Culture: High & Low
With Carolina A. Miranda
Moment of Friday: It's all about King Tut -- and his botched repair job

First there was Beast Jesus. Now King Tut.

The Internet went bananas this week when it was discovered that a rushed restoration job on King Tutankhamun's funerary mask at the Egyptian Museum in Cairo left the 3,000-year-old relic bearing traces of glue.

The beard portion of Tut's mask had come off and was reattached using what was likely an epoxy, according to the Arabic news site Al Araby Al Jadeed, leaving a layer of glue on the figure's chin. This was confirmed by a BBC reporter, who saw the mask and says that there is indeed glue visible. Epoxies are rarely used in museum conservation work because they are irreversible, reports

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The fall and rise of Clyde Beswick and his CB1 Gallery's new downtown digs

Clyde Beswick is not your stereotypical art dealer. He is not into scene-making or air kissing or gray power suits. He's easy-going and personable, and you’re much more likely to find him in red flannel or bright gingham. He's the type of dealer who runs a gallery because he relishes spending time around art and artists.

Art, Beswick insists, is "not a commodity. I’m not selling food," he says. "I can’t get involved if I don’t fall in love with what I’m showing.”

Galleries are not easy propositions. It can be a juggling act of finding artists, installing shows and alerting the public. There are critics to contend with, the public’s fickle tastes and the endless fluctuations of the market. It’s no surprise that spaces come and go like the tides.

For the last five years, however, Beswick’s CB1 Gallery in downtown L.A.’s historic core, has been quietly nurturing the careers of a wide range of emerging and mid-career artists, figures who aren’t superstars — at least not yet — but who are...

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Datebook: Vintage car design, objects of desire, flight of the bumblebee

There is a little bit of everything going on in Los Angeles this week — from a historic exhibition about the arduous process of ending slavery in the United States to a design show that brings together illustrations from the golden age of the American automobile. In between, there are shows devoted to desire, the life of bumblebees, woven paper, Hollywood portraits and skateboard graphics. Here’s what we’ve got in our Datebook:

“The U.S. Constitution and the End of American Slavery” at the Huntington Library. An exhibition of more than 80 objects — including letters by George Washington, Thomas Jefferson and Abraham Lincoln — explores the tumultuous and bloody road that led to the passing of the 13th Amendment, which abolished slavery. Opens Saturday and runs through April 20, 1151 Oxford Road, San Marino,

“Man-Made: Contemporary Male Quilters” at the Craft and Folk Art Museum. A series of works produced by a loose network of eight male quilters features elaborate...

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Comedians and cartoonist gather to discuss satire and censorship

Comedians, writers, satirists and a cartoonist gathered Thursday night at Hollywood's Upright Citizens Brigade to discuss censorship and satire in the wake of the killings at the offices of the Charlie Hebdo magazine in Paris. But while part of the debate mirrored some of what has been said already on the case — and included a broad condemnation of the violence — there was also an expression of discomfort with the racialized nature of the cartoons that have appeared in Charlie Hebdo.

As stand-up comedian Azhar Usman — the Chicago-born son of Indian Muslims — put it at one point: "[Screw] terrorism and [screw] these racist cartoons."

Organized by the progressive site Blue Nation Review, the boisterous hour-long conversation (warning: coarse language is used) included comedians Phil LaMarr, Paul Provenza and Usman; political cartoonist Matt Bors; "Daily Show" co-creator Lizz Winstead, and "Family Guy" show runner Rich Appel. They discussed the difficulty of producing satire, the ways in...

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Michael Hayden on revival of his Pershing Square light sculpture

When the International Jewelry Center opened in downtown Los Angeles in the early 1980s, The Times' architecture and design critic John Dreyfuss described the building, by Skidmore, Owings

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Roundup: Preserving Norm's, Zaha's Tokyo stadium, Hirst on Mars

The fight to preserve Norm’s on La Cienega Boulevard, the chilly reception for Zaha Hadid’s Olympic Stadium design and George Lucas’ plan to keep L.A. as a plan B for his museum — there’s a whole lot of architecture going down in the Roundup this week. But there’s also follow-up on the Charlie Hebdo attacks, a report about Damien Hirst’s art on Mars and a bot that writes about art. Which makes me think that maybe I don't need to come to work anymore...

— It's Martin Luther King Jr. Day. To mark it, have a gander at Glenn Ligon's painting "Untitled (I Am a Man)." As Ligon says in the related audio, it provides an opportunity to think about history as a process rather than a series of fixed events.

— In the wake of the Charlie Hebdo attacks, France's Chateau de Versailles has hung a portrait of the satirist Voltaire with a wall text that reads, "What is Tolerance? It is the consequence of humanity." (Artinfo)

— Speaking of which, The Times had an interesting round-up of essays related to...

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