When Hollywood Wants Good, Clean Fun, It Goes to Mormon Country
By JON MOOALLEM
May 23, 2013 New York Times
Allen Ostergar stood at the front of the lecture hall with a stiff and bashful smile, or maybe it was just stage fright, and started his pitch. Open on a deadly pirate ship, he said— “the deadliest of all the pirate ships to, like, sail the seas.” B.Y.U. Student Films.
It was a Tuesday evening at Brigham Young University, in Provo, Utah, and the school’s computer-animation program had assembled its 70-odd students to choose their next project — the one film they would be producing over the next three semesters. Ostergar, a junior from Southern California, was up first.
There’s a certain anxiety in composer Julia Holter’s electronic experimentations — the feeling that, at any turn, a pop song could break out. And, probably, ruin the vibe. Holter, the Cal Arts product who came on the radar two years ago with the Euripides-inspired “Tragedy” and last year followed it with the mystical, devastating (in a good way) “Ekstasis,” this summer will release her third album in as many years. On “Loud City Song” (due Aug. 20 on Domino), Holter graduates from bedroom artist to a proper studio, where she made the album with co-producer Cole Marsden Grief-Neill and an ensemble of L.A. players. The minimalist qualities of the glacial lead track “World” conspire with her understated, sometimes-incantational vocals to make it seem as if Holter is merely waiting for the rest of the world to catch up.
Battle Bears' creator finds inspiration in family journey
By David Martin
May 24, 2013 CNN
Ben Vu's parents and older brother fled South Vietnam by boat in 1975 -- in the chaotic and violent final days before Saigon fell to communist forces from the north.
The family emigrated to a small town in Nebraska, where Ben was born, but the story of how the family escaped 38 years ago this month became part of the family lore -- real-life bedtime stories of daring and danger young Ben never tired of hearing.
Three decades later, Ben started his own company, SkyVu (pronounced sky-voo) Entertainment, and used these stories as his inspiration for a mobile game called "Battle Bears."
Julia Holter Previews Literary New Album With Delicate 'World'
by Kyle McGovern
'Loud City Song' to be toured extensively in North America and Europe
May 23, 2013 Spin
Julia Holter has a busy summer ahead of her. On August 20, the Los Angeles singer-songwriter will release Loud City Song, her third album in as many years. But before Domino Records issues the upcoming full-length, Holter will begin an international tour that will take her across North America and Europe.
The CalArts alumna will kick off her two-month trek on July 11 in Washington, D.C. She'll make stops in New York City, Philadelphia, Boston, Montreal, Toronto, Detroit, and Chicago before heading overseas in support of Loud City Song. The excursion wraps in London on August 20, the same day the LP is officially released in the U.S.
Jack Goldstein x 10,000′ at the Jewish Museum By Maika Pollack
May 21, 2013 Gallerist New York
If you’re turned off by the bombast of infinitely escalating auction prices and big-tent contemporary fairs, take refuge in the elegant first American retrospective of Jack Goldstein. Organized by Orange County Museum of Art guest curator Philipp Kaiser, and in New York by Jewish Museum Assistant curator Joanna Montoya, the show is the gloomy B-side to the relentless pop staccato of blockbuster contemporary art. Yet artists today owe much to this cult figure.
“I can’t stand to look at anything that my hand does,” Goldstein once griped. For his 1975 MFA graduation show as part of the first class at Cal Arts, he buried himself alive. His work would follow this trajectory towards total disappearance.
L.A.’s REDCAT Lands $244K Grant To Fund Theater Festival, Residencies
By Sean J. Miller
May 21, 2013 Backstage
The REDCAT has received a major grant that will help it expand Radar L.A., an international contemporary theater festival set for late September.
The Los Angeles interdisciplinary contemporary arts center, known formally as the Roy and Edna Disney/CalArts Theater, announced this week that it has received $244,000 from ArtPlace America, a coalition of national and regional foundations, banks and federal agencies.
The money will help REDCAT expand Radar L.A. beyond the 14 companies invited to mount productions last year.
Eric Fischl’s memoir (out tomorrow) hasn’t even hit bookstores, but already the painter is making waves in the art world with revelations of his promiscuous past and the boldly critical statements aimed at his contemporaries. Named after the infamous work that propelled him to art-world stardom, Fischl’s memoir is also an account of all that being an artist encompasses. Touching on everything from a painter’s creative process to maneuvering the social art scene, Bad Boy comes off as part tell-all, part portrait of an artist. SCENE caught up with the Sag Harbor-based Fischl to get his take on what it means to be an artist in the 21st Century.
Ed Fella’s AIGA Medalist profile sums him up succinctly: He’s “one of the most influential designers of the last quarter century.” And now he’s retiring. But having been friends since I first interviewed him for Emigre back in 1993, I figure that “retire” will be more like a change of treads, appropriate for a man who started up in Detroit with decades of auto industry servicing and other such commercial maintenance work. And after getting an overhaul and tune-up at the Cranbrook Academy of Art’s MFA program, he was driven to move out west to park, but not idle, at the California Institute of the Arts. When I asked “Why stop now?” he noted that he’s taught there for the past 25 years and, having arrived at age 75, “It kind of makes a nice symmetry, don’t you think?”
Photo Essay: CalArts Celebrates World Music And Dance
By Aaron Liu
May 16, 2013 Neon Tommy What is the purpose of music?
Hannah Dexter pauses for a moment to consider the question at hand. Dexter, a junior at the California Institute of the Arts who studies jazz and bass, is resting on a friend's couch after singing in a West African music and dance showcase for the CalArts World Music and Dance Festival, a six-concert spectacle organized by students and faculty.
It's an exhausting gig. Dexter also serves as the assistant producer for the festival, where she's also charged with managing media and keeping track of all the performers so that the week-long festivities can run smoothly. After the first night, her friends bought a case of beer to celebrate the festivities. Instead, she took a nap on their couch.
Nearly every studio film at the multiplexes this summer will have been created, at least partly, by a computer. The digital origins of some effects will be easy enough to guess: starships and rocket-suited men in flight, giant fighting robots, ancient naval battles. Vastly more of them will be subtle enough to pass by the average moviegoer—casual, dialogue-driven scenes shot in front of green screens and placed into digital streetscapes, or wires and buildings digitally removed.