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

Marlena Donohue: 2007-08 Faculty Development Grant Report


Report:

As critic and scholar particularly interested in the 60s as that crucible epoch that gives rise to counter culture and Feminism, I was invited to attend as a critic and correspondent to the Monitor in Boston, the major Beat retrospective at the Whitney Museum in 1995 titled, "Beat Culture and the New America, 1950-1965."

I attended the Press opening and a variety of lectures and was drawn immediately to a brilliantly painted, very eccentric oil of a famous strip joint in North Beach executed by an artist named Michael Bowen; I had no knowledge of this artist and this shocked me.

Beat Culture and the New America 1950-1965

Cover of the exhibition catalog, Beat Culture and the New America, 1950-1965

I am widely familiar with almost all Beat work done in the early 50s in Los Angeles and then in the late 50s and 60s in San Francisco. I had not seen this very fine work before. Another of Bowen’s paintings was in fact used to illustrate the Time magazine review of the exhibition.

I was further intrigued after having been invited to a press lecture at the Whitney where this rather raving artist spoke with vivid and historically accurate anecdotal detail about his intense and long term contacts with seminal figures of the 60s both in Los Angeles and in San Francisco: Tim Leary; William S. Burroughs, Allen Ginsberg, Edward Kienholz, John McCracken, Allan Cohen, the poet Ferlinghetti. The more interesting fact to me was that Michael Bowen’s name reoccurred in passing in ephemera of the era, like letters by and within the inner circle of Beat culture, but neither his work nor his art were in any official historical record of the Beat generation.

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