CalArts Viewbook 2011-2013

cal arts

California Institute of the Arts 2011‑2013

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A] CalArts students limber up for A Peace Walk for Burma.

B] Dance students in a site-based work created with visiting choreographer Joanna Haigood.

C] Visiting composer Sandeep Bhagwati

(center) leads a 30-piece configuration of the

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New Century Players—the professional facultystudent new music ensemble of The Herb Alpert School of Music—in a rehearsal ahead of the world premiere of Bhagwati’s full-evening piece, Vineland Stelae, at the Roy and Edna Disney/ CalArts Theater (REDCAT).

D] The S. Mark Taper Courtyard provides open-lawn seating for large-scale concerts at The Wild Beast, CalArts’ new variable-use music pavilion.

E] Balinese music and dance from Gamelan Burat Wangi (“Fragrant Offering”) greets arrivals at graduation.

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E

F] The opening reception of the School of Art

group exhibition Back in the Discourse, with live performances from stylized rope-jumping to wonky rock music.

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G] The dedication of The Wild Beast, named

so in honor of the work of composer Morton Feldman—who used the term “wild beast” as a metaphor for the generative force in art.

Academic degrees

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Student Services

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School of Art

11

School of Critical Studies

21

The Sharon Disney Lund School of Dance

31

School of Film/Video

41

The Herb Alpert School of Music

51

School of Theater

61

CAP/CNP/REDCAT

71

apply to CalArts

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Accreditation

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HISTORY AND CAMPUS CalArts was established by Walt E. and Roy O. Disney through the merger of two professional schools: the Los Angeles Conservatory of Music, founded in 1883, and the Chouinard Art Institute, founded in 1921.

In 1971, CalArts moved to its permanent campus in Valencia, 30 miles north of downtown Los Angeles. In addition to six schools—Art, Critical Studies, Dance, Film/ Video, Music and Theater—CalArts also operates the Roy and Edna Disney/CalArts Theater (REDCAT) in downtown Los Angeles and leads the Community Arts Partnership (CAP) youth arts education program.

The Valencia campus occupies 60 acres on hills overlooking the Santa Clarita Valley.

At the center of campus is a five-level, 500,000- square-foot building, where different arts share space under one roof.

Spread on sloping hillsides around the main building are the new Wild Beast music pavilion, two residence halls, and other buildings containing studios and various production and performance spaces. Students have 24/7 access to studios, shops, labs, editing suites and other production facilities throughout the academic year. Outdoor recreational features include a swimming pool and tennis and basketball courts, while open fields and ample lawns dotted with shade trees allow for quiet reading and casual sports. CalArts students also have access to the vast cultural and professional resources of metropolitan Los Angeles, the second largest city in the United States.

California Institute of the Arts is an internationally recognized pacesetter in the training of professional artists.

With rigorous programs in the visual, performing, media and literary arts, our six schools house an exceptional creative community—and deliver an educational experience unlike any other. CalArts students make art in a fast-paced, forwardlooking environment with the guidance of a faculty of professional artists and thinkers who are each at the leading edge of their respective fields. Our mission here is to nurture artists whose work matters to the state of culture today, and who advance the role of the arts as a powerful catalyst in shaping the life of our local, national and global communities.

Our founding vision was to bring different art forms together and allow them to crosspollinate, in the process fostering collaboration and sparking innovation. We stand by this vision now more than ever. The work being carried out at CalArts encompasses an exhilaratingly diverse range of artistic practices and cultures as our students expand the time-tested forms of each discipline—and go on to chart innovative new paths beyond conventional boundaries.

The CalArts educational philosophy is based on close collegial interaction between teachers and students—in class, in production and in one-to-one mentoring. This approach combines rigorous instruction with individualized attention, a process that empowers students to define their own personal objectives—and to develop and refine their own distinctive artistic voices. Given more creative freedom than at traditional art schools and conservatories, our students, in turn, are self-motivated, passionate, and deeply committed to their work. They are accepted into CalArts primarily on the basis of their artistic ability; once here, they produce art from day one.

Our various ensembles, productions and publications, our extensive visiting artist roster, and our art and performance venue in downtown Los Angeles—the Roy and Edna Disney/CalArts Theater (redcat)—connect us with professional creative communities at

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the national and international levels. Students also regularly take part in festivals, conferences and exchanges around the world. Closer to home, the widely emulated Community Arts Partnership (CAP), a partnership between CalArts and scores of community groups and public schools, delivers arts education programs to Los Angeles youth while at the same time providing our students with valuable teaching experience and an additional source of income.

During the economic crisis of the last years, we at CalArts have carefully managed our resources to ensure that we begin the second decade of the 21st century in a position of strength. We have kept our faculty intact and expanded academic offerings to stay abreast of a range of new and emerging art practices. Importantly, we have also been able to increase financial aid for our students.

As a result, CalArts today continues to make the most thoroughgoing attempt of any arts college to place the education of artists in a mutually strengthening ecology that links campus, community and the broader world. We are striving toward a new synthesis of student and professional, learning and creating, local and global. What begins at CalArts is then carried forward by our alumni—who are shaping and reshaping the very future of the arts.

Steven D. Lavine President, California Institute of the Arts

Dr. Lavine has been president of CalArts since 1988. He serves on the boards of Idyllwild Arts Foundation, Endowments Inc., KCRW 89.9 FM National Public Radio, the Strategic National Arts Alumni Project (SNAAP), and the Villa Aurora Foundation for European–American Relations, and advises other arts and education groups.

He has co-edited, with Ivan Karp, two collections on the poetics and politics of public culture.

Student Population

FROM THE OFFICE OF THE PROVOST Nancy J. Uscher

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o Total enrollment: 1392 Undergraduate (bfa) students: 888 (64%) Graduate and doctoral (mfa, ma, dma) students: 504 (36%) Acceptance rate: 33% / Retention rate: 92%

How does CalArts empower its students to be visionary artists, resourceful thinkers, and purposeful citizens? We have fashioned a set of curricular and coping tools to help students to imagine not only where in the art world they may able to thrive, but also what new horizons they might create for themselves.

Areas of Study

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22% School of Art 04% School of Critical Studies 06% The Sharon Disney Lund School of Dance 29% School of Film/Video 20% School of Theater 19% The Herb Alpert School of Music

CalArts is committed to developing every student’s artistry and technique; the ability to contextualize his or her practice within a large and diverse societal framework; and the flexibility and resourcefulness to adapt and flourish within a rapidly evolving global landscape of artmaking. Being able to learn, experiment, sometime even fail and then start all over again with the help and support of a faculty of experienced working artists is the key to long-term success after school.

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As provost, I am dedicated to providing the resources, facilities, faculty and friendships that lay the foundation for a self-reliant, cutting-edge artist and a smart, caring and able individual who may actually change the world.

Dr. Uscher was appointed provost of CalArts in 2004. She was formerly associate provost of the University of New Mexico. A distinguished violist, Dr. Uscher has performed with various ensembles and orchestras. She has also authored two music education guidebooks.

See detailed program descriptions at

calarts.edu/ programs

ACADEMIC DEGREES

Current course listings are available at

CalArts offers degree programs at the undergraduate, graduate and doctoral levels.

calarts.edu/courses

Undergraduate programs lead to the Bachelor of Fine Arts (bfa) degree while all but one of the graduate programs lead to the Master of Fine Arts (mfa) degree. The remaining graduate program leads to a Master of Arts (ma) degree. Our doctoral program, meanwhile, culminates with a Doctor of Musical Arts (dma) degree.

To apply to any of the programs at CalArts, go to

calarts.edu/apply

All application, audition and portfolio instructions are listed on the CalArts application web page.

BFA programs take four years, or eight semesters, to complete. To obtain the bfa degree, candidates need to complete all of their program’s course requirements as well as the Critical Studies Undergraduate Requirements. bfa candidates must also pass faculty reviews of their creative work and, in the case of some programs, carry out a final project.

MFA programs take either two or three years to complete, depending on the individual program. To receive the mfa degree, candidates must fulfill all program requirements and pass at least two faculty reviews of their work—once at mid-residency and again before graduation.

Graduate students are further required to present a thesis project of professional quality.

The MA program, the Aesthetics and Politics Program, takes only one year to complete.

In addition to meeting all course requirements, candidates for the ma degree must write a graduate thesis.

The DMA Performer-Composer Program is an intensive, though individualized, threeyear course of study that concludes with the completion of a doctoral project.

Interschool degrees, or double majors, are available to a small number of advanced third- and fourth-year undergraduates and graduate students whose skills, previous training and artistic interests warrant pursuing a degree in more than one school at CalArts. In addition, most mfa programs offer a Supplemental Concentration in Integrated Media for advanced students working mainly with digital technology and particpatory media.

Undergraduates who do not wish to pursue a bfa degree may obtain a Certificate of Fine Arts as the culmination of a course of study that does not require Critical Studies credits. Students who are qualified at the mfa level in their chosen field but do not hold an undergraduate degree may work toward an Advanced Certificate of Fine Arts. Generally, very few applicants are admitted to CalArts to pursue such courses of study.

SCHOOLS AND PROGRAMS CalArts welcomes applications to the following programs:

School of Art Program in Art (BFA, MFA) Program in Graphic Design (BFA, MFA) with a specialization available in: Motion Graphics* (MFA level only) Program in Photography and Media (BFA, MFA) Program in Art and Technology (MFA only)

School of Critical Studies Writing Program (MFA only) Aesthetics and Politics Program (MA only)

The Sharon Disney Lund School of Dance Program in Dance (BFA, MFA) The BFA Program in Dance emphasizes performance, choreography and dance production. The MFA Program in Dance emphasizes choreography.

School of Film/Video Program in Film and Video (BFA, MFA) Program in Experimental Animation (BFA, MFA) Program in Character Animation (BFA only) Film Directing Program (MFA only)

The Herb Alpert School of Music Performer-Composer Program (third- and fourth-year BFA, MFA, DMA)

with a specialization available in: African American Improvisational Music (MFA level only)

Composition Program (BFA, MFA) with a specialization available in: Experimental Sound Practices (MFA level only)

Programs in Performance:

Acting Program (BFA, MFA) Directing Program (MFA only) Writing for Performance Program (MFA only) with a specialization available in: Puppetry–Cotsen Center for Puppetry and the Arts (BFA, MFA levels)

Jazz Program (BFA, MFA)

Programs in Design and Production:

Programs in Performance: African Music and Dance Program (MFA only) Balinese and Javanese Music and Dance Program (MFA only) Brass Program (BFA, MFA) Guitar Program (BFA, MFA) Harp Program (BFA, MFA) North Indian Music Program (MFA only) Percussion Program (BFA, MFA) Piano/Keyboard Program (BFA, MFA) with a specialization available in: Collaborative Keyboard (MFA level only) Strings Program (BFA, MFA) Voice Program (BFA, MFA) Winds Program (BFA, MFA) World Music Program (BFA only) World Percussion Program (MFA only)

Scene Design Program (BFA, MFA) with specializations available in: Puppetry–Cotsen Center for Puppetry and the Arts

Program in Music Technology: Interaction, Intelligence and Design (BFA, MFA) Musical Arts Program (BFA only)

*Pending NASAD approval.

School of Theater

(BFA, MFA levels)

Scene Painting (MFA level only) Video for Performance (MFA level only) Costume Design Program (BFA, MFA) Lighting Design Program (BFA, MFA) Sound Design Program (BFA, MFA) Technical Direction Program (BFA, MFA) Management Program (BFA, MFA) with specializations available in: Producing (MFA level only) Production Management (MFA level only) Stage Management (BFA, MFA levels) First-year BFA applicants interested in any one of the Design and Production areas of study are required to apply to the overall Programs in Design and Production rather than to an individual program. After completing one year of general foundation studies, students may then concentrate their work in one or more individual programs beginning in the second year. BFA transfer and MFA applicants are asked to choose an individual Design and Production program when applying to CalArts.

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Mentoring and Academic Advising Close working relationships between faculty and students are absolutely central to the learning experience at CalArts, made possible by low student-faculty ratios and small classes. Throughout each student’s residency, he or she will work individually with a mentor, a faculty member who will serve as that student’s main artistic advisor.

The creative guidance provided by the student’s mentor will be complemented by an academic advisor, who will assist in managing the requirements of each student’s degree program.

The artistic and academic progress of every student is assessed through a combination of course evaluations and faculty reviews.

Separately, the CalArts First-Year Experience features a series of activities, events and workshops designed to introduce all incoming BFA students to the ideas and values that underpin the life of our community here.

Critical Studies Undergraduate Requirements All undergraduates pursuing the BFA degree must complete a range of liberal arts courses throughout their residency at CalArts. This curriculum ensures that each BFA student graduates with the broad knowledge and cultural sophistication needed today for careers in the arts.

BFA candidates take two or three Critical Studies classes per semester. This amounts to about 40 percent of each student’s overall course load. Undergraduate students who hold previous bachelor’s degrees must complete at least six Critical Studies classes in order to obtain a BFA degree from CalArts.

See calarts.edu/undergraduate for details.

STUDENT SERVICES

Student Population: GENDER

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51% female | 49% male

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U.S. students: 89% 09% African American 12% Asian American 65% Caucasian American 11% Hispanic/Latino American 01% Native American 02% Other International students: 11% 2009-10 Academic Year

Food Services All first-year undergraduates living on campus are required to enroll in a meal plan with the Café@CalArts, the Institute’s primary food service provider. CalArts also has a coffee shop located in the Donn B. Tatum Lounge and a student-run café, Mom’s, in Chouinard Hall.

Health Services A registered nurse is available on campus on weekdays to give first aid for minor injuries, perform some diagnostic tests, and advise students who need more specialized care. All other medical matters are referred to appropriate physicians. Students are required to purchase basic medical insurance through CalArts for a minimal fee, which is added to tuition. Students who are already covered by an existing policy can waive this insurance.

Office of Student Affairs The Office of Student Affairs delivers various services to help students to adjust to life on campus and derive the most benefit from their CalArts education. These services range from counseling and crisis intervention to career development workshops designed aimed at preparing students to make the transition from school to professional life. This office also serves as a resource center for peer tutoring, disability services, and club support.

49 states, the District of Columbia, Puerto Rico, and 34 countries

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Students who wish to live on campus should contact the Housing Office immediately after being accepted by CalArts. Please visit calarts.edu/housing for more information or write to oncampushousing@calarts.edu.

See calarts.edu/health for more information.

Geographic representation:

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On-Campus Housing Chouinard Hall houses approximately 340 students in double- and triple occupancy dormitory rooms and is available to students in all year levels. Each room is furnished with twin beds, desks, chairs, dressers and a closet. There is a shared bathroom for every two rooms. Cooking pantries are located on each floor. Ahmanson Hall features 17 suites housing a total of 99 students. It is available to graduate students, third- and fourth-year undergraduate students, and students over the age of 30.

Each suite features five or six private bedrooms, a common living room, a kitchen and a bathroom.

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Please visit calarts.edu/studentaffairs.

Library The Division of Library and Information Resources provides an array of collections, programs, services and study spaces to support and encourage artistic expression and learning. The division manages the CalArts Library and the CalArts computer network, which includes campus-wide internet access and e-mail accounts for all students, faculty and alumni.

The Library is a central location for study, research and leisure. It offers students individual attention from professional librarians in the areas of research assistance and wireless network access to draw on worldwide information resources. The Library’s holdings include unique collections of books, films, videos, exhibition catalogues, music scores, sound recordings, scholarly and trade periodicals, electronic journals, photographic slides, digital images, and computer software. Open every day during academic sessions, this facility is equipped with public workstations, a computer lab for multimedia applications, audio and video playback equipment, and printers.

For more information about the Library and its resources, see calarts.edu/library.

H] Fire-breathing at Halloween 09.

I] Back in the Discourse opening reception.

J] Balloons go up for the newest CalArts graduating class.

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A] Making mud in the L-Shaped Gallery.

B] The School of Art’s BFA Foundation Show.

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B

art school of

DEAN’S INTRODUCTION Thomas Lawson

FACULTY Thomas Lawson Jill and Peter Kraus Distinguished Chair in Art, Dean

Darcy Huebler Associate Dean

Tom Bland Assistant Dean for technology

Program in Art Anoka Faruqee Program Co-Director

Martin Kersels

Program in Photography and Media Natalie Bookchin

Program Co-Director

Program Co-Director

Michael Asher Karen Atkinson Jessica Bronson Leslie Dick Sam Durant

Ashley Hunt

Robert Fitzpatrick Chair in Art

Charles Gaines Connie Hatch Darcy Huebler Thomas Lawson John Mandel Shirley Tse Millie Wilson Program in Graphic Design Michael Worthington Program Co-Director

Scott Zukowski Program Co-Director

Caryn Aono Tom Bland Edward Fella Jeffery Keedy Louise Sandhaus Gail Swanlund Lorraine Wild

Program Co-Director

Ellen Birrell Shari Bond Kaucyila Brooke Jo Ann Callis Judy Fiskin Andrew Freeman Harry Gamboa Jr. Allan Sekula Billy Woodberry Program in Art and Technology Tom Leeser Program Director

Tom Jennings Technical Faculty Tom Bland Robert Dansby Chris Peters Shelley Stepp Darrell Walters

Faculty bios are online at art.calarts.edu/faculty.

As a sanctuary for experimentation and crossdisciplinary artmaking, the School of Art provides a forum in which to set forth new ideas in art and an intellectual framework in which to understand such work. This commitment to artistic innovation and critical reflection has been the key to our enviable success in training the practitioners who go on to make important contributions to their respective fields. Our faculty seeks out highly motivated, independent-minded students with a strong desire to make art and to challenge conventional ideas. With mentoring and one-on-one critiques at the heart of an intensive educational experience, students are guaranteed the flexibility to chart their own creative development, whether in painting or video, photography or performance, typography or sculpture, digital imaging or sound installation, or, increasingly, new options in multimedia technologies. We give students the necessary room to find their own voices.

Our Programs in Art, Graphic Design, Photography and Media, and Art and Technology offer specific courses of study—and yet none is isolated from the others. We strongly encourage students to collaborate with one another across disciplines and to investigate hybrid art forms—not only within the School of Art but also throughout all of CalArts.

All members of our faculty maintain active careers beyond the classroom. As a result, they are able to share insights on concerns and issues common to working artists, even as their backgrounds, philosophies and practices are richly diverse. This level of experience provides students with the information and intellectual skills they need to fully understand the complexities facing the professional artist today. We also invite to our campus each year some 75 visiting artists, designers and theorists from around the world to broaden the debate on contemporary art. This accumulation of expertise provides an invaluable foundation on which students can build an independent practice and expand, as many School of Art alumni already have done, the limits of artmaking. art.calarts.edu

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art See detailed program descriptions at

art.calarts.edu/ programs Current course listings are available at

calarts.edu/courses To apply to any of the programs offered by the School of Art, go to

calarts.edu/apply.

All application and portfolio instructions are listed on the CalArts application web page.

Visiting Faculty The School of Art’s resident faculty is supplemented by visiting faculty members who each spend one or more semesters at CalArts. In the spring of 2010, visiting faculty included:

Program in Art Sadie Benning Kianga Ford Michael Ned Holte Jeffrey Vallance Michael Webster Sara Wookey Liz Young

Program in Graphic Design David Cabianca Joyce Lightbody Mark Owens Brian Roettinger Stuart Smith Scott Taylor Brad Tucker Natalie Zimmerman

Program in Photography and Media Leigh Ledare Dont Rhine

PROGRAM IN ART Four-year BFA, two-year MFA

The Program in Art invites students to question accepted ideas about contemporary art.

Encompassing both studio practice and theory, it challenges artists to gain critical selfawareness about their own work and better understand the issues and contexts that inform artmaking today. Students are not required to concentrate on a particular medium; instead, the program relies on a flexible structure of individualized instruction and mentoring so that each artist can articulate his or her ideas, develop working methodologies, and successfully realize independent studio work.

PROGRAM IN GRAPHIC DESIGN Four-year BFA, two-year MFA, three-year MFA

The rigorous Program in Graphic Design prepares students for a wide range of professional options—from publication design to web design, from film title and broadcast design to exhibition design, from type design to careers in design education. The program emphasizes both formal and conceptual skills, and enables each designer to integrate a command of visual language with imagination, theory and technology. with a specialization available in: Motion Graphics* MFA level only

PROGRAM IN PHOTOGRAPHY AND MEDIA Four-year BFA, two-year MFA This program readies artists to pursue an independent creative practice in a world saturated with photography and new media. From undergraduate foundation work through graduate studies, the program’s curriculum explores, examines and asks questions of contemporary modes of photography and media, and encourages students to engage in close critical analysis, extensive debate, and experimentation.

PROGRAM IN ART AND TECHNOLOGY Two-year MFA only Launched in 2010, the graduate Program in Art and Technology enables students to investigate the creative and critical issues in artmaking today that involve new and emerging technologies—from object-based media to interactive design, from immersive installation to hybrid performance. Students in this program are asked to develop a critical point of view regarding the social and political aspects that inform the way technology is functioning in contemporary culture.

Supplemental Concentration in Integrated Media The mfa Program in Art and the mfa Program in Photography and Media offer a supplemental concentration, via the institute-wide Center for Integrated Media (cim), for artists who wish to combine studio work with an exploration of interdisciplinary practices, participatory media, and interactive technologies. *Pending NASAD approval.

Program in Art

ALUMNI of the

School of Art include:

Mark Allen (MFA 99) Edgar Arceneaux (MFA 01) Judie Bamber (BFA 83) Ericka Beckman (MFA 76) Jeremy Blake (MFA 95) Nayland Blake (MFA 84) Ross Bleckner (MFA 73) Barbara Bloom (BFA 72) Andrea Bowers (MFA 92) Mark Bradford (MFA 97, BFA 95)

Anthony Burdin (BFA 94) Ingrid Calame (MFA 96) Barbara Carrasco (MFA 91) James Casebere (MFA 79) Meg Cranston (MFA 86) Dorit Cypis (MFA 77) Mariechen Danz (MFA 08) Tomory Dodge (MFA 04) Kate Erickson (MFA 82) Eric Fischl (BFA 72) Jill Giegerich (MFA 77) Liz Glynn (MFA 08) Guillermo Gomez-Peña (MFA 83, BFA 81)

Sharon Greytak (MFA 82) Kira Lynn Harris (MFA 98) Steven Hull (MFA 97, BFA 95) Jim Isermann (MFA 80) Cameron Jamie (BFA 95) Mike Kelley (MFA 78) Tran T. Kim-Trang (MFA 93) David Kordansky (MFA 02) Rachel Lachowitz (BFA 88) Suzanne Lacy (MFA 73) Elad Lassry (Art–Film/Video BFA 03)

Rodney McMillian (MFA 02) John Miller (MFA 79) Dave Muller (MFA 93) Matt Mullican (BFA 74) Alex Olson (MFA 08) Rubén Ortiz-Torres (MFA 92) Tony Oursler (BFA 79) Laura Owens (MFA 94) Lari Pittman (MFA 76, BFA 74) Monique Prieto (MFA 94, BFA 92) Stephen Prina (MFA 80) Marina Rosenfeld (Art–Music MFA 94)

David Salle (MFA 75, BFA 73)

Jim Shaw (MFA 78) Kaari Upson (MFA 07, BFA 04) Lesley Vance (MFA 03) Faith Wilding (MFA 73) Christopher Williams (MFA 81, BFA 79)

Mel Ziegler (MFA 82)

Program in Graphic Design Sean Adams (BFA 86) and Noreen Morioka (BFA 88) Anne Burdick (MFA 92, BFA 91)

Ryan Corey (BFA 05) Denise Gonzales Crisp (MFA 96)

Kim Dulaney (BFA 05) Bucky Fukumoto (BFA 98) Barry Deck (MFA 89) Tahli Fisher (BFA 05) Jens Gehlhaar (MFA 97) Barbara Glauber (MFA 90) Hillary Greenbaum (MFA 05) Sibylle Hagmann (MFA 96) Yasmin Khan (MFA 05)

John Kieselhorst (MFA 96) Zak Kyes (BFA 05) Deborah Littlejohn (MFA 94) Kevin Lyons (MFA 96) Geoff McFetridge (MFA 95) Kali Nikitas (MFA 90) Jonathan Notaro (BFA 99) Michael Polish (BFA 92) Brian Roettinger (BFA 04) Riley Swift (BFA 03) Andrea Tinnes (MFA 98) Brad Tucker (BFA 02)

Program in Photography and Media Angus Andrews (BFA 99) James Baker (MFA 99) Nancy Barton (MFA 84, BFA 82) Julie Becker (MFA 96, BFA 94) Cindy Bernard (MFA 85, BFA 83)

Anne Collier (BFA 93) Miles Coolidge (MFA 92) Zoe Crosher (MFA 01)

Todd Gray (BFA 79, MFA 89) Lyle Ashton Harris (MFA 90) Violet Hopkins (MFA 02) Doug Ischar (MFA 87) Adria Julia (MFA 03) Robert Glenn Ketchum (MFA 73)

Helen Kim (MFA 99) Liz Larner (BFA 85) Miranda Lichtenstein (MFA 93)

Michael Mandiberg (MFA 03) Carter Mull (MFA 06) Kelly Nipper (MFA 95) Daniel J. Martinez (BFA 79) Catherine Opie (MFA 88) Kelly Poe (MFA 02) Alex Slade (MFA 93) Lucy Soutter (MFA 93) Haruko Tanaka (MFA 03) Jan Tumlir (MFA 88) Carrie Mae Weems (BFA 81) James Welling (MFA 74, BFA 72)

See art.calarts.edu/alumni.

C] Orlando Tirado Amador (MFA 10), ShamanColash, or Land, Sea, and Air (Self-Portrait), C-print with mirrored frame, 14 x 11 in.

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C

D] Mette Hersoug, documentation of the performance Film 03.

E] A mural created by Graphic Design

visiting type designer Christian Schwartz.

F] An end-of-year exhibition from the Program in Graphic Design, entitled We Made This.

MFA candidates Danae Moore and Jesse Lee Stout announces a presentation by

D

E F

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G H

G] Marilyn Lowey (MFA 10), Save It for a Rainy Day, installation with 19 processed fluorescent bulbs, 60 x 40 x 18 in.

H] Visiting Artist Miranda July

I

I] Margaret Haines (MFA 10), Trust Me, Sisthuh, installation with video and photos, dimensions variable.

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K

K] Nicholas Grenier (MFA 10), Vertically Integrated Community, oil on canvas, 86 x 122 in.

L] Graphic Design student Lila Burns’ music video for the band Japanther incorporates stop-motion animation techniques.

M] Graphic Design MFA candidates (from left) Jesse Lee Stout, Laura Bernstein and Ania Diakoff in critque.

L M

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A] Faculty member Arne De Boever leads

discussion in an upper-level philosophy class on “biopolitics,” which looks at the political administration today of questions of life and death within a historical context.

B] A reading by MFA candidates from the Writing Program at Skylight Books in Los Angeles— one of several off-campus events organized by the program each year.

s A

B

school of

critical studies DEAN’S INTRODUCTION Nancy Wood

The School of Critical Studies serves all CalArts students by incorporating intellectually rigorous methods of inquiry and reflection into the creative process. Our aim is to generate as much enthusiasm for reading, writing and critical thinking as for artmaking.

Faculty Nancy Wood Dean

Mady Schutzman Assistant Dean

Writing Program Faculty Christine Wertheim

Mady Schutzman

Program Chair | women’s writing, history of experimental writing, feminist studies

performance studies, anthropology, magical creative nonfiction

Tisa Bryant

fiction, gender studies, art criticism

fiction, hybrid forms, ethnicity and innovation

Steve Erickson the novel, Black Clock internships

Matias Viegener Jon Wagner film theory and history, critical writing, literary theory

Maggie Nelson

Bruce Bauman

poetry, autobiography, creative nonfiction

adjunct | short fiction

Janet Sarbanes fiction, narrative theory, cultural studies

Jen Hofer adjunct | poetics, DIY publishing

Michelle Tea adjunct | novel workshop

Aesthetics and Politics Program Faculty Martín Plot

Douglas Kearney

Program Co-Director political theory, American and Latin American politics and culture

cultural criticism, African American studies

James Wiltgen Program Co-Director critical theory in the arts, Latin American arts, border politics, composite cultures

Arne De Boever political and literary theory, philosophy, American studies, thesis workshop

Chandra Khan networked communities, South Asian and Pacific Rim politics and culture

Norman M. Klein cultural criticism, urban and media history

Nancy Wood historiography, photography, film studies

Critical Studies Undergraduate Faculty Most members of the graduate faculty also teach Critical Studies undergraduate classes. The undergraduate faculty includes:

Bill Alschuler

Mike Bryant

physical science, science and art

science

Vicki Stevens psychology

Faculty bios are online at criticalstudies.calarts.edu/faculty

We offer two graduate programs: the Master of Fine Arts (mfa) Writing Program and the Master of Arts (ma) Aesthetics and Politics Program. In addition, the School of Critical Studies provides a robust liberal arts education for every Bachelor of Fine Arts (bfa) candidate at the CalArts Schools of Art, Dance, Film/Video, Music and Theater.

In the mfa Writing Program, advanced writers pursue a variety of traditional and new forms, from narrative fiction to experimental criticism, from poetry to hypertext. Led by an artistically eclectic faculty, this program sets high standards for both creativity and craft. In particular, the program invites students to put forward experimental and interdisciplinary work—original practices that break with conventional categories and set new aesthetic horizons. mfa candidates have ample opportunities to read and/or perform their work, on campus and at venues across Los Angeles. The program and its students also produce a number of publications, most notably the nationally celebrated literary journal Black Clock, a showcase for cutting-edge writing edited by faculty member Steve Erickson.

The recently established ma Aesthetics and Politics Program focuses on the relationships between contemporary artmaking and aesthetic, critical and political theory. This concentrated one-year course of study is designed for undergraduate and graduate degree holders who wish to carry out scholarly work in a creative setting and artists who are especially interested in the nexus of artmaking and politics.

In both programs, the expertise of our faculty is augmented with an extensive series of readings, lectures, workshops and longer-term residencies by a diverse range of visiting writers, theorists and artists. Our students also benefit greatly from the dynamic, highly multidisciplinary environment of CalArts, where different branches of the arts freely commingle. They can take classes at other CalArts schools, and work on collaborative projects with other students working across the spectrum of the visual, performing and media arts.

The Critical Studies undergraduate curriculum, meanwhile, gives every CalArts bfa candidate a comprehensive, well-rounded education to complement his or her arts training.

Covering an array of topics across the humanities, social sciences, natural sciences and cultural studies, this curriculum provides the intellectual tools necessary for the study of the arts in a broad social and cultural context—and for making meaningful connections across a wide spectrum of artmaking practices. criticalstudies.calarts.edu

21

Writing Program |

Two-year MFA only

Housed in an arts college whose hallmark is creative experimentation, this multifaceted program is designed for advanced writers to explore many forms and styles of fiction, nonfiction, poetry, writing for performance, essay writing, criticism, translation, and hybrid composites of these. The program’s non-tracking curriculum and wide latitude allow students to extend the range of their skills and methods, and to incorporate understanding of historical, conceptual and social contexts into their writing practices.

critical Interschool Writing Program

The MFA Writing Program accommodates a limited number of students who pursue writing and a second course of study in another CalArts MFA Program, provided they are accepted by both programs.

Concentration in Integrated Media

The Writing Program also offers a supplemental concentration, via the institute-wide Center for Integrated Media (CIM), for students who wish to combine writing with an exploration of interdisciplinary practices, participatory media, and interactive technologies.

Aesthetics and Politics Program |

One-year MA only

This highly focused program serves as a forum for scholars and artists to engage debates within contemporary aesthetic, critical, and political discourse. Distinctly interdisciplinary in its approach, the program is especially suited for BA, BFA, and MFA degree holders who wish to develop their critical thinking in an intensive artistic environment, as well as for artists who seek to sharpen the theoretical and political dimensions of their work.

ALUMNI of the School of Critical Studies include: Writing Program Harold Abramowitz

Jeff Knowlton

Virginia Chiang

josé felipe alvergue

Brandon LaBelle

John D’Amico

Andrew Berardini

Andrea Lambert

Drew Denny

Allison Carter

Janice Lee

John Kern

Andrew Choate

Felicia Luna Lemus (MFA 00), novelist

Nate Schulman

Jason Brown

Jonathan Mann

Claudia Slanar

Lisa Dowda

Dana Marterella

Ken Ehrlich

Joe Milazzo

Malik Gaines

Karl Montevirgen

(MFA 06), writer and editor (MFA 04), poet

(MFA 06), cultural critic and essayist (MFA 07), novelist

(MFA 03), writer, artist, DJ and critic

(MFA 00), multimedia artist

(MFA 04), journalist

(MFA 99), multimedia artist and critic

(MFA 99), playwright, critic and curator

Joy Gregory

(MFA 99), writer, actor, director and producer

Liz Hansen

(MFA 00), screenwriter and editor

Jeremy Hight

(MFA 98), multimedia artist and educator

Vejea Jennings

All application and portfolio instructions are listed on the CalArts application web page.

(MA 09), artist (MA 09), actor

(MA 09), graphic designer

(MA 09), writer

Visiting Faculty, Lecturers and Speakers

(MFA 99), screenwriter

The resident faculties of the Writing Program and the Aesthetics and Politics Program are supplemented with a roster of distinguished writers, critics and scholars, some of whom conduct workshops or teach semester-long classes.

Andrea Richards

Recent visitors have included:

(MFA 00), composer and writer

Christopher Okum (MFA 99), nonfiction author and editor

Writing Program

Denise Spampinato

(MFA 02), writer, curator, filmmaker and educator

Brad Spence

Mathew Timmons

(MFA 02), novelist

(MA 09), writer and activist

(MFA 08), online publisher

Max Kim

Steven Knezevich

(MA 09), media theorist

(MFA 00), fiction writer and essayist

Freyda Thomas

(MFA 95), artist, writer and educator

calarts.edu/apply.

(MFA 06), songwriter

Douglas Kearney

Cheryl Klein

To apply to any of the programs offered by the School of critical studies, go to

(MFA 08), writer

David Stromberg

Soo Kim

calarts.edu/courses

(MFA 08), novelist

Steve Kandell

(MFA 07), writer

Current course listings are available at

(MFA 98), sound artist and writer

(MFA 96), artist, curator, critic and educator

(MFA 04), poet, performer and educator

criticalstudies. calarts.edu/programs

(MFA 99), multimedia artist

(MFA 05), poet and performer

(MFA 99), playwright and journalist

See detailed program descriptions at

Aesthetics and Politics Program

(MFA 05), writer and journalist

(MFA 01), actor, playwright and translator (MFA 05), poet and experimental novelist

Zane Thimmesch-Gill

(MFA 07), environmental researcher and writer

Andrew Vontz

(MFA 99), freelance journalist

(MFA 97), editor and gaming developer

See writing.calarts.edu/alumni

See aestheticsandpolitics.calarts. edu/alumni

Will Alexander Wanda Coleman John D’Agata Mark Z. Danielewski Latasha Diggs Harry Dodge Johanna Drucker Brian Evenson Kenneth Goldsmith Ernest Hardy Wayne Koestenbaum Rachel Kushner Sueyeun Juliette Lee Joseph McElroy Eileen Myles Salvador Plascencia Lisa Teasley Mónica de la Torre David Ulin Ronaldo V. Wilson Herberto Yépez Aesthetics and Politics Program

Andrew Arato Alain Badiou Stephanie Barron Adam Berg Jeffrey Goldfarb Hans Haacke Christopher Hitchens Ernesto Laclau Catherine Malabou Matthew McGarvey Karen Piper Samuel Weber

C] Graduating students from the MFA Writing Program read and/or perform selections from their work in an end-of-year showcase at REDCAT.

23

C

D] Recent books written by Critical Studies faculty.

E] Cory Garfin (MFA 08) takes the podium in an off-campus reading sponsored by the Writing Program.

D

25

E

F

F] Faculty member Steve Erickson, editor of Black Clock, the Writing Program’s nationally recognized literary journal.

G] Faculty member Bruce Bauman (center)

moderating the Writing Program’s MFA Thesis Seminar.

H] Aesthetics and Politics Program visiting

I] Writing Program faculty Maggie Nelson, a 2010 Guggenheim Fellow, gives a presentation at REDCAT on her award-winning book Women, the New York School, and Other True Abstractions.

27

speaker Christopher Hitchens.

G H

I

J

K

J] Critical Studies faculty Douglas Kearney (MFA 04, right), prize-winning poet, performer and librettist, leads students in a freestyle cypher.

K] Black Clock issue no. 11.

L

L] Assistant Dean Mady Schutzman (right) and class discuss the work of Argentine novelist Julio Cortázar in a Writing Program seminar titled “Testimony, Magical Realism, and the Carnivalesque.”

29

A] Choreographer Rebecca Levy’s (MFA 10) thesis concert, a program entitled Verve.

B] CalArts dancers enact site-based work

on campus.

da A

B

the Sharon Disney Lund school of

dance DEAN’S INTRODUCTION Stephan Koplowitz

Dance is a discipline that requires physical, intellectual and artistic sophistication. The comprehensive curricula of The Sharon Disney Lund School of Dance include rigorous training in traditional ballet and contemporary dance techniques as well as diverse contemporary approaches to cultivating complex physical skills and a range of artistic styles. Courses in improvisation, composition and choreography stimulate imagination, creativity, problem solving, and an ability to utilize craft to give shape and voice to personal artistic vision. Interdisciplinary courses investigate the potent relationships between dance and music, video, theater arts, and writing. In classes and on stage, students gain practical experience in all aspects of production, including lighting and costume design. A wide range of courses in history and cultural studies broaden and deepen perspective on dance as an art form and enable our students to become critically aware thinkers and artists. As CalArts alumni have amply shown, our programs—BFA and MFA— develop technically skilled, artistically intelligent dance artists with the broad knowledge necessary to be successful in the professional world as performers, choreographers and educators.

To study at CalArts means that you are a member of a unique institution, one that allows for cross-disciplinary work, the chance to meet colleagues across all the artistic disciplines, and to live in a dynamic environment that encourages innovation, experimentation, and creative connections. The size of The Sharon Disney Lund School of Dance is optimal in that the

Faculty

Stephan Koplowitz

Andre Tyson

Dean

Assistant Dean

Cynthia Young

Elizabeth Van Vleck

Associate Dean

Operations and Production Manager

Laurence Blake Assistant Dean

David DK Kroth Technical Director

Laurence Blake

Stephan Koplowitz

ballet technique

choreography, MFA thesis seminar

Colin Connor contemporary technique and choreography

Robin Cox music for dancers

Glen Eddy ballet technique

Rosanna Gamson composition

Ed Groff dance history

Stephanie Nugent contemporary technique and composition/improvisation

Francesca Penzani dance for camera

Mitchell Rose dance for camera

Andre Tyson contemporary technique and jazz

Cynthia Young ballet technique

Madeline Keller

Sharon Lam

costumes

accompaniment

David DK Kroth lighting design and technical direction

Faculty bios are online at dance.calarts.edu/faculty.

31

school can function both as a close-knit community, where much attention is given to the individual student, and as part of a larger world of practicing artists, including previous graduates of CalArts.

As dean, I am committed to ensuring that each individual student who comes to our programs is met with respect and the opportunity to develop into the unique, creative, individual dance artist that she or he is passionate to become. We understand that selecting CalArts as a place of college study is in itself a strong statement towards realizing one’s artistic goals. The most important principle of our dedicated professional faculty is to guide and mentor each student in finding her or his unique path within the CalArts learning experience and ultimately into the professional world of dance. We are deeply committed to maintaining the highest standards in artistic and academic achievement and to broadening the horizons of contemporary dance.

Our singular goal as a premier dance school, as it has been over the past 40 years, is to train the artists who advance the fine art of dance so that it continues to stir and challenge the human imagination.

dance.calarts.edu

PROGRAMS

BFA PROGRAM IN DANCE The intensive four-year bfa Program in Dance provides a developmental path to high-level professional skills, allowing dancers and choreographers to combine strong ballet and contemporary technique with creative initiative, self-confidence, resourcefulness, and wide-ranging literacy in the art form. Also offering comprehensive instruction in dance production—including stagecraft, lighting and costume design, music and video for dance, and dance on camera—the program is grounded in one-on-one mentoring by a faculty of experienced practicing artists.

MFA PROGRAM IN DANCE Focused on the art of choreography, this nationally recognized two-year graduate program is designed for experienced dance artists who aim to pursue professional careers as choreographers and educators. The curriculum enables each mfa candidate to develop and refine his or her own personal aesthetic, become conversant in the organizing concepts of choreography and dance theory, meet the practical demands of producing— including multimedia and site-based performances—and identify his or her larger artistic and career goals.

Concentration in Integrated Media

The mfa Program in Dance offers a supplemental concentration, via the institute-wide Center for Integrated Media (cim), for dance artists who wish to combine their study of choreography with an exploration of interdisciplinary practices, participatory media and interactive technologies.

See detailed program descriptions at

dance.calarts.edu/ programs Current course listings are available at

calarts.edu/courses To apply to The Sharon Disney Lund School of Dance, go to

ALUMNI

of The Sharon Disney Lund School of Dance include:

calarts.edu/apply.

All application, audition and portfolio instructions are listed on the CalArts application web page.

luciana achugar

Jonathan Fredrickson

(BFA 06), dancer, Limón Dance Company

(BFA 75), film choreographer

Karl Anderson

Frit (BFA 84, MFA 88) and Frat (BFA 86) Fuller,

(BFA 07), dancer, Scapino Ballet Rotterdam

Mary Ann Kellog

danc (BFA 95), Bessie Award-winning independent choreographer

(BFA 86), artistic director, SLAMFEST

Estelle Woodward Arnal (BFA 96), choreographer and curator

co-artistic directors and choreographers, KIN Dance Company

Wanda Gala

Ella Ben-Aharon

(BFA 05),Independent choreographer and arts educator

Jamie Bishton

(MFA 01), performer, choreographer, dance educator and video artist

Debra Bluth

(BFA 97), performer, choreographer and dance educator

(BFA 03), artistic director and choreographer, YelleB Dance Ensemble

(BFA 84), artistic director, Jamie Bishton | DANCE

(MFA 93), artistic director and choreographer, debrabluth/jesterfly

Keisha Clarke

(BFA 98), former dancer, Garth Fagan Dance

Katie Diamond

(BFA 03), dancer, Limón Dance Company

Deborah Goffe Levi Gonzalez

Jacques Heim

(MFA 91), artistic director and choreographer, Diavolo Dance Theater

Sahar Javedani

(MFA 03), artistic director and choreographer, compani javedani

Min Li

Ryan Mason

(MFA 07), dancer, johannes wieland

Dallas McMurray (BFA 06), dancer, Mark Morris Dance Group

Nycole Merritt

(BFA 96), dancer, Dallas Black Dance Theater

Laura Gorenstein Miller (BFA 92), artistic director and choreographer,Helios Dance Theater

Iris Pell

(BFA 73), independent choreographer and dance educator

Cynthia Pepper

Sam Piperato

(BFA 90), solo dance artist and songwriter

Susan Rose

(BFA 71, MFA 73), artistic director and choreographer, Susan Rose and Dancers; faculty, Department of Dance, UC Riverside

Kim Shipp

(MFA 98), artistic director and choreographer, Shipp Dance Theater

Dawn Stoppiello

(BFA 89), Bessie Award-winning co-artistic director and choreographer, Troika Ranch

Lisa Townsend

(MFA 94), artistic director and choreographer, Lisa Townsend Company

Kate Weare

(BFA 94), Alpert Award-nominated artistic director and choreographer, Kate Weare Company

(BFA 84), artistic director, CPCollaborations

See dance.calarts.edu/alumni.

C] Guest choreographer Reggie Wilson (left),

artistic director of the Brooklyn-based Fist & Heel Performance Group, observes dance students during a rehearsal.

33

C

D] Guest choreographer Reggie Wilson’s My Twelve Fair Ladybugs, performed by The Next Dance Company, the resident CalArts dance ensemble that each year includes the entire graduating BFA class. The company stages four

concerts during the spring semester, two on campus and two more at REDCAT.

E] Dance icon Anna Halprin (center) visited

F] Site-based movement carried out on campus as part of a class led by Stephan Koplowitz, dean of The Sharon Disney Lund School of Dance.

campus for master classes during the recreation of her landmark work parades & changes at REDCAT.

D

E

35

F

G] CalArts dancers rehearse at REDCAT ahead of

a reconstruction of dance legend David Gordon’s 1982 masterpiece Trying Times, co-produced by CalArts and Gordon’s Pick Up Performance Co(S.).

H] Dance Studio A201 is one of three full-time

studios that supplement The Sharon Disney Lund Dance Theater, the school’s main space for performance and rehearsal.

G

I] Micah Savin (left) and Michael Tomlin III in

Dice Thrown, a chance-based opera composed by composer John King (Music BFA 76) based on a poem by Stéphane Mallarmé. A joint production of The Sharon Disney Lund School of Dance,

H

The Herb Alpert School of Music, and the School of Theater. Musical direction by Music faculty Marc Lowenstein; choreography by Dance dean Stephan Koplowitz.

37

I

J] Master class with choreographer Bruno Beltrão and his Grupo de Rua, held in conjunction with Rio-based company’s hip-hop inflected performances at REDCAT.

J K

K] Cameron Evans (left) and Andrew Wojtal in a

work by Christie Nelson-Sala (MFA 10) called Turf.

L] Anne-Marie Talmadge (Dance BFA 10)

performs a solo entitled Loom.

39

l

A] Spencer Ockwell (Film/Video BFA 09),

Elizabeth Yoakem (Theater BFA 0x) and crew rehearse the movements of a “spider puppet” used in the production of Ockwell’s sevenminute short If Not Now When. The film,

combines stop-motion animation, puppetry and live action.

B] The Program in Character Animation’s end-of-year Open Show.

v A B

school of

film/ video Faculty Steve Anker

Gary Mairs

Rachelle Katz

Leo F. Hobaica Jr.

Dean

Associate Dean, Finance and Operations

Associate Dean, Academic Affairs Assistant Dean

Program in Film and Video

Betzy Bromberg Program Director

Dean’s Introduction Steve Anker The School of Film/Video is one of the world’s foremost colleges for the study and practice of the art of the moving image. As a community, we are devoted to filmmaking as a personal, independent art form.

The school is unique in that it promotes the production of all major types of film and media work: dramatic narrative, documentary, experimental live-action, character-based story animation, experimental animation, multimedia, live performance, and installation.

We offer four programs, each with its own highly specialized curriculum. At the same time, all four share an ethos in combining rigorous practical training with theoretical inquiry, hands-on production with bold aesthetic exploration.

The Program in Film and Video serves as a dynamic laboratory setting in which artists create new forms of experimental, documentary, narrative and installation work utilizing both film and digital video. Our internationally renowned Programs in Experimental Animation and Character Animation give students an excellent foundation in both technique and creative thinking, and prepare them to produce work at the forefront of animated filmmaking, as well as in fields from gaming to graphic novels. The Film Directing Program focuses on developing innovative approaches to independent narrative cinema and honing a distinct directorial voice.

In each program, we emphasize artistic and intellectual daring, and encourage all students to push the boundaries of their chosen media. As a result, graduates of the School of Film/Video have distinguished themselves in every area of independent and commercial filmmaking. Their

Thom Andersen Rebecca Baron James Benning Nancy Buchanan Nathan Crow Jason Harris John Hawk Adele Horne Tobba Jónsdóttir Lewis Klahr Gordon Kurowski Gary Mairs

Raffaello Mazza Nina Menkes Nicole Panter Astra Price Charlotte Pryce Bérénice Reynaud Lisa Schoenberg Eric Sherman Craig Smith Jerry Summers Janice Tanaka Billy Woodberry

Program in Experimental Animation

Laura Heit

Program Co-Director

Paul Vester

Program Co-Director

Andrew Bac Stephen Chiodo Myron Emery Maureen Furniss Hillary Kapan Lewis Klahr Raffaello Mazza

Suzan Pitt Daniel Platt Lisa Schoenberg Michael Scroggins Maureen Selwood Craig Smith Jerry Summers Helder Sun Kirsten Winter

Program in Character Animation

Dan Hansen

Program Director

Maija Burnett

Associate Program Director

John Aquino Andrew Bac Steve Brown Cornelius Cole III Bill Eckert Dave Ernst Maureen Furniss Jon Gomez Leo F. Hobaica Jr. T. Dan Hofstedt

Marjan Hormozi Mike Jones Dave Lebow Chong Lee John Mahoney Roderick Maki Mike Nguyen Nicole Panter Rumen Petkov David Skelly Ted Ty

Film Directing Program

Deborah LaVine

Program Co-Director

Gary Mairs

Program Co-Director

Michael Almereyda John Hawk Monte Hellman

Jon Reiss Lee Anne Schmitt Abigail Severance Suanne Spoke

Technical Operations

Nathan Crow Tom Evans Jesse Gilbert Rachelle Katz Cara King Scott Kozberg Gordon Kurowski Emery Martin Raffaello Mazza

Nathan Meier Kye Potter Astra Price Lisa Schoenberg Craig Smith Nathan Strum Jerry Summers Linda Wissmath Seung-Hyun Yoo

Faculty bios are online at filmvideo.calarts.edu/faculty.

41

See detailed program descriptions at

work has been represented extensively at major festivals and museums around the world as much as it always has been in the film, television, animation and gaming industries.

The richness of the CalArts educational experience is based on four components. The first is a body of self-motivated, intellectually curious students who are ready to break new ground. The second is an outstanding faculty of professional artists and technicians who share their artistry and knowledge with passion and generosity. Third is an extensive inventory of facilities and equipment, while fourth is the unique cross-pollination of the different disciplines essential to CalArts.

The combination of the four elements generates a lively and stimulating creative learning environment—one that allows every student to expand his or her cultural experience and, in the process, become a better artist.

CalArts stands as the only American film school to be honored with a retrospective exhibition at The Museum of Modern Art. This unprecedented survey, Tommorrowland: CalArts in Moving Pictures, covered more than 35 years of innovative film, video and animation made by artists at CalArts. Today, our students and faculty are adding to this rich legacy as they carry forward the independent vision that is the hallmark of CalArts.

film/ video

filmvideo.calarts.edu/ programs Current course listings are available at

calarts.edu/courses

To apply to any of the programs offered by the School of Film/Video, go to

calarts.edu/apply.

All application and portfolio instructions are listed on the CalArts application web page.

filmvideo.calarts.edu

PROGRAM IN FILM AND VIDEO Four-year BFA, three-year MFA

ALUMNI of the School of Film/Video include: Program in Film and Video

Anna Biller

(Film/Video–Art MFA 93)

Beth Bird (MFA 03) Q. Allan Brocka (MFA 01) Bill Brown (MFA 97) Sean Daniel (BFA 73) Dane Davis (BFA 81) Rodney Evans (MFA 96) David Fenster (MFA 04) Robert Fenz (MFA 02) William E. Jones (MFA 90) Carole Kim (MFA 01) Gina Kim (MFA 99)

Hyunkyung Kim (MFA 04) Joel Lam (MFA 01) Lin Li (MFA 01) James Mangold (BFA 85) M. David Mullen (MFA 91) Akosua Adoma Owusu

(Film/Video–Art MFA 08)

Deborah Stratman (MFA 95) Tamara Tracz (MFA 02) Naomi Uman (MFA 98) Christopher Wilcha

(MFA 98)

Curtis Winter (MFA 09)

Program in Experimental Animation

Peter Chung (81) Eric Darnell (MFA 90) Paul Demeyer (MFA 77) Stephen Hillenburg

(MFA 92)

Glen Keane (74) Jung-Ho Kim (MFA 04) Mark Kirkland (BFA 78) Amy Kravitz (MFA 86) Mark Osborne (BFA 92)

Joanna Priestley (MFA 85) Christine Panushka

(MFA 88)

Kathy Rose (MFA 74) Jen Sachs (MFA 01) Henry Selick (MFA 77) Steve Subotnick

(MFA 86, BFA 84)

Brian Tan (BFA 05) David Wilson (MFA 76) Ben Zelkowicz (MFA 02)

Program in Character Animation

Henry Anderson (BFA 88) Mark Andrews (BFA 93) Jeremy Bernstein (BFA 03) Brad Bird (76) Dave Bossert (BFA 83) Tim Burton (79) Brenda Chapman

John Musker (77) Randy Myers (92) Mike Nguyen (bfa 88) Shane Prigmore (99) Carlos Ramos (BFA 97) Andy Schuhler (BFA 98) Andrew Stanton

(BFA 87)

(BFA 87)

Pete Docter (BFA 90) Ralph Eggleston (86) Morgan Kelly (BFA 03) Chris Larson (BFA 92) John Lasseter (BFA 79) Craig McCracken (92)

Gary Trousdale (82) J.J. Villard (BFA 04) Penn Ward (BFA 05) Kirk Wise (CER 85) Niki Yang (BFA 03) Milla Zeltzer (BFA 03)

This intensive program has been designed for independent artists for whom film- and digital imagemaking is a personal calling and not merely a mode of production. The program supports an unparalleled breadth of work—from personal and political documentaries to non-traditional narratives, from lyrical and abstract films to new media. Students acquire a full range of technical and practical skills, learn to think critically about their chosen media, and work to develop a precise language for personal articulation.

PROGRAM IN EXPERIMENTAL ANIMATION Four-year BFA, three-year MFA

Set up for adventurous artists who regard animation as a dynamic, ever-evolving art form, the Program in Experimental Animation offers a framework in which students develop and refine aesthetically progressive concepts and professional art practices. The program cultivates a very wide variety of skills—including 2-D, CG and stop-motion, compositing, and the integration of digital and traditional techniques—and makes it possible for graduates to position themselves as independent innovators who can shape the future direction of the art of animation.

PROGRAM IN CHARACTER ANIMATION Four-year BFA only

Recognized worldwide, this program provides comprehensive artistic and technical training in the art of story animation using both traditional and CG tools. The curriculum is sequential in structure, beginning with life drawing, design, hand-drawn character animation, CG character animation, and storytelling principles, and each year adding depth and complexity to performance, acting, and visual development.

Students in the program develop professional-caliber portfolios, allowing them to go on to careers ranging from major studio animation and independent filmmaking to gaming and graphic novels.

FILM DIRECTING PROGRAM Three-year MFA only

This graduate program for independent filmmaking enables students to develop innovative approaches to storytelling based on examining the broad spectrum of narrative cinema. The curriculum covers the fundamental aesthetic and technical components of film directing, with additional emphasis placed on screenwriting, acting, scene study, and short plays. In the process, students learn to work with actors, develop visual strategies, and hone methods for shaping stories—both invented and adapted—that are emotionally true and dramatically credible.

Film Directing Program

Katie Ackerman (MFA 00) Asitha Amereseker

(MFA 98)

Lorette Bayle (MFA 99) Scott Cummings (MFA 07) Darine El-Khatib

(MFA 05)

Markus Engel (MFA 98) Timuçin Esen (MFA 01) Jonathan Evans (MFA 02) Rachel Goldberg (MFA 00) Mark Gould (MFA 98) Darren Herczeg (MFA 06) Xuan Jiang (MFA 07) Joon Kwon Kim (MFA 02)

Yun-Cheol Kim (MFA 04) Cy Kukenbaker (MFA 04) Waleed Moursi (MFA 03) David Nordstrom (MFA 05) Gregorios Rentis (MFA 10) April Scott-Goss (MFA 99) Maneesh Sharma (MFA 04) Young Mo Son (MFA 09) Reginald Spangler

(MFA 02)

Jigyasa Taneja (MFA 03) Tariq Tapa (MFA 08) Antonio Tibaldi (MFA 87) Andrew Tsao (MFA 90)

See filmvideo.calarts.edu/alumni.

Concentration in Integrated Media The MFA Program in Film and Video and the MFA Program in Experimental Animation offer a supplemental concentration, via the institute-wide Center for Integrated Media (CIM), for students who wish to combine filmmaking and animation with an exploration of interdisciplinary practices, participatory media, and interactive technologies

C] Shadow My Shadow, a multimedia perfor-

mance by Bo-sul Kim (MFA 09) that includes video, hand-drawn animation, and dance.

Her piece has been selected for the 2011 Prague Quadrennial of Performance Design and Space.

CalArts colleague Robin Wilson (Dance BFA 04) provided the choreography.

43

C

D

D] Myth and Infrastructure, a live performance

by Miwa Matreyek (Film/Video窶的ntegrated Media MFA 07) in which her shadow becomes an integral part of the projected animation.

E] Visiting filmmaker Henry Selick (MFA 77) addresses students in the Bijou Theater. Selick, the award-winning director of Coraline and The Nightmare Before Christmas, has led the resurgence of stop-motion animation.

E F

F] Still from Milk Nasty, a CG work by Character Animation student T.J. Fuller.

45

G] Character Animation student Destiny Wood.

H] Stills from Zero Bridge, written, directed,

photographed and co-edited by Tariq Tapa (MFA 08). Shot on location in Kashmir with a non-professional cast, the film earned

Tapa two nominations at the 2010 Independent Spirit Awards.

I] Visiting film projection artist Bruce McClure is known for creating one-off phenomena of light and sound.

G

47

H I

J] Drawings by Julia Srednicki, featured in the

the Program in Experimental Animation.

K] A set created for stop-motion animation as part of a class led by Laura Heit, co-director of

L] Production stills from Etsa y Nantu, the thesis film by Sandra Powers (MFA 08) based on a Latin American fairytale about the creation of the sun and moon.

2010 Character Animation exhibition held in CalArts’ Main Gallery.

J

K L

49

A] Kristín Þóra Haraldsdóttir performs at The Wild Beast as part of a program called “Outer Beast: Part 2 of the 2-Headed Beast,” the first part being “Inner Beast.”

B] Impromptu accordion music.

A

B

FACULTY Many members of the faculty give instruction in several programs as well as in the bfa Music Core Curriculum. The listing below, organized by program, indicates each faculty member’s main areas of specialty. This listing shows faculty for the 2010–2011 academic year.

Administration David Rosenboom

Richard Seaver Distinguished Chair in Music, Dean

Balinese and Javanese Music and Dance Djoko Walujo

Javanese music and dance

Susan Allen

Nanik Wenten

Jacqueline Bobak

I Nyoman Wenten

Roxane Chenault

Brass

Associate Dean for Academic Affairs Associate Dean for Assessment and Special Projects Operations Manager

Julie Feves

Associate Dean for Enrollment Management

Robert Wannamaker

Assistant Dean for Academic and Special Projects

Balinese and Javanese dance Balinese music and dance

Edward Carroll

Coordinator, Brass Program: trumpet

Robin Graham French horn

James Miller trombone

Doug Tornquist

PerformerComposer Program

Guitar

David Rosenboom

Woody Aplanalp

Coordinator, PerformerComposer Program: piano, composition, improvisation

Wadada Leo Smith

Coordinator, African American Improvisational Music: trumpet, composition, improvisation, history

Vinny Golia

Michael Colombier PerformerComposer Chair: composition, improvisation, winds

tuba, euphonium

guitar

Stuart Fox guitar, lute

Miroslav Tadic guitar

Harp Susan Allen

harp, improvisation

North Indian Music

Additional faculty members are drawn from all programs.

Swapan Chaudhuri

Composition, Experimental Sound Practices

Randy Gloss

Michael Pisaro

Roy E. Disney Family Chair in Musical Composition; Co-Chair, Composition Program: composition, experimental sound practices, theory

Mark Trayle

Larry Levine Chair in Contemporary Music; Co-Chair, Composition Program: composition, experimental sound practices

Clay Chaplin

Technical Director, Computer Music Studios: experimental sound practices, music technology

Michael Jon Fink composition

Ulrich Krieger

composition, experimental sound practices

Anne LeBaron composition

Sara Roberts

experimental sound practices, composition, integrated media, history and literature

David Rosenboom

composition, experimental sound practices

Barry Schrader

composition, analysis

Wolfgang von Schweinitz composition

Robert Wannamaker composition, history and literature, theory

Music Technology Ajay Kapur

Director, Program in Music Technology: Interaction, Intelligence and Design: music technology

John Baffa recording

Bob Clendenen

concert production, recording

James Murphy

Program Assistant: music technology

Martijn Zwartjes music technology

Jazz David Roitstein, Chair, Jazz Program: piano, arranging

Charlie Haden

Founder, Jazz Program: bass

John Fumo trumpet

Vinny Golia

composition, improvisation, winds

Chair, World Music Programs: North Indian music, tabla

world percussion

music

Nicholas England CHair: North Indian music, sarod, sitar, voice

Percussion David Johnson

Coordinator, Percussion Program: percussion

Amy Knoles

percussion, electronic percussion

Houman Pourmehdi Persian percussion

Piano/Keyboard Vicki Ray

Hal Blaine Chair in muscial Performance; Coordinator, Piano/ Collaborative Keyboard Program: piano, collaborative Keyboard

Danny Holt piano

Tisha Mabee-Goldstein harpsichord, organ

Ming Tsu piano

Strings Erika Duke-Kirkpatrick cello

Lorenz Gamma violin

Mark Menzies

Programming Advisor, Programs in Performance and REDCAT: violin, viola, conducting

Peter Rofé contrabass

Nancy Uscher viola

Voice Paul Berkolds

Co-Coordinator, Voice Program: bass baritone

Jacqueline Bobak

Co-Coordinator, Voice Program: mezzo-soprano

Maria Fortuna-Dean soprano

Harmony Jiroudek Mezz0-Soprano

Tali Tadmor

vocal coaching, accompaniment

Winds Julie Feves

Director, Instrumental Performance Programs: bassoon

William Powell clarinet

Rachel Rudich

Coordinator, Chamber Music: flute

Allan Vogel

Mel Powell Chair: oboe

Musical Arts Susan Allen

Alphonso Johnson

Additional faculty members are drawn from all programs.

electric bass

Larry Koonse guitar

Coordinator, Musical Arts Program

Joe LaBarbera

Theory, Skills, History and Literature

Paul Novros

Robert Wannamaker

Darek Oles

Wanda Bryant

Aaron Serfaty

Kathy Carbone

Putter Smith

Kristin Erickson

drum set, history and literature reeds bass

Latin percussion bass

Coordinator, BFA Core Curriculum music cultures

research methodologies

skills

Pierre Etienne

Programs in Performance African Music and Dance Andrew Grueschow African music and dance

Alfred Ladzekpo

African music and dance

Beatrice Lawluvi

African music and dance

DEAN’S INTRODUCTION David Rosenboom

Aashish Khan

Alex Iles trombone

the Herb Alpert school of

French

Robert Halvorson theory

Milen Kirov skills

Marc Lowenstein

skills, theory, history and literature, conducting

Kathy Pisaro history

Andrew Tholl skills

Paul Vorwerk

skills, history and literature, conducting

Faculty bios are online at music.calarts.edu/faculty.

What makes a great school of music in the present age? Here in The Herb Alpert School of Music at CalArts, we believe such a school is one of ever-open musical possibilities. It is a fertile environment for the evolution of musicmaking as well as for the teaching and learning of music.

A great school of music is one that is in tune with the unprecedented stylistic egalitarianism of our time, a school that enables young music artists to recognize their original voices and develop them with skills on the highest level. It is a school that helps students to build a frame around their creative profiles and to give focus to their emerging visions in the context of the vast and varied global cultural landscape of today.

A great school of music is one that fosters informed mobility among cultures and deepens the understanding necessary to be effective across a range of collaborative creative situations and settings. It is a school that offers tools to empower young musical innovators in carving out unique and individualized career pathways—including ones that may not have existed before— in our unpredictable and rapidly changing professional milieu. A great school of music is one that adapts flexibly to emerging forms of distribution and information sharing and to changes in what may be considered fundamental for music learning. It is a school that nurtures the tenacity new artistic visions may demand, the will to challenge society’s definitions and presumptions when necessary, and the perseverance required for young artists to manifest the profound gifts they may offer to their evolving cultures. A great school of music is one that embraces an evolving world for its rich possibilities, its new opportunities.

The Herb Alpert School of Music at CalArts offers a dynamic learning environment optimized for informed, creative musicmakers. Students are fully immersed at the front lines of their chosen fields, where they can recognize clearly what they need to learn—and why—in order to become effective contributors to those fields. Creative music today can draw inspiration from any and all fields of earlier musical development. This open cross-pollination of influences has given rise to a dense, lush macrocosm of original sound: a fertile terrain in which to create and re-create anew.

51

See detailed program descriptions at

Our school is especially attuned to the fact that young practitioners, regardless of their individual stylistic trajectories, must now master a wide range of musical literature and theories, both traditional and new, and a very broad range of practical skills. Most importantly, they must become resourceful and self-reliant practitioners—fast learners who are able to survive on the cutting edge while surfing trends with critical acuity and working within a spectrum of speculative ideas. Now more than ever, young artists must aim for the highest levels of versatility in order to lay the groundwork for future success: They need the ability to move among musical cultures and styles and, increasingly, instruments and media; to work in a variety of interdisciplinary situations; and to develop advanced writing, speaking, playing, teaching, technological and creative skills. Our programs are designed expressly for such artists, helping them to cultivate a far-ranging musical acumen while at the same time providing specialized training best suited for meeting each student’s specific goals. Moreover, our programs focus on the development of intellectual and critical abilities so that each artist can best contextualize his or her distinctive work within broader aesthetic and cultural settings—and effectively project that work out into the world.

music.calarts.edu/ programs Current course listings are available at

calarts.edu/courses To apply to any of the programs offered by the Herb Alpert School of Music at CalArts, go to

calarts.edu/apply.

All application, Audition and portfolio instructions are listed on the CalArts application web page.

the Herb Alpert school of

music

Our community of musicmakers represents the highest standards in musical knowledge, skill, creativity, resourcefulness, strong individual initiative, and tenacity. These qualities also spell out the formula for the success of our students: the composers, performers and producers who will shape the global musical landscape of tomorrow. music.calarts.edu

ALUMNI

PERFORMER-COMPOSER PROGRAM Upper-division BFA, two-year MFA, three-year DMA

of The Herb Alpert School of Music at CalArts include:

John Luther Adams

Roland Kato

(bfa 73), composer

(bfa 74. mfa 76), violist

Gustavo Aguilar (mfa 98), percussionist; Phil Curtis (mfa 97), composer/electronics; and Nina Sun Eidsheim

Tom Lopez (mfa 93),

(mfa 01), mezzo-soprano— members of soNu

Arturo Márquez

Ralph Alessi (bfa 87, mfa 90),

Ingram Marshall

jazz trumpeter

composer, digital artist

Ani Maldjian (bfa 04), soprano (mfa 90), composer (mfa 71), composer

Mario Calire (93), jazz trumpeter; Devin Maxwell (mfa 02) and Asdrubal Sierra (94), jazz Katie Porter (mfa 02), wireless trumpeter; and Jiro Yamaguchi media content developers— (bfa 92), multi-percussionist and tabla player—members of Ozomatli

James Carney (bfa 90), jazz pianist, composer

Gary Chang (mfa 77), film composer

Rebecca Bower Cherian

(bfa 79), trombonist

founders of LoudLouderLoudest

Peter Otto (mfa 83),

music technologist, educator

Randall Packer (mfa 81),

composer, media artist, author

Patti Preiss (mfa 86), jazz and classical pianist-composer

Paula Rasmussen

(bfa 87), mezzo-soprano

Eric km Clark (mfa 05), violinist, Douglas Repetto and Amy Knoles (bfa 82), percussionist-composer—members of The California E.A.R. Unit

Ravi Coltrane

(bfa 90), saxophonist, composer, bandleader

Mark Coniglio (bfa 89),

composer, multimedia artist— co-director of Troika Ranch

John Debney (bfa 78), film composer

Dean Drummond (mfa 73), composer, conductor, multi-instrumentalist, instrument inventor

Peter Epstein (bfa 92),

(mfa 97), composer, media and installation artist

Marina Rosenfeld

(Music–Art mfa 94), composer, sound and installation artist

Stephen Schultz

(mfa 80), flutist

Marcus Shelby (93), composer, bandleader

Rand Steiger (mfa 82),

composer, conductor, educator

Carl Stone (bfa 75),

composer, computer music artist

Kubilay Üner (acrt 91), film

saxophonist, composer, educator

composer, multi-instrumentalist, instrument builder

Pedro Eustache (mfa 91),

Libby Van Cleve (mfa 84),

Peter Garland

Jack Vees

Randy Gloss (mfa 97), Andrew Grueschow (bfa 96, mfa 99), and Austin Wrinkle

Lois V Vierk (mfa 78), composer

flutist, composer

(bfa 72), composer, author

oboist, author

(mfa 86), composer, bassist

Nedra Wheeler (bfa 87, mfa 89), bassist, educator (bfa 97, mfa 99), percussionists— Todd Winkler (mfa 84), members of Hands On’Semble composer, multimedia artist David Johnson (bfa 72), Philip Yampolsky (mfa 72), percussionist, and Pirayeh Pourafar (mfa 00), ethnomusicologist tar player, composer— Marcelo Zarvos members of Lian Ensemble (bfa 92), pianist, composer Benjamin E. Juárez (mfa 73), conductor, producer, educator See music.calarts.edu/alumni

This uniquely structured program calls on advanced artists to fuse technical performance virtuosity and innovative compositional models into a single continuum of creative music in the course of developing original and distinctive bodies of work. Designed for students who are already accomplished composers and expert players, the program is not a double major; each area depends on the other to be fully realized. This course of study is intensive but also highly individualized, tailored to the creative interests of each student rather promoting any particular style or direction.

with a Performer-Composer Specialization available in: African American Improvisational Music MFA level only First-year bfa and transfer applicants interested in the Performer-Composer Program are required to apply to the Composition Program or one of the Programs in Performance; bfa students may join this program only in their third or fourth years.

COMPOSITION PROGRAM Four-year BFA, two-year MFA

Long known for its contributions to the advance of contemporary music, the Composition Program allows students to develop their own artistic voices through mastery of a broad range of theories, techniques and creative tools. In recognition of the expanded stylistic breadth of music today, the program does not expect students to follow any particular style or school of composition. Instead, it supports the acquisition of tools and engagement with ideas that will enable each composer to build and sustain his or her own profile as an innovative creative artist.

with a Composer Specialization available in: Experimental Sound Practices MFA level only JAZZ PROGRAM Four-year BFA, two-year MFA

The Jazz Program is internationally recognized for its distinguished faculty, professionally successful alumni and award-winning students. Emphasizing small ensembles, this challenging program helps students develop into highly versatile performers, improvisers and composers who are able to successfully initiate and produce works informed by various jazz styles, often in combination with other musical traditions and the latest innovations in contemporary musicmaking.

PROGRAMS IN PERFORMANCE: As a family of separate though interrelated courses of study, the Programs in Performance prepare music performers for an increasingly diverse spectrum of professional practices and career pathways. Students in these programs closely study musical forms from many different eras and traditions, as well as performance techniques ranging from the classical to emerging contemporary expressions. With extensive performing opportunities in

both solo recitals and concerts by ensembles of varying configuration, each performer develops and refines high-level skills in his or her area of specialty, a breadth of musical knowledge, and the creative versatility to work in any number of professional settings.

African Music and Dance Program Two-year MFA only Balinese and Javanese Music and Dance Two-year MFA only Brass Program Four-year BFA, two-year MFA Guitar Program Four-year BFA, two-year MFA Harp Program Four-year BFA, two-year MFA North Indian Music Program Two-year MFA only Percussion Program Four-year BFA, two-year MFA Piano/Keyboard Program Four-year BFA, two-year MFA with a Piano/Keyboard Specialization available in: Collaborative Keyboard MFA level only Strings Program Four-year BFA, two-year MFA Voice Program Four-year BFA, two-year MFA Winds Program Four-year BFA, two-year MFA World Music Program Four-year BFA only World Percussion Program Two-year MFA only PROGRAM IN MUSIC TECHNOLOGY:

Interaction, Intelligence and Design Four-year BFA, two-year MFA

This one-of-a-kind program joins the development of strong musical skills with mastering the most recent advances in music-related systems design and engineering. Focusing on the creative as much as the technical, the theoretical as much as the practical, the highly interdisciplinary curriculum prepares students for careers in electronic composition and performance, sound design and synthesis, audio recording, post-production, web and multimedia design, audio electronics, software development, interactive audio for gaming, and electromechanical design, among other fields.

MUSICAL ARTS PROGRAM Four-year BFA only The Musical Arts Program is designed for undergraduates whose diverse creative interests and multiple musical talents warrant individualized studies. Students in this program hone strong and comprehensive musical articulation skills as they explore a wide variety of artistic syntheses and career pathways, covering work in pedagogical, performance-composition, production, technical, and interdisciplinary settings. Building on the school’s bfa Music Core Curriculum as a foundation, each student’s course of study is custom-built with the guidance of his or her faculty mentor.

Concentration in Integrated Media

The school’s mfa programs offer a supplemental concentration, via the institute-wide Center for Integrated Media (cim), for advanced students who wish to combine music with an exploration of interdisciplinary practices, participatory media, and interactive technologies.

C] An “aquacoustic� performance by faculty

member Ulrich Krieger in the CalArts pool.

Krieger, a certified scuba diver, played cymbals, metal plates, Chinese stress balls, a Tupperware box, and a plastic didgeridoo underwater for

more than an hour, with the music emanating from submerged hydrophones and audible only inside the pool.

53

c

d e

D] Faculty member Beatrice Lawluvi (left) leads an African Music and Dance class.

E] A Musical Arts Program class is led by

Associate Dean Susan Allen in The Wild Beast.

f

F] Members of the KarmetiK Machine Orchestra rehearse, with Ajay Kapur, director of the Program in Music Technology, on “ESitar” and guest artist Curtis Bahn on “EDilruba.”

G] Students play instruments made from yarn in the ROD, the Roy O. Disney Music Hall.

55

g

H] A rehearsal for the interactive Opera No-Opera AH! ahead of its world premiere at REDCAT. Created and performed by A Counterpoint of Tolerance, a collective of 12 artists from around the globe, this work was a co-production of

h

The Herb Alpert School of Music and the CalArts Center for New Performance (CNP).

J] James Klopfleisch (MFA 10) performs music by CalArts colleague Odeya Nini.

I] Visiting artist Henry Grimes, double bassist, violinist and poet.

i

57

J

K] Music student Mary Zastrow in Loving, an opera by R. Murray Schafer, directed by Juli Crockett (Theater MFA 01). A co-production of the School of Theater and The Herb Alpert School of Music.

K

L] Students in the Jazz Program recording at Capitol Studios, located in the “stack of wax� tower in Hollywood. Beginning in 1990, Jazz Program artists have made a CD every year at Capitol.

M] African music and dance in the Main Gallery follows graduation each year.

L M

59

A] Denielle Gray (left) and Christina Irby (BFA 10) in June and Jean in Concert by Adrienne Kennedy, directed by Nataki Garrett (MFA 02), associate dean and co-head of the BFA Acting Program. This production was part of a yearlong

School of Theater survey of Kennedy’s work.

Lighting design by Zachary Moore.

B] Toussaint Jeanlouis (MFA 10) and Julia Beth Stern (BFA 10) in Mikhail Bulgakov’s Adam and Eve, directed by Lily Whitsitt (MFA 09). Scene design by Mary Hamerick; costume design by Alice Tavener; lighting design by Eleanor Rabinowitz.

A B

school of

theater faculty Phil Allen Sound Design

Camilo Alvarez Technical Direction, Statical Engineering

Dwight Bacquie Voice/Speech

Christopher Barreca Head of Scene Design

Craig Belknap Acting

Fran Bennett Voice

Paul Berkolds singing for actors, Opera

Carol Bixler Director of design and production; head of Producing; Producing Director, Center for New Performance

Bob Bonniol head of Video Design

Marissa Chibas Acting

Lap-Chi Chu lighting design

Drew Dalzell sound design

Michael Darling head of technical direction

Paul DiPietro Associate Technical Director

Heather Ehlers movement

Martha Ferrara costume design

Peter Flaherty Video Design

Malik Gaines theater history

Anne Garcia-Romero theater history, dramaturgy

Nataki Garrett ASSOCIATE DEAN; Co-head of BFA Acting

Janie Geiser director, Cotsen Center for Puppetry & the Arts

Kevin Goold sound design

Jon Gottlieb head of Sound Design; ment Manager

Lisa Gay Hamilton acting

Mary Heilman head of scene painting; recruitment manager

Mona Heinze dramaturgy

Donald Holder Lighting Design

Mirjana Jokovic Director of Performance; Head of mfa Acting

Gary Kechely Associate Dean; production manager; head of production management

Mira Kingsley Directing, dance theater

Lewis Klahr directing, screenwriting, film

Rafael Lopez-Barrantes Associate Head of MFA Acting: voice

Babette Markus Movement

Ellen McCartney Robert Corrigan Chair Head of Design; Head of Costume Program;

James McDermott stage management

Anne Militello Lighting design

Pablo Molina video design

Lewis Palter acting

Travis Preston Dean, school of theater; Head of Directing; Artistic Director, Center for New Performance

Mary Lou Rosato Co-Head of BFA acting

Shannon Scrofano scene design

Evelyn Serrano Theater History

John Sherwood Facilities Coordinator: design technology

Susan Simpson puppetry

Michael Smith scene design

Susan Solt film producing, management

Leslie Tamaribuchi Director of Financial Aid and Advancement; Managing Director, Center for New Performance: producing

Sherry Tschernisch T’ai Chi Ch’uan

Alice Tuan Head of Writing for Performance

Marvin Tunney movement

Charlayne Woodard Acting

Denise Woods voice/speech

Chi-wang Yang directing, integrated media critique

Stephanie Young Assistant Dean; Head of Management; General Manager

Faculty bios are online at: theater.calarts.edu/faculty

Dean’s Introduction Travis Preston The CalArts School of Theater is the hub of a vast network of artistic and professional relationships that traverses the globe and brings our students into dialogue with extraordinary artists and institutions worldwide. As one of the preeminent theater training programs in the country, we are dedicated to the development of new voices and new forms. The training we provide is designed to educate the whole person and to prepare fully equipped theater artists to enter and transform the field.

Our mission is to forge a community of citizen artists who are rigorously trained in their respective métiers and who are concomitantly able to work effectively and innovatively across a broad spectrum of artistic settings, media, and technologies. With the practical conditions for theater artists constantly evolving, our training gives students the flexibility, skill, and ingenuity to navigate a rapidly changing environment and to pursue their dreams with maximum agency.

The School has two branches: Programs in Performance include courses of study in acting, directing, and writing for performance; Programs in Design and Production comprise scene, costume, lighting and sound design, technical direction, and management. Within the Programs in Design and Production are further specializations, or supplemental courses of study, in producing, production management, stage management, scene painting, and video for performance. An additional specialization in puppetry is housed at the School’s Cotsen Center for Puppetry and the Arts.

All of these disciplines interact continuously as the School presents an extensive series of productions each year: full-scale works staged in connection with the curriculum, original projects developed and produced in collaboration with internationally renowned artists and organizations, and an annual, student-driven New Works Festival. Our five theater spaces— the architecturally unique Walt Disney Modular Theater and four black-box theaters—often run productions simultaneously. We also make use of other on- and off-campus sites and venues, both conventional and unconventional.

The CalArts Center for New Performance (cnp), the producing arm of the Institute, has a unique role in furthering our community’s relationship to the wider professional world.

Established as a forum for the creation of groundbreaking performance, the cnp creates opportunities for students to work shoulder to shoulder with artists of the highest caliber. This collaborative work is distinctive and extends beyond the curriculum, offering a depth and breadth of research, practice and professional experience that far surpasses a conventional academic approach.

The CalArts School of Theater is a singular place—unlike anywhere else in the world in the passionate and mindful pursuit of mission and, equally, in the support of the individual aesthetics, dreams and professional aspirations of our students. theater.calarts.edu

61

PROGRAMS IN PERFORMANCE: ACTING PROGRAM Four-year BFA, three-year MFA

Providing comprehensive training for talented actors and theater artists, the Acting Program moves beyond repertory theater instruction and looks to the wider challenges of performance practice in the 21st century. Students learn to closely study text, understand acting methodologies and modern stagecraft, and develop mind, emotion, body and voice as effective instruments of performance—so that actors can become versatile, well-rounded, resourceful artists who have the skills and knowledge to chart their own creative and professional paths, whether it is in theater, film, television or multimedia.

DIRECTING PROGRAM Three-year MFA only

Dedicated to artistic experimentation and innovation, this selective, rigorous graduate program readies already experienced directors to put forward a personal vision for the theater and redefine the boundaries of performance. Studies in the program, tailored to each student’s artistic interests, are first and foremost rooted in intensive practical experience. In addition to addressing the full spectrum of the dramatic canon, the Directing Program is unique in that it recognizes the growing importance of work generated by directors.

WRITING FOR PERFORMANCE PROGRAM Three-year MFA only

This is a demanding graduate program that facilitates the development of original voices in writing for stage, screen and other performance media.

Designed for writers with significant prior experience, the program especially encourages an evolutionary conception of theater as a tool for social critique and activism; it also embraces new collab-

orative forms and unconventional means of generating texts. Students in the program are expected to build a substantial body of work—including at least six plays. with a Performance specialization available in: Puppetry—Cotsen Center for Puppetry and the Arts BFA, MFA levels (see below)

PROGRAMS IN DESIGN AND PRODUCTION:

SOUND DESIGN PROGRAM TECHNICAL DIRECTION PROGRAM Four-year BFA, three-year MFA

MANAGEMENT PROGRAM Four-year BFA, three-year MFA

with specializations available in: Producing MFA level only Production Management MFA level only Stage Management BFA and MFA levels

These interrelated, multidisciplinary undergraduate and graduate programs offer intensive professional instruction in the arts of scene, costume, lighting and sound design, as well as in technical direction and management. Also included are a number of more narrowly focused specializations, ranging from video for performance to producing. Sequential in structure, the curricula consist of classroom study and hands-on production, allowing students to acquire broad aesthetic knowledge and practical technique. Students also develop professionalcaliber portfolios required for careers in theater, film and other directions in art and entertainment.

The Specialization in Puppetry allows students to incorporate the use of performing objects into their theatrical vocabularies, or to concentrate on work with puppets and performing objects. Its courses cover the history of puppetry, a variety of construction techniques, and formal approaches—both traditional and contemporary—to direction, design and choreography. Coursework is supplemented by workshop productions led by internationally recognized visiting artists.

All first-year bfa Design and Production students complete a year of general foundation studies before they concentrate on one or more individual programs. bfa transfer and mfa applicants, however, are asked to choose an individual program when applying to CalArts.

This specialization is available to all School of Theater students already in residence at CalArts. All first-year bfa and mfa applicants, as well as transfer applicants, who aim to focus specifically on studies in puppetry are required to apply to the Scene Design Program.

Specialization in Puppetry— Cotsen Center for Puppetry and the Arts BFA, MFA levels

SCENE DESIGN PROGRAM Four-year BFA, three-year MFA

with specializations available in: Scene Painting MFA level only Video for Performance MFA level only Puppetry—Cotsen Center for Puppetry and the Arts BFA, MFA levels (see next column)

COSTUME DESIGN PROGRAM Four-year BFA, three-year MFA

Concentration in Integrated Media

The School of Theater’s MFA programs offer a supplemental concentration, via the institute-wide Center for Integrated Media (CIM), for students who wish to combine work in theater with an exploration of interdisciplinary practices, participatory media and interactive technologies.

LIGHTING DESIGN PROGRAM Four-year BFA, three-year MFA

school of

theater ALUMNI of the School of Theater include:

Programs in Performance

Hugo Armstrong

See detailed program descriptions at

theater.calarts.edu/ programs Current course listings are available at

calarts.edu/courses To apply to any of the programs offered by the School of Theater, go to

calarts.edu/apply.

All application, Audition and portfolio instructions are listed on the CalArts application web page.

David Hasselhoff (73), “The Hoff,” actor (Baywatch), singer

(BFA 98), Ovation Award-winning stage Bill Irwin actor (Land of the Tigers) (72), vaudeville artist, actor, director, playwright, MacArthur Fellow Matt August (mfa 97), director (Dr. Seuss’ Jessica Kubzansky How the Grinch Stole Christmas!, (mfa 94), co-artistic director of The Liberty Smith) Theatre @ Boston Court (Pasadena)

Elaine Avila

(mfa 04), Robert Hartung Endowed Chair of Dramatic Writing, University of New Mexico

Cameron Bancroft (bfa 90), screen actor (24)

Jesse Borrego

(84), screen actor (Dexter, 24)

Alison Brie

(bfa 05), screen actor (Mad Men, Community)

Shaughn Bucholz

(bfa 02), screen actor (Scrubs)

Don Cheadle

Alan Loayza

Katherine Noon

(mfa 90), artistic director of the Ghost Road Company (Los Angeles)

Terence McFarland

(mfa 03), executive director of L.A. Stage Alliance

Emily Mendelsohn

(mfa 09), director, Fulbright Fellow

Debi Manwiller

(bfa 83), casting director

Beata Pilch

Jennifer Elise Cox

Condola Rashad

Mandy Freund

(bfa 00), stage and screen actor (Menagerie, She Stoops to Comedy)

Nataki Garrett

(mfa 02), artistic director of Blank-the-Dog Productions (Los Angeles), NEA/Theatre Communications Group Fellow

Virginia Grise

(mfa 09), Yale Drama Series-winning playwright (blu)

Ed Harris

(BFA 75), Golden Globe-winning and Academy Award-nominated actor (The Truman Show, The Hours), director (Pollock)

Jeff Kleeman

Simbi Khali Williams

Peter Ksander

Chi-wang Yang

Etta Lilienthal

(91), Obie Award-winning actor (Jitney) (bfa 93), screen actor (Mississippi Damned)

(mfa 93), artistic director of Trap Door Theatre (Chicago)

and Production

Jamie McElhinney

(MFA 86), Tony and OBIE Awardwinning lighting and scene designer (The 39 Steps, Spring Awakening)

David Mickelsen

Kevin Adams

Garth Belcon

(BFA 94), producer (Whiteboys)

Martyn Bookwalter

(MFA 77), stage and television lighting designer, Los Angeles Drama Critics Circle Lifetime Achievement Award winner

Fontella Boone

(MFA 91), costume designer (Cuttin’ Da Mustard)

Kevin Dunayer

Paul Reubens

Brian Garber

Poor Dog Group,

Ian Garrett

theater collective (Los Angeles)

Amy Rogers

(mfa 94), television writer (Foster’s Home for Imaginary Friends, The Powerpuff Girls)

Katey Sagal

(72), actor (Sons of Anarchy, Married with Children)

Catherine Sullivan

(bfa 92), Alpert Award-winning director and filmmaker

Derek Webster

(BFA 93), screen actor (Mental, Grey’s Anatomy)

(MFA 01), scene designer, NEA/Theatre Communications Group Fellow

Brian Lilienthal

(BFA 09), stage actor (Lynn Nottage’s Ruined)

(73), actor, creator of Pee-wee’s Playhouse

(BFA 87), technical director of Los Angeles Opera

(Theater–Integrated Media mfa 07), director (Vineland Stelae), digital artist, and co-founder of Cloud Eye Control

(bfa 00), stage and screen actor (Peach Blossom Fan, Gilmore Girls, web Programs in Design series Gold)

(bfa 86), Golden Globe-winning and Academy Award-nominated actor (Hotel Rwanda, Crash, Iron Man 2)

(bfa 91), screen actor (10 Items or Less, Lovespring International, Six Feet Under)

Michole Briana White

(MFA 90), sound designer and engineer (MFA 04), technical director of New York Theatre Workshop

(MFA 08), Richard A. Sherwood Award-winning producer and lighting designer, co-founder of the Center for Sustainable Practice in the Arts

Barbara Inglehart

(MFA 99, BFA 97), scene designer, NEA/ Theatre Communications Group Fellow (MFA 03), resident lighting designer of Trinity Rep, Ovation Award winner (MFA 03), technical director of The Builders Association (MFA 83), costume designer (Denver Center Theatre Company, the Cincinnati Playhouse)

Don Miller

(MFA 72), film producer (White Men Can’t Jump)

Laura Mroczkowski

(MFA 02), lighting designer of The Builders Association

Allain Rochel

(MFA 01), producing director, Celebration Theatre

Darcy Scanlin

(MFA 00), scene designer, NEA/Theatre Communications Group Fellow

Qadriyyah Shamsid-Deen (Theater MFA 09–Film/Video MFA 10), documentary filmmaker, Fulbright Fellow

Niki Spruill

(MFA 05), management fellow, New York Theatre Workshop

(MFA 86), costume designer, co-author of Shopping L.A.: The Insider’s Sourcebook for Film & Fashion

Leon Rothenberg

Ashley York Kennedy

Justin Townsend

(BFA 86), lighting designer

(MFA 02), Tony Award-winning sound designer (Joe Turner’s Come and Gone) (MFA 03), scene, lighting and sound designer, cofounder of TENT, USITT Rising Star Award winner

Dana Vasquez-Eberhardt (BFA 01), production coordinator, Center Theatre Group

See theater.calarts.edu/alumni\

C] Melissa Donaher in Yelena Zhelezov’s (MFA 09)

adaptation for puppets and actors of After Marienbad, the iconic 1961 film by Alains Resnais and Robbe-Grillet. Scene and video design by Emily Auble; lighting design by Shelly Rodriguez.

c

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D

D] The School of Theater’s Costume Shop.

E] Visiting artist Elizabeth LeCompte (right),

founding director of The Wooster Group, a resident ensemble at REDCAT.

E

F] Gabriella Rhodeen in Piedra de Sol (“Sunstone”), presented by the CalArts Center for New Performance (CNP). Adapted and directed by visiting artist María Morett, the play was based on Octavio Paz’s surrealist love poem.

The multilingual production was staged first on campus and subsequently at the Getty Villa.

Scene design by Erin Brewster (MFA 10); projection design by Jeff Teeter (BFA 06); produced by Mauricio Lomelin (MFA 10) and Michael Vanderbilt.

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F

G] MFA candidate Robert Cucuzza’s Hellzapoppin’ is inspired by the 1941 “anything goes” movie of the same name. Featuring Sam Breen (behind) and Christopher William Rivas as vaudevillians Ole Olsen and Chic Johnson, and Allison Laurel

G

Caldicott-Levitt as “Monkey.” Technical direction

by Jordan Woods-Wahl (MFA 10).

H] A puppetry class led by Janie Geiser, director

I] Students in a workshop led by visiting artist Claudio Valdéz Kuri, artistic director of Mexico City’s Teatro de Ciertos Habitantes.

of the School of Theater’s Cotsen Center for Puppetry and the Arts.

H I

J] CalArts students with actress Annette Bening

(center), following a rehearsal for director Lenka Udovicki’s staging of Medea at UCLA Live.

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J

K] Ajala Bendele (BFA 10) in Kenwood Wilderness, an opera-play written by Peter Parshall Jensen (MFA 10) with original music composed by Lam Kwan-Fai (Music MFA 09) and directed by Lars Jan (Theater窶的ntegrated Media MFA 08).

K L

Sound design by Patrick Janssen.

L] Puppetry exercise.

M

M] Loving, an opera written by R. Murray Schafer

and directed by Juli Crockett (MFA 01). This co-production of the School of Theater and The Herb Alpert School of Music was staged in the MOD, the Walt Disney Modular Theater. As one of only

five such theaters in the world, the MOD features a segmented floor, consisting of 348 square platforms mounted on pneumatic pistons, and segmented walls, allowing to the performance space to be configured into any number of different shapes.

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B] The Walt Disney Concert Hall complex houses REDCAT—the Roy and Edna Disney/ CalArts Theater.

A] Noah Harmon of the indie band The Airborne Toxic Event cheers on Community Arts Partner-

LA B

ship (CAP) music student [xx] in a master class held at Plaza de la Raza in East Los Angeles.

This event was part of a series of 20 master classes—covering different branches of the arts—to mark CAP’s 20-year anniversary.

C] The CalArts Center for New Performance’s

production of What to Wear, a raucous post-rock opera written and directed by Richard Foreman and scored by Michael Gordon.

C

COMMUNITY ARTS PARTNERSHIP (CAP) Established in 1990 as the first program of its kind in the United States, the award-winning Community Arts Partnership links CalArts to community organizations, social service agencies and public schools throughout Los Angeles County as a means to provide free arts education to youth between the ages of 10 and 18. Designed to open pathways to college and point the way to future careers in the arts, CAP courses are taught by CalArts faculty, student-instructors and alumni. Since CAP’s founding, more than 200,000 elementary, middle and high school students have received arts training through its programs, which cover all of the artistic disciplines taught at the Institute. CAP also develops model arts education curricula for the culturally diverse communities of Southern California.

CalArts student-instructors taking part in CAP programs have the opportunity to share their knowledge and abilities with young people and gain valuable life, teaching and artmaking experience. Teaching also provides them with a source of income during their residencies at CalArts.

CAP students who are admitted to CalArts after completing high school may qualify for CAP scholarships.

To learn more about CAP and its programs, go to calarts.edu/cap.

CENTER FOR NEW PERFORMANCE (CNP) AT CALARTS The Center for New Performance is the professional producing arm of CalArts, established to provide a unique artist- and project-driven framework for the development and realization of original theater, music, dance and interdisciplinary projects. Extending the forward-looking work carried out at CalArts into a direct dialogue with professional communities at the local, national and international levels, the CNP offers an alternative model for the support of emerging directions in the performing arts. It also enables CalArts students to work a longside celebrated artists and acquire a level of experience that goes beyond the curriculum at each CalArts school.

CNP guest artists have included directors Robert Cantarella and Chen Shi-Zheng, composers Vinny Golia and Stephin Merritt, and actor Stephen Dillane, among others. Recent CNP productions have included the world premieres of What to Wear, an opera written and directed by avant-garde theater icon Richard Foreman and scored by composer Michael Gordon, cofounder of the Bang on a Can Festival; Vineland Stelae, a full-length structured improvisation for 30 musicians created by composer Sandeep Bhagwati and staged by director Chi-wang Yang; and AH!, an Interactive Opera No-Opera by A Counterpoint of Tolerance Composers. These works were developed and rehearsed on the CalArts campus and formally presented at REDCAT. cnp.calarts.edu

Roy and Edna Disney/CalArts Theater (REDCAT) Opened in 2003, REDCAT is CalArts’ downtown Los Angeles center for the presentation of experimental art and performance. Housed as a separate facility inside the iconic Frank Gehrydesigned Walt Disney Concert Hall complex (home of the Los Angeles Philharmonic), this state-of-the-art venue has become an indispensable part of the city’s cultural landscape. It features a full range of programming that includes art, music, theater, dance, film, multimedia, interdisciplinary performance, readings, symposia and other events. These programs are drawn from a mix of renowned international artists and companies, emerging Los Angeles-area artists, and work developed at CalArts. Described by The Huffington Post as “the gold standard for the avant-garde in L.A.,” REDCAT contains a comprehensively outfitted theater with modular seating, flexible acoustics and multiple projection systems, as well as a 3,000-square-foot gallery.

Its lounge, meanwhile, is a popular gathering place before and after events.

In addition to the CalArts ensembles and productions appearing at REDCAT, many of the artists who present work at the venue also visit the Valencia campus for lectures, workshops, master classes and meetings with students. All events at REDCAT, which total more than 150 each year, are made available to CalArts students through discounted tickets.

See redcat.org to learn more about the programs at REDCAT.

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APPLY TO CALARTS CalArts welcomes applications for admission from any individual engaged in visual, performing, media or literary arts. The main criterion for admission is artistic merit, as assessed by the faculty of the individual programs. Other important considerations include the applicant’s school records, recommendations and artist’s statement.

The respective programs ask applicants to demonstrate their abilities and levels of training in their chosen fields through live auditions, portfolio submissions, and any other relevant evidence of creative achievement and promise. All applicants are required to submit a completed CalArts Application for Admission, the application fee, transcripts, two letters of recommendation and an artist’s statement prior to the artistic review of their work.

All application requirements and audition and portfolio guidelines are listed at calarts.edu/ apply. Applicants cannot be accepted into undergraduate programs unless they have obtained a high school diploma or an equivalent or are working toward a diploma or equivalent. Those applying to graduate programs cannot be admitted to CalArts unless they have earned an undergraduate degree from a regionally accredited institution or are working toward such a degree. Similarly, applicants to the Doctor of Musical Arts (dma) Performer-Composer Program cannot be accepted unless they hold a master’s degree or are working toward one. All accepted students must obtain the relevant diploma or degree before they can enroll at CalArts. calarts.edu/apply

Financial Aid The Office of Financial Aid helps students to meet the costs of a CalArts education. All applicants to CalArts automatically receive materials on the financial aid process and requirements, as well as additional information on grants, scholarships, loans, work-study programs and other forms of aid. The Office of Financial Aid subsequently makes offers of aid to accepted students on the basis of eligibility and financial need. calarts.edu/financialaid | 661 253-7869 or 800 443-0480.

VISIT CALARTS We invite all prospective applicants to visit the Institute in person to observe the full range of activity on campus and experience first-hand our unique creative community.

Guided tours allow visitors to see faculty and students at work and survey the facilities and production tools available to students. In addition, all concerts, gallery openings, film screenings, theater productions and dance performances are open to visitors. We also urge prospective applicants and their families to attend a performance, screening or gallery exhibition at the Roy and Edna Disney/CalArts Theater (redcat) in downtown Los Angeles in connection with your visit.

661 255-1050 or 800 545-ARTS | |admissions@calarts.edu.

To apply online, go to

calarts.edu/apply and complete the Application for Admission. You may also print out the application and send the completed form via mail.

To learn more about financial aid, go to calarts.edu/

financialaid.

To contact the Office of Financial Aid directly,

call 661 253-7869 or 800 443-0480.

Tours and information sessions are scheduled throughout the year. To schedule a visit, contact the Office of Admissions at

661 255-1050 or 800 545-ARTS, or write to admissions@ calarts.edu

ACCREDITATION

California Institute of the Arts is accredited by the Accrediting Commission for Senior Colleges and Universities of the Western Association of Schools and Colleges (wasc). The School of Art is an accredited institutional member of the National Association of Schools of Art and Design (nasad). The Sharon Disney Lund School of Dance at CalArts is an accredited institutional member of the National Association of Schools of Dance (nasd).

The Herb Alpert School of Music at CalArts is an accredited institutional member of the National Association of Schools of Music (nasm). The School of Theater is an accredited institutional member of the National Association of Schools of Theater (nast).

For information about WASC and its accrediting process, contact: WASC 985 Atlantic Avenue, Suite 100 Alameda, CA 94501 510 748-9001 wascsr@wascsenior.org.

Front Cover] The CalArts Gamelan Burat Wangi gears up for a pre-graduation performance.

RIGHT INSET] Site-based dance with visiting artist Joanna Haigood.

LEft INSET] Dreaming of Lucid Living, a live film projection performance by Miwa Matreyek.

BACK Cover] Paper sculpture made in a class led by Michael Darling, the School of Theater’s head of Technical Direction.

credits Published by the CalArts Office of Enrollment Management

Carol Kim Dean

Molly Ryan

Co-Director, Office of Admissions

Taryn Wolf

Co-Director, Office of Admissions

Editorial

Freddie Sharmini Design

Peter Kaplan (Art MFA 03) Design assistance by

Tasheka Arceneaux (Art MFA 07) Cassandra Chae (Art MFA 07) Eileen Hsu (Art MFA2), and Scott Taylor Typefaces include

Arbitrary Sans by Barry Deck (Art MFA 89) Cholla by Sibylle Hagmann (Art MFA 96) Electra by W.A. Dwiggins Keedy Sans by Mr. Keedy International by Lee Schulz (Art MFA 98) Skopex by Andrea Tinnes (Art MFA 98) Photography

Scott Groller and Steven A. Gunther Printed by

Typecraft, Wood & Jones, Pasadena, California

CalArts 24700 McBean Parkway Valencia, California 91355-2340 USA Office of Admissions 661 255-1050 or 800 545-ARTS (toll free) calarts.edu The information contained in this publication is subject to change.

For the most up-to-date information about CalArts, see calarts.edu.