Painting in L.A.

CHRISTOPHER KNIGHT has expressed so well the truth about art today, especially modern art, in Los Angeles -- we are the Paris of the ‘20s, the New York of the ‘60s [“Painting Gets a Broader Brush, Dec. 2]. Another positive example is the transition taking place at LACMA. In addition to an entire museum makeover, the new Broad Contemporary Art Museum opening in February will highlight a very large collection of well-known modern painters as well as some of today’s upcoming contemporary artists, many of whom get their inspiration in the Los Angeles area.

Take that, N.Y.!

Priscilla Fourer

Palos Verdes Estates

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ARTISTS invite us to join them in their space. Appreciation demands we pay attention. Banal or boring space pushes the viewer away.

Knight’s examples to demonstrate that painting is “not dead” were depressing. Those that did not push me away left me cold. I must suppose either my tastes remain undeveloped or his tastes have reached beyond desperation. Is anyone painting anything other than stunts?

Rex Styzens

Long Beach

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RATHER than recycle the nonargument regarding media relevance and territory, wouldn’t it be more interesting and challenging to consider the role of art in the quality of individual and collective lives? These talented artists deserve our attention, but, really, the questions of New York or L.A., was it sculpture or painting, are diversions from more significant and complex meditations on the myriad forms, implications and evolving significance of visual art, and ironically feature in the academicism Mr. Knight has rightly cited as a problem in contemporary art practice.

Laurel Beckman

Santa Barbara