CALIFORNIA | LOCAL
September 21, 2004 |
David C. Copley, publisher of the San Diego Union-Tribune and head of Copley Press Inc., will donate $3 million to the Museum of Contemporary Art San Diego for an expansion project that is transforming part of the old downtown train depot. The money would help build a three-story structure at the 90-year-old Santa Fe Depot, set to open in 2006. The David C.
May 4, 1992 |
With Jonathan Borofsky's 18-foot mechanized "Hammering Man" sculpture relentlessly swinging his aluminum arm in the front courtyard, and trolleys running through the neighboring atrium, the Museum of Contemporary Art, San Diego, unveiled its much-anticipated $1.2-million downtown facility to the media last week.
February 6, 1992 |
What's in a name? Plenty, if you ask officials at the San Diego Museum of Contemporary Art, who are paying tens of thousands of dollars to an internationally known graphic-design firm to develop a new logo for another name change, the second in two years at the La Jolla institution.
January 26, 2005 |
The Museum of Contemporary Art San Diego announced Tuesday that it has received two $1-million donations toward the commission of a major site-specific sculpture by Richard Serra, to be installed at the museum's downtown San Diego location. The commission will be part of the museum's campaign to expand, renovate and endow MCASD Downtown.
July 15, 1994 |
After a decade of planning and fund-raising, work is finally set to begin on the most ambitious renovation and expansion project in the 53-year history of the Museum of Contemporary Art, San Diego. "It's been a long time coming," said museum director Hugh M. Davies just moments before Thursday's symbolic groundbreaking at the museum on Prospect Street in La Jolla. When the $8.3-million project is finished in early 1996, the museum will enjoy an additional 4,500 square feet of gallery space.
January 10, 1999 |
In the summer of 1953, British painter Francis Bacon invited his friend, art critic David Sylvester, to sit for a portrait in the "gilded squalor" of his studio. Sometime during the fourth sitting, Sylvester's likeness mutated (as Bacon's images were prone to do) into a somber, ghost-like portrait of the pope.