• Alumni Open House at The Brewery Art Walk
    October 22, 2016 
    2-6 pm
    Join Otis College of Art And Design for a Brewery Art Walk Open House at the studio of Albert Valdez ('10). Catch up with faculty and fellow alumni, artists, and designers. The Brewery Art Walk is a twice annual open studio weekend with over 100 participating resident artists. Stop by while touring the studios, open 11am-6pm, and enjoy light refreshments. 

  • Todd Gray

    Oct 25| Lectures

    Todd Gray was born in 1954 in Los Angeles. Gray received an MFA and a BFA from California Institute of the Arts and is currently a professor at California State University, Long Beach. He has shown performance work at REDCAT (Roy and Edna Disney CalArts Theater), Los Angeles (2010); California African American Museum, Los Angeles (2009); the Commons, New York University (2008); 18th Street Arts Center, Santa Monica (2008); New Renaissance Theater, Syracuse, NY (2007); and Academy of Media Arts, Cologne (2004).

  • Ruby Neri is a sculptor, painter, and former street artist from San Francisco and Los Angeles, California, known for her evocative portrayal of horses.

  • Otis in NYC
    October 27, 2016 
    6 - 8 pm 
    Franklin Parrasch Gallery
    53 East 64 Street
    New York, NY 10065

    Otis College President Bruce W. Ferguson is coming to NYC! 
    Please come say hello and visit with your fellow alumni and friends of Otis College of Art and Design.
    Drinks and hors d'oeuvres.


  • Lecture takes place at 356 S. Mission Rd., co-presented with Ben Maltz Gallery in conjunction with the exhibition Polly Apfelbaum: Face (Geometry) (Naked) Eyes.

    New York-based critic and independent curator Bob Nickas presents his musings on one hundred paintings, choosing one from each year from 1915-2015.

  • Bob Nickas

    Oct 31| Lectures

    Bob Nickas is a critic and independent curator based in New York, having organized more than ninety exhibitions since 1984.
    He was Curatorial Advisor at P.S.1/MoMA in New York between 2004-07, where his exhibitions include: 
    Lee Lozano: Drawn From Life; 
    William Gedney—Christopher Wool: Into the Night; 
    Stephen Shore: American Surfaces; 
    Wolfgang Tillmans: Freedom From The Known. 

  • Looking at the recent works of Sebastian Stumpf one finds an interplay between performance and the recording of performance, between the execution of a physical act and the documentation of it by means of a camera. [He] operates in two distinct realms: in the empty spaces of contemporary art institutions and in urban settings with their preexisting orders. […] An inconspicuous architectural detail suddenly becomes the catalyst for a physical exploit…. The art gallery becomes a space for action.


Nourishing Craft

Aug 25, 2013
Tanya Aguiñiga, Product Design faculty member
Spotlight Category: Faculty
By Mimi Zeiger


Editor’s Note: 

Aguiñiga is one of five designers featured in the current PBS series “Craft in America: A Journey to the Artists, Origins, and Techniques of American Craft” 

Tanya Aguiñiga, Product Design faculty member, is an acclaimed textile artist, a craft activist, a sculptor, and a self-described “maker.” Her Atwater Village studio overflows with skeins of wool, yards of rope, and fabric remnants—the materials she uses to make her handcrafted accessories and furniture. Aguiñiga’s dyed rope necklaces are museum and design store staples, and the colorful, animal-like chairs and benches recently exhibited at JF Chen’s gallery charmed the crowds. She is not content to simply produce readily consumed objects, however; at the root of her work is a larger goal—the desire to build community and activism around craft. Her hope is to transform the perception of craft from a solo domestic art to a means of public engagement.

To do this, Aguiñiga weaves her own personal narrative into the history of craft. Born in Tijuana, she grew up taking a bus across the border every day to go to school in San Diego. As an undergraduate, she studied furniture design at San Diego State University, and received her MFA from Rhode Island School of Design. In 1997 she became a member of the Border Art Workshop/Taller de Arte Fronterizo (BAW/TAF), a binational collective dedicated to bringing attention to the U.S/Mexico border through arts-based programming. 

“My time with BAW/TAF was the foundation for who I am today as an artist,” says Aguiñiga, reflecting on the six years she spent actively involved with the organization. “It taught me how to use tools for the first time, how to work as a collaborative, how to engage with communities, how to create work that is both personal and political, and how to produce installation and performance art. As clichéd as it sounds, BAW/TAF changed my life.”

For Aguiñiga, BAW/TAF’s influence led her to work with marginalized communities and encouraged her to consider craft a radical practice. It taught her to be both an activist and a mentor, values she instills in her students at Otis. “It’s my job to preserve this history through making something personal,” says Aguiñiga. 

To illustrate her point, she selects a heavy leather strap from a basket brimming with colors and textures. The piece is a backstrap weaving belt, worn smooth in places from use—the kind of loom used by women artisans in Chiapas, Mexico. The leather belt wraps around the weaver’s waist and is used to create tension in the loom, which is then attached to a fixed object. 

Last summer, Aguiñiga used the belt to stage an outdoor weaving performance in Beverly Hills. Dressed in traditional Mexican garments, she attached the belt first to a parking meter and then, when asked by police to move, to a tree in front of the sign reading “Welcome to Beverly Hills.” Aguiñiga’s street performance of weaving brightly colored yarn was educational and political, publicly exposing the often unseen physical labor, artistry, and technique that is required to create textiles in one of the world’s richest zip codes. “Craft has been malnourished,” she says. “The origins of the materials need to be told.”

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