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  • Angie Bray: Shhhh

    Jan 17| Exhibition
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    Angie Bray: Shhhh

    January 17 – March 22, 2015

    Opening Reception: January 24, 4-6pm

    Angie Bray: Shhhh is a substantial exhibition of the Los Angeles–based artist’s installations, photographs, drawings, sculpture and video organized by guest curator Meg Linton for the Ben Maltz Gallery at Otis College of Art and Design. The exhibition opens on Saturday, January 17, 2015.

    About the Exhibition

  • Opening Reception for Angie Bray: Shhhh a substantial exhibition of the Los Angeles–based artist’s installations, photographs, drawings, sculpture and video organized by guest curator Meg Linton for the Ben Maltz Gallery.

  • Walk-thru the exhibition Shhhh led by the artist Angie Bray. Gain insight into Bray's work and to the exhibition, and hear about her process, materials, and philosophies on art-making and on quieting, listening, and looking.

  • The Architecture/Landscape/Interiors Department at OTIS College of Art and Design is pleased to announce the George H. Scanlon Foundation Lecture REDUX.3 by JAMES CORNER


    Wednesday    18 February 2015    7:30 PM
    Ahmanson Auditorium   limited, open seating starting at 7:00 PM  

    at THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES

    250 SOUTH GRAND AVENUE  LOS ANGELES CA  90012

     

    This lecture is free and open to the public.

     

  • Bassoon Performance

    Feb 22| Special Event
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    Bassoonist John Steinmetz Performs and Converses with the Audience
    Playing live bassoon inside the exhibition Angie Bray: Shhhh, Steinmetz will react to Bray’s installations by playing some of his own music as well as new compositions, and will converse with the audience, who are encouraged to sit or roam through the gallery looking and listening.

  • Composer Kubilay Üner offers a “reactive” experience with a live presentation of a new composition made in response to the exhibition Angie Bray: Shhhh. The performance will be interspersed with conversation between Üner and Bray.

  • Closing reception for exhibition Angie Bray: Shhhh

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Hideo Date

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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.