Events
  • Viet Thanh Nguyen’s bestselling novel The Sympathizer won the 2016 Pulitzer Prize for Fiction, the First Novel Prize from the Center for Fiction, and a Carnegie Medal from the American Library Association. It was also a finalist for the PEN/Faulkner Award and the PEN/Robert W. Bingham Prize for Debut Fiction. Nguyen is also the author of Race and Resistance: Literature and Politics in Asian America and Nothing Ever Dies: Vietnam and the Memory of War.

  • Tonya Foster

    Sep 21| Lectures
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    Poet Tonya Foster is the author of the collection A Swarm of Bees in High Court. Her work has appeared in nocturnes, Callaloo, Traffic, Gulf Coast, and other journals. Her essays have appeared in NY Arts Magazine, NYFA Quarterly and The Poetry Project Newsletter. A co-editor of Third Mind: Teaching Creative Writing Through Visual Art, Foster teaches at California College of the Arts and lives in the Bay Area.

  • Steven Ehrlich and Frederick Fisher will present their firms’ collaboration as EHRLICH | FISHER on Otis College’s new Goldsmith Campus Academic Building and Residence Hall. The campus-wide expansion and renovation project includes a new academic building, 300-seat Forum (the venue for this lecture), café and dining commons, Student Life Center, and residence hall.

     

  • Opening Reception

    Sep 24| Special Event
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    New York-based artist Polly Apfelbaum’s work has situated itself as a hybrid of painting, sculpture, and installation over a career spanning 30 plus years. Exploring the intricacies of color, Apfelbaum weaves her way, both literally and conceptually, through ideas of Minimalism, Pop aesthetics, and Color Field painting to blur the lines between two and three dimensional art making.

  • Artist Polly Apfelbaum in conversation with Connie Butler, within Apfelbaum's exhibition Face (Geometry) (Naked) Eyes.

     

  • John Keene

    Oct 05| Lectures
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    John Keene is the author of the novels Annotations and Counternarratives, as well as several other works, including the poetry collection Seismosis, with artist Christopher Stackhouse, and a translation of Brazilian author Hilda Hilst's novel Letters from a Seducer. The recipient of a Whiting Award, Keene has been a member of the Dark Room Writers Collective and a Cave Canem fellow. He has served as the managing editor of Callaloo and taught at Northwestern. He currently teaches at Rutgers University-Newark and lives in New York.

  • Artist Polly Apfelbaum in conversation with David Pagel, within Apfelbaum's exhibition Face (Geometry) (Naked) Eyes.

     

O-Tube

Hideo Date

Hideo DateHideo DateHideo Date

 

Hideo Date was born in Osaka, Japan, and emigrated to California in 1923. After graduating from high school, he enrolled at Otis but left after a year to pursue the study of traditional ‘nihonga’ brush painting in Japan. This style melded the strong use of line in Japanese painting with Western techniques of perspective and modeling.

Date returned to L.A. where, during the late 1920s and 1930s he says that he and his fellow artists “were influenced by Orient across the Pacific just as N.Y. was influenced by Europe across the Atlantic. He was part of the so-called "Independents," a group of L.A.-based artists who rejected modernism and described their work as “Linear-composition.”

Date and his colleagues fell under the influence Stanford MacDonald-Wright, who oversaw the Los Angeles Art Students League and was one of the originators of Synchronism, the “orchestration” of colors in paintings based on “major” and “minor” color scales —as well as the avant-garde art scene. Macdonald-Wright’s works impressed Date, who admitted: “I was flabbergasted, such colors I had never seen before.”

Date spent the 1930s creating art and exhibiting through groups such as the College Art Association, the Foundation of Western Art, the Los Angeles Oriental Artists Group, and the Los Angeles Art Association. Because he held onto nearly all of his work, he had to make his living from odd jobs, once working on a mural at Mary Pickford’s mansion. He also depended on the generosity of friends, the occasional commission, and private teaching.

Art exhibitor Hammond Sadler once described Date’s work as being “primarily interested in linear movement and color. Combining these elements in a manner never attempted by the older Japanese painters, he has scorned the strictly traditional for ‘Datean.’ Particular note of his work in watercolor must be made. The finish, developed by him, is unsurpassed in its jewel-like surface.”

The outbreak of World War II sent Date to Wyoming’s Heart Mountain concentration camp, where he taught art privately to other Japanese-American inmates. After the war, he went to New York and traveled extensively, including trips to Italy and France.

“Over his lifetime,” writes Japanese-American National Museum curator Karin Higa, “Date had preferred not to sell his artwork even when he had the chance.” But in 1999, Date finally decided to donate more than 190 works to the L.A.’s Japanese American National Museum.

 

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