De Wain Valentine
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Metro Bus and Metro Rail System
Approximate frequency in minutes Approximate frequency in minutes Approximate frequency in minutes Approximate frequency in minutes Metro Bus Lines East/West Local Service in other areas Weekdays Saturdays Sundays North/South Local Service in other areas Weekdays Saturdays Sundays Limited Stop Service Weekdays Saturdays Sundays Special Service Weekdays Saturdays Sundays Approximate frequency in minutes Line Route Name Peaks Day Eve Day Eve Day Eve Line Route Name Peaks Day Eve Day Eve Day Eve Line Route Name Peaks Day Eve Day Eve Day Eve Line Route Name Peaks Day Eve Day Eve Day Eve Weekdays Saturdays Sundays 102 Walnut Park-Florence-East Jefferson Bl- 200 Alvarado St 5-8 11 12-30 10 12-30 12 12-30 302 Sunset Bl Limited 6-20—————— 603 Rampart Bl-Hoover St-Allesandro St- Local Service To/From Downtown LA 29-4038-4531-4545454545 10-12123020-303020-3030 Exposition Bl-Coliseum St 201 Silverlake Bl-Atwater-Glendale 40 40 40 60 60a 60 60a 305 Crosstown Bus:UCLA/Westwood- Colorado St Line Route Name Peaks Day Eve Day Eve Day Eve 3045-60————— NEWHALL 105 202 Imperial/Wilmington Station Limited 605 SANTA CLARITA 2 Sunset Bl 3-8 9-10 15-30 12-14 15-30 15-25 20-30 Vernon Av-La Cienega Bl 15-18 18-20 20-60 15 20-60 20 40-60 Willowbrook-Compton-Wilmington 30-60 — 60* — 60* — —60* Grande Vista Av-Boyle Heights- 5 10 15-20 30a 30 30a 30 30a PRINCESSA 4 Santa Monica Bl 7-14 8-14 15-18 12-18 12-15 15-30 15 108 Marina del Rey-Slauson Av-Pico Rivera 4-8 15 18-60 14-17 18-60 15-20 25-60 204 Vermont Av 6-10 10-15 20-30 15-20 15-30 12-15 15-30 312 La Brea -
Figueroa Tower 660 S
FIGUEROA TOWER 660 S. FIGUEROA STREET LOS ANGELES, CALIFORNIA UNMATCHED DOWNTOWN RETAIL VISIBILITY RETAIL RESTAURANT SPACE FOR LEASE FLAGSHIP RESTAURANT SPACE AVAILABLE For more information, please contact: Gabe Kadosh Vice President Colliers International License No. 01487669 +1 213 861 3386 [email protected] UNMATCHED DOWNTOWN RETAIL VISIBILITY 660 S. FIGUEROA STREET A postmodern mixed-use property bordered by Seventh and Figueroa streets The building consists of 12,000 square feet of ground-floor retail space—below a 283,000 SF Class A Office —including significant frontage feet of coveted frontage on major thoroughfare Figueroa. Figueroa Tower’s beautiful exterior combines the characteristics of traditional French architecture with the sleek verticality of a modern high-rise. These attributes, together with its location at the center of the Figueroa Financial Corridor, offer an aesthetic experience unlike any retail destination in all of Los Angeles. This corridor was solidified abuilding in California, the Wilshire Grand Center, opened directly across the street. This prestigious location boasts a high pedestrian volume and an unparalleled daily traffic count of 30,000. Such volume is thanks in part to being just steps away from retail supercenter FIGat7th, as well as sitting immediately above Seventh Street Metro Center Station, the busiest subway station in Los Angeles by far. Figueroa Tower also benefits from ongoing improvements to Downtown Los Angeles, which is currently undergoing its largest construction boom since the 1920s. In the last decade alone, 42 developments of at least 50,000 square feet have been built and 37 projects are under construction. This renaissance of development has reignited the once-sleepy downtown area into a sprawling metropolis of urban residential lofts and diverse retail destinations. -
'Pacific Standard Time' Art Exhibitions in L.A. — Review
Reprints This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. November 10, 2011 A New Pin on the Art Map By ROBERTA SMITH LOS ANGELES — The postwar art of Southern California is a house with many mansions, a great number of which are now open for viewing. I refer of course to the cacophonous, synergistic, sometimes bizarre colossus of exhibitions known as “Pacific Standard Time: Art in L.A. 1945- 1980,” which is rampant throughout the Los Angeles region. It sharply divides our knowledge of postwar art — not just Californian but American — into two periods: before and after “Pacific Standard Time.” Before, we knew a lot, and that lot tended to greatly favor New York. A few Los Angeles artists were highly visible and unanimously revered, namely Ed Ruscha and other denizens of the Ferus Gallery, that supercool locus of the Los Angeles art scene in the 1960s, plus Bruce Nauman and Chris Burden, but that was about it. After, we know a whole lot more, and the balance is much more even. One of the many messages delivered by this profusion of what will eventually be nearly 70 museum exhibitions is that New York did not act alone in the postwar era. And neither did those fabulous Ferus boys. Los Angeles may have entered the postwar years with little to speak of in the way of a contemporary art world, but within a decade it was more than making up for lost time. -
Administrative Dissolution
ENTITY ID NAME C0697583 "CHURCH OF THE BROTHERHOOD" C0682834 "CLUB BENEFICO SOCIAL PUERTORRIQUENO DE OAKLAND" C0942639 10831 FRUITLAND C0700987 111 SOUTH ORANGE GROVE INC C0948235 12451 PACIFIC AVENUE CONDOMINIUM ASSOCIATION C0535004 1312 Z, INC. C0953809 1437-39 PRINCETON HOME OWNERS' ASSOCIATION C0502121 16TH ANNUAL NATIONAL NISEI CONVENTION VETERANS OF FOREIGN W- C0542927 3 DISTRICT-CDF EMPLOYEES ASSOCIATION C0812129 3 R SCHOOLS - SAN LEANDRO, INC. C0612924 3358 KERN COUNTY PROPERTY OWNERS ASSOCIATION INC C0454484 40 PLUS OF SOUTHERN CALIFORNIA C0288712 44 CLUB, INC. C0864792 4646 WILLIS HOMEOWNERS ASSOCIATION, INC. C0542192 559, INC. C0559640 57TH STREET NEIGHBORHOOD YOUTH IMPROVEMENT PROJECT, INC. C0873251 6305 VISTA DEL MAR OWNERS ASSOCIATION C0794678 6610 SPRINGPARK OWNERS ASSOCIATION C0698482 77TH BUSINESSMEN'S BOOSTER ASSOCIATION INC. C0289348 789 BUILDING INC. C0904419 91ST. DIVISION POST NO. 1591, VETERANS OF FOREIGN WARS OF THE UNITED S C0686053 A BLACK BOX THEATRE INC C0813882 A CENTRAL PLACE C0893890 A CORPORATION FOR THE ENVIRONMENT INCORPORATED C0541775 A SEGMENT OF THE BRIDE OF CHRIST C0749468 A UNITED MINISTRY CORPORATION C0606660 ABC FOR FOOTBALL, INC. C0817710 ABUNDANT LIFE CENTER C0891524 ACADEMIA ORIENTALIS C0736615 ACADEMIA QUINTO SOL C0486088 ACADEMIC RESOURCES C0434577 ACADEMY OF MASTER WINE GROWERS C0689600 ACADEMY OF THE BROTHERHOOD ENTITY ID NAME C0332867 ACCORDION FEDERATION OF NORTH AMERICA, INC. C0729673 ACCOUNTANTS FOR THE PUBLIC INTEREST C0821413 ACTION FOR ANIMALS C0730535 ACTIVE RETIRED ALTADENANS C0538260 -
2016 Skechers Performance Los Angeles Marathon Media Guide
2016 Skechers Performance Los Angeles Marathon Media Guide Important Media Information 3 Race Week Schedule 4 About the Race 7 8 Legacy Runners The Course 10 History 25 Logistics 32 On Course Entertainment 37 Media Coverage 43 LA BIG 5K 44 Professional Field 46 Race Records 52 Charities 67 Partners & Sponsors 72 Marathon Staff 78 2017 Skechers Performance Los Angeles Marathon Media Guide Media Contacts Carsten Preisz Jolene Abbott VP, Brand Strategy and Marketing Executive Director, Public Relations Conqur Endurance Group Skechers Performance 805.218.7612 310.318.3100 [email protected] [email protected] Molly Biddiscombe Kerry Hendry Account Supervisor Vice President Ketchum Sports & Entertainment Ketchum Sports & Entertainment 860-539-2492 404-275-0090 [email protected] [email protected] Finish Line Media Center Media Credential Pickup Fairmont Hotel LA Convention Center Wedgewood Ballroom West Hall, Room 510 101 Wilshire Blvd 1201 S. Figueroa Street Santa Monica, CA Los Angeles, CA 90015 310-899-4136 Friday, March 17: 10:30 am – 5 pm Saturday, March 18: 9 am – 2 pm Press Conference Schedule Fairmont Hotel Friday, Wedgewood Ballroom 8:00 am Sunday 6:00 am to 3:00 pm ‘Meet the Elites’ Event, Griffith Park Top athletes, Conqur CEO Tracey Russell Social 11:00 am Pages Website: www.lamarathon.com Pre-race Press Conference, LA Convention Center, West Hall, Room510 www.goconqur.com Top athletes Facebook: facebook.com/LAmarathon Instagram: @lamarathon Sunday, Twitter: @lamarathon 10:00 am Snapchat: @lamarathon -
The Los Angeles Public Landscapes of Ralph Cornell Los Angeles, CA
What’s Out There® The Los Angeles Public Landscapes of Ralph Cornell Los Angeles, CA Welcome to What’s Out There Los Angeles – The What’s Out There Los Angeles – The Public Landscapes Public Landscapes of Ralph Cornell, organized by of Ralph Cornell was accompanied by the development The Cultural Landscape Foundation (TCLF) with of an exhibit of his drawings, photographs, and personal support from local and national partners. effects. On view at the UCLA Charles E. Young Research The narratives and photographs in this guidebook describe Library, the installation was curated by Steven Keylon, Kelly thirteen sites, just a sampling of Cornell’s built legacy. The Comras, Sam Watters, and Genie Guerrard and introduced sites were featured in What’s Out There Weekend Los Angeles, with a lecture on Cornell’s legacy given by Brain Tichenor, which offered free, expert-led tours in November 2014. This professor of USC’s School of Architecture. The tours, What’s Out There Weekend—the eleventh in an on-going series exhibit, and lecture were attended by capacity crowds, of regionally-focused tour events increasing the public visibility demonstrating the overwhelming public interest to discover Franklin D. Murphy Sculpture Garden, photo by Matthew Traucht of designed landscapes, their designers, and their patrons—is more about this significant shaper of Southern California. TCLF’s first focused on the work of a single designer. This guidebook and the What’s are Out There Weekends In researching the extant public landscapes of Ralph Cornell dovetail with the Web-based What’s Out There, the nation’s we came to understand why he is called “the Olmsted most comprehensive, searchable database of our shared of Los Angeles.” A prolific designer, author, mentor, and landscape legacy. -
Snapchat to Become Sole Tenant of Santa Monica Place
FORCEFUL LITIGATORS WITTENBERG LAW CREATIVE BUSINESS, INVESTMENT & TRIAL ATTORNEYS DEALMAKERS 310-295-2010 | www.WittenbergLawyers.com MONDAY APRIL FOOLS’ 04.01.19 EDITION Volume 18 Issue 119 @smdailypress @smdailypress Santa Monica Daily Press smdp.com Chez Jay to be replaced with boutique Cheesecake Snapchat to become sole Factory-branded ‘Chez Cayke’ tenant of Santa Monica Place Artist rendering DECOR: A corporate restaurant will take over the local institution. BY SPIN DOCTOR that it will be closing in lieu of a “Chez Cayke”, an experimental In a stunning show of Santa boutique restaurant owned and Monica’s cultural erosion operated by the Cheesecake continuing, another legendary Factory. This new boutique will be local haunt will close and be an upscale version of Cheesecake replaced by a factory famous for Factory’s chain restaurants. its gluttonous foods. Chez Jay announced yesterday SEE CHEZ CAYKE PAGE 3 Artist rendering SNAPMALL: The new tenants of the Downtown mall plan to install augmented reality filters for employees. District elections trigger deathmatch rules to BY WHEELS DEALS in West Los Angeles earlier this year. The project converted an entire shopping mall into decide new Mayor Following the trend established when Google a 584,000-square-foot creative office campus. took over a Los Angeles Mall, Snapchat has The venture was a partnership between several BY POWER LYFTER mayorship of the city was set to be announced plans to become the sole tenant at companies including Makemoney who also own up for grabs via a normal election. Santa Monica Place. Santa Monica Place. In a jaw-dropping move this past However, after a short back and The company will keep the movie theater, food Faced with continued vacancies in the mall, week, the City Council agreed to forth at last night’s last-minute court and Disney Store but those facilities will be Makemoney has been increasingly moving away engage in a winner-take-all death council meeting, City Council for the exclusive use of their employees. -
Dan Flavin Was Born in 1933 in New York City, Where He Later Studied Art History at the New School for Social Research and Columbia University
DAN FLAVIN Dan Flavin was born in 1933 in New York City, where he later studied art history at the New School for Social Research and Columbia University. His first solo show was at the Judson Gallery, New York, in 1961. Flavin made his first work with electric light that same year, and he began using commercial fluorescent tubes in 1963. Fluorescent light was commercially available and its defined systems of standard sized tubes and colors defied the very tenets of Abstract Expressionism and Pop Art, from which the artist sought to break free. In opposition to the gestural and hand-crafted, these impersonal prefabricated industrial objects offered, what Donald Judd described as “…a means new to art.”1 Seizing the anonymity of the fluorescent tube, Flavin employed it as a simple and direct means to implement a whole new artistic language of his own. He worked within this self-imposed reductivist framework for the rest of his career, endlessly experimenting with serial and systematic compositions to wed formal relationships of luminous light, color, and sculptural space. Vito Schnabel Gallery presented Dan Flavin, to Lucie Rie and Hans Coper, master potters in St. Moritz from December 19, 2017 — February 4, 2018. The exhibition featured nine light pieces from the series dedicated to Rie, nine works from his series dedicated to Coper, and a selection of ceramics by Rie and Coper from Flavin’s personal collection. Major solo exhibitions of Flavin’s work have been presented at the National Gallery of Canada, Ottawa; Staatliche Kunsthalle, Baden- Baden; St. Louis Art Museum, Missouri; Morgan Library and Museum, New York; and Dan Flavin: A Retrospective, an international touring exhibition that included the National Gallery of Art, Washington, D.C.; Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; the Musée d’Art Moderne de la Ville de Paris; Los Angeles County Museum of Art; and Pinakothek der Moderne, Munich. -
De Wain Valentine
De Wain Valentine Almine Rech Gallery is pleased to present DeWain Valentine’s first solo exhibition in the De Wain Valentine United Kingdom and his second with the gallery.[1] The show will be on view from the 13th of October to the 14th of November, 2015. October 13 — November 14, 2015 This exhibition constitutes one more step in the "vast reappraisal of the important artistic force that developed in L.A. in the 1960s - often referred to as the Light and Space movement - and of Valentine’s major role there up to now. […] Spanning across several decades, different and utterly fascinating plastic-based media and technical methods (not traditionally used in Modernist sculpture), DeWain Valentine’s production has continually embodied a unique, quintessentially Southern Californian aesthetic. He is best known for large-scale, translucent resin cast sculptures in a variety of apparently simple, geometric shapes - that vary none the less greatly from the Minimalist grids and cubes. […] His concerns with surface transparency and translucency, the use of industrial materials and processes, an emphasis on the qualities of prismatic color, and interest in the viewer’s perception and interaction connects him to the so-called Light and Space movement from the 1960s and 1970s. Overall, what should be emphasized as a principal and distinctive feature of DeWain Valentine's art (and his personality) are an unwavering attachment to an aesthetic of pure visual and haptic joy, and to a sensual and uplifting celebration of outdoor life in the California of the 1960s. The work of the Light and Space artists, who gathered around the fledgling, yet intense, art scene located on the coast of Venice, California, was influenced by the distinctive and unique qualities of the atmospheric landscape of Los Angeles. -
A Finding Aid to the Jan Butterfield Papers, 1950-1997, in the Archives of American Art
A Finding Aid to the Jan Butterfield Papers, 1950-1997, in the Archives of American Art Megan McShea Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program. 2012 June 27 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Interviews and Lectures, 1959-1997......................................................... 6 Series 2: Writings, 1962-1997................................................................................ 21 Series 3: Project -
A Finding Aid to the Melinda Wortz Papers, 1958-1992, in the Archives of American Art
A Finding Aid to the Melinda Wortz Papers, 1958-1992, in the Archives of American Art Stephanie Ashley Support for the processing of this collection was provided by the Smithsonian's Collections Care Pool Fund. 2017 August 28 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Materials, 1966-1988........................................................... 6 Series 2: Correspondence, 1967-1992.................................................................... 7 Series 3: Interviews, 1971-circa 1980s................................................................... -
Vija Celmins in California 1962-1981
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Winter 1-3-2020 Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 Jessie Lebowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/546 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 by Jessie Lebowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2019 December 19, 2019 Howard Singerman Date Thesis Sponsor December 19, 2019 Harper Montgomery Date Signature of Second Reader Table of Contents List of Illustrations ii Introduction 1 Chapter 1: The Southern California Renaissance 8 Chapter 2: 1970s Pluralism on the West Coast 29 Chapter 3: The Modern Landscape - Distant Voids, Intimate Details 47 Conclusion 61 Bibliography 64 Illustrations 68 i List of Illustrations All works are by Vija Celmins unless otherwise indicated Figure 1: Time Magazine Cover, 1965. Oil on canvas, Private collection, Switzerland. Figure 2: Ed Ruscha, Large Trademark with Eight Spotlights, 1962. Oil, house paint, ink, and graphite pencil on canvas, Whitney Museum of American Art, New York. Figure 3: Heater, 1964. Oil on canvas, Whitney Museum of American Art, New York. Figure 4: Giorgio Morandi, Still Life, 1949. Oil on canvas, Museum of Modern Art, New York.