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.

O-Tube

What To Include In The Grantee Report

Prior to reimbursement for your Faculty Development 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 Grant Reports 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.

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