duncan

(Art in

America)

Gary Hill

Pipolotti Rist

Rienke Dijkstra

Linda Burnham

Marnie Weber

Alexandra Grant

Christopher Miles

(Artforum)

Richard Jackson

Evan Holloway

Amy Gerstler

Taft Green

Bruce LaBruce

Jim Shaw

Laura Owens

Stan Douglas

Russell Crotty

Morgan Fischer

Richard Hawkins

Euan MacDonald

Michael Fried

WJT Mitchell

Alain Badiou

Pae White

Kim Fisher

Liz Craft

Christian Phillip Muller

Annette Weisser

Jason Meadows

Charlie White

Sylvere Lotringer

Yvonne Rainer

Glenn Phillips

(GettyRes

earchInstitute)

Walead Beshty

Andrea Frasier

Katrin Pesch

Allan Sekula

Andrea Bowers

Michael Pisaro

Jean Pierre Gorin

CAMPUS VISITORS INCLUDE:

VISITING ARTISTS54

Cornelia Butler

(Mus

eumofMod

ernArt)

Michael Brand

(J.P

aulG

ettyM

useu

m)

Thomas Demand

Amy Adler

Lisa Lapinski

Patrick Hill

Thomas Schiebitz

Lecia Dole-Recio

Kristen Calabrese

Dave Hickey

Dan McCleary

Lari Pittman

Charles Garabedian

Monique Prieto

Sharon Ellis

Roy Dowell

Al Ruppersberg

Kerry Tribe

Lara Schnitger

Terry Winters

Francis Stark

Mungo Thomson

Sharon Lockhart

Edgar Arceneaux

Erica Rothenberg

John Sansini

Allegra Pesenti

(Ham

merM

useu

m)

Michael McMillan

Jorge Pardo

Christopher Knight

(Los

Ange

les Times

)

Jennifer Pastor

Jamie McMurry

Hirsch Perlman

Kurt Varnadoe

(Mus

eumofMod

ernArt)

Derek Boshier

Alexis Smith

Paul Schimmel

Sandeep Mukherjee

Carole Caroompas

Steve Roden

Paul Sietsema

Tom Wudl

Jennifer Steinkamp

David Pagel

(Los

Ange

les Times

)

Michael Darling

(Mus

eumofCon

temporaryArt,

LosAng

eles

)

Jeremy Blake

Sam Durant

Martin Kersels

Monica Majoli

Paul McCarthy

Diana Thater

Charles Long

Rachel Lachowicz

Monique Van Gendren

Lyle Ashton Harris

Toba Khedoori

Dana Duff

Bill Viola

Roy Dowell

Dagmar Demming

Karen Cason

Andrea Zittell

Lawrence Carroll

Mark Bradford

Christopher Williams

Sterling Ruby

Brad Spence

Ruben Ochoa

Uta Barth

Ingrid Calame

Michael Duncan

(Art in

America)

Gary Hill

Pipolotti Rist

Rienke Dijkstra

Linda Burnham

Marnie Weber

Alexandra Grant

Christopher Miles

(Artforum)

Richard Jackson

Evan Holloway

Amy Gerstler

Taft Green

Bruce LaBruce

Jim Shaw

Laura Owens

Stan Douglas

Russell Crotty

Morgan Fischer

Richard Hawkins

Euan MacDonald

Michael Fried

WJT Mitchell

Alain Badiou

Pae White

Kim Fisher

Liz Craft

Christian Phillip Muller

Annette Weisser

Jason Meadows

Charlie White

Sylvere Lotringer

Yvonne Rainer

Glenn Phillips

(GettyRes

earchInstitute)

Walead Beshty

Andrea Frasier

Katrin Pesch

Allan Sekula

Andrea Bowers

Michael Pisaro

Jean Pierre Gorin

FINE ART AT ART CENTER

55

56 SECTION TITLE

ABOVE/StudentsintheInstallation Conceptsclass//BELOW/AfieldtriptoRobertSmithsonsSpiral Jetty

1/ ArtCentersHillsideCampusbuilding 2/ ArtCentersSouthCampus|||||||||||||||||||||||||||||||||||||||||||||||||

ArtCenterscutting-edgefacilitiesandresourcespro-videFineArtstudentswithalimitlessarrayofcreativelearningoptionsandopportunities.Theseincludeblack-and-whiteandcolorphotographylabs;filmandphotographystages;filmeditingequipment;computerlabs;arecordingstudio;fabricationshops;printmak-ingstudio;theTechnicalSkillCenter,includingthe3DRapidModelingLab,CNCmachines,modelingfacili-tiesandRapidPrototypingtechnologies;Archetype

Press,auniqueletterpressprintingfacility;theColor,Materials,andTrendsExplorationLaboratory(CMTEL),wherestudentsexplorematerialstechnologies,colorapplicationandsustainability;smartclassrooms;exhibitionspaces;theJamesLemontFoggMemorialLibrary,offeringacomprehensivecollectionofre-sourcesonartanddesign;theFineArtSeniorProjectsGallery;andmanyothervitalresourceswhichsupportandenhancetheArtCenterlearningexperience.

2/ 1/

Art isnt inherently anything. Its nice that its socially ap-proved of, although the approval may be wishful inflation. The possibility that the whole thing is bullshit cant be excluded.

PETER SCHJELDAHL

From a certain point onward there is no longer any turning back. That is the point that must be reached.

FRANZ KAFKA

Inspiration is for amateurs. The rest of us just show up and get to work.

CHUCK CLOSE


I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowl-edge. Knowledge is limited. Imagination encircles the world.

ALBERT EINSTEIN

Art makes nothing happen.

W. H. AUDEN

Art is the desire to be different, the desire to be elsewhere.

FRIEDRICH NIETZSCHE


ArtCenterscutting-edgefacilitiesandresourcespro-videFineArtstudentswithalimitlessarrayofcreativelearningoptionsandopportunities.Theseincludeblack-and-whiteandcolorphotographylabs;filmandphotographystages;filmeditingequipment;computerlabs;arecordingstudio;fabricationshops;printmak-ingstudio;theTechnicalSkillCenter,includingthe3DRapidModelingLab,CNCmachines,modelingfacili-tiesandRapidPrototypingtechnologies;Archetype


2/ 1/


A photograph is a secret about a secret. The more it tells you, the less you know.

DIANE ARBUS

The moment you think you understand a great work of art, its dead to you.

OSCAR WILDE

61


FACILITIESArtCenterscutting-edgefacilitiesandresourcespro-videFineArtstudentswithalimitlessarrayofcreativelearningoptionsandopportunities.Theseincludeblack-and-whiteandcolorphotographylabs;filmandphotographystages;filmeditingequipment;computerlabs;arecordingstudio;fabricationshops;printmak-ingstudio;theTechnicalSkillCenter,includingthe3DRapidModelingLab,CNCmachines,modelingfacili-tiesandRapidPrototypingtechnologies;Archetype


1/ 2/

2/ 1/

62 Facilities

||||||3/ PrintmakingStudioandDigitalImagingLab 4/ Black-and-WhiteandColorPhotoLabs 5/ PhotographyandFilm/VideoEquipmentIssueRoom6/ PaintingStudios 7/ UndergraduateFineArtStudios 8/ L.A.TimesMediaCenter 9/ TechnicalSkillCenter||||||||||||andState-of-the-ArtComputerLabs

3/

5/

4/

63

||||||3/ PrintmakingStudioandDigitalImagingLab 4/ Black-and-WhiteandColorPhotoLabs 5/ PhotographyandFilm/VideoEquipmentIssueRoom6/ PaintingStudios 7/ UndergraduateFineArtStudios 8/ L.A.TimesMediaCenter 9/ TechnicalSkillCenter||||||||||||AhmansonAuditorium andFabricationShops

9/

8/

6/ 7/

64 Facilities

||||||10/ CastingRoom,SprayBoothsandWeldingFacilities 11/ ExtensiveArtandDesignLibrary|||WritingCenter 12/ CNCandRapidPrototypingFabricationStudio|||CopyCenter13/HillsideCampusCaf||| CenterfortheStudentExperience

10/

11/

12/

65

||||||10/ CastingRoom,SprayBoothsandWeldingFacilities 11/ ExtensiveArtandDesignLibrary|||WritingCenter 12/ CNCandRapidPrototypingFabricationStudio|||CopyCenter13/HillsideCampusCaf||| CenterfortheStudentExperience

13/

66 Facilities

ON-CAMPUS STUDENT STUDIOSInadditiontoclassroomsandworkshops,theFineArtDepartmentprovidesstudiostouppertermundergraduatesatastageoftheireducationwheretheyareprimarilydevelopinganindependentbodyofartwork.ThesespacescreateasenseofcommunityamongFineArtstudentsandprovideapersonalspaceforthemtoreflectandtoexecutetheirwork.Theyalsoserveasplacestodevelopin-stallationsandtomeetwithfacultyandvisitingartiststodiscusstheirprojects.Alimitednumberofindividualspacesareavailableandareassignedbylotteryandfacultyrecommendation.

68 Facilities

69

Since its opening in 1992, Art Centers Alyce de Roulet Williamson Gallery has served as a unique voice in Pasadena and beyond,

engaging art and ideas of both local and international significance.

DesignedbynotedarchitectFrederickFisherwithconstructionfundedbyArtCenterTrusteeAlyceWilliamsonandtheJamesIrvineFoundation,thegal-lerys4,600-square-footspaceatHillsideCampusdrawsinspirationfromallareasoftheCollege.

AnactivepartnerintheeducationofArtCenterstudents,thegalleryproducesthreemajorexhibitionsayear,lookingtobothhistoryandthepresentforinspiration.

ByengagingstudentsinartissuesandconnectingtheCollegescurriculum,itlinksstudentstoawiderangeofbothestablishedandemergingartists.

Artistswhohaveexhibitedinsoloshowsatthegal-leryincludeSolLeWitt,JamesRosenquist,JudyPfaff,MichaelMcMillanandRobertMorris.TherecentexhibitionSIX: Alumni Making Fine ArtincludedworksbyCollegealumniSharonLockhart,CharlieWhite,

JenniferSteinkamp,MarkTansey,PaeWhiteandHiroshiSugimoto.Theexhibitionrevealedhow,sincetheirgraduationfromArtCenter,theworkofthesegraduatesgaineddepth,continuityandprominence.OthersoloexhibitionsincludeAndre Kertesz: On Reading;Russell Crotty: The Universe from my Backyard;andaHiroshiSugimotoinstallationdrawnfromhisphoto-graphicseriesArchitecture.

OtherimpressiveexhibitionsincludeRadical P.A.S.T.* Contemporary Art in Pasadena,includingmodernworksfromPasadenasNortonSimonMuseumcollectionbyRoyLichtenstein,RobertMorrisandAndyWarhol;NEURO,acollaborationbetweenthegalleryandCaltechsNationalScienceFoundation(NSF)CenterforNeuromorphicSystemsEngineering(CNSE)thatinves-tigatednewaestheticterritoriesforthe21stcentury;Paradise Now: Picturing the Genetic Revolution,focusingonthepolitical,socialandculturalramificationsofthemonocularvisionofscience;andregeneration,lookingat21stcenturyphotographyanditschangingrelationshipwithpictorialtraditionsandphotographictechnologiesofthepast.

Thegallerystrivestoengagethebroaderpublicinaprogressivedialogueaboutartanddesignforthe21stcenturywithexhibitionssuchas2005sReverence: Poetics and Polemics of Sustainability.Pasadenaisacityknownworldwideforitsconvergenceoftheartsandsciences,andthiswasillustratedwith2004sEAR(th),includingacollaborationbetweenartistSteveRodenandearthsciencesresearchersfromCaltech.In2007,In the Dermispheresurveyedtheart,scienceandcultureofskinaspartofPasadenasArt&Ideasfestival.

TheWilliamsonGalleryhaswhollyembracedtheexplorationoftheartsandsciencesasoneofitsmainprogrammaticgoals.Thegalleryseeksprojectsthatwillresonatedeeplywiththetenorofourtimes,pro-vokeintellectualdissonanceandconjureunexpectedpathwaysofthinkingforArtCentersstudents,faculty,alumniandthepublic.

ALYCE DE ROULETWILLIAMSON GALLERY

ABOVE/Russell Crotty:The Universe from my Backyard,installationview

70 Facilities

BELOW/InstallationviewofJennifer Steinkamp: Stiffs

ABOVE/James Rosenquist: Recent Paintings,installationviewBELOW/ ArtCenterssculpturegarden,withworkbyAnthonyCaro,MichelGrard,DonaldJuddandBruceNauman

71

BELOW/InstallationviewofJennifer Steinkamp: Stiffs

ABOVE/ TwoviewsofHiroshi Sugimoto: Architecture / /BELOW/InstallationviewofRobert Morris: The Fallen And The Saved

72 Facilities

ABOVE/InstallationviewsofSIX: Art Center Alumni Working in Fine Art / /BELOW/InstallationviewofRadical P.A.S.T.*

BELOW,FROMLEFT/InstallationviewofEAR(th)bySteveRoden,MarkSimonsandAnnMariePolsenberg andNEURO: An Art And Science Collaboration

LOSANGELESInternationalArtCapital

Los Angeles is known for its unique culture, year-round sunny climate and close proximity to beaches and mountains. It also has one of the largest artist communities in the world, a rich resource for Art Center students, offering dialogues with visiting art-ists, visiting artist workshops, one-on-one mentoring, studio visits and guest lectures.

Neighboring Art Centers Pasadena campus is an impressive collection of cultural institutions, includ-ing the Norton Simon Museum (formerly called the Pasadena Art Museum) which hosted Marcel Duchamps first retrospective in 1963 and today houses one of the worlds most prestigious collections of classical and modern art. Also in Pasadena is the Armory Center for the Arts, Pacific Asia Museum and Huntington Library, Art Collections and Botanical Gardens.

Students can take advantage of the Los Angeles Metro light rail system, taking the Gold Line from Pasadena to historic Chinatown, where several art galleries and an active artist community have taken root. One stop away, and just 10 miles from campus, is the heart

of downtown Los Angeles and the Arts District. Los Angeles County is composed of distinctive cities and neighborhoods, including the Miracle Mile district, Culver City, Beverly Hills and Santa Monica, where hundreds of galleries provide a large, thriving and diverse art scene.

World-class museums including the Getty Center, Los Angeles County Museum of Art and the Museum of Contemporary Art are complemented by a wide array of artist collectives and workshops, alterna-tive spaces and nonprofit institutions, notably the Museum of Jurassic Technology, Center for Land Use Interpretation, MAK Center for Art and Architecture, Hammer Museum, Outpost for Contemporary Art, Machine Project and Farmlab, among many others.

Overall, such artistic diversity and opportunity has contributed to the regions reputation as a world center for innovative art and thinking.

FINE ART AT ART CENTER73

IfmostAmericancitiesareabouttheconsumptionofculture,LosAngelesandNewYorkareabouttheproductionofculture

notonlynationalculturebutglobalculture.

BARBARA KRUGER


Theartofseeingwellisanecessaryskill,whichfortunatelycanbelearned.

MICHAEL KIMMELMAN





Students can take advantage of the Los Angeles Metro light rail system, taking the Gold Line from Pasadena to historic Chinatown, where several art galleries and an active artist community have taken root. One stop away, and just 10 miles from campus, is the heart

of downtown Los Angeles and the Arts District. Los Angeles County is composed of distinctive cities and neighborhoods, including the Miracle Mile district, Culver City, Beverly Hills and Santa Monica, where hundreds of galleries provide a large, thriving and diverse art scene.






BARBARA KRUGER

Nothing,Ithink,ismoreinteresting,morepoignant,andmoredifficulttoseizethantheintersectionoftheselfandhistory.

LINDA NOCHLIN

Artisnotareflectionofrealityitistherealityofareflection.

JEAN-LUC GODARD

Badartis,Wow!Huh?andgoodartis,Huh?Wow!

ED RUSCHA



Desireexceedstheobject.

JACQUES LACAN

Goodtasteisthefirstrefugeofthenon-creative.Itisthelast-ditchstandoftheartist.

MARSHALL McLUHAN






Students can take advantage of the Los Angeles Metro light rail system, taking the Gold Line from Pasadena to historic Chinatown, where several art galleries and an active artist community have taken root. One stop

away, and just 10 miles from campus, is the heart of downtown Los Angeles and the Arts District. Los Angeles County is composed of distinctive cities and neighborhoods, including the Miracle Mile district, Culver City, Beverly Hills and Santa Monica, where hundreds of galleries provide a large, thriving and diverse art scene.






BARBARA KRUGER

78 INNOVATIVE CURRICULUM

INNOVATIVE CURRICULUM

It is an exciting time to be

an emerging artist.

Both the methods for creating art and the audience

for art are expanding, and advances in technology are

offering artists an amazing assortment of creative

opportunities.

At the same time, arts purpose and meaning is

constantly being challenged. We live in a time of

contradictory values, accelerated change and multi-

culturalism, where universal notions of quality have

been discredited and conceptions of arts progress

no longer hold true.

And as the incessant influence of popular culture

television, movies and musiccontinues to redefine the

cultural zeitgeist, todays artists find themselves

questioning the conventions of established genres.

So how is it possible to teach art today? And where

is art headed?

To help make sense of it all, Art Centers Fine Art

Department offers an innovative curriculum, taught by

a perceptive faculty that shed light on the ways in

which artists reconsider the possibilities of art.

The following posters present just a taste of the

imaginative courses our program has offered.


MAKING MEANING

Earning

a bachelors degree in Fine Art

at Art

Center

means

learning how to think critically, learning how

to understand and build upon cultural legacies, and

learning how to make sense of a rapidly changing world

in order to take advantage of timely opportunities. It

entails not only creating meaningful and imaginative

artwork, but also developing the ability to convinc-

ingly articulate the ideas that provoke that work.

This ability to think critically and to persuasively

express ideas also enhances employability. A life in

art should balance intellectual curiosity with the

pleasures of physical production. In the end, it is

a life that searches for meaning through making, and

desires to make a significant cultural contribution.



THE BIG PICTURE

RECENT SPEAKERS:

Julia

Bryan

-Wilson is an art histo-

rian and director of the Ph.D.

program in visual studies at

UC Irvine. Her research focuses

on the intersection of art and

politics since the 1960s. She

has published writings on topics

such as the visual culture of the

nuclear age, the impact of AIDS

on contemporary art and the pro-

fessionalization of institutional

critique. In her 2009 book, Art

Worke

rs: R

adical Practice in the Vietnam

War Era, she explores the politi-

cization of artistic labor in the

U.S. in the late 1960s and early

1970s, particularly within the

Art Workers Coalition and the

New York Art Strike.

Margaret W

ertheim is the author of

books on cultural history includ-

ing Pythag

oras

Trouse

rs and Th

e Pea

rly Gates

of Cyb

ersp

ace: A History

of Spac

e from

Dan

te to the Internet.

Wertheim and her twin sister

co-founded the Institute for

Figuring, an organization dedi-

cated to the poetic and aesthetic

dimensions of science, mathemat-

ics and the technical arts.

Through their work at IFF (IFF),

the Wertheim twins have curated

exhibitions on scientific and

mathematical themes at several

noteworthy galleries and museums.

Thierry de

Duve is a professor of

modern and contemporary art

theory, and actively teaches and

publishes in the field. He was

a fellow at the Center for the

Advanced Study of the Visual Arts

(CASVA) at the National Gallery

of Art in Washington, D.C. He has

been a visiting professor at the

University of Lille 3 (France),

the Sorbonne (France) and at the

Hogeschool Sint-Lucas Beeldende

Kunst in Ghent (Belgium).

Kurt A

ndersen

is a best-selling

author and host of the Peabody

Award-winning public radio show

Studio 36

0. Andersen was the co-

founder of the legendary Spy

Mag

azine and authored the New

York

Times bestseller Heyda

y (Random

House), which won the Langum

Prize for the best American

historical fiction of 2007.

Each term the Humanities and Design Sciences Department

presents a lecture series titled Th

e Big Picture. This series

brings leading figures and scholars to Art Center to

explore key issues of our time as well as their histori-

cal antecedents. These presentations broaden our students

knowledge in fields outside their major, stimulate their

creative processes and enhance the intellectual climate of

the College.


With

neu

roscient

ists b

lazing

the t

rail to und

erstan

ding

the n

eurobiolog

y of h

uman

perception an

d compu

tatio

nal techn

olog

ists

crun

ching t

he num

bers to

crea

te new

mea

ns of

neu

roim

aging, artis

ts ar

e com

pelle

d to as

k new

and differen

t kinds

of que

stions

ab

out the

ir ow

n en

gage

d process o

f loo

king

, seeing a

nd doing

.

Pivo

ting o

n th

e Allo

sphe

re re

search

cond

ucted by

the A

rt, M

edia an

d Techn

olog

y tea

m at

UC S

anta Barba

ra, N

eurons

Sparking

! introd

uces st

uden

ts to

the c

ontin

uum of

intelle

ctua

l hist

ory, ae

sthe

tics a

nd sy

stem

s think

ing t

hat e

nrich

es to

day's

biotech

practice

s, e.g

., cog

nitiv

e scien

ce an

d ne

urop

sych

olog

y. W

e will visit

the A

llosphe

re an

d with

our m

inds

and brains

fully

rewire

d, ta

ke up an

inform

ed disc

ussio

n of perception in 21

c. R

eading

will in

clude

works

by k

ey au

thors f

rom past a

nd present

(Kan

t, Be

rgson, Ja

mes,

Ramacha

ndran, Va

rela, Sch

wartz, Stafford). A

ddition

al view

ing w

ill in

clude

works

by a

rtist

s and

scient

ists w

ho ar

e cur

rent

ly re

investigating p

erception from

phe

nomen

olog

ical an

d ne

uro-ae

sthe

tic point

s of v

iew.

Neur

ons S

park

ing: The

ories o

f Perception in 21

C.M. A. Green

stein

Wed

nesd

ay 4-7pm

92 MAKING MEANING

94 MAKING MEANING


RIGHT /MichaelFried,WhyPhotographyMattersAsNeverBeforeGradArtSeminarlectureseries

TRANSDISCIPLINARY

STUDIOS

In the 21st century, new forms of fine

art are dissolving the boundaries between

mass media, design, film and the performing

arts. Todays artists are reimagining how

art functions, how it is distributed, and

how its role in culture is expanding. Art

Centers open, flexible and interdisciplin-

ary programming allows Fine Art students

to take classes in design and applied art

from other departments, and the Integrated

Studies department presents interdisciplin-

ary workshops that can sharpen skills in a

variety of mediums.

In addition to our open, flexible and inter-

disciplinary programming, Art Center offers

an innovative educational concept called

Transdisciplinary Studios (TDS). Taught by

a diverse team of faculty, these studio

workshops bring together students from dif-

ferent departments to investigate a subject

or issue of mutual interest. Popular Fine

Art-sponsored TDS courses combine graduate

and undergraduate faculty with students

from four or five departments. The Fine Art

TDS experience is distinguished from other

studio offerings in that it incorporates

a humanities course or lecture series,

providing additional critical depth and

historical context.

Recent Fine Art TDS topics have covered

a wide array of issues, from identity

politics to 21st century painting. Popular

workshops include Dirt, investigating cur-

rent cultural representations of landscape

in film, photography, painting and site-

specific installation and including a visit

to Robert Smithsons Spiral Jetty; Lo

ving

Ugly, examining artists ongoing attrac-

tion to horror, the grotesque and abject

subject matter in painting, literature,

music and cinema; Stealing Pictures, consider-

ing how painting has borrowed from film,

and how in turn painting has influenced the

visualization of movies; and Tools, explor-

ing the handmade in an age of digital

representation.

96 TRANSDISCIPLINARY STUDIOS


Todays artists must have a global perspec-

tive. At Art Center, our participation in a

broad variety of art and design opportuni-

ties has made the world our campus. Through

collaborations with other educational

institutions, governments, organizations and

other

enterprises, our

students have recently

studied in England, Germany, France, Italy,

Japan, China, Mexico, Chile and Singapore.

GRAND TOUR

Recently, 12 Fine Art students and three

faculty members traveled to Europe to expe-

rience first-hand the extraordinary cultural

treasures as well as important international

art exhibitions including the Ve

nice Biennale

in Italy; Doc

umen

ta in Kassel, Germany; and

the Sku

lptur Projekte

in Mnster, Germany.

The grand tour began in London with pri-

vate viewings conducted by curators at the

Tate Modern, along with presentations at

the Institute of Contemporary Arts (ICA),

Serpentine Gallery, Whitechapel Gallery,

Saachi Gallery, Hayward Gallery and White

Cube. Notable scholar Chris Townsend led

studio visits with prominent artists work-

ing in England. In Venice, curatorial

scholars and artists conducted visits to

the citys cultural treasures and guided

students through the 52

nd Biennale di V

enez

ia.

In Germany, there were lectures at Doc

umen

ta

and bicycle tours of Mnster. In Berlin

the brilliant editor of Friez

e, Jrg Heiser,

conducted tours of the Hamburger Bahnhof

Museum of Contemporary Art, Berlins Museum

for Photography, Kunst-Werke Institute for

Contemporary Art, and private studio visits

with prominent Berlin artists such as Thomas

Demand and Thomas Schiebitz.

Powerful experiences such as this immersive

art tour of Europe can be transformative

dramatically expanding students ideas about

how and why art is produced. This is why, at

Art Center, we consider study abroad to be a

vital component in an artists education.

FINE ART

STUDY ABROAD

Banalideascannotberescuedbybeautifulexecution.

SOL LEWITT

FINE ART

STUDY ABROAD

Beingsureofyourselfmeansyoureafool.

JENNY HOLZER

SkillwithoutimaginationiscraftsmanshipImaginationwithoutskillgivesusmodernart.

TOM STOPPARD

Theonlythingstandingbetweenmeandgreat-nessisme.

WOODY ALLEN

FINE ART

STUDY ABROAD

107

Student Portfolios

108 Student Portfolios

The Fine Art Department is rather remarkable. Every term I feel that I have been pushed to my limits, and as a result, my work is getting stronger both conceptually and formally.RICHARD GALLING

RichardGallingPHOTOGRAPH

RichardGallingPAINTING

109

LaurenKingPAINTING/INSTALLATION


JordanSwerdloffandJenniferJosephSCULPTURE/INSTALATION(1000SQ.FT.PLASTICWRAP).

JohnKuhlDIGITALIMAGE/INSTALLATION

111

ArtCentersFineArtprogramhasshatteredmypreviousconceptionsofart.Ithastransformedmyworkintoamoreconceptualandconsciouspractice.JACQUELYN DE LONGE

JacquelynDeLongeINSTALLATION

RichardCorralPAINTING


ArtCenterhasbeensuchapivotalandguidingpartofmyeducation.Itwascrucialinmydecisiontoasklargerquestionsaboutthedirectionofmywork.JANE ANNE THOMAS

JaneAnneThomasSCULPTURE

113

CathrinaKapteynWALLSCRATCH/INSTALLATIONDETAIL(LATEXPAINT,DRYWALL)

RichardGoodwinSCULPTURE


ArtCenterhasdestroyedandreinventedeverythingIpreviouslyloved.IthasshownmethecomplexityandtherootstoallthatIknew,aswellasanenormousworldthatwaspreviouslyunknowntome.ArtCenterhasshownmethattheviewoftheeyeisonlythetipoftheiceberg.JAMONN ROBERTS

JamonnRobertsPHOTOGRAPH

115

WillaimKaminskiSCULPTURE/INSTALLATION


GrantVetterPAINTING(DETAIL)

TheFineArtDepartmenthasbeenawonder-fuleducationalopportunityforme.Somanyofmyteacherspreparedgreatclassroomexpe-riences.Theyalsotookextratimetohelpmewithgraduateschoolapplicationsandtointroducemetogalleries.GRANT VETTER

117

MyexperienceatArtCenterhasbeenmoregrati-fyingthanIcouldhaveexpected.Ihavebecomefullyinvolvedinmyworkforthefirsttime.AndIminanenvironmentthatisdesignedtogrowstudentsthroughchallenges,encouragementandknowledge.ANASTASIA HILL

AnastasiaHillVIDEOSTILL


AlziraLenaRuanoVIDEO/PERFORMANCE

JeffHastingsINSTALLATION

AimeeMacabeoVIDEOINSTALLATION

119

AlziraLenaRuanoVIDEO/PERFORMANCE

AdamMasonMIXEDMEDIASCULPTURE

SarahCromartyPAINTING

120 Student Portfolios120 Student Testimonial

TheodoraAllenPAINTING

My work is a way for me to artic-ulate and understand the moments and sensations in my life that would otherwise remain intangible.THEODORA ALLEN

TheodoraAllenPHOTOGRAPH

121

AndrewCameronPHOTOGRAPHY


VincentAlpinoINSTALLATION

123

JesseGillanVIDEOINSTALLATION

WhenIlookbackatthefirstpiecesImadeatArtCenter,Iwonder,WhatwasIthinking?IhadnoideawhatIwasmakingorwhyIwasmakingit.ArtCenterhascompletelychangedmylifeforthebetter.IdontknowofanyotherschoolIwouldratherattend.JESSE GILLAN


NinaWaismanINTERACTIVESOUNDINSTALLATION

ZhonePingDIGITALPAINTING

125

Whetheritssharingmyinterests,havingintelligentdebatesortradingalittlegossip,myfriendsatArtCenterkeepmeinformed,intriguedandentertained.ASHLEY LANDRUM

AshleyLandrumMIXEDMEDIA/SCULPTURE


EowynWilcoxDRAWINGS


Myexperienceherehasbeenoneofimmenseandpositivechange.OneoftheFineArtDepartmentsgreatstrengthsistherangeofdiversityitoffersstudents.Ithasprovidedmethelevelofindepen-dencetodevelopmypracticeaccordingtomyownspecificneedsasanartist.GEORGE STUBBS

GeorgeStubbsSCULPTURE/INSTALLATION

129

DETAILOFDIGITALIMAGE

GeorgeStubbsDIGITALIMAGE


TristaMetzSCULPTURE/INSTALLATIONANDWALLTEXT

131

EvelenaRuetherPHOTOGRAPHICSCULPTURE


JenniferJosephDRAWING(GRAPHITEONTORNPAPER)

JenniferJosephDRAWING(DETAIL)

133

JakeMichaelsPHOTOGRAPHS


ZacharyMontanaroINSTALLATION(DETAIL)

ElleniSclavenitisPAINTING

135

MyArtCenterexperiencehasbeenterrify-ing,stressful,fun,interesting,overwhelming,satisfying,frustratingandrewarding.Iamlearningtobeconfidentaboutmyvisionandtotakeriskswithmywork.ELLENI SCLAVENITIS

Ivelearnedtoquestioninawaythatgetsclosertotheissuesathand.Ialsonowunderstandthatcriticismisnotanegativething,butratheratoolthatleadsyoutowardamoreawareandcom-pletestate.CONAN DYNES

ConanDynesPAINTING


TakayukiShimadaPAINTINGS

137

ScottMooreDIGITALIMAGE

MikelleWalkerINSTALLATION(TEABAGS)


CarlaDeasyVIDEOSTILL

DanielleKinshellaSCULPTURE(OILFILTERS)

139

IchoseArtCenterbecauseofitsamazingfacultyandvisitingartists.Iknewbeingatsuchaprestigiousschoolwouldputmeinapositiontoexplorenewwaysofidentifyingwithart.RYAN MARK PEREZ

RyanMarkPerezPHOTOGRAPHS


JordanSwerdloffPAINTING(60"X80")

JordanSwerdloffPAINTINGS

141

JordanSwerdloffPAINTINGS

I have wanted to attend Art Center ever since I took my first Saturday High class in eighth grade. The training here is unmatched.JORDAN SWERDLOFF


At Art Center, I learned how to more clearly articulate what it is that I am making, and how I am making it. ERIKA WONG

ErikaWongINSTALLATIONS

MikelleWalkerINSTALLATION

The Fine Art program at Art Center is proud of the extraordinary achievements of its undergraduate alumni. Below are seven alumni who have achieved both recognition and suc-cess through their fine art:

DOUG AITKEN

LAWRENCE CARROLL

JORGE PARDO

JENNIFER STEINKAMP

HIROSHI SUGIMOTO

MARK TANSEY

PAE WHITE

TOP/ JenniferSteinkamp;SIX,WilliamsonGallery;projection,2007

ARTCENTERALUMNIMAKINGFINEART


Totravelinspaceyoumustlearntoleavetheoldverbalgarbagebehind:Godtalk,countrytalk,mothertalk,lovetalk,partytalk.Youmustlearntolivealoneinsilence.Anyonewhopraysinspaceisnotthere.

WILLIAM BURROUGHS


Youshouldntbeaprisonerofyourownideas.

SOL LEWITT


DOUG AITKEN

LAWRENCE CARROLL

JORGE PARDO

JENNIFER STEINKAMP

HIROSHI SUGIMOTO

MARK TANSEY

PAE WHITE




IaminterestedinthedifferencebetweenwhatIexpectandwhatactuallyhappens.

VANESSA BEECROFT


Iprefertoseewithclosedeyes.

JOSEF ALBERS

ArtCenteralumniworkinginfineartareadiversegroupofartistswhoexploreawidespectrumofideas,mediaandmethods.Someareacknowledgedtobeamongthemostimportantartistsworkingtoday.

What,ifanything,connectsthesealumnibesidesthefactthattheyallattendedthesameschool?Thebesttendtobethoughtfulindividualswhosecreativeendeavorsdenotetheworkofeducatedartistsartistsarmedwithaskepticalyetfertileknowledgeofhistoricalprecedent,visualcultureandwithaparticularinsightintocontemporarycriticalthinking.ThebestoftheirworkembodiestheessenceofArtCentersFineArtDepartment:excellencerevealedthroughanintegrationofmakingandmeaning.

Weliveinamulticulturalagefloodedwithinformation,endlessentertainmentoptions,rapidtechnologicalinnovationandincreasedglobalism.Thesecircum-stancesmirrorthecollisionofidealsweseedailyintheworkofourstudentsinbothappliedartandfineart.SoitisalsonotunexpectedthattheworkofmanyArtCenteralumniactivelydissolvestraditionalboundariesbetweenartanddesign,andartandmassmediainvariousways.Thisperpetualconflictofvaluesisincreasinglyunderstoodandilluminatedthroughtheopen-mindedandcomplexworkexploredbyArtCentersFineArtalumni.Theyhaveinventedartformsandstrategiesthatallowustoseeandexperiencetheworldweallinhabitinanewway.


DOUG AITKEN

LAWRENCE CARROLL

JORGE PARDO

JENNIFER STEINKAMP

HIROSHI SUGIMOTO

MARK TANSEY

PAE WHITE




NotableAlumni

BasedinNewYork,Doug Aitken (91)navigatesbetweentheworldsofpopcultureandfineartwithaplomb.Headeptlyemploysabroadarrayofmediaandisbestknownforhisinnovativefilmandvideoinstallations.Adirectorofmorethan20musicvideos,AitkensworkhasbeenexhibitedattheCentreGeorgesPompidou,ParisandtheMuseumofModernArt,NewYork,amongothers.In1999,AitkenwontheGoldenLionawardatthe48th Venice Biennale.

TheworkofLosAngeles-basedLawrence Carroll (80)breaksdownthedistinctionbetweenpaintingandsculpture.Carrollspaintingsoftenextendbe-yondthecanvas,andinthecaseofhistablepaint-ings,transformorganicallyintothree-dimensionalworks.CarrollhashadsoloexhibitionsatMuseoCorrer,Venice,Italy;andHoteldesArts,Toulon,France,amongothers.Hisworkcanbefoundinthecollectionsofseveralinstitutions,includingtheSolomonR.GuggenheimMuseum,NewYorkandtheLosAngelesCountyMuseumofArt.

Famousforbreakingdownthebarriersbetweenart,furnitureandarchitecture,LosAngeles-basedJorge Pardo(88)createsworkthatrangesfromsmall,brightlycoloredobjectssuchaschairsandlampstolarge-scalearchitecturalpieceslike4166 Sea View Lane,hishousewhichhetemporarilyopenedtothepublicuponitscompletion.PardohashadsoloexhibitionsattheTheDiaFoundation,NewYork,andFundaciLaCaixa,Barcelona,amongothers.In2008,theMuseumofContemporaryArtinNorthMiamiorganizedacomprehensiveretrospectiveofhiswork.

Jennifer Steinkamp (91)isaLosAngeles-basedinstallationartistwhoworkswithnewmediaandvideoprojectiontoexploreideasaboutarchitecturalspace,motionandperception.ShehashadsoloexhibitionsatLehmanMaupin,NewYorkandACME,LosAngelesandwasincludedinascreeningattheNationalGalleryinWashingtonD.C.SteinkampsworkwasfeaturedaspartofU2sPopMart(1997)andElevation(2001)tours;andin2008,shewasselectedastheUnitedStatesartistrepresentativeinthe11th International Cairo Biennale.

Believingthatphotographyactsasatimemachinebypreservingmemory,NewYork-andTokyo-basedHiroshi Sugimoto (72)stylesandphotographssubjectsthatpresentcapturedmomentsintime:waxfigures;three-dimensionalmodelsoftrigono-metricfunctions;andtheglowingscreensofmovietheaters.HisworkhasbeenthesubjectofsoloexhibitionsattheMetropolitanMuseumofArt,NewYorkandtheMuseumofModernArt,NewYorkandaretrospective,jointlypresentedbytheHirschornMuseumandSculptureGarden,WashingtonD.C.,andtheMoriArtMuseum,Tokyo.

TheworkofNewYork-basedMark Tansey (69)featuressubjectsthatfunctionasmetaphorsonthestateofart,cultureandsociety.Tanseyspaintingsarerootedinillustrationandteasetheviewerbypresentingseeminglystraightforwarddepictionsthat,uponfurtherinspection,transformintofantas-ticimagery.TanseyhashadexhibitionsatGagosianGallery,NewYorkandtheLosAngelesCountyMu-seumofArt,andhisworkisheldinthecollectionsoftheSmithsonianAmericanArtMuseum,Washing-tonD.C.andtheWalkerArtCenter,Minneapolis.

LosAngeles-basedPae White (91)explorestheareabetweenart,design,appliedartsandarchitecture.Whitessculpturesandinstallationsarefrequentlysite-specificandoftenappearinmuseumspacesthatdefyexhibitionconventions(abookshop,anof-fice,achildrenslearningarea).Herrecentexhibitionatthe2009VeniceBiennalefeaturedhersignaturelarge-scalemulticoloredtapestriestransformedintoadistortedbirdcage,completewithactorsportray-ingescapeebirds.WhitehashadsoloshowsattheHammerMuseum,LosAngeles,andtheMiltonKeynesGallery,MiltonKeynes,UK;amongothers.

148 ALUMNI

TOP/DougAitken;Migration[still],2008;singlevideoprojection;24:28minuteduration;Ed.of4.

BOTTOM/ JorgePardo;UntitledLight house,2002.


150 ALUMNI

TOP(OPPOSITEPAGE)/ LawrenceCarroll;Sala 1,2009;VeniceStudio,Italy.

BOTTOM(OPPOSITEPAGE)/ HiroshiSugimoto;Empire State Building,1997;HiroshiSugimoto;CourtesyGagosianGallery.

TOP/ MarkTansey;Forward Retreat,1986;TheBroadFoundation,SantaMonica;MarkTansey;PhotoDouglasM.ParkerStudio,LosAngeles.

BOTTOM/ PaeWhite


PREPARING FORA LIFE IN ARTAlifeinartdemandsacommitmenttoexcellence,arestlessimagination,endlessquestioningandapassionforproductivework.Forstudents,decidingwhattodowiththeirartisticgiftandwhattypeofcareertoembarkoncanbechallenging.

Whileacareerinfineartcanenrichlifeimmeasur-ably,itisunlikeanappliedartcareer,wherecreativeaptitudeservestheneedsofaclientortherequire-mentsofaproduct.Afineartistsetsouttofulfilltheircreativepotentialthroughthepursuitofideas,self-expressionandtheundeniablesatisfactionsofartisticproductivity.

ArtCentersFineArtDepartmentbelievesanabilitytothinkcomplexly,coupledwithcreativeinventionandapursuitofperfection,cangeneraterewardingopportunities.

Inthefinalanalysis,artistschoosetomakeartbecauseitisanincomparablygratifyingenterprise.Makingartandmakingmoneydontnecessarilygohandinhand.Onewayforartiststotemperthevagariesofthemarketplaceandensureameasureoffinancialstabilityistomasteravisualmediumwhileatartschool.Bygainingappliedartskills,artistscanpotentiallysustaintheirpracticeduringchallengingtimes.

BecauseArtCenterslocationinPasadenaisjust10milesfromdowntownLosAngeles,ourstudentsareexposedtowhatisarguablythemostactiveproduc-tioncenterforcontemporaryartintheworld.LosAngelesisalsotheheartofthevastentertainmentindustry.ArtCenterstudentsoftenfindjobseitherwhileinschoolorimmediatelyaftergraduating

Livelikeyouwilldietomorrow,learnlikeyouwillliveforever.

Mahatma Gandhi

IdontliketosayIhavegivenmylifetoart.Iprefertosayarthasgivenmemylife.

Frank Stella

152 PREPARING FOR A LIFE IN ART

workingasartfabricators,exhibitionpreparatorsforgalleriesandmuseums,filmandsoundeditors,fashionphotographersandstoryboardillustrators.Othersfindworkinvariousaspectsoffilmproduc-tion,animation,gamedesignandspecialeffects.Stillothersfindworkasartcriticsorartteachers.TheCollegecanhelpstudentsevaluatetheirpartic-ularaptitudesandinterestsinrelationtopotentialemploymentopportunities.

AtArtCenter,theFineArtmajorundertakeschal-lengingcourseworkthatintegratespracticalmeth-odswitharigorous,liberalartseducation.Unliketypicalartprograms,ArtCentersFineArtDepart-mentoffersstudentsthechancetostudywithsomeofthemostestablishedartistsinthecountry,aswellaspreeminentdesigners,photographers,filmmakersandillustrators.Studentsadditionallyinterfacewithcuttingedgeandestablishedartists,critics,curatorsandwriterswhovisittheprogram.UndergraduateshaveaccesstotheMasterofFineArtsprogramsweeklyGraduate Seminar,wheretheycanencounternotableinternationalartistsandthinkers.Additionally,artstudentshaveopenac-cesstoallotherlecturesprovidedbythedesignandappliedartfieldswithintheschool.Thisexposuretoadynamicartscene,fromthebeginningoftheprogramtoitscompletion,helpsstudentstransitionfromthinkingofthemselvesasstudentstobelievinginthemselvesasprofessionalartists.

Ratherthanseparatetherealmsofthecommercialandfineartcommunities,weofferourstudentsabroaderunderstandingoftheartindustry.Thisbroadperspectiveopensup,ratherthanlimits,thekindsofcollaborativeprojectsourstudentscanparticipateinanditchallengesboththefineartandappliedartcommunitiestoredefinetheroleoftheartist.ManyofArtCentersdistinguishedFineArtalumniJorgePardo,PaeWhite,JenniferSteinkamp,DougAitkenandMarkTansey,tonameafewarerecognizedforbreakingdowntheseboundariesandredefiningwhatartmeansandhowitfunctions.Contemporarycultureisrapidlychang-ingasdesignersandarchitectsjoinwithartistsinreimaginingthevisuallandscape.Byofferingacur-riculumthatencompassesbothdesignandfineart,wearepreparingourstudentstohelpnegotiateandbuildthisterrain.

TheFineArtDepartmentatArtCenterdoesnotmaintaintheromanticmythsofthestrugglingartist.Manystudentsandparentsassumemoretraditionalcommercialartendeavors(illustrationorgraphicdesign)willofferthesecurityoffutureemployment,whilefineartoffersonlydeprivationanduncertainty.

Itisnotthatsimple.

Successinart,asinanyfield,isdifficulttopredict.Thefieldsofappliedartcanbeextremelycom-petitiveandgenerallyonlytheverybestgraduatescanexpecttoearnhighincomes.Fineart,thoughsomewhatmoreuncertain,hasthepotentialtobesurprisinglylucrative.

Therearemanyfactorsthatcontributetoonesachievementinart.Yes,talent,skill,ambitionandhardworkareessential,butsoaretiming,personalrelationships,opportunityandluck.Theparticu-larnatureofanindividualsworkandtheoveralleconomicclimatewillundoubtedlyinfluencewhattheycanexp

Fine Art at Art Center

fine art students

different tracks

flexible p

Text of Fine Art at Art Center

FINE ART GALLERYsedonaartscent-wpengine.netdna-ssl.com/wp-content/uploads/2018/… · FINE ART GALLERY JURY SUBMISSION GUIDELINES GENERAL INFORMATION The Sedona Arts Center Fine Art

Fine art muzuem

Fine Art 3

Fine Art Classes

fine art development

Pera Fine Arts is based on different organizations; Pera Fine Arts Education Center Pera Fine Arts High School Theatre Pera Pera Art Gallery/ies

Fine Makeup Art

Fine Art Place

Art Center...Art Center Blocks Center House Center Science Center Reading Center Writing Center Sensory Table Music Center Fine Motor Center !! Fine Motor Center !! Puzzles Literacy

Fine Art 9pdf

Fine Art 4

Fine Art 8

Fine Art vs. Commercial Art

Fine Art Photos

MA FINE ART

Fine Art Document

Adaptif ART ART ART ART BRANCHES OF FINE ART. Adaptif BASED ON THE FUNCTION FINE ART APPLIED ART 1

Daventer Fine Art

Pratt FIne Arts Center 30TH Annual FIne Art Auction Catalog

Fine Art 6

Commercial Art VS Fine Art

Shoosty Fine Art

Art & Antiques Auction Fine Art - …old.rkauctioneers.co.za/PDFs/September2014.pdf · - 1 - auctioneers&property Fine Art Session 2 Art & Antiques Auction Fine Art 13 September 2014

HEFFEL FINE ART AUCTION HOUSE FINE CANADIAN ART MAY 15, 2013

Antique Fine Art

Puccio Fine Art

Fine Art 5

Fine Art Photography

Fine Art 7

FINE ART COLLECTION

Documents

Fine Art at Art Center

Text of Fine Art at Art Center