March 12, 1995
Art history buffs can now access comprehensive information through the Internet as part of the Getty Art History Information Program (AHIP). Users can obtain information from the Avery Index to Architectural Periodicals, the International Repertory of the Literature of Art and other art history catalogues and journals by using the World Wide Web. The information is available free of charge for a limited time as part of AHIP's research into database integration and information retrieval.
October 30, 2011
Joe Swanberg Spotlight at AFI Fest Nov. 6 "Silver Bullets" 9:45 p.m. Chinese 3 Nov. 7 "Art History" 9:30 p.m., Chinese 3 Nov. 8 "The Zone" (world premiere) 10 p.m., Chinese 3 Nov. 9 (all at Spielberg Theatre, Egyptian) 5 p.m. – "Silver Bullets" (second screening) 7 p.m. – "Art History" (second screening) 9 p.m. – "The Zone" (second screening)
April 9, 2014 |
It's not uncommon for museums to encroach upon what used to be the exclusive turf of galleries, to indulge in a bit of reputation inflation by showcasing recent MFAs rather than waiting for them to season and mature. In turn, some galleries, driven by a different set of credibility-attuned motives, have assumed museum-like practices, mounting historically significant exhibitions, complete with scholarly publications. Kayne Griffin Corcoran's John Tweddle show is of this ilk. It's guest-curated by Alanna Heiss, founder of PS1 (now MoMA PS1)
April 21, 2013 |
William Wilson, who wrote art criticism for the Los Angeles Times for more than three decades, died Saturday after suffering from Alzheimer's disease for several years. He was 78. Wilson, who was diagnosed with the disease four years ago, passed away peacefully in a care facility, according to an email distributed to his friends by artist Donald Lagerberg. In his 33 years at The Times, Wilson reviewed numerous art museum exhibitions and wrote at length about famed artists such as Douanier Rousseau and Andy Warhol.
September 25, 2011 |
So there's my name, on Page 1 of "Pacific Standard Time: Los Angeles Art, 1945-1980," the Getty's massive overview catalog for its monumental effort to get Southern California modern art into the heretofore New York-centric history of American modernism. The mention isn't so much about me as about my 1974 book, "Sunshine Muse: Contemporary Art on the West Coast" (which was reissued by the University of California Press as "Sunshine Muse: Art on the West Coast, 1945-1970" in 2000)
July 15, 2007
AND Stanley Meisler's point in his review of Sargent's works ["Portrait of an Artist on Vacation," July 8] is? The exhibition is not in Los Angeles, not even in California. If I wanted an art history lesson, I would go to the library or the museum. STEPHANY YABLOW North Hollywood
August 25, 1994 |
Before taking a class during her senior year at Rosemead High School, Lisa Chan thought art history was nothing more than learning the difference between a Monet and Manet, a Picasso and Pissarro. But while earning an art history degree at UCLA last spring and interning at museums in Los Angeles and Washington, D.C., Chan, 22, has discovered there's almost no end to where art history can lead. This summer, Chan was one of 12 undergraduates chosen for an internship with the J.
April 3, 2005 |
On a recent morning, artist Ruben Ortiz Torres stands in front of a muffler shop on Whittier Boulevard, waiting for an audience. It's near noon, and the day is getting hotter. Then, almost simultaneously, a dozen women arrive. They have come for a tour of the muffler shop. Still used by mechanics, who on this morning are replacing mufflers, the garage also houses a large, bizarre collection of objects: a "museum of a million things."