December 5, 2006 |
Moving to steady an institution shaken by scandals that forced the resignation of top executive Barry Munitz in February, the Getty Trust announced on Monday the hiring of President James N. Wood, a 65-year-old art historian and former president of the Art Institute of Chicago. Wood, lured out of retirement in Rhode Island, vowed to emphasize "focus and integrity," adding: "I want to make the visual arts the center of the decision-making for the entire institution." On Feb.
November 20, 2011 |
Clyfford Still was averse to showing his art in architectural settings that he considered either flamboyant or coldly impersonal, and he railed against anything that distracted viewers from the art itself. Brad Cloepfil, architect of the Clyfford Still Museum that was scheduled to open Friday in downtown Denver, laughs at the idea of Still as a demanding ghost, overseeing his plans. "I just served the work, what I thought was best for that work," a design resonant with the visceral, elemental quality of Still's paintings, Cloepfil says.
March 11, 2012 |
With the Getty Trust's recent announcement that, after a gap of more than two years, a director has finally been hired to lead its museum, a perennial question arises. The Getty's art collection certainly hasn't languished, with important additions periodically made, but few would say it has lived up to hopes for the hugely wealthy institution. What does new leadership portend for it? More than 90% of art museum collections consist of gifts made by private collectors, according to estimates of the Assn.
September 25, 1990 |
The Newport Harbor Art Museum took an unusual step for conservative Orange County in recently choosing to take the National Endowment for the Arts to court. Consider the recent climate for arts in Orange County: As the nationwide furor over freedom of expression and the NEA raged, a nude photograph of John Lennon was yanked from a Fullerton exhibition in April, then reinstated.
September 24, 1989 |
When art librarian Annette Masling was in Southern California recently, her must-see list included a light-industrial mall in the 900 block of Colorado Avenue in Santa Monica. She didn't go there to have her car repaired, despite the plethora of body shops in the area. Masling, who directs the library at the Albright-Knox Art Gallery in Buffalo, N.Y.
January 2, 1994
Regarding "A Matter of Sense, Not Dollars," commentary by Times art critic Christopher Knight (Dec. 19): Knight's extraordinary polemic affirming the importance of John McLaughlin as the "first, major, postwar Modern artist to have emerged in Southern California" is well-taken. How many California artists of that era are represented by works in the collections of some 35 top museums, including the Albright-Knox Art Gallery, Art Institute of Chicago, Baltimore Museum of Art, Corcoran Art Gallery, Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Museum of Modern Art, National Museum of American Art and Whitney Museum of American Art?
November 15, 1987 |
Christmas is a season for the French Impressionists and Post-Impressionists--which is to say it's a season like all others in the art book business. Responding to popular interest with a notable lack of imagination, publishers have released yet another flood of pretty books on the usual subjects. One exception is Gustave Caillebotte by Kirk Varnedoe (Yale: $39.95; 220 pp.; 200 black-and-white illustrations, 73 colorplates).
December 22, 2003 |
When William Gibson's sci-fi novel "Neuromancer" was published in 1984, it seized the popular imagination with a dazzling and dark new concept: "cyberpunk." Gibson's vision of a future society populated by noir characters that are both empowered and enslaved by cutting-edge technology crystallized the hopes and fears of the dawning "virtual reality" era. Now, another form of technology -- nanotechnology -- is burrowing its way into art, literature, design, architecture and popular culture.
January 14, 2007 |
THIS is a tale of two de-accessions, the term used for the disposal of works of art by a public institution, usually through sale. The practice is legitimate but thorny -- legitimate because any institution's leaders, who benefit from public tax subsidy, must be free to make decisions they believe to be in the public interest; and thorny because the public is rarely unanimous in deciding what its interests are. De-accessioning often raises hackles.
June 30, 2003 |
In the most riveting portrait in "Modigliani and the Artists of Montparnasse," the traveling exhibition that opened Sunday at the Los Angeles County Museum of Art, a lowly working-class servant at a fancy Parisian establishment is presented as a brilliant swirl of furious brushwork. His crimson uniform bleeds across the canvas like a ferocious gash. The outstretched palm of his hand is a gesture of benign openness, while also soliciting cash.