July 15, 2007 |
THE artistry of '60s rock icons Jimi Hendrix and Janis Joplin wasn't limited to their Rock and Roll Hall of Fame music. As it happens, both were deeply interested in visual art before their music careers took off, and several of their drawings and paintings will be on display in Hollywood in conjunction with this year's Mods & Rockers Film Festival put on by American Cinematheque.
January 1, 2012 |
It's hard to imagine now. But one fact about the early years of the post-World War II art scene in Los Angeles that has been brought into focus by the Pacific Standard Time initiative is that there was no real art museum in what was becoming the nation's second largest city. The Los Angeles County Museum of Art did not exist as a separate entity until it opened on Wilshire Boulevard in 1965. The Museum of Contemporary Art's Grand Avenue location was years away. Much of the energy, then, in the city's art scene in the 1945 to 1980 stretch came from private collectors, artists' collectives, print shops, art schools and especially from commercial galleries.
October 19, 1992 |
Artist Nancy Bowen's courses are designed to help participants tap into the problem-solving part of themselves. Most people have, on occasion, had a flash of insight that solved a problem, whether personal or in business. But most can't say what caused the insight, and they certainly wouldn't know how to repeat it. Nancy Bowen, an artist and teacher, believes that she has found a way to help people tap into that problem-solving part of themselves.
March 3, 1993 |
It's a rare thing in the Southland to see a survey of native abstract art that is as hip, scholarly, comprehensive and concise as the one just opened at the Newport Harbor Art Museum. Rather stuffily titled "American Abstraction From the Addison Gallery of American Art," it still manages to function as a brilliantly clear short lecture on the essence of the form delivered by the world's best teachers, the works themselves.
November 16, 1986 |
"Abstract art remains misunderstood by the majority of the viewing public. Most people, in fact, consider it meaningless," Maurice Tuchman writes in the exhibition catalogue of "The Spiritual in Art: Abstract Painting, 1890-1985." If the show that Tuchman has organized to inaugurate the County Museum of Art's Robert O. Anderson Building has its desired effect, abstract art will gain a more discerning audience.
September 22, 1995 |
Jim Isermann's quietly dazzling weavings at Richard Telles Fine Art rank among the best works this multitalented artist has made over his impressively diverse career. Beautifully crafted and intelligently conceived, these handmade works are as humble as dishrags, yet they do the job of the most high-minded abstract art. Isermann's approximately four-foot-square plaids, stripes and zig-zags hang casually against the wall, like relaxed, off-duty paintings.
January 9, 1998 |
Ed Mieczkowski, 68, is part of the second generation of American abstract artists--the ones whose paths were smoothed by decades-earlier battles against the ignorance and scorn of a public firmly wedded to representational art. Yet the compact, genial man from Cleveland who was strolling through the Laguna Art Museum in a playfully hand-painted hat the other day began reminiscing about his own struggles while ostensibly discussing an exhibition of 60 works by artists active in the '30s and '40s.