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February 2012

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C L O S I N G   T H I S   W E E K

Greetings from L.A.: Artists and Publics, 1950–1980
Exhibition through February 5, 2012

Experience what the Boston Globe calls "a reminder of how rich, fertile, and varied the Los Angeles art scene was in the decades following World War II." Drawn from the GRI's archives of Los Angeles art, this exhibition features photographs, correspondence, and artwork that reveal how these artists interacted with their audiences and disseminated their works to a broader public.

Learn more about this exhibition.

Explore the era and browse digitized materials from the exhibition.

N E W   &   N O T A B L E   O N   T H E   W E B

Modern Art in Los Angeles: Assemblage and Politics

Los Angeles artists Ed Bereal, Mel Edwards, George Herms, Nancy Reddin Kienholz, and Betye Saar all made assemblage works that reflected on the charged political climate of postwar America. They used found materials to produce complex objects that engaged with issues including the civil rights movement, the war in Vietnam, and the censorship of art. This lively discussion explored how the medium of assemblage sculpture emerged and continues to thrive as a tool of social critique and transformation.

Watch the video.
Betye Saar, George Herms, and Nancy Reddin Kienholz at the Getty Center.
California Modernism: The John Lautner Papers
Finding Aid

The John Lautner Papers, 1937–2002 comprehensively document the career of the Southern California architect famous for such innovative structures as Chemosphere (the Malin House) and Silvertop (the Reiner House). Including drawings, photographs, models, and client files, the archive is an important resource for the study of Southern California modernism.

Browse the finding aid.
Chemosphere (Malin House), John Lautner, 1960. Photo: Julius Shulman, 1961. Julius Shulman photography archive. The Getty Research Institute, 2004.R.10
Jean Pillement's 18th-Century Etchings
Digital Collection

These 329 etchings by Jean Pillement feature Chinese and European genre scenes, rococo and chinoiserie motifs, landscapes, flowers, and figures, and were originally a part of the collection of English book collector Charles William Dyson Perrins. Genre scenes depict the countryside or small villages, some with additional allegorical meaning related to the seasons or time of day. This collection represents one-quarter of Pillement's printed designs.

View the digital collection.

Browse the finding aid.
Dancing Figure Holding a Mask, Pierre-Charles Canot after Jean Pillement, 1759. The Getty Research Institute, P830005


Art History 2.0: Digital Mellini
Research Tool

The GRI and the Getty Web Group are working to create an innovative online tool that brings together art historians, linguists, librarians, and archivists to collaborate on manuscript analysis using the latest in digital technology. The pilot project, Digital Mellini, focuses on a unique rhyming inventory of paintings authored by a prominent Roman, Pietro Mellini, in 1681, enabling online discussions within the text of the manuscript itself. Recently, members of the Web Group gave a presentation describing their efforts and the challenges surrounding digital scholarship and online publishing.

Learn more about Digital Mellini project developments and view the presentation.

Learn more about this research project.
Unpublished manuscript, Pietro Mellini, 1681. The Getty Research Institute, 860066


Applications Now Available for the Summer Research Academy

Set to take place August 9–September 7, 2012 at the GRI, this new program promotes research and networks, connecting art historians across cultural, linguistic, national, and methodological traditions. This year's theme is "Encounters in World Art History," and topics explored include artworks as products of encounters, the reception of such artworks, and the staging of encounters. Submissions are sought from doctoral students in Africa, Asia, and Latin America.

Learn more about the Summer Research Academy.

Banner image: Dancing Figure Holding a Mask, Pierre-Charles Canot after Jean Pillement, 1759. The Getty Research Institute, P830005
Optical theater of the Exposition Universelle, Paris (detail), A. Faisandier, 1867. The Getty Research Institute, 93.R.106

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