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  • Alice Konitz

    Sep 18| Lectures
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    Graduate Fine Arts, Visiting Artist Lecture Series presents artist, Alice Konitz.

    Thursday, September 18th 11:115am - 12:30pm

    Graduate Studios: 10455 Jefferson Blvd Culver City CA 90230

    Image from alicekonitz.com

     

  • High&Low Bureau is a curatorial duo composed of Yael Messer and Gilad Reich. They curate exhibitions, film programs, performative events and publications, while engaging with a plethora of disciplines, media and modes of artistic expression.Their curatorial practice is dedicated to the exploration of artistic strategies that reflect on, and suggest alternatives to, specific social-political conditions.

  • Los Angeles is a city often described as having no center. Its art community has turned that "disadvantage" into an advantage and given itself a license for adventure. Organizations, galleries, and artists find decentralization to be an exciting option and they establish their addresses in unexpected neighborhoods and zones in the city and even beyond, in other cities and states. What are the challenges and advantages of this programmatic and conceptual strategy? What are the risks, to organization and audience alike? Is this necessary, and if so, is it sustainable?

  • Fritz Haeg

    Sep 25| Lectures
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    Image: Fritz Haeg, working to install the Edible Estate #12 garden in Budapest, 2012. Photo: Andras Kare.

    Graduate Fine Arts, Visiting Artist Lecture Series presents artist, Fritz Haeg.

    Thursday, September 25th 11:15am - 12:30pm

    Graduate Studios: 10455 Jefferson Blvd Culver City CA 90230

  • David Schafer

    Sep 30| Lectures
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    David Schafer is a visual and sound artist working in sculpture, sound, sound, performance, and works on paper. His work is concerned with the structures, translation, and intelligibility, of language and architecture. Schafer has shown nationally and internationally and has received several public commissions. Most recently he has had one-person shows at Studio10 gallery in Bushwick, Brooklyn, NY, and Glendale College Art Gallery, Glendale, CA.

  • Sarah Manguso

    Oct 01| Lectures
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    Sarah Manguso is the author, most recently, of The Guardians: An Elegy for a Friend, named one of the top ten books of the year by Salon. Her previous book, the memoir The Two Kinds of Decay, was named an Editors’ Choice by the New York Times Sunday Book Review and short-listed in the UK for the Wellcome Trust Book Prize and long-listed for the Royal Society Winton Prize. Her other books include the story collection Hard to Admit and Harder to Escape, and the poetry collections Siste Viator and The Captain Lands in Paradise.

  • Graduate Fine Arts, Visiting Artist Lecture Series presents artist, Jennifer Steinkamp.

    Thursday, October 2nd 11:15am - 12:30pm

    Graduate Studios: 10455 Jefferson Blvd Culver City CA 90230

     

O-Tube

Matt Lifson ('12 MFA) LA Times Review

Jan 21, 2014
LA Times Review
Spotlight Category: Alumni

(MFA '12 alumnus) Matt Lifson's paintings pregnant with possibilities at Angles Gallery

December 5, 2013 by Christopher Knight, Los Angeles Times art critic

Five large paintings by Matt Lifson all show virtually the same enigmatic subject -- what appears to be a makeshift tent in the woods at night. But slight differences in tonality, lighting and paint-handling among the five generate unexpected responses.

Serial imagery, given its origins in Claude Monet's repeated studies of grain stacks and an imposing cathedral facade under different conditions of light and weather, tends to have a rather sunnier disposition than what turns up in Lifson's solo debut at Angles Gallery. Grim, even inexplicably creepy, his blue-black “Tent” paintings get you to scrutinize them like a detective at a crime scene.

As a cop would do, you try to create a narrative from pictorial fragments. Is that romantic moonlight illuminating the tent or a police helicopter's piercing searchlight?  Does the tent belong to a vacationing camper or, given what appears to be its improvised nature, a homeless person? Is it shelter from an impending storm?

What's that jagged, sharp-edged but indecipherable whitish object just beneath the fallen tree limb? And speaking of the limb, why do its branches appear to have been stripped?

Going from canvas to canvas (each is around 6 feet by 7 feet), distinctions that at first seem slight steadily grow more stark -- and inexplicably ominous. Spots of white light in the deep, dark indigo woods could be anything from fireflies to nocturnal stalkers. Subtitled with fragmentary musical phrases -- “Sleep in heavenly...” “Lay down my bones with the rocks and roots...,” etc. -- the bleak paintings firmly resist disclosure.

That's their strength: Lifson underscores the degree to which, encountering a picture, we project meanings onto it. These paintings are pregnant with possibilities, horrific or benign, which shift in and out of view across a wide range of emotional registers depending on a viewer's drifting thoughts. In today's picture-saturated world, no wonder things seem so daunting.

The show also includes a floor sculpture composed of 217 gilded bricks, each stamped with a cryptic symbol and laid out in a curve, plus three small folding tables with a depiction of a black jacket painted on peeling paper across each top. More compelling is a wall text in clear, nearly invisible vinyl, its Hebraic font style readable only as fleeting light falls across it. A description of a demon lurks in the text -- if not on the wall, then surely in your head.

 

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