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July 20, 2012 | By Leah Ollman
This may be the information age, but more specifically, it's the mash-up moment.  Images, sounds, words -- all are retrieved instantly from our collective digital memory bank by artists and advertisers alike, shaken, stirred and spilled back out. In the day when collage really did involve scissors and glue, the discontinuities it invoked had more power to jolt and disarm. Think Höch and Heartfield. Now, makers are mixers and the visual fabric of the everyday is a busy, buzzing patchwork.
May 25, 2012 | By Leah Ollman
Following its group shows of area painters and sculptors, Another Year in LA now presents "Drawing (Los Angeles). " Featuring five artists (plus a cameo appearance by non-local Stephen Kaltenbach), the show is a sampler more than a survey but manages to convey, with a good deal of verve, how elastic the category of drawing has become. Materials matter less than manner of approach -- a certain rawness, directness, immediacy. John Knuth's word paintings spelled out using emergency road flares and Christopher Russell's scratched and spray-painted "Framing Exercises" are all tactile energy.
July 16, 2012 | By Christopher Knight, Los Angeles Times Art Critic
Three of four artists on the Museum of Contemporary Art's board of trustees have now resigned. The dire action is a warning as much as a protest. It shows how trustees critically important to MOCA's future are being marginalized. In commentary about the museum, a crucial fact of its widely celebrated, sometimes fractious history is often forgotten: MOCA was founded by artists. In 1979, a large and steadily expanding group around acclaimed abstract painter Sam Francis determined that it was long past time for a museum dedicated to the presentation and study of recent art. Soon they drew an influential array of civic leaders into their orbit.
August 11, 2012 | By David Pagel
Works of art can do just about anything - except explain how other works of art work. That's one of the reasons many movies and books about artists fall short. They presume to tell us the truth about things they are in no position to explain, much less match the artistry of. Documentary films do not face this problem. Three recent ones work wonders because they allow their subjects to speak for themselves. More important, Matthew Akers' "Marina Abramovic: The Artist Is Present," Corinna Belz's"Gerhard Richter Painting"and Neil Berkeley's "Beauty Is Embarrassing" do not reveal how Abramovic, Richter or Wayne White make their work.
March 10, 2009 | Charles Fleming, Charles Fleming lives and works in Silver Lake. His last book was "My Lobotomy," written with Howard Dully.
Most of the people I know don't have regular jobs. They're writers, actors, musicians, artists, photographers and filmmakers. They also are middle-class taxpayers who carry mortgages and send their kids to public school. They're used to hard times. They've always lived project to project, rather than paycheck to paycheck. They've learned how to cut costs, eliminate excess and wait out the dry spells. "I'm good at this," one actor friend said.
September 20, 2013 | By David Colker
Cecil Fergerson, an art curator and activist who advocated for minority artists, got his first job right out of high school in a major museum. As a janitor. That was just about the only work available to African Americans in 1948 at the Los Angeles County Museum of History, Science and Art. By the time the Los Angeles County Museum of Art had broken off as a separate entity in the early 1960s, he had fought his way up to the position of museum helper. He co-founded the influential Black Arts Council, and when he left the museum in 1985 it was as a curatorial assistant.
January 28, 2013 | By Jori Finkel
Who's afraid of the big, broad biennial? Not Dan Cameron, who organized ambitious exhibition events like Prospect New Orleans before becoming chief curator at the Orange County Museum of Art last year. Now, his first big group show in his new job is shaping up to be a global mash-up shaped by seismic geopolitical undercurrents. Called the California-Pacific Triennial, the show features 32 artists from 15 countries that border the Pacific Ocean. This show replaces the California Biennial, a regular museum attraction that often promised more than it delivered, and the new project has a more sustainable every-three-years schedule.
December 4, 2013 | By Jessica Gelt
Rex Ranch in Arizona is poised to become an ambitious artists' retreat, if a Sundance Institute executive can come up with the money to buy the 50-acre former dude ranch by the middle of December. Located on a pristine patch of land with breathtaking scenery in the Sonoran Desert in the small town of Amado, about 30 miles south of Tucson, Rex Ranch was built in 1880 and later served as a resort before being abandoned. The property, which features 35 attractive rose-colored adobe buildings, was originally for sale for $2 million.
November 5, 2012 | By David Ng
A group of prominent cultural personalities have signed an open letter to New York City Mayor Michael Bloomberg asking the city to send more relief to the Rockaways, a part of Queens that was hit hard by Hurricane Sandy. The letter -- whose signatories include Marina Abramovic, Cindy Sherman, Anna Deavere Smith and Richard Phillips -- states that families in the Rockaways "are still standing next to their destroyed and ruined houses trying to keep warm without food, water, electricity, heat, or internet.
April 26, 2005 | Suzanne Muchnic
The Women Artists Archives National Directory -- the first digital directory of information about women artists active in the U.S. since World War II -- has been launched at Rutgers University in New Brunswick, N.J., with the help of a $149,000 grant from the Getty Foundation, the philanthropic branch of the J. Paul Getty Trust. The goal is to fill a large gap in published art history by producing a digital directory of sources where the artists' artworks and papers can be found.
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