Tuesday, April 26, 2016

THE BROAD -LOS ANGELES CA

 The Broad  is a contemporary art museum in Downtown Los Angeles. The museum is named for philanthropist Eli Broad, who financed the $140 million building which houses the Broad art collections. The museum offers free general admission to its permanent collection galleries. It opened on September 20, 2015.

 

 

 

  History

Since 2008, Eli Broad and the Broad Art Foundation had been considering different sites for a museum forthe art collection. In November 2008, the news surfaced that Broad had approached Beverly Hills about building his museum at the southeast corner of Wilshire Boulevard and Santa Monica Boulevard. In January 2010, he revealed that he was considering a 10-acre parcel on the campus of West Los Angeles College in Culver City. Meanwhile, in March 2010, the Santa Monica City Council approved an agreement in principle to lease the city-owned 2.5-acre parcel next to the Santa Monica Civic Auditorium to Eli Broad for $1 a year for 99 years while also contributing $1 million toward design costs. Broad would have paid the rest, an estimated $50 million to $70 million.
In August 2010, Eli Broad announced formally that he would build a museum in Downtown Los Angeles. He agreed to pay $7.7 million for a 99-year lease. Officially characterized as a grant, the money subsidized affordable-housing units at The Emerson, a high-rise residential tower next to the museum. The agreement also includes an $8.5-million government share of the cost of the museum's outdoor plaza and government payments of up to $30 million to reimburse Broad forbuilding the museum's underground parking garage. Under that buy-back provision, the garage eventually will be government-owned.
In an invited architectural competition for the project in 2010, six architects were asked to present preliminary designs. They included Dutch architect Rem Koolhaas and his firm Office for Metropolitan Architecture; Swiss pair Herzog & de Meuron; Christian de Portzamparc from Paris; Japanese duo Ryue Nishizawa and Kazuyo Sejima of SANAA; and Diller Scofidio + Renfro from New York. Diller Scofidio + Renfro were eventually chosen by Broad to design the approximately 120,000-square-foot museum, which includes exhibition space, offices and a parking garage.
In February 2015, Eli and Edythe Broad hosted a public preview of the new building, attracting some 3,500 visitors.
The museum was due to be opened by Broad and his wife on Sunday, September 20, 2015.


Collection

 

Cy Twombly- rose v
Cy Twombly

The Broad houses a nearly 2,000-piece collection of contemporary art, featuring 200 artists, including works by Cindy Sherman, Jeff Koons, Ed Ruscha, Andy Warhol, and Roy Liechtenstein. Notable installations include Yayoi Kusama’s Infinity Mirrored Room – The Souls of Millions of Light Years Away (2013), Ragnar Kjartansson’s expansive nine-screen video The Visitors (2012), Julie Mehretu’s 24-feet-wide canvas Beloved (Cairo) (2013), and Goshka Macuga’s photo-tapestry Death of Marxism, Women of All Lands Unite (2013).




andy warhol


The collection has been described by the Washington Post as including too much "high-end trash" but "even though the bad overwhelms the great, there are great works throughout." 
The building will also serve as headquarters for the Broad Art Foundation's lending library of contemporary works.
yayoi kusama infinity mirrored room

Saturday, April 16, 2016

GETTY VILLA MALIBU


The Getty Villa in the Pacific Palisades neighborhood of Los Angeles, California, USA (though its self-claimed location is in the city of Malibu, California[2]), is one of two locations of the J. Paul Getty Museum. The Getty Villa is an educational center and museum dedicated to the study of the arts and cultures of ancient Greece, Rome, and Etruria. The collection has 44,000 Greek, Roman, and Etruscan antiquities dating from 6,500 BC to 400 AD, including the Lansdowne Heracles and the Victorious Youth. The UCLA/Getty Master’s Program in Archaeological and Ethnographic Conservation is housed on this campus. The collection is documented and presented through the online GettyGuide as well as through audio tours.
 
HISTORY

In 1954, oil tycoon J. Paul Getty opened a gallery adjacent to his home in Pacific Palisades.[3][4][5] Quickly running out of room, he built a second museum, the Getty Villa, on the property down the hill from the original gallery.[4][6] The villa design was inspired by the Villa of the Papyri at Herculaneum[6] and incorporated additional details from several other ancient sites. It was designed by architects Robert E. Langdon, Jr. and Ernest C. Wilson, Jr..[7][8] It opened in 1974,[9] but was never visited by Getty, who died in 1976.[5] Following his death, the museum inherited $661 million[10] and began planning a much larger campus, the Getty Center, in nearby Brentwood. The museum overcame neighborhood opposition to its new campus plan by agreeing to limit the total size of the development on the Getty Center site.[11] To meet the museum's total space needs, the museum decided to split between the two locations with the Getty Villa housing the Greek, Roman, and Etruscan antiquities.[11] In 1993, the Getty Trust selected Rodolpho Machado and Jorge Silvetti to design the renovation of the Getty Villa and its campus.[11] In 1997, portions of the museum's collection of Greek, Roman and Etruscan antiquities were moved to the Getty Center for display, and the Getty Villa was closed for renovation.[12] The collection was restored during the renovation.[9]





A Roman Villa Recreated—early 1970s

The Getty Villa is modeled after a first-century Roman country house, the Villa dei Papiri in Herculaneum, Italy.
The building was constructed in the early 1970s by architects who worked closely with J. Paul Getty to develop the interior and exterior details.
Buried by the eruption of Mt. Vesuvius in A.D. 79, much of the Villa dei Papiri remains unexcavated. Therefore, architects based many of the Museum's architectural and landscaping details on elements from other ancient Roman houses in the towns of Pompeii, Herculaneum, and Stabiae.
Gardens are integral to the setting of the Getty Villa, as they were in the ancient Roman home, and include herbs and shrubs inspired by those grown in ancient Roman homes for food and ceremony.

The Getty Villa Reimagined—1996

Renovation of the Getty Villa began in 1996. Visitors now start their visit in a spectacular open-air Entry Pavilion, then progress along a scenic pathway to the heart of the site. With each building at a slightly different elevation, visitors experience the site as an archaeological excavation, every perspective offering new discoveries.
Visitors' first view of the Villa is through the Barbara and Lawrence Fleischman Theater. This 500-seat outdoor classical theater was also created based on ancient prototypes, and links the Cafe, Museum Store, and Auditorium to the J. Paul Getty Museum entrance.
The renovation incorporated modern designs that harmonize with the Getty Villa's original style. Wood, bronze, glass, travertine, and wood-formed concrete echo the Villa's materials. In addition to the Entry Pavilion, a new staircase was installed, and galleries were renovated with details inspired by Roman and modern models. Skylights and windows were installed to fill the space with light.

 

Antiquities in the J. Paul Getty Museum Collection

The Getty Villa houses the J. Paul Getty Museum's collection of approximately 44,000 Greek, Roman, and Etruscan antiquities. Over 1,200 works are on view in 23 galleries devoted to the permanent collection, with five additional galleries for changing exhibitions.
With objects dating from 6,500 B.C. to A.D. 400, the collection contains monumental sculptures as well as artifacts of everyday life.
 

Galleries

The galleries are arranged by theme and include Gods and Goddesses, Dionysos and the Theater, and Stories of the Trojan War, among others. This approach enables visitors to view the artworks in the context of their use in classical societies, encouraging a deeper understanding of the ancient world.

 Exhibitions and Collection

 

The Permanent Collection of the Getty Villa is comprised of approximately 44,000 Greek, Roman, and Etruscan antiquities; more than 1,200 items are on exhibit in 23 galleries.  There is also a small collection of Cycladic objects, dating from 3000-2200 BCE.



 Many of the galleries are arranged by themes, including Women and Children in Antiquity, Stories of the Trojan War, Monsters and Minor Deities, and Wine in Antiquity.



 The Villa is frequently and erroneously said to be in the city of Malibu,[12][20] but the site is in the city of Los Angeles in the community of Pacific Palisades and has a Pacific Palisades mailing address.[21][22] The Malibu city border begins a mile west of the Villa.[23] The museum itself perpetuates this error,[24] to the irritation of Palisades residents.[25]


























































































Sunday, February 28, 2016

OLD TOWN SAN DIEGO


Old Town San Diego State Historic Park, located in the Old Town neighborhood of San Diego, California, is a state protected historical park in San Diego. It commemorates the early days of the town of San Diego and includes many historic buildings from the period 1820 to 1870. The park was established in 1968.[4] In 2005 and 2006, California State Parks listed Old Town San Diego as the most visited state park in California.
In 1969, the site was registered as California Historical Landmark #830.[2] Then on September 3, 1971, it was added to the National Register of Historic Places as Old Town San Diego Historic District.[1]



HISTORY
The first European settlement on the West Coast of the present-day United States was the San Diego Presidio, a military outpost of Spanish California, founded by Gaspar de Portolà in 1769. Mission San Diego de Alcalá was founded by Father Junípero Serra the same year. The Presidio and Mission were originally built on a bluff above the San Diego River, Presidio Hill, which is now the site of the city-owned Presidio Park and which is immediately adjacent to Old Town State Historic Park.

 


After 5 years the Mission moved to a location several miles upriver at the present site of Mission San Diego de Alcalá. Presidio Hill remained the primary settlement for several decades because it was defensible against attack by European enemies or hostile Indians. As the need for defense decreased, settlers preferred to live at the base of the hill because of greater convenience. In the 1820s the town of San Diego grew up at the base of the bluff, at the site commemorated by Old Town San Diego State Historic Park. The Presidio was abandoned and fell into disrepair.



 

When California was admitted to the United States in 1850, San Diego (still largely limited to the Old Town area) was made the county seat of San Diego County, even though the town's population was only 650.[7]
The Old Town area remained the heart of the city of San Diego until the 1860s, when a newcomer to San Diego named Alonzo Horton began to promote development at the site of present-day Downtown San Diego. Residents and businesses quickly abandoned "Old Town" for Horton's "New Town" because of New Town's proximity to shipping. In 1871 government records were moved from Old Town to a new county courthouse in New Town, and Downtown permanently eclipsed Old Town as the focal point of San Diego.[8]
 

Old Town San Diego State Historic Park preserves and recreates Old Town as it existed during the Mexican and early American periods, from its settlement in 1821, through 1872 when it lost its dominant position to Downtown.

 

The Old Town area is a popular tourist destination, known especially for its Mexican restaurants. The state park itself hosts several eating establishments, and other restaurants and gift shops are found in the surrounding neighborhood.

RESTAURANTS IN OLD TOWN

Known for colorful Mexican cuisine, Old Town's dining is lively and vibrant. For authentic flavors and techniques in an upscale atmosphere, diners head to El Agave. This second-floor hacienda-style hideaway boasts a mind-blowing tequila collection and a menu specializing in upscale dishes that celebrate indigenous Mexican ingredients. At Café Coyote, the festive décor, massive margaritas, strolling mariachis and open air atmosphere prove that diners don't have to choose between flavor and fun. For a change of pace, Harney Sushi offers creative Japanese dishes and sushi roll concoctions, such as the "Mike Check" roll featuring lobster, cilantro, garlic ponzu and wonton chips, as well as expertly prepared traditional nigiri. Needless to say, Mexican cuisine is the specialty in Old Town, and you'll find authentic fare at Old Town Mexican Cafe y Cantina or any of the other local cantinas.
 


 CASA DE ESTUDILLO 
 
The Casa de Estudillo, also known as the Estudillo House, is a historic adobe house in San Diego, California, United States. It was constructed in 1827 by José María Estudillo and his son José Antonio Estudillo, early settlers of San Diego, and was considered one of the finest houses in Mexican California.[5] It is located in Old Town San Diego State Historic Park, and is designated as both a National and a California Historical Landmark in its own right.[1][4]

 

Besides being one of the oldest surviving examples of Spanish architecture in California, the house gained much prominence by association with Helen Hunt Jackson's wildly popular 1884 novel Ramona.[6] The Casa de Estudillo is one of three National Historic Landmarks in Southern California that were closely tied to Ramona, a novel of Californio life shortly after the American acquisition of California; the other two are Rancho Camulos and Rancho Guajome.

 


 DESCRIPTION
The large building is a U-shaped structure, measuring 113 feet (34.4 m) on the front side, and 98 feet (29.9 m) on each of the wings.[7] It is constructed in the Spanish Colonial style, meaning that the house's 13 rooms are set consecutively in the building and connected only by an external covered corredor (as opposed to an interior hallway).[8]
The main portion (the center) contains the entrance, facing west. To its left is the chapel and to its right is the schoolroom. Both rooms originally were smaller, with bedrooms located at the ends of building, but a 1910 restoration eliminated those walls to enlarge the rooms. Two bedrooms, a living room, a kitchen (which was added at a later date), and the servants' dining room are in the north wing, while the south wing has three bedrooms and the family dining room. The house is topped by a cupola from which bullfights and festivals in the adjacent plaza could be seen.[5]

 

 

 

Association with the novel

José Antonio Estudillo died in 1852, and his family stayed until 1887, when they moved to Los Angeles, leaving the house in the hands of a caretaker. Meanwhile, the 1884 publication of Ramona, a novel set in Southern California which painted a romanticized portrait of Californio life, generated a nationwide interest in the region. This, combined with the opening of the Southern Pacific and Santa Fe Railway lines (and the ensuing rate war,[9] which drove prices down to as low as $1 from St. Louis, Missouri to Los Angeles[10]), meant that hordes of tourists made their way to Southern California to see the locations in the novel. Unfortunately, Jackson died in 1885 without ever having disclosed what the actual locations in the novel were, which caused a great deal of speculation.[11]





In 1887, a front page article of the San Diego Union declared the Estudillo home to be "Ramona's Marriage Place", saying, "To sleepy Old Town (the house) is known as the Estudillos, but the outside world knows it as the marriage place of 'Ramona.'"[10] This was despite Jackson never having visited the house, but in the novel, Ramona was married in a "long, low adobe building which had served no mean purpose in the old Presidio days, but was now fallen in decay; and all its rooms, except those occupied by the Father, had been long uninhabited".[12] Despite the novel being a work of fiction, visitors flocked to the building thinking it was the actual location of Ramona's marriage. To be clear, the Union did not simply invent this story; a tourist had already scratched the name "Alessandro" (Ramona's husband in the novel) in one of the walls.[13] The caretaker decided to capitalize on the attendant publicity and began selling off pieces of the house as souvenirs. Naturally, the building's condition began to deteriorate rapidly.[11]