Be a Part of Downtown Culver City's Brand-New

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Be a part of downtown Culver City’s brand-new museum – The Wende! As we prepare to open our new public facility in late 2017, we are seeking volunteers to join the Museum community and contribute to our shared investigation of art, history, politics, and the present moment. The new location will be at 10808 Culver Boulevard, conveniently close to public transit and the 405 Freeway, and right across the street from Veterans Memorial Park. Founded in 2002, The Wende Museum holds a rich collection of art and artifacts from Cold War-era Eastern Europe and the Soviet Union. Its mission is to preserve unique historical artifacts and make them available for innovative research and art projects that connect the past with the present. Volunteers play a vital role in our free public services. No experience necessary—if you aren't already a Cold War expert, we'll teach you what you need to know! We are seeking: Gallery Guides to greet museum visitors and talk to them about the museum and current exhibitions. Event Volunteers to help out with various programs at the museum, such as exhibition openings and special lectures. Administrative Volunteers to assist our team with light office work, such as filing and scanning. Volunteers will receive a discount at our gift shop, free admission to most Los Angeles area museums, and will be invited to participate in staff outings and special events. Add your name to our Volunteer Interest List! We will send periodic updates on the volunteer program and will remind you of important dates, such as info sessions, orientation and trainings. Follow this link to add your name to the mailing list http://eepurl.com/cLE9nr or use the QR code to the right. [email protected] Amanda Roth (310) 216-1600 x309 Joes Segal (310) 216-1600 x304 http://www.wendemuseum.org/about-us/opportunities.

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How the Wende Museum Revises East German History (And Why It Matters)
Whither Alltag?: How the Wende Museum Revises East German History (and why it matters) SARA BLAYLOCK University of California - Santa Cruz This paper argues for the significance of the Alltagsgeschichte (everyday history) as both a source of information about the past and as a site of resistance against a master narrative that has excluded East Germans from self-determination. More than just a question of East German culture, I will illustrate that this challenge to history threatens West and united German self-identifications, which maintain the East as subordinate. I will focus my analysis on the Wende Museum, a private non-profit archive and museum of Cold War culture located in Culver City, California. Considering the significance that location has had on the narrating of the East German past, I seek to demonstrate how as neither mileux de mémoire (environment of memory) nor lieux de mémoire (site of memory), the Wende Museum avoids the prospect of representing the past in a unifying “authentic” East German narrative. Facing the future for and through the past, the Wende Museum represents a Cold War tabula rasa with space for infinite pasts. 1. Introduction In order to imitate the visual reality of East Germany, director Florian Henckel von Donnersmarck filtered The Lives of Others’ (2006) color to a dull hum (“The Lives of Others – Sound, Set and Colour”). Even today, a visit to Berlin’s Alexanderplatz evinces the socialist country’s yen for concrete. Such images confirm the East Germany in mind, which is to say, the anticipated subject, but inadequately represent its lived experience.
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Culture Monster Wall Project to Close Wilshire Boulevard at Midnight Instead of Afternoon September 28, 2009 | 2:23 Pm
Culture Monster Wall Project to close Wilshire Boulevard at midnight instead of afternoon September 28, 2009 | 2:23 pm Instead of blocking traffic on busy Wilshire Boulevard for three afternoon hours on Sunday, Nov. 8, the Wende Museum Wall Project's public art installation "The Wall Across Wilshire" -- commemorating the 20th anniversary of the fall of the Berlin Wall -- will instead be temporarily constructed across Wilshire near the Los Angeles County Museum of Art shortly before midnight on Nov. 8, and will be symbolically toppled at midnight by artists who will paint on the symbolic wall. Justinian Jampol, president and founder of the Wende Museum and Archive of the Cold War, said Monday that a second part of the Wall Project -- "The Wall Along Wilshire," which will stand in front of the 5900 Wilshire Building from Oct. 17-Nov. 14 -- will now be constructed of 10 newly-acquired segments of the real Berlin Wall instead of newly-fabricated replicas. Included in the installation will be an original Berlin Wall border tower, donated along with the wall segments by a Berlin resident, Thomas Goerner, who owns the property on which the segments stood. "The Wall Along Wilshire" will be painted by artists Kent Twitchell and Thierry Noir, with a section of reserved to be painted by the public. The painted segments will become part of the Wende Museum collection. Jampol said that the time was changed for the "Wall Across Wilshire" installation because the event was beginning to take on a "block party, street event" quality rather than a historical one.
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The Los Angeles Independent • 4201 Wilshire Blvd
The Los Angeles Independent • 4201 Wilshire Blvd. #600 • Los Angeles • CA • 90010 • Ph: 323-556-5720 • Fax: 323-556-5704 Monday, DEC 04, 2006 Revisiting a Cold War Icon NEWS INDEX · Front Page · Hollywood · West Hollywood · Culver City · Entertainment · Photo Gallery · Jerome Cleary · Rachel Bailit · Alene Dawson PUBLICATION · Staff · Classifieds · Subscribe Today · Place a Classified Ad Guest Book By ANNA SCOTT 09.NOV.06 A new exhibit at the Wende Museum fuses art and geopolitics. Cold War-era Berlin, reinterpreted through the eyes of modern American teenagers and children, Guest Book made its Culver City debut last weekend at the Wende Museum. The local Cold War museum hosted a reception Sunday afternoon to showcase 15 painted Email Us panels designed to replicate sections of the Berlin Wall and decorated by art students from Culver City High School’s Academy for the Visual and Performing Arts (AVPA), members of the Los Angeles Girl Scouts and children from L.A.’s Temple Kehillat Israel and St. Agatha’s Parish. The works are the first fruits of the museum’s “Berlin Wall-Los Angeles” project, a community Email Us outreach program created by museum founder Justinian Jampol to teach stude nts about the Cold War in a way that specifically allows them to understand how politics affect everyday life. “This is a wall that had real impact on people’s lives. … It shows you the ways in which political events very much affect people’s lives,” Jampol said during his introductory remarks Sunday. “[The students’ panels] reflect various aspects of division in every day life here in Los Angeles,” he added.
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Dear Collectors, Curators, Colleagues, and Friends, This Email Includes A
Dear Collectors, Curators, Colleagues, and Friends, This email includes a selection of multiple imagery by Eastern European artists who incorporated photography in their creations during the 1960s through 1980s. The fertile nature of this work, often created clandestinely, in societies intent on tamping down any creativity that did not benefit the state, demonstrates the determination of the human spirit even under trying circumstances. To view more of our inventory, visit our website Best wishes, Susan and Paul GEZA PERNECZKY: HUNGARY/GERMANY Geza Perneczky [Hungary, born 1936]. Art Bubbles Triptych/three vintage silver prints, 1972. 22 x 11 5/8" Signed, dated and annotated in pencil on the mount. Number 2 from an edition of 5. Illustrated: Cheroux & Ziebinska-Lewandowska, Qu'est-ce que la Photographie? Editions du Centre Pompidou, Paris, 2015, p. 22. $18,000 A major figure among Hungarian artists, Geza Perneczky has made photographs, artists books, and visual poetry that have had a profound impact on conceptual art. He is renowned also as one of the founders of the mail art movement. Art Bubbles investigates not only what art is and how it appears but also the uncanny ways it comes into being. Art Bubbles is Perneczky's best known photographic work. As a mounted triptych it exists in an edition of five. Examples are in the Pompidou Center, the San Francisco Museum of Modern Art and a private collection in Budapest. The location of the fifth example is not known. The Museum of Modern Art, New York has only the three individual prints. PETER TURK: HUNGARY Peter Turk [1943-2015]].
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WAR of NERVES: PSYCHOLOGICAL LANDSCAPES of the COLD WAR September 16, 2018 to January 13, 2019
WAR OF NERVES: PSYCHOLOGICAL LANDSCAPES OF THE COLD WAR September 16, 2018 to January 13, 2019 A WENDE MUSEUM OF THE COLD WAR INTRODUCTION For forty years, two superpowers faced each other with fear, distrust, and nuclear brinkmanship. The “war of nerves” between East and West involved the promise of mutually assured destruction and an uneasy détente. The Cold War also took place on an individual level, as governments sought to influence their own as well as enemy populations, and experimented with controlling people’s minds, involving both science and pseudo-science. War of Nerves looks at the psychological landscapes in East and West. The exhibition is structured around five sections. A Climate of Fear examines different responses to the frightening new prospect of nuclear war, and the comfort of an organized response. Know Your Enemy explores the role of film in creating stereotypes of the enemy, including the enemy within. At the center of the exhibition, Mind Control looks at the invention of the idea of “brainwashing” and the attempted subversion of individual willpower in the battle for Cold War hegemony. The effect of global politics on children’s psyches is addressed in A Cold War Childhood. The final section, Dissent and Activism, showcases responses from protestors, including members of the medical professions, who refused to accept nuclear war as a possible outcome of the battle of ideologies. The Cold War was not only a period of armed standoff but also a project to shape minds both collectively and personally. While the Cold War now indicates a historical period, Cold War narratives – and nuclear threats – continue to inform and shape our world.
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Arts, Culture, & Creative Economy
• • • • • • • • • • • Give Me Your Hand by Milton Davis, 1995. Art in Public Places Program. Source: Art in Public Places Program. Culver City’s first movie studio, circa 1915. Source: Culver City Historical Society. 1 Sources for this section are: 1) the City’s history webpages, https://www.culverCity.org/how-do-i/learn/about-culver- City/history-of-culver-City, 2) Culver City, California: The First Hundred Years, Julie Lugo Cerra, 3) Culver City Chronicles, Julie Lugo Cerra, 2013, and 4) stakeholder interviews. Umbrella by Eric Owen Moss, 1999, in the Hayden Tract. Designated Architecture as Art, Art in Public Places Program. Source: Eric Owen Moss Architects 2 Creatives are individuals with advanced training and experience in the design and production of a broad range of cultural products and services, including many individual artists of all disciplines. 3 John Howkins. The Creative Economy, www.creativeeconomy.com 4 United Nations Development Program, http://www.hdr.undp.org/en/content/how-cultural-and-creative-industries-can- power-human-development-21st-century 5 WESTAF Creative Suite 2017 6 Creative sector jobs include four classes of workers: Extended Proprietors, Non-QCEW Employees, QCEW Employees, Self-employed. Source: Economic Modeling Specialists International (EMSI). The arrival of Amazon Studios brings new creative jobs to Culver City. Source: Culver Steps. ▪ ▪ ▪ ▪ ▪ The Kirk Douglas Theatre is located in downtown Culver City and available for rentals. Source: EKYR Architects. ▪ ▪ ▪ ▪ ▪ ▪ ▪ VMB hosts creative programming in Culver City. Source: City of Culver City ▪ ▪ Arlette Cardenes, Music Director, Culver City Chamber Orchestra Source: Culver City Chamber Orchestra Table 1: Nonprofit Arts and Cultural Organizations in Culver City 1.
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Dinner Party Politics
1 DINNER PARTY POLITICS April 9 - July 21, 2017 2 Introduction We have strong emotional connections to the things we eat, which are tied to memory, heritage, and tradition. Food also plays a part in constructing national identities and expressing societal values. It is a powerful medium that carries both personal and political meaning. Recipes, food advertisements, and even still-edible food from the Eastern Bloc may not always seem appetizing, but they are undeniably compelling; these objects can establish a uniquely personal connection with the past, based upon our imagined experiences of eating or preparing the depicted dishes. In the collection of The Wende Museum, these types of objects provide a unique lens through which we can learn about daily life behind the Iron Curtain. Including a survey of fine art, posters, menus, and films, this exhibition explores how ideological goals, societal expectations, and individual desires were expressed through the production and consumption of food in socialist countries during the Cold War. 3 Ideology Due to socialist collectivization and planned economies across the Eastern Bloc, the state controlled production, marketing, and the availability of various consumables. Broad oversight was given to central government entities, which made food-related choices that affected millions of people. Oftentimes, these decisions were influenced by political ideology; thus, many socialist food policies demonstrate the values and priorities of those in power. This section explores how three of these initiatives—international solidarity, public health, and modernization—were mediated through food. This metaphorical meat grinder references the millions of people who perished during Joseph Stalin’s political purges and agricultural collectivization campaigns in the 1930s.
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Svu News Fall 2018
Volume LX, A.D. MMXVIII Fall 2018 Q3, № 3 Jarmila Novotná Happy Birthday to You! á’s archive Ludmila Matrtajov nd ue National Theatre Archive a Crédits photo: source © G. Maillard Kesslère, origin Prag SVU News № 3/2018 2 In the next edition, we’ll bring more about Chateau Liteň reviving the name of Jarmila Novotná for the past seven years, her musical legacy as a famous opera singer, a celebrity and great patriot, and restoring the Daubek family name through the creation of a cultural center in their former Liteň residence. Learn more about Jarmila Novotná Festival at www.zamekliten.cz You may want to get a CD or a biography, check out their e-shop as well. Jarmila Novotná, My Life in Song: Book Launch and Musical Tribute Wednesday, October 10, 2018 @ 7 PM Bohemian National Hall, 321 East 73rd Street, New York by Author and editor William V. Madison will speak about the international triumphs of this multi-talented celebrity, who acted as a cultural ambassador for the Czechoslovak nation throughout her career - beginning in Prague with her opera debut as a lyric soprano at age 17 and including 16 years with New York's Metropolitan Opera. Her granddaughter, Tatiana Daubek, with Daubek’s ensemble House of Time, will pay musical tribute with a program featuring music of Mozart, Krommer, and Dvořák. Visit the Dvořák Room exhibition of archival Novotná images, courtesy of the George Daubek Collection. See more at: www.dvoraknyc.org The book, Jarmila Novotná, My Life in Song (University Press of Kentucky, 2018), will be available for purchase and signing there.
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Artistic Interpretations of the Cold War
1 ARTISTIC INTERPRETATIONS OF THE COLD WAR April 9 - August 12, 2016 2 Introduction The Wende Museum aims to reflect on the legacy and topical relevance of the Cold War. Therefore, the Museum supports cutting-edge research by national and international scholars and artists who creatively reinterpret the remnants and ramifications of the past. The Museum has collaborated with renowned artists Jeremy Deller, Thomas Demand, Shepard Fairey, Thierry Noir, Taryn Simon, Kent Twitchell and Retna, among many others. For this exhibition, The Wende Museum invited Jennifer Vanderpool, Farrah Karapetian and the Dutch collective DRR (Richtje Reinsma and Daphne Rosenthal) to develop art installations inspired by the Museum’s collection. Farrah Karapetian, who participated in the Museum’s Wall Project (2009), took the jeans from our Soviet hippie collection as starting point for a critical yet poetic reflection on the cycle of consumption and desire in the East and West. East Bloc telephones are the protagonists of DRR’s installation and film Free Things, which addresses issues of privacy, surveillance and human agency that are as relevant as ever in our present day. In her work Piter, Jennifer Vanderpool evokes the city of Leningrad (now Saint Petersburg) around 1990 at the time of radical political transition, addressing both the sociopolitical and the personal aspects of memories and their potential to shape the present. Installation photo of Artistic Interpretation of the Cold War. 3 Farrah Karapetian, Nothing Comes Between Me and My Calvins and Me Between Comes Nothing (2016) Humans especially want what we cannot have, and advertisements, like propaganda, are always aspirational.
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Automation, 1962, Oil on Fiberboard, Signed Bottom Left, Hungary
Questionable History August 22, 2016 - March 24, 2017 Introduction Museums present their knowledge to a wider public. But where does the information come from? Even when we are successful in establishing hard facts, we will always find different ways to inter- pret them and make them part of a larger history. Usually, museum exhibitions offer a single point of view, neatly printed on the in- formation label next to a display. As a result, most visitors are not aware of the discussions, disputes, fights and feuds behind even the simplest text sign. In this exhibition, we leave the traditional sin- gle-perspective approach behind by presenting multiple interpreta- tions of the same work, which can be true and contradictory at the same time. These interpretations are seperated on the following pages by a black line. The Wende Museum gives special thanks to Fiona Chalom for her generous loan 3 Ion Panteli-Stanciu (1901-1981), Great Constructions (The Building of the Palace Hall), 1959, oil on canvas, signed and dated lower right, Romania, Collection Fiona Chalom 4 Great Constructions (The Building of the Palace Hall) Currently used as a concert hall, the Bucharest landmark “Sala Palatu- lui” (Palace Hall) was built in 1959-60 as a conference center that hosted meetings of the United Nations Economic Commission for Europe, the World Congress on Population, and the World Congress on Energy, to name a few. By depicting the colorful and busy construction site, Pante- li-Stanciu’s painting expresses pride in the urban development program that contributed to the rise of Romania’s capital city as a political and cultural center of the Eastern bloc.
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Grants Awarded 2009–2010 the Grants Listed Below Were Awarded Between July 1, 2009, and June 30, 2010 Current Initiatives
Grants Awarded 2009–2010 The grants listed below were awarded between July 1, 2009, and June 30, 2010 Current Initiatives Pacific Standard Time: Art in L.A. 1945–1980 This joint initiative of the Getty Foundation and the Getty Research Institute is documenting the history of art in Los Angeles in the post–World War II decades. In late 2011 and early 2012, more than forty museums in Southern California will present a series of linked exhibitions on this period. American Museum of Ceramic Art, Pomona, California. For the exhibition and publication Common Ground: Ceramics in Southern California 1945–1975. $50,000 Armand Hammer Museum of Art and Cultural Center, Inc., Los Angeles, California. For the exhibition and publication Now Dig This! Art and Black Los Angeles, 1960–1980. $250,000 Armory Center for the Arts, Pasadena, California. For the exhibition and publication Speaking in Tongues: The Art of Wallace Berman and Robert Heinecken. $75,000 Autry National Center of the American West, Los Angeles, California. For public programs related to the exhibition Los Angeles: The Mexican American Generation, 1945–1965. $25,000 California Institute of the Arts, Valencia. For the exhibition The Experimental Impulse: Los Angeles Art from 1945 to 1980 at REDCAT and a related online publication. $60,000 California State University Long Beach Foundation. For research and exhibition costs for Peace Press Graphics 1967–1987: Art in the Pursuit of Social Change. $57,000 City of Los Angeles, California. For the exhibitions Civic Virtue: The Impact of the Los Angeles Municipal Art Gallery and Watts Towers Art Center at the Municipal Art Gallery and the Watts Towers Noah Purifoy Gallery.
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Proposed Mitigated Negative Declaration
(310) 253-5710 FAX (310) 253-5721 9770 CULVER BOULEVARD, CULVER CITY, CALIFORNIA 90232-0507 PROPOSED MITIGATED NEGATIVE DECLARATION Project Title and Culver City File No.: 8777 Washington Project P2016-0049-CP - Comprehensive Plan P2016-0049-ZCMA – Zone Change Project Location: 8777 Washington Boulevard, Culver City, CA 90232 Project Sponsor: Vitruvian Culver City LLC Project Description: The Project would redevelop a 42,660 SF (0.98-acre) property located north of the intersection at Washington Boulevard and National Boulevard within Culver City’s Transit Oriented Development (TOD) area. The existing single-story commercial (retail/warehouse) building, a café addition, detached storage garage building, and associated asphalt-paved surface parking lot would be removed as part of the Project. The Project includes a 132,500 square foot (SF) commercial development composed primarily of “Class A” office uses within a four-story building (up to 56 feet in height) located over three levels of subterranean parking and surrounded by landscaped areas located on site and within the public right of way. In addition to the office use, the Project would incorporate approximately 4,500 SF of tenant- and commuter-serving retail and food retail uses that open to Washington Boulevard on the Ground Level. The office uses would be located on Levels 2 through 4, including a supporting media screening room that connects the ground and second levels. The Ground Level would have a floor to floor height of 15’-6”, levels two through four would have a floor to floor height of 13’-6”, with a double-height lobby accessed from the southwest corner of the Project Site.
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