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In 2013, CalArts opened its John Baldessari Art Studios, which cost $3.1 million to build, and features approximately 7,000 square feet of space for MFA Art students and program courses. In addition to debt, funding for the studios was partially raised by the sale of artwork donated by School of Art alumni, for whom each studio was then named. [21]
The CalArts Center for New Performance (CNP) is the professional producing arm of the California Institute of the Arts. [1]Founded in 2002 by Susan Solt, Travis Preston, and Carol Bixler and launched with Travis Preston's groundbreaking all female production of King Lear, and originally called the CalArts Center for New Theater, the name was changed in 2005.
Film, television, and recording studio complexes, traditionally built in California, were being built in Florida, Texas, among other places. With diminishing interest in the commercial art sector, many of California's non-profit fine arts institutions and the state's educational community were feeling the effects of a financial backlash. [6]
The California Institute of the Arts board Chair Tim Disney will be stepping down after eight years and CalArts trustee Charmaine Jefferson will take his spot.
Ward attended CalArts, where he became friends with J. G. Quintel and Alex Hirsch. They later worked on The Marvelous Misadventures of Flapjack together. Eric Homan, vice president of Frederator Studios, offered Ward a job at the studios after watching one of his films at the annual CalArts animation screenings. [6]
Lavine additionally expressed an institutional ambition for CalArts to contribute to the local community and participate in a broader dialogue about emerging forms of art and performance. The aim was to offer Los Angeles residents exposure to innovative art forms more consistently than occasional events (e.g. 1984 Olympic Arts Festival).
Lawson is arguably better known for his critical writing and tenure as Dean at CalArts than for his painting. However, critics in the 2000s, such as Andrew Berardini, began suggesting that his painting was due for a reassessment for its role in broadening the parameters of appropriated imagery and offering a nuanced, critical alternative to conceptual art and neo-expressionist painting in the ...
Womanhouse (January 30 – February 28, 1972) was a feminist art installation and performance space organized by Judy Chicago and Miriam Schapiro, co-founders of the California Institute of the Arts Feminist Art Program, and was the first public exhibition of art centered upon female empowerment.