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  • Otis Fine Arts hosts a Visiting Artist lecture series featuring John Houck, a Los Angeles-based artist. Read more about him here.
    Contact: Soo Kim, skim@otis.edu
  • Jesse Benson (b. 1978) is an artist based in Los Angeles. Benson's complex practice is driven by the perversion of roles and representation that characterize his generational moment. In obsessively "skillful" objects like the Bureau Paintings, Catalog Page Paintings, Future Sculptures, and Repaintings, Benson constantly questions the authenticity of the document, the function of style, and the value of both art and artist. Benson is equally committed to a curatorial/organizational practice that openly overlaps and inspires his object production.

  • The Architecture/Landscape/Interiors Department at OTIS College of Art and Design is pleased to announce a lecture by Nick SeierupPrincipal | Design Director of Perkins+Will, Los Angeles, on Thursday, December 3, 2015.


  • Marisa Silver is the author most recently of the New York Times bestselling novel Mary Coin. Her other books include the novels No Direction Home and The God of War (a finalist for a Los Angeles Times Book Prize), as well as two story collections, Babe in Paradise and Alone with You. Her work has appeared in The New Yorker and been included in many anthologies, including The Best American Short Stories and The O. Henry Prize Stories. Silver lives in Los Angeles.

  • Jesse Lerner is a filmmaker based in Los Angeles.  His short films Natives (1991, with Scott Sterling), T.S.H. (2004) and Magnavoz (2006) and the feature-length experimental documentaries Frontierland/Fronterilandia (1995, with Rubén Ortiz-Torres), Ruins (1999) The American Egypt (2001), Atomic Sublime (2010) and The Absent Stone (2013, with Sandra Rozental) have won numerous prizes at film festivals in the United States, Latin America and Japan.

  • Otis faculty member Dana Berman Duff will present a program of short 16mm and digital films in her "Catalogue" series.

  • Performing the Grid is an exhibition that brings together an intergenerational group of artists and cultural producers that utilize the grid as a performative strategy to examine, challenge and position philosophical, political, social, domestic, corporeal, and mythical perspectives. Rosalind Kraus famously wrote that the grid “functions to declare the modernity of modern art” in her 1979 essay, Grids.


Karen Moss

Karen Moss
Senior Lecturer

MA, Art History and PhD candidate, University of Southern California

BA Studio Art and Art History, University of California, Santa Cruz


Karen Moss is an art historian, curator and educator who has worked in museums and academic positions since 1980. She has been Senior Faculty in the Graduate Public Practice Program at the Otis College of Art and Design since 2008 and was recently appointed as the college’s Interim Director of Galleries and Exhibitions. She is overseeing artists’ residencies, exhibitions and public programs at the Ben Maltz Gallery, including the Otis project for the Getty’s Pacific Standard Time’s Los Angeles/Latin America.

Previously, Moss was Deputy Director of Exhibitions and Programs and Curator of Collections at Orange County Museum of Art (OCMA) from 2005 - 2010. She co-curated State of Mind: New Art from California Circa 1970 for the Getty’s Pacific Standard Time initiative in 2011 and subsequently the exhibition travelled to the UC Berkeley Art Museum/Pacific Film Archives, the Belkin Gallery, University of British Columbia, Vancouver; SITE Santa Fe, the Bronx Museum of Arts, and the Smart Museum, University of Chicago. Some of her other OCMA exhibitions included: 15 Minutes of Fame: Portraits from Ansel Adams to Andy Warhol  (2010) Illumination: The Paintings of Georgia O’Keeffe, Agnes Pelton, Agnes Martin and Florence Pierce (2009);Disorderly Conduct: Recent Art in Tumultuous Times (2008) and Art Since the 1960s: California Experiments (2007-08).  Moss was co-curator and catalogue essayist for the 2006 California Biennial and organized artists’ residencies, performances and public programs for the 2006, 2008 and 2010 biennials.


Prior to OCMA, Moss was Director of Exhibitions and Public Programs at San Francisco Art Institute (1999-2004) where she curated exhibitions such as Sharon Lockhart/Kelly NipperJames SienaTopographies, and The World on Its Head: Contemporary Belgian Art and organized Touch: Relational Art from the 1990s with Nicolas Bourriaud. Moss also did international residencies with artists Ghada Amer, Tania Bruguera, Lee Bul, Wim Delvoye, Pierre Huyghe/Philppe Parenno, Los Carpinteros and Rikrit Tiranvanija. 

As Director of Education and Community Programs and curator at the Walker Art Center (1995-1999) she curated Performance in the 1970s: Experiencing the EverydayArt of the 1960s: Media is the Message, co-curated Visitor’s Voices: Recomposing the Collection, and also organized many artist residences and public programs.

Moss was the first Director of Programs at the Santa Monica Museum of Art (1989-1993) where she curated exhibitions such as Altered Egos: Making As Another andKim Abeles: Encyclopedia Persona and organized Art in the Raw the museum’s inaugural site-specific installations that evolved into SMMOA’s  Artists’ Project Series. Earlier in her career she was an Assistant Curator at MOCA, Los Angeles (1985-87) and attended Whitney Independent Study Program in Art History and Museum Studies.

Moss has a B.A. in studio art and art history from U.C. Santa Cruz, and did her graduate work in art history at U.C. Berkeley and University of Southern California, where she is completing her PhD. in art history. She has taught undergraduate and graduate level art history, critical theory and curatorial studies at art schools and universities including Cal State University, Long Beach, Otis College of Art and Design; San Francisco Art Institute, and University of Southern California. Moss has authored numerous museum exhibition catalogues, written guest essays for arts publications, and contributed to scholarly journals. Recent publications include, an in-depth article on Martha Rosler for Feminist Studies Journal (2013) and an essay on the re-imagining of Bonnie Sherk’s Portable Park IV for an upcoming book on theGetty’s Pacific Standard Time Performance and Public Art Festival.