March 5, 1986 |
The San Diego Symphony may be at the end of its financial rope, but artistically the ensemble is playing on the cutting edge of excellence. After last week's announcement of the orchestra's impending bankruptcy should it not raise $2 million by Monday, the symphony announced a programming change for this week's concerts. With less than a week's notice, concertmaster Andres Cardenes volunteered to play the mighty Beethoven Violin Concerto in what could be the orchestra's final four concerts.
December 14, 1986 |
The jolly green mover in the sky scrunched his colossal crowbar into the L.A. River basin and wedged the town one huge notch closer to civilization--in whatever direction that may lie. The confluence of events hereabouts during the last weeks has been astonishing. Wham, the County Museum of Art opens its long longed wing for modern and contemporary art.
February 5, 2000 |
"Panza: The Legacy of a Collector" is a two-part exhibition at the Museum of Contemporary Art that heads in divergent directions. Part 1 chronicles once-peripheral artists who ended up establishing a mainstream. Part 2 charts artists in a post-mainstream world. A sense of retrospective authority is followed by a distinct impression of splintering and uncertainty. Notably, two very different art worlds emerge.
CALIFORNIA | LOCAL
November 18, 1987 |
UC Irvine is negotiating with Italian Count Giuseppe Panza di Biumo, a major patron of contemporary American artists, to house works by seven Southern California artists from his collection in what would be the world's first museum of perceptual art. The negotiations are only in the preliminary stage and questions remain about how UCI would raise money to build a special museum for the art.
December 7, 1986 |
Richard Koshalek, Museum of Contemporary Art director, was huddled at the elevator with a foundation executive, reporter and photographer. His assistant, Alma Ruiz, came running down the hall: "Did you tell (art dealer) Irving Blum I'd give him a tour of the new building?" she asked Koshalek frantically. "No," he responded, hustling his group into the elevator, "I told him I'd give him a tour."
CALIFORNIA | LOCAL
March 24, 1998 |
Richard Koshalek, an energetic champion of new art and architecture who joined Los Angeles' Museum of Contemporary Art in 1980 when the museum was still on the drawing board and went on to serve as its director for the past 15 years, said Monday that he will step down in the summer of 1999. Koshalek is fulfilling terms of a contract signed nearly four years ago but only now being revealed. He said: "It is time. This is something that I wanted because I think 20 years is enough."
December 3, 1986 |
MOCA's a hit. A fusillade of favorable reviews proclaimed the new Museum of Contemporary Art a winner, even before Monday night's first blast in a weeklong series of sparkly opening evenings. But, oh, there is nothing like the sweet look, taste and party fervor that accompanies success. Especially when such raging success was not always expected--and there were some who doubted that this innovative institution would ever get off the drawing boards.
December 28, 1986 |
So what else is new? L.A. still basks in the glare of two grand new palaces for contemporary art that blossomed here in the last month amid a spate of art fairs, commercial gallery debuts, massive press attention and gaggles of visiting cosmopolitan artniks. Happily sated with the launch of the Museum of Contemporary Art and the County Museum of Art's Anderson Building, it seems more than a little redundant to fix high points for the year. We are still recovering.
July 21, 2001 |
In the mid-to late-1960s, Minimalism was the first art movement of international significance forged exclusively by American-born artists. More commonly associated with sculpture than with painting, Minimalist art banished representational imagery in favor of geometric form. It got rid of the pedestal, which had long elevated sculpture above the plane of daily human experience. And it embraced industrial fabrication, which eliminated the equally elevated touch of the artist's hand.