Arts Blog

Giant Zombie Pumpkins!

2011-11-01T16:44:00.000-07:00

I think it's pretty great that whoever was in charge of the world's largest pumpkin gave editorial oversight to Ray Villafane, who carved zombies emerging from the gooey innards. There's something about the gross slimy pumpkin guts that really lends itself to zombie goo, aesthetically.

Check out all the photos.

Stephanie Pryor at Marine Contemporary

2011-10-13T09:42:00.000-07:00

Instructor Stephanie Pryor has a show coming up at Marine Contemporary - details below!

Stephanie Pryor: Domina

October 22 – November 26, 2011

Opening Reception: October 22, 6-9 pm

Marine Contemporary is pleased to present Domina, Stephanie Pryor’s first solo exhibition with the gallery. For this new body of work, Pryor has been looking at old master paintings, particularly 16th Century Venetian paintings. Pryor’s most recent portraits of women are inspired by paintings of courtesans from this period, such as Giorgione’s Portrait of a Courtesan. The title of the show comes from the Latin phrase "Domina Domina", which translates as mistress, dame, lady or she who rules. In old English Law, it was a title formerly given to noble ladies who owned estates on their own, separate from men. This Latin root went on to form the words dominate and dominatrix.

Stephanie Pryor’s seductive paintings blur the line between abstraction and representation, both physically and psychologically. Whether the final image stems from source material such as nature, fashion, self-portraiture or photography, Pryor is interested in the unfolding of an expression or moment in time. One that is subject to change during the duration of painting. Pryor paints like a watercolorist, using layered thin washes of watery acrylic in brooding and vivid colors. The final piece is the result of an intuitive process of layering color to define image and to form new shapes and areas that aren’t apparent in the original drawing, but come across during a more meditative period of observation. As a result, these gestural acrylics are concurrently impulsive and considered, possessing a savage, dark and poetic beauty.

Domina is featured in the September issue of Modern Painters as one of the top 100 fall shows to see internationally.

Free Talk: The Graphic Design of Comic Books

2011-10-05T09:06:00.000-07:00

Come see award winning comic book-style illustrator Arlen Schumer present an overview and retrospective of his works. Throughout his extensive, prolific career Arlen has been bridging the gap between two verbal/visual artistic disciplines: comic book art and graphic design. Comic Book Artist magazine named Arlen, "one of the more articulate and enthusiastic advocates of comic book art in America." Based in New York, he lectures at universities and cultural institutions across the country.

11:00 AM - 12:30 PM / 07 OCT 2011
Loyola Marymount University
Burns Fine Arts Complex, Room 211
7900 Loyola Blvd. Los Angeles 90045

Admission is free.
Parking is free.

Arlen Schumer is one of the foremost historians of comic book art, from his landmark special issue of Print magazine devoted to comics in 1988 to his forthcoming presentation at the New York Comic Con, "The Auteur Theory of Comics." His coffee table art book, "The Silver Age of Comic Book Art" won the Independent Publishers Award for Best Popular Culture Book of the year. His other books include "Visions of the Twilight Zone" and "The Neal Adams Sketchbook."

Stop at the guard's kiosk at the Main Gate (Lincoln Blvd. and LMU Drive) to obtain a permit and directions. The visitor parking lot (Hannon Field, parking lot A) is just south of the Burns Fine Arts Center.

Adobe Sidekick 2011

2011-09-21T16:09:00.001-07:00

Adobe Sidekick 2011: An All-Star Technology Jam Session

The Los Angeles Adobe User Group (LAdobe) along with the Los Angeles Photoshop User Group, the Los Angeles Illustrator User Group, and LAFlash present Adobe Sidekick 2011 which will take place on Saturday, October 1 at 6pm at Indie Desk on 816 South Broadway in Downtown Los Angeles.

Admission to the event is free and parking will be available at meters as well as various parking lots and garages in Downtown Los Angeles.
We're starting early so you can attend Adobe idekick and also have a great night out afterwards whether in Downtown LA or elsewhere.

Sidekick is presented as a special event for the Los Angeles area Adobe Community and features presenters who are in town for the Adobe MAX conference at the nearby Los Angeles Convention Center. For those of you still on the fence about attending MAX, this night will offer a small taste of the conference while you can still make up your mind whether to attend or not. For those of you who cannot afford to attend MAX due to financial or work-related conditions, this night offers a chance to hear from some of the top minds in technology while they are in the area.

Our presenters are as follows:

ALEX LIEBERT, JOSHUA GRANICK-The HAXE Framework

Alex Liebert is an independent game developer and artist located in San Francisco.

He's worked as an animator, software engineer, and producer for clients including The Gap, Meez.com, and Blend Films. Alex started Milkman Games, LLC in 2010 with a mission of bringing fun, beautiful and accessible games to the mobile space. Milkman Games' debut title, Aqualux, launched on a variety of phones and tablets earlier this year. Follow Alex on Twitter: milkmangames

Joshua Granick has a passion for great games, functional design and tools that make life easier.

He has twelve years of industry experience; three as a small business owner. He has produced applications and games for brands like Adobe, Apple Jacks, Disney and Eldorado Stone.

From his former selection of TI-series calculators to his current selection of phones and tablets, Joshua loves developing for mobile devices, especially as the skill set for mobile, desktop and web development continue to blur.

He has three kids and a beautiful wife, and currently works in HP webOS Developer Relations. Follow Joshua on Twitter: singmajesty

DAVID POWERS-I Didn't Know Dreamweaver Could Do That

David Powers of Foundation PHP in the UK is an author and trainer, who's passionate about web standards. He's written or contributed to
15 books and video series about Dreamweaver, PHP, CSS, and other web-related technologies. His most recent titles are HTML5, CSS3, and jQuery with Adobe Dreamweaver CS5.5: Learn by Video, and Adobe Dreamweaver CS5.5 Studio Techniques: Designing and Developing for Mobile with jQuery, HTML5, and CSS3 (both Adobe Press). David's articles are among the most popular tutorials in the Dreamweaver Developer Center. David is an Adobe Community Professional for Dreamweaver and specializes in developing web solutions using PHP and the MySQL database. Prior to his career as an author, David was a BBC radio and TV journalist, and spent many years working in Japan. He has translated several musical plays from Japanese into English.

ROBERT REINHARDT-Comparing Web Video Technologies, from Flash to HTML5 to Silverlight

Robert Reinhardt, VP of [the MAKERS] in Portland, OR, is internationally regarded as an expert on multimedia development, particularly in Adobe Flash and online video. Selling over 200,000 copies in over 13 languages, Robert's books include the Flash Bible
(Wiley) and Video with Adobe Flash CS4 Professional Studio Techniques (Adobe Press). As an Adobe Community Expert, he develops workshops for schools and corporations, and he creates tutorials at DesignProVideo.com. Robert has spoken at industry events since 1998, including Flashbelt, FITC, SIGGRAPH, and Adobe MAX. Robert is currently building a professional video encoding and hosting service, VideoRX.com. Follow Robert on Twitter: flashfreaker.

STEFANO VIRGILLI-Is It Photoshopped?

Stefano has an Italian degree in communication design. His experience in the training and education sector has been growing since 2000.
Stefano started teaching 2D graphic design and photography post production. Later on, he further specialized in video editing, 2D and 2.5D animation.

In 2006, Stefano brought his expertise and experience to Singapore.
His years in training were augmented by his work in a design studio in Italy, which he built from scratch. He directed both Ultimate Video Fx as well as VOX. The experience placed him in a solid position to combine theory and practical hands-on work.

Today, Stefano is the director of LAB School, where his knowledge and insight are in demand across the island, from several government bodies, institutions, and private enterprises.

Stefano is certified competent in the WSQ Advanced Certificate in Training and Assessment (ACTA) Trainer®, Assessor® and Developer® Facilitated Learning.

We will have beverages from Zenify, Function Drinks and other surprises as well. Prizes will include a copy of one of the bundles of Adobe Creative Suite 5.5, books from O'Reilly, Peachpit and other book publishers and much more.

Intermediate Figure Drawing

2011-08-22T09:37:00.000-07:00

Jay Stuckey rides again! This fall he's excited to be teaching an intermediate-level figure drawing class. The course helps students move beyond understanding the figure in a purely academic sense to explore its limitless formal and conceptual possibilities. Students study how other artists have used a figurative vocabulary to express their ideas and thoughts. It should be a fun class to get you loosened up and thinking about figuration in different ways.

Jay also has a show coming up at The Company running Sept. 3rd through October 1st. The opening reception is Sept. 17 if you want to stop by and say hi!

For more info and to enroll.

(figure drawings by Jay Stuckey).

Survey of Western Art Part I

2011-08-22T09:14:00.000-07:00

We're all happy to have Mary Beth Carosello back and starting out the Survey series again this fall.

Mary Beth just returned from a trip to Italy and London, and should have a lot of first person pictures of the works that will be discussed during the course. Of course there's nothing like being there in person, but hearing Mary Beth talk about the pieces is probably a close second.

This part of the series covers the early periods of art history--from the dawn of the great civilizations in the Near East through the Middle Ages. Topics include the art of ancient Egypt--its pyramids, royal sculptures, tomb paintings, the treasures of Tutankhamen, and New Kingdom temples; Mesopotamia; Assyria; Persia; the treasures of Greece with special study of Athens and the Golden Age; and the art of the Roman emperors through Constantine the Great, the Byzantine empire, Irish manuscripts, Viking ship burials, and the Court of Charlemagne. Instruction concludes with the development of the great Gothic cathedrals of Europe with special emphasis on Chartres, Siena, and Canterbury.

To enroll, click here.

Instructor Interview: David Weldzius

2011-08-18T14:07:00.000-07:00

We're excited to be offering Fine Art Photography this fall with new instructor David Weldzius. Let's get to know him (and see what's in store for class...)

Can you talk a bit about your background in photography?

I didn’t learn how to make photographs until college. I was about twenty one and, previous to that, I had only used a camera when I needed to document my own paintings and sculpture works. The teachers that I learned photography from seemed to have a different set of concerns than my studio arts teachers. Identity politics were still in the air—which is to say that the photo program was concerned with power and privilege, while the studio program, in many ways, was still talking about process and form.

It is very easy to take pictures. Anyone, arguably, can take a “good” picture. In the first and second world, we produce and consume thousands of pictures daily. It is because of this relative ease in the production and consumption of images that an artist using photography can concentrate on the concept, context, selection, and sequencing of photographic works—rather than shooting and printing, for instance.

How would you describe your current practice, and what inspires the style and substance of your recent work?

My recent photographs draw attention to events and processes that are specific to my immediate surroundings—from Robert Kennedy’s assassination at the Ambassador Hotel to the Norton Simon Museum’s dioramic copy of Monet’s garden. With a camera, I can frame a historical process in the present tense, and, in this manner, activate a deliberate series of inquiries. In Los Angeles, where localized histories frequently slip through the cracks of social consciousness, I excavate a surface that is inscribed with historical process in order to highlight its contemporaneous social bearing.

Which fine artists are you most looking forward to exploring in class, and why?

Recently, I’ve been looking closely at photographic works by Zoe Strauss and Ai Weiwei. Over the past year, Strauss has been documenting the effects of the “Deep Water Horizon” oil spill in the Gulf of Mexico. I am interested in the project because it does the work of conventional photojournalism, but under a different guise. Strauss is a reporter, a muckraker, and an artist all wrapped into one. Similarly, in 2008 Weiwei photographed the effects of the Sichuan earthquakes weeks before the Beijing Olympics. Where the Chinese government released only a limited selection of images from the disaster, Weiwei answered with a vast photographic archive, organized and disseminated from his own website.

In recent years, much attention has been given the “Pictures” generation of American artists—both in the museum and in art writing. I am, ultimately, suspicious of the way this work has been received by important art institutions and neatly historicized. Nonetheless, I look forward to looking at some of their most canonical works, and discussing its impact on subsequent developments in contemporary art and photography.

What do you find rewarding or interesting about fine art photography (that maybe you don’t experience as much doing commercial work)?

Photography has been in existent for less than two hundred years, and has enjoyed its status as “fine art” for far less time than that. However, in its short history, photography has undeniably seen radical shifts in technology and form, as well as its perception within art history, and in contemporary art.

Currently, there are many artists that use photography, but do not call themselves “photographers.” These artists, in many instances, are making more compelling, dynamic works than the ones that do call themselves “photographers.” This brings to light the fact that many contemporary artists work through traditional media loosely and fluidly in a way that emphasizes the idea rather than the form, and it reiterates the notion that anyone, including artists, can take a picture and use it toward a specific, meaningful end.

In my own lifetime, Cindy Sherman photographs have sold for a few dollars, while Andreas Gursky photographs have sold for millions. Since at least the late 1980s, however, photographs have maintained their status as rarified art objects in a, largely speculative, global art-market. As with bank notes, consumers of art photography willingly suspend their disbelief when they acquire and de-access photographs—any of which, presumably, can be reprinted ad infinitum.

What do you hope students leave the class having learned or experienced?

I want students to use my class to develop their portfolios, or specific bodies of photographic work. Additionally, I want to encourage students to develop a way of talking and writing about their photographs. I am positive that in class critique will afford the opportunity for students to discuss their thoughts and receive critical feedback. In two lab sessions, I will emphasize shooting, editing, in addition to workflow management. Students should leave my class with an active awareness of art, theory, and history. Most importantly, however, under my mentorship they will foster skills and habits that will allow them to be more apt in constructing strong, nuanced bodies of work.

Images by David Weldzius. From top, Untitled (from series “Giverny: Pasadena”), 2007 48” x 60” c type print, Untitled (from series “ASA”), 2009 4” x 6” silver gelatin print postcards, Untitled (Nazi Era Photograph I), 2011 40” x 50” c type print, Untitled (Cold War Era Photograph II), 2011 30” x 40” c type print, Untitled (A Progressive Era Photograph for Arne Duncan), 2011 11” x 14” silver gelatin print.

Adobe Illustrator User's Group Meeting

2011-08-15T11:09:00.000-07:00

Adobe Illustrator User's Group: September Meeting!

Wednesday, September 14 • 6:30 - 8:30pm

Location: MacMall Retail Store, Santa Monica
1505 Wilshire Boulevard, Santa Monica, CA 90403-5505
Phone: 310-394-7779

Free Parking > Free Meeting > Free Raffle

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— AGENDA —

6:30 – 6:45 Registration

6:45 Welcome from our new Sponsor: MacMall / Matt Casper

6:55 - 7:15 Overview of up-coming event: Adobe MAX http://max.adobe.com/ (All attendees will receive our secret code for a discount to the event!)

7:15 - 8:15 Adobe Illustrator Demo by Chana Messer

Unleash your Creativity: Working with Opacity Masks, Creative Tracing and Gradient Mesh tool.

8:15 Raffle

8:30 Goodbye!

The place closes at 9pm, so we'll need to finish the meeting at 8:30 pm. If any one is interested more discussion and networking afterward, we can meet at The Coffee Bean on Wilshire and 6th.

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This is a free event! Please RSVP at the Adobe Illustrator User's Group Facebook page:
http://www.facebook.com/event.php?eid=263464663679085

There is free parking in the MacMall private lot behind the building!

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Speaker Website: www.chanamesser.com
Sponsor Website: www.macmall.com
Twitter Feed: @IllustratorLA

James Mollison's Where Children Sleep

2011-08-12T09:24:00.000-07:00

Photographer James Mollison has a fascinating series called Where Children Sleep. Images of childhood bedrooms are set alongside portraits of their inhabitants. The bedrooms are a powerful expression of the child's personality combined with cultural and economic influences.

George Simian is a PDN "Best Workshop" Instructor!

2011-08-12T09:08:00.000-07:00

Major kudos and congratulations to instructor George Simian, who is included in PDN Magazine's reader survey of the Best Photo Workshop Instructors.

George has been teaching with UCLA Extension for years and has been instrumental in shaping the program, especially the fairly-new certificate in photography. The article mentions intermediate and advanced lighting, but he also teaches Portraiture and one-day courses (when he's not jetting off to lead photo workshops in Bali).

We always knew he was a gem, but now it's in writing!

Go George!

Allee Willis and Her Fantastic Museum of Kitsch

2011-06-21T09:40:00.000-07:00

The NY Times has an article about Allee Willis, a Grammy- and Emmy-winning songwriter, producer and artist who lives in a veritable museum of kitsch.

"Her furniture includes an amoeba-shaped coffee table bought years ago at a vintage store on Melrose Avenue, an Eames lounge chair, Lucite dining chairs, a Chromcraft recliner and a Sputnik chandelier. Among the art and accessories in her home are her own whimsical paintings and sculptures, a red ladybug transistor radio, half a dozen globe-shaped TVs with original chains for hanging and clear plastic ottomans with flower displays inside."

Obviously this house is rad and you can check out the pictures in the article, OR YOU CAN VISIT THE HOUSE AND MEET ALLEE during Ami Davis' summer course Easy Art: Kitsch and Popular Culture.

This is a pretty fantastic opportunity, and the whole class just looks fun. Also Allee seems like the kind of person that you would definitely want to hang out and have a drink with (not sure if alcohol is included in the tour, but still).

Class details are here, full article here. Images by Ethan Pines for The New York Times.

It's Your Show - Tomorrow Night!

2011-06-16T15:09:00.000-07:00

Don't forget, the opening reception for It's Your Show is this Friday, June 17 from 7-9pm at the 1010 Westwood Center (4th floor gallery).

Hope to see everybody there!

We Heart Charts

2011-05-13T14:57:00.000-07:00

True to its name, the blog I Love Charts has some amazing, thought-provoking, lovable charts.

They range from humorous:

to sad:

to mildly icky and offensive:

Check out all the charts!

It's Your Show! Call for Submissions.

2011-04-21T15:14:00.000-07:00

It's that time again! Time for "It's Your Show," our annual exhibition of student work from the areas of design, fine art and photography.

This is a super fun event that brings together students of all disciplines. Plus, you can bring your friends to the opening, and there's wine and cheese!

You can see photos from last years' receptions here

If you'd like to submit your work, please read the submission guidelines below carefully! It's important to properly label your e-mail submissions, and remember that it's limited to three submissions per student!

Submission Deadline:
May 27, 2011

Opening Reception:
Friday, June 17, 7-9pm
UCLA Extension
1010 Westwood Center Gallery, 4th floor

Eligibility:
Open to all original work presented in a UCLA Extension Studio Arts, Photography or Design Communication Arts course in the last two years. All genres, formats, and media are eligible. Three submissions maximum per student.

Submission Guidelines:
Digital submissions only.

Email design work to dca@uclaextension.edu.
Email photography and fine art work to visualarts@uclaextension.edu.

Files should be .pdf or .jpeg images no larger than 1MB and named in the format described below. Include your name and phone number in the body of the email.

Digital File Label:
lastname_firstname_classname.filetype

Examples:
Bruin_Josephine_DesignII.pdf
Bruin_Joe_DrawingforCommunication.jpg

All entrants will be emailed on or before June 3 regarding their submission(s). Students will be asked to bring their original artwork to 1010 Westwood Boulevard in advance of the show and be required to sign a release of liability at that time.

Special recognition will be given by a jury of Los Angeles artists to projects displaying excellence in specific elements of art and design.

For questions call (310) 206-1422.

Roxann Arwen Mills on Photographing Nudes

2011-04-11T10:17:00.000-07:00

This spring Roxann Arwen Mills will be leading A Perspective on Nudes: A Short Photographic Workshop. It's a unique class that involves intensive critique and a full day of shooting models, so I thought I would ask her to share some thought on the topic of nude photography. Images from the last workshop are included throughout. Click here for a previous interview and more thoughts from Roxann.

What are some common misconceptions or assumptions about nude photography?

I think that one of the most common misconceptions is that it's easy; there's nothing to it. Another is perhaps the perception that nude images inherently have a sexual intention. For example, the infamous banned nude album cover of John & Yoko was not meant to be a sexual statement, but a human one. This is a distinction with which Western culture still seems to struggle, even with today's pop-cultured highly erotized cover art, and many critically acclaimed and sometimes equally disdained images of photographers who deal with sex, or have strong sexuality in their work. In many cases the subject isn't entirely naked, so how does one discern the difference between what many refer to as the artistic nude, and mere nakedness, or the erotic nude, or soft porn? These conversations and many more will be further examined in this 4-week workshop in order to give students a more informed view from which to develop their own concepts in approaching the female nude.

(photo by student Norman Schwartz)

(photo by student Carol Henry)

What are some of the challenges of shooting these kinds of images?

One of the biggest challenges is often overcoming the idea that you can just pick up a camera and take a picture that says something, although this is certainly possible by sheer luck, like the Sunday painter who by accident stumbles upon an interesting process, without any clue as to what they've made. And in fact I'm a big fan of accidents, because they can lead us down the most interesting paths by showing us what our imaginations are truly capable of, but I also believe that knowledge is power, and that extends to making informed choices when creating art, otherwise your imagination often just repeats the past, or you cannot adequately express your vision. Just like a painter, you have to develop the skills to translate what your imagination sees. You have to know your equipment well enough to understand what it will do, and to be comfortable with it, and you have to develop the ability so see and utilize light in order to capture the complex and subtle aspects possible in your imagery, to capture something beyond the mundane. Sometimes beginners, as well as seasoned shooters, have happy accidents slip in, and in many cases they're the best images of the shoot. They can be the most inspiring images to those photographers, as it shows them what they're really capable of creating, and that kind of discovery can be magical. Yet when you look closer, you find that most seasoned photographers have some kind of framework within which they are working, and the technical skills to execute it, so when those happy accidents drop in they're not lost as a single image that, no matter how interesting, has no relevance to the rest of the work. Then they can build on that image, or decide to begin a new path of investigation. I always keep a quote of Einstein quote close to my heart as I feel it resonates on many levels: “Imagination is more important than knowledge, for knowledge is limited to all we now know and understand, while imagination embraces the entire world…" But in reality creative photography, like creative science, demands both.

(photo by student Eleonora Ghioldi)

What can students expect if they sign up for the course, and what might they be surprised to learn?

This intensive 4-week class addresses the beginner to intermediate student. Students will become acquainted with a wide variety of approaches to photographing the female nude. They will also receive personal guidance to help them develop their own ideas. The course includes an in-class demo-photoshoot, with a model, before the all day location shoot. Here students will have an opportunity to learn how to give direction, and communicate their ideas effectively to the model, while at the same time learning some of the challenges of working with natural light. There will be a second natural lighting demo on site the day of the location shoot. During that day I will be on hand for personal coaching as well. We also have a guest speaker, who's printed for some of the most celebrated nude photographers in 20th century. He's been printing nudes over over 25 years, and has worked with such artists as Nan Goldin, Irving Penn, Sally Mann, Herb Ritts and more. He brings a unique perspective in his discussion on photographing the contemporary nude.

Students are often surprised to discover how freeing, and perhaps at the same time a little forbidden, it feels to be out in the grassy mountain landscapes working with nude models.

We 're born naked, and perhaps in spite of the inhibitions that are imposed upon us in Western culture, somewhere subconsciously we know that being naked is a natural state of being. Maybe that's why we continue to be fascinated by the nude in art; even when we find an image distasteful, most of us can't help but look at it. We all identify with the human body. And through our nakedness there is a common bond. But even in the 21st century there's still much fear and contempt for the nude in our culture. Because of this, I believe it's a subject worth continued investigation. I don't believe we've said all there is to say about it, and I'm not sure with the advances in biogenetics and the future of technology we ever really will.

Photography is a powerful form of nonverbal communication. But I think that many students are surprised to realize that even when photographing the world in front of their eyes, it's the world behind their eyes that is truly communicating their deeper intentions. As artists, we're all on a quest for a sense of our inner freedom through many forms of communication. The art of photographing the nude is a wonderful and exhilarating place to begin that exploration.

David Lynch's Hair as (Actual) Art

2011-03-30T11:18:00.000-07:00

First of all, David Lynch's hair is ALREADY a work of art, so these comparisons are just gilding the hair lily.

That said, Starry Night and the Japanese woodcut wave are pretty uncanny.

Jimmy Chen via Kottke

Field Trips for Exploring LA Design

2011-03-24T10:02:00.001-07:00

The schedule for Exploring LA Design has been set, check out the designers and studios the class will be visiting!

(image from Andrew Byrom's website)

Saturday, April 2nd, 10am
Introductory meeting with instructor Michael Dooley
1010 Westwood, Room 415

Saturday, April 2nd, 11:30/noon
Michael Doret, Proprietor
Michael Doret Graphic Design + Alphabet Soup
http://www.michaeldoret.com/

Saturday, April 9th, 10am
Greg Berman, Co-Founder and Director
Sargent & Berman Inc.
http://sargentberman.com/

Saturday, April 9th, 11:30/noon
Dominick Ricci, Associate and Senior Brand Designer Gensler
http://www.gensler.com/

Saturday, April 16th, 10am
John Clark, Founder and Director
Looking
http://www.lookingla.com/

Saturday, April 16th, 11:30/noon
Paul Rogers, Illustrator
Drawger
http://drawger.com/paulrogers/

Saturday, April 30th, 10am
Andrew Byrom, Principal
Andrew Byrom Graphic/Typeface Design
http://www.andrewbyrom.com/

Saturday, April 30th, 11:30/noon
David Lai, CEO and Creative Director
Hello Design
http://www.hellodesign.com/

Saturday, May 7th, 10am
Reid Thompson, Creative Director
Troika Design Group
http://www.troika.tv/

Saturday, May 7th, 11:30/noon
Rob and Christian Clayton, Artists
http://www.claytonbrothers.com/

Saturday, May 14th, 10am
Carol Kono-Noble, Senior Designer
Wong, Doody, Crandall, Wiener
http://wdcw.com

Saturday, May 14th, 11:30/noon
Rachel Elnar, Partner and Interactive Director
Ramp Creative+Design
http://rampcreative.com

Forcible, Random Comments

2011-03-16T15:53:00.000-07:00

The Random Comment Book would improve any social situation, really, but I think it would be best at big, slightly-awkward family gatherings, like Thanksgiving. "What, Aunt Rita? You're mad about the price of gas? And asiago cheese is currently glued to your thighs? Fascinating!"

Also, first dates! There usually comes a time when random comments are preferable to actual, verbal comments.

Design by James Obriant, via Laughingsquid

Exhibit Redesign Tour of "Age of Mammals"

2011-03-09T10:08:00.000-08:00

The design program's AIGA student group is leading what looks like a fun tour of the Natural History Museum's newly redesigned Age of Mammals exhibition. AIGA members and Extension students are welcomed to attend.

The tour is tomorrow - you can RSVP through our Extension Facebook page.

For more details, visit The White Boards.

Instructor Interview: Kelly Williams

2011-03-01T13:19:00.000-08:00

Since joining us in the art history program last year, Kelly Williams has been leading hands-on workshops on illuminated manuscripts. If that subject conjures up vague memories from high school but not much else, read on to learn more about the art form and how yesterday's illuminated manuscripts may have inspired today's comic books.

If you're interested in viewing these artworks in person and then trying your hand at making your own, Kelly's winter class would be a great opportunity.

What exactly are illuminated manuscripts, and what interests you about them?

Illuminated Manuscripts are books that include text, illustrated initials, borders and illustrations, all hand written and painted. Pages in these books often feature additional decorations using real gold and silver, and they are just gorgeous! I'm interested in illuminated manuscripts because each book is like it's own treasure chest, filled with dozens of individual works of art. Through illuminated manuscripts, we can not only trace the rise of portraiture and landscape painting, but also find humor in hidden illustrations in the borders.

How are these manuscripts like modern day comics? How are they different?

Modern day comics borrow many narrative techniques from medieval manuscripts-- artists can tell a story with out without words that the reader can follow using sequencing or other clues. Both use repeated characters in a sequence of events or singular action-shots to raise drama. Comics today are bigger, brighter, and exist on many platforms, leaping off the page into movies and live-action characters. Because of the abundance of media and advertising in today's society, a contemporary comic book fan might look at an 16th century illuminated story and find it very tame! In fact, many manuscripts in their time were considered quite racy (come to the class and I'll show you an example or two!)

What is something people might not realize about this art form?

Unlike bookmaking processes used today, it took several days, several craftsmen and several animals to make every single page. Preparators, gilders, scribes, illuminators, and binders worked together in a factory-like process. Animal skin had to be conditioned and cut, gilders pounded gold coins to make decorative leaf, assistants hand ground paint pigments using plants, animals, even bugs, and illuminators used brushes with a single bristle to capture tiny details in a story... the whole ordeal was a time consuming, and fascinating process.

What can students expect to take away from this class?

Students in this class will have an opportunity to explore manuscripts within three contexts: the classroom, the museum, and the studio. First, we'll investigate how these books were made and compare them to today's comic manufacture. Participants will also get a private tour and drawing session in the Getty's newest manuscript exhibition. Finally, each student will be able to create his or her own illuminated page using the same techniques the masters used hundreds of years ago-- even egg tempera!

(images are of instructor Kelly Williams).

Fred Dust from IDEO: Talk Cancelled Tonight

2011-02-24T11:03:00.000-08:00

From The White Boards:

We are very sorry to report that Fred Dust has a family emergency that has taken him out of the state. Tonight's talk at UCLA Extension is cancelled. We hope you will be able to attend the rescheduled event once we are able to determine a future date.

Explore LA Design with Michael Dooley

2011-02-23T13:23:00.000-08:00

It's always fun when there's class crossover, and photography, fine art and design students all find themselves in the classroom or on an adventures together. In the spring, Michael Dooley will be offering a class that makes that happen. Exploring L.A. Design meets every Saturday for six weeks at a different design professionals' studio or firm. The guests are super diverse and awesome - last time the class was offered, they visited Jens Gehlhaar, Petrula Vrontikis, Clive Piercy, Mike Salisbury, Maureen Erbe, David Mayes, Yo Santosa, and Esther Pearl Watson and Mark Todd.

I heard from students that the class was a great learning experience, and I'm sure Michael will have another all-star lineup this spring (the picture above was taken by Eric Mathias during last year's class). Schedule and enrollment information can be found here.

C'mon Tourists, Mix It Up a Little

2011-02-22T14:48:00.000-08:00

Artist Corinne Vionnet combes through photo sharing sites, pulls out hundreds of photos that tourists have taken of the same thing (for instance, 300 pictures of the Taj Mahal taken by 300 different people) and superimposes them to form one ghostly, layered image.

It kinda makes you think of the passage of time, the monuments standing for thousands of years as millions of people stream back and forth, snapping the shutter to capture a brief second, and then fading into the background of vast, annonymous humanity. Or it makes you think man, tourists all take the same pictures.

Via Gizmodo.

Building a Professional Art Practice

2011-02-22T14:27:00.000-08:00

One of the things students ask for the most is guidance on the business side of the art world - how to approach galleries, how to build a portfolio, whether grad school is right for them. So, we're happy to announce that this spring we'll be offering a short seminar that deals with those very topics.

The class is taught by Jay Stuckey, a fine artist with ninja-like networking skills and a great, positive attitude about making it in the art world. I did an interview with Jay a while back that you can read here, and he also has an interview in this quarter's N-Vis-N newsletter. The class will cover applying to graduate art schools, and approaching galleries with your work. Classroom time includes lecture and visits from guest admission professionals and gallery owners. It should be a great chance to get some concrete, helpful feedback about a confusing, daunting process.

For a full course description and schedule, click here (painting by Jay Stuckey).

Art History Survey Series

2011-02-22T13:50:00.000-08:00

I wanted to take a moment to shine a light on our art history survey series, since some students might not be aware that we offer it each quarter as part of our regular Visual Arts scheduling.

The series covers the history of Western art, from ancient Egypt and Mesopotamia all the way through Dadaism, Surrealism, and new media like digital video art. The sequence is broken up chronologically over four quarters - this spring's class deals with Realism, Impressionism, and Post-Impressionism, emphasizing the work of Goya, Monet, Degas, Cézanne, van Gogh, and Rodin.

We are also very lucky to have the extraordinary Mary Beth Carosello leading this series. She brings great knowledge, energy and enthusism to the classroom. I once visited the class when they were learning about the different kinds of columns (Doric, Ionic and Corinthian), and now I'll never forget them. That's talent!

That's Mary Beth at the top of the page - doesn't she look excited to teach you about art? She is.

Anyway, this is just a wonderful class, and I wanted to call some attention to it. The schedule for spring quarter and registration info can be found here.

Our Very Own Banksy

2011-02-17T10:19:00.000-08:00

Yesterday I saw a blog post about how two new pieces of Banksy graffiti art have appeared in LA. I left a note on our Visual Arts Facebook page (did you know we have a Visual Arts Facebook page? We do!) saying that I would love to visit them if I only knew their locations.

Then one of our students (thanks Beth!) chimed in to say that, in fact, one of them was three blocks away. So I grabbed the camera and headed out onto the streets of Westwood.

I had to dodge the Unknown movie premiere, but I found it in the alley behind Urban Outfitters, on Kinross Ave. There was a small crowd taking pictures.

I know Exit Through the Gift Shop was just nominated for an Oscar, so maybe Banksy is soaking in some LA flavor before awards night. Whatever the reason, it was cool to see his work in person, sprayed on our very own humble walls.

Happy Artsy Valentines!

2011-02-11T14:32:00.000-08:00

The Visual Arts is proud to announce that we are the winners of a prestigious design-your-own-Valentine contest here at Extension.

Here's the winning piece (and 1/2 of Karen's head). Each heart has a baby picture of an Arts staff member. That's just how we roll here...craftily AND cutely.

Spring Has Sprung!

2011-02-04T12:22:00.000-08:00

It may only be February, but Spring quarter is on its way! The Spring catalog was just released. This quarter's cover is by Woody Pirtle.

You can view a PDF of the catalog here, and browse art classes to your hearts' content. We have some interesting new offerings on the schedule this spring.

The Four Icons Challenge

2011-01-26T08:41:00.000-08:00

Designer Kyle Tezak gave himself an interesting challenge:

"Lately I’ve been working a lot with icons. Trying to capture the essence of an object or idea with only a few lines and at the same time maintaining its elegance is pretty much design in a nutshell. That’s what so great about icons, they’re tiny poems. I decided it would be a fun project to attempt to sum up some of my favorite books, movies, historical events, anything, with just four icons; the meat and potatoes."

Obviously I like 2001: A Space Odyssey the best, but they are all fun. I also like how the Great Gatsby car obviously just ran someone down.

Via Laughingsquid.

Twin Peaks Art Exhibition

2011-01-21T09:29:00.000-08:00

Twin Peaks fans living in Los Angeles (in my opinion, the most Lynchian place to live) should mosey on over to In the Trees: Twin Peaks 20th Anniversary Art Exhibition at Clifton's Brookdale.

The web page is fantastic in and of itself, and the show will feature work by Tim Biskup, Chris Mars, Stella Im Hultberg, Glenn Barr, Ryan Heshka, and Jessica Joslin (pieces are inspired by David Lynch's classic show).

OPENING RECEPTION: Saturday, February 12, 2011

TIME: 8:00PM to 11:00PM

Clifton’s Brookdale
648 South Broadway
Los Angeles, CA 90014
213.627.1673

Via Boingboing

Font Alphabet

2011-01-10T10:03:00.000-08:00

The Alphabet from n9ve on Vimeo.

I like this video "The Alphabet," with each letter morphing into a representation of a different font.

Helvetica has a little crown. King of fonts!
Via Laughingsquid.

A Niemann for all Seasons

2010-12-17T12:14:00.000-08:00

Let's say goodbye to 2010 with a Christoph Niemann piece! Always the best way to do anything.

Abstract City: Let It Dough! (NY Times)

This one has cookies!

Winter Closure

2010-12-16T16:15:00.000-08:00

Please note that UCLA Extension will be closed from December 20, 2010 - January 3, 2011.

To enroll in classes, or for program information, visit www.uclaextension.edu.

Honeysuckle?

2010-12-10T09:23:00.000-08:00

Every year, Pantone anoints a "Color of the Year." Then that color gets a little crown made of paint chips and tears run down its face as it waves to all the other color swatches from atop a slowly moving Epson printer on wheels.

No, really nothing happens, except a bunch of weird announcements and trend pieces are done. Last year's color was turquoise, which is already pushing it. This year's color is honeysuckle.

What now?

Let's investigate. Here is a picture of ACTUAL HONEYSUCKLE:

It looks white, right? But whatever, maybe this is just a deceptive picture. Maybe that's a rare albino honeysuckle.

Here's the color according to Pantone:

You're probably thinking to yourself, "I HAVE TO GET ON THIS HONEYSUCKLE TREND." Don't worry, we're here to help! Here are some ways to incorporate honeysuckle into your wardrobe and onto your body:
This lipstick is literally called "Honeysuckle." You can't get any more on the nose than that (unless you put the lipstick on your nose, HA!). Seriously though, Bobbi Brown make-up is good.

This pretty Michael Kors dress is a great wardrobe staple for anyone who is a secret lady ninja assassin who goes to fancy galas and then also has to do flying front-kicks into people's faces. If your right leg needs to go at a 170-degree angle at any point during your evening, this is the perfect dress.

Probably don't do this.

In conclusion, the more you write the word "honeysuckle" the funnier it looks and sounds in your mind.

Ami Davis Was on NPR!

2010-12-01T10:46:00.001-08:00

Christmas Cottage, Thomas Kinkade

Our own Ami Davis, who will be teaching her first class this Saturday, was featured in an NPR story on Thomas Kinkade.

Ami wrote her master's thesis on Kinkade, and she gave some insight into the appeal of the "painter of light."

Her upcoming class will touch on Kinkade's work as a way of investigating the different between mainstream art and lowbrow, outsider art, and kitch. Also, field trip to La Luz de Jesus Gallery! It sounds like it will be a fun time.

It's not to late to sign up - details below.

Art beyond the Museum: Lowbrow, Kitsch, and Outsider Art
Why are some works of art exhibited in museums while others aren't? Who decides the criteria for an artwork's acceptance by the art establishment? Often exhibited in mall-based art shops and underground galleries, lowbrow, kitsch, and outsider art is rarely noticed by the mainstream art establishment and even more rarely exhibited. This two-meeting course examines works by popular "lowbrow" artists from Mark Ryden to Thomas Kinkade, comparing their visual devices to mainstream artists, such as Jeff Koons and Andy Warhol, among many others. At the second class, students meet at a local underground art gallery to explore lowbrow art and debate its aesthetic merits. Internet access required to retrieve course materials.

Reg# V8633B
Fee: $95
Westwood: 415 1010 Westwood Center
Sat 10am-1pm, Dec 4
Los Angeles: La Luz de Jesus Gallery, 4633 Hollywood Blvd.
Sat 11am-1pm, Dec 11, 2 mtgs
Ami Davis, MA in art history, San Jose State University; Education Specialist, J. Paul Getty Museum. Ms. Davis also has taught art and art history at the Orange County Museum of Art and the San Jose Museum of Art.

Well, When You Explain It Like That

2010-11-19T13:33:00.000-08:00

I think I first saw 2001: A Space Odyssey at the Nuart when I was like 14, because my Dad was really into taking us to see revivals of films that "need to be seen on the big screen" (Lawrence of Arabia was another memorable one).

At the time, I remember being shocked, shocked at how long it was. I thought they should have just skipped right to the space stuff, and I kind of shamefully, in my secret heart, still feel that way. I mean, at the very LEAST, the middle part in the space station that's full of weird cold-war exposition could go.

But each time I watch it, I like it more, and have more patience with it. However, I never felt that I had a strong grasp on what it was actually about. I mean, it's about evolution, and a monolith on the moon that makes a painful ringing noise, and a computer that kills people. But especially the part where he goes into the wormhole or whatever, I think it's really cool, but I have thrown up my mental hands and admitted that I have no idea what that's about (and why his aging self lives in a weird Hearst-like castle, and what the deal is with the space-fetus).

I always suspected it was one of those movies that doesn't have an "explanation" per se...it's just kind of metaphorical and mysterious and not everything has a meaning. But I was wrong, because Stanley Kubrick breaks it down like it's the most obvious thing ever in a 1969 interview:

"You begin with an artifact left on earth four million years ago by extraterrestrial explorers who observed the behavior of the man-apes of the time and decided to influence their evolutionary progression. Then you have a second artifact buried deep on the lunar surface and programmed to signal word of man's first baby steps into the universe -- a kind of cosmic burglar alarm. And finally there's a third artifact placed in orbit around Jupiter and waiting for the time when man has reached the outer rim of his own solar system.

When the surviving astronaut, Bowman, ultimately reaches Jupiter, this artifact sweeps him into a force field or star gate that hurls him on a journey through inner and outer space and finally transports him to another part of the galaxy, where he's placed in a human zoo approximating a hospital terrestrial environment drawn out of his own dreams and imagination. In a timeless state, his life passes from middle age to senescence to death. He is reborn, an enhanced being, a star child, an angel, a superman, if you like, and returns to earth prepared for the next leap forward of man's evolutionary destiny.

That is what happens on the film's simplest level. Since an encounter with an advanced interstellar intelligence would be incomprehensible within our present earthbound frames of reference, reactions to it will have elements of philosophy and metaphysics that have nothing to do with the bare plot outline itself."

Oh, THAT's what that is. Actually, I am not even kidding, this clears up a lot of things.

Let's look at some pictures from the movie!

Via Kottke.

The Dark Side of Design

2010-11-19T12:24:00.000-08:00

My philosophy about funny Star Wars related things is that people will continue to do funny Star Wars related things forever, and they will continue to be amusing and delightful and I will never tire of them.

This philosophy might seem overly optimistic, but I think history will prove me right.

Today's example is May the Force of Typography Be With You:

Yoda is the best, obvs. He is straight chillin'. If you click on the picture, the legend shows the typographical symbols that were used.

In closing, have you noticed how not a lot of people use Episode I, II and III as the playground for letting their imaginations run wild? I mean, it just doesn't seem to have the same inspiration for childlike artistic creativy. No judgement, just as observation (judgement).

Via Laughingsquid, from the website Kiss My Black Ads.

Walking in a 90° Winter Wonderland

2010-11-05T14:31:00.000-07:00

It has been hot in Westwood lately. Gross, 95°-in-November hot. It's just weird and inappropriate.

BUT the unseasonable heat cannot hold back the winter catalog, which came out this week. Check it out here.

We have a bunch of exciting new classes - it should be fun quarter. In honor of the season, here are some songs about winter but not the holidays, not that holiday songs aren't great, but we will be getting enough of those in the malls and pavillions of the world soon enough.

Internship: Stephen Cohen Gallery

2010-10-28T13:27:00.000-07:00

Stephen Cohen Gallery is looking for highly motivated, hard working individuals to work as interns at the gallery, and for two art fairs taking place this January, photo l.a. and artLA.

These internships involve interactions with all levels of the gallery and fair operations. Candidates must have either educational, professional and/or personal connection with photography and/or fine art. Regardless of getting course credit, you will learn, gain insider knowledge of the art scene and experience the satisfaction from being part of something that wasn’t there before. Candidates should have these qualities.

• highly organized
• self-motivated team players
• can work effectively in a fast-paced & sometimes high-stress environment
• manage time efficiently & establish priorities
• follow through efficiently to meet the objectives of project assignments
• maintain a cohesive & cooperative working relationships
• must be able to go from A to C without being directed
• must be creative & enjoy analyzing and solving problems
• working ability with word, excel & iMac
• strong telephone & writing skills
• familiarity with Photoshop & InDesign a plus

Send all inquiries, resume or CV to: eleonora@stephencohengallery.com

Shoes of My Dreams, How Can You Be Mine?

2010-10-13T16:23:00.000-07:00

Kobi Levi's shoes are like some kind of fever dream you'd have if you passed out at Nordstrom after sniffing too many perfume samples. They definitely cross the line from cutesy but wearable concepts to straight-up art on your foot. I don't know if that's good or bad, but I do know that the dog ones are oh so cute.

From the artist:

"In my artistic footwear design the shoe is my canvas. The trigger to create a new piece comes when an idea, a concept and/or an image comes to mind. The combination of the image and footwear creates a new hybrid and the design/concept comes to life. The piece is a wearable sculpture. It is "alive" with/out the foot/body. Most of the inspirations are out of the "shoe-world", and give the footwear an extreme transformation. The result is usually humoristic with a unique point of view about footwear. Another aspect of the creation is the realization. All the pieces are hand-made in my studio. The challenging technical development is the key to bring the design to life in the best way."

These are definitely the kind of shoes you match an outfit to, and by "an outfit" I mean a Gallagher-style plastic splash shield for when you BLOW PEOPLE'S MINDS.

Via Jezebel

An Evening With Melvin Sokolsky

2010-10-06T09:25:00.000-07:00

APA LA is hosting an evening with legendary photographer Melvin Sokolsky.

From their event page:

Melvin Sokolsky will discuss his journey in the word of photography, giving personal insight into the following subjects and concepts;

Melvin Sokolsky "Archive"

"Revelations and Insights into a lifetime of taking pictures"

"Being in charge of your inner vision and creative potential"

Transcending all of the new remarkable tools to find your one of a kind identity

Ideas

Light

Chemistry

Palette

Narrative

Imagined worlds

Revelations from his Paris 1963-1965 classic Bubble and flying pictures.

Wednesday
October 2, 2010
6pm-9pm

Dinner included
FREE for APA Members
$20 Non-Members (Pre-Register online)
$25 Non-Members (Day of or at door)

Colorful Contorted Characters

2010-09-29T14:14:00.000-07:00

Choreographer Willi Dorner is responsible for a recent art piece, "Bodies in Urban Spaces" in which brightly-dressed performers form complex bodily arrangements on the streets of New York.

The effect is really cool! I hope everyone showered really well and used deoderant beforehand, because it looks like certain performers might have to spend some time with their noses directly in other performers' armpits or feet.

Via Laughingsquid

Bambi Corona

2010-09-27T09:18:00.000-07:00

I love this deer made of typewriter parts.

What are the legs? Do typewriters have telescoping appendages that I am not aware of?

By artist Jeremy Mayer, via Boingboing.

Instructor Interview: Ben Britton

2010-09-14T13:30:00.000-07:00

It's been a while since we've had an abstract painting class on the schedule, so we're excited that Ben Britton will be joining us this fall to take his students on a painting adventure (paintventure!).

He shared some thoughts with us about painting, what inspires him, and what to do when the tide of inspiration is out.

What are you focusing on in your own practice right now?
I'm focusing on harnessing the quality of surface right now. My paintings tend towards the polyglot, in that I use diverse vocabulary and try to keep it all together. Surface has been a challenge in that environment. Because of the surface considerations, I'm making a selection of new processes to use in my paintings. Also, I guess I'm following a thread-of-inquiry to new place right now in anticipation of a residency I'm attending in November.

What are some of the challenges unique to abstract work?
Not entirely unique to abstraction, but certainly in play is the perception of a lack of moment-to-moment "marching orders" or tasks that clearly need to be performed. The development of a sensibility that can operate with seemingly endless options for action and inaction is a challenge, but a sweet one. The choices force an exploration of emotional and intellectual conversations and impulses in a very satisfying way. It goes another way too: the viewer can be challenged to think and feel along the same pathways without clear "instructions" for interpretation.

What do you hope students will come away from the class with?
I hope they will come away really enthusiastic about making more paintings!

Who are some artists you admire or have inspired you?
Among painters, from the beginning I loved the paintings of James Rosenquist, Richard Diebenkorn, and Frank Stella. Ok, I also love Sargent, Velasquez, Hals, and Manet. I like the work of James Ensor, and also that of contemporary expressionists like Amy Sillman, Daniel Richter and Peter Doig. I've always liked the motion in Julie Mehretu's drawings. Fiona Rae's work is also an influence for me when it comes to post-modern painting. I get really excited when I see convincing cases made for contemporary manifestations of the romantic impulse. I love Kristin Baker's paintings for that reason. Artists who were my teachers at SVA and UCLA such as Tobi Kahn, Don Eddy, Micheal Goldberg, Don Suggs, Patty Wickman, Lari Pittman, and Roger Herman were inspirational to me as well. My wife, Sarah Lowing, is an artist and a lot of my friends are artists, so knowing them and their work together is a rich experience that ranks pretty high as far as admiration and inspiration too. And many more but that's all for now.

What advice would you give artists who are just getting started or are trying to commit more to their work?
Practically speaking, figure out how to paint more often. Whether the strategy is simple frugality, going to school, or renting a room-of-one's-own, the main thing is to paint more. If you have a sketchbook always with you at your day-job, so that when you get a flash idea it doesn't get lost, that's a good way to stay in the game. Sometimes many things or big things are possible, sometimes not. DIY if you're short on funds. Work in whatever way that fits for now, and when you feel you've outgrown that mode get more ambitious. Respect that the tide goes in and out, and you can rest on the mud awhile if you are forced to, but be patient and don't abandon ship. It's really important to stay open, to be excited to see a thing that's new or just new-to-you. We live in a really interesting time to be an artist, and the question of who gets to be the artists and why will get answered one-by-one, by people who choose to make art. I think that's a lovely and empowering thought.

Calligraphy Is Where It's At

2010-09-08T13:47:00.001-07:00

Student Alisara Tareekes made a beautiful poster for an upcoming class with Carrie Imai, our calligraphy guru.

Seriously, this poster is gorgeous. Great job Alisara!

Peanuts and Swollen Feet

2010-09-02T13:52:00.000-07:00

For some people, air travel is a magical journey into lands unknown, and for others it is a special kind of hell, one of stupefying boredom, discomfort and absurdity.

Christoph Niemann captures some of the most annoying, mundane yet maddening parts of air travel, but not in a hacky stand-up comic way (although he kind of does address the peanuts, but it's not to say "And hey, what's with the tiny bags of peanuts? Who eats six peanuts?")

Here are the pages I most identified with:

The degree of seat inclination seems scientifically designed to produce Stockholm Syndrome. You are dependent on the seat for comfort, and it inclines just enough to hint at actual relaxation.

I know I am not the only person who has woken up with the oral equivalent of the scene in Star Wars where they get dumped into the waste disposal unit of the Death Star, and then it starts compacting.

Good to know that someone elses feet become gigantically swollen after a long flight. I have struggled many a time to stuff my poor enormous feet back into sneakers, only to be forced to compromise by leaving them unlaced, tongues flapping as I shuffle down the aisle towards freedom.

Red Eye by Christoph Niemann, NY Times

Now THAT Is a Baby

2010-08-11T17:39:00.001-07:00

I greatly enjoy Amy Jean Porter's illustrated series Drawings in a Hurry, featured on The Awl.

The last one was my favorite though, because she talks about bringing home her new baby (congrats!) and the accompanying picture looks just exactly like a baby. She totally captures the weird floppy newborn awkwardness and littleness.

I must have seen a newborn in that same pose recently, because it is striking a real chord with me.

I also like the picture of the older sister waiting for baby to come home. Her face is just kind of confused and guarded. Like, something is happening, but what? How will it effect me?

Just really good pictures that are evocative of kids. That's a pretty cool yellow hat too, big sister.

Via The Awl.

The Definition of "Not Photoshopped"

2010-08-11T17:23:00.000-07:00

If you are looking at this picture and thinking "That's Photoshopped and not cool at all" THINK AGAIN because according to the artist, it is not Photoshopped, and Darth Vader is really riding that squirrel.

HOW IS THIS POSSIBLE you may ask. Observe:

Of course, by "not Photoshopped" he actually means that while the figure is really riding the squirrel, the puppet strings are removed, so really maybe it's more like "only a little incidental Photoshop." And really, what doesn't have that these days? I have a little bit of Photoshop right now, here at my desk. And that is O.K.

Via Gizmodo

We Have Always Been Distracted, So There

2010-07-27T11:53:00.000-07:00

So the new thing now is that the Internet and iPhones and Google are shortening our attention spans and destroying our brains' ability to focus on a single concept for long periods of time, and turning us into a nation of distracted, drunken bumble bees, buzzing around checking Facebook and e-mail and G-chatting. Or anyway, I think that's the new thing - the article was really long.

But! It turns out multi-tasking is not unique to our modern digital age. Way way WAY back in the day, folks were embedding hypertext into illuminated manuscripts.

"WHAT" you may well ask. What indeed.

First of all, this is an illuminated manuscript:

I'm sure we remember these from school, or forced museum trips or whatever.

Anyway, according to an article by Elizabeth Drescher, these ancient tomes were filled with "hypertextual" asides, passed around from author to author, and included script in the margins that was sometimes on and sometimes off the topic of the original work.

"The function of these images in illuminated manuscripts has no small bearing on the hypertext analogy. These “miniatures” did not generally function as illustrations of something in the written text, but in reference to something beyond it. The patron of the volume might be shown receiving the completed book or supervising its writing. Or, a scene related to a saint might accompany a biblical text read on that saint’s day in the liturgical calendar without otherwise having anything to do with the scripture passage. Of particular delight to us today, much of the marginalia in illuminated books expressed the opinions and feelings of the illuminator about all manner of things—his demanding wife, the debauched monks in his neighborhood, or his own bacchanalian exploits."

There you have it - irrefutable proof that we have always liked to have a lot of things going on at once, even in old old old religious books with shiny gold pages. If those guys would have had Twitter, I'm sure they would be like "@crazycoolmonk, writing this passage about mules is making me hungry for a BURRITO!"

If you are intrigued by this subject and would like to learn more about illuminated manuscripts, and even MAKE YOUR OWN illuminated manuscript (complete with as much distracted text as you want), why not check out our class The Art of Illuminated Manuscripts? with instructor Kelly Williams. You will go to the Getty to check some out first hand, and then retire to the art studio to experiment with making your own.

Article from Religion Dispatches (via Kottke).

But Where Is Mr. Comic Sans?

2010-07-27T10:48:00.001-07:00

Apparently he wasn't invited to the typestache party.

A Girl Named Tor (via Kottke)

It's Your Show 2010!

2010-07-20T11:38:00.001-07:00

Thanks to everyone who came out for the opening reception of our show! It was great to see our students, along with their friends and supporters.

We hope you enjoyed the opening as much as we did - here's a slideshow and some pictures from the evening.

Art Authentication Is Sketchy

2010-07-13T15:11:00.001-07:00

People, there is a FASCINATING article in this week's New Yorker that deals with the process of authenticating artwork (you know, someone finds a drip painting at a garage sale that turns out to be a Jackson Pollock worth 1.8 million).

Art authentication is at best an inexact science, and the article focuses on Peter Paul Biro, a former art restorer who claims to have invented a method of identifying the fingerprints that artists leave on their work (thereby confirming that a drawing was actually touched by Leonardo Da Vinci, as opposed to a forger in a basement in Queens).

Except, SPOILER ALERT, Peter Paul Biro may actually be a fraud and con man who preys on the hopes of people who are convinced they have an undiscovered masterpeice on their hands.

I don't want to give away too much, but you should READ IT, even though it is super long. It's totally worth it, I was riveted. People would try to talk to me, and I would just put up the "I'm reading" hand. It was pretty rude, actually.

Read it quick before they put it behind a pay wall!

The Mark of a Masterpiece by David Grann

(image from The New Yorker article, by Steve Pyke).

Domino's Pizza and Truth in Advertising

2010-07-07T15:46:00.000-07:00

This Domino's pizza commercial is high-larious, and makes me want to talk about so many things. First, let's watch it together:

Surely by now you are familiar with Domino's masochistic new ad campaign, in which they talk in detail about how terrible Domino's pizza is. Apparently this controversial approach is working, and Domino's saw their fourth-quarter profits double.

The transparency train rolls on with the above spot, which unfolds like an episode of 20/20, blowing the lid off the rampant food styling that takes place during commercial shoots. A woman wearing gloves pulls the cheese off just so! The pizza is bolted to the table! A minion with a pair of tweezers picks through individual mozzarella curds! I guess we're supposed to be totally shocked and incensed by the straight-up LIES that TV is selling us, and the fact that the pizza is not natural.

Instead of rallying against this bill of goods, I kind of just thought the things that were done to the pizza made good sense, and were extremely reasonable. I mean, they use blowtorches...to heat the cheese! So it pulls better! Makes sense! The pizza is bolted to the table, but so what? It's still the same pizza. If you're going to take a smug, superior stance against food styling, you need to have something in your pocket like the cheese is actually an Elmers Glue/soy milk/caulk compound, or the pepperoni is glazed with nail polish, or the whole thing is run through Photoshop before it appears on the screen.

Food styling happens because food is gross, and TV makes things look gross, and food on TV looks super gross. You know what else goes through styling for TV? Everything. People's faces. Nature. Puppies. Ice cream. When I stare at the TV (ie. always), I want things to look magical and delicious and not of this world.

Actually, Paul and I were watching Food Network the other day, and he mentioned how extremely over-saturated the colors on the food shots are. The talking heads and hosts would look totally normal, and then they would show a shot of an oozing grilled cheese sandwich, and it would look INSANE, like the grilled cheese was popping out of the screen and wanted to be a part of your life, which is the ideal way for grilled cheese to be.

I guess my basic philosophy is: yes. Let's do this. Let's make things look awesome, even if, in real life, they are not as awesome. In real life, a sandwich is just a sandwich, but at least on TV I can watch someone freak out over the Platonic ideal of grilled cheese, and when you pull the halves apart, the angels sing.

Also, Domino's Pizza, it is difficult for me to get on board with your ad campaign of self-flagellation and piousness and honesty and respect for the consumer and "getting back to basics" when it is, after all, an ad campaign, born of meetings and data and reports and focus groups. Honesty in advertising is desirable only if it is effective in generating sales. That is literally the only reason it's important - if it strengthens the brand and more people buy Domino's, and the stock goes up. Which is fine! Domino's needs to sell their pizza! That is their whole job. I guess my issue is that the ads communicate an emotion and motivation which is deceptive. They say "We want to be honest with you because we respect you," but really, they only want to be honest because the perception of honesty is selling a whole bunch of pizza. I was actually OK with the whole "Our pizza is bad, but we are trying to make it better" angle. Straighforward, and I could actually buy it. But pretending that you want to strip the falsehood and glamour away from television for any reason other than because you will benefit from it financially? I just can't let you play TV like that - we go way back.

Via The Awl

Internship Opportunity

2010-06-28T09:59:00.000-07:00

This came through from a former student:

We are looking for someone who is interested in an internship with a Los Angeles based fashion photographer. The position is to work primarily as a photo retoucher and should have good knowledge of photoshop. The internship is unpaid initially, but with possibility of paid job in the future.

Please send sample of work (before and after of retouching in pdf format is fine). Subject heading of "internship" would be helpful in email.

Feel free to email me with any questions.

Thank you, Jennifer

jbwick@hotmail.com

Classical Mario

2010-06-18T10:07:00.000-07:00

At first when I saw this I was like pppth, another Mario-themed classical music arrangement, YAWN. That's how jaded the internet has made me.

But this is actually delightful. The violinist mimics not only the music but the sound effects we all know and love, like the "boingboingBOING" of the mushroom and the frenzied double-time of Star Power. It ends, of course, with the terrible dirge of Mario spiralling to his death. But that's ok! You have two more lives.

Also, that is a snazzy outfit, violin man.

Via Laughingsquid.

Tarkovsky's Polaroids: Just What You Would Expect

2010-06-10T14:14:00.000-07:00

When my sister and I were kids, my Dad went through a phase of showing us a lot of inappropriate movies. I don't mean racy inappropriate, I mean intellectually inappropriate. There was the time we watched La Strada, and I couldn't believe one movie could be so boring. To this day I remember how extremely bored I was during La Strada. I think there was a screening of 2001, which we actually kind of enjoyed, and then there was the time we saw THX-1138, and I was like "Dad, this is completely terrifying." Robert Duvall's bald head is forever seared into my memory.

It was during that time that I saw Andrei Tarkovsky's Stalker. Somehow I was completely entranced by this movie, even though it is literally about people walking somewhere, and nothing else, for three hours. Also it's in Russian. But it was really beautiful, with its palette of grays turning eventually to dingy color. Every frame is perfectly composed, like a painting. Here are some stills:

Doesn't that look like a good movie? It is.

The whole thing came back to me when I saw a website that has pictures Tarkovsky took while running around Moscow in the '70s with a Polaroid. A Russian website has a scanned compilation of all the images, and they reflect the same ghostly, poetic aesthetic that I remember from the movie. There is an eerie stillness to them that feels lonely.

You can read more of the back story on these images, and see many more, on the blog Poemas del Rio Wang (in English and Spanish).

Via Boingboing

Mark Hanauer Master Class Submission Deadline: June 8

2010-06-03T16:15:00.000-07:00

For those that may be interested, Mark Hanauer is teaching a Master Photographer Series course this summer quarter.

We are so excited to have Mark back on the schedule. He truly is a master - should you need any more convincing, his website speaks for itself.

Submission of a work sample is required for consideration before students can enroll, so make sure to read the instructions before mailing in your CD.

The deadline for submissions is this Tuesday, June 8th. Class and submission details here.

(images by Mark Hanauer)

UCLA Extension Closed 5/28 - 5/31

2010-05-27T11:30:00.000-07:00

Hello,

Just a reminder that UCLA Extension will be closed (and no classes will meet) from May 28, 2010 through May 31, 2010. This closure is due to the salary reduction/furlough plan adopted by the University of California Regents in response to the State of California’s budget crisis.

We'll be back on Tuesday! In the meantime, you can get a lot of information (including summer schedule, details about certificate programs, etc) at our website, www.uclaextension.edu.

Here are some of the more amusing Google images results for "Closed".

Si Scott Event June 16

2010-05-27T10:49:00.000-07:00

One of the perks of being a DCA certificate student is an AIGA membership. Having access to networking, events and a community of designers is a great benefit, especially if you're just starting out in the field.

The other good thing is that they set up events with awesome graphic designers that you can go to for FREE. On June 16, Si Scott will be coming to Dodd Hall to discuss his practice.

Si Scott has developed a signature style featuring ornate typographic illustrations and has the ability to render entire worlds within the arc of a single letter. He specializes in a unique blend of hand-worked design with modern and traditional typography. He has collaborated on a variety of projects for clients including Hugo Boss, Volvo, Pentagram, Miller, Nike, Guinness, Levi's, MTV and the BBC. The studio has also been featured in Creative Review, Grafik, IDN, Graphic International, Notion and Type-Addicted. For more info and showcase of Si’s work go to www.siscottstudio.com

Here are the details:

Wednesday, June 16th, 7:00 – 9:30 pm
Dodd Hall at UCLA, room 161
To see more info or RSVP, visit the UCLA Extension AIGA student group Facebook page.

Instructor Interview: Jay Stuckey

2010-05-24T15:31:00.001-07:00

This summer, the ever-popular Mixed Media and Collage for Artists and Designers will be returning. Previously taught by artist extraordinaire James Fish, this summer the helm will be taken by Jay Stuckey.

Jay comes to us from a previous teaching position at Brown University. Want to learn more about Jay? Check out our interview below.

Can you describe your own artistic practice – what type of media do you prefer, what themes does your work deal with?

Right now my main focus is on painting and collage. The work has both representational and abstract elements. For me the main goal with these recent pieces is to initiate an idea within the viewer, to have the images ask questions versus posing answers or making statements. It gets tricky because ideally the questions asked are unique to each viewer, as each viewer is indeed unique. I also hope that the images are visually engaging. That they have visual presence when one comes upon them, and, if a viewer feels so moved to sit with a painting or collage for 10-20 minutes, they can actively wind their way in and around throughout the image while subtle nuances and new bits of information reveal themselves.

What advice would you have for beginning art students, or those who are considering making art a part of their lives? Is there anything you know now that you wish you had known when you started?

Wow, a lot, I actually taught a seminar on this subject at Brown. Yes it is difficult to forge a life where the creative act is part of your weekly if not daily existence, but at the same time if I figured it out, and number of my friends have figured it out, it can't be rocket science. If you really want to make it happen, you'll make it happen. I would say, perserverance furthers, always make sure you are enjoying, engaged, or challenged with what you're doing, if not change your approach. It's so difficult to find/carve out the time to make things, that you want to be stimulated by what you're doing. Community has always been a high priority to me, surrounding yourself with like minds, so I would suggest getting to know your art community. Luckily for us Los Angeles has an AMAZING, thriving, international art community. We really are lucky, on a global level there are not many places for art that compare to L.A. right now. Oh and don't walk into a gallery cold asking them if they're looking at work. Yes this has worked for some artists I know, but it's like playing the lottery. Sure you could win, but your odds suck, and the experience is a little embarrassing....for everyone.

What benefits and challenges does working with collage and mixed media present?

One of the main benefits I see is being able to take an image and recontextualize it. Perhaps it's an advertisement familiar to everyone, but by cutting or manipulating it and placing it in a different context, you can take that preconceived association everyone has of that image and amplify it, subvert it, nullify it, you name it. It's wonderful. On the flip side, I find one of the greatest challenges is the options available within the broad scope of 'collage', it can at times be overwhelming there are so many possibilities.

What do you hope your students accomplish by the end of your class?

In general I hope everyone walks away with a love for the creative process and the physical act of making things. Specific to collage I hope that everyone will have a solid foundation with the mechanics and materials behind making a collage (various forms of cutting and gluing, composition of shapes, basic design/layout ideas, etc..), AND, more importantly how these mechanics and materials behind collage are the vocabulary for this non-verbal form of communication which has great seductive powers.

Was there a moment when you officially began to consider yourself “an artist”?

I can't think of a specific date. However, I do remember walking through Jonathan Borofsky's retrospective in Washington, D.C. when I was 18 and thinking, "I might have to do this for the rest of my life."

(paintings by Jay Stuckey, from top to bottom: Forming a Communist Party, The Apartment But It's Different, Chinese Map of Paris and Chicago)

It's a Fine Line Between Cute and Creepy

2010-05-21T10:12:00.000-07:00

Look, maybe I'm not the first person to point this out, but the 2012 London Olympic mascots look like Kodos and Kang.

It's definitely related to the eyes. Or rather, eye.

Well, what are ya gonna do? I hope the little guys get a warmer welcome during the actual Olympics than they've recevied so far (not Kodos and Kang, they are always trying to enslave us).

Lil’ Inappropriate Golden Books

2010-05-20T14:19:00.000-07:00

Animation artist Josh Cooley (he works for Pixar) took the concept of Little Golden Books and updated them with scenes from great classic movies (and by "classic" I mean "fun, awesome, cult classic" not Spartacus.)

Remember Little Golden Books? Here:

I don't know if we actually had any of these growning up, but they are etched in my cultural memory nonetheless.

Here are the cinematic versions. They may be inappropriate for children, but for adults they are just right.

Ha ha, the people with their cartoony expressions and giant 24pt. bold serif font. My favorite pieces are the little icons decorating the front and back inside covers.

It's Jones the Cat, from Alien! He got into so many scrapes on that ship!

Do you want to know some trivia about Jones the Cat?

"To get Jones the cat to react fearfully to the descending Alien, a German Shepherd was placed in front of him with a screen between the two, so the cat wouldn't see it at first, and come over. The screen was then suddenly removed to make Jones stop, and start hissing."

Thanks IMDB! Also I hope that cat was getting paid, because that seems pretty harrowing.

Via Videogum

Ready...Set...Cry!

2010-05-20T10:25:00.001-07:00

As noted above, this animated video entitled "Crater Face" will make you cry. It relies heavily on the "Bambi Eyes" phenomenon, which is pretty effective, in the sense that you are completely aware of being crudely manipulated, but yet your heart still goes "Whaaaagh" and you cry.

At first I thought the moral was going to be that humans are awesome and can fix anything, but then (spoiler alert) the astronaut DIES! So the craters can be together! I totally did not see that coming and was actually pretty moved and saddened by it.

Also, several scenes reminded me strongly of Ren and Stimpy creator John Kricfalusi's work. Any time a face or body is aggresively contorted and you see veins and stuff, I think of John. Did you know that he has a pretty cool blog? It's true.

Via Best Week Ever

Opening for Art Gallery Assistant/ Live-In House Manager, Beverly Hills, CA

2010-04-27T14:43:00.000-07:00

This is an unusual opportunity to be part of a dynamic environment, a private art gallery “by appointment only”. The position includes flexible hours and a private room with en suite bath in the sunny, art-filled home with easy accessibility to Beverly Hills and to the San Fernando Valley.

Good art and good food are great companions. I am seeking someone who has the ability to prepare creative meals for client/guest dinners and occasional parties including serving and clean-up about 4 to 6 times a month. Applicant will also have some administrative duties connected with the gallery which requires a solid knowledge of Mac programs, especially PhotoShop. The other duties include light housekeeping and house maintenance. Must have car.

Salary, plus room and board.

If interested, please contact Barbara DeVorzon at barbara@devorzongallery.com with a description of why you are a match for the position, and prior relevant personal or professional experience.

It's Your Show! Call for Student Work.

2010-04-19T13:44:00.000-07:00

It's time again for It's Your Show, our annual event showcasing student work in the fields of fine art, photography and design.

This is a super fun event that we all look forward to every year. You can see a video from last year's show here.

If you have taken a studio arts or photography course in the past year, I encourage you to submit your work! Details below, and call (310) 206-1422 with questions.

Design Communication Arts/Visual Arts
2010 It’s Your Show

Call for Entries

Exhibit Dates: June 25-July 14, 2010

Submission Deadline: June 1, 2010

Winning entries announced June 9, 2010. All entrants will be notified by email.
Winners will be asked to submit their original artwork on June 17 and June 19.

Eligibility:

Open to all original work presented in a UCLA Extension Studio Arts, Photography or Design Communication Arts class as part of an assignment. All genres, formats, and media are eligible. Three submissions maximum per student.

Submission Guidelines:

Digital submissions only. Email design work to dca@uclaextension.edu, photography and fine art work to visualarts@uclaextension.edu. Files should be .pdf or .jpeg images no larger than 1MB. Include your name and phone number.

Digital File Label: lastname_firstname_classname.filetype

Examples Bruin_Joe_DrawingforCommunication.jpg,
Bruin_Josephine_DesignII.pdf

Special Recognition:

Special recognition will be given by a jury of Los Angeles artists to projects displaying excellence in specific elements of art and design.

2010 It’s Your Show will open on Friday, June 25, 6:30-9 pm, at UCLA Extension’s
1010 Westwood Center Gallery.

For questions call (310) 206-1422.

Summer! Summer!

2010-04-16T09:09:00.001-07:00

Believe it or not, registration for the summer quarter has begun. You can see all our summer classes here.

People...SUMMER. Wasn't it just Christmas? Wasn't I just like "Woah, it's 2010! It's the future!"

Synergy. Twitter. Ash cloud. iPad. Summer enrollment. THE FUTURE IS NOW.

Also, here are some links to my favorite songs about summer. A good time for songs!

APA Event April 24

2010-04-06T11:58:00.000-07:00

Did you know that when you sign up for a certificate in Advanced Topics in Photography, you receive a one-year membership to APA, the Advertising Photographers of America?

It's true. If you'd like to get to know the Los Angeles chapter of APA a bit better, or if you like free photography events, they have one coming up April 24. Here are the details:

APA Los Angeles, APA National and MOPLA

Team Up April 24th to bring you:

© KNOW IT OR BLOW IT!

Knowledge is power.With image theft rampant, it is vitally important that you know the facts regarding copyright protection and how to effectively exercise your rights. Too many times due to lack of information, mis-information or just plain carelessness, a photographer has been left defenseless, unable to take action against infringers. Don’t let this happen to you. Moderator Debra Weiss and an esteemed panel that will include IP Attorneys Jessica Darraby and Ed Greenberg, PLUS CEO Jeff Sedlik
and others will discuss the following:

Registration: How ToDo It And Why
What To Do When Your Image Has Been Infringed
How and When To Choose An Attorney
Appropriation – Is It Ever Justified?
Fair Use: When Is It Really Fair?
The Anti-Copyright Forces – Who and Why?
Putting Copyright To Work For You
And more

This promises to be an informative and entertaining program that will inspire and empower.

Pier 59 Studios 2415 Michigan Avenue
Santa Monica CA 90404
4-7pm

Free Admission
Suggested donation of $5 To Lucie Foundation

For More Information or Questions Contact
Heidi Goverman director@apa-la.com

APA - LOS ANGELES
9190 W. Olympic Blvd. #212 Beverly Hills, CA 90212
p 323-933-1631 e director@apa-la.com

Another Awesome Class Show

2010-03-24T17:02:00.001-07:00

Though students in all of our classes create stunning work each quarter, the folks in our Master Photography Series always seem to hit it out of the park. Eleonora Ghioldi just concluded her master class (which focuses on portraiture), and sent me some pictures from the final show they had in the gallery at the 1010 Westwood Center.

The images are beautiful, and the presentation is great too! Congratulations to the class on their hard work and the fantastic results.

Cream, Sugar, and an External Flash

2010-03-23T14:44:00.000-07:00

Aaaaahhhhh, look at this Canon lens travel mug!

Is this the perfect gift for the photography nerd in your life, or one of those things that seems really cute but then languishes in the cupboard for all eternity? They are currently sold out (boo!), so I guess some questions will have to be left unanswered.

Via Laughingsquid

Designing Sausage

2010-03-23T10:07:00.000-07:00

Since Sunday was An Historic Evening in America, Paul and I participated in the momentous occasion by watching it on CNN.

First of all, Wolf Blitzer and the entire CCN crew must be so limber from all the stretching they do. And by stretching, I mean "Absolutely nothing is happening right now, so let's spend 20 minutes exploring how many numerals can be evenly divided into 216. Do we have a chart of that? Let's go to the basic math chart."

Seriously, there was more filler than a Botox convention. If Wolf Blitzer was a president, he would be Millard Fillmore.

Anyway, I found the whole thing interesting because you got to see all the weird stuff that happened on the floor of the House. Like, before the vote took place, this representative stood up and was like "I appeal to the speaker on the grounds of Blah vs. Bhloo circa 1978 to request a vote by roll call, pursuant to article K statute 32" and the other guy who was in charge was like "In reference to Bleeb vs. Blob, please indicate approval of request with Yay or Nay" and then some people shouted Yay and some people shouted Nay and I was like "WHAT IS HAPPENING." Honestly this completely incomprehensible exchange took 10 minutes, and at the end something was rejected, I think. Or pizza had been ordered.

Once that happened, I was like Oh, this is why people say "Law and sausage are two things you do not want to see being made." We were seeing the law sausage being made!

That phrase also describes this video, except for "law sausage" read "design sausage." A designer from Orbit books, a science fiction and fantasy publisher, had screen capture on while she put together a cover for their latest title. It's pretty awsome, but it definitely exposes some of the drudgery of design (also a reliance on stock photography, and two little friends called Cut and Paste). My favorite part is when she has to erase the Eiffel Tower because it didn't exist when the book takes place. Good catch!

Observe the fastest Pen Tool in the West do her work:

Via Boingboing

L.A. Is Full of Great Designers

2010-03-10T14:44:00.000-08:00

Luckily, we have a class coming up in the Spring to help you discover them. Led by Michael Dooley, Exploring LA Design meets once a week on Saturdays to visit various design firms and studios, and speak with the design stars who run them.

Students have been calling to ask where exactly the class will be going on these trips. Thought we don't know the details of every trip at this point, here are some of the potential visits to be made over the six weeks (please note that these are possible visits, and not the official itinierary of the class).

Coop
Entertainment industry poster designer, painter, and co-founder of CoopStuff product merchandising.

Maureen Erbe
Principal of Erbe Design, a 30-year-old marketing communications firm and graphic design studio.

Jens Gehlhaar
Font designer and creative director of Brand New School, a bicoastal motion graphics directing collective.

David Mayes
Representative for Typecraft Wood & Jones, an offset lithography and state-of-the-art digital printing company.

Mike Salisbury
Principal of Mike Salisbury: Legendary Branding, designing for music, magazine, film, and fashion industries.

Clive Piercy
Founder, owner, and creative director of Air Conditioned, a West Side design office with a British sensibility.

Yo Santosa
Principal and creative director of FerroConcrete, a multiple-media design and brand development company.

Petrula Vrontikis
Educator and principal of Vrontikis Design Office, which provides design and production of branding and identity material.

Esther Pearl Watson and Mark Todd
Editorial illustrators and publication writers/designers as well as fine artists, operating under the FunChicken banner.

Fastest. Class. Ever.

2010-03-09T10:01:00.000-08:00

Instructor Josh Sanseri made this great time-lapse video of a lighting demo in his class last weekend. Stick with it, the end is totally worth it!

Jewelry By Student Hannah Kaufman

2010-03-01T10:47:00.000-08:00

Hannah Kaufman, a student in Coleen Gee's Handmade Jewelry class, sent me some images of a beautiful piece she did as part of a project.

I asked Hannah for a bit of background, and here's what she had to say:

"I have been making beaded jewelry my whole life, since I was 4 years old. I have been in the diamond business for 15 years, designing high-end jewelry for a store (JR's Diamonds & Jewelry) in Sherman Oaks. I have always wanted to be able to actually create the metal work I was sketching and finally decided it was the right time after finding Coleen's class at UCLA Extension.

The inspiration for the butterfly came from a close friend of mind who calls herself "Butterfly Dreamer." The assignment called for a spider on a web....I decided to alter that image a little into something more "beautiful." :) The whole thing came together quite serendipitously, with Coleen encouraging me to push myself every step of the way.

This is my first time creating a hand-sawed piece and soldering and making a pin back!

I'm truly excited for the future of my collection as I have been given amazing confidence in this class and know that it will only get better from here!"

You can see more of Hannah's work on her website, hannahmade.com. Her tag line is "Every Woman Is A Muse"©. I like it!

Thanks to Hannah for sharing her piece - I have to say, for the first time sawing and soldering, this is amazing work.

Hopefully This Will Not Get Me On A CIA Watch List

2010-02-26T12:19:00.001-08:00

Actually, typing "CIA Watch List" probably gets you on the CIA watch list.

Anyway, I would love to get one of these - I wonder if they are in circulation?

Arts Blog does not condone the defacement of currency. (Ha ha - defacement).

Defaced Presidents Flickr Pool

Science Art: Sciency Good

2010-02-23T15:18:00.000-08:00

It is my opinion that if you don't think science is cool, then maybe you're not thinking hard enough about science. Keep in mind, that's just my opinion! But this is my blog. If this blog had a subtitle, it would be "Arts Blog: Typing Things I Think Since 2007."

Sadly, my enthusiasm for science is not matched by a facility for understanding or performing it. You would not have wanted to be my lab partner in 10th grade biology, and not much has changed since then. I still don't know how to balance a chemical equation - in fact, I would be a terrible equation psychiatrist, since all my patients would be so UNBALANCED. Zing!

Hilarious puns aside, I do love learning about the weird and wonderful world of science. I also loved this slide show from the New York Times, of some of the winning photographs and illustrations from the 2009 International Science and Engineering Visualization Challenge (yes, that is a thing. Click the link). They are like the worlds' best and most creative science fair projects. I had fun, and I learned!

Here are some of my favorites:

Branching Morphogenesis
First Place, Illustration
Large scale templates from simulations of networking endothelial cells cultured on a 3D matrix were overlaid with more than 75,000 interconnected zip ties to show the complexity of an organic datascape and process.
Photo: Peter Lloyd Jones, Andrew Lucia, Annette Fierro and Jenny E. Sabin

The words I understood in this description were: Large scale, cells, and zip ties. But check it out - zip ties! I love those things! This is so creative, and I almost understand what it is showing. It's 80% there, like a half-remembered dream.

Brain Development
First Place, Informational Graphics
"Brain Development" illustrates the basics of building a brain and nervous system. It underscores the complexity of the brain, and highlights both genetic and environmental influences on brain development and the essential role of developmental plasticity.
Photo: Dwayne Godwin and Jorge Cham

Should every scientific explanation be in cartoon form? That is a question for the ages. I just know that now, I totally understand how the brain forms. That's all I'm saying. Draw your own conclusions (on fire with the science puns today). Also I love how in the last panel the kid is like "Uuurrggg, my brain is growing!"

Jellyfish Burger
Honorable Mention, Illustration
Without changes in global fishing policies, the seafood of the future is rubbery, according to Dave Beck, a digital artist, and Jennifer Jacquet, a marine scientist, creators of this 3D digital composite image. "The jellyfish burger is so close to becoming a reality, we can taste it."
Photo: Dave Beck and Jennifer Jacquet

I literally cannot handle hearing about global warming and the depletion of natural resources. Like, if you do not change the channel, I will leave the room. "An Inconvenient Truth" is worse than "Saw" for me. I just totally totally freak out and am immediately in tears. Do not even think of showing me a picture of a sad polar bear on a little hunk of ice in the middle of the ocean, because I will lose it. That said, I really like this, because it hammers a potentially academic issue home in a very real and recognizable way. Also, the jellyfish looks like a blue portobello mushroom, does it not? Back me up, vegetarians.

All these winners were fantastic, so check out the slideshow below:

NY Times - Visualizing Science

Congratulations, science artists!

(Top image by Sung Hoon Kang, Boaz Pokroy and Joanna Aizenberg).

Things That Make You Go "Wauuuuugh!"

2010-02-17T15:07:00.000-08:00

Is one of the goals of art to make you feel insane? Philosophers have pondered that question for millenia. Not really! I am pretty sure that has not been widely pondered. I think about it, though. Let's say it's been narrowly pondered.

I think something we can agree on is that art has a powerful way of expanding the mind. It does not dilly-dally, but goes straight to your visual cortext to mess you up. Whether its "goal" is to suprise, delight, horrify or shock, a good piece of art has a strangle hold on you. You can't not see it, and you can't control how it makes you feel.

But that's ok! That's cool! Life is about feeling new things, even if one of those things is "My brain is melting. Whoops, there it goes. It melted."

That's how I felt when I saw Neil Dawson's sculpture "Horizons." Just...I can't even really talk about it. Take a look. The rest is Arts Blog silence.

Via Boingboing

Extension Will Be Closed 2/12 - 2/15

2010-02-11T14:31:00.000-08:00

Dear Friends of Arts Blog,

Just a note that UCLA Extension will be closed Friday, February 12 (mandatory furlough day), and Monday, February 15 (Presidents' Day). Classes will not meet this weekend or on Monday.

I'd like to leave you with some fantastic nature photographs - a brave little vole (like a mouse, but cooler) totally faces down a coyote and GETS AWAY. The mouse won!

Check them all out, and have a great weekend!

Via The Awl

Classic Cool

2010-02-09T10:07:00.000-08:00

I usually try not to get TOO nerdy on the blog (false), but I loved these minimalist interpretations of planets from Star Wars. So simple and pretty! Artist Justin Van Genderen really captures the character of Hoth.

I think part of the reason I like these so much is that they remind me of the book covers of some of the old pulpy sci-fi classics I used to read. I stole a bunch of them from my Dad, I think, and spent a lot of time in used bookstores, back when they had those. Now it's just a crumbling empire of empty Borders, like something out of a T.S. Eliot poem (what I'm saying is that it's a Wasteland).

But anyway, those book covers were so cool! Here are a few of the ones I can remember:

Though this cover doesn't give a lot away in terms of plot details, it's about these children who have like, magic psychic powers, and are getting ready to take over the world, if I remember correctly. Kind of like X-Men! But creepier.

A classic! Look, you've got a bug in there, and a waterfall, and Ian McKellan's face. Mars! Ray Bradbury was never one of my favorite writers, because I felt his stories always had a whiff of sentimentality that I thought was lame as a child, but he is undeniably a giant in the field. Oh wait, according to the cover, he is the "World's Greatest Living Sci-Fi Writer!" There you go.

Make Room, Make Room is, of course, the basis for the movie Soylent Green, in which it turns out that Soylent Green is people AAAAAAHHHHH and Charlton Heston gets carted away to be made into beef jerky. Also, how sick is this cover? So sick.

Yes, awesome. Every science fiction book should look like this. I loved Robert Silverberg when I was younger, and I bought so many of his books, and the dude has published like THOUSANDS of books, because that's how they did it then. They would write a book over a long weekend.

As Liz Lemon would say, what the what? Although actually, at least there is something happening on this book cover, and not just like, a picture of a huge eyeball in space. I like this because of the pretty colors, and think it kind of looks like an oil painting that would be hanging behind a curtain in an old castle. Of course, Robert Heinlein is another one of those giant grand master dudes who had hugely popular and successful books like Stranger in a Strange Land and Starship Troopers (which you may remember from the movie), but I think my favorite of his is The Puppet Masters, which is about these space slugs that are stuck to the back of people's necks and control their minds and try to take over the world. Wait, was this also made into a terrible movie? Yes it was!

Obviously this was just an excuse for me to talk about old sci-fi books. Also, sorry I don't know who any of these cover artists are! That is pretty lame. But the covers are great! May your memories live forever in cardboard boxes in my parents' garage.

Minimalist Star Wars Galaxy Posters via Laughingsquid

Instructor Interview: Roxann Arwen Mills

2010-02-01T10:16:00.000-08:00

This winter, we're happy to have Roxann Arwen Mills teaching with us again. After a successful Master Class in 2009, she is back leading A Perspective on Nudes: A Short Photographic Workshop. A wealth of energy and inspiration, I thought she would be a good interview subject. And she was! See below for her thoughts on the industry, the challenge of shooting nudes, and the importance of trusting your own creative voice. To see more of her work, visit roxannarwenmills.com.

How did you first become interested in photography?

I don't know if I was initially interested in photography itself. I was interested in traveling the world, and a camera seemed a good tool to document those experiences. In my mid-twenties, a good friend of mine found a beat up Nikon F camera in a trash bin and asked me if I wanted it, and that became my first camera. I had no idea what any of the numbers on the camera meant, and I really had no idea how to take photographs, but I didn't let that stop me. I would pack boxes of color and black/white film along with that old Nikon while trekking through the jungles and coastlines of the Yucatan Peninsula, South Pacific and many other places. I was interested in archeology at the time, and was exploring the ancient ruins of the Mayan civilizations along with many others.

I was mainly interested in using the camera for documentation, until I understood that it could be much more. That revelation happened when I took my first printing class at a local community college. I lived in their lab for 2 straight years. I was always the last one to leave; they literally had to kick me out every night after the lights went on. Community darkrooms were fun for a while, but I knew I needed my own space to explore my ideas further. And I no longer own a darkroom, but eventually I plan on getting back to some alternative printing processes that I really connected with, like salt prints, platinum prints and camera obscura boxes. Art Center College of Design had an amazing printmaking facility, and it was there that I fell in love with silk screening and alternative printing processes under the tutelage of a very talented but a bit cantankerous instructor named Tony. For me, printmaking was something that I felt I could spend a lifetime with.

My father was a lithographer and offset printing expert; he used to print magazines like National Geographic. But he died just as he and I were reconnecting after a rather distant relationship growing up, and other than visiting the plant he ran in Quebec a few times, that world was alien to me. And I left printmaking at Art Center knowing that I had only scratched the surface of what was possible in that realm, but the experience left an indelible mark on the way I viewed art, and that of course included photography.

I'm still exploring what it means to use the camera in the context of photography as a fine art tool. The larger projects I'm working on now are less about photography as it's traditionally viewed than about an attempt to transcend the object that's being photographed. I hope to present some of that work later this year.

Where do you find the inspiration for your personal projects?

I get inspiration from many sources. One of those has been film and it has had a very strong influence on my photographic vision, in many ways much more so than still photography. When I started my "The Influence of Blue" project (images from it are included in this blog) I was haunted by the color of the blue, beaded lamp in Krzysztof Kieslowski's film, "Blue." The coldness of that blue glass, along with it's seemingly ethereal quality, and the way it held the light, propelled me to begin an investigation of blue, water, and a body in water--mine.

Another strong source of inspiration has been dreams and myth. One of my favorite professors at Art Center, Laura Cooper, looked at my work at that time and suggested that I read Idols of Perversity. That book forever changed the way I viewed the female in art throughout history. It was a very compelling and absorbing book, with in-depth discussions on the Dracula myth as well as others, and especially paintings from the early 19th century, "paintings that looked harmless and even beautiful but in reality were naïve, unconscious images of archetypal sexual symbols who's real meaning wasn't being widely discussed at that time, and still isn't", and continues to influence the way woman are photographed today in the 21st century.

After Art Center, I was contacted by a Ph.D. candidate from Cornell University, who asked if she could use images from "The Influence of Blue" series to illustrate an article she was writing on the modern representation of Ophelia. She felt that the work was a contemporary interpretation on that myth. And I think she was right; when I was a young girl, I was deeply affected both by the Ophelia archetype and that of Dracula. But Jungian analysis freed me from that, and reading Idols of Perversity allowed me to make more informed choices in my art.

I've also been inspired by dreams and my daily meditations. One evening, after a long meditation, I had a powerful, lucid dream; I was standing on a ledge on top of the tallest mountain in the world. I looked down and felt a bit frightened because of the height, yet I was surprised at how well I could breathe. Then I looked up at the clouds, which were white and luminous, and I began to fall. As I fell, I "woke up" in the dream and became completely conscious of what was happening. I was falling very fast, and I could hear and feel the strong wind moving through my body. I remember thinking, "Oh, this is interesting, I'm falling to earth and I'm going to die in this dream, something that has never happened to me before." I let go of my fear, and as I watched the white clouds swirl around me, I became a fleck of life in a vast sea of sky, rapidly falling to earth. Then I suddenly struck the ground, and the earth cracked open and I floated into the cosmos.

It was total blackness at first, in the kind of quiet that is almost impossible to find on this planet. I don't quite have the words to describe the experience that followed, of moving past distant stars and planets hearing strange popping and hissing sounds. Then I was thrust back, and I woke up. When I opened my eyes, I saw what would become the first image of my "Woman" series: a symbolic image of two women, one filled with pure light, one an outline filled with stars, lying in space. To me that represented a connection between heaven and earth, a bridge between the physical self and the spirit that resides within. That particular image is below.

For me the camera is a starting point, a means to capture an image, something that may express what I'm seeing, or a lever that I can use to create or express another vision entirely. I use the camera as a key to unlock the creative process, to open the door to that universal creative energy we all have within ourselves, and to allow it to express itself as freely as possible. And when I can allow that to happen, when I can get out of my own ego, freeing myself from the concerns of whether the work will be good or bad, whether or not anyone will like it, then it all flows out of me. It's a river that never stops running; I jump into the rapids and see where they take me. There's always time later for reflection about the work, but I save that for when I've gotten far enough along to have some distance from it, as there's nothing like self-judgment to kill any idea before it even begins to find its voice.

What are some of the challenges of this art form?

This is an interesting question, and I believe that the answer would depend on what kind of photographer you asked, what kind of photographic work you are concerned with, what that photographer was trying to achieve with his or her art. With the nude, the challenges are many and can be huge, both because it has a long history in art, and also because of its controversial nature. There are many political and critical conversations going on about the nude these days, from the dominant female nude to the homoerotic works of photographers like Robert Mapplethorpe.

Some of the challenges will be discussed in the class I will be teaching this winter, although one can hardly address the real complexity of the subject in a 4 week workshop. Your question deserves a deep and complicated discussion, but one that's better left in its fullness for something like a masters program, a place where you have time to digest all of the information and decode it and decide what information is relevant to the work you're interested in producing. Otherwise, over-thinking a subject typically brings in a lot of judgment, which stops the creative process entirely.

It's important to know what you're creating, and to make informed choices, but that happens over a period of time. Our vision has to be more than just an intellectual understanding of the nude and it's history, it's also our own personal relationship with our bodies. In my upcoming class I would like to pose questions more than provide answers. We come into this world naked and I think "NAKED or NUDE?" is one of the first I would ask any photographer attempting to portray the unclothed human form.

What do you hope to impart to your students that they might not be aware of when shooting nudes?

I'm not sure that I can answer that question specifically, as I believe the journey will be different for each individual. But there are many interesting questions that face us when photographing the nude. One I might ask is, "What is the contemporary idea of a nude?" If we use the nude image as an artistic trampoline, where do we go after we jump a certain height? A great height has certainly been achieved with it, which is why it's a difficult subject to approach in the contemporary art world. But even so, I believe it's still worth investigating, that there is still room for new creative expression.

These issues, along with a brief history of the nude in art, will be discussed in class before the location shoot to allow students the opportunity to make informed choices with their work. We will also have a very special guest speaker who has printed for such icons of the photographic nude as Sally Mann, Helmut Newton, and Irving Penn, as well as many other emerging and established photographers who have contributed immensely to the artistic exploration of the nude.

What advice would you give aspiring photographers, or what is something that you wish you knew when you were starting out?

I never planned on being a photographer; the career in a way chose me. I was taking photography classes at a local community college, and much to my surprise, I was asked to submit my portfolio to Art Center. Even more to my surprise I received an eight-term scholarship. While at Art Center, I left the commercial Department and became a fine art major with a photography minor. My last semester I decided to take a fashion class with an instructor that I kept hearing about, Paul Jasmin. He seemed to respond to my work and suggested that I meet with his agent, Marysa Masiansky , owner of VISAGES RPS, INC on sunset blvd. I did, and I was taken on immediately. It was great to have that support, but it still wasn't easy. I was a complete unknown at an agency with the likes of Herb Ritts, Mary Ellen Mark and others. I also wasn't prepared for freelancing, and the business side of being a working photographer. Even though I had worked in management in the business world, I had always worked for someone else, and that taught me many valuable skills. But, I had no concept of what photography was like as an industry, and the difficulties of working for myself as an independent contractor.

And the business of photography has changed drastically. It has always been difficult, but in many ways it is much more so than ever before. The increasing dominance of the Internet and digital image capture, the decline of print magazines and print advertising, the enormous abundance of stock imagery, and the constant influx of new photographers into the business has altered greatly the way photographers are able to make a living. After 13 years in this industry, I would advise anyone who's really serious about photography as a career, to understand that photography is a business, and to learn as much about it as possible before they get into it. They should align themselves with professional photographic organizations and learn from other professionals about real world photography. It's the wild West out there in regards to what's expected and demanded of you as a working professional. The business of photography can be brutal, but also very rewarding, and to survive you need to make informed choices.

On the more creative side, I would advise people never to be afraid or too closed-minded to take a closer look at work you don't like, especially if it makes you angry! It may eventually lead you in directions you never dreamed of, or in the least, open your mind to viewpoints you never considered before. Otherwise you may find yourself locked into a tiny world of personal likes and dislikes, and when those are left unexamined, they can lead you around in creative circles. And maybe most importantly, look for inspiration in everything around you. Learn, like Alice, to use your imagination daily to enter at will through the looking glass into your own wonderland.

Giant Ants Will Mug You For Sugar

2010-01-28T14:05:00.000-08:00

Biologist Alex Wild (good name!) takes macro shots of ants and bugs. Then he posts them on his awesome blog, where he also talks about what species they are and what they do and why they are interesting. He has quizzes like "Whose larvae is this?"

This is one of those things that I always think is going to be really boring, and then I am FASCINATED. Like when Paul turns on the Discovery Channel I'm like "UUUUUGH I DON'T WANT TO LEARN ABOUT SPORES" but then it turns out whoops, I really do want to learn about spores so much, and I cannot turn away, and I get mad if he tries to change it, like "DON'T YOU CARE ABOUT SCIENCE?"

Anyway, this is one of those things. Nature is cool! Look at the jaws on that one guy. Alex also talks about what kind of lenses he uses to achieve these images, if you want to know his secrets.

Myrmecos Blog
Via Boingboing

PDN Photo of the Day: Eleonora Ghioldi

2010-01-27T14:02:00.000-08:00

Instructor and photographer extraordinaire Eleonora Ghioldi (who will be leading an Experiemental Darkroom class in the spring) was featured on Photo District News' Photo of the Day.

Visit the site to see her image, titled Andrea.

My Dream/Nightmare Becomes a Reality

2010-01-25T09:11:00.000-08:00

When Paul and I were in the Louvre this summer, we walked around and looked at literally 45 million paintings. At one point we stopped in front of a particularly arresting Van Gogh self portrait. The daubs and strokes of color were so vivid that they seemed almost alive. I remember standing in front of it, and thinking "I could punch this painting right in the face."

Everyone has this inappropriate museum thought, right? I mean, the guards are there and stuff, but they could never reach you in time. There is nothing but three feet of air between you and an irreplaceable masterpiece. If I punched Van Gogh in the face, I would be, in some sense, destroying history. I mean, I know they have restorers and stuff, but if I put my fist through the canvass, could it really be repaired to any satisfaction? Could I put my fist through the canvass?

I ruminated on this philosophical conundrum as we wandered the museum. In fact, here is a picture of me in front of some Vermeers.

Can you tell that I am thinking about punching the Vermeers? Because I am. It's not that I wish the paintings any harm - I like the paintings. I'm just obsessed with imagining what would go down in the aftermath. At one point, Paul and I had this conversation:

Me: What would happen if I punched a painting?
Paul: You would go to jail.
Me: No I wouldn't! They can't put you in jail for hurting art, can they? Wouldn't they just sue me for like, a trillion dollars? Also, how could they prove that I did it on purpose?
Paul: You. Would. Go. To. Jail.
Me: Also, what would happen immediately after? Would a guard tackle me? Would the police come? Would people point at me and yell? Would the American Embassy get involved?
Paul: You would go to French jail, and I would not bail you out.

Suffice it to say, we got out of there without major incident. However, this was not the case on Friday when a woman at the Met tripped and FELL INTO A PICASSO!

Let's go to the paper of record for the gory details, shall we:

"On Friday afternoon a woman taking an adult education class at the Metropolitan Museum of Art accidentally lost her balance and fell into “The Actor,” a rare Rose Period Picasso, tearing the canvas about six inches along its lower right-hand corner."

Here is the painting, pre-impact:

As Tracy Jordan would say, "This is happening, people!" Granted, it seems that this was a legitimate accident, but OMG SHE RIPPED A PICASSO! However, the aftermath was somewhat anticlimactic:

"Immediately after the accident the painting was taken to the Met’s conservation studio so experts could assess the damage, museum officials said. A statement released by the Met on Sunday afternoon said, “The damage did not occur in the focal point of the composition and the curatorial and conservation staffs fully expect that the repair —which will take place in the coming weeks — will be unobtrusive.”

They can fix it? BORING! Apprently no one went to Art Jail (see, Paul!), and this story will fade from the headlines (unless this lady goes on the news, or Oprah, or gets a hidden-camera type reality show where she goes to museums and pretends to trip in front of famous works of art). But for one brief, shining moment, what had only been a morbid obsession became a reality, and I needed to blog about it, because that is why I have a blog.

Also, the comments on the NYT story are AWESOME, and include the following:

"It's natural to fall occasionally... didn't this happen also to Eve?
Perhaps she's a symbol for what is now happening to Western Civilization...."

"She really fell for that Picasso."

'"The Actor" will be in my thoughts as I pray for its speedy recovery."

"It's about time a woman got the better of Picasso."

Via Gawker and NYT

Run Photographer Run

2010-01-15T09:25:00.000-08:00

The ratio of "name of Running from Camera" to "description of Running from Camera" is 1:1. Your brain doesn't have to waste any time with subtext, and can just immediately know what is happening with this blog.

The author's explanation is equally simple:

"I put the self-timer on 2 seconds, push the button and try to get as far from the camera as I can."

As one annonymous commentor put it: "2 seconds is not very long!" Our photographer is clearly giving it all he's got, running-wise. Every shot is like a movie still, with implied motion and continuity. I also like that you never see his face. Mystery!

Also, dude gets around.

Running from Camera

Insane Actual Pictures of Mars

2010-01-12T13:29:00.000-08:00

First of all, this:

That's MARS, yo! The PLANET. That is a picture of the PLANET MARS, taken by what I can only assume is a telescope the size of a yacht (actually, it's the High Resolution Imaging Science Experiment, or HiRISE, on the Mars Reconnaissance Orbiter). What exactly are we looking at here, besides Mars? Please visit the blog Bad Astronomy to get some answers, including one to my first question, which was "What are those weird tendril thingies" and OMG ARE THEY THE BONES OF DEAD MARTIANS?

"In the Martian winter, carbon dioxide freezes out of the air. In the summer, that CO2 sublimates; that is, turns directly from a solid to a gas. When that happens the sand gets disturbed, and falls down the slopes in little channels, which spreads out when it hits the bottom. This disturbs the red dust, too, which flows with the sand. When it’s all done, you get those feathery tendrils."

Who knew all this stuff was happening on Mars? They have little Mars dust avalanches!

Do you want to see even more ridiculous pictures of Mars OH YOU DO OK HERE:

(bummer alert, the site says they are in "false color" which I think means "Photoshopped")

Mars, people! Get used to it! I'm glad we'll have somewhere to go in our space arks after 2012.

Also the commentors on this post have somehow managed to get into a vicious debate about religion, science, and the existence of God, so feel free to delve into that if you wish. Mars is so controversial!

Sign Language

2010-01-08T09:56:00.000-08:00

Arts Blog does not condone defacing city property, and graffiti is a crime. That said, how funny are these altered stop signs? So funny. Sometimes a little break from the ordinary brightens your day. Also, now Journey is playing in my head.

Don't Let It Go To Your Letterhead

2010-01-08T09:19:00.000-08:00

We're back! Hope everyone enjoyed the break. I would be remiss if I did not mention that there are still art classes available! Check 'em out!

And now, on to the arty. A lot of arty things happened while I was away! Here is one that I like a lot.

Letterheady is a blog that showcases unusual and excellent letterhead. Thought letterhead had to be boring? Think again, chump! Also, the blog defines "letterheady" as as adjective meaning "overcome by a strong emotion due to a letterhead design." I bet that happens to Scott all the time.

Via Laughingsquid

We're Closed! Returning January 4th.

2009-12-18T10:46:00.000-08:00

Hello Arts Friends,

UCLA Extension will be closed from Saturday, December 19, 2009 through Sunday, January 3, 2010. This extended closure is due to the salary reduction furlough plan adopted by the University of California Regents in response to the State of California’s budget crisis.

For program information, or to enroll in winter courses, please visit our website at www.uclaextension.edu.

If you are interested in a course that is currently full and would like to be placed on a waitlist, please call (310) 206-1422. Leave a message with your name, the name of the course, the registration number (which should be something like V4863) and the date and time of your call. When we return to the office we will add names to waitlists in the order in which they were received.

Happy New Year to all! See you in 2010.

If you're wondering how you'll fill the remaining days of 2009, why not check out The Year in Pictures on the blog The Big Picture. There are some stunning shots.

Part I
Part II
Part III
(via Urlesque)

Tilt-Shift-Delete

2009-12-15T15:27:00.000-08:00

(image by Greg Keene via Wikipedia)

Up until today, tilt-shift photography was something that I would have pretended I knew about. You know how sometimes, someone will reference something, and you'll have heard of it but not really understand it fully (or at all), but you'll say "Oh yeah, that thing!" because you want to sound smart? Like, if someone says "Hey, you know the book Jude the Obscure" and you'll be like "Ah yes, the Thomas Hardy classic," even though you have not read Jude the Obscure and know nothing whatsoever about the plot? I know I'm not the only person who does this.

Anyway, that was how it was with me and tilt-shift photography. I had noticed it enough that I was like "Hey, I should do a post about this cool-sounding thing, because HOW HARD COULD IT BE?" (answer: so hard.)

The first place I turned was Wikipedia. Here's how that went:

"Tilt-shift photography...specifically refers to the use of tilt for selective focus, often for simulating a miniature scene. "Tilt-shift" actually encompasses two different types of movements: rotation of the lens plane relative to the image plane, called tilt, and movement of the lens parallel to the image plane, called shift. Tilt is used to control the orientation of the plane of focus (PoF), and hence the part of an image that appears sharp; it makes use of the Scheimpflug principle. Shift is used to change the line of sight while avoiding the convergence of parallel lines, as when photographing tall buildings."

Oh right, the Scheimpflug priciple! I'm sorry, but that sounds like something professor Frink would say (followed by "BLAVIN!"). Sometimes if Wikipedia isn't part of the solution, it's part of the problem, you know?

Luckily, I found an article on the site Cheap Shooter, which offered a clearer, less geeky explanation:

"A tilt-shift lens allows the photographer very exacting control over the depth-of-field in an image, much more than any regular lens could provide. Focus can be restricted to a single, narrow band, with everything else rapidly blurring away. This distorts the appearance and makes the eye think that distances are a lot smaller than they typically are. When applied to a large scene like a city or a museum, everything appears miniature." In addition, "Tilting the lens with respect to the film/sensor plane changes the perspective in the image: you can make lines that otherwise would converge, showing perspective, instead remain parallel or even diverge."

OH, THAT'S WHAT THAT IS! Much better. Thanks, Cheap Shooter. Hugs.

Now that we've exhaustively defined this term, let's see some examples:

(image by cloudsoup)

(image by B Tal)

(image by Jeangenie)

(image by Vincent Laforet)

Oh! The Wikipedia entry should have just said "Tilt-shift photography makes everything look like crazy fake little miniatures! It's nuts! The end."

I mean really, it's hard to believe that these are not photos from miniature movie sets. It's a pretty cool effect.

Ok, now are you ready for this? Because we still have half a rabbit hole to fall down (ie. we are only halfway down the rabbit hole by this point). Because check it: tilt-shift videos!

The East Side of Los Angeles on a Sunny Day from clark vogeler on Vimeo.

How blown is your mind? 100% blown? I have no idea how this is done, and if you think I'm going to try to find out, you're crazy. You can check out a whole gallery of beautiful tilt-shift videos over at this Gawker post - the one above is my favorite because it's set in East LA.

There is so much more to say about tilt-shift, like how there is a big controversy because people can pretty easily fake tilt-shift techniques in Photoshop so you never know what's really real, and whether you should buy a bunch of expensive equipment or just get a Lensbaby, but I'm not going to get into that, because this is already the longest post in the history of this blog, even longer than the Lady Gaga posts. But I will say that I learned something today, and I hope you did too! Isn't that nice?

Photography Quiz! Test Your Knowledge.

2009-12-09T16:02:00.000-08:00

(image by Craig Havens)

One of the fun things about Extension classes is that there's such a diverse group of students. People from all educational backgrounds, career paths and walks of life show up to learn and make art.

Because our students are so varied in their experiences, some find it difficult to decide which level of study is the right one for them. "I've been shooting on my DSLR for two years, but have never taken a formal class - am I ready for Intermediate Digital Photography?" "I've been shooting headshots for my friends, but have not worked in a professional studio before - which lighting class is right for me?"

It can be a bit confusing, especially since so many of us who own high-end cameras are self-taught. Maybe you know HOW to adjust for nighttime shooting, but aren't exactly sure of the technical term for what you're doing.

To help students find the right level for them, instructor Craig Havens has devised a short quiz that he gives the first night of class. If students are stumped by the questions and unfamiliar with the terms used, they're good candidates for Introduction to Digital Photography. If they get half or more of the questions right, they're probably ready for the Intermediate class.

Here's the quiz - highlight the areas below the questions to see the answers. No cheating!

1. If your camera’s light meter is reading f8 at 125th, what does that mean?
Aperture opening is at or near its mid-point.
Shutter Speed is at 125th of a second.

2. If you want a different setting than f8 with this light reading, say f16, what would you have to set your camera's shutter speed to?
Two light stops down to 1/30th.

3. What is the best ISO when using a digital camera for both speed and picture quality?
640 to 800 depending on the quality of the sensor.

4. What is the highest quality setting for picture quality on a digital camera?
RAW.

(Fill in the Blank - highlight to see answers)

5. When shooting in high contrast situations with film, you should expose for the___shadows_______ and develop for the ____highlights_____.

6. When shooting in high contrast situations with digital, you should be sure that the ____highlights_____ do not "blow out" and that the ____shadows_____ hold as much detail as possible. One way of doing this is to _____bracket_______ multiple frames of the same scene and checking the ______Histogram______during exposure.

7. The practice of allowing a slightly larger space beneath the image area of a final digital print is called "_____weighting______" a print.

8. When working in Photoshop always save your files in the _____TIFF____ format to avoid image loss with repeated saves.

True or False

A client owns your images until you sign a contract together stating otherwise.
False.

You can include all costs for materials, including rental of your own equipment.
True.

You should never ask for the total cost of your estimate up front.
False.

When hiring paid models for any purpose, it is required that they sign a model release.
True.

You should organize and back-up your images archives on two separate hard drives at least once a month.
True.

All clients must sign a contract stating their understanding of licensing fees once the job is completed.
False (before!)

Ambient light refers to any type of lighting that exists upon your arrival at a location.
True.

How did you do?

FAQs - Photography Program

2009-12-09T11:01:00.000-08:00

Here at the UCLA Extension Photography program, we offer a variety of courses to improve your technical skills and your creative eye. Courses range from Introduction to Digital Photography to our Master Photographer Series, and can be taken individually or as part of a Certificate Program.

Below are some of the questions I often hear from students.

Q: Where can I see a list of the photography classes you will be offering?
A: You can download a PDF of the current catalog here.

Q: I've had my DSLR camera for a few years, and have done some independent shooting, but have never taken a class. How do I know what level I'm at?

A: Introduction to Digital Photography covers the following topics:

Aperture
Shutter Speed
Depth of Field
Focus
ISO
File management (including coverting files, tagging, file batching and archiving)
Basic Lighting Skills (including contrast, direction, color, white balance, histogram)
Composition (including framing and perspective)
Digital imaging (including an introduction to Adobe Lightroom)

If you feel confident in your knowledge of the topics listed, you are ready to move on to an intermediate-level course. If your understanding is hazy or you struggle with some of them, the introductory course would be the best place for you to refine your skills and get a solid foundation of technical understanding. Many students who are not technically "beginners" take an introductory class as a way to test their current abilities and for the challenge of assignments and instructor critique.

If you're still not sure which class you're ready for, take our Photography Quiz to find out how much you really know.

Q: What is the application process to take courses with UCLA Extension?

A: There is no formal application process. As the continuing education arm of UCLA, Extension courses are open enrollment. Students may enroll online, or by phone at (310) 825-9971.

Q: Who are your teachers?

A: Our instructors are professionals currently working in various fields of photography. They have valuable real-world experience that they are eager to share in the classroom. You can see links to their websites on the main page of the blog.

Q: Can I transfer Extension class units to UCLA, or the grad program of my choice?

A: Maybe! That is entirely up to the admissions office of the school to which you are applying. They may ask you to e-mail course descriptions or class syllabi to an admissions counselor, which we would be happy to help you obtain. If you think you might want to try to transfer course units at some point, be sure to take your courses for a Letter Grade (as opposed to "Not for Credit").

Q: Can I visit a class on the first meeting to see if I like it, even if I'm not enrolled?

A: Students may visit the first meeting of courses that are 10 weeks in duration or longer. However, many courses fill up quickly, so if you are interested in a course, it's advisable to enroll early to ensure you get a space. All students must be enrolled by the second class meeting.

Q: How many students are there in each class?

A: An average class will probably have 15-18 students - the limit for most courses is 20.

Q: Who should I contact if I have more questions?

A: You can reach our office at (310) 206-1422, or send an e-mail to photography@uclaextension.edu.

(image taken during the course Shoot and Critique with instructor Scott Stulberg).

Kodachro-oh-om, Make It Yourself At Home

2009-12-08T16:06:00.000-08:00

Today at a photography meeting, there was some lamenting the disappearance of Kodachrome film.

Well guess what, film fans? Some dude, identity unclear (let's call him the Hasselblad Hero) built a machine called the "Filminator" that produces film stock. As he elegantly puts it: "Can't buy the film you want any more? Just make the stuff! Plastic and goop go in one end, and camera film comes out the other end. This is not a trivial undertaking."

Here are some pictures of this awesome machine. Also, if you go to the Flickr set and scroll over the first image, different parts of the machine are tagged with explanations, such as where the emulsion is chilled, and that the coating head and roller are the "business end."

Via Boingboing

Leaftist Propaganda

2009-12-04T10:23:00.000-08:00

I should retitle this blog "The Christoph Niemann link dump" because I always end up posting links to his NY Times Abstract City pieces. But I love them!

The latest is Bio-Diversity, where he cuts leaves into shapes and gives them funny names. I have to admit, the concepts never sound that promising, but his execution is always so creative and funny. I suspect I also like them because they involve puns.

Attack of the $30-Million Production Deal

2009-12-01T10:25:00.000-08:00

My Mom grew up in Uruguay, so whenever any of us see Uruguay mentioned in the news, we get all excited and e-mail each other, because it doesn't happen that often, because IT'S URUGUAY.

This morning Paul saw a piece in the LA Times about young Uruguayan filmmaker Federico "Fede" Alvarez. Alvarez, who runs a post-production effects house, created a 5-minute short film called "Ataque de Pánico!" (Panic Attack, for those of you who took French in High School) that caught the attention of Hollywood mainly through YouTube and word of mouth. Alvarez got on an airplane, made the EXTREMELY LONG flight to LA, and a few days later he had a $30-million deal with Mandate pictures to make a feature.

This story has so many great elements, but my favorites are the description by the Times that the short film "depicts an invasion of Montevideo by a battalion of giant robots" and the fact that it first gained attention on KANYE WEST'S BLOG (where it was no doubt discussed in all caps). Montevideo is the capital city of Uruguay, and giant robots invading it would be like an alien invasion happening in...Barstow. Or like...Fresno. NOT THAT THERE'S ANYTHING WRONG WITH THOSE PLACES! I'm just saying.

So bravo Fede, bravo Uruguay, and bravo Mandate pictures for taking a chance on what they think will be the Next Big Thing. Maybe soon we can all go to the multiplex to see Mate flying everywhere as Uruguayans battle aliens (Uruguay inside-joke!)

Here's the short film that started it all.

UPDATE: My Mom's reaction to the video: "It was panic inducing indeed, since every single scene took place in locations that are quintessential Montevideo, and part of my very consciousness. The little boy looks like an angel, typical Uruguayan look. Apparently the love for whole cities being blown up by invading aliens crosses cultural borders. Can't wait for the upcoming project!"

LA Times - Hollywood Has a 'Panic Attack!'

Peter Schjeldahl And I Are Different: An Exploration

2009-11-17T15:04:00.000-08:00

I love and cherish the New Yorker magazine, but it just. Comes. So. Often. Am I right, New Yorker subscribers? There is a lot in each issue! It's not like Us Weekly where you can knock one out during your lunch break. That thing is DENSE. And you get one and then a week later you get another? Craziness. (I'm just teasing, New Yorker. Don't ever change. Kisses.)

Anyway, I was reading the New Yorker from last April, and there was a cool little article by Peter Schjeldahl about a show at the Frick that included pieces on loan from the Norton Simon.

I feel like the Norton Simon keeps sort of a low profile in LA, but yet it's amazing. Peter Schjeldahl said something like "It has the best painting collection on the West Coast." That is a guesstiquote, because I don't have access to the article because back issues of the New Yorker online is by subscription only (cough*EVIL*cough.)

Schjeldahl's article addresses the idea that memory is inherently subjective and imperfect, especially when it comes to art. We might remember one detail in stark clarity, but completely forget another aspect of a painting. He makes specific reference to a painting by Francisco de Zurbarán,"Still Life with Lemons, Oranges, and a Rose." Here's the painting:

I can't say this painting is lighting my fire, which would probably be way #1 in which I am different than Peter Schjeldahl. He LOVES this painting, specifically the citrons (they're obviously citrons and not lemons - what are you, an idiot?) The second way I am not like him was revealed when he started talking about how the items in the painting are supposed to represent the virtues of the Virgin Mary. He was like "Yeah, strength and purity and blah blah blah, I don't care about symbolism."

People, he literally said BLAH BLAH BLAH. At least, I think he did...it's too bad that I can't access the original article online to quote him in full. But anyway the point is that he could care less about symbolism, and just wants to talk about how the citrons are yellow and green and stuff.

I think symbolism is truly my favorite part of art. When Paul and I were at the Louvre, there were a million paintings of like, very specific scenes from myths or the Bible, or tableaux that looked like a woman carrying a basket, but were actually complicated political endorsements. Luckily, we had the museum audioguide, and I was so excited to sit and listen to the soothing British voice explain that this Flemish painting is actually an allegory condemning lust, and the fish represents immoral women and the sausage links represent wicked men, and the kitchen maid represents purity, and the dog at her feet is the holy spirit, or whatever. I mean, it was truly fascinating to me to hear how each detail was like a puzzle piece in the story of the painting's meaning.

So there you go: Peter Schjeldahl and I are different. If you want proof, here is a picture of me sitting on a bench, as the audioguide whispers to me all the secrets of the paintings.

Oh and P.S., if you are looking for an excuse to visit the Norton Simon, we have a great class coming up around Ingres's 'Comtesse d'Haussonville,' which is actually on loan from the Frick (they share!) Click here for details.

Lady Gaga is Wearing the Alexander McQueen Space Alien Shoes!

2009-11-12T11:04:00.001-08:00

People, Arts Blog is in an uproar today over Lady Gaga's new video. As we were doing work sanctioned research by watching the recently released Lady Gaga video for "Bad Romance," we noticed something that made us squeal with delight.

LADY GAGA IS WEARING THE ALEXANDER MCQUEEN SPACE SHOES FOR HOT ALIENS.

If you need to catch up, read this post. I'll wait.

Crazy shoes, right? Anyway, the actual video is a little bit too risque to post here (there is a part with a tushy), but you can go join the millions of people that are watching it on YouTube right now. Luckily, Jezebel has a breakdown of the video with stills, and in those stills you can see the shoes.

These are the crazy shoes that looked like squeezed out ropes of toothpaste sticking together that I didn't love at first. However, I will say that I am warming up to them a bit here on Gaga's feet.

Here is a close-up of the giant mood ring hoof shoes. She is in motion here, which is pretty awesome feat.

Here she is wearing an entire outfit that looks to be the same material and design as the shoes. Is it a little too matchy-matchy? Does it matter if you live on Alpha Centari?

And finally, the toothpaste shoes again. They definitely go with her outfit, which is a bear.

In conclusion, Lada Gaga is the parton saint of Arts Blog, and we are glad that she is visiting this planet to do good, and make catchy dance music.

Better Now? Or Now?

2009-11-10T13:41:00.000-08:00

When I go to the optometrist, he sits me in the chair and pulls the eye thingy up to my face. Then he clicks through the lenses, saying "Better now (click) or now (click). Better now (click) or now (click)." Sometimes it's hard to tell which is better! I have to really focus (zing!) to determine which image is clearer.

These pictures from the class Environmental Portraiture reminded me of that experience, but in this case, there's no question about the better image. Instructor Josh Sanseri has set up a before and after that illustrate how a portrait can be transformed with the right techniques.

The model here is student Larry Wurzel. Volunteer in class, people! Also, these shots were taken on campus in Dodd Hall, and I can honestly say, Dodd has never looked better. So majestic! It really looks like a sanctum of learning.

If you want to know what secret photo magic Josh used to transform blah picture A into oooh aaaah picture B, take the class! I am not expert enough to say in detail, but I have sat in on enough classes to know that it probably has something to do with the white balance. Right?

AAAHHHHHHHHHHHHHHHH!!!

2009-11-06T09:35:00.000-08:00

For Halloween, 3-D artist and videogame designer Eric Testroete created a papercraft blow-up of his own head, and wore it over his regular head.

This strikes me as one of the eerier things I have ever seen. On his website, Eric says that he "really wanted to get the faceted geosphere look with wireframe."

Yes indeed! Apparently he was also inspired by "big head mode" in videogames, which is a secret thing that you unlock, and then all the characters' heads get blown up 150%. What?

I recommend checking out the whole set of photos, but here are some images of Eric's unholy costume, and the steps he took to create it.

Way to go Eric! David Lynch is ready for your close-up.

Via Laughingsquid

Kevin Van Aelst - Sublime Simplicity

2009-11-03T13:49:00.000-08:00

I love and am tickled by the work of artist Kevin Van Aelst, who represents complicated ideas with everyday, mundane objects. In his own words:

"My color photographs consist of common artifacts and scenes from everyday life, which have been rearranged, assembled, and constructed into various forms, patterns, and illustrations. The images aim to examine the distance between the ‘big picture’ and the ‘little things’ in life—the banalities of our daily lives, and the sublime notions of identity and existence."

Though I don't 100% understand what that means, I love the way that these objects, which you would pass by everyday without a second glance, become magical and meaningful in the photographs.

Kevin Van Aelst Website

Go with the Flowchart

2009-10-30T10:25:00.000-07:00

What is it about flowcharts that I find so amusing? They are so factual and grey and math-based. But combine them with pop culture, and the uncanny melding of stoicism and irreverence makes for great fun. It's like if your grumpy, musty old calculus teacher suddenly busted into the humpty dance.

Take this flowchart for the song "Hey Jude". "Hey Jude" is a great song. No one is disputing that. But break it down into its composite elements, and you get this adorable map of the lines, chorus, and of course the final, joyous Na na na NA NA NA NA. Look how fun (and surprisingly repetitive) "Hey Jude" is now! It's like a subway map, where you could catch the train at Don't and ride it all the way to Better Better Better Better WAAA.

Click to enlarge

I think this next one is less technically sucessful (as a flowchart) but more enjoyable (as an awesome song). It's "Total Eclipse of the Heart" - the flowchart.

Here is my question: where is "And if you'll only hold me tight/we'll be holding on forever"??? I realize that the whole, 6.5 minute song is not represented here, but those are vital, soaring lines.

A while ago I had a conversation with my boyfriend where he told me that the same guy who wrote "Total Eclipse of the Heart" wrote most of the songs on Meatloaf's Bat out of Hell, including a personal favorite, "I Would Do Anything for Love." I was like "Get out of town," but then I thought, wait a minute, they are actually really similar! They start of all quiet and melodic, and then in the middle they each rachet up a key and become all belty and powerful (think about "And I need you now tonight/and I need you more than ever!" vs. "I would do anything for love/anything you've been dreaming of." )

If you take away only one thing from this blog post, I guess it should be that I enjoy the work of Jim Steinman.

Via Laughingsquid

Norman Rockwell Took Painterly Liberties

2009-10-28T16:30:00.000-07:00

Gizmodo has an interesting post about Norman Rockwell, the "original king of Photoshop."

"Wait just a minute" you may be thinking to yourself. "I'm pretty sure Photoshop was not around during America's golden 40s and 50s."

You would be right, but as the new book Norman Rockwell: Behind the Camera illustrates, Rockwell set up carefully posed and art-directed photo shoots, which he later referenced as he created his paintings. Taking a face here and a gesture there, he combined subjects into whole scenes, none of which existed in the original photos.