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Archive for January, 2014



February 5, 2014 – Glenn Adamson: Director Of Museum of Arts And Design, New York

Posted on January 30, 2014 by School of Art

Glenn Adamson is the Director of the Museum of Arts and Design (MAD) in New York City. He was, until Autumn 2013, Head of Research at the V&A, where he was active as a curator, historian and theorist. His talk will address the transition from London to New York, and from the V&A to MAD - offering his thoughts on how craft is being redefined today as the driving motor of creativity across all genres of art and design. Dr Adamson’s publications include Thinking Through Craft (2007), The Craft Reader (2010), Invention of the Craft (2013), and Postmodernism: Style and Subversion 1970 to 1990 (2011). He is also the co-founder and editor of the triannual Journal of Modern Craft. For more information, click here:  http://www.madmuseum.org

 


CSULB Art Professor Fran Siegel exhibition review at Lesley Heller Workspace

Posted on January 13, 2014 by School of Art

The Brooklyn Rail - January 2nd, 2014

Fran Siegel Plans and Interruptions at Lesley Heller Workspace | October 18 – December 1, 2013

by Alexander Shulan

Using an assortment of Arte Povera type materials, Los Angeles based artist Fran Siegel constructs dense, eclectic visualizations of the history and demographic composition of different urban environments through the media of drawing and collage. Her exhibition, Plans and Interruptions, at Lesley Heller Workspace consists of a series of layered paper works that weave together topography, narrative, and images of architecture into large indiscrete assemblages reflect the unfettered development of the cities they portray.

The pieces are an interesting counterpoint to many of the prosaic demographic visualizations that now are a mainstay of cable news election coverage and online poll-aggregation. Siegel looks at urban spaces in a tried modernist mode; with a clear debt to Guy Debord’s development of psychogeography, an approach to urban mapping that incorporated subjective perspective. Much like Debord, she treats the urban plans of cities like Los Angeles and Genoa as records of human exploration and invention. “Navigation” (2010-11) sets a cutout of a classical sailing ship against images of the ocean and a vertical overview of the port of Genoa. It uses tracings of the ship’s directional markings as a kind of figurative boundary for the city’s walls. Constructed from fragile, common materials—colored pencil, blue ink, and folded and cut paper— the precarious construction of “Navigation” perhaps mirrors Genoa’s agitated ancient history—its constant changing of hands and persistent civil discord.

“Overland” (2013) presents the Los Angeles horizon on cuttings of paper and cyanotype prints, and is overlaid with an intricate hard-edged pencil design that suggests plot-points on an architectural model or a fractal visualization. A more immediately recognizable cityscape than that portrayed in “Navigation,” its intricate construction nonetheless suggests the organic and haphazard expansion of Los Angeles’ urban sprawl. Los Angeles’ skyline collapses into a fragmented mosaic of blue and white paper that resembles a cubist abstraction. (For complete review, click here.)


January 29, 2014 – Everett Peck

Posted on January 9, 2014 by School of Art

Everett Peck’s drawings have appeared in The New Yorker, Playboy, and Time, as well as numerous books, comics and movie posters. He has participated in gallery shows in Tokyo, Los Angeles, New York, and Washington, D.C., and has written animated cartoons for Rugrats, The Critic, and a series based on one of his own cartoon characters: Duckman. Originally created as a comic book that was first published by Dark Horse in 1990, in 1994 Duckman was turned into an animated series for the USA Network. During its four year run, it won the CableACE Award, and was nominated for four Emmys. Peck also created the Cartoon Network series Squirrel Boy, which ran from 2006 to 2007. Additional work includes character design for the animated TV series Jumanji, a slew of print ads for Nike and Honda, and several station IDs for UPN. Samples of Peck’s personal sketches appear in the book It’s Not My Fault [ISBN 1-59617-461-7], a companion piece to his 2011 solo exhibition at the Oceanside Museum of Art. For more information, click http://www.everettpeck.com