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  • 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

     

  • Pae White

    Oct 07| Lectures
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    Pae White was born in 1963 in Pasadena, California. She lives and works in Los Angeles. She received her M.F.A. from Art Center College of Design in Pasadena and her B.A. from Scripps College in Claremont, California. She also studied at the Skowhegan School of Painting and Sculpture in Maine. Recent solo exhibition venues include Galerie Daniel Buchholz, Cologne; galleria francesca kaufmann, Milan; the Govett-Brewster Art Gallery, New Plymouth, New Zealand; the Contemporary Art Gallery, Vancouver; greengrassi, London; and 1301PE, Los Angeles.

O-Tube

Maura Bendett: 2011-12 Faculty Development Grant Report


Project Description:

In Fall 2011 I received a Faculty Development Grant to purchase a MIG welder to fabricate my sculptures. I also received funds to purchase umbrella lights/stands, a seamless backdrop, and a tripod, which have enabled me to take professional quality photographs of my art. Additionally, I obtained financial support to buy two ceiling lighting fixtures for my studio.

Benefits:

Receiving this grant helped me in my studio practice in multiple ways. It has made it possible for me to weld my sculpture at my studio, instead of having to drive, with my sculpture, to another location to use borrowed welding equipment (#1, #2, #3, welded sculptures in various stages of production).

I have used the umbrella lighting system/seamless backdrop/tripod to shoot photos of my current work for professional activities. I have also been able to photograph several older sculptures that have been taking up space on my studio walls for a year (#4, light stands/umbrellas and installer Tom Villa hanging my ceiling lights). Afterwards, I moved the older sculptures into storage, thus creating additional walls on which to hang my current work.

However, the biggest impact so far has been the installation of the two new overhead ceiling lighting fixtures, (#5, both light fixtures installed and separated by a skylight). They have made a huge difference in the environment at my studio. Their bright light made it apparent to me that my studio desperately needed to be repainted (#6, #7, #8). One of the walls, a 14' brick wall, had never even been painted all the way up to the ceiling (#9). Because the new ceiling lights illuminated absolutely everything, down to the smallest detail, my studio looked much dirtier than I realized. As a result, I was inspired to bring my studio up to speed. Subsequently, I spent four exhausting days repainting the walls (#10, #11, repainting in progress). You can clearly see the difference in the before and after pictures. I also did some major spring-cleaning at the same time. At the present I feel my studio looks amazing (#12).

Value to Otis:

Now that my workspace projects a professional demeanor, I look forward to bringing my current Otis summer elective class, "Experimental Painting", (as well as future classes) to my studio for a field trip. I have also begun using my new photo equipment to create a power point presentation of my sculptures and drawings to show to my Principles of Design classes this fall. Neither of these projects would have been possible before without a Faculty Development Grant to acquire new equipment.

Conclusion:

It is vital to have a brightly lit and well-organized studio and work environment in order to create, maintain, and project a professional atmosphere. This is because as a professional artist I need to entertain studio visits from gallerists and curators, photograph and market images of my work, and to easily produce my sculptures. The Otis Faculty Development Grant has greatly enhanced my ability to accomplish these endeavors, and has been instrumental in helping me to strive to achieve my highest potential so far (#13, #14, #15, #16).

--Maura Bendett
Foundation

Read Full Report [PDF]

Ill. #12: Maura Bendett's Studio
Ill. #12: Maura Bendett's Studio

Work (ill. #15)
Ill. #15: Work by Maura Bendett