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ENTERTAINMENT
February 7, 2011 | By Susan King, Los Angeles Times
Owen Roizman has spent his career behind a camera, first as the five-time Oscar-nominated cinematographer of such classics as 1971's "The French Connection," 1973's "The Exorcist" and 1976's "Network" and for the last 14 years as a still portrait photographer. In fact, he says he never travels without a digital camera in his pocket just in case he meets an interesting face. It was photographer Douglas Kirkland who introduced Roizman, 74, to the world of digital photography and software such as Adobe Photoshop.
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SPORTS
May 24, 2011 | By Kevin Baxter
Reporting from Keller, Texas — Angels pitcher Dan Haren wanted a special gift for his wife, Jessica. Something personal and out of the ordinary, but not gaudy or sappy. So, he thought, how about a painting? "It is different," Haren decided, staring at the portrait he commissioned as he stood before his locker in the visiting clubhouse at Rangers Ballpark in Arlington earlier this month. "It's a unique thing to give someone a painting of yourself, your family. Pictures are one thing, but a painting is really interesting.
ENTERTAINMENT
January 27, 2013 | By Steve Appleford
The room is arranged like a gallery, hung with photographs of various sizes and shapes, framed and unframed, surrounding the artist Catherine Opie, who looks pleased as she observes from a rocking chair. This studio built behind her house in West Adams is where so many moments from her art and life have unfolded. Back in 2004, she made a self-portrait here, topless and tattooed, nursing her young son, Oliver, against a vivid red curtain. Across her chest were scars left over from a much earlier picture, a one-word message carved into her skin and still faintly reading, "Pervert.
ENTERTAINMENT
August 25, 2000 | DAVID PAGEL, SPECIAL TO THE TIMES
Realism is often ridiculed for going to great lengths to depict what we can see withour bare eyes. Its detractors, who usually prefer the abstract perambulations of Conceptual art or the mesmerizing effects of abstract painting, treat Realism as if it were a unified style. The thought is that it's the work of uninspired artists whose sworn duty it is to tell the truth, the whole truth and nothing but the truth. At Koplin Gallery, "Drawings V" dispels such prejudice.
WORLD
August 11, 2010 | Michael Gold, Gold is a special correspondent.
Their weapons are brushes; their battlefields are canvases. And here in China, where political dissent often leads to prosecution, the works of avant-garde artists can sometimes appear as threatening as a mass protest. Enter the Gao brothers, Qiang and Zhen, soft-spoken siblings who have long used startling images of Mao Tse-tung as a focal point for their sculptures, paintings and performance pieces. "I don't consider myself a dissident at all," said Gao Qiang, 48. "I never even think about this question.
ENTERTAINMENT
July 19, 2009 | David Davis
Photographer Kevin Lynch was given an all-access pass to chronicle Ultimate Fighting Championship's mixed martial arts scene. Four years later, he emerged with a collection of images as jolting and disturbing as a haymaker to the face. "This wasn't about me looking for the perfect scar or wound," Lynch says in his light-infused La Brea Avenue studio. "What I was looking for is the emotion these guys go through, the exploration the fighter and his opponent take.
MAGAZINE
December 1, 1985
English-born photographer Terry O'Neill has been shooting stars for more than 20 years. The portraits on these pages are from "Legends," a new book of his work from the 1960s and 1970s. From "Legends," by Terry O'Neill. Copyright Terry O'Neill, 1985. Reprinted by arrangement with Viking Penguin Inc.
ENTERTAINMENT
December 11, 1999
As a high school art-history appreciation teacher for the past dozen years, I enjoyed the opportunity to visit the Ingres exhibition this fall in New York. Calendar's remarkable front-page juxtaposition Dec. 1 of the Ingres and Cezanne portraits--and their accompanying reviews--reminded me of what an education in the arts, at its best, aims to achieve: the sharpening of the "critical eye" so that the viewer may see beyond the surface of the work. The two portraits are extraordinary firsthand evidence of the half-century of intellectual-aesthetic history that, at once, separates and links the worlds of Ingres and Cezanne.
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