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  • High&Low Bureau is a curatorial duo composed of Yael Messer and Gilad Reich. They curate exhibitions, film programs, performative events and publications, while engaging with a plethora of disciplines, media and modes of artistic expression.Their curatorial practice is dedicated to the exploration of artistic strategies that reflect on, and suggest alternatives to, specific social-political conditions.

  • Los Angeles is a city often described as having no center. Its art community has turned that "disadvantage" into an advantage and given itself a license for adventure. Organizations, galleries, and artists find decentralization to be an exciting option and they establish their addresses in unexpected neighborhoods and zones in the city and even beyond, in other cities and states. What are the challenges and advantages of this programmatic and conceptual strategy? What are the risks, to organization and audience alike? Is this necessary, and if so, is it sustainable?

  • Fritz Haeg

    Sep 25| Lectures
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    Image: Fritz Haeg, working to install the Edible Estate #12 garden in Budapest, 2012. Photo: Andras Kare.

    Graduate Fine Arts, Visiting Artist Lecture Series presents artist, Fritz Haeg.

    Thursday, September 25th 11:15am - 12:30pm

    Graduate Studios: 10455 Jefferson Blvd Culver City CA 90230

  • David Schafer

    Sep 30| Lectures
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    David Schafer is a visual and sound artist working in sculpture, sound, sound, performance, and works on paper. His work is concerned with the structures, translation, and intelligibility, of language and architecture. Schafer has shown nationally and internationally and has received several public commissions. Most recently he has had one-person shows at Studio10 gallery in Bushwick, Brooklyn, NY, and Glendale College Art Gallery, Glendale, CA.

  • Sarah Manguso

    Oct 01| Lectures
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    Sarah Manguso is the author, most recently, of The Guardians: An Elegy for a Friend, named one of the top ten books of the year by Salon. Her previous book, the memoir The Two Kinds of Decay, was named an Editors’ Choice by the New York Times Sunday Book Review and short-listed in the UK for the Wellcome Trust Book Prize and long-listed for the Royal Society Winton Prize. Her other books include the story collection Hard to Admit and Harder to Escape, and the poetry collections Siste Viator and The Captain Lands in Paradise.

  • Graduate Fine Arts, Visiting Artist Lecture Series presents artist, Jennifer Steinkamp.

    Thursday, October 2nd 11:15am - 12:30pm

    Graduate Studios: 10455 Jefferson Blvd Culver City CA 90230

     

  • Pae White

    Oct 07| Lectures
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    Pae White was born in 1963 in Pasadena, California. She lives and works in Los Angeles. She received her M.F.A. from Art Center College of Design in Pasadena and her B.A. from Scripps College in Claremont, California. She also studied at the Skowhegan School of Painting and Sculpture in Maine. Recent solo exhibition venues include Galerie Daniel Buchholz, Cologne; galleria francesca kaufmann, Milan; the Govett-Brewster Art Gallery, New Plymouth, New Zealand; the Contemporary Art Gallery, Vancouver; greengrassi, London; and 1301PE, Los Angeles.

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What To Include In The Grantee Report

Prior to reimbursement for your grant expenses, please type up a short report about your funded project suitable for posting on this website. For examples of what others have done, see the Faculty Grants section. Visit the Teaching and Learning Center if you need help formatting text, images and/or video for your report.

Include the following information:

1. Your name, department, and dates of activities.

2. Brief description of your funded project including activities performed.

3. Some of the insights, accomplishments, and/or benefits you derived from the project.

4. Any challenges you experience during the project or lessons learned that others would benefit from hearing about.

5. Include a few well-chosen photos suitable for posting.

You should also include, but not necessarily for publication:
 
Any other dissemination activities about your project such as interviews, lectures, publications, etc.

Any suggestions, comments or improvements do you have for the Faculty Development Committee.


Complete Writing Guide

Prior to filing receipts and other documents for reimbursement of grant-related expenses, grantees are required to provide a brief, publication-ready report chronicling their grant-funded activities, the benefits they derived professionally from those activities, and the potential value their activities might bring to the larger Otis community.

These reports are easy to write; 1-2 pages are sufficient, and, if possible, 3-5 images help others to quickly understand the nature of your project.  A step-by-step process such as that shown below might help in preparing a written report, ready for web publication:

1. Introduction. A simple statement to the effect of: 

In Fall 2008 I received a Faculty Development Grant in support of equipment needs and travel related to the production of work for an upcoming exhibition at Great Gallery, Kissimmee, FL.

2. Elaboration. A paragraph explaining the grant-funded project or activity, what kinds of needs the grant facilitates, or what special challenges prompted the application, such as: 

Since the work for this exhibition is made entirely of dryer lint, tar, and preserved cow hide, my studio requires retrofitted ventilation and air filtration equipment. In addition to this special equipment need, the exhibition requires three on-site visits, including supervision of the installation, attendance of an opening reception, and presentation of a gallery lecture. 

3. Value to Otis and/or the College Community. A paragraph outlining potential implications this activity might have for the benefit of the grantee, Otis students, faculty, or your department, such as: 

I will share a documentary Powerpoint presentation with my classes in the Foundation, Integrated Learning, and Toy Design programs.  It is hoped that these presentations will enhance student awareness of dryer lint as a construction medium, of tar as a decorative surface enhancing agent, and of preserved cow hide as a collage ground. Further, I plan to share with colleagues in these three programs the process by which I developed this body of work, which can expand their understanding of unique pedagogical, critical, and technical issues embodied by the exhibition.

4. Conclusion/acknowledgment. Finally, a statement of conclusion and/or acknowledgement, such as: 

This project advances my career, and at that same time brings added value to my teaching as I share the work with students and faculty colleagues.  I especially appreciate the opportunity to develop this exhibition with the aid of an Otis Faculty Development Grant; the show would not have been possible without this vital support.  

Such a report, if accompanied by several photographs of the artist's studio—cow hide-covered tables, tar buckets and roofing mops in a row, shiny new fans with hypo-allergenic air filters, and mounds of multi-colored dryer lint—would make a great web page, reflecting the achievements of the faculty member, and Otis' direct support of those achievements and their contribution to the college. 

Your report will also help Otis publicize your work, and at the same time, its commitment to supporting faculty as art/design professionals and as artists/designers who teach.  To view many impressive grantee reports, please see Grantees and Projects Reports.