January 12, 2021 MACK Celebrates New Allan Sekula Book with Virtual Symposium On Thursday, Jan. 14, London-based independent art and photography publishing house MACK...
December 21, 2020 Artforum Essay Focuses on Art of Luciano Perna December 21, 2020 Fallen Fruit Present NATURAL HISTORY at 2020 NGV Triennial CalArtian David Burns (Art BFA 93) and Austin Young of Fallen Fruit present new immersive works... December 14, 2020 CalArtians Included in the NYT’s ’25 Most Influential Works of American Protest Art’ December 10, 2020 CalArtians Among Automata LA’s Fall/Winter Artists in Residence Downtown Los Angeles-based experimental performance venue Automata has announced its latest... View All News
December 14, 2020 CalArtians Included in the NYT’s ’25 Most Influential Works of American Protest Art’ December 10, 2020 CalArtians Among Automata LA’s Fall/Winter Artists in Residence Downtown Los Angeles-based experimental performance venue Automata has announced its latest... View All News
Liz Glynn Art MFA 08 Liz Glynn I came out of my undergrad at Harvard knowing that, if nothing else, I could stay in the studio all night, work myself into a corner, and throw myself at building something. What was great about CalArts is that it broke all those habits and proved to me that it wasn’t just the labor that was going to fix the work. It opened me up to different ways of looking at the ideas behind the work, and how to address those before making anything. At CalArts I realized that I was more interested in the process of production. My work is research-driven. I’m not wedded to the idea of stylistic consistency, but there’s an underlying idea that human action matters and can shape the physical world, and by extension, metaphorically, the political and social reality that we inhabit. I got so much out of being at CalArts and learning many different logics of critique, and the process of deconstructing a work and figuring out how to put it back together. I don’t think most other institutions would ever dare go that deep. To have that as a professional artist, later on, is incredibly important because there’s so much that’s pushing you in the direction of maintaining consistency. But the only way to make progress is to have these moments of destruction and teardown. Many of the artists I now teach with as colleagues are CalArts alumni. At any given museum opening, I’m surrounded by them. It’s an honor to be part of that legacy of artists, and it’s also one group of alumni that maintains a critical conversation long after graduating. I think that’s really important.