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Events (970)

Monday, September 26

Tuesday, September 27

The Serial Impulse at Gemini G.E.L.


5905 Wilshire Blvd., Los Angeles, CA 90036


“I’m thinking of doing a self-portrait of innerman,” artist Robert Rauschenberg told Sydney Felsen in 1967. Felsen and his partner, Stanley Grinstein, had opened their print studio Gemini G.E.L. on Melrose Avenue just one year before. They wanted to do a project with Rauschenberg, then already revered for his pop-infused abstractions, but Felsen had no idea what a “self-portrait of innerman” meant. Later, when he picked Rauschenberg up at LAX, he learned that the artist wanted to take a full body X-ray of himself and make a print of his own skeleton. This proved difficult — Rauschenberg was six feet tall, and most machines could X-ray only one foot at a time. So Rauschenberg used six X-rays to make Booster, the long, frenetic, fragmented print of his body. It’s on view at LACMA right now, as part of "The Serial Impulse at Gemini G.E.L.," a show commemorating the studio’s 50th anniversary. Rauschenberg’s isn’t the only ambitiously quirky project — in Claes Oldenburg’s tongue-in-cheek storybook, the artist imagines covering ground in Kassel, Germany, with potato chips that resemble ears — and that's what makes the show good.

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In the Land of Sunshine: Imaging the California Coast Culture

Pasadena Museum of California Art

490 East Union Street, Pasadena, CA 91101


In the Land of Sunshine: Imaging the California Coast Culture assembles approximately 90 paintings inspired by the stunning vistas, lifestyles, and industries existing along the 840 miles of California coastline. Spanning from 1900 to the present day, the oils, acrylics, and watercolors represent the diversity of California’s artistic style as well as the surfers, sailors, sport fisherman, and residents who have settled in the beaches, harbors, cities, and ranches that dot the coast.

Borrowing its name from The Land of Sunshine, a Los Angeles periodical published from 1894 through 1923 that portrayed a potent and alluring illustration of the Pacific Coast, the exhibition presents distinct epochs and cultures experienced by centuries of California artists as distilled through their artistic visions. With a broad focus on beach culture, the paintings trace the formal and historical developments occurring within the state. Moving from early representational views of an idealized West to Duncan Gleason’s traditional fundamentals of beauty and Alson S. Clark’s impressionistic scenes of the shoreline, the exhibition segues to Phil Dike’s playful abstractions and Roger Kuntz’s captivating oscillation from representational to abstract. The exhibition closes with contemporary work, including the vibrantly-expressive watercolors of Keith Crown and the psychedelic surrealism of Rick Griffin. Curated by accomplished California historian, writer, and curator Gordon McClelland, the exhibition examines artists’ visual responses to the ever-changing look and mood of the Pacific Coast’s communities.

Image credit: Dennis Hare, The Cove (Monterey) [detail], 1982. Watercolor on paper, 22 x 30 inches. Mark and Jan Hilbert Collection

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800 W. Olympic Blvd., Los Angeles, 90015


The Ramones were loud and fast — and gloriously so, from the moment of their inception in Forest Hills, New York, in 1974, until their final concert, 2,263, in Los Angeles on Aug. 6, 1996.

They were prolific — releasing 21 studio and live albums between 1976 and 1996 — and professional, typically cutting all of the basic tracks for one of those studio LPs in a matter of days. They were stubborn, a marvel of bulldog determination and cast-iron pride in a business greased by negotiation and compromise. And they were fun, rock & roll's most reliable Great Night Out for nearly a quarter of a century, which seems like a weird thing to say about a bunch of guys for whom a show, in 1974 or '75, could be six songs in a quarter of an hour.

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Dottie Gets Spanked

Hammer Museum

10899 Wilshire Blvd, Los Angeles, CA 90024


In honor of this years Hammer Gala honoree Todd Haynes, we screen one of the filmmakers earliest works. Dottie Gets Spanked, a surreal suburban fantasy about a young boys obsession with a television show, features Hayness signature play with gender identity, celebrity, and midcentury repressions. (1993, dir. Todd Haynes, 16mm, 45 min.)

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5905 Wilshire Blvd., Los Angeles, CA 90036


An anthology film that apparently frightened a young Guillermo del Toro enough to include it in his Fuel for Nightmares series, Kwaidan is this week's Tuesday Matinee. Masaki Kobayashi's Oscar-nominated oddity is comprised of four discrete tales (the title translates to "strange stories") — The Black HairThe Woman of the SnowHoichi the Earless and In a Cup of Tea — running a total of three hours, presented here on 35mm.

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