What a breath of fresh air it was to read Lewis Beale's "Mayhem in the Land of Wyeth" (Aug. 11) on the coming movie about Pennsylvania's Johnston gang (robbery, rape, murder).
"Transitional exhibition" is a charitable critical euphemism for an art that has abandoned former virtue without gaining new ground.
Anne Marie Karlsen's paintings and collages straddle a thin line between modernism, with its focus on form, color, shape and geometry, and post-modernism, with its desire to reveal the structural deceits of the same.
One of the more interesting contradictions resulting from the cross-cultural hybridization between East and West has been the ambiguous status of the art object itself.
At first glance, Brian Pilon's wall constructions resemble weathered industrial detritus left out in the rain for several months then brought indoors to be displayed as fetishistic urban relics: part architectural totem, part structural artifact.
As in work by Frederic Church and Alfred Bierstadt, Peter Zakosky's epic landscapes present the natural universe as the splendid stage on which man acts out his baffling play.
Actor Lorne Greene, who became famous as cowboy patriarch Ben Cartwright on television's "Bonanza," will be awarded a star on Hollywood's Walk of Fame at 12:30 p.m.
Time was when appreciating contemporary art according to subject matter was regarded as gauche and irrelevant.
Volunteer workers and donations of cash, clothing, food and furniture are needed at the Hollywood
Pepo Pichler's primitive surrealist paintings take the viewer on a harrowing excursion comparable to Dante's journey through hell.
Veteran gay activist Morris Kight has been appointed by 3rd District Supervisor Edmund D.
An exhibition of sculpture by Eileen Senner might be titled "Homage to Moby Dick."
Given the unabashed hedonism of Michael Falzone's latest paintings and sculptures, it's hard to believe that this Altadena-based artist began his career as a Minimalist.
In any breadth vs. depth discussion, Martha Alf is sure to land in the depth camp.
Tom Stanton ought to do a portrait of Savonarola.
Insider trader scandals on Wall Street lately suggest a morality where anything is OK if everyone is doing it.
If Marcel Duchamp had lived at the beginning of the Industrial Revolution, he might have made objects something like Bella Feldman's latest series of steel sculptures.
For a young painter to turn out hard-edged abstractions that are virtually identical to Agnes Martin's work of 20 years ago seems rather perverse.
"My Trip to New York" records a journey by photographer Judy Fiskin on which she saw no monuments or tourist attractions, only modest houses in ordinary neighborhoods.
In the early '80s, enigmatic graffiti--chiaroscuro silhouettes of a man--began turning up in Manhattan.