One Hour/One Painting
Thursday, September 20 | 5:30pm
"One Hour/One Painting" is an exercise in seeing. The idea was developed from the observation that viewers, in museums and galleries, spend an average of six seconds in front of any given art work, and often spend more time with the identifying label than with the work itself.
In "One Hour/One Painting", Peter Clothier invites small groups of participants to sit in front of a single art work for a full hour. He starts with a brief introduction to the principles of closed-eye breath meditation, encouraging participants to relax and refresh the eyes, and to rid the mind of expectations and pre-judgments. This leads to an alternation of closed- and open-eye work, the facilitator guiding the process with brief instructions and directions. This is individual work: there is no discussion or interaction, allowing each participant to experience the work as fully as possible, without interruption. At the end of the hour, however, Peter invites responses and discussion of the experience.
This is NOT a lecture. It is not about art history or criticism, but about giving the eye and the mind the opportunity to learn about pure visual experience and the benefits of contemplation. Participants can expect to come away with the very complete experience of a single work of art, and with the added benefits of an unusual hour of relaxation and serenity.
The one painting is Edgar Payne's The Matterhorn from Zermatt.
$15 admission
$10 PMCA member admission
Pasadena Museum of California Art
490 East Union Street
Pasadena, CA 91101
626.568.3665
www.pmcaonline.org
info@pmcaonline.org
Hours | Wednesday - Sunday, 12-5pm
Admission | $7 adults, $5 students & seniors
Free first Friday of the month
Showing posts with label i heart art. Show all posts
Showing posts with label i heart art. Show all posts
Wednesday, September 19, 2012
Skirball Center exhibit explores democracy Oct. 11
In the crucial weeks leading up to the 2012 Presidential election, as political debate reaches a fever pitch, the Skirball Cultural Center opens a major new exhibition anchoring a season of “Democracy Matters at the Skirball.” Organized by the Library of Congress and seen by some two million visitors during its four-year run in the Library’s historic setting, Creating the United States will be on view at the Skirball from October 11, 2012 through February 17, 2013. The exhibition focuses on the founding documents of our republic—the Declaration of Independence, the Constitution, and the Bill of Rights—and reveals how imagination and vision played critical roles in the formation of our nation. On view are original documents, autograph letters, rare books and manuscripts, artifacts, and many more precious and seldom traveled objects from some of the nation’s leading cultural institutions.
“The Skirball Cultural Center is proud to present this adaptation of Creating the United States in its only appearance outside Washington, D.C.,” said Robert Kirschner, Skirball Museum Director. “Rarely has the history of American democracy been so vividly assembled for public exhibition in Southern California.”
Kirschner continued, “Here at the Skirball, we seek to live and practice American democratic ideals. We view this as an expression of our purpose as a Jewish institution. Our hope is that by illuminating the lasting legacy of the founding documents, especially in shaping the rights and responsibilities of citizenship, Creating the United States will inspire visitors to participate in the democratic process today.”
Creating the United States will be complemented by two exhibitions, also on view October 11, 2012–February, 17, 2013. Decades of Dissent: Democracy in Action, 1960–1980 displays some of the most compelling political art from the famously turbulent era of the 1960s and 1970s. Free to Be U.S.: A First Amendment Experience probes key liberties and encourages visitors to consider their contemporary relevance. In addition, the Skirball’s permanent exhibition, Visions and Values: Jewish Life from Antiquity to America, will feature a special “Lincoln Spotlight” during the run of the three temporary exhibitions. This spotlight will present rare original artifacts on special loan from the Lincoln Presidential Library, Springfield, IL.
In anticipation of the exhibitions’ opening, TIME magazine executive editor Nancy Gibbs will discuss her new book (co-authored with Michael Duffy), The President’s Club—which examines the private relationships among modern American presidents—on Thursday, October 4, at 8:00 p.m. This will be followed by an array of exhibition-related talks, performances, classes, and family programs.
The Skirball Cultural Center is located at 2701 N. Sepulveda Blvd., Los Angeles, CA 90049. Free on-site parking except during Sunset Concerts; street parking strictly prohibited. The Skirball is also accessible by Metro Rapid Bus 761. Museum hours: Tuesday–Friday 12:00–5:00 p.m.; Saturday–Sunday 10:00 a.m.–5:00 p.m.; closed Mondays and holidays. Admission to exhibitions: $10 General; $7 Seniors, Full-Time Students, and Children over 12; $5 Children 2–12. Exhibitions are always free to Skirball Members and Children under 2. Exhibitions are free to all visitors on Thursdays. For general information, the public may call (310) 440-4500 or visit www.skirball.org. The Skirball is also home to Zeidler’s Café, which serves innovative California cuisine in an elegant setting, and Audrey’s Museum Store, which sells books, contemporary art, music, jewelry, and more.
“The Skirball Cultural Center is proud to present this adaptation of Creating the United States in its only appearance outside Washington, D.C.,” said Robert Kirschner, Skirball Museum Director. “Rarely has the history of American democracy been so vividly assembled for public exhibition in Southern California.”
Kirschner continued, “Here at the Skirball, we seek to live and practice American democratic ideals. We view this as an expression of our purpose as a Jewish institution. Our hope is that by illuminating the lasting legacy of the founding documents, especially in shaping the rights and responsibilities of citizenship, Creating the United States will inspire visitors to participate in the democratic process today.”
Creating the United States will be complemented by two exhibitions, also on view October 11, 2012–February, 17, 2013. Decades of Dissent: Democracy in Action, 1960–1980 displays some of the most compelling political art from the famously turbulent era of the 1960s and 1970s. Free to Be U.S.: A First Amendment Experience probes key liberties and encourages visitors to consider their contemporary relevance. In addition, the Skirball’s permanent exhibition, Visions and Values: Jewish Life from Antiquity to America, will feature a special “Lincoln Spotlight” during the run of the three temporary exhibitions. This spotlight will present rare original artifacts on special loan from the Lincoln Presidential Library, Springfield, IL.
In anticipation of the exhibitions’ opening, TIME magazine executive editor Nancy Gibbs will discuss her new book (co-authored with Michael Duffy), The President’s Club—which examines the private relationships among modern American presidents—on Thursday, October 4, at 8:00 p.m. This will be followed by an array of exhibition-related talks, performances, classes, and family programs.
The Skirball Cultural Center is located at 2701 N. Sepulveda Blvd., Los Angeles, CA 90049. Free on-site parking except during Sunset Concerts; street parking strictly prohibited. The Skirball is also accessible by Metro Rapid Bus 761. Museum hours: Tuesday–Friday 12:00–5:00 p.m.; Saturday–Sunday 10:00 a.m.–5:00 p.m.; closed Mondays and holidays. Admission to exhibitions: $10 General; $7 Seniors, Full-Time Students, and Children over 12; $5 Children 2–12. Exhibitions are always free to Skirball Members and Children under 2. Exhibitions are free to all visitors on Thursdays. For general information, the public may call (310) 440-4500 or visit www.skirball.org. The Skirball is also home to Zeidler’s Café, which serves innovative California cuisine in an elegant setting, and Audrey’s Museum Store, which sells books, contemporary art, music, jewelry, and more.
Aztlan and Dia de los Muertos exhibits in Pomona opening Oct. 13
Aztlan en la Mixla (In the Mix) and Dia de los Muertos: Altars and Shrines
October 13 through November 30
Opening Reception: Saturday, October 13, 2012, 6:00 p.m. – 10:00 p.m.
Second Saturday Reception: Saturday, November 10, 2012, 3:00 p.m. – 10:00 p.m.
Closing Reception: Saturday, November 24, 2012, 3:00 p.m.-10:00 p.m.
The dA Center for the Arts, in celebration of National Latino Heritage Month is proud to present the 10th Annual Aztlan exhibition Aztlan en la Mixla (In the Mix), on display October 13th through November 30th, 2012. Featuring works by over 40 artists, this cross-cultural, mixed-media show incorporates all components of Chicano expressionism, drawing inspiration from traditional and contemporary Chicano artists. This year’s exhibition will also include non-Hispanic artists that work in the same genre.
Aztlan en la Mixla (In the Mix) will offer a retrospect of Chicano Art starting from the onset of the Chicano movement during the 1960s, when art flourished with originators such as Gilbert “Magu” Lujan, Frank Romero, Willie Herron, Patssi Valdez, and others. Contributing artists include renowned figures such as Wayne Healy, David Botello, and Margarete
Garcia. Contemporary artists who have been inspired by the Chicano movement will also be shown, including John Valedez, David Flury, and others who ushered in a new era of Chicano art with their fresh takes on the movement. Each artist in the exhibition brings a unique history with the Chicano Art Movement and a sense of the meaning of Aztlan.
The opening reception will take place on October 13th from 6:00 p.m. to 10:00 p.m. The public is welcome to meet participating artists from 3:00 p.m. to 6:00 p.m. during the wine and cheese reception. The reception will feature live music and dance, including Aztec dancers introducing the annual Aztlan show with a blessing to the four winds. Further details will be announced in the coming weeks. The show continues with an opening reception on the second Saturday of November, on November 10th from 3:00 p.m. to 10:00 p.m.
The annual Aztlan Exhibition began in October 2003 at the request of local artists who were concerned with their community’s lack of exposure to the power and beauty of Chicano art. The event has since become one of the dA’s most successful art exhibitions. The title Aztlan en la Mixla (In the Mix) is a continuation of the idea of Aztlan as a place in Northern Mexico and the North American Southwest embracing all cultures of that region.
On display in the Joan Weldon Gallery, the Dia de los Muertos: Altars and Shrines group art exhibit will also open on October 13th. For this exhibition, the dA will present a collection of community submitted pieces that incorporate both traditional and non-traditional art elements surrounding the beloved Mexican holiday also known as the Day of the Dead.
About The dA Center for the Arts: The dA Center for the Arts is a non-profit arts organization operating in the Pomona Arts Colony since 1984. Dedicated to the community, the center serves to provide opportunities to experience, appreciate and support the arts through community art classes, events and exhibits.
For more information, call 909-397-9716 or e-mail: daartcenter@gmail.com
The dA Center for the Arts
252-D S. Main Street, Pomona, CA. 91766
Hours:
The dA Center for the Arts is open from 12:00 p.m. to 4:00 p.m., Wednesday through Saturday; open from 12:00 p.m. to 10:00 pm. on Second Saturdays.
October 13 through November 30
Opening Reception: Saturday, October 13, 2012, 6:00 p.m. – 10:00 p.m.
Second Saturday Reception: Saturday, November 10, 2012, 3:00 p.m. – 10:00 p.m.
Closing Reception: Saturday, November 24, 2012, 3:00 p.m.-10:00 p.m.
The dA Center for the Arts, in celebration of National Latino Heritage Month is proud to present the 10th Annual Aztlan exhibition Aztlan en la Mixla (In the Mix), on display October 13th through November 30th, 2012. Featuring works by over 40 artists, this cross-cultural, mixed-media show incorporates all components of Chicano expressionism, drawing inspiration from traditional and contemporary Chicano artists. This year’s exhibition will also include non-Hispanic artists that work in the same genre.
Aztlan en la Mixla (In the Mix) will offer a retrospect of Chicano Art starting from the onset of the Chicano movement during the 1960s, when art flourished with originators such as Gilbert “Magu” Lujan, Frank Romero, Willie Herron, Patssi Valdez, and others. Contributing artists include renowned figures such as Wayne Healy, David Botello, and Margarete
Garcia. Contemporary artists who have been inspired by the Chicano movement will also be shown, including John Valedez, David Flury, and others who ushered in a new era of Chicano art with their fresh takes on the movement. Each artist in the exhibition brings a unique history with the Chicano Art Movement and a sense of the meaning of Aztlan.
The opening reception will take place on October 13th from 6:00 p.m. to 10:00 p.m. The public is welcome to meet participating artists from 3:00 p.m. to 6:00 p.m. during the wine and cheese reception. The reception will feature live music and dance, including Aztec dancers introducing the annual Aztlan show with a blessing to the four winds. Further details will be announced in the coming weeks. The show continues with an opening reception on the second Saturday of November, on November 10th from 3:00 p.m. to 10:00 p.m.
The annual Aztlan Exhibition began in October 2003 at the request of local artists who were concerned with their community’s lack of exposure to the power and beauty of Chicano art. The event has since become one of the dA’s most successful art exhibitions. The title Aztlan en la Mixla (In the Mix) is a continuation of the idea of Aztlan as a place in Northern Mexico and the North American Southwest embracing all cultures of that region.
On display in the Joan Weldon Gallery, the Dia de los Muertos: Altars and Shrines group art exhibit will also open on October 13th. For this exhibition, the dA will present a collection of community submitted pieces that incorporate both traditional and non-traditional art elements surrounding the beloved Mexican holiday also known as the Day of the Dead.
About The dA Center for the Arts: The dA Center for the Arts is a non-profit arts organization operating in the Pomona Arts Colony since 1984. Dedicated to the community, the center serves to provide opportunities to experience, appreciate and support the arts through community art classes, events and exhibits.
For more information, call 909-397-9716 or e-mail: daartcenter@gmail.com
The dA Center for the Arts
252-D S. Main Street, Pomona, CA. 91766
Hours:
The dA Center for the Arts is open from 12:00 p.m. to 4:00 p.m., Wednesday through Saturday; open from 12:00 p.m. to 10:00 pm. on Second Saturdays.
Wednesday, September 12, 2012
Joan Carl exhibit in Monrovia opening Sept. 29
Joan Carl Exhibit
Sculptor, Painter of Small , Intimate works
At the foot of the Monrovia hills in a
private tranquil neighborhood
SCENIC DRIVE GALLERY
125 W. Scenic Drive
Monrovia, CA 91016
Open September 29 until October 7, and may be visited
by appointment
Email: Endre@scenicdrivegallery.com
tel: 626-359-3946
Sculptor, Painter of Small , Intimate works
At the foot of the Monrovia hills in a
private tranquil neighborhood
SCENIC DRIVE GALLERY
125 W. Scenic Drive
Monrovia, CA 91016
Open September 29 until October 7, and may be visited
by appointment
Email: Endre@scenicdrivegallery.com
tel: 626-359-3946
Hotel Translyvania art event in Alhambra Sept. 29
Gallery Nucleus is excited to host: The Art and Making of Hotel Transylvania Artist Panel/Book
Signing on Saturday, September 29, 2012 from 12pm - 3pm. “Hotel Transylvania” is the upcoming animated monster comedy by Sony Pictures Animation, the studio behind the 2011 hybrid live action/animated family blockbuster, The Smurfs and the 2009 mouth-watering Cloudy with a Chance of Meatballs. Please join us as we welcome
some of the talented artists behind the film including: Noelle Triaureau (Art Director), Marcelo Vignali (Production Designer), Rebecca Sugar (Storyboard Artist), and Andy Erekson (Storyboard Artist), as well as the author of the Art and Making of Hotel Transylvania book: Tracey Miller-Zerneke. Get a chance to see some development artwork, listen to the artists speak about their personal experiences , and have them answer questions about the film. Fans will have the opportunity to meet the artists and have their books signed. “Hotel Transylvania” giveaways will be available to attendees while supplies last.
www.gallerynucleus.com
Signing on Saturday, September 29, 2012 from 12pm - 3pm. “Hotel Transylvania” is the upcoming animated monster comedy by Sony Pictures Animation, the studio behind the 2011 hybrid live action/animated family blockbuster, The Smurfs and the 2009 mouth-watering Cloudy with a Chance of Meatballs. Please join us as we welcome
some of the talented artists behind the film including: Noelle Triaureau (Art Director), Marcelo Vignali (Production Designer), Rebecca Sugar (Storyboard Artist), and Andy Erekson (Storyboard Artist), as well as the author of the Art and Making of Hotel Transylvania book: Tracey Miller-Zerneke. Get a chance to see some development artwork, listen to the artists speak about their personal experiences , and have them answer questions about the film. Fans will have the opportunity to meet the artists and have their books signed. “Hotel Transylvania” giveaways will be available to attendees while supplies last.
www.gallerynucleus.com
Tuesday, September 11, 2012
'Over Due' exhibit in Altadena during October
The Altadena Library Community Room Presents:
"Over Due" a group show featuring work from a Los Angeles artist
collective
Artists:
David Estrada
Kristine Schomaker
Michele Erickson
Robert Sherwin
Susan T. Kurland
The work featured in this show is from a group of artists who formed
a collective after graduating from art school in 2010. They felt it
was important to keep up the art school atmosphere of pushing each
other to continue to create, critique their work, sharing of ideas,
going to shows and keeping up the conversation of what is current in
the art world. Since they first started meeting they have also sought
new ways to show their work, going beyond the gallery system to form
their own shows and look for any other alternative means of showing
their work.
Work will be on display in the Community Room for the month of
October 2012
Altadena Library District
600 E. Mariposa St.
Altadena CA 91001-2266
T-626-798-0833 Ext 116 F-626-798-1021
"Over Due" a group show featuring work from a Los Angeles artist
collective
Artists:
David Estrada
Kristine Schomaker
Michele Erickson
Robert Sherwin
Susan T. Kurland
The work featured in this show is from a group of artists who formed
a collective after graduating from art school in 2010. They felt it
was important to keep up the art school atmosphere of pushing each
other to continue to create, critique their work, sharing of ideas,
going to shows and keeping up the conversation of what is current in
the art world. Since they first started meeting they have also sought
new ways to show their work, going beyond the gallery system to form
their own shows and look for any other alternative means of showing
their work.
Work will be on display in the Community Room for the month of
October 2012
Altadena Library District
600 E. Mariposa St.
Altadena CA 91001-2266
T-626-798-0833 Ext 116 F-626-798-1021
Monday, September 10, 2012
Japanese Science Fiction art exhibit in LA opens Sept. 15
TOKUSATSU: Japanese Science Fiction
September 15 - October 14, 2012
Reception: Saturday, September 15, 7:00 - 10:00 p.m.
Q Pop Shop and Mini Gallery
128 Astronaut E S Onizuka St.
Los Angeles, CA 90012
213-687-7767
http://www.qpopshop.com
128 Astronaut E S Onizuka St.
Los Angeles, CA 90012
213-687-7767
http://www.qpopshop.com
Q Pop Shop is proud to host a new group art exhibition entitled, “Tokusatsu: Japanese Science-Fiction.” Over 100 talented artists from all over the world will be participating in the show. Here is a short list of some the participating artists:
APAK, Chikuwaemil, Sean D'Anconia, Becky Dreistadt, Brian Flynn (Super 7), Josh Herbolsheimer (Super 7), Martin Hsu, Mari Inukai, Paul Kaiju, Konatsu, Chris Mitchell, Mark Nagata, Itokin Park, PICO PICO, Plasticgod, Sunguts, Crowded Teeth, TOUMA, Michelle Valigura, Amanda Visell, and many more…
Tokusatsu (特撮) is a Japanese term that applies to any live-action film or television drama that usually features superheroes and/or monsters and makes considerable use of special effects (tokusatsu literally translates as "special filming" in Japanese). These include some of the most popular "Kaiju" characters like Godzilla and Gamera...as well as popular hero characters like Ultraman and Spectreman...or Giant Robo ( Johnny Soko & his flying Robot).
Located in the historic Little Tokyo area of downtown Los Angeles, Q Pop provides a one-stop destination for beautiful artwork, artist prints, unique hand-made goods, vinyl toys, and Japanese funky street fashion.
An opening reception will take place on Saturday, September 15, from 7:00 – 10:00 PM, and feature a live DJ, Kaiju costume contest, photo booth, food trucks, and projected Tokusatsu shows.
For more information about the artists or Q Pop please contact:
Located in the historic Little Tokyo area of downtown Los Angeles, Q Pop provides a one-stop destination for beautiful artwork, artist prints, unique hand-made goods, vinyl toys, and Japanese funky street fashion.
An opening reception will take place on Saturday, September 15, from 7:00 – 10:00 PM, and feature a live DJ, Kaiju costume contest, photo booth, food trucks, and projected Tokusatsu shows.
For more information about the artists or Q Pop please contact:
Facebook Event Page:
Siqueiros mural to open to public Oct. 9 in LA
América Tropical, the only surviving public mural by David Alfaro Siqueiros in the United States still in its original location, is set to open to the public on October 9, 2012, 80 years after the mural was first painted by Siqueiros.
The influential work has been conserved through an ongoing public-private partnership between the City of Los Angeles and theGetty Conservation Institute (GCI).
“América Tropical has been an inspiration to numerous artists, educators, and social activists about the importance of freedom of expression since its unveiling in 1932,” said Mayor Antonio Villaraigosa. “This project tells the story of Siqueiros’ incredible artistic talent and his unwavering commitment to people, of censorship during a period of great political upheaval, and of its preservation and enduring presence. I’m proud that the City and the Getty Conservation Institute have come together to make this important investment in public art.”
Tim Whalen, director of the Getty Conservation Institute, said, “Providing public access to América Tropical has been central to this project. From the Getty Conservation Institute’s initial involvement in 1988, it has been a persistent advocate for the conservation of the mural, and the construction of the shelter, and a public viewing platform. We are so pleased to bring América Tropical back to the people of Los Angeles.”
David Alfaro Siqueiros, one of the great Mexican artists of the 20th century, painted América Tropical in 1932 on the second story exterior wall of the Italian Hall on Olvera Street, in the area of downtown Los Angeles known as El Pueblo.
The mural depicts a Mexican Indian tied to a double cross with an American eagle above him, and revolutionary soldiers—one aiming at the eagle—closing in. Controversial from the start, within a few months the mural was partially whitewashed, and it was completely obscured by whitewash within a decade. The work was virtually forgotten until the 1960s, when the rise of the Chicano mural movement brought a renewed interest in América Tropical and Siqueiros.
Now conserved, the mural boasts a new protective shelter spanning the south wall of the Italian Hall—a canopy with sun shades on each side to protect the mural from direct exposure to sun and rain. A rooftop platform also has been constructed to allow public viewing. The América Tropical Interpretive Center (ATIC), managed by El Pueblo, is located on the ground floor of the historic Sepulveda House and its exhibits explore the history and techniques used to createAmérica Tropical, the conservation process, and the artistic legacy of David Alfaro Siqueiros.
The $9.95 million public-private investment—a $3.95 million commitment from the Getty and $6 million from the City of Los Angeles—is the culmination of years of effort to present and conserveAmérica Tropical. The ongoing advocacy and expertise of the Getty Conservation Institute has been central to the endeavor to save the work, as has the generous financial support of Friends of Heritage Preservation, the Department of Cultural Affairs, and the community support represented by Amigos de Siqueiros.
Owing to the early whitewashing and ongoing exposure to the elements, the mural’s pictorial surface is significantly deteriorated and its colors have become faint, but the power of the image and Siqueiros’ composition remain as strong as ever. The GCI has worked to conserve and stabilize the mural to honor and protect the artistic legacy which remains from Siqueiros' own hand.
The GCI also has carried out extensive research, documentation, and conservation treatment, including plaster stabilization, cleaning, and consolidation, and GCI scientists have conducted scientific studies to identify the materials originally used bySiqueiros to create the mural. The GCI will share this information to inform the conservation of other Siqueiros works.
Following the completion of the conservation project, the GCI has committed to maintaining and conserving the mural for the next decade. The long-term stewardship of the mural and the América Tropical Interpretive Center rests with the City of Los Angeles.
Architectural firm Brooks + Scarpa oversaw the design and construction of the shelter, platform, and Interpretive Center for the city of Los Angeles’ Bureau of Engineering. The design firm IQ Magic developed the concept for the Interpretive Center, under the guidance of the City and Amigos de Siqueiros.
Thursday, September 6, 2012
Joan Carl exhibit in Monrovia opening Sept. 29
“ I am involved in humanity, in community ideas. “
Joan Carl
Please mark your calendar for Saturday , September 29 , 2-6 PM
Opening reception of Joan Carl, Sculptor, Painter and her small, intimate works.
At the foot of the Monrovia Hills in a private tranquil neighborhood
SCENIC DRIVE GALLERY
125 W. Scenic Drive
Monrovia, CA 91016
Joan Carl
Please mark your calendar for Saturday , September 29 , 2-6 PM
Opening reception of Joan Carl, Sculptor, Painter and her small, intimate works.
At the foot of the Monrovia Hills in a private tranquil neighborhood
SCENIC DRIVE GALLERY
125 W. Scenic Drive
Monrovia, CA 91016
Friday, August 31, 2012
Art benefit for Pasadena Museum of California Art Sept. 15
The Board of Directors of the Pasadena Museum of California Art invites you to celebrate our 10th Anniversary with 10 x 10 Benefit Art Auction!
Join us in celebrating TEN years of the PMCA with an art auction featuring past, present and future PMCA artists with an evening of specialty cocktails created by Magixology, hors d’oeuvres by Akasha Restaurant, music by KCRW's Mario Cotto, a performance by Killsonic, and the installation Three Muses by Anne Bray and Molly Cleator.
Saturday, September 15, 2012
7:00-10:00pm
$150 one ticket
$250 two tickets
Purchase tickets online or by phone: 626.568.3665 x18
Event Sponsors:
Participating artists in 10 x 10:
Deborah Aschheim
Bob Aufuldish
Judy Baca
John Baldessari
Guillermo Bert
Tim Biskup
Chris Brand
Stefan Bucher/344 Design
Conrad Buff
Richard Bunkall
Nancy Baker Cahill
Ingrid Calame
Timothy Clark
The Clayton Brothers
Eyeone
Johnson Favaro
Ed Fella
Megan Geckler
Dan Goods
Iva Gueorguieva
Christina Kim/DOSA
Soo Kim
Jeff Koegel
Emil Kosa Jr.
Alex Kritselis
Annie Lapin
LAYER
Kim McCarty
Jerry McMillan
Rebeca Méndez
Yunhee Min
Charles Muench
Juan Carlos Munoz Hernandez
Kenton Nelson
Kori Newkirk
Lorcan O'Herlihy Architects
Stas Orlovski
Sabina Ott
Gregory Parkinson
Edgar Payne
Jennifer Poon
Jessica Rath
Roland Reiss
REVOK
Adam Ross
Ed Ruscha
Mark Ryden
Betye Saar
Kenny Scharf
Michael Schmidt
Susan Silton
Adam Silverman
Jason Situ
Evan Skrederstu
Linda Stark
William Stranger
Wayne Thiebaud
Peter Tolkin
Ray Turner
Tam Van Tran
Milford Zornes
follow on Twitter | like us on Facebook
Pasadena Museum of California Art
490 East Union Street
Pasadena, CA 91101
626.568.3665
www.pmcaonline.org
info@pmcaonline.org
Hours | Wednesday - Sunday, 12-5pm
Admission | $7 adults, $5 students & seniors
Free first Friday of the month
Join us in celebrating TEN years of the PMCA with an art auction featuring past, present and future PMCA artists with an evening of specialty cocktails created by Magixology, hors d’oeuvres by Akasha Restaurant, music by KCRW's Mario Cotto, a performance by Killsonic, and the installation Three Muses by Anne Bray and Molly Cleator.
Saturday, September 15, 2012
7:00-10:00pm
$150 one ticket
$250 two tickets
Purchase tickets online or by phone: 626.568.3665 x18
Event Sponsors:
Participating artists in 10 x 10:
Deborah Aschheim
Bob Aufuldish
Judy Baca
John Baldessari
Guillermo Bert
Tim Biskup
Chris Brand
Stefan Bucher/344 Design
Conrad Buff
Richard Bunkall
Nancy Baker Cahill
Ingrid Calame
Timothy Clark
The Clayton Brothers
Eyeone
Johnson Favaro
Ed Fella
Megan Geckler
Dan Goods
Iva Gueorguieva
Christina Kim/DOSA
Soo Kim
Jeff Koegel
Emil Kosa Jr.
Alex Kritselis
Annie Lapin
LAYER
Kim McCarty
Jerry McMillan
Rebeca Méndez
Yunhee Min
Charles Muench
Juan Carlos Munoz Hernandez
Kenton Nelson
Kori Newkirk
Lorcan O'Herlihy Architects
Stas Orlovski
Sabina Ott
Gregory Parkinson
Edgar Payne
Jennifer Poon
Jessica Rath
Roland Reiss
REVOK
Adam Ross
Ed Ruscha
Mark Ryden
Betye Saar
Kenny Scharf
Michael Schmidt
Susan Silton
Adam Silverman
Jason Situ
Evan Skrederstu
Linda Stark
William Stranger
Wayne Thiebaud
Peter Tolkin
Ray Turner
Tam Van Tran
Milford Zornes
follow on Twitter | like us on Facebook
Pasadena Museum of California Art
490 East Union Street
Pasadena, CA 91101
626.568.3665
www.pmcaonline.org
info@pmcaonline.org
Hours | Wednesday - Sunday, 12-5pm
Admission | $7 adults, $5 students & seniors
Free first Friday of the month
New art exhibit at Descanso Gardens Sept. 11
"ELEMENTAL | ArborEssence," a group show exploring the possibilities of wood through contemporary art, opens Sept. 11, 2012, at the Sturt Haaga Gallery at Descanso Gardens.
Hosting artwork that explores the materiality of wood, "ELEMENTAL | ArborEssence" connects the trees of the Descanso Gardens landscape with the raw material of the art. Curatorial Coordinator John David O'Brien stated, "We endeavored to concentrate, as much as was reasonable, on the qualities of tree-ness and on the branch-like." The show features artists who transform, reference and celebrate the beauty of wood. From handcrafted furniture to installation and sculpture, the work is a collection of all things wood.
Artists included in "ELEMENTAL | ArborEssence" are Charles Arnoldi (Rosamund Felsen Gallery), Deborah Butterfield (L.A. Louver Gallery), John Frame, Suvan Geer, Ke-Sook Lee (George Billis Gallery), Minoru Ohira, Ross Rudel (Angles Gallery) and William Stranger.
The collection of artwork holds true to the purpose of the Sturt Haaga Gallery and the overarching interests of Descanso Gardens. Descanso is an apt location to explore how artists work with wood today. The unique experience of walking under the grand oak canopies enhances the understanding of the material.
"ELEMENTAL | ArborEssence" opens to the public on Tuesday, Sept. 11, 10 a.m. to 4 p.m. The exhibit runs through Nov. 25, 2012. The Sturt Haaga Gallery is located at Descanso Gardens, 1418 Descanso Drive, La Cañada Flintridge, 91011.
About Descanso Gardens: Established as a public garden in 1953, Descanso Gardens is located at 1418 Descanso Drive, La Cañada Flintridge, near the interchange of the 2 and 210 freeways. The Gardens are open 9 a.m. to 5 p.m. daily, members welcome at 8 a.m. Closed Christmas Day. Admission is free for members and children 4 and younger. $8 for adults; $6 for seniors and students; $3 for children 5 to 12. Parking is free. Fees for classes and programs include Gardens admission. For information, call (818) 949-4200 or visit www.descansogardens.org. Descanso Gardens is accredited by the American Association of Museums. |
Monday, August 27, 2012
Art studio tour Sept. 8 and 9 in Palos Verdes
STUDIO TOUR
SATURDAY & SUNDAY
SEPTEMBER 8 & 9
Palos Verdes Peninsula Artist Studio Tour 2012!
Saturday & Sunday, September 8-9
Description: Fashion Show
A Unique
Opportunity To Visit The Working Studios Of Ten Area Artists!
Enjoy a progressive lunch at each studio throughout the day!
Visit:
www.artists-studio-pvac.com or call 310-544-8072 for ticket information
SATURDAY & SUNDAY
SEPTEMBER 8 & 9
Palos Verdes Peninsula Artist Studio Tour 2012!
Saturday & Sunday, September 8-9
Description: Fashion Show
Opportunity To Visit The Working Studios Of Ten Area Artists!
Enjoy a progressive lunch at each studio throughout the day!
Visit:
www.artists-studio-pvac.com or call 310-544-8072 for ticket information
Consortium group exhibit open in Highland Park through Sept. 2
Consortium
Pat Boyd
Lynda Brothers
Raoul De la Sota
Frank Gutierrez
Ann Le
Pola
Lopez
Dave Lovejoy
Hanh Nguyen
Duane Paul
Charla Puryear
August 11 through September 2, 2012
The California Artist Coalition of Los Angeles (CACLA) has partnered for the first time with the Avenue 50 Studio to present a consortium of artistic expression through visual art. We hope you can join us for this celebration of cultural collaboration.
Avenue 50 Studio, Inc.,
131 North Avenue 50, Highland Park, CA 90042
(323) 258-1435
www.avenue50studio.com
And the Annex Presents
I¹m Home
an installation by Yu Cotton-Well
Using fiber as her foundation, Yu searches the significance that is hidden underneath domestic environments. This exhibition explores and combines the spaces that quietly reveal our personal experiences of home. Cotton-well wishes to remind us of our roots that are stitched to our home.
Pat Boyd
Lynda Brothers
Raoul De la Sota
Frank Gutierrez
Ann Le
Pola
Lopez
Dave Lovejoy
Hanh Nguyen
Duane Paul
Charla Puryear
August 11 through September 2, 2012
The California Artist Coalition of Los Angeles (CACLA) has partnered for the first time with the Avenue 50 Studio to present a consortium of artistic expression through visual art. We hope you can join us for this celebration of cultural collaboration.
Avenue 50 Studio, Inc.,
131 North Avenue 50, Highland Park, CA 90042
(323) 258-1435
www.avenue50studio.com
And the Annex Presents
I¹m Home
an installation by Yu Cotton-Well
Using fiber as her foundation, Yu searches the significance that is hidden underneath domestic environments. This exhibition explores and combines the spaces that quietly reveal our personal experiences of home. Cotton-well wishes to remind us of our roots that are stitched to our home.
Devotional illuminated books at the Getty Aug. 28
Prayer, both personal and communal, was an integral aspect of life in Europe during the Middle Ages. The readings, rites, and prayers contained in medieval Christian devotional books were often accompanied by lavish decorations that were key in both fostering and expressing the religious zeal of the faithful. Drawn primarily from the Getty Museum’s permanent collection, The Art of Devotion in the Middle Ages, on display August 28, 2012–February 3, 2013, at the J. Paul Getty Museum, Getty Center, features elaborately illuminated books executed in precious pigments and gold. These prayer books not only played an important role in everyday worship, but also served as material testaments to the piety of the books’ owners.
“Christians in the Middle Ages often celebrated their beliefs with lavishly illuminated devotional books,” explains Elizabeth Morrison, acting senior curator of manuscripts at the J. Paul Getty Museum.“ Full-page images and page borders brimming with fantastic figures and scenes focused attention on important texts and rites.”
The exhibition focuses on three aspects of religious life: public devotion, private devotion, and devotional literature.
Public Devotion
Although early Christian ceremonies were very simple, over the course of the Middle Ages they gradually transformed into a series of complicated rites and performances. The books used in the liturgy (communal worship services) of the Christian Church often received decorative treatment that created a sense of majesty and luxury. The books produced for these public ceremonies became more elaborate in their presentation, both to emphasize the religious importance of the texts and to symbolize the wealth and power of the Church.
Some manuscripts, such as Bibles and missals, were placed on the altar during services, while others, such as music manuscripts, were positioned on a lectern so that multiple participants could see the book at once. In Initial S: The Massacre of the Innocents, from a Bolognese antiphonal of the late 1200s, Herod sits at the left, giving the order for the massacre of all male children under the age of two, while a soldier at right holds an infant upside-down by the leg, preparing to use his sword. This dramatic choir book initial accompanies the chants for the feast of the Holy Innocents. An antiphonal contains the music sung during the Divine Office, the eight prayer services celebrated daily by monks, nuns, and clerics of the Catholic Church, and this manuscript, almost two feet tall, was originally part of an impressive seven-volume set. The book's large size would have made it usable by a group of singers.
Private Devotion
Throughout the Middle Ages, men and women celebrated their religious beliefs not only during Church services, but also with the aid of small personal prayer books that were beautifully written and illuminated. On a daily basis, monks, nuns, and members of the clergy recited the cycle of prayers known as the Divine Office, which pious Christians outside the Church increasingly sought to imitate. Breviaries (containing the texts of the Divine Office), psalters (containing all 150 Biblical psalms), and books of hours (originally an abbreviated form of the breviary developed for laypeople), all designed for private use, were acquired by those who could afford such luxuries. These books sometimes contained dozens or even hundreds of finely illuminated pages, and could be individualized with images of favorite saints or feasts that reflected the traits of a specific region or the wishes of a particular patron.
The exhibition includes several richly illustrated private devotional texts, including The Annunciation to the Shepherds (about 1480–90), from a book of hours by Georges Trubert (French, active 1469–1508), which features two humble shepherds who look up in astonishment and awe as an angel comes to them to announce the birth of Christ. The illusionistic jeweled frame surrounding the scene imitates those found on contemporary panel paintings, elevating the page to the status of a private devotional artwork.
Devotional Literature
A large variety of texts were written and illuminated to inspire piety and contemplation among medieval Christians. Religious reading was an integral part of the daily routine of monks and nuns, while the increasing desire for a personal connection with Christ and the Virgin Mary ensured growth in the production of devotional tracts. The Bible and the writings of early Christian theologians were primary sources for devotional reading. Works detailing the lives of Christ and Mary, who were considered models of behavior, gave rise to pictures of events not recorded in the Bible, and the illustrated stories of the saints—full of entertaining narratives—found popularity among all segments of the Christian population.
In Matteo di ser Cambio’s Saint Bernard Reading (about 1375), the saint reads in solitude, deeply engrossed in the small book in his hands. The image adorns a text exploring man’s inner relationship with God that was ascribed during the Middle Ages to Saint Bernard, who was famed for his rejection of worldly temptations in favor of simplicity and quiet contemplation. Appropriately for the text, in which Bernard explores his own spirituality, the author is not shown in the act of writing, but lost in study.
“What’s fascinating about devotional texts of the Middle Ages is the variety of decoration that they could inspire, from narrative scenes set against shimmering gold backgrounds to playful border decorations featuring charming animals and lush vegetation,” adds Morrison. “From piety came innovative works of art that inspired and elevated readers, whether they were taking part in a church service, praying privately at home, or studying a particular aspect of Christianity.”
The Art of Devotion in the Middle Ages is curated by Elizabeth Morrison, acting senior curator of manuscripts at the J. Paul Getty Museum. There will be a page-turn of the texts in the exhibition on November 12, 2012 to coincide with the major loan exhibition, Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350, which includes devotional art from the same time period and will be on view November 13, 2012–February 10, 2013.
RELATED EVENTS
Lectures
The Saint John's Bible: A Contemporary Illuminated Manuscript
In 1998, Saint John's Abbey and University commissioned renowned calligrapher Donald Jackson to produce a handwritten, hand-illuminated Bible. Jackson discusses the influences and techniques that informed his creation and how, in turn, its making provided insights into the work of the past.
Wednesday, September 5, 7:00 p.m.
Harold M. Williams Auditorium, Getty Center
Getty Perspectives: Is Anthropomorphism the Basis of Religion? Some Observations Suggested by Late Medieval Devotional Objects
Caroline Walker Bynum, professor emerita of Western medieval history at the Institute for Advanced Study, questions theories that religion resides in a human need to see the world as anthropomorphic, thus challenging the conception both of the holy and of objects such theories imply.
Thursday October 11, 7:00 p.m.
Museum Lecture Hall, Getty Center
Gallery Course
Illuminated Bibles, Then and Now
During the Middle Ages, Bibles and other religious books not only played an important role in the devotional lives of the faithful, they also served as material testaments to the piety of their owners. This course explores the history, significance, and making of illuminated Bibles and religious books. Course fee $30 (parking fee not included). Open to 75 participants.
Wednesday, September 5, 1:00–5:30 p.m.
Research Institute Lecture Hall
Talks
Curator’s Gallery Talks
Elizabeth Morrison, curator of Manuscripts, the J. Paul Getty Museum, leads a gallery talk on the exhibition. Meet under the stairs in the Museum Entrance Hall.
Thursday, September 13, 2:30 p.m.
Wednesday, December 12, 2:30 p.m.
Performance
Gordon Getty Concert: Lionheart
One of America's leading ensembles in vocal chamber music, Lionheart is known for its soaring artistry as well as its masterful musical scholarship. Acclaimed for its "smoothly blended and impeccably balanced sound" (New York Times), the ensemble performs a thrilling program of songs from the illuminated pages of the Laudario of Sant Agnese, on view in the exhibition Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Tickets $20; $15 students/seniors.
Saturday, December 1, 7:30 p.m.
Harold M. Williams Auditorium, Getty Center
Visiting the Getty Center
From June 1–September 21, 2012, the Getty Center is open Tuesday, Wednesday, Thursday and Sunday from 10 a.m. to 5:30 p.m., and Friday and Saturday from 10 a.m. to 9 p.m. It is closed Monday and major holidays. Admission to the Getty Center is always free. Parking is $15 per car, but reduced to $10 after 5 p.m. on Fridays, Saturdays and for evening events throughout the week. No reservation is required for parking or general admission. Reservations are required for event seating and groups of 15 or more. Please call (310) 440-7300 (English or Spanish) for reservations and information. The TTY line for callers who are deaf or hearing impaired is (310) 440-7305. The Getty Center is at 1200 Getty Center Drive, Los Angeles, California.
Additional information is available at www.getty.edu
“Christians in the Middle Ages often celebrated their beliefs with lavishly illuminated devotional books,” explains Elizabeth Morrison, acting senior curator of manuscripts at the J. Paul Getty Museum.“ Full-page images and page borders brimming with fantastic figures and scenes focused attention on important texts and rites.”
The exhibition focuses on three aspects of religious life: public devotion, private devotion, and devotional literature.
Public Devotion
Although early Christian ceremonies were very simple, over the course of the Middle Ages they gradually transformed into a series of complicated rites and performances. The books used in the liturgy (communal worship services) of the Christian Church often received decorative treatment that created a sense of majesty and luxury. The books produced for these public ceremonies became more elaborate in their presentation, both to emphasize the religious importance of the texts and to symbolize the wealth and power of the Church.
Some manuscripts, such as Bibles and missals, were placed on the altar during services, while others, such as music manuscripts, were positioned on a lectern so that multiple participants could see the book at once. In Initial S: The Massacre of the Innocents, from a Bolognese antiphonal of the late 1200s, Herod sits at the left, giving the order for the massacre of all male children under the age of two, while a soldier at right holds an infant upside-down by the leg, preparing to use his sword. This dramatic choir book initial accompanies the chants for the feast of the Holy Innocents. An antiphonal contains the music sung during the Divine Office, the eight prayer services celebrated daily by monks, nuns, and clerics of the Catholic Church, and this manuscript, almost two feet tall, was originally part of an impressive seven-volume set. The book's large size would have made it usable by a group of singers.
Private Devotion
Throughout the Middle Ages, men and women celebrated their religious beliefs not only during Church services, but also with the aid of small personal prayer books that were beautifully written and illuminated. On a daily basis, monks, nuns, and members of the clergy recited the cycle of prayers known as the Divine Office, which pious Christians outside the Church increasingly sought to imitate. Breviaries (containing the texts of the Divine Office), psalters (containing all 150 Biblical psalms), and books of hours (originally an abbreviated form of the breviary developed for laypeople), all designed for private use, were acquired by those who could afford such luxuries. These books sometimes contained dozens or even hundreds of finely illuminated pages, and could be individualized with images of favorite saints or feasts that reflected the traits of a specific region or the wishes of a particular patron.
The exhibition includes several richly illustrated private devotional texts, including The Annunciation to the Shepherds (about 1480–90), from a book of hours by Georges Trubert (French, active 1469–1508), which features two humble shepherds who look up in astonishment and awe as an angel comes to them to announce the birth of Christ. The illusionistic jeweled frame surrounding the scene imitates those found on contemporary panel paintings, elevating the page to the status of a private devotional artwork.
Devotional Literature
A large variety of texts were written and illuminated to inspire piety and contemplation among medieval Christians. Religious reading was an integral part of the daily routine of monks and nuns, while the increasing desire for a personal connection with Christ and the Virgin Mary ensured growth in the production of devotional tracts. The Bible and the writings of early Christian theologians were primary sources for devotional reading. Works detailing the lives of Christ and Mary, who were considered models of behavior, gave rise to pictures of events not recorded in the Bible, and the illustrated stories of the saints—full of entertaining narratives—found popularity among all segments of the Christian population.
In Matteo di ser Cambio’s Saint Bernard Reading (about 1375), the saint reads in solitude, deeply engrossed in the small book in his hands. The image adorns a text exploring man’s inner relationship with God that was ascribed during the Middle Ages to Saint Bernard, who was famed for his rejection of worldly temptations in favor of simplicity and quiet contemplation. Appropriately for the text, in which Bernard explores his own spirituality, the author is not shown in the act of writing, but lost in study.
“What’s fascinating about devotional texts of the Middle Ages is the variety of decoration that they could inspire, from narrative scenes set against shimmering gold backgrounds to playful border decorations featuring charming animals and lush vegetation,” adds Morrison. “From piety came innovative works of art that inspired and elevated readers, whether they were taking part in a church service, praying privately at home, or studying a particular aspect of Christianity.”
The Art of Devotion in the Middle Ages is curated by Elizabeth Morrison, acting senior curator of manuscripts at the J. Paul Getty Museum. There will be a page-turn of the texts in the exhibition on November 12, 2012 to coincide with the major loan exhibition, Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350, which includes devotional art from the same time period and will be on view November 13, 2012–February 10, 2013.
RELATED EVENTS
Lectures
The Saint John's Bible: A Contemporary Illuminated Manuscript
In 1998, Saint John's Abbey and University commissioned renowned calligrapher Donald Jackson to produce a handwritten, hand-illuminated Bible. Jackson discusses the influences and techniques that informed his creation and how, in turn, its making provided insights into the work of the past.
Wednesday, September 5, 7:00 p.m.
Harold M. Williams Auditorium, Getty Center
Getty Perspectives: Is Anthropomorphism the Basis of Religion? Some Observations Suggested by Late Medieval Devotional Objects
Caroline Walker Bynum, professor emerita of Western medieval history at the Institute for Advanced Study, questions theories that religion resides in a human need to see the world as anthropomorphic, thus challenging the conception both of the holy and of objects such theories imply.
Thursday October 11, 7:00 p.m.
Museum Lecture Hall, Getty Center
Gallery Course
Illuminated Bibles, Then and Now
During the Middle Ages, Bibles and other religious books not only played an important role in the devotional lives of the faithful, they also served as material testaments to the piety of their owners. This course explores the history, significance, and making of illuminated Bibles and religious books. Course fee $30 (parking fee not included). Open to 75 participants.
Wednesday, September 5, 1:00–5:30 p.m.
Research Institute Lecture Hall
Talks
Curator’s Gallery Talks
Elizabeth Morrison, curator of Manuscripts, the J. Paul Getty Museum, leads a gallery talk on the exhibition. Meet under the stairs in the Museum Entrance Hall.
Thursday, September 13, 2:30 p.m.
Wednesday, December 12, 2:30 p.m.
Performance
Gordon Getty Concert: Lionheart
One of America's leading ensembles in vocal chamber music, Lionheart is known for its soaring artistry as well as its masterful musical scholarship. Acclaimed for its "smoothly blended and impeccably balanced sound" (New York Times), the ensemble performs a thrilling program of songs from the illuminated pages of the Laudario of Sant Agnese, on view in the exhibition Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Tickets $20; $15 students/seniors.
Saturday, December 1, 7:30 p.m.
Harold M. Williams Auditorium, Getty Center
Visiting the Getty Center
From June 1–September 21, 2012, the Getty Center is open Tuesday, Wednesday, Thursday and Sunday from 10 a.m. to 5:30 p.m., and Friday and Saturday from 10 a.m. to 9 p.m. It is closed Monday and major holidays. Admission to the Getty Center is always free. Parking is $15 per car, but reduced to $10 after 5 p.m. on Fridays, Saturdays and for evening events throughout the week. No reservation is required for parking or general admission. Reservations are required for event seating and groups of 15 or more. Please call (310) 440-7300 (English or Spanish) for reservations and information. The TTY line for callers who are deaf or hearing impaired is (310) 440-7305. The Getty Center is at 1200 Getty Center Drive, Los Angeles, California.
Additional information is available at www.getty.edu
Friday, August 24, 2012
Johnny Taylor exhibit opens at Bermudez Projects in LA Sept. 1
To inaugurate its fall season, Bermudez Projects is delighted to welcome its first international show, Light Years, by Canadian artist Johnny Taylor who is as energized by the city as we are.
Whether at home in Vancouver or visiting Los Angeles, Taylor internalizes his surroundings – by exploring, jogging, and the balcony-leaping, wall-climbing, railing-hurdling sport known as parcours – then uses the mental snapshots to make his kinetic but controlled oil paintings. Kinetic, because Taylor says he uses the act of painting to propel his work. “The work emerges as a fusion of idea and action.”
Taylor’s paintings are almost sense memories. “The painter must immerse his senses in the subject,” he says. “Contemplate it, touch it, move within it, and imprint it on their memory. I move through my environment and observe the junctions, the converging planes, the walls and corridors, the obstacles and openings, the alleys and channels we create to connect us to one another.” That helps him find the deeper purpose, the pulse within the infrastructure framework. “The painter didn't bring the easel to the riverbank,” Taylor says. “He brought the memory of a profound connection back to the studio, and what is created goes beyond the imagery and details straight to the vital energy and soul of the subject.”
Light Years at Bermudez Projects, Taylor’s first solo show in the US, takes its name from one of a dozen new pieces inspired by Taylor’s last trip to LA. Stand in front of one of them, letting your mind wander into the almost architectural frameworks, and you can grasp Johnny’s vision … as he puts it, “a vision is much like memories themselves: clear yet overlapping, immediate yet distant, dissolving and falling into place at the same instant.” Light Years is an non-cynical look at Los Angeles, a great starting point for new arrivals, and refreshing for long-time residents.
Taylor usually works on a grand scale – the largest painting in Light Years is 8 feet long – but he’s also created more intimate works for us, down to 16 x 24 inches. Taylor likes to be challenged. He bristled a little when we asked for some smaller paintings - since not everyone can fit an 8-foot painting in their studio apartment - but then got excited by the challenge. The larger paintings are oil on architectural drawing film; the smaller are oil on wood panels.
Johnny Taylor, 38, is the son of internationally renowned art historian John Taylor, who lives in Vancouver, and former Hungarian opera singer Eva Lindsey, who lives in San Diego with Johnny’s step-father, Dale Lindsey, former American pro-football player for the Cleveland Browns and New Orleans Saints and coach in the National Football League.
The artist has been featured in various publications, including Scout Magazine and the Vancouver Observer.
Light Years opens Saturday, September 1 and runs through October 27, 2012. The opening reception is Saturday, September 1, from 7-10pm.
Bermudez Projects is at 117 W. 9th Street, Space 810, Los Angeles, California 90015. By appointment only. For more information visit www.julian-bermudez.com
The mission of Julian Bermudez is to discover and cultivate emerging artists, inspire creativity and imagination, and promote the appreciation of art by presenting art outside museums and galleries.
Thursday, August 16, 2012
Pompeii exhibit at Getty Villa Sept. 12
Destroyed yet preserved by the eruption of Mount Vesuvius in A.D. 79, Pompeii and its neighboring cities provide a vivid glimpse into the daily lives of ancient Romans. Exhibitions about the archaeology of Pompeii have been numerous and popular but never before has an exhibition explored the influence of this ancient disaster on the modern imagination. Since the rediscovery of the site in the early 1700s, four centuries of leading artists—from Piranesi, Fragonard, Ingres, and Alma-Tadema to Duchamp, Dalí, Rothko, Warhol, and Gormley —have been inspired to re-imagine it in diverse media, including paintings, prints, sculpture, photographs, and film.
On view September 12, 2012–January 7, 2013, The Last Days of Pompeii: Decadence, Apocalypse, Resurrectionpresents Pompeii and the other Vesuvian sites as a modern fascination rather than focusing on their historical past. Organized around three themes—decadence, apocalypse, and resurrection—this exhibition addresses the potent and continuing legacy of Pompeii in the modern imagination.
The Last Days of Pompeii: Decadence, Apocalypse, Resurrection is co-organized by the J. Paul Getty Museum and the Cleveland Museum of Art in association with the Musée des beaux-arts de Québec. The presentation at the Getty Villa is curated by Kenneth Lapatin, associate curator of antiquities at the J. Paul Getty Museum.
“The variety of objects on display underscores our preoccupation with this major historical event,” explains Lapatin. “We continually reshape the past to suit the needs of the present, and the Getty Villa itself is the perfect space for this exhibition, because the site is a re-imagined example of a building destroyed by Vesuvius.”
The only surviving eye-witness accounts of the catastrophe are two letters by Pliny the Younger to the historian Tacitus, but these were written approximately twenty-five years after the event and are highly conscious literary compositions. Pliny the Younger nonetheless vividly conveys the terror of the eruption and the ensuing chaos, while describing the death of his uncle, Pliny the Elder, who set out to rescue friends but did not survive. This heroic tale captured the imagination of generations of artists, who frequently included the two Plinys in their recreations of the disaster.
However, it was Edward Bulwer-Lytton’s melodramatic historical novel The Last Days of Pompeii, first published in 1834 and arguably the most popular literary work of the nineteenth century, which inspired the greatest number of paintings, sculpture, and theatrical, musical, film, and television adaptations. The book was presented as archaeologically accurate, but Bulwer-Lytton’s description of Pompeian life immediately before the eruption of Vesuvius presented Roman society as brutal, corrupt, luxurious, and immoral, casting the destruction of the city as divine punishment. The novel transformed contemporary ideas about Pompeii and inspired generations of tourists to visit the site and seek out the homes of its fictional characters, which were sometimes even identified in guidebooks.
The destruction of Pompeii also inspired a variety of mass entertainments in the nineteenth and early twentieth centuries. Prior to film, the spectacular pyrotechnic shows produced by the British fireworks entrepreneur James Pain strung together athletic, musical, and dance elements over a simple Vesuvian narrative familiar to all audiences. The exhibition includes an early photograph capturing part of a performance as well as a libretto.
In each section, a compilation of film and television clips, from early silent shorts to epic features and more recent cartoons, will be shown to demonstrate how our perception of Pompeii today has been shaped by the moving image.
The Last Days of Pompeii: Decadence, Apocalypse, Resurrection begins with modern representations of Pompeian decadence. The prevailing idea that the cataclysmic eruption that destroyed the Vesuvian cities in A.D. 79 was a justly deserved punishment for sins has pervaded popular consciousness through art and literature up to the present day. This notion has inspired artists and provided a vehicle to present sensual scenes or subversive themes in an acceptable setting. A highlight of this section is Francesco Netti’s most famous work, Gladiator Fight during a Meal at Pompeii (1880, Naples, Museo di Capodimonte), which depicts the aftermath of a mortal combat held at a Pompeian banquet for the entertainment of dissolute, drunken Romans, while ladies swoon after the victor. But despite its seeming accuracy, achieved through the precise depiction of archaeological artifacts, this scene has little basis in ancient practice. Roman gladiators generally performed in public arenas and rarely fought to the death. The painting, rather, can be viewed as a contemporary critique of mid-nineteenth-century Italian aristocrats.
Also on display are photographs by Wilhelm von Gloeden and Gugliemo Plüschow, some from Sir Lawrence Alma-Tadema’s personal archive, which record some of the best-known monuments at Pompeii populated by local youths staged in various states of undress. These photographs perpetuate a long-standing notion that Pompeii was a place of desire and erotic indulgence.
The second section examines the well-known apocalyptic event. Pompeii’s catastrophic demise has become the archetype for all subsequent disasters, whether natural or man-made. While eighteenth- and nineteenth-century artists often celebrated the terrifying yet beautiful power of nature, more recent artists have used the event to explore such issues as the aftermath of World War II and the angst of the Atomic Age.
Sebastian William Thomas Pether’s Eruption of Vesuvius with Destruction of a Roman City (1824, Boston, Museum of Fine Arts) dramatically shows the volcano spewing lava onto the ancient city, but his depiction of Roman architecture and figures in early-nineteenth century dress cross temporal boundaries. Also, embedded in the gilt frame are pieces of what appears to be lava, but is actually trimmed wood burl. Thus, what was intended to add authenticity to the imaginary scene is itself false. Alternatively, Andy Warhol’s Mount Vesuvius (1985, Pittsburg, Warhol Museum), with its vibrant palette and cartoonish effects, demonstrates that serial reproductions and kitsch are not just hallmarks of Pop Art, but also relate to the proliferation of images of the famous volcano.
The exhibition also explores the famous body casts of Vesuvius’s victims. Since the invention of the plaster casting technique in 1863, body casts of victims have captured the imagination of the public through photographs of such artists as Giorgio Sommer, whose image on view of the famous cast of a dog found in the House of Vesonius Primus at Pompeii has served as an iconic representation of the suffering of the victims. Widely reproduced, it has been featured in numerous modern and contemporary works of art including Robert Rauschenberg’s Small Rebus (1956, Los Angeles, Museum of Contemporary Art) and Allan McCollum’s sculpture The Dog from Pompeii (1991, New York, Artist/Friedrich Petzel Gallery), which appear in the exhibition. The body casts on display in the exhibition are modern works, made from the now lost voids of disappeared bodies. Although we react to them emotionally, they are far removed from Vesuvius’s ancient victims.
Another myth about Pompeii is its state of preservation. Few people realize that during World War II, the archaeological site was badly damaged by bombing carried out by American and British fighters seeking to disrupt German resupply routes nearby. After the war, many of the damaged structures were quickly rebuilt. Included in the exhibition are items from the Getty Research Institute’s special collections, which record the destruction caused by the bombing and detail the locations of the strikes.
The exhibition concludes with an examination of archaeological fantasy and the attempts of artists to resurrect the ancient city.For over three hundred years, buildings and artifacts excavated at Vesuvian sites have advanced scientific reconstructions of daily life in the classical world. Simultaneously, they have underpinned more fanciful reincarnations, as artists have superimposed their contemporary values and ideas on antiquity with a variety of motivations, from the light-hearted to the serious.
Inspired by a famous ancient figure of a dancing faun found in Pompeii, Hippolyte Alexandre Julien Moulin’s large bronze, A Lucky Find at Pompeii (1863, Paris, Musée d’Orsay), playfully depicts a nude Neapolitan youth rejoicing in the discovery of a fragmentary statuette of the hero Hercules, which he holds up in his right hand. The boy’s pleasure at his Pompeian find embodies the nineteenth-century European enthusiasm for both the artworks newly unearthed at Vesuvian sites and the process of their recovery, however idealized. The sculpture was much celebrated, winning a medal at the Paris Salon of 1864.
From the Vatican Museums comes an extraordinary loan of a cabinet containing objects excavated at Pompeii during the 1849 site visit by Pope Pius IX. There is much doubt about the extent to which these excavations were staged and whether artifacts were planted, since the objects found are strikingly diverse in type and material, including items of marble, glass, bronze, terracotta, local stone and lava, perhaps chosen in advance to emphasize the quality and variety of finds.
Following its showing at the Getty, the exhibition will be on view at the Cleveland Museum of Art from February 24–May 19, 2013 and at the Musée des beaux-arts de Québec June 13–September 8, 2013.
Visiting the Getty Villa
The Getty Villa is open Wednesday through Monday, 10 a.m. to 5 p.m. It is closed Tuesday and major holidays. Admission to the Getty Villa is always free. A ticket is required for admission. Tickets can be ordered in advance, or on the day of your visit, at www.getty.edu/visit or at (310) 440-7300. Parking is $15 per car. Groups of 15 or more must make reservations by phone. For more information, call (310) 440-7300 (English or Spanish); (310) 440-7305 (TTY line for the deaf or hearing impaired). The Getty Villa is at 17985 Pacific Coast Highway, Pacific Palisades, California.
Additional information is available at www.getty.edu.
Sign up for e-Getty at www.getty.edu/subscribe to receive free monthly highlights of events at the Getty Center and the Getty Villa via e-mail, or visit www.getty.edu for a complete calendar of public programs.
Wednesday, August 15, 2012
Art Show and Fiesta in San Gabriel Aug. 31-Sept. 2
San Gabriel Mission will offer free admission to artists and visitors to its Fifth Annual Art Show in its gardens on Saturday, Sept. 1, and Sunday, Sept. 2, as the 241-year-old mission celebrates its founding with its annual fiesta on Aug. 31-Sept.2.
All artwork displayed must be about San Gabriel Mission or its Fiesta or any California Mission or plants or flowers or related to California history.
Visitors also will be able to go on a free self-guided tour of the mission church, museum and grounds and look at model missions donated to San Gabriel Mission to learn more about the history of missions in California.
Art Show space is limited. So, register early by calling 626-457-3048 (need name, city, phone number). Registration is free and admission on Aug. 26-Sept. 2, 2012 is free so artists can create their artwork. Artists should bring their own chair, easels, etc. While space is available, each pre-registered artist may bring three pieces of artwork no larger than 3’ wide by 4’ tall. No chairs or tables will be available because of the fiesta.
Persons age 17 and younger must be with their parent or adult guardian.
Also, on Saturday, Sept. 1, and Sunday, Sept. 2, Gabrieleno-Tongva San Gabriel Band of Mission Indians and re-enactors of early California history have been invited to be in the gardens from 2 p.m. to 5 p.m. to talk to visitors and do demonstrations for the visitors. Some re-enactors invited are an Indian clay potter, Fr. Junipero Serra, blacksmith, wool spinner, and a rope maker.
San Gabriel Mission is the fourth oldest mission of 21 founded in California and is located at 427 S. Junipero Serra Dr., San Gabriel, CA 91776, about one and a half miles north of the San Bernardino Freeway (10). Exit the freeway at Del Mar Avenue and travel north about one and a half miles to Mission Road, turn left and travel a half mile to the mission. Free parking is available in the mission lot or on nearby streets.
More information is available at (626) 457-3035 and at www.sangabrielmissionchurch.org.
All artwork displayed must be about San Gabriel Mission or its Fiesta or any California Mission or plants or flowers or related to California history.
Visitors also will be able to go on a free self-guided tour of the mission church, museum and grounds and look at model missions donated to San Gabriel Mission to learn more about the history of missions in California.
Art Show space is limited. So, register early by calling 626-457-3048 (need name, city, phone number). Registration is free and admission on Aug. 26-Sept. 2, 2012 is free so artists can create their artwork. Artists should bring their own chair, easels, etc. While space is available, each pre-registered artist may bring three pieces of artwork no larger than 3’ wide by 4’ tall. No chairs or tables will be available because of the fiesta.
Persons age 17 and younger must be with their parent or adult guardian.
Also, on Saturday, Sept. 1, and Sunday, Sept. 2, Gabrieleno-Tongva San Gabriel Band of Mission Indians and re-enactors of early California history have been invited to be in the gardens from 2 p.m. to 5 p.m. to talk to visitors and do demonstrations for the visitors. Some re-enactors invited are an Indian clay potter, Fr. Junipero Serra, blacksmith, wool spinner, and a rope maker.
San Gabriel Mission is the fourth oldest mission of 21 founded in California and is located at 427 S. Junipero Serra Dr., San Gabriel, CA 91776, about one and a half miles north of the San Bernardino Freeway (10). Exit the freeway at Del Mar Avenue and travel north about one and a half miles to Mission Road, turn left and travel a half mile to the mission. Free parking is available in the mission lot or on nearby streets.
More information is available at (626) 457-3035 and at www.sangabrielmissionchurch.org.
Tuesday, August 14, 2012
Jo Mann Jo art exhibit in Altadena in September
The Altadena Library Community Room Presents:
"Silence In Company" mixed media by Jo Mann Jo's work reflects the need and balance in one's lives, the elimination of the unnecessary, and the goal of simplicity with substance. Jo believes art should be didactic and conveying and that her pieces help people to think freely and project their connections into the artwork. Jo incorporates the urban reality of found materials to express the underlying but ever-present clutter and cacophony of contemporary life. The reduction of form and harmonious color palette speaks to the balance we seek.
Work will be on display in the Community Room for the month of September 2012
Altadena Library District
600 E. Mariposa St.
Altadena CA 91001-2266
T-626-798-0833
"Silence In Company" mixed media by Jo Mann Jo's work reflects the need and balance in one's lives, the elimination of the unnecessary, and the goal of simplicity with substance. Jo believes art should be didactic and conveying and that her pieces help people to think freely and project their connections into the artwork. Jo incorporates the urban reality of found materials to express the underlying but ever-present clutter and cacophony of contemporary life. The reduction of form and harmonious color palette speaks to the balance we seek.
Work will be on display in the Community Room for the month of September 2012
600 E. Mariposa St.
Altadena CA 91001-2266
T-626-798-0833
Friday, August 10, 2012
Music and art celebration in West Covina Aug. 16-18
In celebration of the arts, Bridgecreek, an independent retirement community, welcomes the public to its free events from August 16-18.
Events include:
Thursday, August 16 at 10 a.m.: Elvis Tribute with peanut butter and banana sandwiches
Friday, August 17 at 10 a.m.: Artists’ showcase with fresh fruit plates
Saturday, August 18 at 12:30 p.m.: Family Picnic with BBQ hamburgers and hot dogs
Bridgecreek, www.bridge-creek.com is located at 3601 E. Holt Avenue in West Covina. To RSVP, please call 626-332-1135.
Events include:
Thursday, August 16 at 10 a.m.: Elvis Tribute with peanut butter and banana sandwiches
Friday, August 17 at 10 a.m.: Artists’ showcase with fresh fruit plates
Saturday, August 18 at 12:30 p.m.: Family Picnic with BBQ hamburgers and hot dogs
Bridgecreek, www.bridge-creek.com is located at 3601 E. Holt Avenue in West Covina. To RSVP, please call 626-332-1135.
Thursday, August 9, 2012
Art salon in La Canada Aug. 12
Nancy Armitage and other local artists
Art Salon at
Anthony's fine foods
714 Foothill Blvd., La Canada 91011
*wine and cheese*
Sunday August 12th, at 2:00 pm
www.nancyarmitage.com
Art Salon at
Anthony's fine foods
714 Foothill Blvd., La Canada 91011
*wine and cheese*
Sunday August 12th, at 2:00 pm
www.nancyarmitage.com
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