December 29, 2012 |
On a recent Sunday morning in Los Angeles, Adam Williams and his crew set up their blowers outside a house in Hancock Park and blanketed the yard in 20 tons of snow. Using 15-pound blocks of crushed ice, it took Williams and his crew about 2 1/2 hours to cover the front lawn and build half a dozen snowmen in a commercial for the cable channel FearNet. In the ad, a little girl cheerfully entombs someone who appears to be her father inside one of the snowmen. To create the effect, producers of the commercial turned to MagicSnow Systems, a 10-year-old Los Angeles company.
HOME & GARDEN
July 15, 2000
Need a vacation or the illusion that you're on an island? Create a lush, tropical retreat in your yard with giant birds of paradise and other, lesser-known plants.
CALIFORNIA | LOCAL
April 27, 1989
It would be wise to take counsel from those experts with a longer tenure of study of the free enterprise system. John Kenneth Galbraith, in his article "The 1929 Parallel" (Atlantic Monthly, January, 1987) noted: "Nothing so gives the illusion of intelligence as personal association with large sums of money. . . . The mergers, acquisitions, takeovers, leveraged buyouts, their presumed contribution to economic success and market values, and the burden of debt they incur are the current form of that illusion."
April 11, 2014 |
Hannah Whitaker employs a variety of means to produce her large photographic prints -- multiple exposures, for instance, and shooting through cut-paper shapes -- but the how matters less than the memorable what . Her first L.A. solo show, at M+B, abounds in interesting complications, interruptions, interferences in the field. Based in Brooklyn, Whitaker regards the straight photograph as a mere starting point, an image to be manipulated, an illusion to be subverted. She plays deftly with concealment and revelation, structure and chance, shooting landscapes and a female figure through opaque, cage-like screens.
CALIFORNIA | LOCAL
January 6, 1988
Your editorial was based on misleading federal information. California's numbers are essentially noncommittal, but they certainly don't support the harsh criticisms of 65 m.p.h. (including yours) that have unfolded. In fact, it is impossible to draw meaningful conclusions for the moment. My basic concern is that the federal government would use erroneous figures to create the illusion that the 65 m.p.h. limit has already created a problem of consequence. That you would parrot the federal "conclusion" without cross-checking both their numbers and their judgments is equally disconcerting.
September 25, 1987 |
Since he began painting at the tail end of the 1950s, Ronald Davis has always vacillated between the all-over gestural automatism of Abstract Expressionism and a hard-edge, geometrical style that stresses optical illusion alongside deliberate draftsmanship. His latest "Freeline" and "Freefloat" series continue this dialogue, presenting streamlined architectural forms (arches, slabs and beams) against amorphous splattered backgrounds.