The legendary entertainer and eight-time Grammy winner brings Broadway to the Bowl for two nights, concluding a tour of the United States and Canada in support of her new album, “Release Me,” a collection of previously unreleased songs. Streisand performs crowd-pleasing hits that span her entire career, including “The Way We Were,” an homage to the late Marvin Hamlisch, and sings duets with son Jason Gould, half-sister Roslyn Kind and more. Pop-jazz trumpeter Chris Botti and Italian operatic trio ll Volo also appear. Fri. 8 p.m. Nov 11. 7:30 p.m. $70.50-$756.50. Hollywood Bowl, 2301 N. Highland Ave., Hollywood. (323) 850-2000. hollywoodbowl.com.
When artist Sharon Lockhart traveled to Israel in 2008, she wasn’t searching for Noa Eshkol. The Israeli dance composer and textile artist was not well-known outside her own country. In fact, Eshkol isn’t terribly well-known within Israel, where companies like Batsheva, Inbal, Bat Dor and the Israel Ballet hold far more cachet than Eshkol’s humble troupe.
At the Los Angeles County Museum of Art right now, in the ground-level hall of the Art of the Americas building, right off the main courtyard, a life-sized, lifelike sculptural installation shows a black man being castrated by a group of five white men wearing cartoonish masks.
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.
When the curators from Manhattan’s Museum of Modern Art (MoMA) came calling two years ago, my husband, Ron Magid, had prepared for them a veritable smorgasbord of art by the gothic filmmaker Tim Burton. Among the fare sprawled across our dining room table was a pointy-eared cowl from “Batman,” Jack Skellington storyboards from “The Nightmare Before Christmas” and puppets from “The Corpse Bride,” whose ghoulishly charming heroine sprouts a maggot from her eye.
Discomfort with German art might seem like a problem that's particular to the Jewish community. It's another part of the "I would never set foot in Germany" statement that I often heard in response to my frequent German trips and my subsequent working in Berlin
Last Thursday night at LACMA, I was treated to a reading of my own works by the very talented and beautiful actress Bahar Soumekh, and by UC Irvine professor Nasrin Rahimieh. Outside the Bing Theater, rain poured in sheets, and traffic on Wilshire was at a standstill because all the lights had been blown out by the wind and -- this being Los Angeles where even the mildest winter storm is dealt with like Armageddon -- I was rather astonished that anyone had shown up at all.
In February, the Los Angeles County Museum of Art will unveil the first phase of its renovation and expansion, including the opening of a new building devoted to contemporary art -- the Broad Contemporary Art Museum (that's Broad as in Eli and Edythe Broad, our local Medicis) or, as the acronymists at LACMA have dubbed it, BCAM.
Early in the last century, when film was a newer medium, many artists were intrigued by its kinetic visual possibilities, and for a fantasist like Dali, the opportunities must have seemed especially rich.
Now that we're commemorating the 40th anniversary of the famous "Summer of Love," I'm trying to figure out whether any of the backward glances will be able to convey a sense of what it was like.
7 Days in the Arts
Currently the L.A. area is hosting two world-class exhibitions of ancient Egyptian artifacts: King Tut has taken up residence in Mid-Wilshire in the LACMA annex. Less than an hour away, in Santa Ana (of the eponymous hot winds), the Bowers Museum is showcasing one of the greatest exhibits of mummies ever seen in the United Statesfrom the collection of the British Museum.