Download pdf - Fine Art at Art Center

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?

Intoday’sglobalculture,theroleoftheartistismorevitalthanever.Arttranscendslanguage,addressessocialcon-cerns,expressessharedemotions,redefinesplay,challengesprevailingvalues,thoughtfullyentertainsand,fromtimetotime,becomesamasterpiece.

Arttodayisalsooftenasmuchabouttheproductionofknowledgeasitisaboutthevisualformalaesthetic.ThatisjustoneofthereasonswhyinArtCenterCollegeofDesign’sFineArtprogramweencourageourstudentstoseeartasnotjustapurelyexpressivepursuit,butalsoasanintellectualinquiry.

Ourprogramemphasizesthecreative,conceptualandtechni-calgrowthoftheindividualartistthroughacomprehensiveexplorationofallgenres—painting,photography,sculpture,installationandexperimentalfilmandvideo.We’vedesignedtheprogramtoprovideanenvironmentthatstimulatesthemind,nurturesindividualwork,respectsdiversityandmaxi-mizesourstudents’particularabilitiesandpotentialtohelpthemdiscovertheircreativeidentity.

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

ArtCenter’sflexible,interdisciplinaryprogrammingallowsFineArtstudentstotakeclassesandworkwithfacultyfromtheCollege’svariousappliedartanddesigndepartmentsincludingIllustration,Film,GraphicDesignandPhotography

FINE ART AT ART CENTER 7

andImaging.Theseopportunitieshelpourstudentsindi-vidualizetheirworkandacquirepracticalskillsnecessaryforworkinginrelatedprofessions—skillsthatcanhelpprovidefinancialsecurityinuncertaintimes.

Inthefollowingpages,youwillfindcoursepostersthatreflecttherangeofourinnovativeFineArtcurriculum—acurriculumthatcontinuouslyreconsiderswhatarthasbeenhistoricallyandsuggestspossibilitiesforwhatitcanbecome.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.

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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.

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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-buildingcoursesfromArtCenter’sPhotographyandImagingDepartment.Thistrack,whichsupplementstheartcurriculumwithclassesincamera,lighting,black-and-whiteandcolorfilmprintinganddigitalimaging,isforthestudentwhoiscommittedtodevelop-ingapersonalbodyofworkinphotography.

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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.

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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.ArtCenter’srigorousfoundationcurriculumteachesthepathtoexcellentcraftsmanship.

Arttodayembracesmanydiversemediums—suchasdrawing,paint-ing,sculpture,installation,photography,filmandvideo.Eachdistinctpracticerequirestheunderstandingofspecificmaterialsandtoolsalongsidetheknowledgeofparticularprocedures—fromoilpaintap-plicationstrategiestomasteryofthelatestdigitalsoftware.Learningtheseskillsservesthosewhoaspiretodoqualitywork,andcanenableartiststorealizealltheychoosetoimagine.

ONE-ON-ONE FACULTY MENTORSPERSONAL TEACHING

Therearedistinctadvantageswhenstudentsnurturetheirartatasmall,renownedcollege.AkeyaspectofArtCenter’sFineArtDepartmentisthecloserelationshipsthatformbetweenfacultyandstudents.Unlikeschoolsanduniversitieswithoversizedclassesandcoursesledbygraduatestudentteachingassistants,theoptimumclasssizeatArtCenterisjust12to15students,andclassesarealwaystaughtbydistinguishedfaculty.

AllFineArtstudentsareguidedintheirstudiesbyassignedcorefacultymentors.Theseessentialone-on-oneconversationsoccurthroughouteachterm,creatingopportunitiestomonitoreachstu-dent’sprogress.Inaddition,theDepartmentChairandDirectorofFineArtProgrammingkeepregularofficehours,andarealwaysavailabletomeetwithstudents.


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16 WHY STUDY FINE ART AT ART CENTER?

THIRD TERM REVIEW

Athirdtermreviewisscheduledattheconclusionofthefoundationcurriculum,allowingtheDepartmentChair,Directorandselectfacultytomeetwithstu-dentsindividuallyandassesstheirprogress.

Afterabroadexposuretothepluralismof21st-centu-ryartandanintroductiontoavarietyofartgenres,thethirdtermreviewprovidesanopportunitytosetindividualgoalsanddetermineacourseofstudythatwillallowthestudenttomasteraspecificmedium.TheideaistohelpeachstudentmakethemostoutofhisorhertimeatArtCenterbyrecommendingparticularclassesandsuggestingappropriatefacultymemberstoworkwith.Forthenovice,ArtCentercanseemlikeanendlessfeast;however,eighttermszoombyquickly,makingthistheidealtimetofocusone’sstudies.

SENIOR PROJECTS

TheFineArtDepartmentbelievesthatastudent’sabilitytoclearlyarticulatethepremiseandimplica-tionofhisorherartiscrucialtotheartist’sultimateaccomplishment.Senior Projectsisatwo-termcoursecomingattheculminationoftheundergraduateeducation.Itisdesignedtocultivatearesponsibleapproachtothepresentationandarticulationofone’spracticeasanartist.Studentsrefineexhibitionandinstallationstrategieswhilesimultaneouslydevelopinganartiststatementthatcandescriptivelyandconceptuallycontextualizetheirstudiopractice.Seniorsorganizebothsoloandgroupexhibitions,ver-ballypresentingtheirideastoaknowledgeableanddiverseFineArtfacultyaswellastotheirpeers.InSenior Projects,studentsareexposedtothedemands,rigorandvitalityofcontemporaryartpractice,andlearnhowcontemporaryartdiscoursescaninfluenceviewsonwhattheyproduce.

FIFTH TERM REVIEW

Atthefifthtermreview,corefacultyassembleto

considerastudent’sworkanddirectionduringanin-

depthcriticalexaminationofhisorherachievements.

Priortothereview,studentssubmitanartiststatement

outliningtherelevantcriticalissuesandhistorical

contextfortheirworktoserveasanintroductionfor

discussion.

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

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“�Being�an�artist�now��means�to�question�the��nature�of�art.”�

JOSEPH KOSUTH

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THIRD TERM REVIEW



FIFTH TERM REVIEW







discussion.


“�How�to�tell�the�difference�between�a�return�to�an�archaic�form�of�art�that�bolsters�conser-vative�tendencies�in�the�present�and�a�return�to�a�lost�model�of�art�made�to�displace�customary�ways�of�working?”�

HAL FOSTER

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“�Art�is�communication—it�is�the��ability�to�manipulate�people.��The�difference�with�show�business�or�politics�is�only�that�the�artist�is�freer.”�

JEFF KOONS

“��A�belief�is�like�a�guillotine:�just�as�heavy,�just�as�light.”�

FRANZ KAFKA

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THIRD TERM REVIEW



FIFTH TERM REVIEW







discussion.


“�Art�is�too�serious�to��be�taken�seriously.”�

AD REINHARDT

“�Employees�make�the�best�dates.�You�don’t�have�to�pick�them�up�and�they’re�always�tax-deductible”�

ANDY WARHOL

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Core Fine Art Faculty

22 CORE FINE ART FACULTY

DAVID HULLFISH BAILEYDave Hullfish Bailey’s 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 art’s cultural function as a space for asking questions and earnestly pursuing curiosity about the world around us.

Bailey’s 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 What’s Left (2009).



LAURA COOPER

A synthesis of land art, gardening and botanical study, Laura Cooper’s 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.



Dreiband’s 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 he’s 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. Dreiband’s 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 Grinnan’s 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 Hanley’s 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 separate—and often mutually resistant—articulations of time, movement and memory. Exhibition titles such as Sentiment and Vagrancy and Bearing and Delinquency indicate that Hanley’s artworks are often described as mechanical and distant, but simultaneously playful and emotive.

Hanley’s international group exhibitions include: The 50th International Art Exhibition, La Biennale di Venezia, Venice; Site Santa Fe Second Biennale, Santa Fe; Delta, Musee d’Art 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 Knechtel’s 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 LaDuke’s paintings and sculptures have been described by Artforum’s Micol Hebron as “a powerhouse of illusive—and elusive—imagery that is thoroughly seductive and magical in its technical virtuosity.” In LaDuke’s 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 Ohlen’s anxious abstractions; Sigmar Polke’s cunning ridicule of commercial

culture; Andy Warhol’s 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 Rasenberger’s 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.

Rasenberger’s 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 Zepeda’s 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 Zepeda’s 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/ POSTERS�FOR�CLASSES�TAUGHT�BY�THE�CORE�FINE�ART�FACULTY

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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.

Vis

itin

g A

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orks

hop

is a 14-week studio

where an invited artist lectures, critiques

and works one-on-one with students.

Dia

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es w

ith

Vis

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g A

rtis

ts is a class that

presents two artists and considers a par-

ticular set of issues.

Stu

dio

Vis

its is a three-hour class that meets

weekly at a different artist’s studio, or

occasionally at an exhibition, during which

artists discuss both how they create and

the ideas behind their current work.

ABOVE/ FACULTY�MEMBER�REBECCA�CAMPBELL�PAINTS�IN�HER�STUDIO.

Faculty

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ROSETTA BROOKS is an art critic, writer and curator. Formerly the editor and publisher of London’s 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 ADAA’s 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.

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VISITING ARTISTS






they got there.

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Dia

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Vis

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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/ SOO�KIM

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-Universität Krems.

ADAM ROSS has exhibited in numer-ous museums, including New York’s 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.

Vis

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orks

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is a 14-week studio



Dia

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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 Center’s 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

eum

of

Mod

ern

Art

)

Michael Brand

(J.P

aulG

etty

Mus

eum

)

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

mer

Mus

eum

)

Michael McMillan

Jorge Pardo

Christopher Knight

(Los

An

gele

s Ti

mes

)

Jennifer Pastor

Jamie McMurry

Hirsch Perlman

Kurt Varnadoe

(Mus

eum

of

Mod

ern

Art

)

Derek Boshier

Alexis Smith

Paul Schimmel

Sandeep Mukherjee

Carole Caroompas

Steve Roden

Paul Sietsema

Tom Wudl

Jennifer Steinkamp

David Pagel

(Los

An

gele

s Ti

mes

)

Michael Darling

(Mus

eum

of

Con

tem

por

ary

Art

,Lo

sA

ngel

es)

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 A

mer

ica)

Gary Hill

Pipolotti Rist

Rienke Dijkstra

Linda Burnham

Marnie Weber

Alexandra Grant

Christopher Miles

(Art

foru

m)

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

(Get

tyR

esea

rch

Inst

itut

e)

Walead Beshty

Andrea Frasier

Katrin Pesch

Allan Sekula

Andrea Bowers

Michael Pisaro

Jean Pierre Gorin

CAMPUS VISITORS INCLUDE:

VISITING ARTISTS54

Cornelia Butler

(Mus

eum

of

Mod

ern

Art

)

Michael Brand

(J.P

aulG

etty

Mus

eum

)

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

mer

Mus

eum

)

Michael McMillan

Jorge Pardo

Christopher Knight

(Los

An

gele

s Ti

mes

)

Jennifer Pastor

Jamie McMurry

Hirsch Perlman

Kurt Varnadoe

(Mus

eum

of

Mod

ern

Art

)

Derek Boshier

Alexis Smith

Paul Schimmel

Sandeep Mukherjee

Carole Caroompas

Steve Roden

Paul Sietsema

Tom Wudl

Jennifer Steinkamp

David Pagel

(Los

An

gele

s Ti

mes

)

Michael Darling

(Mus

eum

of

Con

tem

por

ary

Art

,Lo

sA

ngel

es)

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 A

mer

ica)

Gary Hill

Pipolotti Rist

Rienke Dijkstra

Linda Burnham

Marnie Weber

Alexandra Grant

Christopher Miles

(Art

foru

m)

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

(Get

tyR

esea

rch

Inst

itut

e)

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/AfieldtriptoRobertSmithson’sSpiral Jetty

1/ ArtCenter’sHillsideCampusbuilding 2/ ArtCenter’sSouthCampus|||||||||||||||||||||||||||||||||||||||||||||||||

ArtCenter’scutting-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;“smart”classrooms;exhibitionspaces;theJamesLemontFoggMemorialLibrary,offeringacomprehensivecollectionofre-sourcesonartanddesign;theFineArtSeniorProjectsGallery;andmanyothervitalresourceswhichsupportandenhancetheArtCenterlearningexperience.

2/ 1/

“ Art isn’t inherently anything. It’s nice that it’s socially ap-proved of, although the approval may be wishful inflation. The possibility that the whole thing is bullshit can’t 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


ArtCenter’scutting-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, it’s dead to you.”

OSCAR WILDE

61


FACILITIESArtCenter’scutting-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/HillsideCampusCafé||| CenterfortheStudentExperience•

10/

11/

12/

65

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

13/

66 Facilities

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

67

68 Facilities

69

Since its opening in 1992, Art Center’s 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-lery’s4,600-square-footspaceatHillsideCampusdrawsinspirationfromallareasoftheCollege.

AnactivepartnerintheeducationofArtCenterstudents,thegalleryproducesthreemajorexhibitionsayear,lookingtobothhistoryandthepresentforinspiration.

ByengagingstudentsinartissuesandconnectingtheCollege’scurriculum,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,includingmodernworksfromPasadena’sNortonSimonMuseumcollectionbyRoyLichtenstein,RobertMorrisandAndyWarhol;NEURO,acollaborationbetweenthegalleryandCaltech’sNationalScienceFoundation(NSF)CenterforNeuromorphicSystemsEngineering(CNSE)thatinves-tigatednewaestheticterritoriesforthe21stcentury;Paradise Now: Picturing the Genetic Revolution,focusingonthepolitical,socialandculturalramificationsofthemonocularvisionofscience;andregeneration,lookingat21stcenturyphotographyanditschangingrelationshipwithpictorialtraditionsandphotographictechnologiesofthepast.

Thegallerystrivestoengagethebroaderpublicinaprogressivedialogueaboutartanddesignforthe21stcenturywithexhibitionssuchas2005’sReverence: Poetics and Polemics of Sustainability.Pasadenaisacityknownworldwideforitsconvergenceoftheartsandsciences,andthiswasillustratedwith2004’sEAR(th),includingacollaborationbetweenartistSteveRodenandearthsciencesresearchersfromCaltech.In2007,In the Dermispheresurveyedtheart,scienceandcultureofskinaspartofPasadena’sArt&Ideasfestival.

TheWilliamsonGalleryhaswhollyembracedtheexplorationoftheartsandsciencesasoneofitsmainprogrammaticgoals.Thegalleryseeksprojectsthatwillresonatedeeplywiththetenorofourtimes,pro-vokeintellectualdissonanceandconjureunexpectedpathwaysofthinkingforArtCenter’sstudents,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/ ArtCenter’ssculpturegarden,withworkbyAnthonyCaro,MichelGérard,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 Center’s Pasadena campus is an impressive collection of cultural institutions, includ-ing the Norton Simon Museum (formerly called the Pasadena Art Museum) which hosted Marcel Duchamp’s first retrospective in 1963 and today houses one of the world’s 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 region’s reputation as a world center for innovative art and thinking.

FINE ART AT ART CENTER73

“IfmostAmericancitiesareabouttheconsumptionofculture,LosAngelesandNewYorkareabouttheproductionofculture—

notonlynationalculturebutglobalculture.”��

BARBARA KRUGER


“�The�art�of�seeing�well�is�a��necessary�skill,�which�fortunately�can�be�learned.”�

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,�I�think,�is��more�interesting,�more�poignant,�and�more��difficult�to�seize�than�the�intersection�of�the�self�and�history.”

LINDA NOCHLIN

“�Art�is�not�a�reflection�of�reality—it�is�the��reality�of�a�reflection.”

JEAN-LUC GODARD

“�Bad�art�is,�‘Wow!�Huh?’�and�good�art�is,�‘Huh?�Wow!’”�

ED RUSCHA



“�Desire�exceeds��the�object.”

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, art’s 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 art’s “progress”

no longer hold true.

And as the incessant influence of popular culture—

television, movies and music—continues to redefine the

cultural zeitgeist, today’s 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 Center’s 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 bachelor’s 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

Bry

an-W

ilson 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

W

orke

rs: R

adic

al P

ract

ice

in t

he

Viet

nam

W

ar E

ra, 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.

Mar

gare

t Wer

thei

m is the author of

books on cultural history includ-

ing

Pyt

hag

oras

’ Tro

use

rs and

The

Pea

rly

Gat

es o

f C

yber

spac

e: A

His

tory

of

Sp

ace

from

Dan

te t

o th

e In

tern

et.

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.

Thie

rry

de D

uve 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).

Kur

t And

erse

n is a best-selling

author and host of the Peabody

Award-winning public radio show

Stu

dio

360. Andersen was the co-

founder of the legendary

Spy

M

agaz

ine and authored the

New

Yor

k Ti

mes bestseller

Hey

day (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

The

Big

Pic

ture. 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

rosc

ient

ists b

lazi

ng th

e tra

il to

und

erst

andi

ng th

e neu

robi

olog

y of h

uman

per

cept

ion

and

com

puta

tiona

l tec

hnol

ogist

s cr

unch

ing t

he n

umbe

rs to

crea

te n

ew m

eans

of n

euro

imag

ing,

artis

ts ar

e com

pelle

d to

ask n

ew an

d di

ffer

ent k

inds

of q

uest

ions

ab

out t

heir

own

enga

ged

proc

ess o

f loo

king

, see

ing a

nd d

oing

.

Pivo

ting o

n th

e Allo

sphe

re re

sear

ch co

nduc

ted

by th

e Art

, Med

ia an

d Tec

hnol

ogy t

eam

at U

C San

ta B

arba

ra, N

euro

ns Sp

arki

ng!

intr

oduc

es st

uden

ts to

the c

ontin

uum

of in

telle

ctua

l hist

ory,

aest

hetic

s and

syst

ems t

hink

ing t

hat e

nrich

es to

day's

bio

tech

pra

ctice

s, e.g

., cog

nitiv

e sci

ence

and

neur

opsy

chol

ogy.

We w

ill vi

sit th

e Allo

sphe

re an

d w

ith ou

r min

ds an

d br

ains

fully

rew

ired,

take

up

an

info

rmed

disc

ussio

n of

per

cept

ion

in 21

c. R

eadi

ng w

ill in

clude

wor

ks b

y key

auth

ors f

rom

pas

t and

pre

sent

(Kan

t, Be

rgso

n, Ja

mes

, Ra

mac

hand

ran,

Vare

la, S

chw

artz

, Sta

ffor

d). A

dditi

onal

view

ing w

ill in

clude

wor

ks b

y art

ists a

nd sc

ient

ists w

ho ar

e cur

rent

ly re

inve

stig

atin

g per

cept

ion

from

phe

nom

enol

ogic

al an

d ne

uro-

aest

hetic

poi

nts o

f vie

w.

Neur

ons S

park

ing:

The

orie

s of P

erce

ptio

n in

21C.

M. A

. Gre

enst

ein

Wed

nesd

ay 4

-7pm

92 MAKING MEANING


94 MAKING MEANING


RIGHT /MichaelFried,“WhyPhotographyMattersAsNeverBefore“GradArtSeminarlectureseries

TRANSDISCIPLINARY

STUDIOS

In the 21st century, new forms of fine

art are dissolving the boundaries between

mass media, design, film and the performing

arts. Today’s artists are reimagining how

art functions, how it is distributed, and

how its role in culture is expanding. Art

Center’s 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

Dir

t, investigating cur-

rent cultural representations of landscape

in film, photography, painting and site-

specific installation and including a visit

to Robert Smithson’s

Sp

iral

Jet

ty;

Lovi

ng

Ugl

y, examining artists’ ongoing attrac-

tion to horror, the grotesque and abject

subject matter in painting, literature,

music and cinema;

Ste

alin

g P

ictu

res, consider-

ing how painting has borrowed from film,

and how in turn painting has influenced the

visualization of movies; and

Tool

s, explor-

ing the handmade in an age of digital

representation.

96 TRANSDISCIPLINARY STUDIOS





10



Today’s 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

Ven

ice

Bie

nn

ale

in Italy;

Doc

um

enta in Kassel, Germany; and

the

Sku

lptu

r P

roje

kte

in Münster, 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 city’s cultural treasures and guided

students through the

52n

d B

ien

nal

e d

i Ven

ezia.

In Germany, there were lectures at

Doc

um

enta

and bicycle tours of Münster. In Berlin

the brilliant editor of

Fri

eze, J

örg Heiser,

conducted tours of the Hamburger Bahnhof

Museum of Contemporary Art, Berlin’s 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 artist’s education.

FINE ART

STUDY ABROAD

“�Banal�ideas�cannot�be�rescued�by�beautiful�execution.”

SOL LEWITT

FINE ART

STUDY ABROAD

“�Being�sure�of�yourself�means�you’re�a�fool.”

JENNY HOLZER

“�Skill�without�imagination�is��craftsmanship…�Imagination��without�skill�gives�us�modern�art.”�

TOM STOPPARD

“�The�only�thing�standing�between�me�and�great-ness�is�me.”�

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

RichardGalling�PHOTOGRAPH

RichardGallingPAINTING

109

LaurenKing�PAINTING/INSTALLATION


JordanSwerdloffandJenniferJoseph�SCULPTURE/INSTALATION�(1000�SQ.�FT.�PLASTIC�WRAP).

JohnKuhl�DIGITAL�IMAGE/INSTALLATION

111

“Art�Center’s�Fine�Art�program�has�shattered�my�previous�conceptions�of�art.�It�has��transformed�my�work�into�a�more�conceptual�and�conscious�practice.”�JACQUELYN DE LONGE

JacquelynDeLongeINSTALLATION

RichardCorral�PAINTING


“Art�Center�has�been�such�a�pivotal��and�guiding�part�of�my�education.��It�was�crucial�in�my�decision�to�ask�larger�questions�about�the�direction��of�my�work.”�JANE ANNE THOMAS

JaneAnneThomas�SCULPTURE

113

CathrinaKapteyn�WALL�SCRATCH/INSTALLATION�DETAIL�(LATEX�PAINT,�DRYWALL)

RichardGoodwin�SCULPTURE


“Art�Center�has�destroyed�and�reinvented�everything�I�previously�loved.�It�has�shown�me�the�complexity�and�the�roots�to�all�that��I�knew,�as�well�as�an�enormous�world�that��was�previously�unknown�to�me.�Art�Center�has�shown�me�that�the�view�of�the�eye�is�only��the�tip�of�the�iceberg.”�JAMONN ROBERTS

JamonnRoberts�PHOTOGRAPH

115

WillaimKaminski�SCULPTURE/INSTALLATION


GrantVetter�PAINTING�(DETAIL)

“The�Fine�Art�Department�has�been�a�wonder-ful�educational�opportunity�for�me.�So�many�of�my�teachers�prepared�great�classroom�expe-riences.�They�also�took�extra�time�to�help�me�with�graduate�school�applications�and�to�introduce�me�to�galleries.”GRANT VETTER

117

“My�experience�at�Art�Center�has�been�more�grati-fying�than�I�could�have�expected.�I�have�become�fully�involved�in�my�work�for�the�first�time.�And�I’m�in�an�environment�that�is�designed�to�grow�students�through�challenges,�encouragement�and�knowledge.”ANASTASIA HILL

AnastasiaHill�VIDEO�STILL


AlziraLenaRuano�VIDEO/PERFORMANCE

JeffHastings�INSTALLATION

AimeeMacabeoVIDEO�INSTALLATION

119

AlziraLenaRuano�VIDEO/PERFORMANCE

AdamMason�MIXED�MEDIA�SCULPTURE

SarahCromarty�PAINTING

120 Student Portfolios120 Student Testimonial

TheodoraAllen�PAINTING

“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

TheodoraAllen�PHOTOGRAPH

121

AndrewCameron�PHOTOGRAPHY


VincentAlpino�INSTALLATION

123

JesseGillan�VIDEO�INSTALLATION

“When�I�look�back�at�the�first�pieces�I�made��at�Art�Center,�I�wonder,�‘What�was�I�thinking?’��I�had�no�idea�what�I�was�making�or�why�I�was�making�it.�Art�Center�has�completely�changed��my�life�for�the�better.�I�don’t�know�of�any�other�school�I�would�rather�attend.”JESSE GILLAN


NinaWaisman��INTERACTIVE�SOUND�INSTALLATION

ZhonePing�DIGITAL�PAINTING

125

“Whether�it’s�sharing�my�interests,�having�intelligent�debates�or�trading�a�little�gossip,�my�friends�at�Art�Center�keep�me�informed,�intrigued�and�entertained.”�ASHLEY LANDRUM

AshleyLandrumMIXED�MEDIA/SCULPTURE


EowynWilcox�DRAWINGS

127


“My�experience�here�has�been�one�of�immense�and�positive�change.�One�of�the�Fine�Art�Department’s�great�strengths�is�the�range�of�diversity�it�offers�students.�It�has�provided�me�the�level�of�indepen-dence�to�develop�my�practice�according�to�my�own�specific�needs�as�an�artist.”GEORGE STUBBS

GeorgeStubbs�SCULPTURE/INSTALLATION

129

DETAIL�OF�DIGITAL�IMAGE

GeorgeStubbs�DIGITAL�IMAGE


TristaMetz�SCULPTURE/INSTALLATION�AND�WALL�TEXT

131

EvelenaRuether�PHOTOGRAPHIC�SCULPTURE


JenniferJoseph�DRAWING�(GRAPHITE�ON�TORN�PAPER)

JenniferJoseph�DRAWING�(DETAIL)

133

JakeMichaels�PHOTOGRAPHS


ZacharyMontanaro�INSTALLATION�(DETAIL)

ElleniSclavenitis�PAINTING

135

“My�Art�Center�experience�has�been�terrify-ing,�stressful,�fun,�interesting,�overwhelming,�satisfying,�frustrating�and�rewarding.�I�am�learning�to�be�confident�about�my�vision�and�to�take�risks�with�my�work.”�ELLENI SCLAVENITIS

“I’ve�learned�to�question�in�a�way�that��gets�closer�to�the�issues�at�hand.�I�also�now�understand�that�criticism�is�not�a��negative�thing,�but�rather�a�tool�that��leads�you��toward�a�more�aware�and�com-plete�state.”��CONAN DYNES��

ConanDynes�PAINTING


TakayukiShimada�PAINTINGS

137

ScottMoore�DIGITAL�IMAGE

MikelleWalker�INSTALLATION�(TEA�BAGS)


CarlaDeasy�VIDEO�STILL

DanielleKinshella�SCULPTURE�(OIL�FILTERS)

139

“I�chose�Art�Center�because�of�its�amazing�faculty�and�visiting�artists.�I�knew�being�at�such�a�prestigious�school�would�put�me�in�a�position��to�explore�new�ways�of�identifying�with�art.”�RYAN MARK PEREZ

RyanMarkPerez�PHOTOGRAPHS


JordanSwerdloff�PAINTING�(60"�X�80")

JordanSwerdloff�PAINTINGS

141

JordanSwerdloff�PAINTINGS

“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

ErikaWong�INSTALLATIONS

MikelleWalker�INSTALLATION

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


“�To�travel�in�space�you�must�learn�to�leave�the�old�verbal�garbage�behind:�God�talk,�country�talk,�mother�talk,�love�talk,�party�talk.You�must�learn�to�live�alone�in�silence.�Anyone�who�prays�in�space�is�not�there.”�

WILLIAM BURROUGHS


“�You�shouldn’t�be�a��prisoner�of�your�own�ideas.”�

SOL LEWITT


DOUG AITKEN

LAWRENCE CARROLL

JORGE PARDO

JENNIFER STEINKAMP

HIROSHI SUGIMOTO

MARK TANSEY

PAE WHITE




“�I�am�interested�in�the�difference�between�what�I�expect�and�what�actually�happens.”�

VANESSA BEECROFT


“�I�prefer�to�see�with�closed�eyes.”�

JOSEF ALBERS

ArtCenteralumniworkinginfineartareadiversegroupofartistswhoexploreawidespectrumofideas,mediaandmethods.Someareacknowledgedtobeamongthemostimportantartistsworkingtoday.

What,ifanything,connectsthesealumnibesidesthefactthattheyallattendedthesameschool?Thebesttendtobethoughtfulindividualswhosecreativeendeavorsdenotetheworkofeducatedartists—artistsarmedwithaskepticalyetfertileknowledgeofhistoricalprecedent,visualcultureandwithaparticularinsightintocontemporarycriticalthinking.ThebestoftheirworkembodiestheessenceofArtCenter’sFineArtDepartment:excellencerevealedthroughanintegrationofmakingandmeaning.

Weliveinamulticulturalagefloodedwithinformation,endlessentertainmentoptions,rapidtechnologicalinnovationandincreasedglobalism.Thesecircum-stancesmirrorthecollisionofidealsweseedailyintheworkofourstudentsinbothappliedartandfineart.SoitisalsonotunexpectedthattheworkofmanyArtCenteralumniactivelydissolvestraditionalboundariesbetweenartanddesign,andartandmassmediainvariousways.Thisperpetualconflictofvaluesisincreasinglyunderstoodandilluminatedthroughtheopen-mindedandcomplexworkexploredbyArtCenter’sFineArtalumni.Theyhaveinventedartformsandstrategiesthatallowustoseeandexperiencetheworldweallinhabitinanewway.


DOUG AITKEN

LAWRENCE CARROLL

JORGE PARDO

JENNIFER STEINKAMP

HIROSHI SUGIMOTO

MARK TANSEY

PAE WHITE




NotableAlumni

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

TheworkofLosAngeles-basedLawrence Carroll (’80)breaksdownthedistinctionbetweenpaintingandsculpture.Carroll’spaintingsoftenextendbe-yondthecanvas,andinthecaseofhis“tablepaint-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,andFundacióLaCaixa,Barcelona,amongothers.In2008,theMuseumofContemporaryArtinNorthMiamiorganizedacomprehensiveretrospectiveofhiswork.

Jennifer Steinkamp (’91)isaLosAngeles-basedinstallationartistwhoworkswithnewmediaandvideoprojectiontoexploreideasaboutarchitecturalspace,motionandperception.ShehashadsoloexhibitionsatLehmanMaupin,NewYorkandACME,LosAngelesandwasincludedinascreeningattheNationalGalleryinWashingtonD.C.Steinkamp’sworkwasfeaturedaspartofU2’sPopMart(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.Tansey’spaintingsarerootedinillustrationandteasetheviewerbypresentingseeminglystraightforwarddepictionsthat,uponfurtherinspection,transformintofantas-ticimagery.TanseyhashadexhibitionsatGagosianGallery,NewYorkandtheLosAngelesCountyMu-seumofArt,andhisworkisheldinthecollectionsoftheSmithsonianAmericanArtMuseum,Washing-tonD.C.andtheWalkerArtCenter,Minneapolis.

LosAngeles-basedPae White (’91)explorestheareabetweenart,design,appliedartsandarchitecture.White’ssculpturesandinstallationsarefrequentlysite-specificandoftenappearinmuseumspacesthatdefyexhibitionconventions(abookshop,anof-fice,achildren’slearningarea).Herrecentexhibitionatthe2009VeniceBiennalefeaturedhersignaturelarge-scalemulticoloredtapestriestransformedintoadistortedbirdcage,completewithactorsportray-ing“escapee”birds.WhitehashadsoloshowsattheHammerMuseum,LosAngeles,andtheMiltonKeynesGallery,MiltonKeynes,UK;amongothers.

148 ALUMNI

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

BOTTOM/ JorgePardo;Untitled—Light 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;Photo©DouglasM.ParkerStudio,LosAngeles.

BOTTOM/ PaeWhite


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

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

ArtCenter’sFineArtDepartmentbelievesanabilitytothinkcomplexly,coupledwithcreativeinventionandapursuitofperfection,cangeneraterewardingopportunities.

Inthefinalanalysis,artistschoosetomakeartbecauseitisanincomparablygratifyingenterprise.Makingartandmakingmoneydon’tnecessarilygohandinhand.Onewayforartiststotemperthevagariesofthemarketplaceandensureameasureoffinancialstabilityistomasteravisualmediumwhileatartschool.Bygainingappliedartskills,artistscanpotentiallysustaintheirpracticeduringchallengingtimes.

BecauseArtCenter’slocationinPasadenaisjust10milesfromdowntownLosAngeles,ourstudentsareexposedtowhatisarguablythemostactiveproduc-tioncenterforcontemporaryartintheworld.LosAngelesisalsotheheartofthevastentertainmentindustry.ArtCenterstudentsoftenfindjobs—eitherwhileinschoolorimmediatelyaftergraduating—

“Livelikeyouwilldietomorrow,learnlikeyouwillliveforever.”

Mahatma Gandhi

“Idon’tliketosayIhavegivenmylifetoart.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,ArtCenter’sFineArtDepart-mentoffersstudentsthechancetostudywithsomeofthemostestablishedartistsinthecountry,aswellaspreeminentdesigners,photographers,filmmakersandillustrators.Studentsadditionallyinterfacewithcuttingedgeandestablishedartists,critics,curatorsandwriterswhovisittheprogram.UndergraduateshaveaccesstotheMasterofFineArtsprogram’sweeklyGraduate Seminar,wheretheycanencounternotableinternationalartistsandthinkers.Additionally,artstudentshaveopenac-cesstoallotherlecturesprovidedbythedesignandappliedartfieldswithintheschool.Thisexposuretoadynamicartscene,fromthebeginningoftheprogramtoitscompletion,helpsstudentstransitionfromthinkingofthemselvesasstudentstobelievinginthemselvesasprofessionalartists.

Ratherthanseparatetherealmsofthecommercialandfineartcommunities,weofferourstudentsabroaderunderstandingoftheartindustry.Thisbroadperspectiveopensup,ratherthanlimits,thekindsofcollaborativeprojectsourstudentscanparticipateinanditchallengesboththefineartandappliedartcommunitiestoredefinetheroleoftheartist.ManyofArtCenter’sdistinguishedFineArtalumni—JorgePardo,PaeWhite,JenniferSteinkamp,DougAitkenandMarkTansey,tonameafew—arerecognizedforbreakingdowntheseboundariesandredefiningwhatartmeansandhowitfunctions.Contemporarycultureisrapidlychang-ingasdesignersandarchitectsjoinwithartistsinreimaginingthevisuallandscape.Byofferingacur-riculumthatencompassesbothdesignandfineart,wearepreparingourstudentstohelpnegotiateandbuildthisterrain.

TheFineArtDepartmentatArtCenterdoesnotmaintaintheromanticmythsofthestrugglingartist.Manystudentsandparentsassumemoretraditionalcommercialartendeavors(illustrationorgraphicdesign)willofferthesecurityoffutureemployment,whilefineartoffersonlydeprivationanduncertainty.

Itisnotthatsimple.

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

Therearemanyfactorsthatcontributetoone’sachievementinart.Yes,talent,skill,ambitionandhardworkareessential,butsoaretiming,personalrelationships,opportunityandluck.Theparticu-larnatureofanindividual’sworkandtheoveralleconomicclimatewillundoubtedlyinfluencewhattheycanexpecttoearnandaccomplish.And,again,successasanartistand“makingit”intheartworldarenotnecessarilyoneandthesame.

Whenconsideringwhethertopursueart,eachindividualshouldconsiderwhatlevelofuncertaintythey’recomfortablewith,aswellaswhatkindofrewardsthey’reseeking.

OnecertaintyisthatArtCenter’sFineArtprogramcomprehensivelyexaminesthenumerousopportu-nitiesthatexisttodayforartists,andteachesstu-dentsrealisticstrategiesforachievingtheirdreams.


154 SECTION TITLE

PublishedbytheFineArtDepartment,ArtCenterCollegeofDesign

Editorial and Curatorial Direction:LaurenceDreiband

Design:KatieHanburger,YasminKhanfortheArtCenterDesignOffice

Design Office Director:EllieEisner

Project Manager:JeredGold

Production Designer:AudreyKrauss

Associate Designers:MiguelRamirez,BrianSaldivar,MayaShin

Photography:StevenA.Heller

Faculty Portraits:RichardChoi

Additional Photography:VahéAlaverdian,LaurenceDreiband,

KenMerfeld

Writer:LaurenceDreiband

Editors:LaraWarren,MikeWinder

Copy Editor:AlexCarswell

Research:JenniferJoseph,JordanSwerdloff

Course Poster Design:LaurenceDreiband,MitchellKane

Printer:ClearImagePrintingCompany,Glendale,CA

Colophon:ThisbookwassetinSwift,designedbyGerardUnger;CourierSans

designedbyJamesGoggin;andAkkurat,designedbyLaurenzBrunner.

Additional Photography:page 73:LosAngelesimages:BroadContemporaryArtMuseum(BCAM)

castfaçadeincludinginstallationofUrban LightbyChrisBurdenby

RobertIrwin,©2009MuseumAssociates/LACMA

©2009ArtCenterCollegeofDesignTM

Allrightsreserved.Nopartofthispublicationmaybereproducedor

transmittedinanyformorbyanymeans,electronicormechanical,

includingphotocopying,recording,oranyinformationstorageor

retrievalsystemwithoutwrittenpermissionofthepublisher.

Poster art credits:Painting Strategies:DavidSeidner;TDS: Second Nature:LevivanVeluw,

CatherineOpine,ParamountVantage&CoenBrothers’“NoCountryFor

OldMen”;Verisimilitude:JamesCasebere;The Mischievous Image:JeffWall

&GerhardRichter;Experimental Film—Bodies In Orbit:BillViola&Robert

Boyd;L.A. Art & Culture:JohnBaldessari,EdRuscha&ChrisBurden;

Critical Practice:EarleLoran;Theories of Perception—Neurons Sparking:

ThomasDemand;Readings in Fine Art:FrancisAlys;Readings in Fine Art—

Art of Seeing:LeonardodaVinci&RichardAvedon;Fine Art Seminar—Sea

of Dreams:DougAitkin&HieronymousBosch;Drawing As Process:Julie

Mehretu;TDS: Wild Culture:AndreasGursky;Studio Visits—Painting in Los

Angeles:TomWudl;Studio Visits—Experimental Film/Video:DianaThater;

Professional Practices:MaurizioCattelan;Fine Art Seminar—Naked:Stanley

Spencer,RobertMapplethorpe&NobuyoshiAraki;Cream:TonyOursler;

Basics of Sculpture—Isa Genzken;TDS: Geography Is Destiny:ZoeCrosher;TDS:

Women In Art:VanessaBeecroft;TDS: Beautiful Networks:VijaCelmins;

TDS: Steeling Pictures:EdRuscha;TDS: Tools:WarnerBrothers&Stanley

Kubrick’s2001: A Space Odyssey;TDS: Loving Ugly:WernerHerzog&Klaus

Kinski’sNosferatu,PaulMcCarthy,MikeKelley,FrancisBacon,Joel-Peter

Witkin,GeorgBaselitz;Rethinking the 80s:RobertLongo

Variouscopyrightedimageshavebeenusedinthecreationofcourse

posterstohelpillustratetheissuesthatwillbediscussedintheclass-

room,andhavebeenreproducedinthispublication.Theseimageshave

beenusedforeducationalpurposesonly,andarenotintendedinany

waytoimplyorsuggestthattherespectiveownersoftheseimagescon-

sentto,approve,endorse,sponsor,orintendtoassociatewithArtCenter

CollegeofDesignoranyofitsaffiliates.Whereverpossible,wehave

attemptedtoidentifyandgivecredittothecreatorsoftheseworks.


Aleaderinartanddesigneducationfor80years,ArtCenterCollegeofDesignisdedicatedtoacademicexcellenceandoffersarigorousandtransdisci-plinarycurriculum,afacultyofnotableartistsandacommitmenttosociallyresponsibleartanddesign.Ourstudentschallengeboundariesandtakerisks,preparingthemtorealizesuccessandfulfillmentintheworldofartanddesign—andbeyond.

ArtCenterCollegeofDesign1700LidaStreetPasadena,CA91103www.artcenter.edu

Admissions Office

[email protected]

Fine Art Department

LaurenceDreibandChair,[email protected]

MitchellKaneDirector,[email protected]

www.artcenter.edu/fineart/infopo

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1700LidaStreetPasadena,CA91103