Architectural design is a collective experiment. Designing Material Innovation, an outdoor exhibition at California College of the Arts (CCA), hypothesizes a future with radically different notions of material, fabrication, and design. Artifacts are interactive. Sculptures are upcycled. Prototypes are shelters and data machines at once.
When you choose an art school, you’re not just choosing a school — faculty, curriculum, campus housing, and all the rest — you’re choosing a scene. More than almost any other discipline, the study of art requires immersing yourself in art, surrounding yourself with people who are making art, at every level and in every form, to cultivate inspiration and opportunity. For that, nothing beats a big city. And in the U.S., nothing beats San Francisco. San Francisco has been called, among other things, one of the most inspiring cities for young artists, one of the world’s top cities for designers, and the top North American city for an animation career. Now add this superlative to the list: America’s best city for art students. Here are three reasons why:
CCA alumnus Patrick Lin never thought he would have a career in animation. Growing up in Hong Kong, he was inspired by Hollywood titans George Lucas and Steven Spielberg, and decided he would someday make films.¹ This dream led him to the CCA film program, where, unbeknownst to him, he began laying the groundwork for one of the most coveted Pixar jobs: Director of Photography.
Join us for an evening with David Lowery on Thursday, Nov. 2 at 7 p.m. A screenwriter and award-winning filmmaker, Lowery will be in conversation with Brook Hinton, CCA’s Film Program co-chair. Both MFA film and BFA film school students are encouraged to attend and ask any burning questions about Lowery’s three feature films: A Ghost Story, Ain’t Them Bodies Saints, and Pete’s Dragon.
In January of 2013, Laura Poitras received an email from an anonymous senior government employee. Edward Snowden, nicknamed “Citizenfour,” leaked detailed documents about secret NSA surveillance programs to Poitras and two U.S.-based journalists. “You ask why I picked you. I didn't. You did,” Snowden wrote in an early email to the filmmaker.¹
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