August 21, 1989 |
Studio Leonardogavinci, an art gallery in the mid-Wilshire area, is owned by artists Leonardo Chalupowicz and Gavin Dillard, who also go under the name Leonardogavinci. And, in their spare time, these Leonardogavincis are also animal-rights activists. Last Thursday evening they turned over their gallery to 11 artists who, in various media, celebrated their relationships with other species.
August 28, 2009 |
It's a typical weekday afternoon at the Malibu Country Mart. The weather is perfect. Suntanned women stroll through Henry Beguelin, Madison and Morgane le Fay. Young mothers cluster around the counter at 98% Perfect, buying designer swimwear and shoes for 5-year-olds who would rather be somewhere else. Stylishly scruffy men tend to their BlackBerrys and laptops on the terrace of Coffee Bean & Tea Leaf. But on the second floor of a Spanish-style building on one side of the mall, a different kind of action is underway.
March 16, 1990 |
When the late Nicholas Wilder left Los Angeles for New York in early 1980, the decision to move seemed utterly perverse.
July 6, 1988 |
In the beginning, the FBI believed that it was investigating a routine case of art theft. One of Carmel's largest art galleries had reported several paintings missing from its walls, and two agents arrived to take a report. They debriefed the staff and then segued to the showroom filled with thundering seascapes and bucolic scenes of French villages. That's when the surprises began.
August 6, 1988 |
A stooped, grandfatherly man walked slowly into a packed press conference here Friday and announced that he was the French painter Paul Valere, the artist whose very existence has been questioned by the FBI. "I am here," the elderly artist said, summing up what he and his gallery hope will be the last chapter in a remarkable tale that started as a simple art theft and blossomed into accusations of international art fraud.
December 28, 2006 |
LIZA SIMONE is the executive director of an art gallery that has no fixed address. Part curator, part real estate broker, she scours the Los Angeles area for vacant buildings that might serve as a temporary home for her artists. The concept behind Phantom Galleries L.A. is simple: Get permission from the owners of empty retail spaces to display art in the windows.
July 26, 2008 |
IT'S HARD to know where to look first in the Los Angeles County Museum of Art's new Latin American galleries. At old favorites released from storage? At a sampling of recent acquisitions, including a 700-piece collection of ancient art from Colombia? Or at an astonishing installation of pre-Columbian material designed by artist Jorge Pardo? All of that will go on view Sunday when the museum opens the fourth-floor galleries in its Art of the Americas building. But for LACMA Director Michael Govan, what's most important is the big picture.
February 10, 2013 |
The year 2012 was full of films that captured the essence of memorable time periods through costume. Steven Spielberg's "Lincoln" was brought to life by designer Joanna Johnston's stovepipe hats and wool shawls, for instance. And what would the film "Anna Karenina" be without costume designer Jacqueline Durran's lavish bustle-back gowns? The FIDM Museum and Galleries in downtown Los Angeles is celebrating those magical feats in costume design by showcasing more than 100 designs from 2012 films during its 21st annual "Art of Motion Picture Costume Design.
July 9, 1995 |
On any given day Los Angeles gallery hoppers can expect to encounter a sprinkling of foreign-made artworks among a vast array of American artists' creations. But this summer the tables will be turned. From Thursday until mid-August, almost nothing but art from other countries will be on view in 50 local galleries. If you are nosing around in Santa Monica, you'll find that Blum & Poe is presenting "Pacific Babies," the U.S.
September 24, 1992 |
Just as art is constantly being redefined, so too is the vehicle by which artists traditionally get their work seen--The Gallery. As the recession continues to take its toll, younger artists and those producing less-marketable work are increasingly left out of the picture as commercial galleries turn to more proven talents to keep their businesses alive.