On the chilly evening of Monday, Jan. 28, 14th District City Councilman José Huizar walked up Broadway near Ninth Street. As usual, the corridor was busy with pedestrians and shoppers. Some darted into discount clothing and electronics stores. Others waited to catch a bus.
Then there was the crowd that five years ago wasn’t here. A group of stylish 20-somethings were having a bite at Umamicatessen. Just up the street, the Los Angeles Brewing Company had a batch of office workers gathered at the bar for happy hour. Some well-dressed diners were beginning to trickle in to Figaro, a massive new French restaurant near Sixth Street.
The evening stroll came five years to the day after Huizar brought hundreds of people together in the Los Angeles Theatre to announce the formation of Bringing Back Broadway. The 10-year plan, which came on the heels of a number of failed efforts to improve the corridor that holds a collection of faded movie palaces, envisioned reviving Broadway between Second Street and Olympic Boulevard with more nightlife, a streetcar, new restaurants and shops and better sidewalks.
Interstices interest James Welling. What helps define his art are
those hard-to-define spaces where things meet: visually, formally, even
Actually, the organizing principle of “James Welling: Open Space”
superimposes that last interstitial interest. The show runs at the
University Museum of Contemporary Art, at the University of
Massachusetts Amherst, through May 5.
Whereas the figurative open space is conceptual (Welling’s
unwillingness to be limited by standard artistic categories), the
literal open space is regional. The watercolors, videos, and (mostly)
photographs that make up the show — 50 pieces in all — derive from
projects Welling has done in New England between 1970 and 2010.
As a child, Terry Allen hid out in movie theaters. He knew every one of ’em in Lubbock in the 1950s: the Clifton, the Lindsey, the State, the Lyric, the Plaza. They were houses of refuge, safe havens where a boy on a bike could “disappear” from the flashes of alcohol-fueled turbulence at home.
“I hid in all of ’em. I’d go to movie after movie after movie,” says Allen, one of the great artists and songwriters of the American Southwest. “Sometimes my folks would call the cops; they didn’t know what had happened to me. But (in time), they kind of figured it out."
The Hammer Museum presents the most comprehensive retrospective to date of Los Angeles artist Llyn Foulkes
Artdaily.org February 2,2013
The Hammer Museum presents an extensive career retrospective devoted to the work of the groundbreaking painter and musician Llyn Foulkes (b. 1934 in Yakima, Washington), on view from February 3 to May 19, 2013. One of the most influential yet underrecognized artists of his generation, Foulkes makes work that stands out for its raw, immediate, and unfiltered qualities. His extraordinarily diverse body of work—including impeccably painted landscapes, mixed-media constructions, deeply disturbing portraits, and narrative tableaux—resists categorization and defies expectations, distinguishing Foulkes as a truly singular artist. LLYN FOULKES is organized by Hammer curator Ali Subotnick and will travel to the New Museum in New York in June 2013 and to the Museum Kurhaus Kleve in Germany in November 2013.
“A retrospective for Llyn Foulkes is long overdue and we are exceptionally pleased to be organizing it,” says Hammer director Ann Philbin. “The work is raw, haunting, and at times shocking but deeply moving and personal. Llyn is an enigmatic figure with a complex history in the L.A. art scene, and we hope this exhibition helps to preserve his influence and legacy.”
Poppy Tooker helped save the soul of New Orleans after Katrina and now famed Big Easy chef is ready for a Super party
Tooker was one of 10 people named 'Hero of the Storm' by the New Orleans Times-Picayune following Katrina for her efforts to save the soul of New Orleans – its food and cooking – by organizing fundraisers to get traditional food markets and restaurants back on their feet.
NEW YORK DAILY NEWS February 2, 2013
By Tim Smith
If you have any doubt about Poppy Tooker's passion for all things food and New Orleans, then all you have to do is ask her about her great grandmother's recipe for gumbo.
Tooker's eyes sparkle and her voice takes on a dramatic tone as the classically trained actress and French chef explains how the roux is the most important part. How the onions must be cooked first before adding the celery and bell pepper.
"I had a cooking great grandmother," Tooker said. "I have super clear memories of Sunday dinners with fabulous meals and immaculately set tables. She taught me to connect people with food."
As the educational world vies for the attention of students who live in a technologically advanced realm, it seems that a battle between the two competing forces is inevitable.
The educational sector lags behind the technologically advanced world that students now live it, with the virtual possibilities Web, mobile devices and computers replacing the need for textbooks and classroom attendance. The digital realm opens up a door to a whole new universe that students and teachers didn’t think was possible a decade ago.
With all of the innovational developments in the world, it is no wonder that educational professions have begun to fuse together its digital tools to create a learning platform that embodies all of the opportunities technology can offer for students and teachers alike.
My recollection of the 2009 survey "The Pictures Generation" at New York's Metropolitan Museum of Art had it - erroneously - including Eric Fischel. But then, the show was organized by the Met's photography department, which might have considered Fischl too much a painter.
"Dive Deep: Eric Fischl and The Process of Painting" at the San Jose Museam of Art makes a case for Fischl as a painter long fascinated by social conditions that gripped "The Pictures Generation" - anxiety over the collapse of conventions and institutions, the blurring of gender and other pegs of identity and opportunism supplanting idealism, all roiled by tidal waves of mediated images.
The Bay Area's musical roots run deep with everything from folk to jazz and hip hop to punk rock. Given the massive popularity of food blogs over music news in this town one might think the city's chefs are our biggest rockstars. But don't sit there in silence, dear local music lover, we reached out to our dialed-in friends and music editors around town to tell us about the local acts they're ready to see make it big in 2013.
One of the much-vaunted Sundance slate of movies directed by women, "It Felt Like Love" marks yet another micro-budget hand-held look at an adolescent's coming of age. This one is well-shot in HD by director Eliza Hittman, a Cal Arts grad making her feature debut after screening her short "Untitled" at Sundance, with help from D.P. Sean Porter and rookie teen actress Gina Piersanti, who has a future.
Filmed in the Brooklyn area, on the beach and other local environs, the movie is slow, intimate and almost silently observational but eventually its impact builds as this motherless lonely young girl seeks connection via sex with an older guy.