• Todd Gray

    Oct 25| Lectures

    Todd Gray was born in 1954 in Los Angeles. Gray received an MFA and a BFA from California Institute of the Arts and is currently a professor at California State University, Long Beach. He has shown performance work at REDCAT (Roy and Edna Disney CalArts Theater), Los Angeles (2010); California African American Museum, Los Angeles (2009); the Commons, New York University (2008); 18th Street Arts Center, Santa Monica (2008); New Renaissance Theater, Syracuse, NY (2007); and Academy of Media Arts, Cologne (2004).

  • Ruby Neri is a sculptor, painter, and former street artist from San Francisco and Los Angeles, California, known for her evocative portrayal of horses.

  • Otis in NYC
    October 27, 2016 
    6 - 8 pm 
    Franklin Parrasch Gallery
    53 East 64 Street
    New York, NY 10065

    Otis College President Bruce W. Ferguson is coming to NYC! 
    Please come say hello and visit with your fellow alumni and friends of Otis College of Art and Design.
    Drinks and hors d'oeuvres.


  • Lecture takes place at 356 S. Mission Rd., co-presented with Ben Maltz Gallery in conjunction with the exhibition Polly Apfelbaum: Face (Geometry) (Naked) Eyes.

    New York-based critic and independent curator Bob Nickas presents his musings on one hundred paintings, choosing one from each year from 1915-2015.

  • Bob Nickas

    Oct 31| Lectures

    Bob Nickas is a critic and independent curator based in New York, having organized more than ninety exhibitions since 1984.
    He was Curatorial Advisor at P.S.1/MoMA in New York between 2004-07, where his exhibitions include: 
    Lee Lozano: Drawn From Life; 
    William Gedney—Christopher Wool: Into the Night; 
    Stephen Shore: American Surfaces; 
    Wolfgang Tillmans: Freedom From The Known. 

  • Looking at the recent works of Sebastian Stumpf one finds an interplay between performance and the recording of performance, between the execution of a physical act and the documentation of it by means of a camera. [He] operates in two distinct realms: in the empty spaces of contemporary art institutions and in urban settings with their preexisting orders. […] An inconspicuous architectural detail suddenly becomes the catalyst for a physical exploit…. The art gallery becomes a space for action.

  • Passionate Voices Expressed in Sound Bearing Plastic: An Evening with Collector Richard Shelton


Paul Landacre

Paul LandacrePaul LandacrePaul LandacrePaul Landacre


Landacre ('27) has carved out a hallowed space among preeminent printmakers of the 20th century. His prints and early linocuts can be found in more than 150 active public collections nationwide, and in numerous books on American printmaking and wood engraving. His wood engravings have been included in numerous exhibitions, including the 1939 New York Worlds Fair. The Silver Lake house he shared with his wife of 38 years is now designated as an Historic Building.

The land and sea of the American West, including the hills and mountains of Big Sur, Palm Springs, Monterey, and Berkeley. provided a fundamental inspiration for many of Landacre's linoleum cuts and wood engravings. His unique style included meticulously carved fine lines, delicate cross hatching, and flecking – all in white, that sharply contrast with richly blackened areas.

Landacre also taught wood engraving at USC, and Otis, and held memberships in the California Society of Etchers, California Print Makers Society, American Society of Wood Engravers, and the American Society of Etchers, Gravers, Lithographers and Woodcutters.

Landacre’s personal story is noteworthy. A promising track and field athlete at Ohio State University, Landacre was stricken with a streptococcus infection that rendered his upper body permanently and physically weakened. After graduation, he moved to the healthier climate of San Diego where he worked as a draftsman. To advance his drawing skills, Landacre relocated in 1923 to study at Otis, where he met Margaret McCreery, an advertising copywriter, and by 1925 they were married.

Feeling the call of printmaking, and eager to transition into fine art, Landacre taught himself the demanding art of carving linoleum blocks and, eventually, woodblocks for both wood engravings and woodcuts. He met and impressed Jake Zeitlin, who ran a bookshop that included a small gallery space; here Landacre had his first significant solo exhibition.


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