Events
  • Otis College alumni in the New York/Tri-State area are invited to a reception welcoming visiting Otis College fashion students at Global Brands Group headquarters in the Empire State Building. Join fellow alumni to celebrate the culmination of the Fashion Design Department's annual trip to Manhattan. This special event - open to all alumni from both undergraduate and graduate departments - is a great chance to reconnect with friends, welcome new Fashion Design alumni from the Class of 2017, and meet Otis College leaders including Fashion Design Interim Chair Jill Higashi-Zeleznik.

  • In conjunction with the current exhibition Patterns Bigger Than Any of Us: Jesse Fleming / Pat O'Neill in Ben Maltz Gallery, May 7 - August 12, 2017.

    In Conversation: Jesse Fleming and Pat O'Neill, moderated by LA-based idependent curator and historian Ciara Moloney

     

    Jesse Fleming (b. 1977) is part of an emerging group of artists and technologists that examine the convergence of media art and mindfulness. Recent solo exhibitions were held at Five Car Garage; 356 Mission; and Night Gallery, all in Los Angeles, CA; and the University of Texas in Austin, TX.

    Pat O’Neill’s (b. 1939) artistic and filmmaking career spans over 50 years, and he is highly-regarded for his experiments with film and optical printing. Recent solo exhibitions were held at Berkeley Art Museum and Pacific Film Archive in Berkeley, CA; Monitor in Rome, Italy; VeneKlasen/Werner in Berlin, Germany; Quinta do Quetzal in Vidigueira, Portugal; Mitchell-Innes & Nash in New York, NY; and Cherry and Martin in Los Angeles, CA.

    Ciara Moloney is an independent curator, editor, and writer based in Los Angeles. She was formerly Curator of Exhibitions and Projects at Modern Art Oxford where she curated exhibitions by Barbara Kruger, Josh Kline, Lynn Hershman Leeson, Christian Boltanski and Kiki Kogelnik.

  • 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. 

  • 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).

  • Photo Credit: Jesse Pniak

     

    F. Douglas Brown received the 2013 Cave Canem Poetry Prize (selected by Tracy K. Smith) for Zero to Three, published by the University of Georgia. He also co-authored the chapbook Begotten with Geffrey Davis as part of Upper Rubber Boot Book's Floodgate Poetry Series. Both a past Cave Canem and Kundiman Fellow, his poems have appeared in the Academy of American Poets, The Virginia Quarterly, Bat City Review, The Chicago Quarterly Review, The Southern Humanities Review, The Sugar House Review, Cura Magazine, and Muzzle Magazine. He is co-founder and curator of un::fade::able - The Requiem for Sandra Bland, a quarterly reading series examining restorative justice through poetry as a means to address racism. Brown currently teaches English at Loyola High School in Los Angeles.

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Budgeting Instructions

Budgeting Instructions & Policies

Developing a program budget is an important first step in planning a faculty-led program. Establishing a reasonable per student fee will assist with the recruitment and marketing. Please use the Otis Travel Study Budget Template to begin planning. This excel worksheet provides both general topics and specific line items that walk you through the budget planning process. This budget template MUST be used for all travel study programs. Travel Study Budget Template

Student Numbers and Exchange Rates

Your planning budget should be written for a set number of students. This should be a number that the program can both feasibly recruit and support abroad. The program budget must zero-out (all costs must be covered) using this number of students.

Expenses and Program Fee

When using a Program Provider, the ratio and price breakdown can vary. Remember, the Program Provider is your in-country support staff.

The preferred faculty to student ratio:

  • 6-15 students: 1 administering faculty
  • 16-20 students: 1-2 administering faculty

If your course is not working in collaboration with a Program Provider, the preferred student to faculty ratio is adjusted accordingly:

  • 6-9 students: 1-2 administering faculty
  • 10-20 students: 2-3 administering faculty

Additional faculty may at times participate but, at the Department's expense, and approval by the International Education Steering Committee.

The budget template is only a guide. You do not have to use or limit yourself to the items you see there - they are merely some typical program expenses. Be as specific as possible when listing additional expenses.

The program fee charged to each student participating on your program is based on the total number of expenses. To determine this, continue developing your budget by filling in all the expense items and prices in the "Expenses" section.

List all items the Program Provider will be responsible for providing, along with the total programmatic cost.

Once all of your costs are included, there will be a total at the bottom of the "Expenses" section, as well as a balance. The next step is to enter a program cost at the top under "Revenues" and adjust it so that it makes the balance at the bottom as close as possible to zero (make sure it is positive number). Round up your program fee to a multiple of $50. This figure will be the program fee!

Protecting Your Budget

It is not always easy to get reliable numbers in advance for faraway costs that you will incur in the future. It is advisable to budget a bit more than you expect to pay for some items, or to expect a worsening exchange rate.

Keep Costs Down

All costs associated with faculty-led programs are generated by student program fees, and hence are ultimately borne by students. Otis aspires to keep costs down to make these programs as affordable and accessible as possible to students. Less expensive choices are often more culturally appropriate. Getting a head start on your price research also helps. While this can require a bit more effort on your part, it will mean a lot to your students, many of whom have to take out loans to make these programs possible.

Notes On Line Items

Communication & Phones

You MUST have a working international cell phone for the duration of your program. You can obtain this by renting or borrowing one through your Program Provider or purchasing a phone abroad. Make sure you budget adequately for this.

Next Steps

Once you have drafted a preliminary budget, it is often a good idea to set up a meeting with CIE and your Department Chair to go over specific line items.

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