Events
  • Sitting in Sound

    Jul 15| Special Event
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    Jesse Fleming, A Theory of Everything, 2015, Installation view.
     
  • Opening Reception

    Jul 15| Special Event
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    L: Nora Slade, Kate Mouse Mickey Moss, 2014, Photo transfer and fabric paint on sweatshirt, cardboard and found objects. R: Marisa Takal, I Love My Sister, 2016, Oil on canvas, 65 x 50 inches.

    Opening Reception for the two-person exhibition of work by the Los Angeles-based artists Nora Slade and Marisa Takal

    Light snacks and refreshments.

    Exhibition on view July 15 - August 19, 2017.

    Bolsky Gallery located across from Ben Maltz Gallery, ground floor, Galef Center for Fine Arts.

  • 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. 

  • Image: BijaRi, On the rooftops of Santa Domingo-Savio neighborhood as part of the project Contando con Nosotros, 2011

  • 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).

O-Tube

Guy Bennett: 2009-10 Faculty Development Grant Report


Report:

I received a Faculty Development Grant in 2010 in support of the creation of an audio-textual work for submission to the media poetry competition of the 2011 Biennale internationale des poètes en Val de Marne (BIPVAL), an international poetry festival based in Paris, France. Grant monies were used for research travel to and within Paris in summer 2010 as well as for a set of monitors used in composing and editing this work.

The piece, entitled Sound Memory, is an exploration of the relationship between sound, memory, and the imagination, in the context of short wave radio transmissions. I began writing the textual portion of it in spring 2010, completing it later that summer while researching at the Maison de la Radio and at the Institut national de l'audio visuel in Paris. The audio portion of the work was created that fall in Los Angeles. It consists of readings of the text and a sound collage combining recordings of shortwave radio, lost musics, and radio noise. The vocal part was recorded in the video lab at Otis, and the sound collage was created on my computer, which I also used to edit and mix the work.

Sound Memory was submitted to the BIPVAL media poetry competition in late-December 2010. As of this writing (April 25, 2011), I do not know whether my piece has been selected for public presentation at the Biennale, which will take place in late May.

I would like to thank the Faculty Development Committee for their consideration, and the college for its continued support of faculty projects.

Project description and sound file: http://www.guybennett.com/#798696/Sound-Memory/
Biennale internationale des poètes en Val de Marne: http://www.biennaledespoetes.fr/

--Guy Bennett
Liberal Arts and Sciences, Graduate Writing

 

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