October 9, 1998
In conjunction with "Sunshine & Noir," UCLA is sponsoring the three-part symposium "From the Beat Generation to the Millennium: Conversations on Art in L.A.," including some of the key figures from the Los Angeles art scene of the '50s through the '90s. All three evenings will take place at the Geffen Playhouse, 7-10 p.m., 10886 LeConte Ave., Westwood, and are free to the public. (310) 443-7000. * Oct. 26: "The Beat Goes On: L.A.
CALIFORNIA | LOCAL
April 10, 1992 |
The murky green pool behind the art department at Cal State Fullerton was alive with floating Elvis paraphernalia--blue suede shoes, a jailhouse rock and a glittery guitar. About 50 competitors toed the edge of the pool for the 6th annual rubber band-powered boat races Thursday afternoon.
November 25, 2008 |
Millard Sheets was an artist, so it's somewhat ironic to wish that an exhibition dedicated to the man focused a little less on his art. There are a handful of gems among the 40-plus watercolors, oils, drawings and prints on view at the Oceanside Museum of Art, but Sheets' most enduring legacy is not confined to the page or canvas. He was a doer -- an energetic, productive teacher, mentor, catalyst and facilitator who played a formative role in numerous Southern California cultural institutions.
April 1, 1994 |
Ending nearly two years of negotiations, UCLA on Thursday announced final approval of a plan to take over the Armand Hammer Museum of Art and Cultural Center, which had opened to great fanfare in late 1990, 15 days before the death of the longtime Occidental Petroleum chairman. The agreement puts UCLA's art department in charge of the museum's operations, programs and financial affairs. Under terms of the merger, the university will manage the museum without committing new funds.
November 16, 1994 |
Maurice Tuchman--who only a year ago won a legal battle to retain his longtime position as the L.A. County Museum of Art's senior curator of 20th-Century art--will leave the museum on Dec. 1. However, he will not sever connections with the institution that has employed him for 30 years or the department he founded. Upon his official departure, Tuchman, 57, will assume the honorary title of senior curator emeritus of the 20th-Century art department.
October 17, 1996 |
ART UCLA Art Department Picks Head: Mary Kelly, an artist and art theorist who has directed the studio portion of the Whitney Museum of American Art's Independent Study Program in New York since 1989, has been appointed chair of UCLA's art department. She succeeds Henry T. Hopkins, who stepped down last year to become full-time director of the UCLA/Armand Hammer Museum of Art and Cultural Center. Kelly has exhibited her work widely, including at UCLA/Hammer's recent "Sexual Politics" show.
December 9, 1993 |
One of the last bastions of public tobacco consumption on the Westside has fallen. No-Smoking signs went up last week on three floors of UCLA's Dickson Art Center, which the university's art department occupies. It wasn't the only remaining place on campus where smoking was permitted, but it was the most notorious. As a state school, UCLA is exempt from local laws, such as the Los Angeles ordinance that took effect in August prohibiting smoking in public buildings and restaurants.
CALIFORNIA | LOCAL
October 22, 1999 |
It was an ordinary chain-link fence with no apparent purpose at the north end of the Cal State Northridge campus. Then Russell McMillin and his 200 art education students transformed it into some grand terra-cotta menagerie. Huge, brown blowfish gape at spectators from the 100-foot-long fence. Furry, apelike heads sit atop its 10-foot-high posts. Skulls protrude from aluminum links. And strange, circular dwellings that look like wasp nests hang ominously from the barricade.
CALIFORNIA | LOCAL
May 2, 1992 |
Noah Gunnell had personal problems and was feeling hurt inside. Kneading stoneware clay in his art class at Channel Islands High School gave him satisfaction. His assignment was to choose an emotion and craft a sculpture in its name. Following the lines of his face in the mirror, he guided his hands in shaping that emotion--pain. He worked on the head, with its eyes squeezed tight and nose exaggerated, for 60 hours over a six-week period.