- Architecture / Landscape / Interiors
- Advertising Design
- Graphic Design
- Digital Media
- Fashion Design
- Sculpture/New Genres
- Product Design
- Toy Design
Jan 21, 2014LA Times ReviewSpotlight Category: Alumni
- Foundation (first year)
- Creative Action
- Liberal Arts and Sciences
- Graduate Fine Arts
- Graduate Graphic Design
- Graduate Public Practice
- Graduate Writing
- Current Courses
- Certificate Programs
- Faculty Biographies
- Alphabetical Listing
- Otis Art Tours
- Summer of Art
- College Preparation
- Young Artists Workshops
Communication Arts presents a lecture by visiting artist Kevin Bradley of Church of Type.
Fine Arts presents Hannah Whitaker, a photographer who received her BA from Yale University and MFA from Bard College. She has been featured in numerous shows at Galerie Christophe Gaillard in Paris, Thierry Goldberg Gallery in New York City, Y Gallery in Queens, and Kumukumu Gallery in New York City.
Open to all. Series organized by Photography Director Soo Kim.
Architecture/Landscape/Interiors Department is pleased to announce the 2013-2014 DONGHIA DESIGNER-IN-RESIDENCE LECTURE by JOEP VAN LIESHOUT
07:00pm Open Seating 07:30pm Lecture 09:00pm Reception. This lecture and cocktail reception are free and open to the public.
Ahmanson Auditorium at THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES 250 South Grand Avenue, Los Angeles, CA 90012
Graduate Fine Arts, Visiting Artist Lecture Series presents artist, Amir Fallah.
Thursday, March 13th 11:00am - 12:30pm
MFA Studio Building: 10455 Jefferson Blvd Culver City CA 90230
Andrew K. Currey
Graduate Fine Arts Thesis Exhibition
March 9 - March 13
Closing Reception: Thursday, March 13, 6pm - 9pm
Spring break through March 23
(MFA '12 alumnus) Matt Lifson's paintings pregnant with possibilities at Angles Gallery
December 5, 2013 by Christopher Knight, Los Angeles Times art critic
Five large paintings by Matt Lifson all show virtually the same enigmatic subject -- what appears to be a makeshift tent in the woods at night. But slight differences in tonality, lighting and paint-handling among the five generate unexpected responses.
Serial imagery, given its origins in Claude Monet's repeated studies of grain stacks and an imposing cathedral facade under different conditions of light and weather, tends to have a rather sunnier disposition than what turns up in Lifson's solo debut at Angles Gallery. Grim, even inexplicably creepy, his blue-black “Tent” paintings get you to scrutinize them like a detective at a crime scene.
As a cop would do, you try to create a narrative from pictorial fragments. Is that romantic moonlight illuminating the tent or a police helicopter's piercing searchlight? Does the tent belong to a vacationing camper or, given what appears to be its improvised nature, a homeless person? Is it shelter from an impending storm?
What's that jagged, sharp-edged but indecipherable whitish object just beneath the fallen tree limb? And speaking of the limb, why do its branches appear to have been stripped?
Going from canvas to canvas (each is around 6 feet by 7 feet), distinctions that at first seem slight steadily grow more stark -- and inexplicably ominous. Spots of white light in the deep, dark indigo woods could be anything from fireflies to nocturnal stalkers. Subtitled with fragmentary musical phrases -- “Sleep in heavenly...” “Lay down my bones with the rocks and roots...,” etc. -- the bleak paintings firmly resist disclosure.
That's their strength: Lifson underscores the degree to which, encountering a picture, we project meanings onto it. These paintings are pregnant with possibilities, horrific or benign, which shift in and out of view across a wide range of emotional registers depending on a viewer's drifting thoughts. In today's picture-saturated world, no wonder things seem so daunting.
The show also includes a floor sculpture composed of 217 gilded bricks, each stamped with a cryptic symbol and laid out in a curve, plus three small folding tables with a depiction of a black jacket painted on peeling paper across each top. More compelling is a wall text in clear, nearly invisible vinyl, its Hebraic font style readable only as fleeting light falls across it. A description of a demon lurks in the text -- if not on the wall, then surely in your head.Tags