• Sitting in Sound

    Jul 15| Special Event
    Jesse Fleming, A Theory of Everything, 2015, Installation view.
  • Opening Reception

    Jul 15| Special Event

    L: Nora 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 for the two-person exhibition of work by the Los Angeles-based artists Nora Slade and Marisa Takal

    Light snacks and refreshments.

    Exhibition on view July 15 - August 19, 2017.

    Bolsky Gallery located across from Ben Maltz Gallery, ground floor, Galef Center for Fine Arts.

  • 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

  • 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.

  • Louise Sandhaus is a graphic designer and graphic design educator. She was previously Director of the Graphic Design Program at CalArts where she currently is faculty. Her recent book on California graphic design, Earthquakes, Mudslides, Fires and Riots: California and Graphic Design 1936-1986, co-published by Metropolis Books and Thames & Hudson, has received laudatory reviews from The New York Times, The Guardian, Eye, and Creative Review. The book received the Palm d’Argent for best art book at FILAF (International Festival of Art Books and Films on Art).


Fast Company Profiles Fine Arts Alumna Camille Rose Garcia

Alumna Camille Rose Garcia (Fine Arts '92) grew up beside Disneyland and evolved into an artist whose fantastical, colorful creations hold a black mirror up to classic tales.


By Hugh Hart
Cinderella proved her enduring appeal last month when Disney's live-action remake topped the box office. But California artist Camille Rose Garcia cultivates a distinctly darker take on the fair-haired heroine.
"When they asked me to do it at first I was like, 'I hate that fairy tale,'" says Garcia, who just finished illustrating a new edition of the Brothers Grimm fairytale for HarperCollins. "But then I re-read the story and realized Cinderella's basically like a slave who sits in the corner of the fireplace covered in ashes! Even though she's been drawn a certain way for so many years, I gave Cinderella purple and black hair. I guess I'm always trying to fight against the dominant stereotypes."
Garcia showcases her gift for refashioning fairytale archetypes in Mirror, Black Mirror. The upcoming picture book features wickedly gorgeous tableaux painted by Garcia during a seven-year hiatus in the woods of Northern California.
Fresh from a day trip to Joshua Tree National Park, Garcia, now based in the southern California college town of Claremont, Garcia talked to us about how Bambi, Carl Jung, Walt Disney, Mexican surrealist Frida Kahlo, Betty Boop and the Clash inspired her to craft mutant fairytale vistas for 21st-century audiences.
Garcia spent her childhood a few minutes from Disneyland in what she describes as the "beige hell" of Orange County California. "I grew up going to Disneyland," she says. "From a nerdy point of view I liked the artistry of Snow White Bambi and Pinocchio because they were all hand drawn, but I never gravitated toward princess fairy tales like Beauty and the Beast or Cinderella."
Garcia was raised by a single mother. "She worked as a muralist and sign painter so I started helping her on jobs when I was 12 years old," Garcia recalls. "This idea of 'Oh you just have to be pretty and a man will come along and save you'—that was not part of my reality. I was more into the witches and vultures and villains." 
In high school, already an accomplished illustrator, Garcia got obsessed with punk rock. "I really got into bands like the Dead Kennedys and the Clash because they came up with a very direct emotional response to repression," Garcia says. "In the same way way the Clash made great music that also had a message, I made it my goal as an artist to do political commentary but make it sort of personal and also have the art be fun." Read more here.
Source: Fast Company
Otis College Ranked 6th in Nation by The Economist