October 18, 2012 |
Short Nights of the Shadow Catcher The Epic Life and Immortal Photographs of Edward Curtis Timothy Egan Houghton Mifflin Harcourt: 384 pp., $28 Edward Curtis was given many names by the native peoples he encountered in his journeys across the North American continent. The Sioux named him for a rock formation, "Pretty Butte. " The Hopi saw him sleep on an air mattress and called him "The Man Who Sleeps on His Breath. " And the Navajo gave him the moniker that was perhaps most apropos to his profession: "Shadow Catcher.
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.
December 17, 2013 |
Who would expect to find an art show in a real estate office, even an agency devoted to architectural properties? Melinda Fay organized the Good Eye Gallery show "Home as Art," which she describes as a pop-up with more than 70 works, all installed throughout the nondescript Banner Los Robles corporate building in Pasadena where Deasy/Penner & Partners keeps its offices. Artworks hang in offices, in hallways, from the ceiling. The concentration of emerging and mid-career artists means there are several affordable gift-giving opportunities in this countdown to Christmas: Small paintings by South Pasadena artist Jordan Daines begin at $220, and handmade silk leaf mobiles by Jan Carson are $200 apiece.
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.
October 27, 2011
ART With his instantly recognizable style and near epic status in the art world for many decades running, the return of Chuck Close to Los Angeles is suitably grand. Blum & Poe will mount an exhibition of the acclaimed artist's works — not only his first exhibition with the gallery but also his first one-person show in Los Angeles for nearly 20 years — which will occupy three downstairs gallery spaces and will feature portraits of artists Kara Walker, Laurie Anderson and Zhang Huan, musician Paul Simon and arts patron Agnes Gund, as well as the latest batch of Close self-portraits.
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.
May 6, 2012 |
When you think about it, paint-by-number sets are the analog version of pixilated images: Each type of representation consists of small, single-color sections that add up to coherent pictures. At David Kordansky Gallery, Jonas Wood's nine big paintings have one foot firmly planted in each of these two media. The combination captivates. From the hobbyist pastime, Wood's oils and acrylics on linen or canvas borrow charm, earnestness, steady, one-step-at-a-time craftsmanship and just the right touch of hokey sentimentality.
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.