Latest news with #GettyCenter
New York Times
20-05-2025
- Entertainment
- New York Times
‘Book of Marvels' at the Morgan, Oddities From Cannibals to Giant Snails
If the past is a foreign country, as L.P. Hartley wrote, customs make it so. One is the late medieval period's belief in marvels: dragons, unicorns, underwater palaces, wells of water so hot they could melt steel. In reality, it was an age of travel. Europe was meeting Asia and the Middle East on the Silk Road, and Africa through the Mediterranean. Who believed these tales? Unanswerable. But the Morgan Library and Museum has a good go of this question in 'The Book of Marvels: A Medieval Guide to the Globe.' Spanning mainly 1200 to 1550, this exhibition, on view only through May 25, brings together about 20 books, manuscripts and maps (and one globe) that echo the visual language and wanderlust of the show's main attraction: two copies of the 'Livre des Merveilles du Monde,' or 'Book of Marvels of the World,' both from one anonymous author and illuminated in Angers, France. The book reads like an illustrated atlas to the creatures and phenomena rumored to occur worldwide, from neighboring French provinces to China. The 'Marvels' text is at least as old as 1428. Of four known copies, the two on view in this show are thought to have been produced simultaneously, around 1460. One is complete; it lives at the Morgan. The other, a partial copy, was recently acquired by the Getty Center in Los Angeles. (The exhibition premiered there last year with an all-Getty checklist.) Almost identical, both copies are also attributed to the same illuminator, or group: the so-called Master of the Geneva Boccaccio. At the center of the Morgan show, the Getty 'Marvels' lies open to the section on Traponee, or Sri Lanka. At right, hunters chase a giant snail up a hill, their spears tall and sharp. At left, a man and wife make their home in one snail's hollowed-out shell. Displayed beside it, the Morgan's version shows Arabia. There, two hunters slice open an asp to extract the precious stones it keeps in its belly. Other hunters, shimmying up a stand of trees, dismantle nests that birds have built with the coveted cinnamon twig. The 'Marvels' illuminators worked in a soft and fluffy style that the Getty's Larisa Grollemond calls 'colored-grisaille.' What keeps you looking is arrangement. The Arabia scene, in particular, is laid out on a boxed X, with the objects of interest — belly, nest, a phoenix, some dragons — falling at the visual intersection points. 'Menu pictures' are what the show's curators (three from the Getty and one, Joshua O'Driscoll, from the Morgan) call this indexical way of illustrating the text. The original buyer of these luxury 'Marvels' — one is thought to have been Duke René of Anjou (1409-80) — would have enjoyed a scavenger hunt between its dutiful visual paragraphs and its swoopy French bastarda script, uncertain as to which describes which. The Morgan show obeys a similar logic. If you walk the gallery, the maps that have been hung on the wall, and the printed and illuminated manuscripts under glass from the Morgan's collection, amplify the myths and visual strategies enshrined in the 'Marvels.' For instance, the 'Abridged Divine Histories' illuminated in Amiens, France, circa 1300, has a pair of conjoined twins against a background of gold leaf. Hans Rüst's interpretive map of the world, circa 1480, is quite detailed in Africa and Asia, though populated by cannibals and other human oddities rendered large, in a graphic language similar to those tourist maps of the United States where a lobster dominates Maine and an ear of corn Kansas. Marvels seem to have occupied a special compartment of belief: like miracles, except earthly. Scholars upheld the distinction, like Gervase of Tilbury, who in the 13th century deemed 'things marvels which are beyond our comprehension, even though they are natural,' and included fairylike beings in his study of English folklore. In the biblical account of Exodus, God revealed himself to Moses through the burning bush, but the Provençal giants and headless Ethiopians of the 'Book of Marvels'? You can doubt those without fearing damnation. The medieval world was big enough for both kinds of oddity, judging by these books' treatment of Christianity. The conjoined twins appear across the page from an illustration of the baptism of Constantine, the Roman emperor who was probably more responsible than any other monarch for the spread of the Bible. Elsewhere the godly and earthly seem to collide through implication. In an illuminated German 'History of Alexander the Great,' also circa 1460, the Greeks meet a group of Indian Brahmins who are comfortably nude in the presence of newcomers. Their nonchalance recalls nothing so much as Adam and Eve, apple tree and all. Most of these items are illuminated by hand. But several were printed with movable type. The rise of early printed books, or incunables, show an industrial efficiency that happened to dovetail with the European arrival in the Americas and Martin Luther's rebuke of the pope. The timeline had me thinking: Perhaps this intrigue with marvels in a God-given world encouraged a certain anxiety for proof. The Morgan's stellar selection impresses least when it attempts to prove the ways in which medieval marvels explain modern racism. In the catalog and wall text, curators argue that marvels enabled the racial 'othering' of foreign cultures, which in turn stoked a desire to dominate them and the things they treasured. Christopher Columbus brought annotated copies of Marco Polo, the most fantastical and widely read of all marvelists, across the Atlantic to seize the New World. Volumes by both Italians appear in the show. But the appetite for marvels was reciprocal. Of three Middle Eastern books here on display, the secret star of the show is a copy of Nizami's Persian poem 'The Quintet' from around 1550. The illuminator Siyavush Beg depicts a backdrop of stone and plant life that is astonishing in its painterly looseness and control of transparent pigments. Maple leaves explode from the text block like fireworks. Again the scene is from the Alexander the Great myth: the discovery of a fountain of youth. But this time with turbans and a distinctive, almost Mughal flatness. More than cinnamon traveled the Silk Road. By focusing on the potential harm done in part by exotic mythologies, this exhibition leaves us with less answerable but also less explored questions about the past. Such as: How did dominant religions absorb newer legends? And how did these tales shape the medieval reader — or more often, listener — back home? To the scholar Norbert Ohler, for instance, marvels kept people humble by asserting the authority of ancient authors rather than feeble eyewitnesses. However it worked, that past is vanishing the TikTok age, a stack of pressed linen with layers of scenery as vigilant as Siyavush Beg's feels as exotic as the Cinnamologus bird must once have seemed to the courtiers of Burgundy. Both are marvelous. One was real.
Time Out
19-05-2025
- Entertainment
- Time Out
The Getty Villa is finally reopening—here's how you can visit
There's good news this afternoon for art- and antiquities-loving Angelenos. The Getty Villa has announced a reopening date: Friday, June 27. The beloved museum, sister institution to Brentwood's Getty Center, has been closed since January 7, when the destructive Palisades Fire broke out. Even though the Villa shut its doors to the public, some staff members stayed on-site to protect the artwork and grounds from the encroaching blaze—and thanks to the brave work of the Los Angeles Fire Department, volunteers and some truly impressive security measures, the building and collections were unharmed. The Getty says it has worked with its staff and other agencies to ensure the grounds are safe for the public to return to. The extensive cleanup efforts included deep cleaning indoor and outdoor spaces, replacing air and water filters, flushing the water system and removing more than 1,300 trees that had been damaged by the surrounding fires. But even though visitors might notice less vegetation and some burn damage around the grounds, the heart of the Getty Villa remains intact. For the time being, the museum will be open with limited hours: Fridays though Mondays from 10am to 5pm. As always, you'll need to book a timed ticket to visit—walk-ins aren't accepted. And only 500 guests will be admitted per day. You can reserve a ticket here (time slots are available every half-hour until 3pm). At the time of writing, reservations have only been released for the first week of reopening, from June 27 to 30. And while admission is still free, parking is $25. Now, how do you get there? Though the stretch of the Pacific Coast Highway by the Getty Villa remains closed right now, the state has promised that it'll reopen by the end of May. The museum notes that you'll have to enter via PCH, and don't be surprised if you run into some traffic—so plan accordingly. In addition to over 1,000 artifacts on display, visitors will be able to see a brand-new exhibition when they visit: 'The Kingdom of Pylos: Warrior-Princes of Ancient Greece' opens June 27 and is the first major museum show in North America focused on Greece's Mycenaean civilization. Weapons, wall paintings, clay tablets and carved sealstones tell the story of Messenia and its Griffin Warrior tomb. And later this summer, the Villa will resume its outdoor theater series held in its amphitheater built in the Greek and Roman styles. In September, the Troubadour Theater Company will combine Greek tragedy with rock & roll in Oedipus the King, Mama!
Time Out
08-05-2025
- Entertainment
- Time Out
The Getty's free sunset concert series is back for the summer
Summer is so close we can smell it, and that means all of our favorite outdoor events are making their comebacks. Jazz at LACMA is back in action, Cinespia and Barnsdall Park's Friday Night Wine Tastings have already been announced, and now add to that list the Getty Center 's popular Off the 405 series. The museum's annual concert series announced its lineup on Wednesday, and it includes four evenings of eclectic programming. The best part: Tickets—like admission to the Getty Center—are free, though you'll want to try to secure a reservation ahead of time; tickets tend to open up about two to three weeks before each show. The locally beloved Off the 405 series has been drawing crowds to the Getty's courtyard since 2009 (besides taking a couple years off during the pandemic). With past headliners including Moses Sumney, Allah-Las, Chicano Batman and Shannon and the Clams, each year the series' curated lineup spans a range of genres and regularly showcases some of the most exciting up-and-comers in the independent music scene. Each performance starts at 7:30pm and will be preceded by a DJ set at 6pm. Listening to free live music while watching the sun set over the L.A. skyline in one of the city's most beautiful venues—what could be better? And now for the lineup: First up on May 31 is SML. No, they're not an outlet for songs from Saturday Night Live, but rather an L.A.-based quintet of musicians who've worked with the likes of Phoebe Bridgers, Leon Bridges and Perfume Genius. The band, who recently played a sold-out show at the Lodge Room, blends jazz, Afrobeat, kosmische (electronic Krautrock) and ambient influences. Jeff Parker and Scottie McNiece will DJ before the performance. Tickets are available starting today, May 8. As of the time of writing, there's no show scheduled in June, but on July 12, Nashville-based singer, songwriter and guitarist Madi Diaz will take the stage. Diaz, who's collaborated with Harry Styles and Kacey Musgraves and toured with Angel Olsen and Waxahatchee, is also a recent Grammy nominee for best folk album. Tickets are available starting Thursday, June 26. Two weeks later on July 26 is Empress Of, the musical project of Honduran-American L.A.-based singer-songwriter Lorely Rodriguez. Her bold, bilingual music blends electronic, R&B and dream pop. Tickets are available starting Thursday, July 3. And last but not least, L.A.-based composer, singer and songwriter Emile Mosseri will perform on August 23. You've likely heard Mosseri's work before—he composed the scores for films including The Last Black Man in San Francisco and Minari, which earned him an Oscar nomination. His songwriting shows a more personal side of the artist, and his live performances combine both sides of his repertoire. Tickets are available starting Thursday, July 31. Note that even though tickets are free, they're still required and will serve as your museum reservation. Oh, and as always, you'll still have to pay for parking (normally $25, it's $15 after 3pm and only $10 if you show up after 6pm). If a show is sold-out, walk-ups will be admitted day-of if any spots end up being available, if you want to try your luck. Either way, we recommend arriving early to check out the galleries and gardens before the show and making a day of it.
Los Angeles Times
18-04-2025
- Entertainment
- Los Angeles Times
Art Spiegelman, Janinah Burnett and more: L.A. arts and culture this weekend
'Art Spiegelman is one of the most important cartoonists in the world working today. He tackled a subject that was enormous, and he established the medium as a serious literary form.' That's what Joe Sacco says of his fellow cartoonist in 'Art Spiegelman: Disaster Is My Muse,' a new documentary that explores the career and legacy of the artist, editor and Pulitzer Prize-winning author of the acclaimed graphic novel 'Maus.' The 'American Masters' title, which won the Metropolis Grand Jury Prize at the DOC NYC Festival in November, features archival footage and stills, illustrations and new interviews with Spiegelman, as well as insights from his family and contemporaries, including cartoonists Robert Crumb, Emil Ferris, Jerry Craft and Bill Griffith, writer-artist Molly Crabapple and author J. Hoberman. A portion of the film sees Spiegelman deconstructing 'Maus' — which was based on his father's experiences as a Jewish immigrant and Holocaust survivor, as well as his own struggle to visualize it as an artist — and discussing its creation and impact alongside his wife, designer Françoise Mouly. Other sections recap his chapter as co-editor of comic magazines Arcade and Raw and revisit his most notable New Yorker covers. The film premiered earlier this week on PBS and is streaming online and available via the PBS app through May 14. It is a galvanizing watch about the power of art as a medium for processing humanity's most horrific events , and the lasting influence such brave creations will have for generations to come. I'm Ashley Lee, here with my fellow Times staff writer Jessica Gelt with more things to do and news to peruse. 'What They Saw: Historical Photobooks by Women, 1843–1999'The Getty Center's interactive pop-up reading room highlights more than 100 photobooks and encourages visitors to hold the books, read and flip through pages. The exhibition includes a selection of contemporary photobooks by female Southern California photographers, including Catherine Opie, Uta Barth, Jo Ann Callis, Elena Dorfman, Rose-Lynn Fisher, Judy Fiskin and Soo Kim. It is on view through May 11; the Getty's Central Garden will feature poetry inspired by the exhibition from Camae Ayewa (April 23) and Solange Aguilar (April 30). Getty Center, 1200 Getty Center Drive, Brentwood. 'The Totality of All Things'Erik Gernand's play, which debuted in Chicago last year, explores the country's growing divide through the lens of a hate crime at a small-town Indiana high school. The Road Theatre Company production is part of Reflections on Art and Democracy, a citywide celebration of plays, salons, lectures, and concerts that raise awareness about the rise of fascism and antisemitism, as well as the power of art and design to resist them. Directed by Taylor Nichols, this West Coast premiere runs through May 25; Saturday's performance includes a talkback with the playwright. Road Theatre,10747 Magnolia Blvd., North Hollywood. Janinah BurnettBoston Court Pasadena continues its Just Jazz Foundation Series with this one-night-only concert, featuring songs from the artist's debut album, 'Love the Color of Your Butterfly,' as well as hidden gems from various eras of American musical history. Of course, this set list will be delivered with 'clazz' — her signature combination of numerous genres of music, including classical and jazz. Saturday, 8 p.m. Boston Court Pasadena, 70 N. Mentor Ave., Pasadena. — Ashley Lee FRIDAY🎸 AC/DC at the Rose Bowl The stalwart Australian rockers electrify the Arroyo Seco with their Power Up tour and opening act the Pretty Reckless.7 p.m. Rose Bowl, 1001 Rose Bowl Drive, Pasadena. 📖 🎭 Dark Library: Paris 1925 Visit Gertude Stein's apartment and mingle with such notable expats as Ernest Hemingway, Josephine Baker, F. Scott Fitzgerald and his wife, Zelda, via this intersection of multisensory mediums, including cocktails, dance and movement, and experiential design.7 and 9 p.m. Friday-Saturday, through April 26. New Musicals Inc., 5628 Vineland Ave., North Hollywood. 🎸 Graham Nash The singer-songwriter with the light tenor voice performs 'More Evenings of Songs & Stories 2025,' including his solo work and as a member of the Hollies and Crosby, Stills & Nash (and sometimes Young).8 p.m. Carpenter Performing Arts Center, 6200 E. Atherton St., Long Beach. 🎵 🎭 Shrek the Musical Jr. A benefit performance by middle school students with all donations going to help rebuild the Altadena Arts Magnet and Eliot Arts Magnet arts programs, which were severely affected by the Eaton fire. Admission is free but reservations are required.7 p.m. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. SATURDAY🎤 Krush Groove Festival The Game, Bone Thugs-N-Harmony, Redman and Method Man are among the performers at the annual hip-hop festival presented by 93.5 Forum, 3900 W Manchester Blvd., Inglewood. SUNDAY📖 An Evening With Mark Hoppus The Blink-182 singer discusses his new memoir, 'Fahrenheit-182.'4 p.m. The Wiltern, 3790 Wilshire Blvd. 🎭 God's Favorite James Rice directs Neil Simon's 1974 comedy, loosely based on the biblical book of May 3. Long Beach Playhouse Theatres, 5021 E. Anaheim St., Long Beach. 🎞️ Something Mysterious: The Art of Philip Seymour Hoffman The Academy Museum's tribute series to the late Oscar-winning actor continues this week with 'Magnolia' (1999, 7:30 p.m. Sunday) and 'The Savages' (2007, 7:30 p.m. Monday).Series continues through May 29. Academy Museum, 6067 Wilshire Blvd. An art project called 'The Goodbye Line' has been gaining steam — and users — in Southern California. Created by Adam Trunell and partner Alexis Wood, the interactive project consists of stickers placed on working payphones around the city, inviting passersby to call a free recorded line in order to say goodbye to something or someone. Trunell and Wood are posting these recordings online. The results are wildly varied, but almost always poignant. Beloved Devo frontman and all-around uber creator Mark Mothersbaugh has finally opened his MutMuz Gallery to the public. For years Mothersbaugh had used the space on Chung King Road in Chinatown, but he never invited guests inside. First up: his debut solo show of paintings and screenprints, 'Why Are We Here? No. 01.' 'Regency Girls,' a new musical comedy set in the era of Jane Austen, is making its pre-Broadway debut at the Old Globe in San Diego. Penned by TV writers Jennifer Crittenden and Gabrielle Allan, and directed and choreographed by Josh Rhodes, the show is 'both genuinely funny and unabashedly silly,' writes Times theater critic Charles McNulty. Fans of 'Pride and Prejudice' will likely savor the nonstop action, he speculates. Heidi Zuckerman will step down from her role as CEO and director of the Orange County Museum of Art in December, the museum announced this week. Zuckerman has overseen an extraordinary period of growth during her tenure, including the 2022 grand opening of the museum's new Thom Mayne, Morphosis Architects-designed home. Zuckerman is OCMA's 13th director since its 1962 founding and will help the executive committee search for a successor. The museum noted that in the two years since opening its new building, more than 500,000 visitors have stepped through its doors — a number 12 times greater than attendance in the old location. OCMA is not the only regional museum announcing a change in leadership. Adam Lerner, the executive director and CEO of Palm Springs Art Museum, announced this week that he decided not to renew his contract after four years at the helm of the institution. 'The museum is now stronger, more inclusive, and more engaged than ever — and I'm especially proud of the outstanding executive team we've built to carry that momentum forward,' Lerner wrote in a message about his decision to museum members. The 100th class of Guggenheim Fellows was announced this week and 16 L.A.-area honorees are among the 198 artists, scientists and more — across 53 disciplines — selected for the program. Writer-director-actor Miranda July is among the 2025 fellows, as is playwright Larissa Fasthorse, who is receiving funding in a new category for Indigenous Studies. 'At a time when intellectual life is under attack, the Guggenheim Fellowship celebrates a century of support for the lives and work of visionary scientists, scholars, writers, and artists,' Edward Hirsch, poet and president of the Guggenheim Foundation, said in a news release. 'We believe that these creative thinkers can take on the challenges we all face today and guide our society towards a better and more hopeful future.' The additional L.A.-area residents selected are Coleman Collins, UC Irvine, fine arts; Kyungmi Shin, fine arts; Raven Jackson, film/video; Mona Jarrahi, UCLA, engineering; Suk-Young Kim, UCLA, theater arts; Jingyi Jessica Li, UCLA, data science; Park Williams, UCLA, earth science; Mungo Thomson, film/video; Carolina Lithgow-Bertelloni, UCLA, earth science; Julie Tolentino, CalArts, fine arts; Carolyn Castaño, fine arts; Lauren Bon, Metabolic Studio, fine arts; Kerry Howley, general nonfiction; Emily Barker, School of the Art Institute of Chicago, fine arts. — Jessica Gelt Introducing Jesse Eisenberg — composer, lyricist and movie-musical director.
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.
