They say diamonds are forever, but at this point I am starting to believe it’sbronze that is forever.  Take a stroll through the galleries of the Getty Museum’s newest exhibition, Cast in Bronze: French Sculpture from Renaissance to Revolution, and you will be a believer.  Oh, you will see the light.

Cast in Bronze was co-organized by our very own Getty Museum (represent!), the Metropolitan Museum of Art, New York, and the Musee du Louvre, Paris.  This show has enough street cred to start its own record company/lifestyle clothing line/cologne due to these three institutions’ collaboration and over thirty years of research by the French Bronze Study Group.

Cast in Bronze showcases a comprehensive collection of French bronze sculpture created from the Renaissance until the end of the monarchy during the French Revolution in 1792. You’ll see a lot of classical allegories, portraits, and horses, but you’ll also appreciate the high amount of skill necessary to make bronze statues seem alive. Let me tell you, it is really hard to make lifelike hair…and drapery…and hands… you get the picture.  Both large, monumental statues and smaller, more domestically orientated bronze works were the pride of the nation and stylistically became the standard for most European countries.

And in case you were looking to make a bronze statue of a loved one or even yourself, be sure to check out an accompanying exhibition Foundry to Finish: The Making of a Bronze Sculpture – a show featuring step-by-step models of the lost-wax method and radiographs (score!). 

Cast in Bronze: French Sculpture from Renaissance to Revolution is on view at the Getty Museum until September 27, 2009.  For more information, please call (310) 440-7300 or click here. 

Image: Winter, Philippe Bertrand, late 1600s - early 1700s, bronze, ~19″ high.  The Royal Collection — Her Majesty Queen Elizabeth II

Youssou N’Dour has a life, career, and musical style representative of much of Western Africa, specifically Senegal.  He is inarguably the most famous singer in that region of the world and as a result of where he’s from and who his fans are, his music carries a stronger message and often calls his listeners to act.  He helped create Senegal’s most popular national style of music, called “mbalax,” which is rhythmic dance music that draws inspiration from hip hop, jazz, Latin music, and the traditional drumming of Senegal: “sabar.” 

Youssou N’Dour is, for lack of a better phrase, the musical heart of Western Africa.  A self-described “modern griot,” meaning poet or wandering musician, N’Dour has collaborated with the likes of Paul Simon, Sting, Peter Gabriel, and Bruce Springstein and perhaps more importantly, N’Dour has been an active participant in a great many humanitarian causes like the “Amnesty International Campaign to Save Darfur,” and IntraHealth International.  In I Bring What I Love, filmmaker Elizabeth Chai Vasarhelyi chronicles the production, release, and consequences of N’Dour’s 2004 album Egypt.   The controversial album was a collaborative effort between N’Dour and the Egyptian Fathy Salama Orchestra and explores Islam as it is practiced in Senegal and Egypt.  His lyrics offer a hopeful, tolerant view of Islam, but were received with criticism from Muslims who felt that it was blasphemous to dilute the religion by melding it with pop culture. 

In I Bring What I Love, opening tomorrow at Laemmle’s Sunset 5 theatre, audiences are able to see the hopeful message N’Dour had intended with Egypt and how it all came to be.  The work on that album was intended to send a particular message to a world in which the Muslim religion is so often inaccurately associated with fear and terror.  He was trying to send the message that in his country and in his experience, Islam is a beautiful, tolerant, enjoyable religion.  

I Bring What I Love is playing from July 3 at the Laemmle Sunset 5 theatre.  For more information or to buy tickets, please call (323) 848-3500 or click here.  

What if you took the movie Transformers and you threw out all the robots, then replaced them with humans?  Humans loaded not with special effects or metallic machinery, but with self-doubt, anxiety, jealousy, rage, sadness, laughter, glee, etc.  These humans have the ability to transform, but how and into what — they don’t know.  All they know is their own bodies, own voices, and own selves. That is the extent of their weaponry.  What would these humans then say to each other?  How would they interact?  Would they eventually transform?  And if so, into what?

The answers to these questions and more can be found in the Theatre Unleashed production of Metamorphose, showing for a limited run this Wednesday and Thursday, July 1 and 2, at 8:00 PM at the Studio/Stage Theatre in Koreatown.  Directed by Heather Halloway, the largely actor-created performance combines elements of improvisation, dance, movement, spoken-word, poetry, fairy tales, and Kabuki to tell the story intrinsic to all stories: the one of metamorphosis.

So if you’re tired of robotic, money-draining blockbusters and feel like you need something new in your life (perhaps something transformative?), then support a local theatre and see Metamorphose.  Prove that Los Angeles can indeed be more than just fast cars and studio-generated fantasies. Although you can use your fast, studio-paid car to get there.

The Theatre Unleashed production of Metamorphose can be seen at 8:00 PM this Wednesday and Thursday, July 1 and 2, at the Studio/Stage Theatre (520 N. Western Ave.) in Koreatown. For more information, please call Studio/Stage at (818) 849-4039 or visit www.theatreunleashed.com.

The most relevant Korean exports to the world in the past decade are Korean-style telenovelas - subtitled/dubbed TV gems that are religiously followed worldwide, Pinkberry style frozen yogurt, and Samsung.  But those three aren’t the only ones anymore.  As Korea grows at astonishing rates, it is experiencing a golden age where the citizens want, expect, and create a high standard of living.  And like the ancient Greeks, they know how to show the world that they know exactly what they are doing - with art.  Their best bet has been to make site-specific, large art installations, like those LACMA and the Museum of Fine Arts, Houston selected when organizing Your Bright Future: 12 Contemporary Artists from Korea.  This show features a handpicked group of both emerging and established Korean artists working directly with and around a Korean context.

This generation of artists has freedom to explore the international contemporary art scene while focusing their efforts on making sense of their place within and apart from the modern world beyond the Pacific. As seen in their artwork, political upheaval and turmoil have been largely a result of domestic growing pains. While on the other hand, tongue-in-cheek jabs on stereotypes or a subtle sense of humor peeks its head.

In the BP Grand Entrance, is HappyHappy, which is a crowd pleaser for sure.  Created by Choi Jeong-Hwa, the father of Korean pop art, thousands of cheap, colorful plastic baskets and bowls procured from local 99Cent stores are strung together and suspended from up high.  The effect is festive and dazzling.  Another highlight includes Do Ho Suh’s Fallen Star 1/5, a work featuring an incredible miniature modern house with a traditional Korean home crashing into the side.  The viewer is floored at the detail as s/he peers into each room filled with mini objets d’arte, Prismacolor colored pencils, and tiny slices of pizza.

Overall vibe of the show is witty, humorous, and genuinely hopeful.  It is a nod to the fact that LA is home to the largest Korean community outside of Korea. After checking out the show, grab some kimchi and shortribs, and call it an Angeleno day. Kogi, anyone?

-By Peter Lee

Your Bright Future will be at LACMA until September 20 and then it will travel to the Museum of Fine Arts, Houston.

There’s no question that what you see in Beau Willimon’s Farragut North, on now at the Geffen Playhouse, is a piece of a whole, a particular look at larger issues.  The set, before the action begins, is lit to look as though it’s entirely painted with blue and white blocks which introduces the feel of a painting in an exhibit or an invitation to look closer. Once the actors grace the stage and the dialogue begins, you’re faced with a fast-paced, media heavy production that feels like Anderson Cooper’s insiders guide to political campaigning.  You’re faced with politics, sex, and the politics of sex. 

Starring Star Trek’s Chris Pine (we’ll get to him later), Sex and the City’s Chris Noth, Juno’s Olivia Thrilby, and a host of other accomplished actors, Willimon’s words are well taken care of.  Noth, as Pine’s boss, plays a crude, fast, and clever campaign manager who has obviously been through the ringer in this business.  Pine plays his younger, more charismatic counterpart and, in all honesty, steals the show.  I haven’t seen Star Trek yet, but I will say that considering the shift from Hollywood blockbuster to Geffen Playhouse I was dubious going in.  His performance alone is worth seeing this play.  Not to lessen the achievements of his fellow actors; they’re all on top of their roles and deliver their dialogue with presence, passion, and conviction.  As they should be - Noth, Thrilby, and Isiah Whitlock, Jr (whose role is the personification of a quiet storm) are all reprising their roles from the play’s original production at the Atlantic Theatre in New York. 

Based on Howard Dean’s 2004 campaign for Democratic candidacy, the play follows Stephen (Pine) as he gloats about and works diligently on his flourishing career as a campaign press secretary.  His fast-paced, charm-fueled character becomes entwined in the backroom politics of campaigning and, without giving anything away, ends up taking a few certain others down with him.  The music, lighting, and projected multimedia used during set changes seems as if it was pulled from CNNs “Situation Room.”  It’s a quick-witted look into the power struggles, hierarchies, and sexual antics inherent on the campaign trail.  Imagine if HBOs Recount had a love child with Clive Owen’s recent Duplicity and then met up with better dialogue, Chris Pine, and a live stage.

Farragut North is on now through July 26 at the Geffen Playhouse in Westwood.  For more information, please call (310) 208-5454 or visit their website.  

Michael Jackson’s voice launched him into stardom; his dance moves sealed his fate as the King of Pop. His work as one of five Jackson brothers will always harbor a place in my heart.  Really gettin’ down singing, screaming, and hollering, little Michael’s fancy footwork soon transformed him into a legend with an out of this world dancing style, multi-million dollar videos, and a firm grip onto the old Hollywood tradition of showmanship. I asked our writers to share with you their favorite Jackson videos based on choreography.  We are pretty much divided into two camps, Team Black and White (1991) and Team Billie Jean (1983).  Here are our reasons why:

I wish I could say that it was incredibly difficult to narrow down all of Michael Jackson’s videos and dance moves to find my favorite. It wasn’t hard, though, because I’ve always harbored my one favorite. It’s a song with a message I’m very fond of, a video that I would have appreciated dancing in, and it showcases Mr. Jackson’s ability to move in ways that don’t always seem human. That video is “Black and White.” The song along features Slash and Bill Bottrell, not to mention Macauly Culkin in all his Home Alone glory, while the video’s got plenty of great cameos, such as Tyra Banks pre-Top Model. The way MJ moves is exclusive to him. The choreography he performs is supposedly mirroring that of the other dancers from all regions of the world, but it never quite looks the same. He’s pointing out, intentionally and unintentionally I think, that we should all be able to dance together regardless of what it looks like. It’s the kind of message that all his critics should keep in mind now.

– Nicole Campoy-Leffler - Editor in Chief

After Michael Jackson’s infamous series of plastic surgery operations, a lot of people started asking the same question: is he black….or white? I, being a pale, red-headed Jew from outside Baltimore, could relate. Ever since I saw MJ’s patented kick-spin move in elementary school, I’d learned to perfect it and bust it out at every coed dance, bar and bat mitzvah alike. It was a simple trick really — just a loose ankle kick combined with a cross of the legs, followed by a 360 spin. But for some reason, I was the only guy who could actually pull it off. And for this reason, people started asking me if I was white…or black. Seriously. So when the King of Pop died on Thursday, I got to thinking about this odd connection of ours, and also about that song of his: “It don’t matter if you’re black or white.” I think that’s true…as long as you can dance like Mike.

– Josh Morrison - Contributing writer

 In “Billie Jean,” the choreography is simple, but powerful and the narrative super strong. A solitary MJ wanders a dark urban landscape while a private eye tracks his every move.  MJ literally brings light into this dystopian world as everywhere he walks/dances and everything he touches is momentarily illuminated.  It is perfectly integrated with the music and lyrics of the song. And he still looks like a normal human being.

–Peter Lee - Contributing writer

Without a doubt, the Michael Jackson video that resonates with me most is “Billie Jean.”  While almost quaint in comparison to later videos for “Thriller” and “Bad,” the 1982 release was the perfect video for an (arguably) perfect song.  Followed by a gumshoe looking paparazzo, Jackson spends four glorious minutes dancing his way to Billie Jean’s room.  Jackson’s dancing in the video is so awe inspiring that it’s hard to describe.  His moves are angular, bold, and exude attitude, a fitting compliment to the song’s distinctive baseline.  And let’s not forget the illuminated panels that trace Jackson’s steps throughout the video.  The simple but classy effect may be a bit blunt, but who cares when it highlights this kind of dancing. “Billie Jean,” it’s simple, it’s beautiful, and above all else, it’s how I want to remember Jackson.

– Bryan Hood - Guest writer

Hands down (silver glove on) Thriller. I mean, fifteen minutes of dancing zombies, that girl with awesome hair, and Michael turning into a werewolf!? You can’t “Beat It.”

– Eric Zamorez - Guest writer

And last but not least, “Beat It.” It was the classic gang war set up with dozens of ruffians and thugs dressed in all their 80s glory attempting to convince us they are serious. I am loving the tender moments of Michael Jackson sitting in his room hyping himself up wearing a keyboard t-shirt.  When he exits dressed in his red leather jacket…you know it is on.  When the two crews meet, the fine line in between toughness and modern dance class has been erased and you know the real choreographed fighting is going to begin as the guitar rears into an awesome solo.  Jackson cuts in to show those noobs how it is really done.  His moves shown in this video have been carefully carbon copied and will be for the rest of history.  And while it doesn’t have the same grandeur of “Thriller,” the “trying to be mean” stares of all these guys are totally worth it.

Now we turn to you…what is your favorite Michael Jackson music video and why?

The New York Times has an excellent article on Michael Jackson and his moves.  Click here to read: “His Moves Expressed as Much as His Music” by Alastair Macaulay.

There are a number of people who would argue with the bold claim that Agnes Varda created the French New Wave.  Varda is still with us, though, so it’s really her word against a few dead Frenchmens’!  Born to a French mother in Belgium, Varda is known as one of the great feminist, avante-garde filmmakers of her time – and her time is still thriving.  Her latest film, The Beaches of Agnes, is a documentary on herself, her life, and her work in cinema.  She’s worked in motion pictures since her first film, La Pointe Courte in 1954, so she’s got plenty to say. 

It is easy to know quite a bit about the French New Wave without ever having heard of Agnes Varda.  Some consider her the grandmother of the French New Wave, while others argue that her films take on a more Rive Gauche (or Left Bank cinema) feel.  The Left Bank directors (Agnes Varda, Jacques Demy) and the Cahiers du Cinema directors (Francois Truffaut, Jean-Luc Godard) were advocates of each others’ work but had a great many differences that kept their films from overlapping.  The Left Bank directors were much more Bohemian, had a distaste for the kind of conformity that the Cahiers boys didn’t much shy away from.  The Left Bank directors were also less financially successful.  The critical acclaim never eluded the Left Bank group, though; they’re responsible for such masterpieces as Hiroshima, Mon Amour and Last Year at Marienbad.   

On view now (it started June 24!) through July 1 at the Aero Theatre on Montana Ave. is a tribute to Agnes Varda, called Cine-Varda.  Tonight, they’re showing a few of Varda’s classics: Cleo From 5 to 7 and Vagabond.  If you’re only gonna head to the Aero for one screening, though, order your tickets now for Wednesday evening – a sneak peak at Varda’s latest film The Beaches of Agnes followed by a discussion with the director herself.  Maybe that’s when you can ask her opinion on this whole French New Wave thing: did she invent it or not?

Cine-Varda is a brief, in-person tribute to Agnes Varda at the Aero Theatre on Montana Avenue in Santa Monica, it ends Wednesday July 1.  For more information, please click here.  

Photo: Corinne Marchand in Cleo from 5 to 7 (1962) by Agnes Varda. 

Wayne Thiebaud is a painter’s painter.  He is my type of painter as well, mostly due to his depiction of a subject matter very near and dear to me – desserts and primarily cakes.  Layered wedding cakes, little cupcakes, the most perfectly decorated cakes all lined in a row! I am in big trouble…

The Norton-Simon presents Sweets & Treats: Wayne Thiebaud in the Collection of the Norton Simon, opening June 26.  A selection of twenty-nine prints that Thiebaud created in the 1960s intimately capture dreamy cakes rendered with generous dollops of frosting and swirls of paints.  Seen initially as a study of texture and composition, larger questions of individuality and uniformity come to mind as the same delicious subject matter is presented over and over again, but with slight variations.

The presence of baked goods forever tempt each and every one of us as we pass a bakery or cafe - lately we have had to deal with the Sprinkles cupcake craze and battling mobile dessert trucks vying for your time and tastebuds.  Let a slice of Wayne Thiebaud’s cake enter the intellectual realm, making your mouth water for a coffee and perhaps something just a little sweet.  You’ll wonder, “what is the meaning of pie?” — not “pi.”

Head over to the Norton Simon to catch Sweets & Treats: Wayne Thiebaud in the Collection of the Norton Simon, opening June 26 and closing November 2.  For museum information, please click here.

Image: Wayne Thiebaud, Nine Slices Chocolate Cream Pie (or ‘Boston Cream Pies’), 1964; image courtesy of Norton Simon Museum of Art Read the rest of this entry »

The Fine Arts LA team would just like to extend a very large sized thank you to everyone who was able to come to our launch party this week at the Palihouse Holloway!  It was a lovely evening and we can’t tell you how much we appreciate your support!  (And a very special thank you to the Palihouse. We’re coming back soon, we’ll tell you that much!)

One of our resident writers (and infamous photographer) Gray Malin has created this slideshow of party photos and a little note about how much he loves Fine Arts LA.  The feeling’s mutual, dear!  Here are some photos of Fine Arts LAs first party (of many)!

Love always, The Fine Arts LA Team

There are some artists who capture the angst of everyday life, some who capture innately beautiful forms found in picturesque landscapes, and then there are some who capture the whims and fantasies of men (and women).  Since the 1970s, Greg Miller has been using collage techniques to create the people and places we daydream about.  With a vintage feel and rather large canvases, Miller’s pieces have this ability to consume you – they’re exciting, colorful, and somehow familiar. 

On view from June 27 through August 15, Greg Miller’s works can be seen at the William Turner Gallery, which is smack in the middle of the parking lot that is Bergamot Station.  A native Californian who’s been receiving awards since 1975, Miller combines popular, iconic images (the Hollywood sign, the Jell-o logo) with appropriately fantastical partners (mostly beautiful women’s faces).  What’s more, his pieces have a sense of movement to them regardless of the fact that they tend to focus on very static objects. 

The fact of the matter is that he takes popular logos and images (i.e. Wrigleys gum) and gives them a cool, vintage look and feel – a little Warhol-esque if you will.  Having said that, they’re juxtaposed with gorgeous paintings of women swimming (getting back to the fantasies of men) and large canvases that look like vintage advertisements.  There are two kinds of gallery shows: the kind that features art you’d like to look at in a gallery and the kind that features art you practically want to rip off the walls and take home.  This is the latter. 

Greg Miller’s exhibit at the William Turner Gallery is on view from Saturday June 27 through August 15.  For more information, please call (310) 453-0908 or visit their website.