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.
Isadora Creator Mark Coniglio Offers Workshops this July at 3LD Art and Technology Center
Tech guru and media artist Mark Coniglio, whose groundbreaking work fusing art and technology with Troika Ranch has received wide critical acclaim, returns to 3LD Art and Technology Center this summer to offer two workshops in Isadora, the pioneering interactive media software he created. The Intro Course is on Monday, July 8 from 10am - 4pm and is $100; and the Master Class is Tuesday, July 9 - Friday, July 12 from 10am - 4pm. The Intro Course fee is $100; the Master Class fee is $650 (and includes a one-year license for Isadora). The fee for both the Intro and Master Class is $700 (and incudes a one-year license for Isadora). Courses take place at 3LD Art and Technology Center (80 Greenwich Street, at Rector, in downtown Manhattan).
Due to the demand of these courses, participation will be determined by application. Applications are due by May 27, 2013; selections will be made by May 30, 3013. To apply, submit one paragraph that details your interest in attending the workshop and one paragraph that describes your creative work. Also include a short description of your level of computer experience. Please include name, address, telephone number, and email address. Send applications to firstname.lastname@example.org with Isadora workshop in the subject line. Read More.
Pure Image: Jack Goldstein Retrospective to New York
by William S. Smith
Jack Goldstein's first American museum retrospective, opening this week at New York's Jewish Museum, offers a chance to reevaluate a key artist of the Pictures Generation. Guest curator Philip Kaiser (now director of Cologne's Museum Ludwig), organized "Jack Goldstein x 10,000" for the Orange County Museum of Art, Newport Beach, Calif., where the exhibition first opened last June. On view in New York May 10-Sept. 29, the retrospective is an appropriately bicoastal survey for an artist (1945-2003) who came of age during one of the most fertile periods for Conceptualism in Los Angeles before establishing himself as a canonical New York appropriation artist.
Alison Brie On WTF Podcast: 'I Know There's Gotta Be Some Naked Photos Somewhere'
Alison Brie, best known as Trudy Campbell from "Mad Men" and Annie Edison from "Community," has never struck us as shy. From showing off her rap skills to writing about hooking up with a gay friend, the 30-year-old actress comes across as incredibly outgoing and comfortable with herself. So we weren't surprised when her conversation with Marc Maron on the WTF podcast turned to the subject of nudity.
In the interview, Brie explains that her college, CalArts, was pretty much clothing-optional ("except the cafeteria") and she had no problem stripping down to make her friends laugh: "I would like put on a pair of tennis shoes and that's it. And then like go run outside," she says. "And like we had a room that was on the first floor of the dorms, so I would like run by our big window and like swing from the tree ... not like attractive nudity."
LOS ANGELES — For four hours, the filmmakers Natasha Subramaniam and Alisa Lapidus constructed a four-tiered dessert out of whipped cream, amaretto cookies, baked meringue and locally sourced edible flowers. “It’s a Pavlova meets a croquembouche,” Ms. Subramaniam said.
As Ms. Lapidus stacked Frisbee-size discs of meringue atop the ever-growing sweet, Ms. Subramaniam took still shots of each layer, which would be edited together into a stop-motion sequence. Stray crumbs were brushed out of camera range; tweezers were used to pluck errant pea tendrils adorning the sides. The result was a wintry peak festooned with lilacs and pink jasmine, an edible, cream-filled Matterhorn.
Liz Glynn on Her Borges- and Kafka-Inspired Secret Frieze Fair Speakeasy
by Emily Ellis Fox
Inside a nondescript building in L.A.’s Chinatown, Liz Glynn apologizes for her studio being too clean. She prefers to work in a certain amount of disarray, but an acquisitions committee recently paid a visit, prompting the artist to tidy up the usual mess. Still, there remains ample evidence of previous and future projects spread between her two rooms: a discarded chandelier on the floor, charred ceramic vessels, a box of finished and unfinished bronze rings, books everywhere, and, tacked on the walls, drawings with arrows that Glynn calls maps of her thought processes for potential installations.