Photo courtesy of LA Art Book Fair and Desilu Munoz
Coming up this weekend, right on the heels of the LA Art Show and Photo LA, are two big events highlighting a range of contemporary art from our city and abroad. Beginning January 30th, the Barkar Hanger in Santa Monica hosts Art Los Angeles Contemporary. Bringing together over 60 established and emerging galleries, the fair aims to offer “an informed cross section of what is happening now in contemporary art making.” You can learn more about the fair and how to purchase tickets here.
Also taking place this weekend across town at the MOCA Geffen is the LA Art Book Fair, presented by Printed Matter. This second annual fair brings together “over 250 international presses, booksellers, antiquarians, artists, and independent publishers” who will be exhibiting their unique books, prints, and ephemera. The LA Art Book Fair will also host an intriguing series of events – from artist’s talks and panels, to a discussion with the Women’s Center for Creative Work, and even the “performance of a sound file that attempts to liquify form as wave” – that will be sure to make for engaging topics of conversation all weekend long.
The LA Art Book Fair is free and open to the public – you can learn more about the fair, including a comprehensive schedule of events here.
This Wednesday, AIGA UCLAx members convened at 72andSunny for an insightful tour of their studios with Maria Scileppi. From a talk with the brand team that oversees Skylanders, to indispensable career advice from Scileepi, the visit was a great opportunity to connect with one of the many design trendsetters who are making an impact globally but based right here in Greater LA.
Their timely visit to the new office space came as the advertising agency’s profile continues to rise. As noted by Amanda Lewis in the latest edition of LA Weekly, “72andSunny is at the top of the heap, landing clients like Smirnoff and Carl’s Jr. and recruiting stars such as Megan Fox and Jonah Hill. The agency hires curious self-starters while eliminating ego and scoffing at expertise, so everyone contributes. At “Yes and” meetings, inspired by the improv-comedy mantra that prevents shutting down others’ ideas, brand teams spitball without judgment or doubt. Mock-ups are quickly affixed to the office’s translucent walls with magnets, a system taken from Dutch design culture, which invites honest feedback and avoids hurt feelings by divorcing the work from its creator. Later, when the script or the visual is more refined, the team rigorously evaluates what it has done in the manner of an art-school crit.”
Besides impressing us with her excellent portfolio, we were also delighted to learn Molly landed her dream job at Williams Sonoma only days after finishing her coursework in the DCA program. We recently caught up with her via email to discuss her thoughts about the program, pursuing the design field, and advice for those of us just getting started.
Tell us about your background and what led you to pursue a design education?
I have been interested in design for as long as I can remember. Growing up I was really drawn to interior design, although I always considered that just a hobby. I ended up studying Sociology as an undergraduate at UCLA, not knowing what I wanted to do after. I had an itch to be more creative, though. I interned with an event designer and producer and also for a wedding designer in LA. I fell in love with weddings – the details, the design, the branding, the paper – it really excited me. I worked on blogs, storyboards, concepts, etc. and I increasingly saw the importance of a background in graphic design. After much thought, I decided that was the logical next step for me.
Looking back, what are your thoughts about the DCA program and why did you choose UCLA Extension?
I researched programs and found that UCLA had both relevant course offerings and a schedule that allowed me to continue working while taking classes. I was very interested in learning calligraphy at the time, and stumbled upon the work of Molly Suber Thorpe. I read that she was a graduate of the DCA program, so I emailed her and asked her some questions about it. All answers were positive and exactly what I wanted to hear before signing up. The program ended up being perfect for me. My instructors were phenomenal, my classmates were smart and creative, and the courses were very relevant to the real world. The program was thorough, but I never felt like it was dragging on.
L’Olivo project for Design II by Molly McGlone
What was your favorite class and why?
This is a tough one. Design II with Henry Mateo is at the top, along with Publication Design with John Beach. Both instructors really made my DCA experience what it was. They taught us to think like designers and really pushed us to create amazing work. They were wonderful creative directors. I actually wish I was still taking classes with them today!
Tell us about your current position and what led you there?
While I do love the wedding world, I wanted corporate experience when I finished the DCA program. Williams-Sonoma was always a dream company for me; I felt like my style and passions were in line with their brand. I ended up getting an interview 2 weeks before classes ended, and started working there right after I graduated. I am a designer on the e-commerce team, so I design for web all day, everyday. It is actually very different from what I thought I would end up doing, but it has been a wonderful experience so far. I am learning a ton, and it is great to work on a large creative team. There is a lot to learn from everyone!
L’Olivo project for Design II by Molly McGlone
As a designer, what does a potential project need to have for your to feel passionate about it?
I definitely have a style and I always tried to stick with it when designing in class. Henry used to tease me because I wouldn’t want to stray from it. If I am not interested in what I am designing, it’s hard for me to be passionate and creative. But ultimately, that is a problem a lot of designers face. We don’t always get to pick our projects – we design for a client, not for ourselves.
Any advice for budding designers just starting out?
Keep designing! Update your portfolio and have an online presence. Take the job even if you think it isn’t the perfect one. You will end up learning something new and it will likely be something that will be very useful for you going forward.
On January 22nd, join AIGA UCLAx student group members for an exclusive tour of 72andSunny’s new offices, a talk with the Skylanders brand team, and career advice from Maria Scileppi of 72U. Recently named “Agency of the Year” by Advertising Age, 72andSunny is a full service, modern communications company. With offices in Los Angeles and Amsterdam, 72andSunny creates cultural impact on behalf of their clients. Clients include Activision, Anheuser-Busch, Carl’s Jr./Hardee’s, ESPN, Google, Samsung, Smirnoff, Sonos and Target. Learn more about 72andSunny here.
Frederick Hammersley, Around a round, 1959. Oil on canvas, 28 3/4 x 37 x 1 3/4 in. LACMA.
This two Saturday workshop takes the Los Angeles County Museum of Art’s exhibition Four Abstract Classicists as its focus, examining the 2 primary directions that emerged as alternatives to Abstract Expressionism in New York and California in the late 1950s: Assemblage Art on one hand and hard-edge and Post-Painterly abstraction on the other. It was in the late 50s that Jasper Johns, Red Grooms, Agnes Martin, Wallace Berman, Ed Moses, Robert Irwin, and Billy Al Bengston had their first solo shows, the 4 latter being presented at the historic Ferus Gallery, which was founded in Los Angeles in 1957.
Frank Stella, Gran Cairo, 1962. Alkyd on canvas, 85 1/2 x 85 1/2 in. Whitney Museum of American Art, New York.
It was also at this time that Robert Rauschenberg unveiled a large group of Combines, John Chamberlain showed sculptures made of automobile parts, Louise Nevelson exhibited her first environment, and Frank Stella, Kenneth Noland, and Robert Ryman turned their attention to painting stripes, targets, and monochromes, respectively. This short course examines the various manifestations of these tendencies and traces their evolution into Fluxus, Pop Art, and Minimalism by the early 1960s.
With a focus on creative projects and impeccable craftsmanship, Handmade Book Structures with Erin Zamrzla offers a comprehensive introduction to book binding – from concept to completion. Techniques covered include accordion construction, pamphlet binding, Japanese four-hold binding (including examples of kangxi, hemp-leaf, and tortoise-shell variations), Japanese stab binding, and coptic sew binding.
Students will employ these techniques and more to create multiple books of their own design throughout the course. No prior experience required, and spots are still available for Winter quarter – to learn more or enroll, please see here.
From their press release: “The Los Angeles County Museum of Art (LACMA) announces its Art + Technology initiative, a new program and lab space that promotes innovative ideas and fosters collaboration across disciplines and industries. The endeavor will award grants, in-kind support, and facilities at the museum to help artists take purposeful risks in order to explore new boundaries in both art and science. The Art + Technology Lab and artist projects at LACMA are made possible by Accenture, DAQRI, and NVIDIA, with additional support from Google and SpaceX. A grant from the Los Angeles County Productivity Investment Fund is supporting the public lab at the museum to house the initiative, including artist demos and public programming.
A Hundred Years design studio, homebase for instructor Marc Mertens, presents their first installment of 20×20 on Tuesday, December 3rd at 7pm. Featuring legendary designer Bruce Mau, along with innovators Carla Fernandez of The Dinner Party, Omar Brownson of LA River Revitalization Corporation, and Greg & Dan of Modern Bite, 20X20 brings a night of rapid-fire presentations to the Arts District of Downtown L.A. Stay back after the presentations to enjoy some wine and dance the night away to the fine musical stylings of their in-house DJ, Aaron Davis.
Always committed to the long-view, A Hundred Years has asked their guest presenters to share how they hope their actions today will impact the world in 100 years. Keeping it short and sweet, they’ll show 20 slides for 20 seconds each, clocking in @ 6:40.