October 30, 2011 |
In the great game of word-image association that is art history, when people say Judy Chicago, they picture "The Dinner Party. " An installation with dozens of hand-painted table settings dedicated to important women throughout history, the 1970s work elicited impassioned debate, fast becoming a national symbol for feminist art in all of its disruptive power. But before she painted a single vulval-looking plate and even before she co-founded the groundbreaking Woman's Building in Los Angeles in 1973, Chicago had begun a serious career in L.A., making works that are prime examples of Finish Fetish, Light and Space and earthworks.
March 18, 2012 |
One hundred years ago today, on March 18, 1912, two men dressed in black crossed the Seine in Paris to pay a call on their younger brother, an artist who lived alone in his studio on Rue Amiral-de-Joinville. Half a century later, the artist would vividly remember the dark clothes his brothers had worn that day, as if they had come to challenge him to a duel. The visit, it seems, was brief. Once his brothers had departed, the artist locked up the house and took a taxi by himself to the Quai d'Orsay, where the Salon des Independants was scheduled to begin later that week.
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.
August 4, 1996 |
Thanks to a long history of cultural voyeurism extending from Alexis de Tocqueville to Jean Baudrillard, the French have enshrined a particular mythology of our country: Americans are barbarians, yes, but with an uncanny knack for getting things done. We, too, have our own beloved myths about France--Paris in particular.
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)
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)
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.