[Jean Harlow at home by George Hurrell, 1934. “Vanity Fair,” January 1935. © Condé Nast Publications Inc./Courtesy Condé Nast Archive]
Art and Living’s weekly exhibition, chef and theater picks for this week’s art dating and matchmaking
Sunday is the opening day of the hotly anticipated Vanity Fair Portraits: Photographs 1913 - 2008 exhibition at LACMA. It’s an exquisite gathering of the best of Vanity Fair, including photography from the periodical’s original incarnation (1913-1936) and the magazine as we know it today (1983-present). The juxtaposition of the two periods and their respective treatment of beauty, stardom, and glamour is particularly interesting. Art daters, take note.
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[Installation view of “Frick’s Vermeers Reunited.” The Frick Collection, New York. Photo by Michael Bodycomb]
Art and Living’s weekly exhibition, chef and theater picks for this week’s art dating and matchmaking
Before his death in 1919, Henry Clay Frick purchased three Vermeers for his renowned collection: Officer and Laughing Girl, Mistress and Maid, and Girl Interrupted at Her Music. When Frick passed away, these three pieces were left to reside, separated, in Frick’s Fifth Avenue mansion. Now, The Frick Collection has brought them together on one wall so that the public can view them as a unit. Dubbed Frick’s Vermeer’s Reunited, the showing is a historic event, and it’s a perfect art dating opportunity.
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[Martin Kippenberger, “Ohne Titel (Untitled)” from the series “Jacqueline: The Paintings Pablo Couldn’t Paint Anymore,” 1996. Oil on canvas. The Museum of Contemporary Art, Los Angeles. Partial and promised gift of Susan and David Gersh. © Estate Martin Kippenberger]
Art and Living’s weekly exhibition, chef and theater picks for this week’s art dating and matchmaking
MOCA Grand Avenue is currently showing Martin Kippenberger: The Problem Perspective, a comprehensive exhibition of the work of the late German artist Martin Kippenberger (1953-97). It’s the first major retrospective of this highly influential but lesser-known creative mind, and a visit to the exhibition could prove eye-opening to those unfamiliar with his eclectically inspired work.
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[Dale Chihuly, “The Sun,” 2008. Legion of Honor, San Francisco, California. Photo by Terry Rishel]
At the closing of his monumental retrospective at San Francisco’s de Young Museum, Dale Chihuly sits proudly at the art world’s pinnacle
As the morning sun rises above the dramatic San Francisco skyline, streams of warm light begin to penetrate the patterned, porous, copper façade of the mighty de Young Museum, pointing the way to an historic exhibition that owes its genesis to an orange molten substance and its brilliance to the illuminating powers of light. This shared companionship of red-hot energy and the inherent properties of transparent colored glass has been a constant force and inspiration to Dale Chihuly, as evidenced in the de Young’s newest show—the largest museum exhibition of this artist’s career.
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