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will.i.am to take a computer science course at CalArts in the fall

March 19, 2013
Artist Direct

will.i.am Going Back to School

By Maggie Pannacione

will.i.am is going back to school and furthering his education in computer science.

The Black Eyed Pea is enrolling in a computer science class at the California Institute of the Arts (CalArts) in Los Angeles in September.

"The future is technology and I want to see kids embrace that," he said about why he is taking the class. "The world doesn't need another musician, it needs another Bill Gates. When I tell kids they should be computer scientists and mathematicians, I'm not just saying that because it's cool to say...In September I’ll be taking a computer science course at CalArts in L.A. because I’m passionate about where the world's going. I'm curious about it and I want to contribute."

Would you like to take computer science classes to improve your knowledge of technology, too? Do you agree with will's stance?

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Calarts Alumna has three art exhibits on display throughout Los Angeles

March 14, 2013
LA Weekly

Catherine Opie Discusses Her Three L.A. Art Exhibits

By Alissa Walker

Photographer Catherine Opie is perhaps best known for her portraits featuring the heavily pierced and tattooed bodies of the LGBT community, or the sweaty, clear-eyed optimism of high school football players. She has captured frozen landscapes littered with pastel-colored ice-fishing cabins and fluid ones bobbing with surfers awaiting their next wave. And for the past 25 years, Opie has documented Los Angeles, where the Ohio native chose to stay after receiving her masters at CalArts, rather than return to the Bay Area, where she'd studied as an undergrad. "I was much more interested in the art scene here," she says. "I felt that in relationship to the city I had a lot more to explore."

Currently, three exhibitions are up at three L.A.-area institutions — WuHo Gallery and Regen Projects, both in Hollywood, and the Long Beach Museum of Art — featuring photographs that show how her exploration of L.A. as both a subject and a backdrop has come to shape her work.

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REDCAT celebrated its 10th Anniversary with a Gala dinner hosted by Jack Black

March 17, 2013
The Hollywood Reporter

Jack Black Helps Raise $600,000 for Los Angeles' REDCAT Theater

The gala evening, celebrating the performance space's 10th anniversary, honored the Walt Disney Co. and artist Catherine Opie

by Tamara Rawitt

Downtown L.A.’s REDCAT theater celebrated its 10th anniversary Saturday night with a gala dinner hosted by debut master of ceremonies Jack Black and honoring artist Catherine Opie and the Walt Disney Co.

Launched by the California Institute of the Arts inside the Walt Disney Concert Hall complex in 2003, the space -- whose name is an acronym of Roy and Edna Disney/CalArts Theater -- has a mandate to present innovative visual and performance works.

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Catherine Opie honored at REDCAT's Anniversary Gala

March 17, 2013
Los Angeles Times

Jack Black's REDCAT debut is a gala for Catherine Opie, Disney Co.

By Ellen Olivier

As emcee for the REDCAT Gala on Saturday, Jack Black said he had always hoped his debut at the multidisciplinary theater would include a performance of his “special post, post-modern interpretive dance,” complete with a “big dynamic gymnastic finale.” He pointed out, however, that instead of the usual stage at the Roy and Edna Disney/CalArts Theater, the venue that night had tables filling the room wall to wall.

“I know that CalArts and REDCAT encourage artists to take risks,” Black said, “but I don’t think that injuring the gala patrons is what they had in mind.”

For those wondering how the star of “Bernie,” “School of Rock” and “Kung Fu Panda” came to host the gala, Black said he married into the CalArts family. Black’s wife Tanya Haden studied experimental animation at the California Institute of the Arts, and her father, jazz bassist Charlie Haden, founded the CalArts Jazz Program.

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Tribute paid to the Walt Disney Co. and Catherine Opie at REDCAT's annual gala

March 19, 2013
Los Angeles Confidential

REDCAT Celebrates 10th Anniversary

The Downtown theater group honors The Walt Disney Company and Catherine Opie.

By Alexandra Calamari

On Saturday, March 16, 2013, Jack Black hosted the 2013 Roy and Edna Disney/CalArts Theater (REDCAT) Gala, which this year marked the 10th anniversary of the groundbreaking group for theater, media, and visual arts. A selection of Los Angeles philanthropists and supporters of the arts joined together to pay tribute to The Walt Disney Company and Catherine Opie at the annual gala event.

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Chouinard Art Institute alumnus profiled

March 14, 2013
Gallerist NY

One Man Band: Llyn Foulkes Is Bringing His Los Angeles Style to New York

By Dan Duray

At Documenta 13 last summer, the rotunda of the Museum Fridericianum in Kassel, Germany, served as the nexus for the town-sized show, a tightly curated “brain” that featured Giorgio Morandi still lifes hung near actual bottles from Mr. Morandi’s studio and Man Ray’s Object to be Destroyed, a metronome embellished with a photograph of Lee Miller’s eye. Lodged somewhere in the Documenta skull, then, was new work from Los Angeles-based artist Llyn Foulkes, whose art showed in a dark upper hall in the Fridericianum. His retrospective at L.A.’s the Hammer Museum comes to New York’s New Museum on June 12.

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Massive Open Online Courses (MOOC) trying to prove they can change the game in higher education

March 15, 2013

CalArts Joins the Free Online Course Experiment

by Allison Meier

A high profile arts institution recently joined the spiking number of free online classes, with the California Institute of the Arts teaming up with Coursera. The rapidly expanding offerer of MOOCs, or “massive open online courses,” is only a year old, but since it started in 2012 it’s grown from partnering with three higher education institutions to now over 60. With their brief, mushroom cloud of a life, it will still take time for the MOOCs to prove to be game changers in the structure of higher education, or if they’ll just fade as a fad.

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School of Art Dean Tom Lawson quoted about MOCA's future

March 15, 2013
Los Angeles Times

Eli Broad remains a player in LACMA's proposed takeover of MOCA

His 2008 bailout gave him provisions, but not absolute veto, that could complicate a deal between the L.A. museums. He's also reached out to National Gallery of Art.

By Mike Boehm

Michael Govan came to the Los Angeles County Museum of Art seven years ago with a mission to make it one of the most prestigious institutions in the country, one worth mentioning alongside New York City's Metropolitan Museum of Art and Museum of Modern Art.

Now he's trying to seize an opportunity to gain ground on them in a single stroke. Govan and LACMA's trustees have proposed a takeover of L.A.'s financially adrift Museum of Contemporary Art and its crown jewels: a 6,000-piece collection that's one of the world's most admired troves of post-World War II art.

But Govan has an imposing rival in billionaire Eli Broad, L.A.'s eminence grise of art philanthropy. And Broad has cards of his own to play.

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Former student Victoria Shen offers Modernist Manicures free of charge

March 14, 2013
Dorchester Reporter

Pop-up salon in Fields Corner offers ‘digital’ makeovers

By Chris Harding

Here’s an opportunity you definitely don’t want to let slip through your fingers.

Free artsy manicures! The Howard Art Project on the top floor of 1486 Dot Ave. in the middle of Fields Corner is currently offering fashion-forward folks of whatever gender the chance to have a once-in-a-lifetime digital makeover.

What’s the catch? There’s no catch.

The Modernist Manicure is an innovative art project by 24-year-old Victoria Shen, who is originally from San Francisco. She studied at CalArts and then graduated from the School of the Museum of Fine Arts, Boston two years ago. She also did a lengthy internship with the Yerba Buena Center for the Arts, San Francisco.

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Slavs and Tatars exhibition at REDCAT reviewed

March 11, 2013
Art Info

Reverse Optimism: Slavs and Tatars Brings Its Collective Irony to L.A.'s REDCAT

By Fionn Meade

The founding narrative of the artist collective Slavs and Tatars is a well-branded dictum that precedes each of its projects, setting up a scenography of production and presentation replete with multiple entrances and exits. Begun in 2005, Slavs and Tatars describes its members as “a faction of polemics and intimacies devoted to an area east of the former Berlin wall and west of the Great Wall of China.” Initially a reading group, the collective now orbits around two central members who wish to remain anonymous, while the retinue can expand and contract to include others in response to a given project.

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