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  • York Chang (b. 1973, St. Louis, MO) is an interdisciplinary artist who uses forensic and archival information systems as supports for poetic gestures and alternate histories, in order to interrogate the aesthetic conventions of authority which often serve to blur the line between fiction and reality. He earned both his BFA (1996) and Juris Doctorate (2001) from University of California, Los Angeles (UCLA). York Chang lives and works in Los Angeles, CA, and is represented by Greene Exhibitions. 
  • Presidents' Day Holiday

    Feb 15| Academic Dates

    Otis offices are closed for the Holiday.

  • Oliver Kellhammer is an independent artist, writer and researcher, who seeks, through his botanical interventions and social art practice, to demonstrate nature’s surprising ability to recover from damage. His recent work has focused on the psychosocial effects of climate change, cleaning up contaminated soils, reintroducing prehistoric trees to landscape damaged by industrial logging and cataloging the ecology of brownfield ecologies. He currently works as a lecturer in sustainable systems at Parsons in New York City.
  • Emily Kendal Frey is the author of the poetry collections The Grief Performance, selected for the Cleveland State Poetry Center's 2010 First Book Prize by Rae Armantrout, and Sorrow Arrow, as well as the the chapbooks Frances, The New Planet, and Airport. The winner of the Poetry Society of America's Norma Farber First Book Award, Frey's poetry has appeared in the journals Octopus and the Oregonian. She lives in Portland.

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  • In this performance I try to summarize In search of past time with my own words, as a story of another time which reveals itself contemporary. I deliver my own intimate and personal perception of this book which radiates in my life. Each performance is another opportunity to explore different zones of the book, proceeding at random, inspired by an aleatory and fickle memory. 
  • Rear Window

    Kristin Moore
    Thesis Exhibition
    Feb 16th-19th, 2016


    Thursday, Feb 18th, 6-9PM

    Bolsky Gallery
    Otis College of Art and Design
    9045 Lincoln Blvd. 
    Los Angeles, CA 90045 

    Gallery Hours: Tues-Fri 10am-5pm, Sat-Sun 12pm-4pm


  • The Architecture/Landscape/Interiors Department at Otis College of Art and Design is pleased to announce the George H. Scanlon Foundation Lecture REDUX.4 by IÑAKI ÁBALOS


Ben Maltz Gallery

Installation Performing the GridInstallation view, L-R: Rebecca Morris, Untitled (#09-15), 2015; Heather Rowe, Untitled, 2012; Bruce Nauman, Walking in an Exaggerated Manner Around the Perimeter of a Square, 1967


January 23 - May 15, 2016

Press Release  |  Critics' Picks Review on Artforum.com

Neil Beloufa, Lucinda Childs with Sol LeWitt and Philip Glass, Charles Gaines, David Haxton, Channa Horwitz, Xylor Jane, Rudolf Laban, Dashiell Manley, Debra McCall, Rebecca Morris, Bruce Nauman, Kelly Nipper, Heather Rowe, Emily Roysdon, Kathleen Ryan, and Emmett Williams.

Performing the Grid brings together an intergenerational group of artists and cultural producers that utilize the grid as a performative strategy to examine, challenge and position philosophical, political, social, domestic, corporeal, mythical and ideological perspectives. Rosalind Kraus famously wrote that the grid “functions to declare the modernity of modern art” in her 1979 essay, Grids. The grid has played a historical role in conceptual and minimalist art practices and continues to motivate and engage artists today. As we delve deeper into technology, a culture of images, violence, and surveillance, how do we locate presence inside of the grid? How is the self presented within the grid? Can intimacy be made visible? The included works in Performing the Grid access, address, reject and evoke the grid using video, performance, documentation, sound, sculpture, painting and installation. At times the grid is a means of tracing movement, a tool for documenting the passage of time and arranging visual texts and compositions. In other works, the grid is conjured as a blatant motif, a utopian design, and theatrical prop. From Debra McCall’s geometric re-performances of Oskar Schlemmer’s Bauhaus dances to Bruce Nauman’s meditative studio walks and Kelly Nipper’s Laban Movement informed performances to Heather Rowe’s film-inspired sculptures, the grid takes on new meaning and new movement.

Screening | Bauhaus Dances, 1986 presented by Debra McCall
Sunday, February 7, 2016, 4pm, Otis Forum | Free
Performing the Grid artist and dance scholar Debra McCall screens the 1986 film of her reconstructions of Oskar Schlemmer's 1920s Bauhaus Dances in their entirety and describes her process of rediscovering the original notes and sketches, visiting the Bauhaus in East Germany and reconstructing the pieces with the help of Ise Gropius and Andreas Weininger, the last remaining performer from the original Bauhaus Stage Workshop. Hailed by the New York Times as a “tour de force” of research and performance and as “prophetic,” the dances premiered at The Kitchen in New York in 1982 and The Solomon R Guggenheim Museum in conjunction with a Kandinsky exhibition in 1984. After sold-out tours of the US, Europe and Japan, McCall's reconstructions returned to the original Dessau Bauhaus in 1994, presenting the dances on that stage for the first time in sixty-five years. For more info about the Bauhaus Dances: www.bauhausdances.org.

Lecture | Hannah Higgins: The Grid Book
Tuesday, March 8, 2016, 7pm, Otis Forum | Free
Hannah Higgins, Associate Professor in the Department of Art History at the University of Illinois at Chicago, lectures on her 2009 MIT Press publication, The Grid Book, which examines the history of ten grids that changed the world: the brick, the tablet, the gridiron city plan, the map, musical notation, the ledger, the screen, movable type, the manufactured box, and the net.

Lecture | MPA: Interrupting the Grid   
Sunday, April 10, 2016, 5pm, Otis Forum | Free
MPA is an artist who has explored a range of meditative, durational, theatrical, and actionist modes of performance to engage "the energetic" as a potential material in live work. Enriched with ritual, MPA's performances and installations critically examine behaviors of power in individual and social spaces. She has proposed questions on the global arms race, patriarchy as governance, and the dysfunctional union of art with capitalist commodity. MPA lives in Twentynine Palms, CA, and is currently at work on a solo exhibition THE INTERVIEW: Red, Red Future that questions the colonial implications of possible past and future life on the planet Mars.


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