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Events
  • Otis Books is pleased to publish Tim Erickson’s debut collection of poetry, Egopolis, a textual journey through destruction, resistance, city, and the Ego, from ancient times to the present day. Erickson’s work has appeared in the Chicago Review, Western Humanities Review, and the Salt Anthology of New Writing. He lives in Salt Lake City.

  • Otis Graduate Writing students will read from their works-in-progress.

  • Exquisite Beauty is the first retrospective and publication to document the eye-dazzling ceramics created by Ralph Bacerra (1938–2008), a Los Angeles–based artist known for his innovative approach to surface embellishment. Curated by Jo Lauria, the exhibition features more than ninety of the artist’s finest pieces—dramatic, highly decorated vessels and sculptures that have never before been the focus of a major exhibition or publication.

  • Opening Reception for Ralph Bacerra: Exquisite Beauty

  • David Treuer is an Ojibwe Indian from Leech Lake Reservation in northern Minnesota and currently teaches at USC. He is the author of the novels Little, The Hiawatha, The Translation of Dr. Apelles, named a Best Book of the Year by the Washington Post, as well as a critical work, Native American Fiction: A User's Manual. In 2012, he published another nonfiction work, Rez Life.

  • Angela Flournoy’s first novel The Turner House was a Barnes & Noble Discover Great New Writers selection. Her fiction has appeared in The Paris Review, and she has written for The New Republic, The Los Angeles Review of Books and elsewhere. Flournoy has taught at the University of Iowa and Trinity Washington University. She lives in Los Angeles.

  • Susan Choi’s first novel, The Foreign Student, won the Asian-American Literary Award for fiction, and her second novel, American Woman, was a finalist for the 2004 Pulitzer Prize. Her most recent novel, A Person of Interest, was a finalist for the 2009 PEN/Faulkner Award. With David Remnick she co-edited the anthology Wonderful Town: New York Stories from The New Yorker. A recipient of fellowships from the NEA and the Guggenheim Foundation, and in 2010, the inaugural winner of the PEN/W.G. Sebald Award, Choi lives in Brooklyn.

O-Tube

Meg Cranston interview

How does art reflect current media? (or how does YOUR work do this?)
Current or mass media uses exactly the same set of skills as art though art and mass media are valued differently. Art traffics in rarity and, at least superficially, profundity. Mass media, by contrast, is almost purely a numbers game. It gathers meaning and importance by the number of times it is reproduced and by the number of people who engage with it.  In social media (and increasingly, all mass media) value is established by “likes.” Mass media is very direct and democratic in that sense. Like all artists today, I can’t ignore mass media. I don’t want to. It is a language we all use and understand. I use a lot of popular imagery in work. I don’t use an image in the way it was originally intended but I do, in a sense, borrow the power it gained in mass culture. I never wanted to separate myself from the larger culture. I am an optimist. I say yes to everything.

What were the most compelling exhibits you saw in L.A. last year? Elsewhere?
The Caravaggio show at LACMA included only eight Caravaggio paintings but that’s a lot because it’s very difficult for museums to borrow the paintings. Caravaggio’s work always looks contemporary. To me, the paintings look like advertising. He knew how to sell a subject in way that is totally understood by contemporary viewers.
The other show that really impressed me was in New York. Thomas Hirschhorn is favorite among L.A. artists and Otis students. He did project at a housing project in the Bronx dedicated to the philosopher Gramsci in which the residents were completely involved in every aspect. They created a radio station, a café, a lecture series, and a garden. It went on for months, and was just really fresh and exciting. Hirschhorn’s attitude is that the purpose of art is to generate energy. Everything else is secondary. I totally agree with that.

What do you see as the difference between L.A. and N.Y. art scenes?
I encounter the N.Y. scene mostly through galleries and art dealers, and less by hanging out with artists. I go to N.Y. primarily to do shows. From that vantage point, N.Y. is all about the market. Dealers like David Zwirner seem to make the news more than their artists. People talk about auctions because the big auction houses are in N.Y., and auctions have increasingly become central to art.
L.A. is different. It’s a place where many great artists choose to live and work. A lot of artists work here and do business elsewhere. That is certainly true in my case.

What's your favorite place in L.A.?
I really admire what (Director) Annie Philbin has created at the Hammer Museum. It is a good model of the museum as social space. There is so much going on, and it really has revitalized Westwood.

What are you reading?  What blogs do you follow?
I recently read Uncreative Writing by poet Kenneth Goldsmith. He argues that creative writing lags behind visual art in the sense that it remains for the most part locked into the self-expressionist model. Long ago, visual artists experimented with using neutral information or strategies to create works that were interesting but had nothing to do with their biography. He argues that writers should be influenced by visual art and the freedom visual artists have to borrow or appropriate from whatever sources they choose. To that end, he made a text using transcripts of weather reports and another using transcripts of 911 calls. Basically the idea is that ordinary “uncreative” sources produce novelty and a new reinvigorated idea of creativity.  Goldsmith also does the site Ubuweb.com, a fantastic resource for film and video, writing etc. I’m also reading Tenth of December by George Saunders. It’s so great that a really good writer has become a best seller.

What do you think about Vern Blosum?
I think it’s funny and totally fine. It was done as a hoax I guess but if the paintings are convincing who really cares why someone made them? I don’t think they are the best paintings but I have no problem with prank. Art is full of pranks. So what?

Dave Hickey, in a recent talk, asserted that "Artists are narcissists and should stay so." He talked about art world people at the top (the folks with “silver bowls full of cocaine”) and people at the bottom, stating that those are the only two positions on the spectrum that could cultivate creative work, and dismissing everything in the middle. He also expressed surprise that critics so rarely write negative reviews, since he so rarely sees artwork that makes him excitedly wonder "what are they going to make after this?" Agree/disagree?
I don’t always agree with Dave Hickey but I appreciate him as a writer and gadfly. He writes very well. That’s important. Ultimately, critics are persuasive because people enjoy reading them, so writing well is critical. I don’t agree that artists “in the middle” can’t do anything. A lot of artists come from ordinary middle class backgrounds and stay more or less middle class. Despite the pose, it was same for many white rock and roll musicians. I agree that few critics seem interested in writing negative reviews. Audiences do like an occasional scathing review but critics have to be pretty certain they’re right.

What are YOU working on now?
I am working on a series of painting for an exhibition in Berlin. I am also on my way to Afghanistan to do a project. A group of L.A. women artists are collaborating with women weavers to design carpets.

If you had to choose one work of art to take to a desert island, what would it be?
Infinite Jest by David Foster Wallace, primarily because it is over 1,000 pages long.

How did you choose the piñata as a means for self-portraiture?
There were two ideas. The first was that having a piñata of you in Tijuana is the ultimate measure of fame. Jeff Koons might be famous but he isn’t piñata famous. No artist is. The second idea came from a famous ethnographic film by Timothy Ashe and Napoleon Chagnon called “Magical Death.” It shows the Yanomamo tribe practicing ritual warfare. They did that to lessen the occurrence of real fighting. The idea was that my effigy would undergo ritual violence so that my actual self wouldn’t have to.