• Otis Family Night

    Oct 21| Special Event

    Be a student for an evening.
    FRIDAY, OCTOBER 21, 2016
    4:00 – 8:00 PM

    • Hands-on studio workshops taught by Otis faculty

    • A guided exhibition tour of the Ben Maltz Gallery

    President Bruce W. Ferguson and Trustee Kirk Hyde (Otis Parent '00 & '14) invite you to join them for dinner.

    Register by October 14th at

    Cost (includes all activities and dinner)

  • Alumni Open House at The Brewery Art Walk
    October 22, 2016 
    2-6 pm
    Join Otis College of Art And Design for a Brewery Art Walk Open House at the studio of Albert Valdez ('10). Catch up with faculty and fellow alumni, artists, and designers. The Brewery Art Walk is a twice annual open studio weekend with over 100 participating resident artists. Stop by while touring the studios, open 11am-6pm, and enjoy light refreshments. 

  • Todd Gray

    Oct 25| Lectures

    Todd Gray was born in 1954 in Los Angeles. Gray received an MFA and a BFA from California Institute of the Arts and is currently a professor at California State University, Long Beach. He has shown performance work at REDCAT (Roy and Edna Disney CalArts Theater), Los Angeles (2010); California African American Museum, Los Angeles (2009); the Commons, New York University (2008); 18th Street Arts Center, Santa Monica (2008); New Renaissance Theater, Syracuse, NY (2007); and Academy of Media Arts, Cologne (2004).

  • Ruby Neri is a sculptor, painter, and former street artist from San Francisco and Los Angeles, California, known for her evocative portrayal of horses.

  • Otis in NYC
    October 27, 2016 
    6 - 8 pm 
    Franklin Parrasch Gallery
    53 East 64 Street
    New York, NY 10065

    Otis College President Bruce W. Ferguson is coming to NYC! 
    Please come say hello and visit with your fellow alumni and friends of Otis College of Art and Design.
    Drinks and hors d'oeuvres.


  • Lecture takes place at 356 S. Mission Rd., co-presented with Ben Maltz Gallery in conjunction with the exhibition Polly Apfelbaum: Face (Geometry) (Naked) Eyes.

    New York-based critic and independent curator Bob Nickas presents his musings on one hundred paintings, choosing one from each year from 1915-2015.

  • Bob Nickas

    Oct 31| Lectures

    Bob Nickas is a critic and independent curator based in New York, having organized more than ninety exhibitions since 1984.
    He was Curatorial Advisor at P.S.1/MoMA in New York between 2004-07, where his exhibitions include: 
    Lee Lozano: Drawn From Life; 
    William Gedney—Christopher Wool: Into the Night; 
    Stephen Shore: American Surfaces; 
    Wolfgang Tillmans: Freedom From The Known. 


Marlena Donohue: 2007-08 Faculty Development Grant 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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