Latest news with #ChristopherKnight
16-05-2025
- Business
Memorial Day 2025: Top furniture deals to know and shop
Shop Memorial Day weekend sales on furniture. Memorial Day weekend is fast approaching, which means the kickoff to summer -- and major sales! We're keeping an eye out for deals on both indoor and outdoor furniture, mattresses and other essentials. Below, we've curated a guide to the best furniture deals happening now through the holiday weekend. Scroll to check it out! By clicking on these shopping links, visitors will leave and and these e-commerce sites are operated under different terms and privacy policies. ABC will receive a commission for purchases made through these links. SOME PRICES ARE DYNAMIC AND MAY CHANGE FROM THE DATE OF PUBLICATION. Have questions about ordering or a purchase? Click here. Shop more deals! Memorial Day 2025 furniture sales Crate & Barrel: From May 22-27, enjoy up to 60% off furniture, decor and kitchenware. For example, score $175 off Le Creuset Dutch ovens. Article's Memorial Day sale offers up to 60% off a variety of items. Notable deals include the Hilla 83.5-inch Slipcover Sofa for $849, which is 50% off, and the Ora 71-inch Outdoor Sofa at 60% off. Wayfair is offering significant discounts on outdoor furniture, including the Beachcrest Home Outdoor Reclining Adirondack Chair, now over 70% off, reduced from $518 to $154. Amazon's early Memorial Day sales feature up to 67% off outdoor patio furniture, rugs and accessories. Highlights include a Christopher Knight five-piece wood and wicker dining set reduced by $180 and a Signature Design by Ashley four-piece loveseat set discounted by $448. Frontgate: From May 20-26, enjoy up to 75% off sitewide, including outdoor lounge chairs, dining sets and more. Nectar is offering 50% off mattresses and 66% off bundles now through May 30. Lulu and Georgia: From May 16-27, take 20% off sitewide. Use code MEMORIALDAY for 35% off sitewide at Bear from now to May 26. Helix Sleep's Memorial Day Sale runs from May 12 to June 1, featuring discounts on various mattress models. Parachute: From May 15-28, Parachute is offering 30% off sitewide, including bedding and bath essentials. 32% off Wayfair Dover 58'' Upholstered Sofa Wayfair Shop Now 20% off Amazon Pamapic 5 Pieces Patio Furniture Set Amazon Shop Now
New York Post
25-04-2025
- Entertainment
- New York Post
Christopher Knight ‘took offense' to how ‘The Brady Bunch' treated step-siblings: They ‘really failed us'
Here's a story… 'The Brady Bunch' star Christopher Knight revealed that he has a bone to pick with the show. During a recent episode of 'The Real Brady Bros' podcast, which Knight, 67, co-hosts with Barry Williams, 70, they were joined by Susan Olsen, 63, who played Cindy Brady, and Mike Lookinland, 64, who played Bobby Brady. Advertisement 'I took offense to it,' Knight said, referring to the other actors pointing out how the show didn't distinguish between step-siblings and blood-related siblings. 6 Barry Williams, Christopher Knight, and Mike Lookinland attend the 74th Primetime Emmys at Microsoft Theater on September 12, 2022 in Los Angeles, California. Getty Images 6 Top row: Christopher Knight (Peter), Barry Williams (Greg), Ann B. Davis (Alice); middle row: Eve Plumb (Jan), Florence Henderson (Carol), Robert Reed (Mike), Maureen McCormick (Marcia); bottom row: Susan Olsen (Cindy), Mike Lookinland (Bobby). Disney General Entertainment Content via Getty Images Advertisement He added, 'I thought that was the part of the show that really failed us as kids. And I was just 12 years old, thinking at that time, 'They're not really my sisters.' And I know growing up, I would have said, 'You're not really my sister.'' The hit sitcom, which originally aired from 1969 to 1974, followed a blended family, as Mike Brady (Robert Reed), a widower with three sons (played by Knight, Williams, and Lookinland), married Carol Martin (Florence Henderson), who had daughters Marcia (Maureen McCormick), Jan (Eve Plumb) and Cindy (Olsen). 6 Christopher Knight, Maureen McCormick and Barry Williams at the premiere of The Who's rock opera 'Tommy,' circa 1972. Getty Images During the podcast, Williams pointed out that in the show, 'We don't ever refer to ourselves as stepbrother, stepsister, or stepmom.' Advertisement Olsen said that the writers eventually 'forgot' they weren't siblings by blood. 'They had Jan say to Peter, 'You're my brother, blood is thicker than water,'' she recalled. 'And Eve and Chris went to the producers and said, 'We're not related.'' But the producers said 'nobody' remembered that, she added. 6 Christopher Knight attends the US premiere of 'The Inventor' at Hollywood American Legion on September 14, 2023 in Los Angeles, California. Getty Images 6 Mike Brady (Robert Reed), an architect with three sons, married Carol (Florence Henderson), a widow with three daughters. Their children were, from bottom: Greg (Barry Williams), Marcia (Maureen McCormack), Peter (Christopher Knight), Jan (Eve Plumb), Bobby (Mike Lookinland) and Cindy (Susan Olsen). Disney General Entertainment Content via Getty Images Advertisement 6 Barry Williams as Greg Brady and Christopher Knight as Peter Brady in 'The Brady Bunch.' CBS via Getty Images Knight said that as he reflects on the show as an adult and looks back on its 'undoubtable' success, 'I recognize that the reason in part for that success is because we didn't do that. It was all about getting along.' If the Brady boys had a photo of their birth mom up, it would be 'a potential wedge issue,' he added. He continued, 'So it was completely put aside.' Williams pointed out that the blending of families was series creator Sherwood Schwartz's 'whole idea' for 'The Brady Bunch' because he had read news articles about 'the number of families in the '60s that the parents were getting divorced,' which led to the phenomenon of 'latchkey kids' who were home without parents.
Los Angeles Times
04-04-2025
- Entertainment
- Los Angeles Times
George Méliès movies and a Betsabeé Romero exhibition: L.A. arts and culture this weekend
April has arrived, and the Times' arts and culture staff is abuzz about all the Broadway shows, world-class art and concerts heading to Los Angeles in the coming months. Among the season's many anticipated offerings: 'Realms of the Dharma: Buddhist Art Across Asia' at the Los Angeles County Museum of Art and 'Queer Lens: A History of Photography' at the Getty Museum, chosen by art critic Christopher Knight; Evgeny Kissin at Walt Disney Concert Hall and the Ojai Music Festival, selected by classical music critic Mark Swed; and 'White Rabbit, Red Rabbit' at the Fountain Theatre and 'Hamlet' at the Mark Taper Forum, noted by theater critic Charles McNulty. Peruse The Times' full list of picks, which also includes hot tickets in pop music and comedy. As for this weekend, Essential Arts has you covered. I'm Ashley Lee, here with my fellow Times staff writer Jessica Gelt with things to see and news to read. 'The Endless Spiral: Betsabeé Romero''The memories and cultures of migrants are often lost when they leave or are forced away from their homes,' Betsabeé Romero told Times contributor Gordon Cole-Schmidt last year. 'But I want them to feel a sense of pride in their origins in Latin America and beyond.' The Mexican artist's immersive, six-part exhibition, which 'pays tribute to those who have no place of refuge, those whose lives are a circle of running from violence and barbarism, interrupted only by political and economic borders,' has arrived at the Museum of Latin American Art after debuting to 'baying crowds' in Venice. It is on view through Sept. 21. Museum of Latin American Art, 628 Alamitos Ave., Long Beach. 'Vilna: A Resistance Story'Holocaust Museum L.A. and the Ebell of Los Angeles are presenting a one-time performance of a new musical about Vitka Kempner, the 19-year-old Jewish girl who inspired the Jewish resistance movement in the Vilna ghetto during the Holocaust. Directed by Hannah Ryan, the piece features a klezmer-influenced pop score by Kevin Cloud and a book by Lisa Kenner Grissom, with additional story by Allison Cloud. The performance, taking place Sunday at 3 p.m., is free with online RSVP. Wilshire Ebell Theatre, 4401 W. 8th St., L.A. 'Right in the Eye''George Méliès built the first movie studio in Europe and was the first filmmaker to use production sketches and storyboards,' wrote former Times staff writer Susan King. 'Film historians consider him the 'father of special effects' — he created the first double exposure on screen, the split screen and the dissolve. Not to mention that he was one of the first filmmakers to have nudity in his films — he was French, after all.' This live concert 'Right in the Eye,' designed by Jean-François Alcoléa, doubles as a soundtrack to a montage of silent films by Méliès, who made more than 200 short movies at the very dawn of the cinema. The multimedia production showcases 12 titles, with the intricate score performed by a trio of musicians on a wide array of instruments. Tonight's event at the Aero Theatre begins at 7:30 p.m. Aero Theatre, 1328 Montana Ave, Santa Monica. A second local performance takes place Sunday afternoon at 1:30 p.m., La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. — Ashley Lee FRIDAY🎼 Chineke! Orchestra The Philharmonic Society of Orange County presents the European ensemble and trumpeter Aaron Azunda Akugbo in a concert featuring works by Avril Coleridge-Taylor, Haydn and Samuel Coleridge-Taylor.8 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. 🎞️ David Lynch Tribute The UCLA Film & Television Archive presents all seven episodes of 'On the Air,' the 1957-set series created by Mark Frost and David Lynch after 'Twin Peaks,' with Frost in person along with actors Ian Buchanan and Nancye Ferguson.7:30 p.m. Billy Wilder Theatre, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. 🎭 Swipe Conceived and directed by Jon Lawrence Rivera, this solo nonverbal play about an older gay man living alone in L.A. — where tech and youth dominate the culture — features four actors playing the role in repertory.8 p.m. Fridays-Saturdays; 7 p.m. Sundays-Mondays, through April 21. Los Angeles LGBT Center, 1125 N. McCadden Place, Hollywood. 🎭 Ulysses New York-based theater ensemble Elevator Repair Service performs the James Joyce novel.8 p.m. Friday and Saturday; 1 p.m. Saturday. UCLA McGowan Hall Little Theater, 245 Charles E. Young Drive E. SATURDAY🎞️ Bombshell The UCLA Film & Television Archive screens the 1933 screwball comedy starring Jean Harlow followed by a conversation between former Times film critics Kenneth Turan and Justin Chang about Turan's new book, 'Louis B. Mayer and Irving Thalberg: The Whole Equation.'7:30 p.m. Billy Wilder Theatre, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. 🎤 Judy Collins The Grammy-winning singer draws on her more than 50 albums of folk, rock, show tunes, standards and original compositions.7 p.m. Sunday. The Grammy Museum, L.A. Live, 800 W. Olympic Blvd., Ste. A245; 6:30 p.m. Sunday. Bank of America Performing Arts Center, Fred Kavli Theatre, 2100 E. Thousand Oaks Blvd. 🏛️ Robert Irwin in Los Angeles The first California exhibition of the artist's works since his death in 2023 focuses on 1960-71, the most prolific period of his career as he shifted from object-based art to more nonrepresentational works.10 a.m.-6 p.m. Tuesday-Saturday, through June 7. Pace Gallery, 1201 S. La Brea Ave. 🎨 Rachel Jones New paintings from the London-based artist explore fundamental question of the body in the exhibit 'Dark-Pivot.' 6 p.m. Saturday, opening reception. 10 a.m.-6 p.m. Tuesday-Saturday, through May 10. Regen Projects, 6750 Santa Monica Blvd. Los Angeles. 🎸 The Linda Lindas The local rockers swing through town on their North American tour.,7 p.m. Tuesday, The Glass House, 200 W. 2nd St., Pomona; 7 p.m. The Novo, 800 W. Olympic Blvd. 🎭 The Paper Escaper Terrapin Puppet Theatre tells the story of Benny, a pop-up-book character determined to break free from the constraints of his pages and a disillusioned illustrator, in a free Spring Family Fest event.11 a.m. and 2 p.m. The Wallis, Lovelace Studio Theater, 9390 N. Santa Monica Blvd., Beverly Hills. 🎭 You Are Cordially Invited to the End of the World! Zi Alikhan directs Keiko Green's cheeky comedy about a man and his family facing a terminal May 3. South Coast Repertory, 655 Town Center Drive, Costa Mesa. SUNDAY🎼 Terence Blanchard The Academy Award-nominated composer and jazz trumpeter performs highlights from his two operas, 'Champion' and 'Fire Shut Up in My Bones,' with the E-Collective, Turtle Island Quartet and vocalists Justin Austin and Adrienne Danrich.7 p.m. Sunday. The Soraya, 18111 Nordhoff St., Northridge. 8 p.m. April 12. Soka Performing Arts Center, 1 University Dr., Aliso Viejo. 🎞️ Capote A 35mm screening of Bennett Miller's 2005 biopic of the author and bon vivant for which star Philip Seymour Hoffman won an Oscar, with screenwriter Dan Futterman in person.7:30 p.m. Academy Museum, 6067 Wilshire Blvd. 🎼 🎹 Double Trouble Tesserae presents musicians Julian Perkins and Ian Pritchard for a program of works for double harpsichord, including Bach's Concerto in C Minor for Two Harpsichords, BWV 1060, and C.P.E. Bach's F Major.3 p.m. Calvary Presbyterian Church, 1050 Fremont Ave., South Pasadena. 🚲 🚶♀️ 🏃🏿♂️➡️ Koreatown Meets Hollywood Join walkers, runners, cyclists and skaters for CicLAvia's 59th car-free open streets event, a 4.75-mile trip along Vine Street, Santa Monica and Wilshire boulevards and Western Avenue.9 a.m.-4 p.m. 🖌️ Line, Form, Qi: Calligraphic Art From the Fondation INK Collection Experimental works by artists including Fung Ming Chip, Gu Wenda, Inoue Yūichi, Lee In, Henri Michaux, Nguyễn Quang Thắng, Qiu Zhijie, Tong Yangtze, Wang Dongling, Wei Ligang and Xu Oct. 19. Los Angeles County Museum of Art, Resnick Pavilion, 5905 Wilshire Blvd. 🎞️ Play It As It Lays The West Coast premiere of the 4K restoration of Frank Perry's 1972 adaptation of Joan Didion's novel, arguably the best cinematic exploration of Didion's style and worldview, a portrait of L.A. ennui.7:30 p.m. Aero Theatre, 1328 Montana Ave. Santa Monica. 🎼 Sacred Spaces The Los Angeles Master Chorale 'explores that divine spark through music' with a program that includes works by Anton Bruckner, Alice Parker, Moses Hogan and Hyo-Won Woo, as well as Morten Lauridsen's 'O Magnum Mysterium.'5 p.m. Sunday. All Saints' Episcopal Church, 504 N. Camden Drive, Beverly Hills; 7:30 p.m. April 11. St. Andrew Catholic Church, 311 N. Raymond Ave., Pasadena. In a new executive order, titled 'Restoring Truth and Sanity to American History,' President Trump accused the Smithsonian Institution of propagating 'divisive, race-based ideology' and said that his administration would end federal funding for exhibitions and programs based on racial themes that 'divide Americans.' The order, which directs Vice President JD Vance to remove 'improper ideology' from the Smithsonian's 19 museums and the National Zoo in Washington, D.C., also seeks to restore Department of the Interior public monuments and statues that were removed or changed since 2020 'to perpetuate a false reconstruction of American history, inappropriately minimize the value of certain historical events or figures, or include any other improper partisan ideology.' The beloved indie filmmaker Jim Jarmusch opened his second formal art exhibition, 'Some More Collages,' at L.A.'s James Fuentes gallery. The work is a continuation of Jarmusch's obsession with collage, which he's been creating for decades. His first show was in New York in 2021, and he's ramped up his presence in the art world since then. Times contributor Renée Reizman caught up with Jarmusch for a Q&A about his journey as a visual artist. It's been 20 years since Times columnist Steve Lopez first spotted a man named Nathaniel Anthony Ayers trying to play a tune on a violin with two strings in downtown's Pershing Square. Lopez wrote a story about Ayers' journey from Juilliard prodigy to a difficult life on the streets of Los Angeles, and what followed was nothing short of remarkable. The alliance forged by Ayers and Lopez drew attention to the mental health crisis affecting unhoused people in urban areas, and resulted in Lopez's book 'The Soloist' (later adapted into a movie), as well as appearances by Ayers at Disney Hall, the Hollywood Bowl and Dodger Stadium. Lopez looks back on the history of this rich friendship in a new column. Times staff writer Kaitlyn Huamani interviewed actor Alden Ehrenreich about his passion project, a live theater venue in Cypress Park called the Huron Station Playhouse, which celebrated its soft opening last fall. 'Ehrenreich wanted a place where art could be produced without the pressure of commercial success,' Huamani writes of the actor, who keeps a busy schedule traveling the world to film major productions including Disney+'s upcoming Marvel miniseries 'Ironheart.' Jacob Jonas the Company announced its 10th-anniversary season, titled 'From Scratch.' First up are two new site-specific dance performances presented as part of an organic work-in-progress called 'Gardening,' Saturday and Sunday at Franklin Canyon Park's Sam Goldman Amphitheater in Beverly Hills. Five additional programs and performances are on the schedule, including Jonas' first work since surviving cancer — a trilogy titled 'Keeping score.' The full season lineup and ticket information can be found here. Otis College recently released its 2025 Report on the Creative Economy. One key finding notes, 'Fine arts continue to shine as California remains a fine arts education powerhouse.' However, 'Of the nine sectors that comprise the creative economy, three saw payroll expansion in the past year, including: film, TV and sound; Fine arts performance and institutions (fine arts); and managers, independent artists, performers. Speaking to the extended lethargy in the industry, only three creative economy sectors have added employment in the state since 2019: fine arts; managers, independent artists, performers; and new media.' Read the full report, here. — Jessica Gelt Jessica Chastain as an aspiring gallerist and Adam Driver as a gifted artist? Sold, indeed.
Yahoo
18-03-2025
- Entertainment
- Yahoo
We asked if the Getty should move. Here's how readers responded
'Should the Getty move?' Times art critic Christopher Knight asked in a recent commentary. 'Should the Villa, and the Getty Center in the fire-prone Brentwood hills nearby, both evacuate — for good?' The thought occurred to Knight in the aftermath of the devastating wildfires that tore through the Pacific Palisades and Altadena in January, resulting in one of the costliest natural disasters in U.S. history. 'Fires will come again, and today 'fire hurricane' has entered the lexicon,' writes Knight. 'Words like 'unprecedented' and 'extraordinary' accompanied dazed descriptions of a regional fire season that has been otherwise routine for centuries.' If the museums were to move, where would they go? 'The county's soon-to-be-vacated Kenneth Hahn Hall of Administration is a monumental, late Moderne civic building whose 1960 team of architects included the trailblazing Paul Revere Williams, the first African American member (and later, fellow) of the American Institute of Architects,' Knight writes of the downtown structure. 'Is adaptive reuse of the Hahn building for an art museum's needs even possible?' We asked L.A. Times readers if they thought the Getty should move. Here's what they said: Responses have been lightly edited for style and clarity. Read more: Commentary: Fire could have destroyed the Getty's irreplaceable art. Should the museum move? 'Absolutely not! The venue is a big part of both the Center and the Villa. That is what makes the Getty Museums so 'special.' One option is to purchase additional surrounding land if one is concerned about potential future fires. There are no guarantees in life. Live on the edge a little! And enjoy two of the most amazing and unique museums in the world! Another option is for a third potential Getty Museum in downtown L.A. I am sure the Getty group can create an equally unique and special space there. They did an excellent job with the present ones.' — Greg Virelli 'No. As the article describes, the museum's response to the recent extreme threats were well planned and successful. The idea that a wildly expensive move to another location would make it impervious to future disaster (earthquake) or attack is wishful thinking. The site and setting (of the Villa in particular but also the Center) are integral to the art collection's display and interpretation, and obviously not merely a container. The question of access to communities is another matter entirely, and surely one that they continue to grapple with. One could imagine greater investment in running shuttles from the closest metro stations, for example. And while it's not within their jurisdiction, the city should install a sidewalk and bike lane on Sepulveda, as it is presently impossible to arrive in any way other than motor transport.' — Todd Lerew 'I love the Getty Center and especially the Getty Villa, but it would be disastrous and heartbreaking to lose any collections at both of these facilities. However, honestly, I don't know that I would visit a new Getty facility in downtown L.A., since downtown has its own set of challenges, homelessness, lack of parking. Perhaps if there was direct or close by Metro rail, I'd consider.' — Nancy Gill 'No! No! No! I have adored the Getty Villa as no other museum in my 88 years. I have lived in New York City, traveled London and Paris, and have always had to force myself to spend time in museums in those cities. The Getty was special because it was the Villa. Imagining the people living and working there gave it a dimension others don't have. 'I would even prefer to have artwork fakes, if necessary. Most people wouldn't know the difference. But the experience would be maintained.' — Suzanne Barber 'I worry about an earthquake and a fire. People will go anywhere the art is. As you eloquently said, protecting the art is paramount. I would hate to see the Getty as an ivory tower, but it is so large it could serve many purposes for many people. And the Villa could have a park around it… I hope the Getty employees, while acting with courage out of love for the Villa, were given medals, bonuses and long vacations! Thank you for writing an important and thoughtful article.' — Denah S. Bookstein 'Yes, definitely. The move to downtown Los Angeles would expose thousands more people to the incredible art of this priceless collection. The location is ideal, surrounded by good infrastructure that would enhance the beauty, history and architecture of, in my view, one of the most beautiful downtowns in the nation.' — Patrick Edwards 'That's a really provocative and interesting question. The central reason for collecting museums to exist is to preserve and protect the collections. And the masterpieces of the Getty are irreplaceable. Given the potential for catastrophic fire in both locations, I could see a melding of the Villa and Getty Center collections into one large museum. They could then use the Villa as more of an "experience" for visitors (with reproductions) as well as a research center; the Getty Center certainly could become a university, perhaps focusing on art conservation, art history, even art practice.' — Anne Farrell 'No. Sounds like it was built with fire protection in mind. But certainly a review should be done and updated. Plans established for moving the most priceless in the event of a fire, unless they've already done that; like into an underground bunker or vault. It would take a Herculean effort with a number of staff required to do that, and often there's no time! As you say, 'An answer awaits.' ' — Lisa Morris 'Yes. I'm not 100% certain, but I believe that a move to another location for the Getty (both museums) is an idea whose time has come.' — Sanford Forman 'One idea would be to set up an auxiliary site that could help anchor the Palm Springs and Coachella area. It might be a good plan to move part of the collection to a safer site. The Foundation could hire a climate aware architect that could build a state of the art facility that is safe from earthquakes, mudslides, wildfires, windstorms, acid fog, PCH traffic jams and any variety of 'Mad Max'-styled vandals. It would be quite enjoyable to stay in Palm Springs and also visit a Getty museum on the same trip.' — Forest Grey Read more: Inside the dash to save the Getty Villa from the Palisades fire: A timeline 'Not in the short term perhaps — but I take to heart your comment about the dearth of Eastside cultural access. It's a criminal oversight by the county. I'd suggest a phased approach — perhaps a satellite(s) or a partial move downtown. Whatever it may be — a majority of Angelenos have little access to the Getty 'Paradise.' ' — William Moreno 'The Getty is more than a collection of artworks. Sort of like Richard Serra's famous (or infamous) 'Tilted Arc,' if you move the Getty, it sort of stops being 'The Getty.' There's something site specific to the institution. Part of what makes it iconic is the location. These buildings and the surrounding landscape is crucial to the local and global understanding of Getty. Is it possible to move the collection? Maybe, sure. I think it'd be a huge mistake though. A better response to concern, in my opinion, would be to double down on preventative measures.' — Abigail Mortensen 'You make a powerful argument to move and consolidate the Getty holdings downtown from the perspective of fire threat and greater accessibility to the public. If I recall correctly, the Getty Center faced strong criticism when it was planned because of the fortress-like location requiring both a journey on the traffic-plagued Interstate 405 and a monorail ride up a cliff. But downtown L.A., despite a couple of light-rail lines and a subway, is not urban Manhattan, N.Y., with its dense network of convenient public transportation to multiple museums for millions of New Yorkers. And let's be honest, a large percentage of Getty visitors go to the two museums for the overall ambience of the architecture, the gardens, the reflecting pools and the view. The Hahn complex would function essentially as a faceless warehouse for the priceless art objects, similar to the now-labeled Geffen Contemporary at MOCA. I suspect that alone would engender sufficient opposition to render such a move moribund simply as a consequence of endless debate, the way so many intriguing ideas die in Los Angeles.' — Vic Turner 'While it's an interesting and provocative idea, where is safe? In the Ring of Fire where freeways topple, is anywhere truly safe. Fires break out everywhere, even massive ones. There is no saying that anywhere a museum moves won't be the 'Appointment in Samarra' for the collection. The Getty has proven it has done an exceptional job of stewardship. If anyone appreciates the legacy they hold it is the Getty. Having worked with the Getty, I am certain they will only work to continually upgrade their already established systems and procedures. I am confident that the collections are as safe in situ as can be.' — Jordan Peimer 'As gutwrenchingly painful as even conceiving of leaving the Villa and Center is, the thought of losing the collections is totally unimaginable. My husband was a world class artist. And we visited the Getty to nourish our souls many times over the years. There just is nothing comparable to it's collection anywhere on the planet. I think protecting it has to take precedence over everything else. So, yes, I would be in favor of moving to a safer location. The idea of turning the Villa into a replica of an ancient Roman living quarters is a brilliant idea and eases the blow of moving somewhat.' — Jane Franks 'Yes. The Getty is adjacent to Mission Canyon Landfill that covers hundreds of acres and is filled with toxic waste and highly explosive, highly flammable landfill gases. There have been fires there in the past.' — Janice England 'Yes! I didn't think the Getty should do a thing until I read this article and learned that the Hall of Administration is being vacated. What an opportunity for our city! That building is gorgeous! Majestic. A gem! Move the collections there, but keep the sites as cultural centers — a bigger bonus for the city. More to love! Read more: At the Getty Villa, the marvelous exhibition rescued from the Palisades fire 'If the Hall of Administration isn't used properly, it will rot, taking down a huge swath of downtown, which has been in question for some time. The Getty collection would reinvigorate the whole area, but the city needs to commit to creating shady green space — all the way to Pershing Square, which should be returned to its original glory with fountains and trees. Create more one-way streets, and convert several thoroughfares to pedestrian-only. Add trees and solar-collecting pavement — voila!' — Christine Goethals 'No, neither museum should move. Each site is integral to the mission of the institution, particularly the Getty Villa. Each was built with consideration to natural disasters including fires. As a Getty Villa docent, I find the site particularly inspiring and beautiful and cannot wait to return.' — Susan Bowles 'Thank you for this incredibly informative article, one of the best I've read on the impact of the fires. Not sure how feel about moving from the existing Getty facilities yet, but the author makes a compelling argument for the Hahn Center. I will say that taking out-of-town visitors up to the Getty Center on a beautiful Southern California day, we've blown many a mind as they look out to the Pacific.' — Geoff Case 'If the decision is made to move the Hahn Center seems to kill two birds with one stone, preserving the 1960 architecture and housing irreplicable art objects.' — Bonnie Carruth 'Yes. The next time might be it — buildings may be hardened, but very little withstands fires as they are now. Happening relatively close together (2019 and 2025) is a clear warning that the area is a fire zone. Ignoring such a warning leads only to one thing, whether that's next year or in another six.' — Emily Cikovsky 'Definitely not! As you point out in your article both the Getty Villa and the Center are two of the most fire resistant buildings in L.A. as witnessed by their lack of damage in the latest firestorms. Moreover Getty has the financial resources to purchase and maintain cutting edge fire protection technology. But in the case of the Villa there is an even more compelling argument against a move. The Villa's architecture and its physical location are essential for understanding the art works it contains. The building that houses its art is a faithful replica of an ancient Roman seaside villa built in the first century AD whose ruins were uncovered in Pompeii. The landscaping, reflecting pools, ocean vistas are integral to the appreciation of its ancient Greek, Etruscan and Roman art collections. Finally, as a Malibu resident for 35 years and veteran survivor of many fires including the latest inferno, if I was forced to flee from another, I would happily go and hold up in the Getty Villa and be in no hurry to leave it!' — Diane Hines 'Maybe. Reasons: I remember the Bel Air fire, fall 1961. The fire jumped Sepulveda Pass. There was damage to Mt. St. Mary's College, on Chalon Drive. That's the old name for Getty Center Drive. I was a UCLA student, student-teaching at Paul Revere Junior High (now Middle School), with evacuees in my parent's house.' — Mary Stewart 'No. I trust they know what they're doing and if they think they're safe, I'm good with that. Then again, after hearing what JD Vance said in 2021 about universities and professors, maybe both Getty museums and all of us interested parties should find a good hiding place. I fear for academia.' — John Finley Get notified when the biggest stories in Hollywood, culture and entertainment go live. Sign up for L.A. Times entertainment alerts. This story originally appeared in Los Angeles Times.
Los Angeles Times
18-03-2025
- Entertainment
- Los Angeles Times
We asked if the Getty should move. Here's how readers responded
'Should the Getty move?' Times art critic Christopher Knight asked in a recent commentary. 'Should the Villa, and the Getty Center in the fire-prone Brentwood hills nearby, both evacuate — for good?' The thought occurred to Knight in the aftermath of the devastating wildfires that tore through the Pacific Palisades and Altadena in January, resulting in one of the costliest natural disasters in U.S. history. 'Fires will come again, and today 'fire hurricane' has entered the lexicon,' writes Knight. 'Words like 'unprecedented' and 'extraordinary' accompanied dazed descriptions of a regional fire season that has been otherwise routine for centuries.' If the museums were to move, where would they go? 'The county's soon-to-be-vacated Kenneth Hahn Hall of Administration is a monumental, late Moderne civic building whose 1960 team of architects included the trailblazing Paul Revere Williams, the first African American member (and later, fellow) of the American Institute of Architects,' Knight writes of the downtown structure. 'Is adaptive reuse of the Hahn building for an art museum's needs even possible?' We asked L.A. Times readers if they thought the Getty should move. Here's what they said: Responses have been lightly edited for style and clarity. 'Absolutely not! The venue is a big part of both the Center and the Villa. That is what makes the Getty Museums so 'special.' One option is to purchase additional surrounding land if one is concerned about potential future fires. There are no guarantees in life. Live on the edge a little! And enjoy two of the most amazing and unique museums in the world! Another option is for a third potential Getty Museum in downtown L.A. I am sure the Getty group can create an equally unique and special space there. They did an excellent job with the present ones.' — Greg Virelli 'No. As the article describes, the museum's response to the recent extreme threats were well planned and successful. The idea that a wildly expensive move to another location would make it impervious to future disaster (earthquake) or attack is wishful thinking. The site and setting (of the Villa in particular but also the Center) are integral to the art collection's display and interpretation, and obviously not merely a container. The question of access to communities is another matter entirely, and surely one that they continue to grapple with. One could imagine greater investment in running shuttles from the closest metro stations, for example. And while it's not within their jurisdiction, the city should install a sidewalk and bike lane on Sepulveda, as it is presently impossible to arrive in any way other than motor transport.' — Todd Lerew 'I love the Getty Center and especially the Getty Villa, but it would be disastrous and heartbreaking to lose any collections at both of these facilities. However, honestly, I don't know that I would visit a new Getty facility in downtown L.A., since downtown has its own set of challenges, homelessness, lack of parking. Perhaps if there was direct or close by Metro rail, I'd consider.' — Nancy Gill 'No! No! No! I have adored the Getty Villa as no other museum in my 88 years. I have lived in New York City, traveled London and Paris, and have always had to force myself to spend time in museums in those cities. The Getty was special because it was the Villa. Imagining the people living and working there gave it a dimension others don't have. 'I would even prefer to have artwork fakes, if necessary. Most people wouldn't know the difference. But the experience would be maintained.' — Suzanne Barber 'I worry about an earthquake and a fire. People will go anywhere the art is. As you eloquently said, protecting the art is paramount. I would hate to see the Getty as an ivory tower, but it is so large it could serve many purposes for many people. And the Villa could have a park around it… I hope the Getty employees, while acting with courage out of love for the Villa, were given medals, bonuses and long vacations! Thank you for writing an important and thoughtful article.' — Denah S. Bookstein 'Yes, definitely. The move to downtown Los Angeles would expose thousands more people to the incredible art of this priceless collection. The location is ideal, surrounded by good infrastructure that would enhance the beauty, history and architecture of, in my view, one of the most beautiful downtowns in the nation.' — Patrick Edwards 'That's a really provocative and interesting question. The central reason for collecting museums to exist is to preserve and protect the collections. And the masterpieces of the Getty are irreplaceable. Given the potential for catastrophic fire in both locations, I could see a melding of the Villa and Getty Center collections into one large museum. They could then use the Villa as more of an 'experience' for visitors (with reproductions) as well as a research center; the Getty Center certainly could become a university, perhaps focusing on art conservation, art history, even art practice.' — Anne Farrell 'No. Sounds like it was built with fire protection in mind. But certainly a review should be done and updated. Plans established for moving the most priceless in the event of a fire, unless they've already done that; like into an underground bunker or vault. It would take a Herculean effort with a number of staff required to do that, and often there's no time! As you say, 'An answer awaits.' ' — Lisa Morris 'Yes. I'm not 100% certain, but I believe that a move to another location for the Getty (both museums) is an idea whose time has come.' — Sanford Forman 'One idea would be to set up an auxiliary site that could help anchor the Palm Springs and Coachella area. It might be a good plan to move part of the collection to a safer site. The Foundation could hire a climate aware architect that could build a state of the art facility that is safe from earthquakes, mudslides, wildfires, windstorms, acid fog, PCH traffic jams and any variety of 'Mad Max'-styled vandals. It would be quite enjoyable to stay in Palm Springs and also visit a Getty museum on the same trip.' — Forest Grey 'Not in the short term perhaps — but I take to heart your comment about the dearth of Eastside cultural access. It's a criminal oversight by the county. I'd suggest a phased approach — perhaps a satellite(s) or a partial move downtown. Whatever it may be — a majority of Angelenos have little access to the Getty 'Paradise.' ' — William Moreno 'The Getty is more than a collection of artworks. Sort of like Richard Serra's famous (or infamous) 'Tilted Arc,' if you move the Getty, it sort of stops being 'The Getty.' There's something site specific to the institution. Part of what makes it iconic is the location. These buildings and the surrounding landscape is crucial to the local and global understanding of Getty. Is it possible to move the collection? Maybe, sure. I think it'd be a huge mistake though. A better response to concern, in my opinion, would be to double down on preventative measures.' — Abigail Mortensen 'You make a powerful argument to move and consolidate the Getty holdings downtown from the perspective of fire threat and greater accessibility to the public. If I recall correctly, the Getty Center faced strong criticism when it was planned because of the fortress-like location requiring both a journey on the traffic-plagued Interstate 405 and a monorail ride up a cliff. But downtown L.A., despite a couple of light-rail lines and a subway, is not urban Manhattan, N.Y., with its dense network of convenient public transportation to multiple museums for millions of New Yorkers. And let's be honest, a large percentage of Getty visitors go to the two museums for the overall ambience of the architecture, the gardens, the reflecting pools and the view. The Hahn complex would function essentially as a faceless warehouse for the priceless art objects, similar to the now-labeled Geffen Contemporary at MOCA. I suspect that alone would engender sufficient opposition to render such a move moribund simply as a consequence of endless debate, the way so many intriguing ideas die in Los Angeles.' — Vic Turner 'While it's an interesting and provocative idea, where is safe? In the Ring of Fire where freeways topple, is anywhere truly safe. Fires break out everywhere, even massive ones. There is no saying that anywhere a museum moves won't be the 'Appointment in Samarra' for the collection. The Getty has proven it has done an exceptional job of stewardship. If anyone appreciates the legacy they hold it is the Getty. Having worked with the Getty, I am certain they will only work to continually upgrade their already established systems and procedures. I am confident that the collections are as safe in situ as can be.' — Jordan Peimer 'As gutwrenchingly painful as even conceiving of leaving the Villa and Center is, the thought of losing the collections is totally unimaginable. My husband was a world class artist. And we visited the Getty to nourish our souls many times over the years. There just is nothing comparable to it's collection anywhere on the planet. I think protecting it has to take precedence over everything else. So, yes, I would be in favor of moving to a safer location. The idea of turning the Villa into a replica of an ancient Roman living quarters is a brilliant idea and eases the blow of moving somewhat.' — Jane Franks 'Yes. The Getty is adjacent to Mission Canyon Landfill that covers hundreds of acres and is filled with toxic waste and highly explosive, highly flammable landfill gases. There have been fires there in the past.' — Janice England 'Yes! I didn't think the Getty should do a thing until I read this article and learned that the Hall of Administration is being vacated. What an opportunity for our city! That building is gorgeous! Majestic. A gem! Move the collections there, but keep the sites as cultural centers — a bigger bonus for the city. More to love! 'If the Hall of Administration isn't used properly, it will rot, taking down a huge swath of downtown, which has been in question for some time. The Getty collection would reinvigorate the whole area, but the city needs to commit to creating shady green space — all the way to Pershing Square, which should be returned to its original glory with fountains and trees. Create more one-way streets, and convert several thoroughfares to pedestrian-only. Add trees and solar-collecting pavement — voila!' — Christine Goethals 'No, neither museum should move. Each site is integral to the mission of the institution, particularly the Getty Villa. Each was built with consideration to natural disasters including fires. As a Getty Villa docent, I find the site particularly inspiring and beautiful and cannot wait to return.' — Susan Bowles 'Thank you for this incredibly informative article, one of the best I've read on the impact of the fires. Not sure how feel about moving from the existing Getty facilities yet, but the author makes a compelling argument for the Hahn Center. I will say that taking out-of-town visitors up to the Getty Center on a beautiful Southern California day, we've blown many a mind as they look out to the Pacific.' — Geoff Case 'If the decision is made to move the Hahn Center seems to kill two birds with one stone, preserving the 1960 architecture and housing irreplicable art objects.' — Bonnie Carruth 'Yes. The next time might be it — buildings may be hardened, but very little withstands fires as they are now. Happening relatively close together (2019 and 2025) is a clear warning that the area is a fire zone. Ignoring such a warning leads only to one thing, whether that's next year or in another six.' — Emily Cikovsky 'Definitely not! As you point out in your article both the Getty Villa and the Center are two of the most fire resistant buildings in L.A. as witnessed by their lack of damage in the latest firestorms. Moreover Getty has the financial resources to purchase and maintain cutting edge fire protection technology. But in the case of the Villa there is an even more compelling argument against a move. The Villa's architecture and its physical location are essential for understanding the art works it contains. The building that houses its art is a faithful replica of an ancient Roman seaside villa built in the first century AD whose ruins were uncovered in Pompeii. The landscaping, reflecting pools, ocean vistas are integral to the appreciation of its ancient Greek, Etruscan and Roman art collections. Finally, as a Malibu resident for 35 years and veteran survivor of many fires including the latest inferno, if I was forced to flee from another, I would happily go and hold up in the Getty Villa and be in no hurry to leave it!' — Diane Hines 'Maybe. Reasons: I remember the Bel Air fire, fall 1961. The fire jumped Sepulveda Pass. There was damage to Mt. St. Mary's College, on Chalon Drive. That's the old name for Getty Center Drive. I was a UCLA student, student-teaching at Paul Revere Junior High (now Middle School), with evacuees in my parent's house.' — Mary Stewart 'No. I trust they know what they're doing and if they think they're safe, I'm good with that. Then again, after hearing what JD Vance said in 2021 about universities and professors, maybe both Getty museums and all of us interested parties should find a good hiding place. I fear for academia.' — John Finley
