Copley Connects Fall 2025 / Spring 2026

In the case of his neon installation, once the design and concept was formed, the next most crucial step was finding the right fabricator and developing a strong relationship with them before proceeding further. When noé receives funding to create art pieces, he then identifies who else he can support financially, a type of creative economy giving back to the community. With this in mind, we move on to discuss noé’s experience as an educator in the visual arts. His pedagogical approach has naturally evolved over time and is now informed with healing in mind, through the writings of bell hooks, Buddhist monk Thích Nhất Hạnh, and artist Emory Douglas. He elaborates “I come into the class to recognize the humanity in my students, the faculty and staff at every level. One of the ways I foster a comfortable space in class is through somatic exercises by expert Staci Haines. For example, there’s one called “Length, Width, and Depth” which intersects with mindfulness, abolitionist, and restorative justice practices. We begin by reflecting on how we show up — our dignity, then move onto stretching exercises grounded in gratitude and acknowledging who is present and in relationship to you, concluding with accepting our past and looking towards the future and a world you want to be in.”

He introduces readings to the class, like the negative role art can have as a propaganda tool for oppressive regimes so students can recognize their own power to change the trajectory through art. Moreover, how artists can persuade, motivate, and inspire — to be on the right side of history. Past mentors also influenced his teaching, including current USD professors Allison Wiese and Dr. Jessie Mills who showed kindness and created safe spaces in the classroom. In grad school, USC professor Nao Bustamante asserted that art school is not simply about producing good artists, but more importantly about making better people.

noé olivas speaks with a USD Art class

Turning the subject to libraries, I asked noé what other connections he has to our profession. It turns out the artist is part of a public art council, a funded art program sponsored by the Los Angeles County Department of Arts and Culture to develop policies around public art initiatives. The downtown LA library has produced several exciting projects that provide important opportunities for local artists. He also speaks of the serious challenges to immigrant communities right now, but recognizes the positive aspects, too, like the coming together and unification of communities. Another altruistic endeavor is the Crenshaw Dairy Mart in Inglewood, CA, which noé is a co-founder. Their statement of purpose describes it as an artist collective and art gallery dedicated to shifting the trauma-induced conditions of poverty and economic injustice, bridging cultural work and advocacy, and investigating ancestries through the lens of Inglewood and its community. To end our conversation, I ask one last question — what are you reading? He admits his wife regularly exposes him to dense academic texts. Right now he is conducting research on a new series of artworks, and the following texts are on his list: Assata Shakur, Assata: An Autobiography (1999); Simone Brown, Dark Matters: On the Surveillance of Blackness (2015); and Kelly Lytle Hernandez, City of Inmates: Conquest, Rebellion, and the Rise of Human Caging in Los Angeles, 1771–1965 (2017). For more information about the artist, please visit his website: https://www.noeolivas.com/

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