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xchrom Donating Member (1000+ posts) Send PM | Profile | Ignore Wed Nov-23-11 09:32 AM
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AP / Damian Dovarganes

The Getty Research Institutes deputy director, Andrew Perchuk, left, and Joan Weinstein, associate director of The Getty Foundation, pose in front of Ed Ruschas Standard Station painting at The Getty Center in Los Angeles on Sept. 22 to promote the Pacific Standard Time: Art in L.A.: 1945 to 1980 exhibition series.

One of the most highly publicized art initiatives of the early 21st century is Pacific Standard Time: Art in L.A. 1945-1980, a collaboration between the Getty Foundation and the Getty Research Institute. This remarkable series of exhibitions throughout Southern California, running from October 2011 to April 2012, involves more than 60 cultural institutions and documents the emergence of Los Angeles as a vibrant postwar center for cultural production. Perhaps above all, these exhibitions reveal Southern California to be an authentic rival to New York as a world arts center. Pacific Standard Time should cause critics and scholars to revise their sectarian outlooks and broaden their geographic horizons.

When the Getty announced this initiative, some understandable skepticism in progressive cultural circles arose. After all, Getty, with its vast wealth and influence in the contemporary art world, could well be perceived as just another of the dominant institutions against which the current Occupy movements are justifiably protesting. Moreover, when Bank of Americas ATM receipts informed customers that Bank of America celebrates the era that continues to inspire the world and invited patrons to visit the Pacific Standard Time website, some were concerned about even more corporate influence over the arts than usual. That concern was also understandable. When corporations like Philip Morris and British Petroleum purport to be patrons of the arts, people should be suspicious about the deeper motivations of such enterprises and about the corrupting influence of big capital on national and international cultural policy.

Nevertheless, the Pacific Standard Time exhibition series is far more than an exercise in the corporate domination of Southern California visual art. To be sure, many of the exhibitions are showcasing major figures of postwar Los Angeles artwell-known white men like Ed Ruscha, John Baldessari, Ed Moses, Chris Burden, Edward Kienholz, Billy Al Bengston, Robert Irwin and Llyn Foulkes. Nothing is wrong with that. These artists have made major and enduring contributions to contemporary art history and additional exposure to their visual efforts further reduces the narrow, even provincial New York bias that has pervaded art criticism for too many decades.
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Bok_Tukalo Donating Member (1000+ posts) Send PM | Profile | Ignore Wed Nov-23-11 10:22 AM
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1. Ed Ruscha is greatness
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xchrom Donating Member (1000+ posts) Send PM | Profile | Ignore Wed Nov-23-11 11:16 AM
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2. totally agree -- but i'm a cali art fan. nt
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