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Events
  • Presidents' Day Holiday

    Feb 15| Academic Dates
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    Otis offices are closed for the Holiday.

  • Oliver Kellhammer is an independent artist, writer and researcher, who seeks, through his botanical interventions and social art practice, to demonstrate nature’s surprising ability to recover from damage. His recent work has focused on the psychosocial effects of climate change, cleaning up contaminated soils, reintroducing prehistoric trees to landscape damaged by industrial logging and cataloging the ecology of brownfield ecologies. He currently works as a lecturer in sustainable systems at Parsons in New York City.
     
  • Emily Kendal Frey is the author of the poetry collections The Grief Performance, selected for the Cleveland State Poetry Center's 2010 First Book Prize by Rae Armantrout, and Sorrow Arrow, as well as the the chapbooks Frances, The New Planet, and Airport. The winner of the Poetry Society of America's Norma Farber First Book Award, Frey's poetry has appeared in the journals Octopus and the Oregonian. She lives in Portland.

    Seating is limited.

    Maps & Parking Information

  • Performance : Proust in one hour

    by Véronique Aubouy

    Duration : 60 minutes chrono

    In this performance I try to summarize in 60 minutes In search of past time with my own words, as a story of another time which reveals itself contemporary. I deliver my own intimate and personal perception of this book which radiates in my life. Each performance is another opportunity to explore different zones of the book, proceeding at random, inspired by an aleatory and fickle memory.

  • Rear Window

    Kristin Moore
    Thesis Exhibition
    Feb 16th-19th, 2016

    Reception:

    Thursday, Feb 18th, 6-9PM

    Bolsky Gallery
    Otis College of Art and Design
    9045 Lincoln Blvd. 
    Los Angeles, CA 90045 
    310.846.2614


    Gallery Hours: Tues-Fri 10am-5pm, Sat-Sun 12pm-4pm

     

  • The Architecture/Landscape/Interiors Department at Otis College of Art and Design is pleased to announce the George H. Scanlon Foundation Lecture REDUX.4 by IÑAKI ÁBALOS

  • Mr. Yang Chen worked in real estate development companies for eight years and in architecture design companies for fourteen years, serving as architect, General Manager, and Executive President. From 2002 to 2007 he was General Manager of China Construction Design International (CCDI) Shanghai and COO of its headquarters in Shenzhen. He played a significant role in CCDI’s transition from a regional company of around 100 employees to a national corporation of over 3000 employees.

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Dean Tavoularis

Dean TavoularisDean TavoularisDean Tavoularis

 

Identifying Dean Tavoularis (‘55, Fine Arts) as Francis Ford Coppola’s production designer does not fully encapsulate his design career in and beyond Hollywood. His rich collaboration with Coppola led to such classics as The Godfather films, Apocalypse Now, The Conversation, One From the Heart, Rumble Fish, The Outsiders, Tucker, and New York Stories.

According to Tavoularis, “when I was young, I attended art school, [but] there were no film schools to speak of then, though this was L.A. I went to movies and lost myself in them. Their settings registered but I was not aware of art direction in film and I never said to myself: “This is what I want to do.”

“Very often with Dean,” remembers Coppola, “even early on when I didn’t know if I agreed with him, I learned that his instincts were very good and that later on I would like very much his idea even if it wasn’t immediately something I liked."

Other directors with whom Dean collaborated on his more than 30 films and five Academy Award nominations include Arthur Penn (Bonnie and Clyde), Michelangelo Antonioni (Zabriske Point), Roman Polanski (The Ninth Gate), Wim Wenders (Hammet) and Warren Beatty (Bullworth).

“He attained a higher reality, that of poetry,” notes writer Jean-Paul Scarpitta. “Any form of spectacle is for him a visual feast, a challenge, and a source of inspiration. In his art, he doesn’t dwell on magic, visual deception, optical illusion, or unreality... His penetrating eyes allow him to watch and feel things deeply, which leads him to capture what others are not privy to see: the gimmicks, the artifices, the tricks, the element of life upon which the veil of illusion is cast. In his mind there is a clear parallel between painting and cinema, in that he considers one and the other as different yet compatible means to create an illusory world which only exists in a dimension of its own."

 

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