The Los Angeles Museum of Art is Eagle Rock’s hidden gem
December 31, 2103 San Gabriel Valley Tribune
By Michelle Mills
Hidden from a busy Eagle Rock street at the end of a long driveway sits a structure the size of a small bedroom. Its walls are comprised of sliding door panels and it is topped by a corrugated metal roof. One big step up, made shorter by a simple cinder block, lets us inside, where art is gracefully arranged. The intimacy makes it feel as if the exhibit was created just for us. This is the Los Angeles Museum of Art, a sculpture and project by artist Alice Könitz.
Könitz has many artist friends who, when visiting from out of town, would ask where they might be able to show their artwork. So she decided to create a museum of her own.
La española Neysa Bové aporta el estilo latino al vestuario de la Barbie
31 de diciembre de 2013 EEUU MODA
Los Ángeles (EE.UU.), 31 dic (EFE).- Cuando Neysa Bové emigró de España a Estados Unidos era una niña que cargaba con sus tres barbies en la maleta y hoy, como diseñadora de moda profesional, crea nuevos vestuarios para la icónica muñeca de la empresa Mattel.
"Diseño barbies con vestidos de noche, con una manera de lucir elegante, como si fuera a una fiesta, y otras con bañadores de una sola pieza", dijo a Efe Bové, que crea prendas para esta referencia de elegancia y estilo en la ciudad de El Segundo (EE.UU).
"Trabajo en el departamento de barbies realistas, en donde creamos ropa que podría llevar una persona normal, que es diferente de nuestro departamento Fantástico, en donde hacen barbies como sirenas, hadas y otros personajes imaginarios", indicó la creadora, de 27 años. Read more.
He launched TriStar Productions with Sony Pictures in August, and today Tom Rothman has another new gig. President Obama nominated the former Fox Filmed Entertainment chairman and CEO to join the National Council on the Arts. “These dedicated and accomplished individuals will be valued additions to my administration as we tackle the important challenges facing America,” the President said today in nominating Rothman and several others to administration posts. “I look forward to working with them in the months and years ahead.” The National Council on the Arts’ main role is to advise the Chairman of the National Endowment for the Arts on agency policies and programs. It also reviews and makes recommendations to the Chairman on applications for grants, funding guidelines, and other similar initiatives. A contributor and bundler for Obama’s 2008 and 2012 campaigns, Rothman is the latest in a line of Hollywood supporters to get appointments from the President since his reelection. Read more.
When Scottish artist, educator, and longtime REALLIFE Magazine publisher Thomas Lawson, 62, arrived in Los Angeles in the late ’80s, it was “a tiny art world” that greeted him. MOCA was “the game in town,” and prior to Santa Monica’s burgeoning Bergamot Station galleries, “a few little pod malls” garnered scarce traffic. “It was a very lowkey, quiet little art scene,” says the otherwise jovial dean of the School of Art at California Institute of the Arts (CalArts), recalling the unassuming and decentralized community he described as “a city hiding in plain sight” in earlier essays. “Coming from the high-intensity and high-density of New York, you could almost think that there was no art world here.”
How does one then go about uncovering, connecting, and essentially “unforgetting” what is such a rich but elusive narrative? It starts with Lawson’s keen and forward-thinking notion that this is not a task for one; that, particularly in the Internet era, learning isn’t just the solitary act of reading a single voice, but rather engaging in a conversation and welcoming insight and perspective from many. And so, the art collector/connoisseur— whose work has graced The Metropolitan Museum of Art and the Hammer Museum—enlisted the precocious and poised Stacey Allan, 35, a Bard College Center for Curatorial Studies graduate with a nonprofit background, who promptly traded New York for a city she’d never before been. For years, the pair helmed the academic Los Angeles and London-driven art journal Afterall, until October 2010, when, with continued support from publisher CalArts and the Andy Warhol Foundation, they founded a groundbreaking new online contemporary art publication and book imprint, East of Borneo. Alongside original essays and interviews, the site boasts a shared and growing archive, so that writers and readers alike can contribute texts, videos, images, and links to help fill in the pieces of Los Angeles’s storied art history—collectively.
In Memoriam: Remembering the Photographers We Lost in 2013
Monday, December 16, 2013 By Mia Tram
There are some who would argue that every picture a photographer makes is a self-portrait, whether they intend it to be or not. What did this photographer mean to show us of themselves with a particular picture? What did another one unknowingly reveal? These questions resonate most fully when recalling the photographers we’ve lost each year — some better known than others, but all worthy of remembrance.
For photographers, the camera is a tool of existential negotiation. Regardless of the genre in which they work, they use the camera to mediate what is before them with what lies within. The best pictures are not a statement of fact, but a fully formed and articulated opinion. “Every man’s work,” wrote the English novelist and critic Samuel Butler, “is always a portrait of himself, and the more he tries to conceal himself the more clearly will his character appear in spite of him.”
The photographers we lost this year pursued their craft with rigor and passion. Nearly all photographed until the very end, which for some came all too soon. They lived their lives with, and to varying degrees through, their cameras.
What's wrong with giving money away? Even generosity has critics
The term “philanthropist,” meaning “lover of humanity,” is said to have been coined by the Greek playwright Aeschylus, to refer to Prometheus*, the mythological Titan who gave fire to mankind. The gods, unfortunately, hadn’t approved his gift, so Prometheus was chained to a rock for eternity, eagles nibbling at his liver.
Modern-day philanthropists don’t have to tussle with vengeful gods, but they are not without critics. The bulk of the criticism has to do with where gifts of millions - or even billions - of dollars, are donated.
A simple way to ascertain where large gifts, at least those with the giver's name attached, are going, is to browse the Million Dollar List. For more than a decade, researchers at Indiana University’s Lilly Family School of Philanthropy have been compiling a list of every publicly announced donation of one million dollars or more. The list is a fascinating archive of causes that wealthy donors value, and some patterns are instantly evident. Colleges and universities, many of them top-tier, appear on nearly every page of the list.
Five musical reasons to see Charlie Haden at REDCAT Tuesday
You can't talk about modern jazz without talking about Charlie Haden.
The bassist who forged a woodsy backbone for groundbreaking recordings with Ornette Coleman and later went on to found the jazz program at CalArts, Haden has been in poor health since the onset of post-polio syndrome in 2010 -- a disease that first struck him at 15 years old.
As a result, Haden hasn’t performed in public since 2011, but Tuesday night he conducts an ensemble of CalArts musicians through pieces from his invigorating Liberation Music Orchestra, a fiery venture into the politically charged side of the avant garde jazz the bassist formed in 1969. To whet your appetite, here’s a selection of recordings to remind us what we’ve been missing in Haden’s absence from the bandstand. Read More.
Artsy Celebrates CalArts at Soho beach house with Valentino
Last Thursday night, Artsy once again brought together the art world elite to celebrate in the sand at Soho Beach House in Miami Beach. The event, supported in partnership with Audi, Valentino, and Vhernier, was in honor of the new John Baldessari Studios at CalArts, a new facility that will house artists’ studios. The building will be named for the legendary artist who is a CalArts alumnus and longtime faculty member. Thomas Lawson, Dean of the CalArts School of Art, spoke about the new studio building and the forthcoming fundraising program. He was introduced by Artsy CEO Carter Cleveland, president and COO Sebastian Cwilich, and Christine Kuan, Artsy’s chief curator. Guests enjoyed a raw oyster bar (yours truly especially!), wild mushroom risotto served from an enormous parmesan hollowed-out cheese round, burrata and goat cheese canapés, mini Soho House signature sliders, and champagne as they spilled out onto the beach.
Notable attendees include Angela Westwater, Charles Rockefeller, Eric Shiner, Jill G. Kraus with Peter Kraus, Kyle DeWoody, Marianne Goebl, Nicky Hilton, Nicolo Cardi, Tony Oursler, and Stacy Keibler. See original article here.
Animator and visual development artist Minkyu Lee has worked on projects like The Princess and the Frog and Frozen, but this artwork is from when he was still studying at CalArts. While he was interning for Disney, he created these beautiful images of what Elphaba and the rest of the crew from Wicked might look as an animated film. They’ll make you wish this was art from a work-in-progress that we might see on the big screen one day.
Exclusive Book Excerpt: ‘The CG Story’: How Pixar Saved ‘Toy Story’ From Becoming A Disney Disaster
The history of special effects and CG in film and their close relationship with today’s top-notch digital animation is the focus of author Christopher Finch’s new lavish 368-page book The CG Story: Computer Generated Animation and Special Effects, which peels the curtain back on CG pioneers like George Lucas, Steven Spielberg, Ridley Scott, and Pixar founders John Lasseter and Ed Catmull and their respective contributions to film. As part of Deadline’s weekend programming, read an exclusive excerpt from The CG Story, available now via The Monacelli Press (large format hardcover, $75), detailing the near-disaster that almost was when the upstarts at Pixar pacted with Disney to make their first feature: Toy Story.
Go motion may have been extinct overnight, as if by a meteor bombardment, but Phil Tippet reinvented himself as the head of a CG studio, and many of his go-motion animators were quick to retrain as CG animators, adapting their old skills with relative ease to the new way of working. During the early 1990s the shift to computer-generated animation was seen as a matter of urgency in many sections of the industry. Technologies such as motion control remained in use where they were cost effective, but this was the period when CGI began to take on the dominant role in visual effects. In the world of pure animation, it was about to make its mark with even greater decisiveness.
Ed Catmull explains that at Pixar there was a plan to progress from making commercials to producing a television special and then eventually a feature film. Having developed the CAPS system for Disney, Pixar had extensive contact with the feature-animation department there, but in fact they shopped their ideas around to everyone but Disney. One bone of contention was the fact that Disney had made efforts to hire John Lasseter away from the company. Jeffrey Katzenberg, then Disney studio head, had been impressed by the shorts he had seen and was convinced that Lasseter, by then Pixar’s creative director, was the secret to the company’s success. Lasseter, however, turned down the offers because of his belief in Pixar’s future, and because of his bitter memories of his previous tenure at Disney. Those memories were also why he had been adamant about not wanting to take ideas to Disney. “It wasn’t until [then],” Catmull remembers, “that I found out the real problem. For years he wouldn’t let anybody know he’d been fired… On the Queen Mary he had acknowledged that his project had been turned down, but not that he had been fired.” Read more.