Events
  • Otis College alumni in the New York/Tri-State area are invited to a reception welcoming visiting Otis College fashion students at Global Brands Group headquarters in the Empire State Building. Join fellow alumni to celebrate the culmination of the Fashion Design Department's annual trip to Manhattan. This special event - open to all alumni from both undergraduate and graduate departments - is a great chance to reconnect with friends, welcome new Fashion Design alumni from the Class of 2017, and meet Otis College leaders including Fashion Design Interim Chair Jill Higashi-Zeleznik.

  • In conjunction with the current exhibition Patterns Bigger Than Any of Us: Jesse Fleming / Pat O'Neill in Ben Maltz Gallery, May 7 - August 12, 2017.

    In Conversation: Jesse Fleming and Pat O'Neill, moderated by LA-based idependent curator and historian Ciara Moloney

     

    Jesse Fleming (b. 1977) is part of an emerging group of artists and technologists that examine the convergence of media art and mindfulness. Recent solo exhibitions were held at Five Car Garage; 356 Mission; and Night Gallery, all in Los Angeles, CA; and the University of Texas in Austin, TX.

    Pat O’Neill’s (b. 1939) artistic and filmmaking career spans over 50 years, and he is highly-regarded for his experiments with film and optical printing. Recent solo exhibitions were held at Berkeley Art Museum and Pacific Film Archive in Berkeley, CA; Monitor in Rome, Italy; VeneKlasen/Werner in Berlin, Germany; Quinta do Quetzal in Vidigueira, Portugal; Mitchell-Innes & Nash in New York, NY; and Cherry and Martin in Los Angeles, CA.

    Ciara Moloney is an independent curator, editor, and writer based in Los Angeles. She was formerly Curator of Exhibitions and Projects at Modern Art Oxford where she curated exhibitions by Barbara Kruger, Josh Kline, Lynn Hershman Leeson, Christian Boltanski and Kiki Kogelnik.

  • Amelia Gray is the author of the short story collections AM/PM, Museum of the Weird, and Gutshot, as well as the novels Threats and, most recently, Isadora, published by Farrar, Straus and Giroux. Her fiction and essays have appeared in The New Yorker, the New York Times, the Wall Street Journal, Tin House, and VICE. She is winner of the New York Public Library Young Lions Award, of FC2's Ronald Sukenick Innovative Fiction Prize, and a finalist for the PEN/Faulkner Award. 

  • Luis J. Rodriguez was Los Angeles Poet Laureate from 2014-2016. The twenty-fifth edition of his first book, Poems Across the Pavement, won a 2015 Paterson Award for Sustained Literary Achievement. He has written fourteen other books of poetry, children’s literature, fiction, and nonfiction, including the best-selling memoir Always Running: La Vida Loca: Gang Days in L.A. Rodriguez is also founding editor of Tia Chucha Press and co-founder of Tia Chucha’s Centro Cultural & Bookstore in the San Fernando Valley. In 2016 Tia Chucha Press produced the largest anthology of L.A.-area poets, Coiled Serpent: Poets Arising from the Cultural Quakes & Shifts of Los Angeles. Rodriguez’s last memoir It Calls You Back: An Odyssey Through Love, Addiction, Revolutions, and Healing was a finalist for the 2012 National Book Critics Circle Award. His latest poetry collection Borrowed Bones appeared in 2016 from Curbstone Books/Northwestern University Press.

  • Raised in Philadelphia, with roots in South Africa and Trinidad, Zinzi Clemmons’ writing has appeared in Zoetrope: All-Story, Transition, The Paris Review Daily, and elsewhere. She has received fellowships and support from the MacDowell Colony, Bread Loaf, the Fine Arts Work Center in Provincetown, and the Kimbilio Center for African American Fiction. She is co-founder and former Publisher of Apogee Journal, and a Contributing Editor to LitHub. She teaches literature and creative writing at the Colburn Conservatory and Occidental College. Her debut novel, What We Lose, as well as a second title, are forthcoming from Viking.

  • Louise Sandhaus is a graphic designer and graphic design educator. She was previously Director of the Graphic Design Program at CalArts where she currently is faculty. Her recent book on California graphic design, Earthquakes, Mudslides, Fires and Riots: California and Graphic Design 1936-1986, co-published by Metropolis Books and Thames & Hudson, has received laudatory reviews from The New York Times, The Guardian, Eye, and Creative Review. The book received the Palm d’Argent for best art book at FILAF (International Festival of Art Books and Films on Art).

  • Photo Credit: Jesse Pniak

     

    F. Douglas Brown received the 2013 Cave Canem Poetry Prize (selected by Tracy K. Smith) for Zero to Three, published by the University of Georgia. He also co-authored the chapbook Begotten with Geffrey Davis as part of Upper Rubber Boot Book's Floodgate Poetry Series. Both a past Cave Canem and Kundiman Fellow, his poems have appeared in the Academy of American Poets, The Virginia Quarterly, Bat City Review, The Chicago Quarterly Review, The Southern Humanities Review, The Sugar House Review, Cura Magazine, and Muzzle Magazine. He is co-founder and curator of un::fade::able - The Requiem for Sandra Bland, a quarterly reading series examining restorative justice through poetry as a means to address racism. Brown currently teaches English at Loyola High School in Los Angeles.

O-Tube

Marjan Vayghan '06 Fine Arts

Dec 16, 2013
Contemporary art in Tehran
Spotlight Category: Alumni
After graduating from Otis, I packed four suitcases, two carry-ons and a computer bag full of art, and traveled to MOCA Tehran in 2007 to curate “Manifestation of Contemporary Arts in Iran.” The exhibition featured works from 67 Iranian and American artists, including Chair of Graduate Public Practice Suzanne Lacy, Masami Teraoka (’68 MFA), Co-founding Director of Artsts, Community and Teaching program Jerri Allyn, and honorary degree recipient Bill Viola. Former Prime Minister and reformist politician Mir Hossein Mosavi’s name appeared in the exhibition catalogue.
 
During the Green Revolution, I returned to Iran to curate a solo exhibition of Masami Teraoka’s watercolors. On August 5, 2009, my partner and I took a cab towards the gallery. Police presence mushroomed on Vanak Square as forces on foot, motorcycles, and vans lined the street. Suddenly I was pulled out of our cab while a man foaming from the mouth lunged his upper body into the moving taxi. Arrested, blindfolded and hooded, we were interrogated into the early hours of August 6. On August 7, I attended my first childhood friend’s funeral, where his mother grabbed my inner knee, pleading for her son. Speechless, I disconnected from all I knew. I didn’t leave my aunt’s home again until August 18, when I was assaulted by two men on a motorcycle. My cries were quickly silenced, as I was informed that it is unladylike to cry in public. My only remaining impulse was a need to articulate creatively.
 
On August 29, I opened Masami Teraoka’s solo exhibition. Everything I had to say about the taboo topics of globalization, Westernization, sanctions, fundamentalism, HIV, prostitution, and the trafficking of young girls as Iran’s biggest export could be found in Masami’s controversially bold paintings. Masami’s work embraced and visualized the aesthetics of the green movement in a complex subversive plateau just beneath the governing factions of the Islamic Republic’s radar of genocide and oppression. The paintings were done in the 1970s with traditional Japanese brushstrokes but they were perfect for the “Jumong”-obsessed Tehran of 2009. The 2009 uprising was inspired more by “Jumong” (an extremely popular South Korean soap opera) than by Mir Hossein Mousavi.
 
These days I find myself working on the two time zones of Tehran and Los Angeles. 10:00 am - 5:00 pm bears a plethora of emails, and an endless search for regular curating and writing gigs to support my many art and activism obsessions. 10:00 pm - 5:00 am is spent curating and organizing Rooftop Projections and Exhibits throughout Iran. Updates from family members and friends include: “Grandma was hit by a motorcyclist. Grandpa is losing his sight and memories. You shouldn’t come back to Iran this summer. Strangers are coming by the gallery and asking for you.” I continue shifting my consciousness towards collecting subversive literature and art for our Rooftop Exhibits. 
Tags
Otis College Ranked 6th in Nation by The Economist