Monthly Archives: July 2013

Posted in Ancient World, Antiquities

Is That Available as an e-Book? Scrolling through an Ancient Text

Attic Red-Figure Cup Fragment
Attic Red-Figure Cup Fragment (detail); Akestorides Painter, Greek (Attic), active about 470 - 450 B.C.; Athens, Greece, Europe; about 470 - 450 B.C.; Terracotta; Object (greatest extent): 6.8 cm (2 11/16 in.); 86.AE.324

An ancient depiction of a classroom and the mysterious marked letters on a scroll; but what do these letters mean? More»

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Posted in Art, Getty Research Institute, Paintings, Scholarship

Treasures from the Vault: Knoedler, Mellon, and an Unlikely Sale

Venus with a Mirror / Titian
Venus with a Mirror, about 1555, Titian. Oil on canvas, 49 x 41 9/16 in. The National Gallery of Art, Washington, D.C., 1937.1.34. Andrew W. Mellon Collection

One of the most remarkable art sales of the 20th century, as told in documents from the Knoedler archives at the Getty Research Institute. More»

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Posted in Art, Education, Voices

Getty Voices: The 30-Second Look

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How do you teach students to look—really look—at art? From the classroom to the gallery, longer looking leads to better learning. More»

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Posted in Behind the Scenes, Getty Center

Friday Flights ’80s Night: The Costume Contest Winners Are…

Strike a pose.
Strike a pose.

What should you wear to the museum? A Madonna costume, most definitely. More»

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Posted in Art, Behind the Scenes, Exhibitions and Installations, J. Paul Getty Museum, Prints and Drawings

Getty Voices: The Poetry of Paper

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Our new drawings exhibition takes an unusual look at negative space, through the lens of poetry. More»

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Posted in Architecture and Design, Behind the Scenes, Conservation, Getty Research Institute

Conserving Architectural Models: Behind the Scenes in the Research Institute Conservation Lab

Tom Learner and Juliane Wattig, working on an architectural model
Photo: Scott S. Warren

How are architectural models conserved? A look at the field, and two displayed in “Overdrive.” More»

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Posted in Architecture and Design, Getty Center, Photographs, Film, and Video

Do Androids Dream of Electric L.A.?

Do Androids Dream of Electric L.A.?
Rutger Hauer as Roy Batty in Blade Runner, 1982. Courtesy of and © The Blade Runner Partnership | © Warner Bros. Entertainment Inc.

As some parts of the world approach the dystopian, cyberpunk 2019 Los Angeles depicted in Blade Runner, the film’s relation to architecture and environment is worth another look. More»

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Posted in Behind the Scenes, Getty Center

My First Concert Ever: Saturdays Off the 405 with Pickwick

Rosie Narasaki at Saturdays Off the 405 at the Getty Center
NOT photoshopped. Courtesy of ace-photographer (and Getty public programs coordinator) Jaclyn Kalkhurst

Really? Yes. 20-something intern Rosie Narasaki attends her first concert ever. And likes it. More»

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Posted in Ancient World, Behind the Scenes, Getty Villa

Five-Ton Wheel Takes Center Stage for “Prometheus Bound”

WHEELshot

A five-ton steel wheel has craned into the Getty Villa for this fall’s outdoor theater production. More»

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Posted in Architecture and Design, Exhibitions and Installations, Getty Research Institute, J. Paul Getty Museum

Subterranean L.A.: The Urban Oil Fields

Union 76 Refinery / Connell
Union 76 Refinery at Night, about 1950, Will Connell. Gelatin silver print, 18 1/4 x 23 1/4 x 1/4 in. Lent by Stephen White, Collection II. Artwork © Will Connell

Since the 1890s, Los Angeles has literally and figuratively been built upon acres of ancient oil deposits deep beneath its shifting surface. More»

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      A Chat with Photographer Tomoko Sawada

      A conversation about Japanese matchmaking traditions, self-portraiture, clothes, and identity.

      When did you start photographing yourself?
      I began making self-portraits when I was 19. It was an assignment for a photography class. I can’t even explain in Japanese why I liked them so much. It was instinctual. It’s as if I knew that this was going to be my style, that this is what I wanted to do. And I’m still doing it because I love the self-portrait, but I don’t know why. 

      What themes are you exploring in your work?
      I’m interested in the relationship between inside and outside. If you wear a sexy dress or if you wear kids clothes or casual clothes, people treat you differently. Even though you are you no matter what you wear. It’s that relationship that makes me think. 

      My new work is from when I was living in New York. When I was in New York, people didn’t think I was Japanese. Sometimes they thought I was Korean or Chines or Mongolian. Even Singaporean. It was funny, when I would go to the Japanese market, they would speak to me in English. When I went to the Korean market, they would speak to me in English again. I don’t seem to look Japanese outside of Japan. I was surprised because I think I look totally Japanese. It’s funny that people’s points of view are totally different.

      Could you talk a little about OMIAI, the series that represents a traditional Japanese matchmaking technique.
      OMIAI is a tradition that is somehow still working today. Usually, there is a matchmaker and photographs are exchanged before meeting. If both sides are interested, they can meet for lunch or dinner accompanied by their parents and steps for marriage proceed from there. In the old days, some people chose their marriage partner just through photographs, without even meeting each other. 

      When OMIAI was exhibited in Japan I saw people making various comments in from of the work. People would say things like, “she looks like a good cook; surely she would prepare delicious meals every day,” or “ this girl could be a perfect bride for my son,” or “I can tell she would not be a good housewife,” or “she’s such a graceful girl; she must be the daughter of a decent family.” Comments like that. 

      What was the process of making that work?
      I gained 10 pounds before I started taking the pictures, and in six months I lost forty pounds, because I wanted to look different in each photo. I wanted to change the way my legs looked. 

      Every weekend I went to the hair salon and put on a kimono. Then I went to the photo studio on the street in Japan. I would take a picture and then change my clothes to western dress. Then I would go to the studio again the next weekend. 

      Did you tell the photographer how you wanted it done?
      I told him I was an artist and wanted to make photographs with him. I told him to think that each weekend new girls would show up to make the OMIAI. I didn’t want him to think of me as the same girl who came every weekend. He understood the concept. 

      We had fun. While he was taking pictures, his wife would tell me how to lose weight. She gave me many tips.


      Tomoko Sawada’s work is on view at the Getty until February 21, 2016 in “The Younger Generation: Contemporary Japanese Photography”

      02/11/16

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