Culture: High & Low With Carolina A. Miranda
Roundup: Art world lessons -- how to get an MFA in an hour, nudity on Facebook

A museum tallies its anniversary gifts, a free MFA (in less than an hour!), a digital vault for historic works of video art, a new biennial grows in Chicago, and a high fashion movement in Congo. Plus: The low pay of part-time college faculty, and an artist proposes swapping a decayed house for great work of public sculpture in Kansas. Lots going on in the Roundup:

— Roughly a quarter of part-time college faculty and their families are on public assistance, according to an analysis by UC Berkeley. 

— An artwork based on surveillance survives a court challenge. 

— Russian artists try to find a way to work around obscenity laws

— Critic Jerry Saltz writes a worthwhile long read on museums as historical warehouses in a period dominated by the contemporary on the occasion of the opening of the new Whitney Museum in New York.

— LACMA has pulled in all kinds of new gifts on the occasion of its 50th anniversary, including a canvas by Jean-Auguste-Dominique Ingres and a new Monet. 

An MFA...

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'Sábado Gigante' has, for better and worse, defined Spanish-language TV

Some television shows are around so long that you assume that, like zombies and certain plastics, they simply cannot die. That was certainly the case for "Sábado Gigante," the weekly Spanish-language variety show hosted by Chilean presenter Don Francisco that has been around in one form or another since John F. Kennedy was president. It has lived longer than the "Tonight Show with Johnny Carson" (30 years), "Saturday Night Live" (40 years) and "General Hospital" (52 years).

So, the announcement that the show would be retired come September has sent the Internet into a tailspin of CAPS LOCK EMOTING and exclamation point abuse. In the last 18 hours, I've seen perfectly rational adults post social media status updates that read: "NOOOOOOOO!!!!!!!!" and "I'm not sure I want to live in a world without Sábado Gigante."

For more than half a century — the show has been on the air for 53 years — "Sábado Gigante" has been the face of Spanish-language television in the U.S. But over time, that face...

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Why Rosamund Felsen left Santa Monica for downtown's industrial arts district

There are a lot of reasons that longtime L.A. gallerist Rosamund Felsen is in love with her new exhibition space in downtown Los Angeles.

There is the light, a soft, filtered glow that pours down from the skylights onto a series of bright abstractions by Encinitas-based Kim MacConnel. There is the continuous rumble of the busy industrial street outside, with its mechanical parade of graffiti-bombed trucks and seafood delivery vans.

And, above all, there is the location: just south of the Arts District, in the same light-industrial building that houses Clyde Beswick’s CB1 Gallery, part of a growing network of important downtown exhibition spaces.

For two decades, Felsen has been a mainstay at Santa Monica's Bergamot Station. But a combination of factors (among them: a nightmarish daily commute from Los Feliz) had her looking for a new spot. Downtown, however, wasn't her first choice. In fact, it took a little nudging to get her to this gritty stretch of Santa Fe Avenue, south of the 10...

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Datebook: Experimental photography, stitched portraits, night of stories

A night of live storytelling, pictures that play with the act of picture-making, a children’s story reinvented, and stitched pieces that evoke innocent childhood games as well as sin. Plus: a longtime L.A. gallerist unveils her new space downtown, 100 walkers take to West Hollywood, and Moby talks architecture in Palm Springs.

“Light, Paper, Process: Reinventing Photography,” at the Getty Museum. Photography isn’t just about the image on the paper. It’s also about the processes that lead those images to appear. This group show features seven contemporary artists — Alison Rossiter, Marco Breuer, James Welling, Lisa Oppenheim, Chris McCaw, John Chiara, and Matthew Brandt — who are all experimenting with ways in which light and chemicals form what we see on the page. Through Sept. 6. 1200 Getty Center Dr., Brentwood, Los Angeles, getty.edu.  

Nery Gabriel Lemus, “Just So Stories,” at Charlie James. The work of this L.A.-based artist has consistently explored questions of identity and division...

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The Whitney Museum announces inaugural show, and the Internet parses

The Whitney Museum of American Art's new Renzo Piano-designed digs are nearly ready for opening day on May 1. And now comes the art.

This week, the lineup for the relocated museum's inaugural show, "America Is Hard to See," was announced; more than 600 works from the permanent collection by more than 400 artists will be featured in the exhibition that will fill the Whitney's 50,000 square feet of gallery space as well as 13,000 square feet of terraces.

"Numerous pieces that have rarely, if ever, been shown, will appear alongside familiar icons, in a conscious effort to challenge assumptions about the American art canon," reads the announcement.

In other words, there will be truckloads of art.

The exhibition will present 150 years worth of American art in 23 "chapters" that explore various themes — from "East West Eighth," which looks at the museum's roots at a small space opened by Gertrude Vanderbilt Whitney in 1914, to "Course of Empire," which brings the show to the present, exploring...

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LACMA's missing Goya? It ended up in the hands of Imelda Marcos

With the L.A. County Museum of Art's 50th anniversary going down this month, it seems like it's been all LACMA, all the time, around here. One of the more curious stories that emerged in all of the reporting came from cultural critic William Poundstone, who writes the blog Los Angeles County Museum on Fire.

On Monday, he published a story that asked a very good question: What ever happened to an early 19th century canvas by Francisco de Goya in the museum's permanent collection? The piece, titled "The Marquesa of Santa Cruz as a Muse," had appeared in numerous early articles about the museum, along with various vintage photographs, which show gala-bedecked patrons chit-chatting before the canvas. But then, at some point in the LACMA chronology, all references to the painting vanish. 

Until now.

Poundstone and the museum have done a little digging and have turned up the painting's whereabouts: It was part of a trove of artworks that the Philippine government seized from former First Lady...

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