CALIFORNIA | LOCAL
April 29, 2010 |
Their expressions are solemn, their smiles subtle, their postures proud. One clenches his fists in the air, another stares intently at the Bible. There is a 96-year-old former Thai tennis champion who helped found the Wat Thai Temple in North Hollywood. An 88-year-old Polish woman who helped hide Jews during World War II. An 88-year-old Iranian professor who said, "Tragedy has made my softer skin hide behind a harder one." Their photographs and stories are part of a new exhibit called "Quiet Heroes/Over 80."
January 27, 2013 |
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.
August 11, 2010 |
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.
August 25, 2000 |
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.
July 19, 2009 |
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.
March 7, 2013 |
Given the extraordinary range of Catherine Opie's subject matter over the last 20 years - from Southern California freeways to Minnesota ice houses, the streets of Washington on President Obama's first inauguration to the interior of Elizabeth Taylor 's home, the fierce figure of performance artist Ron Athey to American high school football players - wh at's most striking initially about her recent work at Regen Projects is how closely it...
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.
July 7, 1989 |
He's painted portraits of presidents, taught in major universities and had his work shown in galleries all over Europe. But this year, painter Manuel Munoz Olivares is spending much of his long, hot summer in Oxnard. Munoz Olivares made the trek to Ventura County from his home in Mexico City to paint a mural in the library of the new South Oxnard Center; his work will depict the history of the area.
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.