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Artists Women

They came from all parts of the country to Los Angeles. They were art school students from the Midwest, writers from the East, housewives from Orange County, second-time-around college students from the Inland Empire, women making the trek to a new feminist mecca. The time: mid-'70s. The place: the Feminist Studio Workshop, later to become the Woman's Building. The quest: to find themselves, to make art, to change the culture. It was a heady time, and their destination was a place like no other.
May 5, 1991 | SUZANNE MUCHNIC, Suzanne Muchnic writes about art for The Times.
Never mind the Rauschenbergs, Twomblys and Lichtensteins that beckoned contemporary art lovers to New York last week for a round of big-ticket auctions. Forget the Matisses, Chagalls and Monets to be offered in this week's sales of Impressionist and modern art. The star of the spring auction season is Frida Kahlo's 1947 "Self-Portrait With Loose Hair," which goes on the block in Christie's May 15 sale of Latin American art. The Park Avenue auction house expects the painting to fetch between $1.
April 19, 1992 | SUSAN FREUDENHEIM, Susan Freudenheim is the arts editor at the San Diego Edition of The Times. and
Deborah Small has spent the past year investigating the murders of 45 San Diego women, reading pulp bodice-ripper romance novels and tracking down interracial love scenes in Hollywood movies. None of this has been just for pleasure: Small's work over the last decade has turned research into art, combining revisionist history and visual spectacle.
February 24, 1991 | KRISTINE McKENNA, Kristine McKenna is a frequent contributor to Calendar.
"I lead an extremely isolated existence and the fact that I'm a woman probably contributes to that--I can never be one of the gang, particularly in England" says Therese Oulton, a young British Abstractionist whose work is on view at the L.A. Louver Gallery in Venice through March 9. "The British art world is quite small and more sexist than the American art world," she adds, "and the highest of the high arts--painting, sculpture, poetry and music composition--are still heavily defended there.
March 30, 1997 | Christopher Knight, Christopher Knight is a Times art critic
A lot of people have been noticing a change in art gallery exhibitions during the last several seasons. I'm talking about the abundance of interesting new work by women, which is being shown in unprecedented numbers at Santa Monica and L.A. galleries. Many of the artists are relatively new to the scene.
March 19, 1993 | NANCY KAPITANOFF, SPECIAL TO THE TIMES; Nancy Kapitanoff writes regularly about art for The Times.
This year's schedule at the Brand Library Art Galleries in Glendale reflects a fact that probably no other gallery in the Los Angeles area can declare: a sizable majority of Brand's one-person shows present the work of women artists.
March 21, 1993 | KRISTINE McKENNA, Kristine McKenna is a frequent contributor to Calendar.
Director Gillian Armstrong's "The Last Days of Chez Nous" is an oddly unsettling movie for one simple reason: It is a brutally unromanticized love story. All the players in this ill-fated triangle of intimacy are shown with warts-and-all honesty. Though Armstrong is known, much to her dismay, as a feminist director, the women characters in "Chez Nous" are as flawed and fatally human as the men. In fact, all the characters in the film seem to live in a state of bewilderment. On the surface, "Chez Nous," which stars Lisa Harrow, Kerry Fox and Bruno Ganz, chronicles the dissolution of a marriage.
Eminem is nothing if not rude, and Britain, of course, is the motherland of good manners, so it was probably never going to be an easy relationship. The 26-year-old white rapper's previous British tours raised a few eyebrows, but in the wake of his phenomenal success--a 10-million-selling album, "The Marshall Mathers LP," and four Grammy nominations--the prospect of his three-day blitz this week is making Britons stand up and take notice.
March 7, 2012 | By Victoria Kim, Los Angeles Times
The federal obscenity prosecution of Los Angeles fetish film producer and distributor Ira Isaacs ended in a mistrial Tuesday after jurors deadlocked on charges that the filmmaker produced, sold and transported obscene material. The panel deliberated for about a day after watching four films created or distributed by Isaacs, whose Internet-based business specialized in a niche of the pornography industry that included scatology and bestiality. The films, two of which Isaacs directed and appeared in, made up the bulk of the three-day trial last week.
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