Academy Award winning writer and director Brenda Chapman recently gave a masterclass at the Verdens Beste Children’s Film Festival in Tromso, Norway, meeting professionals from the Norwegian and European animation industry.
“I appreciate the European animation and the culture around it. It’s different than the studio system in the United States,” she says. “I think, in the U.S., we can learn from the European system’s diversity.”
We caught up with her for a quick Q & A session. Read More.
'Jack," one of six short 16mm films playing on a loop near the entrance to "Jack Goldstein x 10,000" at the Jewish Museum, is a good place to try to get a handle on this elusive, passive-aggressive artist.
A performance piece from 1973, it's a simple two-person interactive drama: A young man stands in a desert landscape and calls out the name "Jack," at which point the filmmaker takes a shaky step backward. Similar to other minimalist time-and-space dissections, this one also has a forlorn, autobiographic undertone. With each step of the procedure, repeated over the 11 minutes, 24 seconds of the film, the man grows tinier, his voice fainter until he is so distant from the camera and us as to be an inaudible speck in the twilight.
If Goldstein feared that his name would be forgotten after his death—and his art is riddled with anxieties about the Void—he shouldn't have. Since his 2003 suicide in a San Bernardino, Calif., trailer park after years of heroin addiction, his peculiar and sometimes poignant art is more visible and honored than when he was alive. Read More.
The renowned California Institute of the Arts fosters generations of imagineers.
Once you know where to look, you see it everywhere: from the grand museums of the Miracle Mile to the shoestring performance spaces of Echo Park.
“It’s hard to imagine the LA art scene today without CalArts,” the Los Angeles Times says. It’s the epicenter of LA’s creative class. Among its notable alumni are actor Don Cheadle, famed photographer Catherine Opie, fi lmmaker Tim Burton, and countless others. It’s hard to walk into a gallery or watch a major motion picture without being witness to the school’s enduring influence.
The Future’s So Bright? Talking Debt with CalArts Design Grads
June 4, 2013 KCRW
Ah, graduation season. The sense of accomplishment. The thrill of independence. The pomp. The circumstance. And the sobering fact that American college students are leaving school this year with, on average, $35,200 in student loans to repay.
That kind of debt can dim the optimism of any bright-eyed graduate. But what about when you’re expected to be creative for a living? A few weeks ago I headed up to the California Institute of the Arts in Valencia for their graphic design school’s graduation shows—Amaze, featuring graduating BFAs and Inbox, featuring graduating MFAs—to talk to the former students about this new reality and how it will impact their careers.
Student Academy Awards: Future Filmmakers Honored -- See The List Of Winners
The world's future filmmakers got a preview of the kind of Hollywood glamour and glory that could be theirs someday as the Academy of Motion Picture Arts and Sciences presented its 40th annual Student Academy Awards.
Sixteen college students from around the globe were honored at the Saturday night ceremony, held at the academy's Samuel Goldwyn Theater in Beverly Hills and hosted by onetime Student Academy Award winner Bob Saget. Presenters included writer-director Kimberly Peirce and actors Clark Gregg, Jason Schwartzman and Quvenzhane (kwuh-VEHN'-juh-nay) Wallis.
This year's student honors included two each from the University of Southern California, Ringling College of Art and Design in Florida and the School of Visual Arts in New York. Read More.
Young filmmakers excitedly gather for Student Oscars
On Tuesday, Wouter Bouvijn left his home in Belgium for his dream trip to Hollywood.
Wednesday morning, the 25-year-old filmmaker from Deinze, a small municipality in East Flanders, sat in the lobby of the JW Marriott in Los Angeles, jet-lagged but eager, preparing for his weekend of events leading up to the Student Academy Award ceremony on Saturday.
"I'm so excited to see what the students here are doing," Bouvijn said. "It makes me wonder what my work could be like if I had gone to school in the U.S." The Academy of Motion Picture Arts and Sciences established the Student Academy Awards in 1972 to "support and encourage excellence in filmmaking at the collegiate level." This year the academy selected 13 applicants from universities in the United States (including Eusong Lee of California Institute of the Arts in Valencia and David Aristizabal and Jonathan Langager of USC) and three from international universities to receive its awards in Hollywood.
The 16 winners were flown to Los Angeles, put up in the JW Marriott and invited to attend meetings with directors, producers and screenwriters in Hollywood prior to the presentation of gold, silver and bronze medals in five categories (narrative, documentary, animation, alternative and foreign film) at a formal ceremony at the academy's Samuel Goldwyn Theater in Beverly Hills. Read More.
Cooking Oil Sparks Conversation on East Africa’s Women
Art can often be the most striking medium for inspiring change and sparking dialogue, and artists in the developing world are harnessing this power to see that their stories are told on a global scale. One recent dialogue-sparker is the play Cooking Oil, written by award-winning Ugandan playwright Deborah Asiimwe, which makes its U.S. premiere this June under the direction of Fulbright Fellow Emily Mendelsohn.
The play, a product of a six-year collaboration between artists at the California Institute of the Arts in Los Angeles, the Ishyo Art Center in Kigali, Rwanda and Uganda’s National Theater in Kampala, features cast members from Uganda, Rwanda and the United States. After each performance, public discussion of topics brought up in the play is encouraged. Read More.
Ingelwood's Director Aaron White One-Man Show: 'The Blood they Shed'
The Blood they Shed is a semi-autobiographical one-man poetic journey that combines the art of story telling narrative, poetry and comedy. The story is told from the perspective of a young man raised in South Central LA. The journey through his upbringing takes the audience on an emotional ride leading them to laugh, cry and reflect on some of the truths facing people in every corner of today's world. The show invites you into his childhood home of old school soulful tunes, hilarious family members, Charlie Brown re-runs, growing up without a father, media’s pop-culture influence and gangster movies being filmed in his backyard. This powerful tale illuminates our issues of today while reminding us of the power that can be used from the wisdom found in our past.
The dramedy unfolds as the show cleverly addresses issues of violence and value systems, discrimination and the dissemination of the family as well as social relationships. By harnessing the power of music, media and ingenious story telling, The Blood they Shed tackles troublesome issues fearlessly all-the-while maintaining its heartfelt candor and humor.
The Blood they Shed has gained momentum and exposure in Southern California and has plans for a national college tour and a feature length documentary. White grew up in the heart of Inglewood in the 1980s. As a curious child growing up in an area that wasn’t your typical tourist attraction, Aaron would discover in his adolescence that the area he lived was a place people feared. Like many of his African American peers, he began listening to popular hip hop artists of the day as well as found himself spending countless hours being entertained by MTV. Read More.
The ODC Walking Distance Dance Festival brings together contemporary dance companies from across the nation in three programs spread over two days at the ODC Dance Commons and the ODC Theater. New York-based choreographers Kate Weare and Brian Brooks and San Francisco's Rachael Lincoln meditate on the state of contemporary dance on their respective coasts.
How do you define contemporary dance?
Kate Weare: I think contemporary dance tends to emphasize a very individual vision. My work is trying to hook into the psychological undercurrents of our current moment. It's in relation to the human world, bearing witness to it, but, unlike pop culture, which operates as a sheer reflection of it, contemporary dance is also commenting on it, attempting to make an analysis of it. Pop culture attracts audiences with visceral, feeling, sense-oriented pleasure. This doesn't mean that one is more important than the other, it's just a different way of approaching the present, its concerns, and our relationship to it.