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Getty Villa

January 26, 2006 | Christopher Reynolds, Times Staff Writer
NO matter if Herakles has fallen off your holiday card list. Never mind if you don't know an alabastron from a loutrophoros. Odds are you will soon find yourself at the Getty Villa on the edge of Malibu, maybe trailing a loved one, maybe squiring out-of-towners. After an eight-year closure for renovation and litigation, the villa finally reopens Saturday. But where do you start? Here's what you need to know. First, Herakles is dead, so no worries there.
April 18, 2014 | By Christopher Knight, Los Angeles Times Art Critic
Think of Byzantium, and a color leaps to mind. That color is gold. The empire ruled from the crossroads of the Mediterranean and the Black Sea for a thousand years between AD 324 and its final collapse in 1453. At the Getty Villa in Pacific Palisades, where a rare and stunning exhibition of Byzantine art recently opened, gold is everywhere. It's the ground on which biblical scenes unfold, from the tender nativity of Jesus to the brutal Passions and miraculous resurrection of Christ.
March 4, 2010
A lesser-known comedy by Euripides, "Helen," turns the myth of Helen of Troy on its head. In this version, the face that launched a thousand ships never ran off to Troy with Paris but lived faithfully in Egypt while an impostor took her place. The play reading is directed by Jon Lawrence Rivera. Getty Villa, 17985 Pacific Coast Highway, Pacific Palisades. 8 p.m. Friday; 3 and 8 p.m. Saturday. Free ($15 parking before 5 p.m.; museum ticket required). (310) 440-7300.
March 14, 2014 | By Mike Boehm
When the great Irish poet William Butler Yeats prayed for some kind of connection to permanence and immortality, his thoughts turned to Byzantine art as the most perfect emblem of the profound, eternal state of creative grace he was after. He wrote, in "Sailing to Byzantium," of a yearning to encounter and be transformed by the gold-infused religious images of "sages standing in God's holy fire" that define the Byzantine style. Now Byzantium is sailing to Los Angeles. "Heaven and Earth: Art of Byzantium from Greek Collections," the biggest Byzantine art blockbuster to reach the West Coast, begins a 41/2-month run at the Getty Villa on April 9, along with a smaller related show of illuminated manuscripts at the Getty Center in Brentwood that runs for three months starting March 25. CHEATSHEET: Spring 2014 arts preview Whether the 178 works to be on display at the Villa will induce Yeatsian mystical transports is uncertain, but they promise to be an eyeful.
September 9, 2010
A new translation of Sophocles' "Elektra" springs to life on the Getty Villa's outdoor stage. Starring Tyrees Allen and Olympia Dukakis, the spare and modern interpretation tells the tragic tale of willful memory, vengeance and the damage that happens to someone who refuses to forget. Getty Villa Barbara and Lawrence Fleischman Theater, 17985 Pacific Coast Highway, Pacific Palisades. 8 p.m. Thu.-Sat. Ends Oct. 2. $42, (310) 440-7300.
October 4, 1999
I find it difficult to understand the opposition to the Getty Villa expansion plan (Sept. 29). Museums are located in residential areas all over the world. Consider the Huntington Library in San Marino or the Cloisters in New York City. The Los Angeles County Museum of Art conducts jazz concerts and there are numerous residents on the north side of the property. The Getty will be giving low-key concerts of classical music and plays by ancient Greek and Roman authors, not amplified rock festivals.
September 13, 2012 | By Chris Barton
Those hoping to beat the late-summer heat with a little culture on the coast need to adjust their plans: The Getty Villa in Malibu announced it is closed Thursday as the result of a power outage. But doors will open at 6 p.m. so that Thursday's outdoor theater performance of Euripides' "Helen" can go on as scheduled, announced Julie Jaskol, the Getty's assistant director of media relations. ALSO: The Getty and Rome form a cultural partnership Art review: Aphrodite and the Gods of Love at the Getty Villa Getty parking changes prompt online petition from academics
April 10, 2013 | By Christopher Knight, Los Angeles Times Art Critic
There are at least three great reasons to see "Sicily: Art and Invention Between Greece and Rome," the newly opened antiquities exhibition at the Getty Villa in Pacific Palisades. A major sculpture anchors each of the show's three rooms, and together they tell an accelerating story of artistic and social power on the ancient Mediterranean island. Chronologically, the first is a straightforward male torso, his finely chiseled marble body quietly brimming with latent energy. Second comes a preening charioteer, physically just larger than life but expressively very much so. And third is a depiction of a minor god with major fertility on his mind, his powerful physicality an embodiment of the contortions of carnal lust, both corporeal and psychological.
August 26, 2010
In the first exploration of its kind in nearly 60 years, the Getty Villa opens "The Art of Ancient Greek Theater," a major international loan exhibition that features vase paintings and sculptures depicting scenes from the ancient Theater of Dionysus, pieces that are among the rare surviving evidence of the performing arts in antiquity. Getty Villa, 17985 Pacific Coast Highway. Thurs-Mon. 10 a.m.-5 p.m. Free. Through Jan. 3. (310) 440-7300.
August 31, 2013 | By Mike Boehm
At first, director Travis Preston wanted to seat the audience for "Prometheus Bound" at the Getty Villa where the actors would normally be: on the plaza in front of the museum that doubles as a stage for the Getty's annual late-summer outdoor productions of ancient plays. The drama would unfold high above the crowd, in the vacated rows and aisles of the Villa's steeply sloped Roman-style theater. The switch made sense for a play whose hero is chained to a mountainside above an ocean for having thwarted Zeus' plans.
March 13, 2014 | By Mike Boehm
With investment markets booming, the J. Paul Getty Trust, the world's richest visual art institution, saw its endowment rise to $6.2 billion during 2013, approaching its peak of $6.4 billion in mid-2007 before the Great Recession hit. An audited financial statement posted on the Getty's website reflects investment gains totaling $766.74 million from mid-2012 to mid-2013, enough to cover expenses while socking away about $534 million for the endowment....
January 25, 2014 | By David Ng
Art enthusiasts, dabblers and neophytes: This is your final call. Saturday is the day when many of Southern California's major museums are offering free admission to the general public. No art-school prerequisites are required, though they will certainly help. The official list features 20 participating museum venues, including the  Los Angeles County Museum of Art , the Museum of Contemporary Art and the Orange County Museum of Art. The Getty is also participating, but the museum normally offers free admission to all, with free timed tickets required for the Getty Villa.
January 8, 2014 | By David Ng
Twenty venues around Southern California will offer free admission on Jan. 25 as part of the annual Museums Free-for-All program. Participating museums include the Los Angeles County Museum of Art, the Museum of Contemporary Art and the Orange County Museum of Art. The offer is valid for general museum admission only, organizers said, and may not apply to special ticketed exhibitions. Regular parking fees apply at each venue. RELATED: Big weekend on tap for art, and that's just the beginning The free day can offer substantial savings for families.
December 20, 2013 | By Charles McNulty, Los Angeles Times Theater Critic
In this time when news is disseminated ever more quickly, we asked our critics to list the best of culture in 2013 in tweet form: Southern California: David Mamet's "American Buffalo" was revived at the Geffen with its concussive verbal force and fierce con games intact. Christopher Shinn's "Dying City" delicately explored the slipperiness of traumatic memory in a multilayered production at Rogue Machine. John Douglas Thompson and Glynn Turman brought anguish and ecstasy to the searing Mark Taper Forum revival of "Joe Turner's Come and Gone.
November 13, 2013 | By Mike Boehm
The Cyrus Cylinder sits dramatically lighted behind glass at the center of a dimmed gallery at the Getty Villa. But the splendorous setting, including walls painted a deep royal blue, can't dispel the notion that this may be the homeliest object ever to get star treatment in a major art museum. It's a 9-inch, straw-colored barrel made of cracked and broken clay, devoid of decorative interest. Horizontally tattooed with row after row of tiny cuneiform script that was etched into it 2,552 years ago, it calls to mind a corn cob that's been gnawed bare.
September 12, 2013 | By Charles McNulty, Los Angeles Times Theater Critic
Theater festivals have the potential to galvanize an audience, but in a sprawling city already awash in performance, the importance of sharp curating can't be overemphasized. Radar L.A., an adventurous amalgam of international theater, made a winning debut in 2011 in part because it recognized that L.A. is a unique metropolis and that a replica of New York's Under the Radar Festival just wouldn't cut it. It took more than two years for the festival to return, but the wait promises to be worth it. The program, presented by REDCAT and CalArts in association with Center Theatre Group and a consortium of other partners, features work from Argentina, Mexico, Chile, Colombia, New Zealand and Japan as well as our own backyard.
November 28, 1999
It is interesting that you chose to print "The Getty Villa's Second Life" (editorial, Nov. 22) in the same section as Shawn Hubler's "Just One More Little Thing," which articulates consumer rage over the steady erosion of our quality of life in Los Angeles. The Getty Trust just wants to triple its parking, just wants to build a restaurant the size of Gladstone's, just wants to expand its operating hours, just wants to construct an outdoor amphitheater with a 950-seat capacity and just wants to expand from a gallery/museum venue and provide outdoor entertainment on a site that is surrounded by residences that were built long before J. Paul Getty decided to display his art collection.
September 6, 2013 | By Charles McNulty, Los Angeles Times Theater Critic
Prometheus has long been a symbol of the rebel hero, a revolutionary challenging an oppressive order. Dubbed "the patron saint of the proletariat," he is a god who sided with mankind against the immortals, bestowing on them enlightenment and the great gift of fire, crimes for which he is punished by Zeus, the universe's reigning tyrant at the time of the myth. In Travis Preston's gracefully lucid staging of Aeschylus' "Prometheus Bound" at the Getty Villa's outdoor Barbara and Lawrence Fleischman Theater, Prometheus is carted out on a wagon that, were he not a deathless god, might be mistaken for a bier.
September 6, 2013 | By Carolyn Kellogg, This post has been corrected. See note at bottom of article for details.
The crimson-haired woman makes sure to offer snacks to each person entering the room. She's seated at the end, next to a carved marble fireplace that doesn't entirely match the rest of the neutral corporate décor. It used to be different here. "It was a very beautiful living room, with beautiful chairs and lovely couches," she says. That's when this place was hers and J. Paul Getty's. They called it their ranch; we call it the Getty Villa. Theodora Getty Gaston - Teddy - will turn 100 this month, just in time for the publication of her new memoir, "Alone Together: My Life With J. Paul Getty" (Ecco: 416 pp., $26.99)
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