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Sirmai-Peterson House model, Frank Gehry, 1983–1988. Frank Gehry Papers at the Getty Research Institute.


  Sirmai-Peterson House model (detail), Frank Gehry, 1983–1988. Frank Gehry Papers at the Getty Research Institute.

New Acquisition: Frank Gehry Papers

The Foundational Years, 1954–1988
Documenting the practice of one of the most eminent architects of today, the Frank Gehry Papers offers scholars an unparalleled opportunity to research Gehry's innovative design techniques and trace the evolution of some of his most iconic and influential builds. Materials in this collection pertain to 283 projects designed between 1954 and 1988 as well as a few seminal exhibitions, and include sketches and models for landmark sites such as the Walt Disney Concert Hall in Los Angeles and the Vitra Design Museum in Germany. Once processed, researchers will have access to over 120,000 drawings, sketches, and construction documents; 648 boxes of office records and personal papers; over 100,000 slides; and 280 architectural models.

Learn more about this acquisition.


  Exterior photograph of the Walt Disney Concert Hall (detail), Carol M. Highsmith, 2012. Courtesy of The Jon B. Lovelace Collection of California Photographs in Carol M. Highsmith's America Project, Library of Congress, Prints and Photographs Division

Berlin/Los Angeles: Space for Music

April 25–July 30, 2017 | The Getty Center
Celebrating the 50th anniversary of the sister-city partnership between Berlin and Los Angeles, Berlin/Los Angeles: A Space for Music brings together original drawings, sketches, photographs, and models of the two cities' iconic concert halls: Hans Scharoun's Berliner Philharmonie and Frank Gehry's Walt Disney Concert Hall. Both buildings were instrumental in fostering an architectural resonance between the two cities, and have captured the public's imagination to become synonymous with each city's urban landscape.

Gallery tours are offered on Tuesdays at 3:00 p.m. beginning April 25.

Learn more about this exhibition.


  Acrobats, Ian Hamilton Finlay, 1964. From The Blue and the Brown Poems (New York, 1968). The Getty Research Institute, 2016.PR.36. By courtesy of the Estate of Ian Hamilton Finlay

Concrete Poetry: Words and Sounds in Graphic Space

Through July 30, 2017 | The Getty Center
Ian Hamilton Finlay's poem Acrobats was produced in both a black-and-white version (seen here) and a turquoise-and-orange version in the same year. The placement and pattern of the individual letters in the word acrobats first draw readers' eyes across the paper, but ultimately the eye travels in diagonals around the image, mimicking the movement of real acrobats. Finlay intended for the poem—which is now on display as part of Concrete Poetry: Words and Sounds in Graphic Space—to be produced on sandblasted glass to allow another level of visual movement: the ability to read the poem in three dimensions.

Gallery tours are offered on Tuesdays and Thursdays at 2:00 p.m. in April.

Learn more about this exhibition.

  Imaginary View of Tetrapylon (detail), anonymous artist after Louis-François Cassas, ca. 1799. Proof-plate etching. The Getty Research Institute, 840011

The Legacy of Ancient Palmyra

Online Exhibition
French artist and architect Louis-François Cassas traveled throughout the Middle East as part of a three-year expedition to record the monuments of Egypt, Syria, Lebanon, Cyprus, Palestine, and Asia Minor. He arrived in Palmyra in May 1785, and spent a month detailing the site's ruins, which were scattered across the desert. The result was over 100 large-format etchings depicting the ancient city. Cassas's technical renderings of architectural features are complemented by romanticized and reconstructed views of Palmyra's grandeur in antiquity.

Explore the exhibition.


  Paper Pear (detail), Ian Hamilton Finlay, 1966. From 6 Small Pears for Eugen Gomringer (Edinburgh, 1966). The Getty Research Institute, 92-B547. By courtesy of the Estate of Ian Hamilton Finlay

"Paper Pear Paper": Charting the Course of Concrete Poetry

Panel Discussion | April 6, 2017 | 7:00 p.m. | The Getty Center
Complementing the exhibition Concrete Poetry: Words and Sounds in Graphic Space, panelists Stephen Bann, Sergio Bessa, Marjorie Perloff, and GRI Curator Nancy Perloff compare and contrast the poetic art of Ian Hamilton Finlay, the work of the Brazilian concrete poets—who called themselves Noigandres—and the poetry of Henri Chopin and Ernst Jandl. The panel will also present live readings of selected poems.

Reserve a free ticket.


  Detail from Dear Bill Gates, Allan Sekula, 1999. The Getty Research Institute, 2016.M.22. A partial gift from Sally Stein, in memory of her husband Allan Sekula. © Allan Sekula Studio LLC

Allan Sekula Papers

American photographer Allan Sekula revitalized the medium of documentary photography, and was one of the earliest to cast a critical eye on globalization as social phenomenon. This archive documents his practice as an artist, writer, and theorist and serves as a defining resource for researchers interested not only in Sekula's work, but in the transformation of photography as both a medium and an art form in the postwar era.

Find out more about the archive.



Real Birds in Imagined Gardens: Mughal Painting between Persia and Europe

Kavita Singh
In Real Birds in Imagined Gardens, Kavita Singh, professor at Jawaharlal Nehru University, New Delhi, dissects the theory that Mughal painting followed a linear evolutionary path, and instead demonstrates that this ornately detailed style underwent multiple cycles of development from its 16th-century roots through its contact with European Renaissance art. While the style of Mughal painting was motivated by both aesthetic interest and court politics, artists were also strategic in their inclusion of realistic, European style and traditional symbolism.

Buy this title.

Watch Singh's lecture on this topic from November 2015.


  Annette Michelson, ca. 1966. The Getty Research Institute, 2014.M.26. Photo: Peter Hujar. Gift of Annette Michelson. © The Peter Hujar Archive, LLC

Annette Michelson Papers

Finding Aid
The papers of art critic and scholar Annette Michelson represent her dynamic career as a champion of minimalism, a theorist, and an instrumental player in establishing cinema studies as an academic field. Michelson's correspondence, research, and writings from the 1960s through 2014 form the bulk of the archive, and notably includes her writing and other documentation for the magazine October, which she cofounded. Her extensive library of books and magazines related to film have also been added to the GRI's general collections and are available to readers in the open stacks.

Browse the finding aid.


Bouchardon and His Contemporaries

Colloquium | April 2, 2017 | 10:00 a.m. | The Getty Center


Film Preservation in Latin America: Pasado, Presente, Futuro

Film Screening and Discussion | May 3, 2017 | | The Getty Center


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