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ENTERTAINMENT
March 19, 1988
I was sorry to read of Michael Rissi's current plight with USC's School of Cinema-Television. It doesn't, however, surprise me. As I understand it, after I left the cinema school and took "Dark Star" with me, USC instituted a policy of complete and total ownership of all films made there. I really don't understand how anyone can take Rissi's script away from him and give it to someone else to direct. USC is a school , not a studio. Although this sort of behavior is good training for the real world of Hollywood, I fail to see any circumstances that would excuse this exploitation of talent by a university.
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NEWS
July 9, 2013 | By Christopher Knight, Los Angeles Times Art Critic
When the Orange County Museum of Art decided to change its biennial survey of California art to a triennial survey of art made around the Pacific Rim -- including California - it took on a huge task. The Pacific Ocean is vast, lapping the shore in parts of Asia, Australia, South and Central America and more. The change also raised a question: For art, is there really such a meaningful entity as “the Pacific Rim”? As I noted in my review of the debut 2013 California-Pacific Triennial, the answer is pretty much no. The majority of the 32 artists in the OCMA show have gone to art school or lived in the U.S. and Europe, so artistically they speak an intelligible common language.
CALIFORNIA | LOCAL
April 11, 2011 | Joanna Clay
Drivers on Laguna Canyon Road may have noticed that an Orange County landmark is missing. The Laguna College of Art & Design mural that graced the side of the Laguna Canyon Winery is now a plain gray wall. The mural was painted over by the winery owner who apparently did not recognize its significance. The mural was one of six in the city that were designed and painted by art school students in 2003. It was the largest mural by the college and in Orange County, mural instructor Mia Tavonatti said.
CALIFORNIA | LOCAL
January 31, 1987 | BOB POOL, Times Staff Writer
Capturing the soul of Woodland Hills is quite a feat. And capturing the soles of Woodland Hills means quite a few feet. Jill Ann Field is doing both as she paints a mural on a quarter-mile-long wooden safety wall around a high-rise construction site. Field is letting Warner Center office workers and neighborhood joggers step into her illustration by painting images of their feet as they pass the building site at 21550 Oxnard St.
CALIFORNIA | LOCAL
May 3, 1992
Publicizing Chaka's hopes for financial aid to attend Cal State Northridge baffled my mind. Has this man considered the amount of money he has cost state and local government to continue to process him through the legal system? Add the cost to undo the damage he inflicted. We enjoyed a temporary respite from his "tagging" sprees while he was incarcerated (yet another considerable expense) and now he wants financial aid for art school. Ha! However, there may be a solution to satisfy all of us staunch, tax-paying, law-abiding citizens: Calculate the amount of money Daniel (Chaka)
ENTERTAINMENT
August 7, 2012 | By Chris Barton
The story of the internment of more than 100,000 Japanese Americans during World War II hasn't always gotten widespread attention in the United States. But with construction beginning on the new Topaz Museum and Education Center in Utah, another step is being taken to keep the memory alive. In a groundbreaking ceremony on Sunday that featured Taiko drumming and a book signing by former Japanese internment camp resident turned Disney animator Willie Ito, the museum began work on a location some 16 miles away from the original Topaz camp.
ENTERTAINMENT
October 16, 2012 | By Jori Finkel
Michael Asher, the groundbreaking L.A. conceptual artist and veteran CalArts teacher, died Sunday night after a long illness. He was 69. A teacher at CalArts since the early 1970s, Asher was famous in the classroom for his wit and candor -- and also his endurance. His marathon "crit" (critique) sessions, designed to review student work, could by his own account run from 10 a.m. to midnight. "I throw away the clock," he once told me. His own artwork is often described as institutional critique or engagement -- work that grows out of the particular conditions of a museum or gallery environment.
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