Billboards, Covered

Marvin Gaye billboard on the Sunset Strip, circa 1977. Photo by Robert Landau.  © Robert Landau/Rock ‘N’ Roll Billboards of the Sunset Strip/Angel City Press.

Marvin Gaye billboard on the Sunset Strip, circa 1977. Photo by Robert Landau.
© Robert Landau/Rock ‘N’ Roll Billboards of the Sunset Strip/Angel City Press.

The Skirball’s upcoming exhibition Rock & Roll Billboards of the Sunset Strip, opening March 24, highlights a unique era in rock & roll advertising when record companies took over the Sunset Strip with one-of-a-kind hand-painted billboards to promote their artists’ new albums. These rock advertising billboards, popular in the 1960s and 1970s, were elaborate works of art. They were also highly ephemeral, residing on Sunset Boulevard for just a month or two at a time before being dismantled and whitewashed in anticipation of the next record release. With the advent of MTV in the 1980s, billboard ads for music disappeared from the local landscape. Robert Landau’s photographs, featured in the exhibition, remain to document this brief moment when the biggest names in the music business—from Bowie to Bruce to the Beatles—clamored to be seen on billboards.

Of course, the music also remains. I revisited my days as a college radio DJ and made a mix that includes a few of the legendary musicians whose billboards appear in the exhibition—as covered by other musicians. Continue reading

President’s Greeting: Mar/Apr 2015

Each year at this season, Jews around the world celebrate two very different holidays, Purim and Passover. Both are occasions of joy—Purim the more playful, Passover the more purposeful. Yet there is perhaps an unsuspected connection between them: the gift of imagination.

In synagogues throughout the world, the reading of the Purim story is a communal event unlike any other, with children and adults alike dressing in costumes and assuming identities that, for at least a few hours, give free reign to fantasy. As a child in Tel Aviv, I remember that on one Purim I dressed as a traffic director, in my version of the uniform worn by the officer in the intersection, with white gloves to stop the cars or wave them through. This seemed to me a glamorous, even heroic role to play. Continue reading

Documentos de Fe: Exploring Life as a Jew in Latin America

The flyer from the first Latin Jewish Life in Film series at the Skirball. The Year My Parents Went on Vacation was not the first Skirball event I ever attended but it was the first I attended as an employee! Great memory.

The flyer from the first Latin Jewish Life in Film series at the Skirball. Pictured on the cover is a still from the Brazilian film The Year My Parents Went on Vacation, not the first Skirball event I ever attended, but it was the first I attended as an employee! Great memory.

In 2009, the year I started working at the Skirball, Jordan Peimer, Vice President of the Programs department, was trying something new—a film series based on Jewish life in Latin America. As someone who claims both of those cultural influences in my heritage, I found this series fascinating. I was excited to get a glimpse into what Jewish life looked like in places like Mexico, Argentina, Brazil… And I wasn’t alone—the series did very well and has returned every year since. This year’s series, “Mantener la Fe: Keep the Faith,” is one of the last programs we will present that Jordan helped to curate, since he has recently taken the position of Executive Director at ArtPower! at UC San Diego. Luckily he is only a phone call away, and I was happy to catch up with him to learn a little more about what went into choosing this year’s films.

This year’s theme focuses on the idea of keeping one’s faith, even in adverse circumstances. Why did you want to address this theme?
Each year, my hope has been that the Latin Jewish film series will serve to remind audiences of the long history of Jewish life in countries across Latin America. After all, the first Jews to the New World settled in Brazil, and Luis de Torres—who was of Jewish origin—was the first man in Columbus’s crew to land on Hispaniola. These films speak to the abiding connection that Latin American Jews feel towards their faith. All the films show how Jewish life continues to exist there, as it does here, despite all the conflicting demands of contemporary life in Latin America. But nowhere is that stronger than in the terrific documentary, The Longing.  Continue reading

Exploring Light and Shadow: Film Noir and Photography

 ROUSE & JONES, Dead End, 2009, courtesy of the artists


ROUSE & JONES, Dead End, 2009, courtesy of the artists

The Skirball exhibition Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950, now on view through March 1, explores how European exiles and émigrés helped create some of the most classic Hollywood films during and immediately after World War II. Film noir is one of the genres from that era that was heavily shaped by these film artists. Noir films present thrilling stories involving intrigue, suspense, disillusionment, and corruption. Characters are often immersed in dark worlds full of tension and uncertainty. As a companion to Light & Noir, the exhibition The Noir Effect looks at a range of contemporary fine art, film, graphic novels, and games that have taken noir in a new direction and redefined it for audiences today. A large section of the exhibition includes contemporary photography by a diverse group of artists who embrace and experiment with the aesthetics of film noir.

Among these artists is the Los Angeles–based photography duo ROUSE & JONES. Partners in life as well as art, writer/director Mitchell Rouse and photographer/producer Brittany Jones began collaborating in 2009, and soon developed a photography series called NOIR based on their love of films from Hollywood’s Golden Age. The pair’s work combines several elements of film, photography, performance, and storytelling.

Rather than re-creating films that already exist, ROUSE & JONES create a new story in the film noir style using a distinct sequence of techniques. First, they write an original, noir-inspired script that includes setting, action, and dialogue. Then, they ask actors to perform the story, directing the actors’ lines and gestures as they photograph the unfolding scene. Several “takes” of each scene are photographed, shot from different angles and using multiple lighting setups. The actors are encouraged to improvise so that the tension and realism of each scene are heightened.

ROUSE & JONES believe in nurturing the noir genre for future generations; on February 26, as part of the “Light & Noir in Los Angeles” high school residency at the Skirball, the pair will meet with students to discuss their work and share techniques. But before they do, I thought I’d check in with them on SkirBlog and see if they could provide a few more insights into their fascinating way of working:

 

What is it about film noir that you are so drawn to? Why do you think this type of work that draws from noir themes is still so relevant and compelling today?
We love film noir because it’s all about “painting with light,” as the great noir cinematographer John Alton would say. Obviously that’s true of every image ever created, but the noir aesthetic is probably the most dramatic example of how light can be used to tell stories and create emotions. Light and shadow are always “characters” in noir imagery.

Noir themes are still relevant today because they are universal. Noir explores the dark side of man (and world), and those are things that every person faces in their lives. There’s an interesting balance between light and dark within every person, Continue reading

Lost and Found: A Noir Adventure

In November, children and their families participated in “Skirball Playdate: Mildred’s Purse,” a morning-long adventure offered in connection with the exhibition Light & Noir: Exiles and Émigrés in Hollywood, 1933–1950. The program included a special performance by Skirball educator Anna Dresdon, who played the title character based on the 1945 film noir Mildred Pierce. Having lost precious items from her purse, “Mildred” asked the children to help her do some detective work. Armed with special hats and magnifying glasses, they all worked together to search the exhibition for the missing items.

Before heading out into the galleries, the young detectives made their own 1940s-inspired hats. SkirBlog_Mildred's Purse_1

 

What’s this? A clue on the red carpet? SkirBlog_Mildred's Purse_2

 

I found it! One little boy discovered Mildred’s lost Oscar inside the office of Hollywood agent Paul Kohner, which is re-created as part of the Light & Noir exhibition. SkirBlog_Mildred's Purse_3

 

Beads from Mildred’s prized necklace were discovered rolling around in the Casablanca section of the exhibition.  Continue reading

Happy New Year, Skirball Trees!

Every morning when I come to work, I never take for granted how beautiful this campus is. The Skirball is home to hundreds of gorgeous trees, and I am proud to oversee a crew of expert landscapers from Four Seasons Landscape Services who keep them healthy. In honor of the Jewish holiday of Tu B’Shevat, the Jewish “New Year” for trees, I’m happy to share a few little fun facts about our lovable family of Skirball trees.

Number of Trees on Campus: 270

Number of Species: 40—Just to name a few, the campus grows California pines, London sycamores, Italian cypresses, magnolia trees, Japanese maples, gingko bilobas, jacarandas, plum trees, and cherry trees.

Unofficial Skirball Mascot: Before we broke ground on constructing Herscher Hall and the Guerin Pavilion, construction crews identified the circular driveway outside the north garage as the best place to position a crane. But in order to install it, we had to remove one olive tree that was planted there. I knew I didn’t want any harm to come to this magnificent tree, so we had a crane lift it, box it, and carefully move it to higher ground. From its new hillside spot perched over the construction site, it became our mascot for the duration of the long and involved building process. The crew and I lovingly named him Charlie. Years later, when the new facility was nearing completion, we moved Charlie back to his original spot near the north entrance, where he is thriving. I have a soft spot for Charlie and always say hello to him!

On the left, the orange arrow points to Charlie in his special spot during construction.  On the right, Charlie is the center of a group of olive trees that greet our visitors  at the north entrance to the Skirball. Click on the image for an expanded view.

On the left, the orange arrow points to Charlie in his special spot during construction.
On the right, there’s Charlie in the center of a group of olive trees that greet our visitors
at the north entrance to the Skirball. Click on the image for an expanded view.

 

Most Exciting Tree Rescue: If you’ve ever been to one of our Sunset Concerts or just hung out in our central Taper Courtyard, then you know that it features eight tall jacaranda trees. Continue reading

A Trans Am and a Mystery Woman: Noirscape Photo Contest Winner

For many filmmakers, writers, and artists, Los Angeles is the quintessential noir setting. As part of The Noir Effect exhibition, we challenged people to use the noir city as inspiration and submit their own noir-style photographs for a “Shoot Your L.A. Noirscape” contest.

We received more than eighty entries that captured all corners of Los Angeles, from famous landmarks to dramatic shadow-filled streets to moody urban landscapes. People experimented with angles, light sources, blur effects, shadows, colors, and filters. Some even incorporated noir characters into mysterious urban scenes to trigger unsettling narratives. The eclectic range of submissions reinforced just how much noir is part of today’s culture and is constantly being redefined. Noir extends beyond the film genre and becomes a lens for seeing the world. It’s a language, an art form, a style and sensibility that can be applied to so many spaces and environments.

We handed over nineteen compelling entries from our finalists (you can see them all in the slideshow below) to Eddie Muller, founder and president of the Film Noir Foundation and producer and host of the NOIR CITY film festival, who made the final selection. And we are pleased to announce that the winner is…Eric Canale! Eric wins a nice dinner at the old Hollywood restaurant Musso & Frank Grill, and his photograph will be displayed in The Noir Effect gallery for the month of February, so be sure to look for it!

Pennsylvania Avenue at Stewart Street, Santa Monica by Eric Canale

Pennsylvania Avenue at Stewart Street, Santa Monica by Eric Canale

Eric Canale describes his work: Continue reading

Artful Penguins: A Gift from a Noah’s Ark Visitor

During my days staffing the Noah’s Ark Store, I know I work in a magical place. I’ve seen toddlers take their first steps. I’ve seen children who don’t know each other and don’t speak the same language play together. I’ve seen eighteen-month-olds negotiate their parents up from one toy purchase to three. I’ve seen good parenting and bad parenting, tantrums and delight, joy and sorrow, excitement and disappointment. And sharing. Lots and lots of sharing.

In celebration of Penguin Awareness Day, let me tell you about my good friend Aiden.

Aiden is nine years old. A cute red-haired boy, he comes to Noah’s Ark regularly with his family and has been drawing the animals aboard the Ark since he was four. I took special notice of him because he always came with a drawing pad. Eventually, Aiden began showing me his drawings after his visits to the Ark. He told me that he dreams about one day opening up his very own exhibit—re-creating the animals, adding attractions, and even creating items for his very own gift shop.

A few of Aiden's sketches and the Noah's Ark animals they are modeled after—this is one talented kid!

A few of Aiden’s early sketches and the Noah’s Ark animals they are modeled after—this is one talented kid!

One day last year when Aiden was visiting, I asked if he would draw a picture for me. He was happy to oblige! He asked me what my favorite animal on the Ark was, and I said the penguins. He agreed to bring his picture the next time they visited. Many months passed and I didn’t really expect him to remember. Continue reading

Yarn Bombing the Skirball

<i>Forest, For the Trees</i> at the Skirball. Photo by Martha Benedict.

Forest, For the Trees at the Skirball.

On select dates from January 15 through 25, visitors to the Skirball will be able to experience Forest, For the Trees, a unique and beautiful installation by local collective Yarn Bombing Los Angeles (YBLA) and the Arroyo Arts Collective. YBLA have been creating public art with fabric in Los Angeles for a number of years—from community projects to guerilla “bombs”—in locations all over town. Perhaps you’ve seen a parking meter wearing a sweater or a museum façade covered in afghans? I sat down with Carol Zou, YBLA’s self-described “head poncho,” to discuss this whimsical environmental installation that will live (and grow!) in our Family Art Studio for a brief but lively and colorful period.

What exactly is a yarn bomb?
Yarn bombing is a form of self-initiated public art using knitting or crochet. A yarn bomb transforms any item in a dull, drab environment by wrapping it in a colorful crocheted or knitted yarn piece.

What is it about working with yarn, felt, and other fiber-based materials that appeals to people? It seems like, right now, people of all ages and stripes are knitting or doing needlepoint and macramé. Are we just in the midst of a crafty era or is there something about these practices that appeals to people universally?
There’s a couple of answers to this question, and I think it all has to do with the tension between tradition and technology. With the rise of a digital and virtual world, people are starting to become nostalgic for activities that involve working with their hands in a tactile way. Working with traditional technologies such as knitting or crocheting is also a response to the development of new technologies—an individual, handcrafted object becomes really special in this age of mass production. Additionally, people participate in knitting and crocheting in order to connect to past generations. During our workshops, people inevitably start talking about their grandmother or their aunt who did this type of work. If we look at this trend as a larger metaphor, I would say the renewed interest in fiber arts is about people’s ability to find their personal identity in a hyper-digitized world through connecting to their family traditions and handcrafting an individual object.

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How did YBLA get started? Continue reading

Light & Noir: Through the Curator’s Lens

Red Carpet Season is well underway, and if you watched the Golden Globes last night, wasn’t it nice to glimpse a bit of classic Hollywood glamour?

Here at the Skirball, we’re approaching the halfway mark of our own homage to the Golden Age of American filmmaking, Light & Noir: Exiles and Emigres in Hollywood, 1933-1950. As KCRW’s Edward Goldman says, “From the get-go, it’s a winner.” With only about seven weeks to go until the proverbial credits roll on the show, I sat down with curator Doris Berger, who conceived of the exhibition and worked tirelessly on it for more than two years before its October “premiere.”

Curator Doris Berger in a vintage dress for the opening of Light and Noir.

Curator Doris Berger in a vintage dress for the opening of Light & Noir.

 

Is there one particular object in the exhibition that moves you especially deeply?
There are so many objects that move me in this exhibition. It was really hard to decide sometimes what to include and what to leave out. The correspondence of Carl Laemmle, the founder of Universal Pictures, to his extended family in 1938 is incredibly affecting—full of humility and conviction to help others. In a letter to his nephew William Wyler, Laemmle pleads for him to do everything he possibly can to help other refugees. Here’s a quote from that letter: “The Jewish situation in Germany has been getting on my nerves for a long, long time. I feel that these poor, unfortunate people need help the worst way. … If you want to do something really big—something that will give you an immense amount of pleasure—issue one or more affidavits, as many as your means permit. … I feel that every person in America, Jew or non-Jew, with a heart, should do his bit, and thereby get an immense amount of satisfaction and possibly save one or more lives.”

Laemmle also wrote a simple Christmas card to other family members on which he writes, Continue reading