 | |
Other name | CalArts |
|---|---|
Former name |
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| Type | Privateart school |
| Established | 1961; 64 years ago (1961) |
| Founders | Emily Valentine,Nelbert Chouinard,Walt Disney,Roy O. Disney, Lulu May von Hagen |
| Accreditation | WASC[1] |
| Endowment | $213.8 million (2022)[2] |
| President | Ravi Rajan |
Academic staff | 400 (fall 2019) |
Administrative staff | 262 (fall 2019) |
| Students | 1,353 (fall 2023) |
| Undergraduates | 1,025 (fall 2019) |
| Postgraduates | 492 (fall 2019) |
| 6 (fall 2019) | |
| Address | 24700 McBean Pkwy ,,,United States 34°23′34″N118°34′02″W / 34.3928°N 118.5673°W /34.3928; -118.5673 |
| Campus | Suburban, 60 acres (24 ha) |
| Website | calarts |
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TheCalifornia Institute of the Arts (CalArts) is aprivateart school inSanta Clarita, California. It was incorporated in 1961 as the first degree-granting institution of higher learning in the US created specifically for students of both thevisual and performing arts. It offersBachelor of Fine Arts,Master of Fine Arts,Master of Arts, andDoctor of Musical Arts degrees.[3] It is located about 30 miles (48 km) northwest of downtownLos Angeles.
The school was first envisioned by many benefactors in the early 1960s includingNelbert Chouinard,Walt Disney, Lulu Von Hagen, and Thornton Ladd.[4][5]
CalArts was originally formed in 1961, as a merger of theChouinard Art Institute (founded 1921) and the Los Angeles Conservatory of Music (founded 1883).[6] Both of the formerly existing institutions were going through financial difficulties, and the founder of the Art Institute,Nelbert Chouinard, was terminally ill.Walt Disney was longtime friends with both Chouinard and Lulu May Von Hagen, the chair of the Conservatory, and discovered and trained many of his studio's artists at the two schools (includingMary Blair,Maurice Noble, and some of theNine Old Men, among others). To keep the educational mission of the schools alive, the merger and expansion of the two institutions was coordinated; a process which continued after Walt's death in 1966.[7] Joining him in this effort were his brotherRoy O. Disney, Nelbert Chouinard, Lulu May Von Hagen and Thornton Ladd (Ladd & Kelsey, Architects).
Without Walt, the remaining founders assembled a team and planned on creating CalArts as a school that was a destination, like Disneyland, to be a feeder school for the various arts industries.[8] To lead this project they appointed Robert W. Corrigan as the first president of the institute.
The original board of trustees at CalArts included Nelbert Chouinard, Lulu May Von Hagen,Harrison Price,Royal Clark,Robert W. Corrigan,Roy E. Disney,Roy O. Disney, film producer Z. Wayne Griffin,H. R. Haldeman, Ralph Hetzel (then vice president ofMotion Picture Association of America),Chuck Jones, Ronald Miller,Millard Sheets, attorney Maynard Toll, attorney Luther Reese Marr,[9] bank executive G. Robert Truex Jr.,Jerry Wexler,Meredith Willson, Peter McBean and Scott Newhall (descendants ofHenry Newhall), Mrs.Roswell Gilpatric, and Mrs. J. L. Hurschler.[10]
In 1965, the Alumni Association was founded as a separate organization. The 12 founding board of directors members wereMary Costa,Edith Head,Gale Storm,Marc Davis,Tony Duquette,Harold Grieve,John Hench,Chuck Jones,Henry Mancini,Marty Paich,Nelson Riddle, andMillard Sheets.
The ground-breaking for CalArts' current campus took place on May 3, 1969, as part of the Master Plan for a new planned community in the Santa Clarita Valley of Los Angeles. However, construction of the new campus was hampered by torrential rains, labor shortages, and theSylmar Earthquake in 1971. As a result, the first combined campus for the Institute started at the formerVilla Cabrini Academy (now the home ofWoodbury University) in July 1970. CalArts moved to its new campus inValencia, now part of the city ofSanta Clarita, California, in November 1971.
Founding CalArts president Corrigan, formerly the founding dean of theSchool of Arts atNew York University, fired almost all the artists who taught at Chouinard and the Conservatory in his attempt to remake CalArts into his new vision. He appointed fellow academicHerbert Blau to be the founding dean of the School of Theatre and Dance, and serve as the institute's first Provost. Blau and Corrigan then hired other academics to found the original academic areas, includingMel Powell (dean of the School of Music),Paul Brach (dean of the School of Art),Alexander Mackendrick (dean of the School of Film),Maurice R. Stein (director of Critical Studies), andRichard Farson (dean of the School of Design), as well as other influential faculty such as Stephan von Huene,Allan Kaprow,Bella Lewitzky,Michael Asher,Jules Engel,John Baldessari,Judy Chicago,Ravi Shankar,Max Kozloff,Miriam Shapiro,Douglas Huebler,Morton Subotnick,Norman M. Klein, andNam June Paik, most of whom came from acounterculture andavant garde perspective.[11]
Corrigan held his position until 1972, when he was fired and replaced by then board member William S. Lund, Walt Disney's son-in-law, as the Institute approached insolvency.[12] The period between 1972 and 1975 was extremely unstable financially, and Lund had to make significant operational reductions, including layoffs, reducing all faculty contracts to one-year, the pausing of degree programs, and the elimination of the structure of a School of Design, folding degree programs into other Schools, in order to keep the Institute alive.
In 1975,Robert J. Fitzpatrick was appointed president of CalArts. During his presidency, the Institute grew its enrollment and stabilized, renewed its accreditation, and added new programs for which it is known globally today including the programs of Character Animation and Jazz. While President, Fitzpatrick also served as the director of the1984 Olympic Arts Festival. He then founded the Los Angeles Festival, which grew directly out of the proceeds of the1984 Olympic Games. After 1984, John Orders (the assistant to the president/chief of staff) largely coordinated the institute's operations in partnership with the other leaders. In 1987, Fitzpatrick resigned as president to take the position of head of EuroDisney (nowDisneyland Paris) in Paris, France.
During the search for a President from 1987–1988, Nicholas England, the then dean of the School of Music, served as Acting President. In the fall of 1988,Steven D. Lavine, then the Assistant Program Director for the Arts and Humanities of theRockefeller Foundation, was appointed president. By the time Lavine started his tenure CalArts had developed a structural deficit of 16%, and during his time in office, Lavine grew enrollment and increased tuition significantly while remaining within the existing square footage of the campus, and in 2003 added theRoy & Edna Disney CalArts Theatre, part of theLos Angeles Music Center's newWalt Disney Concert Hall project, to the operations of the Institute.
Seven years into his tenure, President Lavine navigated the1994 Northridge Earthquake, which closed the main building in Valencia at the start of the spring semester. Classes were held in rental party tents on the 60 acre grounds, and alternate teaching locations were scattered miles apart around Los Angeles County. The building was "red tagged" and not allowed to be used until millions of dollars of repairs were performed. Under the advisement of James Haire ofAmerican Conservatory Theater, Lavine was able to allocate emergency funding fromFederal Emergency Management Agency.[13][14] This funding provided the bulk of the financial assistance for structural repairs due to seismic activity. Additionally, private donations supported with aesthetic renovations of curated spaces in the building. CalArts reopened its doors to its Valencia campus in the fall 1994 semester.
On June 24, 2015, Lavine announced he would step down as president in May 2017, after 29 years in the position.[15] After an 18-month search (which included over 500 candidates), Board Chair Tim Disney and the CalArts board of trustees announced on December 13, 2016, thatRavi S. Rajan,[16] then the dean of the School of the Arts at theState University of New York at Purchase, was unanimously selected as president, to begin in June 2017.[17]
Over the years, the institute has developed experimental interdisciplinary laboratories through extramural funding such as theCHANEL Center for Artists and Technology; the Center for Integrated Media; and the Cotsen Center for Puppetry.
CalArts offers various undergraduate and graduate degrees in programs that are related to and combine music, art,dance,film, animation,theater, and writing. Students receive intensive professional training in an area of their creative aspirations without being cast into a rigid pattern. The institute's overall focus is on experimental, multidisciplinary, contemporary arts practices, and its stated mission is to enable the professional artists of tomorrow, artists who will transform the world through artistic practice.[18] With these goals in place, the Institute encourages students to recognize the complexity of political, social, and aesthetic questions and to respond to them with informed, independent judgment.[citation needed]
Every program within the Institute requires that applicants send in anartist's statement, along with aportfolio oraudition to be considered for admission. The institute has never required an applicant'sSAT or other test scores, and does not consider an applicant'sGPA as part of the admission process without the consent of the applicant .
| 2019[19] | 2018[20] | 2017 | |
|---|---|---|---|
| Applicants | 4,033 | 4,431 | 2,265 |
| Admits | 1,238 | 1,200 | 545 |
| Admission rate | 30.7% | 27.1% | 24.1% |
| Enrolled | 529 | 523 | 235 |
The initial concept behind CalArts' interdisciplinary approach came fromRichard Wagner's idea ofGesamtkunstwerk ("total artwork"), of which Walt Disney himself was fond and explored in a variety of forms, beginning with his own studio, then later in the incorporation of CalArts. He began with the filmFantasia (1940), where animators, dancers, composers, and artists alike collaborated. In 1952,Walt Disney Imagineering was founded, where Disney formed a team of artists includingHerbert Ryman, Ken O'Brien, Collin Campbell, Marc Davis,Al Bertino,Wathel Rogers, Mary Blair,T. Hee, Blaine Gibson,Xavier Atencio,Claude Coats, andYale Gracey. He believed that the same concept that developed WDI could also be applied to a university setting, where art students of different media would be exposed to and explore a wide range of creative directions.[21]
A113 is a classroom at CalArts where the character animation program (then called the Disney animation program) was originally founded. Many CalArts alumni haveinserted references to it in their works (not just animation) as an homage to this classroom and to CalArts.
In 2003, CalArts built a theater and art gallery in downtown Los Angeles calledREDCAT, the Roy and Edna Disney CalArts Theater as part of theWalt Disney Concert Hall in theLos Angeles Music Center.
In 2013, CalArts opened its John Baldessari Art Studios, which cost $3.1 million to build, and features approximately 7,000 square feet of space for MFA Art students and program courses. In addition to debt, funding for the studios was partially raised by the sale of artwork donated by School of Art alumni, for whom each studio was then named.[22]
CalArts' notable current and former faculty members include the artistsJohn Baldessari,[23]Judy Chicago,Charles Gaines,Martin Kersels,Thomas Lawson,Miriam Schapiro, andAllan Kaprow. The faculty in theatre arts has includedFran Bennett,Lee Breuer,Ron Cephas Jones,Lew Palter,Suzan-Lori Parks, andJanie Geiser. The faculty in dance has includedDonald Byrd,Donald McKayle,Mia Slavenska,Rebecca Wright,George de la Peña andBella Lewitzky. The faculty in music has includedJohn Bergamo.
Notable alumni include artistsNayland Blake,[24]Raven Chacon,[25]Eric Fischl,Guillermo Gómez-Peña,[26]Mike Kelley,[27]Matt Mullican,[28] andCatherine Opie. Notable alumni working in film and television includeTim Burton,[29]Don Cheadle,David Hasselhoff,[30]Stephen Hillenburg,[31]Paul Reubens,[32] andKatey Sagal.[33]
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TheAlpert Award in the Arts was established in 1994 by The Herb Alpert Foundation and CalArts. The institute annually awards a $75,000 no-strings-attached fellowship to five artists in the fields of dance, film and video, music, theatre, and visual arts. Awardees have a residency at CalArts during the following academic year.
According toCollege Scorecard, the median income in 2020 and 2021 for graduates who matriculated in 2010 and 2011 was $43,071, with 48% of graduates making more than high school graduates.[34]
British magazineTimes Higher Education states the salary 10 years after graduation is $35500.[35] According toPayscale, graduates make $71,000 in early career and $113,200 in mid-career.[36]
Center on Education and the Workforce estimates thereturn on investment 10 years after graduation with a bachelor's from CalArts is -$80,000; however, this metric appreciates to $630,000 40 years after graduation.[37]
According to College Scorecard, the graduation rate at Calarts is 65%.[38]
As of 2025,U.S. News & World Report's most recent rankings place CalArts as the fifth best overall graduate program for fine arts in the United States.[39] This ranks CalArts as tied with theRhode Island School of Design, and behind theUCLA School of the Arts and Architecture,School of the Art Institute of Chicago,Yale School of Art, andVirginia Commonwealth University School of the Arts. By specialty, CalArts is ranked third in Time-Based Media/New Media and ninth in Painting/Drawing, Photography, and Sculpture.[40] These rankings were done in 2020.
In 2011,Newsweek/The Daily Beast listed CalArts as the top school for arts-minded students. The ranking was not aimed to assess the country's best school, but rather to assess campuses that offer an exceptional artistic atmosphere.[41][42][43]
CalArts' various schools are consistently featured in the top ten lists of the "best schools" of Art, Film, Animation, Theater, Music, and Dance of publications such asU.S. News,New York Times,The Hollywood Reporter,Variety, and various other news and trade publications. No other single college or university in the world reflects such a high reputation across the full breadth of the many arts and creative industries.[44][45][46]
Some of the founding administration and faculty of CalArts have had a previous affiliation withYale University. This includes Robert Corrigan, Herbert Blau, Paul Brach, Mel Powell, Peter De Bretteville, Sheila Levrant de Bretteville,Keith Godard, and Craig Hodgetts.
Many students who attended CalArts' animation programs have found work atWalt Disney Animation Studios, and several of those went on to successful careers at Disney,Pixar, and other animation studios. In February 2014,Vanity Fair magazine highlighted the success of CalArts' 1970s animation alumni and briefly profiled several (includingJerry Rees,John Lasseter,Tim Burton,John Musker,Brad Bird,Gary Trousdale,Kirk Wise,Henry Selick andNancy Beiman) in an article illustrated with a group portrait taken by photographerAnnie Leibovitz inside classroomA113.[47]
In the late 1980s, a group of CalArts animation students contacted animation directorRalph Bakshi. As he was in the process of moving to New York, they persuaded him to stay in Los Angeles to continue to produceadult animation.[48] Bakshi then got the production rights to the cartoon characterMighty Mouse. By Bakshi's request,Tom Minton and John Kricfalusi then went to the CalArts campus to recruit the best talent from what was the recent group of graduates. They hiredJeff Pidgeon,Rich Moore, Carole Holiday,Andrew Stanton and Nate Kanfer to work on the then-newMighty Mouse: The New Adventures television series.[49]
In an interview, Craig "Spike" Decker ofSpike and Mike's Festival of Animation criticized commercial aspects of the school, saying "A lot of animators come out of CalArts – they could be so prolific, but then they're owned by Disney or someone, and they're painting the fins onthe Little Mermaid. You'll never see their full potential."[50]
During the formative years of the Art School, many of the teaching artists led different camps of movements. The two main camps were theconceptualism students, which were led by John Baldasseri, and the fluxus camp, which was led by Allan Kaprow. Kaprow's approach to art was a continuation from histenure at Rutgers University. Other movements includedLight and Space, which was closely related to the artists associated with theFerus Gallery in the greater Los Angeles area. In 1972, Calarts hosted an exhibition calledThe Last Plastics Show, which was organized by faculty artist Judy Chicago, Doug Edge, as well asDewain Valentine.[51] This exhibition included artists such as,Carole Caroompas,Ron Cooper,Ronald Davis,Fred Eversley,Craig Kauffman,Linda Levi,Ed Moses,Barbara T. Smith, andVasa Mihich.[52]
In the autobiographyBad Boy: My Life On and Off the Canvas by CalArts alumEric Fischl, he describes his experience as a student as "CalArts had such a narrow idea of the New. It was innovation for its own sake, a future that didn't include the past. But without foundation, without techniques or a deeper understanding of history, you'd go off these wild explorations and end up reinventing the wheel. And then you'd get slammed for it."
Art criticDave Hickey critiqued the art program of CalArts by suggesting that the variety of reference that students are exposed to is limited to a certain pantheon. He stated "I can go over to CalArts and ask them if they know whoJohn Wesly is, and they would go, 'Huh? What discourse does he participate in?' I am in the art world only insofar as there are interesting things for me to write about. When that stops, or when I stop getting offers to write things, I'll be out."[53] Additionally, Hickey mentioned the use of appropriation by students at programs like CalArts. In this, he referenced theVH1 showPop-Up Video, by which he stated "CreatorsTad Low and Woody Thompson should receive honorary MFAs for [Pop Up Video], because grad students worldwide are getting diplomas for just this sort of thing -- stealing (or as they say in art school, "appropriating") hackneyed pop images and scribbling on top of them à la granddaddy Marcel. The show, which would not be out of place on a monitor in a darkened gallery at CalArts [...]".[54]
In theLA Weekly op-ed piece "The Kids Aren't All Right: Is over-education killing young artists?", published in 2005, curatorAaron Rose wrote about an observed trend he recognized in Los Angeles's most esteemed art schools and their MFA programs, including CalArts. He uses the example of Supersonic, "a large exhibition ... that features the work of MFA students from esteemed area programs like CalArts, Art Center, UCLA, etc." In his observation of the showcase, he examined, "... the work left me mostly empty and with a few exceptions seemed like nothing more than a rehash of conceptual ideas that were mined years ago." He went on to state that "these institutions are staffed with amazing talents (Mike Kelley and John Baldessari among them). Legions of creative young people flock to our city [Los Angeles] every year to work alongside their heroes and develop their talents with hopes of making it as an artist." He goes on to further state "What happens too often in these situations, though, is that we find young artists simply emulating their instructors, rather than finding and honing their own aesthetics and points of view about the world, society, themselves. In the beginnings of an artist's career, the power in his or her work should lie not in their technique or knowledge of art history or theory or business acumen, but in what one has to say."[55]
Musician and CalArts alumnusAriel Pink notes in an interview "Unlike other art schools, they didn't focus on skills of any kind, specific color theory or anything like that. They were the only art school that was totally focused on teaching artists about the art market. They were trying to make the nextDamien Hirst. They're trying to make the nextJeff Koons. Those guys don't need to know how to paint or draw."[56]
In 1978, the first Contemporary Music Festival initiated the annual series, which positioned CalArts on the international map of avant-garde music. Music by composers such asJohn Cage,Paul Dresher,Morton Feldman,Milton Babbitt, andLou Harrison, among others, was played at the first edition of the festival.
CalArts graduates have joined or started successful pop bands, including:Maryama,Tranquility Bass,The Belle Brigade,The Weirdos,The Swords of Fatima /Buko Pan Guerra,Bedroom Walls,Dawn of Midi,Dirtwire,The Rippingtons,Fitz and the Tantrums,Fol Chen,London After Midnight,No Doubt,Mission of Burma,Radio Vago,Oingo Boingo,Acetone,Liars,Suburban Lawns,The Mae Shi,The Suburbs,Touché Amoré, andOzomatli.
Individually,Danny Elfman andGrant-Lee Phillips never officially enrolled at CalArts, but participated in the world music courses at CalArts. Elfman would later gain recognition for his composition work with CalArts alum Tim Burton, and Phillips would go onto a career in music.
Thurston Moore and Kim Gordon, members of the bandSonic Youth, remarked in an interview with VH1 about the bandLiars, of which Angus Andrew and Julian Gross are CalArts luminaries. Moore's initial remarks were: "There's this whole world of young people who [think] everything's allowed. What Liars are doing right now is completely crazy. I saw them the other night and it was really great. It's really out-there". Gordon then stated "I'm not so crazy about the way [the Liars' They Were Wrong, So We Drowned] sounds. It's like 'how lo-fi can we make it?' But I think the content is really good". In reference to CalArts and Gordon's statement, Moore lastly remarked "They're art kids. They came out of CalArts and that's the kind of sensibility you have when you come out of these sort of places."[57] Interestingly, Moore's partner Gordon went to theOtis College of Art and Design, herself a product of an art school. In a 2005 interview, Moore discussed the bookJack Goldstein and the CalArts Mafia and his conversation with Gordon after reading the book. During their conversation, Moore asked Gordon why she had chosen to attend Otis College of Art and Design instead of CalArts, a school she had always wanted to attend since she grew up in Los Angeles. Gordon explained that she was unable to afford CalArts' high tuition. Moore went on to emphasize that the book did not mention the economic feasibility of attending CalArts and that this financial barrier can create a division between those who can afford highly regarded academic art education and those who pursue DIY art.[58]
In his book,Survival of the Richest, media theorist and MFA directing program graduateDouglas Rushkoff described his time while a theater student at CalArts. He saw CalArts as an institution that offered numerous opportunities for interdisciplinary collaboration; however, despite the creative atmosphere, the theater school was rooted in tradition, adhering to the classical approach to drama with a focus on crisis, climax, and resolution.
Rushkoff, influenced by the experimental theater of the 1970s and 1980s (i.e.Happenings,Fluxus), had a different perspective on theater. Rushkoff believed in blurring the line between performer and audience, and questioned the traditional theater model, which he viewed as imposing a sense of inevitability and confirming established order. He saw this as cultural propaganda, creating problems in the first act and solving them in the last.
In addition to his dissatisfaction with the traditional theater model, Rushkoff was troubled by the high cost of theater productions. After attending a performance of Brecht's Threepenny Opera at theAhmanson Theatre in 1989, and noticing the high cost of the least expensive ticket, he decide to leave the theater behind in favor of the Internet. He believed that interactivity and digital platforms, such as the Web and hypertext stories, would provide users with multiple pathways and the freedom to choose their own adventures. Even in video games with clear-cut goals (i.e.Super Mario,World of Warcraft), players could derive satisfaction from exploring the game world rather than focusing solely on achieving the official story objectives.
Apejorative term, "CalArts style" gained prominence in the late 2010s to describe an animation style allegedly overused on popular American television channels such asCartoon Network andDisney Channel. The term had reportedly been in use within the animation industry since the early 1990s;[59] its spread outside of the industry is attributed to animatorJohn Kricfalusi. In a now-deleted blog post from 2010 about the filmThe Iron Giant, Kricfalusi criticized what he saw as young animators subconsciously copying superficial aspects of well-respected animators' work (specifically, late 1950s to 1970s Disney movies) without learning underlying animation skills.[60] As the decade progressed, the term came to refer to a cartoon aesthetic different from the one Kricfalusi described.[59] Works that have been said to exemplify this version of the "CalArts style" includeAdventure Time,Gravity Falls,Star vs. the Forces of Evil, andOver the Garden Wall, which were from CalArts graduatesPendleton Ward,Alex Hirsch,Daron Nefcy, andPat McHale respectively, but also the works of many non-CalArts animators, such asRebecca Sugar'sSteven Universe,Ben Bocquelet'sThe Amazing World of Gumball,Justin Roiland andDan Harmon'sRick and Morty,Domee Shi'sAcademy Award-nominatedTurning Red, etc.[59]
Detractors claim that because of CalArts' importance to American animation, it often inspires other styles of illustration.[59] American animatorRob Renzetti questioned the use of the term,[61] saying that it has been applied so broadly as to be functionally meaningless as criticism, and is instead justname calling.Adam Muto, executive producer onAdventure Time, has also said the term over-simplifies the process of animation design, and is too vague.[62] Gavia Baker-Whitelaw onThe Daily Dot wrote that many animation fans that deride the "CalArts style" do so only when it is associated with shows that appear to promote, in their views, "Tumblr culture" that favorsprogressive views.[63]
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