It’s back! Remember long ago in those dark days of 2011, when “Pacific Standard Time,” the Getty-sponsored initiative, got more than 60 cultural organizations throughout Southern California to shine a light on the impact of Los Angeles’ art scene between 1945 and 1980?
Gustav Klimt is best known for his famous golden paintings, portraits of society women adorned in jewels and cloaked in gold, and for the flat two-dimensionality of his work that led many to declare it superficial and merely decorative. The Getty exhibition “Gustav Klimt: The Magic of Line” puts a lie to that characterization, demonstrating how Klimt’s work conveys complex emotions and even allegorical ideals.
For those of us who are not native to Los Angeles yet live here (some for more of our lives than anywhere else), there is a compulsion to define Los Angeles, to get control in some manner of this ever-changing city that is distinguished as much by its sprawl as its particulars, by its air and light as its buildings and institutions, by its self-made individualists as its patchwork of ethnic communities.
The recent discovery of a long-overlooked legal document could substantially alter the situation, potentially allowing for a public street to be constructed that would lead directly to the entrance of the proposed site.
Everything went smoothly until April 2, when Getty Trust attorney Lori Fox informed Cunin that Chabad does not have the right to approach the building via a private Getty service road -- which Chabad disputes
The Getty Center's upcoming exhibition "Holy Image, Hallowed Ground: Icons from Sinai" (Nov. 14-March 4) provides a great opportunity to ponder these religious confluences, while also coming almost face-to-face with some of the earliest, and most beautiful, images in Christian art.
It's definitely tsuris time at the pristine white acropolis complex of the Getty, which overlooks the San Diego Freeway, and at its wonderful, freshly renovated, fake Pompeian villa up the Pacific Coast Highway. Barry Munitz, the Getty Trust's president and CEO since 1998, has been battered with press reports about apparently uncontrolled and self-indulgent personal expense-account spending of the kind that we have learned to associate with corporate malfeasance. The Getty's vast assets may result from spectacular corporate earnings, but a trust is responsible to the public -- to us! -- not to stockholders. Insider staff dissatisfaction became most evident last fall, with the sudden resignation of Getty Museum Director Deborah Gribben.