Events
  • Creative Action and the Otis Community Radio class present weekly broadcasts each Monday.

     

    This week from 4:00 - 5:00 pm is Welcome to the Haunted Boulevard. Join DJ Platinum (Grace Potter) and DJ Batsy (Jessi Hita) for a journey of the folklores, urban legends, and paranormal encounters from different cultures. 

     

    Listen online at KLMU.

  • Creative Action and the Otis Community Radio class present weekly broadcasts each Monday.

     

  • Mexican artist Yoshua Okón’s videos blur the lines between documentary, reality, and fiction. He collaborates closely with his actors (often amateurs who are also the subjects of the work) to create sociological examinations that ask viewers to contemplate uncomfortable situations and circumstances.
  • Dana Johnson is the author of the short story collection In the Not Quite Dark. She is also the author of Break Any Woman Down, winner of the Flannery O’Connor Award for Short Fiction, and the novel Elsewhere, California.

  • Gallery 169 will be hosting the Otis College of Art and Design Communication Arts Graphic Design Junior Show, "5328," displaying a selection of work made over the five thousand twenty eight hours that make up the fall and spring semesters of the academic year. Work will include collected posters, publications, and typographic projects.
  • Clay, Body is a solo exhibition from artist Sydney Aubert: Unapologetically fat, crass, and sexual, a ceramics artist who also works in video, and whatever other materials arouse her in the moment. Exhibition will be on view from Monday, April 24 - Friday, April 28 at the Bolsky Gallery, Otis College of Art and Design. On view by appointment only, please contact the artist at sydney.aubert@gmail.com Reception: Thursday, April 27 | 6pm-9pm Bolsky Gallery, Otis College of Art and Design

  • Audrey Wollen is a feminist theorist and visual artist based in Los Angeles. Wollen uses social media, such as Twitter and Instagram, as platforms for her work on Sad Girl Theory, a theory which posits that internalized female sadness can be used as a radical and political action, separate from masculinized forms of protests such as anger and violence. She introduces this form of protest as an alternative to masculinized anger and violence.

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Alumnus Kenzi Shiokava Hailed as Breakout Star of Hammer Museum Biennial

The Hammer biennial's breakout star? A 78-year-old retired gardener from Compton who once worked for Marlon Brando
By Carolina A. Miranda

When artist Kenzi Shiokava ('74 MFA) received a telephone call from a pair of curators organizing this year’s “Made in L.A.” biennial at the Hammer Museum, he says he had little clue of the meteoric effect it would have on his life. 

“I’d never seen ‘Made in L.A.,’” says the 78-year-old sculptor. “I’ve always been off the art establishment.”

But as he does with anyone who is interested in seeing his work, he invited the curators — Hamza Walker and Aram Moshayedi — to his studio so that they could have a look at his totemic wood sculptures, junk-art assemblages and curiosity boxes featuring orderly, patterned displays of old toys, plastic fruit and discarded religious ephemera.

Shiokava says he was buoyed by the visit but subdued in his expectations. “Lots of shows come and go,” he says, as he surveys a row of partially carved tree limbs lining a wall of his studio.

But the biennial has been quite a different experience. “I didn’t know it’d be like this,” he says with a resplendent grin. “The response has been amazing.”

Shiokava, who has quietly whittled tree trunks and old telephone poles into mystical shapes in an old Compton body shop for several decades, made his living as a gardener for much of his life — including, at one point, for Marlon Brando. And yet he’s one of the breakout artists of the Hammer’s buzzy biennial, which opened to a warm critical embrace late last month.

Shiokava has been profiled on public radio and had a major Brazilian daily come calling for an interview (he was born in Brazil).  W Magazine referred to him as one of the show’s stars.  And a stream of collectors have been making the pilgrimage to a strip of light industrial spaces on West El Segundo Boulevard to see the tidy arrangements of collages, carvings and assemblages that make the artist’s workspace feel like an all-consuming environmental installation.

Walker, the biennial’s guest co-curator (he is an associate curator at the Renaissance Society in Chicago), says he stumbled into Shiokava’s work online while researching another artist. Calls to an art space in Reno, where the artist had exhibited  in 2008, along with another to Cause Gallery, in L.A.’s Chinatown, which held a small number of his pieces, turned up his contact information.

The curator says that from the moment he stepped into Shiokava’s studio, early in 2015, he was sure that this was an artist he wanted to include in the show. 

“It was pretty immediate,” he says. “We were both speechless within 10 paces of the entrance. There were all of these totems right up front and we were like, woooowwww.”

For the exhibition, Walker says that he and Moshayedi, who is a curator for the Hammer, were looking to show a limited number of artists (roughly two dozen) — but to represent each of them with an extensive number of pieces.

“The idea was to feature a substantial project or body of work,” he explains. “When we saw Kenzi, we thought, ‘This confirms what we want to do.’” The biennial currently has 66 works by the sculptor on view.

Shiokava, who is exceedingly gracious and warm  — he greets even first-time visitors to his studio with a hug — and possesses a bubbling energy that belies his age, couldn’t be more pleased.

“What’s always kept me going is people coming to my studio and enjoying the work,” he says in his deeply accented English. “But now I know my work will have a legacy. My work will live.”

 

Read the full article....

Source: http://www.latimes.com/entertainment/arts/miranda/la-et-cam-kenzi-shiokava-hammer-museum-20160705-snap-story.html

Image: Sculptor Kenzi Shiokava sits before works in progress in his Compton studio. (Wally Skalij / Los Angeles Times)

 

 

 

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