The latter screened just a few days before the cultural Leviathan known as Frieze Week descended upon the city, bringing with it a deluge of rain and the attendant disenchantment. The LA art scene grew up. Or at least, the kids stacked two-by-two threw on a trench coat and did their best. Among the gallery openings I caught in the days leading up to the fairs, O-Town House gallery in Macarthur Park opened a solo show with Suzanne Jackson, who in the late s ran Gallery 32 out of the same location, a white-stucco complex called the Granada Buildings.
The show focuses on the patient, impasto-laden paintings Jackson made over the past decade on scrunched and folded canvases, shown along with ephemera from her gallery. Ruppersberg synthesized a ratty beatnik sensibility with the humor of West Coast conceptualism, then threw in some NYC-inflected literary gestures for gravitas, all while keeping a hand in the illustrative obsessions he honed in the Midwest. His Untitled Canvas Aquarium is a humble-looking aquarium fitted with lights and filled with nothing but a few inches of gravel and a blank white canvas.
Not long before the acquisition, UFC inked an exclusive million-dollar contract with Reebok, effectively barring its fighters from securing their own endorsement deals while sending them into the ring as independent contractors with zero health benefits.
Its campy, ruinous look worked particularly well among the ad hoc ruins of the dampened backlot. Over at satellite fair Felix, held at the Roosevelt Hotel in Hollywood, the throngs of people wending their way around the 11th-floor rooms where galleries took up residence, had a bit of a flattening effect for taking in the work, like being trapped in a posh MC Escher—designed house party.
Chu should merit a credit. In recent years, Hollywood has produced film and television costume epics featuring the legendary pageantry evoking Golden Era classics. Nevertheless, this craft, which actually deserves its own museum — if not a wing at the Academy Museum — shares space in the averagely sized Identity Gallery along with the handiwork of hair designers and makeup artists.
A linear narrative conveying the history of Hollywood costume design — which was defined from its inception by LGBTQ communities and by a generation of women who shattered the glass ceiling long before the term originated — could lend a meaningful framework to Identity, which uses drawings, costumes and monitors to convey how screen wardrobes shape film characters.
Given that a group of three is always more memorable than a duo, a companion for the Oscar attire — like the velvet Christian Siriano tuxedo dress that Billy Porter flaunted at the 91st Academy Awards — might add balance to the display. It merits an installation, possibly one devoted to the mementos that actors often utilize to process their character or keep with them in challenging situations, like Oscar night. Nevertheless, the dramatic adventurism which Renzo Piano has lent to the Academy Museum — and which defines the craft it elevates — will, one hopes, filter through to its exhibitions in time.
Sign up for THR news straight to your inbox every day. October 16, am. Related Stories. All Rights reserved. Close the menu Logo text. Sponsor: Funding for the processing of this collection was provided by Gerald and Bente Buck. The papers include biographical material, correspondence, writing and research project files, printed material, writings by others, photographs, and artwork.
Biographical material consists of a notebook planner and professional contact addresses, as well as Schipper's resume and bibliography. Scattered correspondence is both personal and professional with family and colleagues. Over one-half of the collection consists of Schipper's writing, research, project, and exhibition files. There are drafts, essays, manuscripts, notes, and research documentation about California art and artists, an exhibition of craftsman William Spratling curated by Schipper, Schipper's dissertation and additional projects on Jean Helion, the exhibition Americans in Paris in the s , additional exhibitions, as well as transcripts of interviews with artists.
Extensive printed materials include clippings and copies of journals and periodicals containing Schipper's writings. There are a few scattered writings by others about art and artists.
Photographs are of Schipper, artists, artwork, and places, including Paris. Artwork includes one original poster print by Kiki Smith and one drawing by Matt Mullican.
Arrangement: This collection is arranged as 7 series. Schipper was a familiar figure on the Los Angeles art scene.
Her primary scholarly focus grew out of her dissertation research on Jean Helion, but much of her writing attention was devoted to Los Angeles artists and art world events. Merle Schipper died in Sponsor: Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund. Scope and Contents note: The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings by Langsner; exhibition files; printed materials; photographs of Langsner, others, travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.
Biographical materials consist of an address book and file, committee files, scattered financial statements, and documents related to the Ford Foundation and other foundations, teaching, and traveling. The 0. Letters to June Harwood were written while Langsner was traveling in and and discuss his travels and their relationship which culminated in marriage in Italy in Among the 2.
There are also essays, lectures, poems, drafts, notes, jottings of ideas, proposals and published and unpublished manuscripts.
There are drafts and unpublished versions of "Painting in the Modern World", and numerous other essays on contemporary art.
There are also extensive handwritten notes on his travels, Asian art, European art, and other subjects. Printed materials include miscellaneous flyers, brochures, and news bulletins, and press releases.
Photographs are of people, places, works of art, and exhibitions. Photographs of Langsner's travels are of Japan, Korea, Taiwan, and other locations. Audio recordings include four untranscribed 7" reel-to-reel audio recordings and one cassette tape. The cassette tape is a copy of eulogies. Arrangement note: The collection is arranged as 7 series.
Photographs are arranged by subject, otherwise each series is generally arranged chronologically. The family lived on a farm and opened the Paradise Health Resort which was run by Langsner's father, chiropractor Isadore Langsner, and was popular in Jewish and intellectual circles.
Guston, Kadish, and Jackson Pollock were later mentored by Lorser Feitelston which helped to foster in Langsner an interest in avant-garde painting. Langsner went on to study philosophy at the University of California, Los Angeles.
In the early s, Langsner married and had a son, Drew Langsner. He divorced in Langsner wrote extensively about art history in both published and unpublished manuscripts, including Painting in the Modern World which he worked on until his death. Additionally, he taught art history classes at the Chouinard Art Institute and University of Southern California and lectured for a variety of organizations and occasions.
Langsner curated several influential exhibitions in southern California, including the "Four Abstract Classicists" exhibition for the Los Angeles County Museum of Art in and in whose catalog he and Peter Selz coined the term "Hard-Edge painting. Langsner received a grant from the Ford Foundation in that allowed him to travel throughout Asia, the Middle East, and Europe for a year studying regional art and architecture. He wrote notes on his travels and corresponded frequently with June Harwood, a Hard-Edge painter, whom he married in Italy in Jules Langsner died unexpectedly of a heart attack on September 29, , in Los Angeles.
Restrictions: Use of original papers requires an appointment. Find out what's included in each of the categories. Include Term Exclude Term Images 2. Include Term Exclude Term Sound recordings 1. Include Term Exclude Term Finding aids Include Term Exclude Term Electronic resource 1. Frequency Alphabetical.
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