• Sitting in Sound

    Jul 15| Special Event

    Image: Electronic Sound Bath

  • L: Nora Jane 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: I Wish I Was a Telephone: Nora Jane Slade and Marisa Takal

    Celebrate the opening of the two-person exhibition of work by Los Angeles-based artists Nora Jane Slade and Marisa Takal.

    Light snacks and refreshments.

    Exhibition on view July 15 - August 19, 2017.

  • 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

    Opening Reception 3-5pm /  Curator and Artist led walk-thru of the exhibition, 3pm  /  Free

  • Talking to Action

    Sep 17| Exhibition

    Image: Eduardo Molinari, Confluencia 2: Los Angeles River, 2016.

    Talking to Action: Art, Pedagogy, and Activism in the Americas is an exhibition and bilingual publication that investigates contemporary, community-based social art practices in the Americas. Talking to Action is part of the Getty’s initiative Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles.

  • 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.



The L.A. Summer Residency provides a unique setting for professional artists and designers to interact with artists, curators and mentors from the Los Angeles arts community and beyond. The programming for 2017 includes keynote speakers, portfolio mentors, panelists and more. 


Bruce W. Ferguson is a proven arts and academic leader with extensive experience in entrepreneurial leadership and institutional development, with a demonstrated passion for facilitating artists and intellectuals and their work and research.  He has experience in serving multiple constituencies and creating effective working environments. Bruce is devoted to producing institutional measures to generate new works of art, new knowledge and new forms of intellectual presentation.  He has a lifetime engagement in the arts and academia. Bruce has specialized in discovering and nurturing artistic talent internationally; creating arts organizations from the ground up; and in remaking and rebranding disorganized or static academic organizations through infrastructural means and strategic planning. Bruce has been an external advisor to the University of Cincinnati, University of Toronto, Penn State, and ALBA in Beirut as well as Montclair University in New Jersey. More recently as Dean of the Humanities and Social Sciences at AUC, he has implemented a new academic program which integrated film, visual arts and design into a new three major curriculum under Visual Cultures; he also initiated a committee to study the implication of a full PhD program that would concentrate on Middle Eastern studies and be both interdisciplinary and inter-school. Bruce has worked with boards and cultural partners to develop and implement management policies, projections and processes for annual and long-term budgets. He has successfully diversified and expanded annual income streams in the institutions mentioned above, and has been accountable at all times.  He has ensured that each institution was a place for staff, faculty, and students to experiment with new ideas, research and multiple methodologies.  He himself continues to actively publish, maintain relations with colleagues worldwide and be involved on institutional boards i.e. The Drawing Center in New York City, the Bergen Assembly in Norway and SAHA, an artists’ foundation in Istanbul, Turkey. Most recently, in 2012, Bruce was Distinguished Professor at the Institute of Arts and Humanities at Penn State in Pennsylvania, a consultant to the Bergen Triennial in Norway, a consultant to a new curriculum at the Académie Libanaise des Beaux Arts (ALBA) in Beirut, Lebanon as well as to the Department of Arts and Design at Montclair University in New Jersey. Bruce is currently the President of Otis College of Art and Design. 

Jeffrey Stewart is a professor and former chair of the Department of Black Studies at University of California at Santa Barbara. Born in Chicago, he spent his college years in California at UCLA and UC Santa Cruz, before doing graduate work at Yale University, where he received his Ph.D. in American Studies in 1979. He has taught at Yale, Tufts, UCLA, Scripps, Howard, Harvard, and George Mason Universities, the latter for more than 15 years.  Most recently, Professor Stewart was a Charles Warren Fellow at Harvard University in Cambridge, Massachusetts. Jeffrey has studied the issues of race and culture in art, history, literature and music. His most important research has been on the Harlem Renaissance, the black arts movement of the 1920s, and his specialty has been the work of black philosopher Alain Locke, a Howard University philosopher and thinker. Oxford University Press will publish his biography of Alain Locke in the summer of 2017.  Stewart has authored several books, has been a Director of Research at the Anacostia Museum and a guest curator at the National Portrait Gallery, both of the Smithsonian Institution.  At the Portrait Gallery, he curated the exhibition, To Color America: Portraits by Winold Reiss, (1989) and at Rutgers University curated the national traveling exhibition, Paul Robeson: Artist and Citizen (1998-2000). In 2003, he was Fulbright Professor at the University of Rome III; In 2008, Stewart organized the international conference, “1968: A Global Year of Student Driven Change,” that examined the role of students in the United States, France, and Mexico as social justice change agents in their universities and societies. Stewart was a member of an artists group, Variable, located in Pasadena, California.  In 2013, he delivered a lecture on developing a TransAfrican aesthetic at the Smithsonian’s National Museum of American Art in Washington, DC. In the summer of 2015, Stewart was a guest adviser at the Terra Foundation Summer Residency in Giverny, France.

Oliver Wasow is a fine art photographer currently living and working in Rhinebeck, NY.  He received his BA from Hunter College and his Master’s Degree from the Transart Institute, In Austria. His work is currently represented by Theodore:Art Gallery in NYC. Wasow has had a number of one person exhibitions, including shows at the Josh Baer Gallery, Janet Borden Gallery, The Hilliard University Art Museum in Lafayette, LA, The South Eastern Center for Contemporary Art in North Carolina, and Galerie De Poche in Paris, France. His work has also been included in numerous national and international group shows, including such benchmark exhibitions as ‘Manipulated Photography Before Photoshop,’ at The Metropolitan Museum of Art,  ‘Image World,’ at the Whitney Museum of Art in NYC, and ‘The Photography of Invention,’ at the National Gallery of Art in Washington, DC.  His photographs are included in a number of private collections and are also represented in various prominent public collections, including The Metropolitan Museum of Art, The Whitney Museum of Art, The Museum of Modern Art in New York City, and The Milwaukee Art Museum. Reviews of his work have been featured in most major art publications, including, among others, Art Forum, ArtNews and The New York Times. He has been the recipient of various grants and awards including a Louis Comfort Tiffany Grant in 1999 and, in 2000, his second New York State Council on the Arts Grant.


Aram Moshayedi is currently curator at the Hammer Museum in Los Angeles and has curated recent projects with Simon Denny, Avery Singer, Maria Hassabi, and Mario Garcia Torres. He was formerly associate curator at REDCAT in Los Angeles(2010-2013), where he organized exhibitions and oversaw the production of new works by The Otolith Group, Slavs and Tatars, Jordan Wolfson, Tony Cokes, Jay Chung & Q Takeki Maeda, Ming Wong, and Geoffrey Farmer. In 2016, he co-curated the Hammer Museum’s biennial exhibition Made in LA.

Connie Butler is currently Chief Curator at the Hammer Museum in Los Angeles. From 2006-2013, she served as the Robert Lehman Foundation Chief Curator of Drawings at the Museum of Modern Art (New York City). Prior to that, she was a curator at the Museum of Contemporary Art, Los Angeles (MOCA) from 1996-2005. Butler also held curatorial positions at the Neuberger Museum of Art (Purchase, New York), Artists Space (New York City), and the Des Moines Arts Center (Iowa). Her multimedia exhibition WACK! Art and the Feminist Revolution dealt with international feminist art of the 1970s.

David Pagel is an art critic who writes regularly for the Los Angeles Times. Since 1988, he has published reviews, features and essays in Artforum, Art in America, Flash Art, frieze, and Art Issues, where he was reviews editor from 1998-2001. He is also an adjunct curator at the Parrish Art Museum, in Water Mill, NY, where he has organized EST-3: Los Angeles Art from the Beth Rudin DeWoody Collection, Underground Pop, and Damaged Romanticism: A Mirror of Modern Emotion. Recent publications include “Inside-Outsider” in Ralph Humphrey, Paintings 1972-83; “Full Circle” in Albert Contreras; “Nagle: in His Own Context,” in Nagle, Ron; “Fast Times, Slow Looks” in Wendell Gladstone: D.O.A., S.O.S., ETC., and “The Handmade Imagination of John Frame,” in Three Fragments of a Lost Tale. 

Eve Schillo is a Curatorial Assistant in the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art, has been with the museum over 15 years, and has worked on such exhibitions and accompanying publications as Ports of Entry: Williams S. Burroughs and the Arts, Ghost in the Shell: Photography and the Human Soul, 1850-2000, Shifting Tides: Cuban Photography after the Revolution, Made in California, 1900-2000, Trajectories: The Photographic Work of Robert Flick, A Story of Photography: The Marjorie and Leonard Vernon Collection, and The Sun and Other Stars: Katy Grannan and Charlie White. Among the exhibits she co-curated: Long Exposures: Contemporary Photo Essays, Camera Pictorialists’ in America, Re-SITE-ing the West: Contemporary Photographs, and Fracture: Daido Moriyama.

Jennifer Steinkamp, visual artist, employs computer animation and new media to create projection installations in order to explore ideas about architectural space, motion, and phenomenological perception.  Her digitally animated works make use of the interplay between actual space and illusionistic space, thus creating environments in which the roles of the viewing subjects and the art objects become blurred. Steinkamp's work can be found in numerous public and private collections internationally, including The Chrysler Museum of Art, Virginia; Centro de Arte Contemporaneo de Malaga, Spain; Corcoran Gallery of Art, Washington D.C.; Hammer Museum, Los Angeles, California; Istanbul Museum, Turkey; Los Angeles County Museum of Art, California; Minneapolis Institute of Arts, Minnesota; Museum of Contemporary Art, North Miami, Florida; and Museum of Fine Arts, Houston, Texas.

Jo Lauria, a decorative arts curator at the Los Angeles County Museum of Art (LACMA) and author who specializes in modern and contemporary decorative arts, crafts, and design. She served as chief curator of the exhibition, “CRAFT IN AMERICA” that was a national touring show hosted by seven of Americas museums. Jo has organized many museum exhibitions that have toured nationally and on top of that directed documentaries on the lives of artists. Her most recent publications include, Color and Fire: Defining Moments in Studio Ceramics, 1950–2000; Ruth Duckworth: Modernist Sculptor; and the “ California Design: The Legacy of West Coast Craft and Style”.

Meg Cranston is an artist working in sculpture and painting as well as a writer. She has exhibited internationally since 1988. She received and MFA in Studio from California Institute of the Arts in 1986 and a BA in Anthropology/Sociology in 1982. She also attended the Jan van Eyck Akademie in Maastricht, The Netherlands in 1988. She is currently the Chair of Fine Arts at Otis College of Art and Design. She has been the recipient of numerous awards including a New School of Social Research Faculty Development Grant, the Penny McCall Foundation, and a Guggenheim Fellowship. Her recent exhibitions were at the Kunstverein Heilbronn, Berlin and the Meliksetian Briggs Gallery in Los Angeles.

Rita Gonzalez is Curator and Acting Department Head in Contemporary Art at the Los Angeles County Museum of Art where she has curated Phantom Sightings: Art after the Chicano Movement; Asco: Elite of the Obscure (during the Getty’s Pacific Standard Time festival); Lost Line: Contemporary Art from the Collection; and Agnès Varda in Californialand, among other exhibitions and programs. Gonzalez curated L.A. Exuberance: New Gifts by Artists, an exhibition that features sixty new gifts and marks the culmination of LACMA’s 50th anniversary year. Together with Jose Luis Blondet and Pilar Tompkins Rivas, she is curating A Universal History of Infamy, a group exhibition of contemporary Latino and Latin American artists, scheduled for August 2017 during Pacific Standard Time LA/LA. Gonzalez’s curatorial collaboration with filmmaker Jesse Lerner, Mexperimental Cinema, was the first survey of Mexican experimental film and video. It traveled to museums and film festivals internationally and resulted in the first bilingual publication on the subject. From 1997-1999, she was the Lila Wallace Curatorial Fellow at the Museum of Contemporary Art, San Diego. At MCA San Diego, she worked on numerous exhibitions, lectures & film programs, as well as serving as curator for William Kentridge: Weighing and Wanting. She also co-curated the 2006 California Biennial and Adrià Julià: La Villa Basque at the Orange County Museum of Art, and 20 Years Ago Today at the Japanese American National Museum. the first Current L.A. Biennial in 2016. 

Sam Durant is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism.[1] His work of the 90s was inspired largely by the work of Robert Smithson, an artist well known for his interest in history and entropy. Durant's work has been widely exhibited internationally and in the United States. He has had solo museum exhibitions at the Museum of Contemporary Art, Los Angeles, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, S.M.A.K., Ghent, Belgium, and the Govett-Brewster Art Gallery in New Zealand.

Shamim M. Momin is the Director, Curator, and co-founder of LAND (Los Angeles Nomadic Division), a non-profit public art organization committed to curating site- and situation-specific contemporary art projects in Los Angeles and beyond. LAND was founded in 2009 and has since presented nearly ninety discreet exhibitions and programs with contemporary artists. Previous to founding LAND, Momin was Associate Curator at the Whitney Museum of American Art where she co-curated both the 2008 and 2004 Whitney Biennial exhibitions, as well as numerous solo exhibitions.  As Branch Director and Curator of the former Whitney Museum at Altria, she was responsible for organizing exhibitions and commissioning more than fifty new projects by emerging artists for both solo and thematic presentations. 

Suzanne Isken is the Executive Director of the Los Angeles Craft and Folk Art Museum, bringing an innovative approach to the presentation and definition of what craft and folk art is perceived to be. She previously was the Director of Education at the Museum of Contemporary Art, Los Angeles, and prior to that position Coordinator of School and Teacher Programs for MOCA. Suzanne was a coach for the Los Angeles County Arts Commission Arts For All, and authored a number of publications in the field of Arts Education.


The L.A. Summer Residency at Otis College will not only offer working artists and designers a chance to enter into one of the most exciting artistic environments on the globe today – LA and its institutions and contemporary practitioners, curators and critics – but also a chance to think with others about how the necessity of art can become more urgent. 



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