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Faculty & Visiting Lecturers

 
We have selected each member of the Otis MFA Public Practice Faculty because they each have a rich and unique cultural perspective to offer on contemporary art issues related to the emerging field of Public Practice. They are deeply committed to helping you discover and express your own creative process, vision and perspective, which is key to your success as a civically engaged artist.
We host many leading practitioners from Los Angeles and beyond to speak and make presentations about their work and issues in the field of Public Practice. We have hosted artists and cultural leaders and from organizations like Walker Museum, Ala Plastica, Transforma Projects, Publico Transitorio, BULBO, Future Farmers, LACE, the Orange Country Museum, and many other exciting groups.

 

This aspect of our program is geared toward helping students cultivate professional connections and relationships that have the potential to extend beyond the walls of the graduate program.

 

<---- Extended information on our broad list of visiting lecturers are provided for your navigation on the side bar.
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Primary Faculty
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Suzanne Lacy

Program Chair & Founder

 

www.suzannelacy.com

 

Suzanne Lacy’s work includes installations, video, and large-scale performances that frequently focus on social themes. Recently she has  

created The Tattooed Skeleton, a multipart performance at the Museo Nacional Centro Reina Sofia in Madrid, Prostitution Notes, a performance/reading at the Serpentine Marathon, Anyang Women’s Agenda, a public performance in Anyang, Korea, The Skin of Memory Revisited at the Medellin Biennale, Three Weeks in January for the Getty Pacific Standard Time Performance and Public Art Festival, Storying Rape for the Liverpool Biennial, installed an exhibition, The Crystal Quilt, a recent acquisition of the collection of Tate Modern, and created a new performance Silver Action, also for Tate Modern. She is currently working on a long term project in Bristol, The University of Local Knowledge with the Arnolfini Gallery and the Knowle West Media Centre.

 

Also known for her writing, Lacy edited the influential Mapping the Terrain: New Genre Public Art, published in 1995 by Bay Press and has recently released Leaving Art: Writings on Performance, Politics, and Publics, 1974-2007 by Duke University Press. Suzanne Lacy: Spaces Between is a monograph by Sharon Irish, published by University Minnesota Press.

 

Lacy is the Chair of the Graduate Public Practice Program at Otis College of Art and Design in Los Angeles.

 

Photo courtesy of Maria Del Carmen Uriarte


 

 

 

Consuelo Velasco Montoya

Program Coordinator and Lecturer

 

Consuelo Velasco Montoya has an undergraduate degree in Fine Art from UC Santa Cruz with an emphasis on mixed media, murals and publications. She graduated with a Masters in Public Art Studies from the University of Southern California where she studied the history, theory and administration of public art with a particular focus on art in rural contexts. Velasco was previously employed by the Los Angeles County Metropolitan Transportation Authority, Metro Art where she was extensively involved in the public art component of the Expo Light Rail line as a graduate administrative intern. She participated in Suzanne Lacy’s Artist Public project, Stories of Work and Survival, at the Los Angeles MOCA Geffen Contemporary.  Consuelo has been the administrator of the MFA Public Practice program since it was established in 2007 and is also instructor of the profesionnal practices courses offered by the program.

 

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Edgar Arceneaux

BFA Art Center College of Design
MFA California Institute of the Arts

 

Born in 1972, Los Angeles-based artist and filmmaker Edgar Arceneaux received a BFA from the Art Center College of Design and an MFA from the California Institute of the Arts. Arceneaux makes films, drawings, and installations as complex arrangements of association that examine relationships between disparate histories. Since 1999, Arceneaux has continued to create numerous film and video works that are screened and exhibited internationally. He has participated in artist residencies at Art Pace in San Antonio; Skowhegan School of Painting and Sculpture in Maine; Banff Center for the Arts in Alberta, Canada and at the Fachhochschule Aachen, in Aachen, Germany. Solo exhibitions of his work have been presented at the Hammer Museum, Los Angeles; the Kitchen, New York; the San Francisco Museum of Modern Art; The Studio Museum in Harlem, and the Museum für Gegenwartskunst in Basel, Switzerland. His work was recently included in Marking Time at the Museum of Contemporary Art in Sydney, Australia; Mutatis, Mutandis, at the Vienna Secession, Vienna, Austria; the 2008 Whitney Biennial, New York; La Biennale de Montreal 2014; and the 2015 Shanghai Biennale. He also recently developed a collaborative project with the US State Department and the country of Sao Tome, Africa, and Arceneaux co-produces Beyond Entertainment (BE), a new web and TV series for KCET. A joint venture with artist and filmmaker Kurt Forman, BE’s mission is media literacy through the use of serendipity. He is represented by Susanne Vielmetter in Los Angeles. For more information, visit www.vielmetter.com

 

 

Andrea Bowers

Senior Lecturer

MFA Calarts; BFA Bowling Green State University

 

Andrea Bowers has an MFA from CalArts and lives and works in Los Angeles. Recent solo shows include Sanctuary at Van Horn, Dusseldorf, The Weight of Relevance at ZKM/Zentrum Fur Kunst und Medietechnologie, Karlsruhe, The Power Plant, Toronto, the Secession, Vienna and Susanne Vielmetter Los Angeles Projects, Vows at Halle fur Kunst, Luneburg, and Nothing is Neutral at REDCAT, Los Angeles and Artpace, San Antonio. Recent group shows include the 2008 California Biennial at the Orange County Museum of Art, Proyecto Civico at the Centro Cultural Tijuana (CECUT), Progress at the Whitney Museum of Contemporary Art, Los Angeles and the L.A Anarchist Book Fair. Bowers is represented by Susanne Vielmetter Los Angeles Projects, Chouakri in Berlin, Galarie  praz-Delavallade in Paris, and Van Horn in Dusseldorf. Bowers is currently a Visiting Artist and the California Institute of the Arts (CalArts).

 

 

Sara Daleiden

Senior Lecturer

MA, USC

Los Angeles Urban Rangers

www.laurbanrangers.org

 

A core member of the Los Angeles Urban Rangers, Sara Daleiden is an artist, curator and organizer who focuses on participant experience through

 the creation of identity systems and interventions within the city. Sara works as a consultant in conceptual strategies, organizational development and project coordination with clients including the MAK Center for Art and Architecture, Suzanne Lacy, Freewaves, Marc Pally, Cliff Garten Studio and the Community Redevelopment Agency of Los Angeles. She received her Master of Public Art Studies degree at the University of Southern California (USC), serves on the board of the LA Forum for Architecture and Urban Design and has taught at USC, Woodbury University and the Milwaukee Institute of Art & Design.

 

Los Angeles Urban Rangers develop guided hikes, campfire talks, field kits, and other interpretive tools to spark creative explorations of everyday habitats, in our home megalopolis and beyond. The interdisciplinary collective initially formed for The gardenLAb Experiment at Art Center College of Design in 2004. In addition to large-scale, self-initiated projects such as Malibu Public Beaches, the collective's services are customized for publicly-focused exhibitions and projects such as Democracy in America with CreativeTime, Animal Estates at the Whitney Biennial 2008, SITE2F7 Ontdekkingstocht (Explorer’s Hike) at the Museum de Paviljoens, A Walk to Rememberat Los Angeles Contemporary Exhibitions (LACE), Temporary Services Construction Site with Outpost for Contemporary Art, and Interstate: the American Road Trip at High Desert Test Sites and Socrates Sculpture Park.

 

 


Dana Duff

Professor

MFA Cal Arts, BFA Cranbrook


 

Dana Duff is an artist trained in sculpture and filmmaking, with an MFA in conceptual art from California Institute for the Arts. She's lived and worked primarily in New York City and Los Angeles and, after working several summers in France, is now also based part-time in Mexico. She's exhibited in a number of solo shows at and including Max Protech Gallery (NYC), Richard Kuhlenschmidt Gallery (LA), Milford Gallery (NYC), and in selected group shows: Renaissance Society (Chicago), New Museum of Contemporary Art (NYC), Whitney Museum (NYC), Long Beach Museum, CA. For the past several years she's worked primarily in film and video and exhibited her movies at the International Film Festival Rotterdam; and the Biennale de l'Image en Mouvement, Geneva, among other programs. She's been awarded residencies at Foundation Kaus Australis, Rotterdam, and the American Academy in Rome. Documentation of a recent three-screen video projection at PøST can be seen online at http://dndff.wordpress.com/mishap-video-installation-2011/

 

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Bill Kelley Jr. 

Associate Professor

MA, University of New Mexico; Ph.D Candidate UCSD

 

Bill Kelley, Jr. is an educator, curator and writer based in Los Angeles. He graduated with a Master’s in 19th Century Colonial Art Studies from the University of New Mexico, Albuquerque (UNM). His current research focuses on collaborative and collective art practices in the Americas. Bill has written for such journals as Afterall, P.E.A.R., and Log Journal. His most recent projects include being co-curator of the 2011 Encuentro Internacional de Medellín (MDE11: Museo de Antioquia, Medellín, Colombia, 2011) as well as acting as the 2012-2013 Curator in Residence for 18th Street Art Center. Bill is the former Director of the online bilingual journal LatinArt.com and is Associate Professor at Otis College of Art’s Graduate Public Practice MFA program. He is currently completing his Ph.D. in Contemporary Art, Theory and Criticism at the University of California at San Diego (UCSD), and is co-editing an anthology with Grant Kester of collaborative and dialogical art practices in the Americas entitled: Collective Situations: Readings in Contemporary Latin American Art 1995-2010 (Duke University Press, forthcoming). He most recently co-organized the two-day convening LA/LA: Place + Practice for the Getty Foundation and The Getty Research Institute (May 2 & 4, 2015) and is currently the Lead Researcher and Curator of Talking to Action, Otis College of Art’s contribution to the Getty’s Pacific Standard Time: LA/LA (2017).

 

updated 2015

 

 

 

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Julio Cesar Morales

Senior Lecturer

 

Julio Cesar Morales is an artist, educator and curator currently working both individually and collaboratively. Morales teaches and creates art in a variety of settings, from juvenile halls and probation offices to museums, art colleges, alternative non-profit institutions. Morales' work consistently explores issues of labor, memory, surveillance technologies and identity strategies. His work has been shown at Museo Tamayo (Mexico City, Mexico), SFMOMA (San Francisco) ;2009 Lyon Biennale; (Lyon, France), 2008 and 2004 San Juan Triennial (San Juan, Puerto Rico); 2007 Istanbul Biennale; Los Angeles County Art Museum (Los Angeles); 2006 Singapore Biennale; Frankfurter Kunstverein (Frankfurt, Germany); Swiss Cultural Center (Paris, France); The Rooseum Museum of Art (Malmo, Sweden); Peres Projects (Los Angeles); Fototeca de Havana (Cuba); Harris Lieberman Gallery (New York City); MUCA Roma (Mexico City), The Nordic Watercolour Museum; (Skärhamn, Sweden), UCLA Hammer Museum (Los Angeles) and The Perez Art Museum Miami (Miami) .

 

His work has been written about in Flash Art, The New York Times, Artforum, Freize Magazine, Los Angeles Times, Art Nexxus, and Art in America amongst others.

 

He has received awards by The Rockefeller Foundation, The Creative Work Fund, Artadia, The San Francisco Arts Commission’s Public Art Program, The California Arts Council, Friends of Contemporary Art, The Fleishhacker Foundation and AIT Arts Initiative Tokyo in collaboration with The Ishibashi Foundation and Printed Matter in New York.

 

He is the founder and co-curator for Queens Nails, an artist run project space in San Francisco. He was adjunct professor at The San Francisco Art Institute and associate professor in Curatorial Studies at The California College for the Arts from 2001 to 2012, Morales is an advisor and writer for The San Francisco Quarterly Art Magazine, from 2008 to 2012 he was adjunct curator for visual arts at Yerba Buena Center for The Arts in San Francisco, and is currently curator of visual arts at Arizona State University Art Museum.

 

 

 

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Karen Moss

Senior Lecturer

MA, Art History and PhD candidate, University of Southern California

BA Studio Art and Art History, University of California, Santa Cruz

 

Karen Moss is an art historian, curator and educator who has worked in museums and academic positions since 1980. She has been Senior Faculty in the Graduate Public Practice Program at the Otis College of Art and Design since 2008 and was recently appointed as the college’s Interim Director of Galleries and Exhibitions. She is overseeing artists’ residencies, exhibitions and public programs at the Ben Maltz Gallery, including the Otis project for the Getty’s Pacific Standard Time’s Los Angeles/Latin America.


Previously, Moss was Deputy Director of Exhibitions and Programs and Curator of Collections at Orange County Museum of Art (OCMA) from 2005 - 2010. She co-curated State of Mind: New Art from California Circa 1970 for the Getty’s Pacific Standard Time initiative in 2011 and subsequently the exhibition travelled to the UC Berkeley Art Museum/Pacific Film Archives, the Belkin Gallery, University of British Columbia, Vancouver; SITE Santa Fe, the Bronx Museum of Arts, and the Smart Museum, University of Chicago. Some of her other OCMA exhibitions included: 15 Minutes of Fame: Portraits from Ansel Adams to Andy Warhol  (2010) Illumination: The Paintings of Georgia O’Keeffe, Agnes Pelton, Agnes Martin and Florence Pierce (2009); Disorderly Conduct: Recent Art in Tumultuous Times (2008) and Art Since the 1960s: California Experiments (2007-08).  Moss was co-curator and catalogue essayist for the 2006 California Biennial and organized artists’ residencies, performances and public programs for the 2006, 2008 and 2010 biennials.

 

Prior to OCMA, Moss was Director of Exhibitions and Public Programs at San Francisco Art Institute (1999-2004) where she curated exhibitions such as Sharon Lockhart/Kelly Nipper, James Siena, Topographies, and The World on Its Head: Contemporary Belgian Art and organized Touch: Relational Art from the 1990s with Nicolas Bourriaud. Moss also did international residencies with artists Ghada Amer, Tania Bruguera, Lee Bul, Wim Delvoye, Pierre Huyghe/Philppe Parenno, Los Carpinteros and Rikrit Tiranvanija. 

As Director of Education and Community Programs and curator at the Walker Art Center (1995-1999) she curated Performance in the 1970s: Experiencing the Everyday, Art of the 1960s: Media is the Message, co-curated Visitor’s Voices: Recomposing the Collection, and also organized many artist residences and public programs.

Moss was the first Director of Programs at the Santa Monica Museum of Art (1989-1993) where she curated exhibitions such as Altered Egos: Making As Another and Kim Abeles: Encyclopedia Persona and organized Art in the Raw the museum’s inaugural site-specific installations that evolved into SMMOA’s  Artists’ Project Series. Earlier in her career she was an Assistant Curator at MOCA, Los Angeles (1985-87) and attended Whitney Independent Study Program in Art History and Museum Studies.

Moss has a B.A. in studio art and art history from U.C. Santa Cruz, and did her graduate work in art history at U.C. Berkeley and University of Southern California, where she is completing her PhD. in art history. She has taught undergraduate and graduate level art history, critical theory and curatorial studies at art schools and universities including Cal State University, Long Beach, Otis College of Art and Design; San Francisco Art Institute, and University of Southern California. Moss has authored numerous museum exhibition catalogues, written guest essays for arts publications, and contributed to scholarly journals. Recent publications include, an in-depth article on Martha Rosler for Feminist Studies Journal (2013) and an essay on the re-imagining of Bonnie Sherk’s Portable Park IV for an upcoming book on the Getty’s Pacific Standard Time Performance and Public Art Festival.

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Renee Petropoulos

Full Time Faculty

BA in Art History, 
MFA in Visual Arts, University of California, Los Angeles 



 

Renee Petropoulos has created projects and exhibited internationally, most recently embarking on the project "Among Nations (Mostly)" which was initiated with a performance "Analogue", and a set of book designs and a text for Les Figues Press (2011).  "Black Star", begun in 2006, is a performance in continuum in Berlin.  Her most recent installment of "Prototype for the History of Painting: Eingrouping Social Historical" was installed in MARTE, San Salvador, El Salvador.  Her film, "Two or Three Things I Know About Gas Station Mini Marts" screened at Screening, in Philadelphia.  Presently she is working on the outdoor public sculpture project “Bouquet” that will be situated in Santa Monica, California at a street and pedestrian intersection. This spring she will participate in the exhibitions “Telephone” at the Torrance Art Museum and ‘Painting Design Speculation Generosity’ at CB! Gallery.  She will be performing “Analog: Among Nations” this fall at the MAK at the Schindler House this fall. She has received numerous grants including the California Community Foundation Fellowship, a COLA Grant, A Ford Travel Fellowship, and an Art Matters Grant. She is part of the organization SASSAS, Society for the Activation of Social Spaces Through Art and Sound, which produces sound events throughout Los Angeles. Petropoulos has a B.A. in Art History and an MFA in Studio Practice from UCLA. Petropoulos is presently Professor of Art in the Otis College of Art and Design Graduate Studies Department. She has also taught and lectured internationally most recently in the Netherlands and in China.

 

 

Anuradha Vikram

Lecturer

 

Anuradha Vikram is a curator, educator, and writer whose research examines the privatization of public space and the spread of global cultural paradigms through the use of emerging technologies in contemporary art. From 2009-2013, she was a Lecturer in Art History at the College of Marin, where she taught Medieval through Contemporary Art courses and History of Art by Women. She has also taught critical theory intensives to art students at UC Berkeley and San Jose State University. She earned an MA in Curatorial Practice from California College of the Arts and a BS in Studio Art from New York University. Vikram is the Director of Residency Programs at 18th Street Arts Center in Santa Monica, CA, having held prior positions as Curator of the Worth Ryder Art Gallery for UC Berkeley’s Department of Art Practice; Director at Aicon Gallery Palo Alto; Program Director at Headlands Center for the Arts; Associate Producer of Zero One San Jose; and Exhibitions Director at Richmond Art Center, and Studio Manager for artists Claes Oldenburg and Coosje van Bruggen.

As an independent curator, Vikram’s exhibitions include Occupations: Art Takes Up Space, an installation of contemporary video art in downtown Oakland with Block Gallery, as well as Social Fabric at the Craft and Folk Art Museum in Los Angeles, Spaces of Life: The Art of Sonya Rapoportat Mills College Art Museum in Oakland, and Transforming Fictions, a curated residency presenting four Asian American artists at the DeYoung Museum Artist Studio in San Francisco. Her projects at Worth Ryder Art Gallery include solo exhibitions with Mariam Ghani, Damaso Reyes, Edgar Heap of Birds, and Ryan and Trevor Oakes, as well as thematic group shows on topics such as work-life balance, art’s relationship to science and technology, borders and migration, and feminist and queer politics on a global scale. Recent exhibitions at 18th Street have been realized with Elena Bajo, Patricia Fernández, and Miljohn Ruperto. Her writing has appeared in X-TRA Contemporary Art Quarterly, Hyperallergic, Leonardo, SF Camerawork Journal, Afterimage, and Open Space (blog of the SFMOMA). She is a contributor to Artillery magazine and contributes the #Hashtags column for DAILY SERVING.

 

 

 

 

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