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  • Angie Bray: Shhhh

    Jan 17| Exhibition
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    Angie Bray: Shhhh

    January 17 – March 22, 2015

    Opening Reception: January 24, 4-6pm

    Angie Bray: Shhhh is a substantial exhibition of the Los Angeles–based artist’s installations, photographs, drawings, sculpture and video organized by guest curator Meg Linton for the Ben Maltz Gallery at Otis College of Art and Design. The exhibition opens on Saturday, January 17, 2015.

    About the Exhibition

  • Opening Reception for Angie Bray: Shhhh a substantial exhibition of the Los Angeles–based artist’s installations, photographs, drawings, sculpture and video organized by guest curator Meg Linton for the Ben Maltz Gallery.

  • Walk-thru the exhibition Shhhh led by the artist Angie Bray. Gain insight into Bray's work and to the exhibition, and hear about her process, materials, and philosophies on art-making and on quieting, listening, and looking.

  • The Architecture/Landscape/Interiors Department at OTIS College of Art and Design is pleased to announce the George H. Scanlon Foundation Lecture REDUX.3 by JAMES CORNER


    Wednesday    18 February 2015    7:30 PM
    Ahmanson Auditorium   limited, open seating starting at 7:00 PM  

    at THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES

    250 SOUTH GRAND AVENUE  LOS ANGELES CA  90012

     

    This lecture is free and open to the public.

     

  • Bassoon Performance

    Feb 22| Special Event
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    Bassoonist John Steinmetz Performs and Converses with the Audience
    Playing live bassoon inside the exhibition Angie Bray: Shhhh, Steinmetz will react to Bray’s installations by playing some of his own music as well as new compositions, and will converse with the audience, who are encouraged to sit or roam through the gallery looking and listening.

  • Composer Kubilay Üner offers a “reactive” experience with a live presentation of a new composition made in response to the exhibition Angie Bray: Shhhh. The performance will be interspersed with conversation between Üner and Bray.

  • Closing reception for exhibition Angie Bray: Shhhh

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Norman Zammitt

Norman ZammittNorman ZammittNorman Zammitt

 

Norman Zammitt was (1931-2007) raised on the Mohawk [Caughnawaga Indian] reservation near Montreal. After serving in the U.S. Air Force during the Korean War, he returned to America, graduated from Pasadena City College in 1957, and earned his MFA ('61) from Otis in 1961. He taught art at California Institute of the Arts, USC, and UCLA during his long career as an artist.

His often mural-sized works can now be found in private collections as well as at the Museum of Modern Art, the Hirschhorn Collection, and the Corcoran Gallery. His straight-edge style suggested mathematics and engineering, some reviewers observed; others posited that the ethereal element in his art seemed to rise up out of the geometry by intention. Often his work was said to create a “meditative mood.”

“Zammitt crafted meticulous bands of color in subtle gradations and shades in his paintings,” noted the Los Angeles Times. “Many of them evoke sunsets, deserts and other scenes in nature. And according to Carol Eliel, curator of modern and contemporary art at the Los Angeles County Museum of Art, “[Zammitt] translated the light and landscape of California to paint. He wanted to include the more spiritual aspects of the California landscape in his work.”

Still, Eliel notes that Zammitt’s art didn’t fit neatly into a single school or movement, though his interest in capturing light and space related his work to that of such artists as Larry Bell and Robert Irwin (’50). At the same time, his precision and a preference for sleek surfaces related his creations to the art of Billy Al Bengston (‘57), among other Otis-trained California artists who rose to prominence in the 1970s.

Of his art, Zammitt once wrote to an Otis colleague: “The artist’s first responsibility is to his own truth. For me, art is a responsibility to myself, to my own sincere thoughts. To keep in contact with that is a constant struggle. […] To recreate an old form or create a new form is not necessarily the most important concern. Form should be a result, a sincere statement of integrity; form happens as part of a desire to make a statement straight from the heart. Form seems to always be there, and the need to express it becomes stronger and stronger. Each expression does not slowly exhaust the source, but on the contrary, the artist cannot keep up with what he has to say. […] For me, this has become a way of life. I never planned it to be this way, but I am glad about it. Nothing else makes me feel more right, more my own self.”

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