Drawing + Painting

An introductory course exploring the art and architecture of Mesoamerica from the rise of the Olmec in 1500 BCE to the Spanish conquest of the Aztec capital of Tenochtitlan in 1521, Mesoamerican Empires will focus on how changes in visual culture have reflected larger religious and political transformations in Mesoamerica. Issues of cultural memory and myth will be examined to understand indigenous conceptions of art, history, cosmology, and social hierarchy. Forging links with the present day, students will learn to identify and contextualize Mesoamerican iconography in contemporary media including the creative expression of lowrider culture, tattoos, fine art, and fashion. Students will be required to demonstrate their understanding of the material through visual (art) projects, a formal writing assignment, and their participation in class discussions. No prerequisites.

This course is an exploration of art and visual culture from the Asian continent. Focusing on art works as historical, cultural, and social documents, we will examine how art was commissioned, collected, and used by royalty, the elite, popular audiences, and religious communities in both rural and urban settings. Different themes discussed include art as an instrument of power and propaganda, as a tool for social and religious ritual, an expression of status and prestige, a medium for social protest, as well as a product for the marketplace. Beginning with Bronze Age objects for ritual purposes, subsequent artforms include scroll paintings in the Song Dynasty, women’s painting and printed books, Japanese secular emaki scrolls and ukioy-e art, the luxury of Mughal art in India, and true-view landscape painting in Korea. Students are required to do class readings and engage actively in class discussion, complete two papers, create a final project, and make a final presentation. No prerequisites.

If consciousness is shaped by our history, then where are we, collectively, if we’ve lost faith that a shared historical commonality among cultures ever existed? To the people who thrived in the strange and beautiful empires of ancient Egypt, Greece, and Rome, religious and cultural differences found in one’s neighbors weren’t unusual, confusing or frightening—they were part of everyday life. In short: normal coexistence. In the class Egypt, Greece, Rome—we’ll explore the commonalities and shared experiences found among these three remarkable civilizations, as well as follow the cultural fault lines exploited by those in power which eventually forced these empires to dissolve. Together, we’ll explore three millennia of artefacts, objects, architecture, writings, as well as cultural and religious practice to see how these civilizations evolved, ran alongside one another, then overlapped and overcame one another to lay the foundations of modern western society. Through lecture, images, discussions, essays, and close readings, students will learn to identify, decode, understand and describe artworks and objects from the past, translating them from visual to verbal and textual language. In addition, in an effort to gain insight into the ancient state of mind, students will reconstruct a piece of history with a hands-on laboratory project and a small, original artwork of their own. No prerequisites.

The Middle Ages were a time of knights and ladies... or maybe brutal Viking warlords... or a clash of civilizations between Christians and Muslims... and maybe there were dragons? A lot of what we “know” about the medieval world comes from fantasy, pop culture, and from old nationalist scholarship that mostly invented origin myths. So, how can we know what the Middle Ages were really like? In this class, we’ll go back and try to get a more accurate picture by looking at things medieval people made: manuscripts, sculptures, buildings, weapons, clothing, etc., all in tandem with reading primary sources by the people who were there. Starting with the collapse of the western Roman Empire, we will uncover a different picture of how two related cultures arose out of the wreckage of the ancient world: Christendom and Dar al-Islam. Along the way we’ll learn that the “barbarians” weren’t that barbaric, that some Vikings converted to Islam, that trade and cooperation across the Mediterranean were far more common than Crusades, and that the medieval world was more diverse, cosmopolitan, and queer than you may have been led to believe. No prerequisites.

Nature in Art explores the rich and varied traditions of artistic expression unique to the regions of Japan, Korea, and Tibet, from prehistoric indigenous practices through the mid-19th century. Looking closely at Japan, the Korean renaissance, and the coded art of Tibetan Buddhist culture, we will uncover the distinct artistic heritage found in each, noting particularly the sharing and transmission of art practices and ideas as they cross geographical and cultural boundaries.
Working chronologically, this course will identify intersections of spirituality and nature, then examine artistic expressions of such concepts through lacquer, ceramic, ink, paper, stone, bamboo and ivory, among other media. Both two- and three-dimensional art forms are considered, from calligraphy, wood-block prints and landscape painting to festivals, garden design, poetry, and tea ceremonies. The objects and sites studied in this course will reflect how concepts of beauty and aesthetics are achieved through the practice of “harmony, respect, purity, and tranquility.” The course is conducted as a hybrid seminar-lecture style course, with instructor led lectures and video, student presentations, research, writing, culinary experiences, as well as hands-on exploration of the traditional processes of historic art production in these regions. This class requires a visit to the USC Pacific Asia Museum to see art in person from each of the regions studied in this class. No prerequisites.

People often wonder exactly when, throughout history, women first started to become active in society? Of course, the answer is: Always. Even though women’s efforts have been overshadowed by that of their male contemporaries in the chronicling of official histories, women have always participated in every facet of life, from rich to poor, north to south, east to west, and from the ancient period to the present. In this course, we will examine the lives and creative pursuits of the many women who contributed to the arts, sciences, and humanities throughout history, particularly focusing on artists & craftspersons, writers & poets, healers, pharmacists, natural philosophers, and rulers, with a few warriors included for good measure. Students will conduct close readings, originate research, formulate short essays, and in an effort to gain insight into the state of mind of historical women, reconstruct a piece of history with a hands-on laboratory project and a small, original artwork placing themselves in the environment of a chosen historical female. Prerequisite: AH210, or one course from the Ancient Civilizations category. This course can be taken concurrently with one class from the Medieval Worlds in Motion category. 3 units.

“Force yourself to imitate Michelangelo in everything.” These were the words expressed by Michelangelo’s biographer to a remarkably self-aware generation of artists in 16th-century Florence, Rome, and Venice. However, whether rival artists wanted to, or even imagined they could succeed in imitating Michelangelo’s work is another question—one among many we’ll explore in The Age of Michelangelo, 1450-1550. In consultation with a range of visual, historical, and literary materials, we’ll delve into the spirit of the age, looking at drawing, painting, sculpture, furniture and garden design, food, weaponry, architecture, and urban planning, as well as people. We’ll tap into the players and personalities of the times—Leonardo, Giorgione, Raphael, Sofonisba Anguissola, Titian—as well as Isabella d’Este, the Della Rovere, and the Medici families who sought to shape their immediate world through power, imagination, and the artistry of their times. Students will conduct close readings, originate research, formulate essays, and in an effort to gain insight into the Renaissance state of mind reconstruct a piece of history with a hands-on laboratory project and a small, original artwork of their own. Prerequisite: AH210, or one course from Ancient Civilizations category (AH100 series). This course can be taken concurrently with Medieval Worlds in Motion category (AH200 series).

For centuries, earthly creatures, charmed animals and otherworldly beings conjured by artisans, magicians, folklorists, natural philosophers, and physicians, have inspired both wonder and delight as well as revulsion, alarm, and terror in the hearts and minds of otherwise thinking persons. Considering beasts and beings of all sorts, both earthly and divine, this course seeks to investigate the origin stories of such creatures and inquire as to what motivations compel an individual or society to conjure such creatures. From the Classical World to Medieval Scandinavia, from the Americas to Slavic Europe, this course explores how art and monstrosity intersected in the cultural imagination to both delightful and devastating effect. In consultation with a range of visual and literary primary materials, including the Great Chain of Being, the Malleus Maleficarum (the Witches Hammer), and Della Porta’s How We May Produce New and Strange Monsters, students will conduct close readings, originate research, formulate essays and create original artwork of their own in an effort to gain insight into earlier states of mind as well as open avenues into wholly new creations. All readings for the course will be in English, although international and graduate students may be asked to give additional reports on texts written in other languages.

Los Tres Grandes explores the Mexican Muralist movement of the 1920s from its beginnings under the post-Mexican Revolution government to its present-day influence on Chicanx and Street artists. Utilizing a curricular framework centered on Los Tres Grandes (the big three), Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros, our studies will then expand to include further influential figures such as Frida Kahlo and Rufino Tamayo among others. Students will be required to demonstrate their understanding of the material through visual (art) projects, a formal writing assignment, and participation in class discussions. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category

This course examines a diverse array of art created by different ethnic groups in West Africa from pre-colonial through the 19th century and beyond. Through the lens of both spiritual and cultural traditions, we will consider a wide range of styles and materials, and ask how meaning is derived from objects and practices, keeping in mind particular challenges that emerge when studying art that is both permanent and impermanent. The significance of oral traditions will be studied, as well as the roles of ancestor spirits, mythical creatures, divination and initiation rites, and how music, dance, and masking function in establishing power, status, political, and social conventions. Objects created exclusively for performative and ritual uses, art in service to royalty, sculpture, utilitarian objects, architecture, performance, and the body as subject and site of adornment will form the core of our studies. Materials studied will include metal, wood, textiles, mud, ivory, beads, bone, dung, and blood/bodily fluids. While important, this class does not intend to cover present-day political crises, border disputes, or changing social constructs in West Africa. This course is conducted with instructor led lecture, film, guided reading and discussions, student presentations based on independent research, and other exploratory exercises. A visit to the UCLA Fowler Museum is required for this class. Students will experience textile creation and the development of personal symbolism in a hands-on project. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

This course will examine the relationship between visuality and technology as expressed by photographers of the 19th- and 20th-centuries. Materials and readings for the course will focus on the roles and development of photography primarily in India, Afghanistan, China, and Japan, and the alterations it engendered in the perception and depiction of the world. We will examine the use of photography in the service of journalism and news reporting, ethnographic studies and geographical awareness, science, propaganda, tourism, entertainment, and of course, art. Beginning with Western photographers’ images of a distant “Orient,” this course will conclude with the uses of photography in contemporary Asian art, looking particularly at themes of national and personal identities as well as commentary on traditions. Students are required to do class readings and engage actively in class discussion, complete two papers, submit one individual project related to the course apparatus, and make a final presentation. Projects deriving from other time periods or regions are welcome, for example, photography from Imperial Russia or the Ottoman Empire. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

Los Angeles, not known for being a bastion of either culture or liberalism during the early twentieth century, was—for a time—both a cradle of high-modernism and a refuge from the charnel house of European fascism. Icons such as poet and playwright Bertolt Brecht, Marxist philosopher Theodor Adorno, noir filmmakers Fritz Lang and Billy Wilder, composers Arnold Schoenberg and Igor Stravinski, novelists Thomas Mann and Aldous Huxley, and architects Richard Neutra and Rudolph Schindler, many of whom had fled the Nazis, made their homes in Los Angeles. In this course, we will examine the lives and major works of the many refugees and exiles who transformed LA’s intellectual and aesthetic culture in the 1940s, as well as look closely at three critical aspects of their enduring legacy. First, the transnational exchange of aesthetic and intellectual history between Europe and the United States; Second, the effects of fascism on aesthetics and its implications; and Third, the degree to which the creative output of European émigrés provided survival strategies in the wake of such genocidal and illiberal ideologies. What, in other words, can we glean from Brecht’s poetry, from Adorno’s “reflections from damaged life,” from Fritz Lang’s deeply expressionistic noir films, from Huxley’s Brave New World? Through the consumption of text and images representing this history students will create a project utilizing this aesthetic and intellectual history of art (and artists) as a means of strategizing survival in today’s climate. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

Since 1954 when the Supreme Court handed down its decision in Brown v. Board of Education, the people of the United States have been engaged in a series of “culture wars” concerned primarily with identity—particularly race and gender—and a grappling with its morally ambiguous past. This deep and alienating sense of polarization and clashing of identities—some voluntary and others forced upon us—has only intensified over the years, coming to an explosive climax in the chaotic and tragic years of 2020-21. Everything from the anti-mask movement and “cancel culture” to the fate of Confederate Statues and defunding the police falls under the rubric of a longstanding, and increasingly tribal culture war in the United States. In this course we will look at the broad historical context of the 1960s from which these battles emerged and trace them through the present. In doing so, we will pay close attention to the ways in which the expansion of rights, freedoms, and liberties for historically marginalized groups has elicited conservative reactions seeking to roll back those gains through an often sectarian vision of American culture and history. This course will focus on flashpoints or sites of contestation—Roe v. Wade, the Oklahoma City Bombing, the rise of “Alt-Right” groups such as the Proud Boys, recent controversies about “Big Tech” censorship, the fate of civil rights, Black Lives Matter protests, and the violent denouement of the Trump Administration. Students will produce written responses to the readings and also formulate a final project determining the role of art and the artist in meeting this particular historical moment. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

This course will introduce students to current theoretical and real-world applications of exhibition design operating today in museums, galleries, and contemporary art spaces, both real and virtual. Through weekly in-person exploration of cultural sites in and around Orange County and Los Angeles, students will observe and critique aesthetic and practical decisions made by professional curators and exhibition designers, with particular emphases on structural layout, cultural themes, the curation and arrangement of objects, and how artworks interact with one another in outdoor and indoor spaces. In doing so, students will sharpen their perceptive skills, strengthen their discourse specific to the fields of art production, curation, collecting, and museum studies, and pursue theoretical examples of design brought to life within the rich artistic landscape of Southern California. Students produce written journal entries, participate in discussions, produce directed reading responses to museum catalogues, articles, and other didactic material, as well as participate in oral presentations and collaborative hands-on projects. Prerequisite: One course from Ancient Civilizations category (AH100 series) and one course from either Medieval Worlds or Renaissance Worlds in Motion category (AH200/AH300 series).

Set primarily in Paris, this course traces the development and public reception of modern
art in Europe from the mid-19th century through the early years of the 20th century. The
main focus of this course is the Post-Impressionists, artists working in diverse styles
during the years 1880-1900. In order to better understand the radical approaches to art
undertaken by these artists, the course will include a brief investigation of the cultural,
political, and artistic trends which led up to the period known as Post-Impressionism. Thus,
students will gain familiarity with the major art movements of the 18th and 19th centuries:
Neoclassicism, Romanticism, Realism, and Impressionism. This course will be framed by
the theories of “bohemian” poet Charles Baudelaire, whose close friendship with many
artists helped shaped the trajectory of modern art. Encircled by other likeminded writers,
these artists spurred the creative process and championed one another. Van Gogh,
Toulouse-Lautrec, Munch, Mucha, and Klimt are among the artists examined in this class.
Through close analysis of the artists’ own words, students will explore the psyche of the
modern artist as they sought to create an expressive art imbued with feeling, originality,
and innovation. This course requires a museum visit, independent research, analysis of
primary sources (artist letters and essays), and the creation of an artwork related to course
content.

At the completion of the fourth semester or when a transfer student has completed the first two years of studio classes, students are prompted to submit to the Advancement Review, which is a held twice a year at the end of each semester. A panel of chosen faculty review submissions and the student is given the results showing scores of: Excellent, Above Average, Average, or Below Average in: Drawing, Figure Drawing, Anatomy, Beginning Painting, Perspective and Color Theory. If a student falls below average, they are asked to remediate and re-submit the category for approval. Failure to pass the AR will result in the student being withheld from entering senior status.

This course covers figure drawing from the draped and undraped model, emphasizing accurate representation of surface anatomy, proportion, gesture, weight, balance, structure, and light-logic in a variety of drawing media. It also includes drawing from the head with an introduction to the general rules of proportion as they relate to portraiture and to the investigation of individual features: eyes, nose, mouth, ears, hair and skeletal structure as they relate to the entire human head.

This course provides an introduction to painting the draped and undraped life model with emphasis on direct observation and accurate representation. Students learn to convincingly depict the life model through the study of light sources, color palettes and compositional devices using various painting techniques. The course also includes an introduction to portrait painting with an emphasis on accurate representation of the head and upper torso.

This painting course emphasizes accurate representation, composition, light logic, advanced color mixing, and further study of material and techiques of painting by studying "master painters." Students paint primarily from observation, but also in combination with photographic sources. Subject matter includes still life and landscape. Historical and contemporary approaches and concepts are explored.

This course is designed to further the study of the human form through 3D media. Students will learn to render form using effective visual observation and analytical understanding of construction, gesture, movement and anatomy, while working from life models and referencing anatomical aides. The use of volumetric proportional systems and working from profiles is stressed, as is the construction and understanding of form. Technical procedures of clay modeling, use of tools, use of and construction of armatures will be addressed. Students will become familiar with some important figurative sculptors and consider the issues facing the creation of figurative sculpture in a contemporary art context. Figure drawing will be a key element in this course. Course work includes: 1/3-life figures, 1/4- Life figures both quick study and long pose, Life size or 1/2-Life portraiture, analytical and observational figure drawing. *Students will be expected to record (photograph or video) their works as part of their grade in this course.

This course improves the artist's understanding of the body's underlying structure while emphasizing accurate observation and depiction of the figure. Anatomical elements such as the skeleton, muscular origins, insertions and surface landmarks are stressed. Students learn anatomy by drawing individual parts of the figure that begins with the skeleton followed by studying the major muscles of the human figure.

This course is a continuation of painting the life model, emphasizing observation and accurate representation. Students convincingly depict the life model through the study of light sources, color palettes, and compositional devices using various painting techniques. Projects include a draped figure and extended poses with the figure in an environment.

This course includes drawing and painting from the model with emphasis on accurate representation of the head and upper torso. Students examine surface anatomy, light sources, color relationships, and compositional devices. Historical and contemporary approaches to portraiture are studied.

This course is a studio painting course which provides students the opportunity to master the art of high-energy quick painting. Class projects stress color, composition, paint handling and subject matter. Students learn the importance of editing information through the use of color, edge and value control. Students are encouraged to develop their personal style and content of their work.

This course studies traditional and contemporary drawing and painting materials and techniques. Students experience a variety of media including silver point, oil, and egg tempera. Topics include oil paint, mediums, solvents, canvas and panel preparation, paint making, and permanence.

This course explores interpretive drawing and experimentation with drawing media and new techniques. Projects include still-life and landscape. Students work on the development of the sketch to a finished drawing while considering the formal elements of composition, spatial relationships, value, contrast, color, texture, and pattern. Media include charcoal and pastels.

This course is an introduction to water-based media with an emphasis on transparent watercolor. Students learn the basic techniques of flat washes, graduated washes, and wet-into-wet applications. Stretching paper, transparent glazes, dry brush, and experimental techniques are also explored. Subjects include still life, landscape, and the portrait.

This course includes further exploration into the accurate observation and depiction of the figure. Working directly from the model, skeletal and muscular anatomical elements are further stressed.

This course is a continuation of processes, concepts, and techniques offered in Printmaking I. Various printmaking topics and medias are covered: etching, intaglio, relief, color printing, multiple plates, and photo etching. Emphasis is on individual problem solving, developing personal imagery, a professional attitude, and technical proficiency. The course also studies historical and contemporary printmakers.

In this landscape painting course, students will work up a series of on-site studies, short-term paintings, and photographic reference with the goal of producing finished landscapes. Two other products of this class will be one-night landscape painting and a master copy painting from work chosen at the Laguna Museum of Art (when approved). Minimal writing assignments will ask students to articulate their line of inquiry within the landscape genre.

The primary objective of this course is to guide students in producing and assembling a body of work that is cohesive in methodology and concept and exemplifies the students' direction or focus in fine arts. Under faculty supervision, the student first develops a proposal that defines the parameters of the project, such as the number of pieces, conceptual concerns, stylistic direction, and technical scope. Students are then guided in preparing a body of work based upon personal choice, strengths, and interests. Individual and group critiques are scheduled with faculty and guest artists throughout the semester. Most Fine Arts seniors have an opportunity to work independently in the Fine Arts Senior Studio.

In this course, a faculty member guides the student in continuing the development of a body of work that is focused, self-directed, and based upon personal choice. Prior to graduation each senior is required to make a formal presentation of his/her body of work to faculty and students, prepare a photo CD or web site, submit work to two juried exhibitions, write a resume and other material, and research graduate schools or a professional alternative. An artist statement accompanies the senior project. The culmination of this course results in the annual Senior Exhibition. This course must be taken the last semester prior to graduation.

This is an introduction to drawing, covering the basic technical skills and materials necessary to create convincing representations of simple or complex still-life forms with an emphasis on applied perspective. Students are introduced to composition and the concepts of creating volume and space utilizing lines as measurement, construction drawing, value and linear perspective systems. Materials include graphite and charcoal.

This course is an introduction to drawing the human form. Students work from the draped and undraped model. Emphasis is on accurate representation of the figure utilizing observation with the elements of gesture, measurement, construction line, volume, proportion, and surface anatomy. Materials include graphite and charcoal.

This course is designed to introduce the student to three-dimensional thinking and composition as it applies to the human form. Students will learn to render form using effective visual observation and measuring techniques, while working from live models. The use of linear and volumetric proportional systems is stressed, as is the construction and understanding of form. Technical procedures of clay modeling, basic use of tools, and proper use of the armature (its orientation in relation to the model) will be addressed. Materials used: plasticine clay.

This course is an introduction to the basic skills, tools, materials, and techniques used in painting with oils. The student paints from direct observation, primarily using the still life as subject matter. Emphasis is on solving the problems of representing form in space by applying the elements of composition, perspective, value, and color. Topics include preparing supports for painting and various painting techniques. Materials used: oil paints

This course will introduce the technical skills necessary for creating and processing dig-ital imagery for use as reference for paintings and drawings. Topics covered will include practical information on using digital cameras, processing imagery in Photoshop, the use of studio lighting and techniques for documenting artwork. Basic tools in Photoshop for use in creating compositions from multiple photographic sources will also be cov-ered. Purchase of a digital SLR camera (can be checked out from IT) and basic Pho-toshop software will be required.

This course will examine diverse ways of optimizing students experience in college. Different aspects of the student and human experience will be covered, acclimating students to and improving the nature of the learning community. Guest experts will visit to discuss specialized aspects of the course content, and several classes will be devoted to putting the lessons into active practice via “lab” sessions.

"Directed Research and Writing" (Course numbers LA103, 203, 303 & 403 for Liberal Arts) will be able to be taken 1-3 units at a time, depending on the student's needs. These courses are not designed to teach an existing LA or AH course on an independent study basis. Rather, they will be similar to the graduate-level model, where we allow for specifically designed intensive studies in the student’s desired areas of interest. A student must be in good academic standing, have a mentor instructor who agrees to direct the study, and present to the mentor a proposed focus for the units earned; this then need then needs to be approved by both the instructor and chair. If approved, the instructor will craft the specifics re: assignments, workload, and learning outcomes for that semester’s study. Three units of credit would require roughly 5 books read and 5000-7000 words written over the course of the semester. Some of the writing could take the form of journals and more informal reflections, however a formal academic written analysis of some kind must be part of the writing produced. Also, museum visits or personal tours of artifacts, et al, may stand in lieu of some of the readings. We would let the instructor determine the balance, depending on the materials and areas of study; each case would be unique.

This course is the first leg of a full-year writing requirement and focuses on exploratory writing and methods of rhetoric. The goal is to provide the groundwork for the more sophisticated writing and thinking that is required later in their academic careers, as well as to help students reach a level of expository prose writing deemed appropriate for the university level. Classes are conducted in a workshop setting where students explore issues of craft as it relates to the process of writing.

This course prepares students for the writing, reading, and analysis required in their undergraduate education by learning various methods of argumentation, logic, and inquiry. Students practice their reasoning skills in writing assignments and discussions that demand analysis via critical reasoning. Assigned readings focus on basic philosophical questions and issues facing thinkers in all academic disciplines. This course helps students discover that writing is a natural, creative, and meaningful activity that helps them learn about themselves and the world. Students also learn the importance of questioning and critiquing the words and ideas of others. Ultimately, students experience first-hand how critical reasoning enables them to become informed and educated citizens of the world, with the abilities to affect change via their own words and actions. Successful completion of this course is a prerequisite for all Liberal Arts & Art History courses.

This course provides an introduction to the human body structure and its functions. Skeletal, muscular, circulatory, nervous, and reproductive systems are studied. Projects are intended to prepare students for their studio experiences in life-drawing and life-painting. No other course may be substituted.

William Carlos Williams suggests, "It is difficult to get the news from poems yet men die miserably every day for lack of what is found there." In this class, nobody dies. Through lecture, discussion, and writing exercises, students address the following topics: rhythm, image, form, diction, metaphor, condensed language, denotation, and connotation -- all keys to not only not dying but rather living a meaningful life.

Taking place either in New York City (with excursions to surrounding areas) or The West Coast (San Francisco mainly, with perhaps Oregon and Washington hops). 10-14 nights in June-July; cost approx. $4,600 for airfare and hotel (with all taxes and surcharges included), transportation between cities, all museum/gallery/event entrance fees, several dinners, a few tours, meet-and greets with established authors, and tuition for the 3-unit class. Likewise, this class could be taken by any student to fulfill the Liberal Arts elective, or applied to a Creative Writing minor.
As the literary counterpart to ?The New York Scene? Art History course, we?d study the writing generated from each area visited, but assignments would be mainly student?s own creative writing, inspired by the writing, art, and culture of each place. New York is the literary and publishing capital of the world, so there would be lots to do and see and write about there?from the legendary reading series at the 92nd Street Y and bookstores galore, to tours of publishing houses and the campuses of Columbia and NYU, to an ?Oscar Wilde in New York Walking Tour? and Shakespeare in the Park. Readings might include selections from Paul Auster, Galway Kinnell, Sharon Olds, William Kennedy, Edgar Allan Poe, Sarah Vowell, David Foster Wallace, Walt Whitman. If we head north instead of east, most of the trip would be centered in San Francisco with its legendary literary scene -- City Light Bookstore, The Six Gallery, Marin County Poets -- and readings might include works by Kim Addonizio, Isabel Allende, Philip K. Dick, Dave Eggers, Lawrence Ferlinghetti, CB Follett, James Houston, Jack Kerouac, Jack London, Tupac Shakur, Mark Twain. This West Coast trip might include a leg to explore the literary scenes of Oregon (Richard Brautigan, William Everson, William Stafford, Gary Snyder, Vladimir Nabokov, Ken Kesey), and/or Washington (Raymond Carver, Tom Robbins).

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

The primary goal of this course is to provide practice in the basics of writing in multiple genres, offering students a wide range of options for expressing their stories and words regardless of the forms they may take. While traditional structures and vehicles such as songwriting and spoken word performance art would be included, this class is meant to help encourage daring and difficult works that may push the boundaries of established forms and formalities. This may include multiple-disciplinary literature, literary artwork, installations, interactive works, intertextuality, new media. Students will be encouraged to explore different avenues for their writing, understanding that there is no single "right way" to communicate a story, and that sometimes new inventions of form and even format is called for.

Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other?s new work, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD?s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer's perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors.

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

The primary goal of this course is to provide practice in the basics of fiction writing, with a simultaneous exploration of fiction's various theories and techniques. Students will be introduced to a variety of literary styles and devices via assigned readings by accomplished authors, with guided in-class discussions and group analyses of the craft at work in each piece (aspects such as structure, conflict, plot, character, point of view, setting, dialogue, voice, tone, narrative form). Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other?s new writing, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD?s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer's perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors.

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

The primary goal of this course is to provide practice in the basics of non-fiction writing, with a simultaneous exploration of non-fiction's various theories and techniques. Students will become familiar with techniques and challenges related to a variety of non-fiction writing?biography, personal essay, memoir, historical profiles, newspaper reporting, magazine features, critical reviews. Students will be introduced to a variety of styles and devices via assigned readings by accomplished authors, with guided in-class discussions and group analyses of the craft at work in each piece (aspects such as structure, conflict, plot, character, point of view, setting, dialogue, voice, tone, narrative form). Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other?s new writing, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD?s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer's perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors.

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

The primary goal of this course is to provide practice in the basics of script writing, with a simultaneous exploration of various theories and techniques related to creating scripted stories and storytelling techniques. Students will become familiar with common terminologies and structures?beat sheets, treatments, outlines, pitches, One Act, 3-act, 4-act, Teleplays, Screenplays, Documentaries, Multi-media, Graphic Novels, etc. Students will be introduced to a variety of styles and devices via assigned readings by accomplished authors, with guided in-class discussions and group analyses of the craft at work in each piece (aspects such as structure, conflict, plot, character, point of view, setting, dialogue, voice, tone, narrative form). Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other?s new writing, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD?s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer's perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors.

Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD?s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

Both a survey course and a creative writing course, the focus is on the art and craft of how stories are told across artistic genres. Storytelling is employed in various ways within each of our studio majors: literary devices and narrative techniques can add richness and depth to artwork, regardless of genre. By learning about comparative storytelling across cultures, and by practicing some of these techniques via original writing assignments, students gain a deeper understanding of how the human story can be effectively told. Satisfies either the writing leg of the Creative Writing Minor or the American Cultural Experience (in some semesters, the Non-Western Cultural Experience Requirement). Enrollment priority will be given to Creative Writing Minors.

The Science of Sight is a comprehensive overview of the visual phenomenon of eyesight incorporating information from disciplines of anatomy and health, history, psychology, sociology, natural science and computer science. Though topics outside of the discipline of art will be introduced, the primary intended audience are those who intend to focus their career in the visual arts. The class consists of lectures, mini-experiments, viewing of short films, group discussions, and student presentations. Guest lecturers for specific topics are encouraged when available.

Dystopian novels are powerful and imaginative works that highlight a future we do not want to see. But they are more than just sci-fi. By exaggerating and distorting the logic of our present system, authors make strong political statements about the times we live in. This course will explore some of the pillars of dystopian literature and focus a critical eye on modern connections.

This is a survey course of the Literature of the United States, and may focus on a specific author (or group of authors), time period, theme, or culture.

This course reviews basic concepts and processes in arithmetic as well as key concepts and questions in geometry. The course explores questions in the philosophy of mathematics regarding the nature of numbers, space, infinity, and truth, as well as topics of concern to artists such as proportion, the Golden Mean, and the mathematics of light.

This course explores the basic psychological concepts underlying human behavior and development. Students may gain an understanding of the history of the science of psychology and how it has advised our culture over the last century.

This course explores the science of how language changes and how it is learned, focusing on speech sounds, sound patterns, how words are formed and organized into sentences, and eventually understood. Students will discover the properties that languages have in common and how they differ. By surveying the features of many languages and various subfields in linguistics, this course may be used to fulfill the non-western cultural requirement. This course also satisfies the Liberal Arts elective.

Economics, mathematics, and sociology combine to form the study of financial literacy. Knowing how to handle money, investments, retirement, and much more are covered in this course. Though money offers a shifting ground, this course should give you the ability to adapt to changing conditions.

This course is an ecological survey of the native flora and fauna of our surrounding wilderness area. Students will collaborate as a research team to participate in the ecological restoration of a coastal sage scrub community, develop research questions, document results, and propose further research. The canyon offers a unique outdoor class environment, applied research opportunity, and a rewarding experience of engaged stewardship in our ecological community.

Project GREEN: Ocean is designed to provide students with a broad introduction to the coastal oceans of Orange County. As a part of the course work, students will observe, analyze physical processes and distribution of organisms in the intertidal and shallow zones, and document their findings. These findings will be translated into digital educational materials that will be made available to the public. Students will also investigate coastal processes, coastal marine ecosystems (kelp forests, the intertidal zone) and the impact of humans on the coastal ocean. Students will study the marine mammals that call the Orange County coast home, for migratory seasons, or for all of the year.

Designed to introduce students to a sociological understanding of how we build and live in communities. With a strong emphasis on the psychology of power structures, social institutions, social reasoning, and social constructivism, this course helps students to understand the role of the individual within the larger society. With a broad scope into the science of groups, topics may also include urgent current events to build a vivid understanding of the social interactivity in everyday life.

This course studies and analyzes the means by which we communicate with other people or within groups of people. Written and oral communication involve nuance and awareness that is often implicit, but rarely articulated. Talking, listening, body language, conflict, resolution, empathy, metamessages, and social signaling are all aspects that connect with how we communicate, how we understand, and how we wish to make our intentions known. This course will involve writing, speaking, analyzing, and other forms of skill building.

This course provides an overview of the theories of human origins. Areas emphasized include human genetics, selective pressures, Darwinian gradualism, continental drift, migration patterns, mammals, comparative anatomy, and the fossil record. A quantitative approach is employed.

Human Diversity explores biological variation in modern humans, biological concepts of species and subspecies and the race concept from a social perspective. Following completion of this course you should have a greater understanding of the misuse of the term _‹_race,_‹ù an appreciation of human biological diversity, and a grasp of the adaptive nature of human variation.

Human Sexuality is a course that combines lectures, films, discussions and research regarding our sexuality from physiological, psychological and sociological perspectives. Topics include history, anatomy, reproduction, cross-cultural perspectives, gender roles, myths, safety and variations in sexual expression.

From memoirs to fantasy and superheroes, graphic literature has come a long way in recent decades. This survey course takes a look at graphic literature and what it means to communicate story in visual images.

This course may focus on a specific author, period, theme, or culture.

This course combines classroom and field activities and covers topics such as portfolio development, photographing and presenting art work, self-promotion, graduate school admission, professional organizations and small business practices (including legal guidelines, such as tax and copyright laws). Resources include guest artists, speakers of interest and field trips.

The Senior Capstone experience is designed to foster intellectual, conceptual, and artistic self-reflection by the graduating senior as they contemplate, articulate and expound on the meaning, value, and purpose of their Senior Portfolio Project. There are two major components to the class: the writing of a major essay (with drafts and related assignments) comprising a detailed, in-depth, analytical explication of the student’s Senior Portfolio Project or Thesis Film focusing on the student's creative intent and processes involved, followed by a formal oral defense of the same. The student must receive a passing grade on both the essay and the oral defense in order to pass the class and graduate. Senior Capstone must be taken concurrently with the student’s final Portfolio/Thesis class so that the work being done in one class simultaneously informs the work being done in the other. This class is graded pass/no pass. A passing grade in Senior Capstone is required in order to graduate with a degree. Senior Capstone may not be taken as Independent Study.

Grand Central Atelier's Water Street Atelier New York
Angela (b. 1977) grew up in the Bay Area of California. She received her BFA from Laguna College of Art and Design and, after teaching for a few years, pursued classical training under the mentorship of Jacob Collins at the Grand Central Atelier's Water Street Atelier. She now teaches at her own studio, in Asheville, NC, as well as part time at the Grand Central Atelier, the Beaux-Arts Atelier in New York City and many workshops nation wide. Angela is a recipient of various awards including the Morris and Alma Schapiro Achievement Award, the ARC Scholarship First Prize Award, and the Alfred Ross Achievement Award.
www.angelacunninghamfineart.com

South Coast Art Center
Brianna Lee is a native California artist with a love of beauty and the human form. Born into an artistic family in Visalia, CA, her passion for art was encouraged and nurtured at a young age. Her work is a continuous search for the intrinsic beauty of all life around her. She gleans inspiration from the people she meets, the abundance of nature and Dutch masters such as Vermeer, Rembrandt and Rubens.
She studied Fine Art, Education and Western Art History at the University of California, Santa Cruz. Ms. Lee later moved to Los Angeles to study contemporary and traditional painting techniques under artists such as Ignat Ignatov, Aaron Westerberg and Adrian Gottlieb. Ms. Lee opened her studio doors to students in 2009 and has since taught for Glendale Community College and Kline Academy of Art.
In addition to building a successful teaching career, Ms. Lee is advancing her degree at Laguna College of Art and Design while accepting commissions and showing her work in select exhibitions throughout Los Angeles and Laguna Beach, CA.
www.briannaleefineart.com

Stefan Cummings was born in Washington, the fourth of seven children. Possessed of an avid interest in psychology and history, Stefan has always had a deep love of portraiture, one that lead him to the Atelier of Mark Kang-O'Higgins, in Seattle, where he was immersed in the study of the figure and the old masters. He was then able to obtain a full tuition scholarship at Laguna College of Art and Design (LCAD), continuing his study of traditional drawing and painting while obtaining his Bachelor of Fine Arts.
Like the Impressionists and Call to Order artists at the turn of the 20th century, Stefan reconciles traditional art forms with the realities of the present era. His landscapes and portraits make use of light, texture and gesture to convey the ethereal isolation of the suburbs, incorporating elements of realism and abstraction to bridge the past to the present.
Stefan is currently the youngest exhibitor at the Laguna Beach Festival of the Arts and his drawings can be found in collections throughout the United States. He will graduate with honors from LCAD in 2015.
www.stefancummings.com

Andrew Myers Studio
Andrew Myers was born in Braunshweig, Germany, and raised in Ciudad Real, Spain. He now resides in Laguna Beach, California, where he has lived since attending the Laguna College of Art and Design (formerly the Art Institute of Southern California). The first time he set foot in the classroom, he was amazed to see students depicting live nude models in clay; a seemingly archaic art form he had only seen in books.
Distinct. Expressive. Tactile.
These are perhaps the three most fitting words to describe Andrew's unique brand of contemporary artwork. But linguistic descriptions fail to adequately capture the progressive mixed media works he creates with screws, oil paint, charcoal, bronze, cement, and found objects. To truly experience Andrew's art, it must be seen and even touched.
One of the artist's favorite memories was watching a blind man experience his work for the first time. As the man ran his hands over a large three-dimensional portrait tediously constructed with tens of thousands of screws over hundreds of man hours, his blank expression suddenly transformed into a warm smile. He could feel what others could only see.
www.andrewmyersart.com

California Art Club, Art Renewal Center, Southwest Art, The Artist's Magazine
Candice Bohannon is an American contemporary representational artist. She was born in Sacramento, CA in 1982. Raised in the rural forested landscape of the foothills of the sierra nevada mountains, her naturalistic aesthetic in art was honed from an early age. After high school, Bohannon enrolled in art college, and after intense studies in painting, drawing, sculpting, art history, philosophy and aesthetics, she graduated from the Laguna College of Art and Design in 2005 with a BFA in painting/drawing and a minor in sculpture. It was there at LCAD that Candice met her future husband, fellow artist and best friend, Julio Reyes. After nearly 10 years in southern California, they moved back to rural northern California where they currently reside.
Bohannon's artwork, an often-brooding combination of emotive figurative pieces and intensely studied works from life and nature, has already garnered the attention of many fine art connoisseurs, trade publications and artists. Her body of work expresses immense waves of controlled power and emotional sensitivity as she looks out at the world and attempts to share through art the touchingly sincere philosophical search for truth and meaning in our human existence. The artist describes much of her work's content as: the invisible yet perceptible quality of awareness, emotions, experiences, memories and expectations, the ethereal nature of the human soul and a searching for comfort and familiarity in the sublime unknown. Here is a refreshing example of a contemporary figurative artist who is not a cynical postmodern artist or a clinical academic realist. Bohannon's soulful work is firmly planted the inexplicably complex nature of human existence.
www.candicebohannon.com

Sullivan Goss Gallery / Women Painting Women Founder
Alia E. El-Bermani was raised in a small town just south of Boston, where she spent most of her childhood enjoying the outdoors and discovering the natural history of the south shore of Massachusetts.
Alia El-Bermani started her art training as a young child at the North River Arts Society, which is a small community run association for people, of all ages, interested in the visual arts. She showed early promise earning a Silver Key in the national Scholastic Art competition held at the World Trade Center in Boston. In 1994, she briefly attended Roger Williams University in Bristol Rhode Island a large liberal arts college which didn't quite have the clear focus that Ms. El-Bermani was seeking. In 1996 she transferred to Laguna College of Art and Design in Laguna Beach California which is known for its strong emphasis on classical figurative training.
While studying at Laguna College of Art and Design Alia El-Bermani received the Plotkin Award for Excellence in Fine Arts. Then, in 2000 she received her BFA from LCAD, summa com laude. Ever since, she has enjoyed continued success as a fine artist. She is currently represented by two premier galleries, Sullivan Goss Gallery in Santa Barbara California, and The Loft Galeria in Puerto Vallarta Mexico. This talented young painter has had five Solo Exhibitions. Her figurative and still life paintings and drawings have been included in several group shows across the country as well as showcased in Museums such as the Palm Springs Desert Museum in California, the Anchorage Museum of History and Art in Alaska, the West Valley Art Museum in Arizona and most recently, the Museum of Contemporary Canadian Art in Toronto. Several articles have been written on her work in such prestigious periodicals as Art Week, The Independent and LA Weekly. She currently lives and works in Cary, NC with her husband and two young, talented children.
www.alia-fineart.com

Sue Greenwood Fine Art, Laguna Art Museum, Terry Martin Gallery, Meyer Fine Art
Jason Kowalski was raised in the Upper Midwest and moved to Laguna Beach, CA in 2005 to study painting at Laguna College of Art and Design. Jason's professional career began with great success when in 2009 his first solo exhibition at Terrence Rogers Fine Art in Santa Monica, CA sold out in the first two weeks. He's been exhibiting in California and throughout the country ever since and continues to recieve acclaim as a tremendous talent in the representational painting world. In 2012 Jason and his wife relocated to the banks of the Mississippi River in Maiden Rock, WI. There he finds inspiration in the beauty of the river landscape, history of the towns, buildings, and locals.
"New things that have fresh coats of paint and clean lines command our visual awareness. Things that have been used and worn out are often naively labeled unattractive. My work is both a statement of the effect of time on a location, as well as a vehicle to arouse attention to things that are often forgotten. Growing up in the Midwest I was constantly surrounded by things that deteriorated over the natural course of time. Human nature dictates that we ignore or look past such blemishes. Abandoned and left in a state of neglect places and things are consumed and discarded like pieces of trash. Using different types of paint and mixed media, I hope to bring awareness to the forgotten beauty of those locations by creating a body of work that stimulates memories one has about the places I paint. Ultimately, my goal is to create contemporary paintings that somehow brings this unique and quickly departing beauty back to social awareness."
www.jasonkowalski.com

A native of southern California, Elizabeth McGhee has exhibited at the Festival of Arts in Laguna Beach since 2010.Her work has been displayed in museums and universities across the country, and she is both nationally and internationally collected. She is represented by Gallery Henoch in New York, NY.

www.elizabethmcghee.com

Matt Dickson teaches Life Drawing and Intermediate/Advanced Drawing at New School for the Arts and throughout the greater Phoenix area. He holds a BFA in Fine Art from Laguna College of Art & Design and also studied at Los Angeles Academy of Figurative Arts. In addition to his collegiate studies he also spent more than two years studying privately under portrait painter Adrian Gottlieb. During that time he developed a strong passion for classical techniques and the fine arts which is reflected in his teachings as well as his own art work. He currently works in oil, charcoal and produces decorative carpentry. Matt is also an exhibiting artist who has shown his work locally as well as in New York and Los Angeles.
www.mattdickson.net

James Galindo (b. 1983) is a Southern California oil painter and a graduate of Laguna College of Art & Design’s bachelors and masters programs. He is currently represented by Dawson Cole Fine Art in Palm Desert, CA, where he exhibits three dimensional paintings on glass and acrylic. Notable commissions include paintings for the Nolet Distillery in Schiedam, Netherlands, Green Valley Hospital in Tucson, AZ, and artwork featured in various shows and advertisements in the Los Angeles TV industry. James has taught at a number of art studios and colleges in Southern California, including Los Angeles Academy of Figurative Art, Brentwood Art Center, Kazone Art Academy, FT Art Academy, Rio Hondo College, Saddleback College, Orange Coast College and Laguna College of Art and Design. James has more than 15 years of teaching experience and specializes in foundation level drawing and painting.

Alla Bartoshchuk is a storyteller at heart and uses symbolic imagery to tell those stories. The symbols in her work are usually implied and are not always used in a literal sense. Rather they are private, imaginative images that arise from the depth of the psyche and embrace the surreal quality of dreams, fantasies and premonitions. She often employs human body to tell a story and convey specific emotions. Even the tiniest movement of a muscle isn't arbitrary. Every detail, every movement adds to the drama of the overall painting. Born in Rivne Ukraine, Alla received her BFA from Memphis College of Art (2010) and later completed her MFA at Laguna College of Art and Design (2013). She currently lives and works in Huntington Beach, CA.

Alejandro Buchner was born in Buenos Aires, Argentina where his passion and career in the visual arts began. Alejandro studied fine arts at the University of Bellas Artes and trained privately with artist Fernando Arranz. Alejandro has worked as a digital artist developing concepts for animated commercials and advertisements and has worked in concept design for Le Elephant Blanc in Paris, France. Since returning to the United States, Alejandro has exhibited his figurative sculpture throughout Southern California and teaches classical drawing and sculpture in Los Angeles and Orange County.

The Chilean native was born in 1994 to a Graphic Designer and an Advertiser, which laid the foundations for his own passion in arts. In 2009, Gabriel Castro began his art school career with interests in concept design and graphic novels in the Visual Arts Department at the Los Angeles County High School for the Arts. His interest in Fine Arts peaked there, thanks to history classes taught by art historian, Lori Rusch. Craving the regal, traditional styles and training, he attended Laguna College of Art + Design for Drawing + Painting with a minor in Sculpture. In 2015, Gabriel made it to the Florence Academy of Art in Italy, where he was the first LCAD student to attend their Sculpture department as part of a study abroad program. While there, he studied under renowned sculptor Robert Bodem for two trimesters before returning to California to finish his BFA with LCAD. Then he returned to Florence for one more year before returning home to Los Angeles.

Matteo Di Ventra is a contemporary painter who works in traditional and digital media. His work has been displayed in multiple galleries on the West Coast. He is currently teaching representational painting at Laguna College of Art and Design as well as other art academy’s in Orange County and Los Angeles. Matteo also works within retirement communities and memory care facilities sharing his passion for art to Seniors.

Ananda Fetherston received her education at the City College of New York in Mathematics and Physics. After discovering the work of painter, Jacob Collins, Ananda chose to abandon her graduate studies to join the prestigious full time student body of the Grand Central Atelier. Upon graduating from the Grand Central Atelier, Ananda assumed the position of Director of Public Programs for the school. She is also currently an instructor there with an emphasis on figure drawing, color theory and materials. Ananda's work is heavily, albeit indirectly, influenced by the quatroccento and the Italian Mannerists. She is the author of "The Whimsy Manifesto", an essay outlining an artistic ethos she calls whimsy. Her work can be found in private collections around the world and she is the recipient of the 2021 Ancient Worlds, Modern Communities grant by the Society for Classical Studies.

James Galindo (b. 1983) is a Southern California oil painter and a graduate of Laguna College of Art & Design’s bachelors and masters programs. He is currently represented by Dawson Cole Fine Art in Palm Desert, CA, where he exhibits three dimensional paintings on glass and acrylic. Notable commissions include paintings for the Nolet Distillery in Schiedam, Netherlands, Green Valley Hospital in Tucson, AZ, and artwork featured in various shows and advertisements in the Los Angeles TV industry. James has taught at a number of art studios and colleges in Southern California, including Los Angeles Academy of Figurative Art, Brentwood Art Center, Kazone Art Academy, FT Art Academy, Rio Hondo College, Saddleback College, Orange Coast College and Laguna College of Art and Design. James has more than 15 years of teaching experience and specializes in foundation level drawing and painting.

Emily Gordon has a BFA in Illustration and completed 7 years of private study with nationally known artist William Whitaker. Named as an “Artist to Watch” by Riviera magazine, her art has been juried into numerous exhibitions, including the prestigious ARC Salon held by the Art Renewal Center. She received her MFA in Painting from Laguna College of Art + Design and was invited to be a live demonstrator at the Huntington Library’s Brushstrokes: Beyond the Gallery event. Emily currently teaches art at the university level and exhibits her work in galleries in Utah and California.

Graduate Alumni: Painting

Kenny has been a fixture in the Los Angeles art scene since arriving in Venice Beach in 2001. He paints atmospheric interiors, cityscapes, and figure in his work, and has exhibited around the world. Drawn to quiet subjects, his muted palette and spare spaces evoke a calming energy. He has had over 20 solo exhibitions.

Kenny teaches figure painting and drawing at LCAD, as well as guiding students through their Senior Portfolio as they find their artistic individuality and voice. He has been an instructor with the school since 2006, full time since 2018.

He as studied at the atelier of Charles Cecil in Florence, with Frank Mason at The Art Students’ League of New York, and more recently he earned his MFA at Laguna College of Art + Design focusing on portraiture.

Kenny is an Assistant Professor of Painting and Drawing at Laguna College of Art + Design and was awarded the prestigious Elizabeth Greenshields Grant in 2016.

He currently shows at Koplin Del Rio Gallery in Seattle, George Billis Gallery in New York, and Galerie Mokum in Amsterdam.

Kelley Mogilka (b. 1995) is a figurative painter originally from Edmond, Oklahoma. After obtaining her BFA in Studio Art at Oklahoma City University in 2018, she attended a summer artist residency at Otis College of Art and Design that inspired her to relocate to California. Spending two years struggling as a working artist and taking online courses to improve her technical skill, she built up her portfolio to attend Laguna College of Art and Design for her Master of Fine Arts Degree in Painting. Since then, she has lived, worked, and studied out of Laguna Beach, winning several awards for her paintings at the Laguna Plein Air Painters Association and being featured in Southwest Art Magazine’s 21 Under 31, Young Artists to Collect Now. Mogilka is represented by Vanessa Rothe Fine Art in Laguna Beach and Pence Gallery in Davis where she was the recipient of their annual Emerging Artist Award.

Molly Enholm Velazco is a contemporary artist, curator and art historian. Molly is passionate about modern and contemporary art, with a focus on California Art History. In addition to teaching, she has contributed to several publications as a freelance editor and contributor, including Art + Cake, Fabrik, ArtScene, Hi-Fructose, TheArtStory.org, Visual Art Source and served for nearly a decade as managing editor of the contemporary art publication, art ltd. magazine (2008 – 2017). Her most recent curatorial project, “Solace/Sublime” featuring the work of contemporary Southern California artists, was recently on view at Angels Gate Cultural Center during the Summer of 2023

Michael was presented with the Laguna Plein Air Painters Association “Lifetime Achievement Award” in 2015. He recently won the "Collector's Choice Award”, “Artist Choice Award” and the Southwest Magazine “Quick Draw” Award at the Laguna Beach Invitational Plein Air Competition as well as the "Best of Show" at both the Kern County Plein Air Invitational and the Grand Canyon Celebration of Art, and the Gold Medal at the Carmel Art Festival. Collectors include the Marriott Hotels and Resorts, The Irvine Company, Hoag Hospital, California State Parks and many corporate as well as private commissions.

Michael is the President of the prestigious California Art Club, and a Signature Member of both the California Art Club and the Laguna Plein Air Painters Association. Michael is an adjunct faculty member at Laguna College of Art & Design (LCAD) where he teaches Landscape Painting. Currently, his paintings are showing at galleries in Pasadena, Carmel, Balboa Island and Laguna Beach, where he is a regular exhibitor at the Festival of Arts.

He maintains his studio in Laguna Beach, California.

MICHAEL OBERMEYER STUDIO

3251 Laguna Canyon Road #D-1
Laguna Beach, California 92651 949-433-6149
obermeyerstudio@cox.net
michaelobermeyer.com

Hope Railey is a passionate and driven fine artist and teacher who has dedicate the last 20 years to painting in the studio and teaching future generations of artists. Hope has exhibited throughout the country and was most recently featured in December 2021 issue of Fine Art Connoisseur Magazine, is an Associate Professor, and currently serves as chair of the Fine Arts department since 2011. She is a regional juror for the AXA Art Prize and has served on artist panels at the 2021 LPAPA Invitational.

Hilary McCarthy is a contemporary figurative painter living in Laguna Beach. She is currently adjunct faculty in the Fine Arts Department at Laguna College of Art + Design. Prior to that she lived in NYC for 18 years. Her work has been exhibited in numerous galleries in the United States and Europe. She received her BFA from Hartford Art School and her MFA from New York Academy of Art. She also attended The Art Students League and Columbia University. She has attended art residencies in Puglia, Italy; Victoria, Australia; Leipzig, Germany, and Johnston, Vermont. She received the Fostering Creativity in a Time of Crisis Grant in 2020 from the Laguna Beach Community Foundation.

“My paintings aim to be visual poetry based on dreams and the subconscious. As a subject in my recent work, the ocean is healing both physically and emotionally to me. It existed before we did. It is wiser than we are. We need it more than it needs us. I am constantly inspired by its majestic beauty. The women I paint in the foreground deal with the messy complexities of the human condition. In the background, the ocean forms a vast rhythmic backdrop. The narrative of the painting tests these two interfaces. “

Betty Shelton is an accomplished and award-winning artist whose work has been exhibited extensively in the United States. Betty has received numerous painting and drawing awards throughout her artistic career, most notably she has been a finalist in the Art Renewal Center Salon, and the 6th Annual TAPPED at the Manifest Gallery. She has shown recently at the “Watercolor West International Exhibition,” “Women by Women - Depictions
and Interpretations by Greater Los Angeles Women,” and “Poet’s and Artists,” at the Arcadia Gallery.

Betty has BA, MA and MFA degrees in Drawing and Painting. She has been teaching 40 years, and has been privileged to spend the last 28 years teaching painting, drawing, and watercolor at the Laguna College of Art + Design.

Her metaphorical realistic figurative paintings are inspired by contemporary culture and yearly pilgrimages to the great museums of the world. Currently she is working on paintings, commissioned portraits, and maintaining a studio in Laguna Canyon.

Joseph Michael Todorovitch is a figurative artist in the Los Angeles area with an undivided curiosity for the academic traditions and the conceptual possibilities that proliferate the modern art world. He explores the craft with a naturalist’s lens, employing rich technical details and implied psychological narratives in his paintings. Awarded the Draper Grand Prize by the Portrait Society of America, his work has been included in exhibitions at the Smithsonian National Portrait Gallery in Washington D.C., the Butler Institute of American Art, and the Beijing World Art Museum in China. An Assistant Professor at Laguna College of Art and Design in Southern California, Joseph has taught at various institutions nationally and abroad. Currently enrolled in the MFA program at LCAD devoted to the pursuit of mastery, he enjoys numerous gallery partnerships and is proudly represented by Maxwell Alexander Gallery in Los Angeles CA.

Daniel Von der Ahe is a writer/illustrator and teacher living in San Juan Capistrano. He trained at the Florence Academy of Art and has worked as a classical portrait artist, illustrator, and visual development artist for animation where he discovered a love for story and writing. He teaches figure drawing, color and painting in any medium. His teaching focuses on clear, strong, fundamentals to give students the ability to achieve any style, understand different types of expression, and ultimately discover their own. Everyone has a story and it’s worthwhile to develop the best, clearest way to tell it. Following his first illustrated novel, Daniel is currently completing his second novel in addition to working on his first hybrid graphic novel. Meanwhile, he keeps up with painting commissions and changing diapers.