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Events / Westside (152)

Tuesday, July 7

Cinema Tuesday: Coming Home

Skirball Cultural Center

2701 N. Sepulveda Blvd., Los Angeles, CA 90049

1:30pm

Showcasing Academy Award–winning performances by Jane Fonda and Jon Voight, director Hal Ashby’s poignant film, also winner of Best Original Screenplay, examines the impact of the war in Vietnam on the men and women at home.

After her husband Captain Bob Hyde (Bruce Dern) reports for duty, Sally (Fonda) falls in love with disabled veteran Luke (Voight). (1978, 127 min. Rated R.)

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Cinema Tuesday: Coming Home

Skirball Cultural Center

2701 N. Sepulveda Blvd., Los Angeles, CA 90049

1:30pm to 4:00pm

After her husband Captain Bob Hyde (Bruce Dern) reports for duty, Sally (Jane Fonda) falls in love with disabled veteran Luke (Jon Voight). Showcasing Academy Award–winning performances by Fonda and Voight, director Hal Ashby’s poignant film, also winner of Best Original Screenplay, examines the impact of the war in Vietnam on the men and women at home. (1978, 127 min. Rated R.)

This screening is part of the Cinema Tuesdays series at the Skirball. The theme of this series is “Reflection of the Times,” which offers a look back at ’60s and ’70s American life and culture, evoking the distinctive events and experiences of those decades.

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Talk: The Legacy of Experiments in Art and Technology (E.A.T.)

LACMA

5905 Wilshire Blvd., Los Angeles, CA 90036

7:00pm

(JULY 7) Artforum International editor Michelle Kuo, E.A.T. director Julie Martin, and UC Santa Barbara professor W. Patrick McCray discuss the legacy and impact of Experiments in Art and Technology (E.A.T.), a groundbreaking collaboration between engineers and artists. The panel, moderated by LACMA associate curator Jennifer King, focuses on E.A.T. projects, including 9 Evenings: Theatre and Engineering, a series of performances in 1966 involving 10 artists and over 30 engineers from Bell Laboratories.

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Hammer Screenings: Goshogaoka & Untitled (Ghost)

Hammer Museum

10899 Wilshire Blvd., Los Angeles, CA 90024

7:30pm

In Sharon Lockhart’s Goshogaoka, a subtle and multi-layered social portrait filmed in Japan, the exercise routines of a girls’ basketball team digress into distinct studies. Elad Lassry’s Untitled (Ghost) investigates the tradition of “spirit” or “ghost” photography, seen by some as evidence that photosensitive film can capture the immaterial, such as apparitions and auras. (S. Lockhart, Goshogaoka, 1997, 16mm, 63 min.; E. Lassry, Untitled (Ghost), 2011, 35mm film, silent 18 min.)

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Indigo Girls

El Rey Theatre

5515 Wilshire Blvd., Los Angeles, CA 95928

8:00pm

Amy Ray and Emily Saliers are Indigo Girls. Rolling Stone describes them as the “ideal duet partners. Their voices soar and swoop as one, alternately raucous and soothing. When they sing together, they radiate a sense of shared purpose that adds muscle to their lanky, deeply felt folk-tinged pop songs”. Together they write, arrange, record and perform music which over the course of twenty five years has become a vital part of the lives of their legion of devoted fans around the world, informing and rewarding them day to day.
With twelve original studio albums, three live records, various Greatest Hits compilations, a Rarities and a Christmas record to their credit, the iconic duo continues to challenge itself creatively, over and over again, adding to a body of work that contains such contemporary classic songs as Galileo, Shame on You, Closer To Fine, Kid Fears, Love of Our Lives, Making Promises, Get out the Map, Moment of Forgiveness, Least Complicated and Go. After numerous Grammy nominations and awards and gold and platinum certifications and decades of touring in clubs, arenas and everything in between,  Indigo Girls remain active and  relevant, always viewing their music as a fresh opportunity for exploration and discovery. “We really work hard to not lean on any tried and true path in making our albums,” says Ray. “So when it comes to writing new songs and working and performing with different musicians, every record and every tour feels like a completely different adventure for us.
Amy and Emily first met as fifth and sixth-graders inDecatur,Georgiaand began singing together during high school. Originally billed as Saliers & Ray, the pair adopted the name Indigo Girls during their undergraduate days atAtlanta’sEmoryUniversity. The Indigos were attending classes by day and performing as an acoustic duo in local clubs by night when they made their first stab at recording in 1985 with the single Crazy Game / Everybody’s Waiting (for Someone To Come Home) which they issued on their own label, followed by an EP and in 1987, their first full length LP, Strange Fire, produced by John Keane.
In 1988, the big-time beckoned Indigo Girls. Signed to Epic Records and EMI Music, they recorded Indigo Girls with producer Scott Litt at Ocean Way Studios inL.A.With Amy and Emily on vocals and acoustic guitars, Indigo Girls featured contributions from REM, Hothouse Flowers and Luka Bloom. The record was released in 1989 (the Boston Globe stated “The Indigo Girls have simply made the best debut album so far this year”) and the Indigo Girls began criss-crossing the country on tour (a process that has continued without pause throughout their career) headlining or supporting the likes of REM, Neil Young and the Violent Femmes.
Decades into their career, the Indigo Girls still amaze conventional pundits with their ability to grow and thrive no matter what the state of the music industry is at any given point. The duo’s constant touring, as well as staunch dedication to a number of social and environmental causes, has earned them a fervidly devoted following over the years. So many artists who launched their careers in the late 1980s have slipped from our collective memory. In contrast, the Indigo Girls stand tall, having earned the lasting respect and devotion of a multi-generational audience which continues to experience their creative evolution in the studio and on stage. The adventure may take the form of an adrenaline-fueled live CD or a warm reflective holiday album or a collection of songs that can veer from the raucous to intimate in the blink of an eye. No matter where their creative journey takes them, they hold out a hand to their listeners and we get to feel it all.

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Wednesday, July 8

A Kingdom of Images: French Prints in the Age of Louis XIV, 1660–1715

Getty Center

1200 Getty Center Drive, Los Angeles, CA 90049

11:00am

From grand royal portraits to satiric views of everyday life, and from small-scale fashion prints decorated with actual fabrics to monumental panoramas of Versailles and the Louvre, this exhibition explores the rich variety of prints that came to define French power and prestige in the era of Louis XIV (1638–1715). During the Sun King's long reign, printmakers and publishers effectively deployed prints to promote French culture, art, and style. Commemorating the 300th anniversary of Louis XIV's death, A Kingdom of Images: French Prints in the Age of Louis XIV, 1660–1715 features nearly 100 works from the Getty Research Institute and the Bibliothèque nationale de France.

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Hammer Lectures: The Promises and Perils of Postwar Black Los Angeles

Hammer Museum

10899 Wilshire Blvd., Los Angeles, CA 90024

7:30pm

In 1964, an Urban League survey ranked Los Angeles as the most desirable city for African Americans to live in. In 1965, the city burst into flames during one of the worst race riots in the nation's history. How the city came to such a pass — embodying both the best and worst of what urban America offered black migrants from the South — is the story told by Dr. Josh Sides, the Whitsett Professor of California History at California State University, Northridge. Sides offers a clear-eyed and compelling look at black struggles for equality in L.A.'s neighborhoods, schools, and workplaces from the Great Depression to the present.

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A Poem Is A Naked Person (OPENING NIGHT: LEON RUSSELL IN PERSON)

Cinefamily

611 N. Fairfax, Los Angeles, CA

7:30pm

(JULY 8) Declared by more than one critic the best rock documentary ever made, yet unreleased for over 40 years, the late Les Blank’s first feature is a portrait of Oklahoma rocker Leon Russell at the height of his influence — just off of Joe Cocker’s Mad Dogs and Englishmen tour and George Harrison’s Concert for Bangladesh. In between rollicking concert footage from Austin’s fabled Armadillo World Headquarters and the studio sessions for Hank Wilson’s Back, Vol. I, his LP of country standards showcasing some of Nashville’s finest, we get a transcendent George Jones, a clean-shaven Willie Nelson, a dust-up with folkie Eric Anderson that rivals the Dylan/Donovan throwdown in Don’t Look Back and tons of Blank’s signature Americana (Pentecostal churches, building demolitions, hippie weddings and Lone Star surrealist Jim Franklin feeding mice to his pet snake). Blank’s son Harrod brokered an armistice after his father’s passing, and the re-mastered, streamlined result is a revelation. Recently asked at SXSW why he’d kept it out of circulation all these years, the white-haired Russell replied, “I really can’t remember.”
Dir. Les Blank, 1974, DCP, 90 min. - See more at: http://www.cinefamily.org/films/a-poem-is-a-naked-person/#sthash.F3077r4...

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