THE GETTY MUSEUM The Getty complex overlooking the Sepulveda Pass houses several discrete institutions under one roof. Two of them, the Museum and the Research Institute, regularly feature exhibitions. Not so regularly, the exhibitions in different parts of the Museum align with one another and with
[eltdf_dropcaps type="normal" color="" background_color=""]N[/eltdf_dropcaps]ovelty seduces us, if for no other reason than at least to deflect the gravity of our own mortality. A steady stream of all that appears new, improved, and thus, exciting, underscores time’s fluid nature. As a poetic counterpoint to this, Los
PVC pipes. Plastic bottles. Cable ties. The stuff dreams are made of— at least in Theo Jansen’s world. The Dutch sculptor has spent a quarter century transforming mundane materials into complex creatures in The Hague, Netherlands. His anthropoid-looking sculptures—named Strandbeests (‘beach animals’ in Dutch)—use the
Temporary Space, a new exhibition platform expressly for mid-to-late career artists, launched in March with an exhibition by Richard Shelton. Richard Shelton, 50 Years of Painting will be on view through June 2015. Unlike a traditional gallery, Temporary Space presents the complete archives of selected mid-to-late
Henri van Noordenburg’s studiously enriched photographs of landscapes reflect his Dutch heritage in several ways. Most obviously, they began life as archival images of 1940s farm houses and environs once situated near the city of Amersfoort, about 50 kilometers south-east of Amsterdam, where his father’s
