After German photographer Karl Gernot Kuehn moved to Los Angeles in the 1960s, he was taken by the city's sprawl and the myriad architectural styles surprising him around every corner. In his photographic series Metropolis (1986)titled in homage to Fritz Lang's 1927 dystopian film of the same nameKuehn captures the sculptural forms of Los Angeles with a post-apocalyptic twist, manipulating each print with techniques such as bleaching and solarization. Some images from Kuehn's Metropolis series, including this one of the Capitol Records building, are on display as part of this exhibition.
Gallery tours are offered on Tuesdays and Thursdays at 2:00 p.m. through April 18.
The Getty Research Institute hosts the first annual Getty Graduate Symposium, showcasing the work of emerging scholars from art history graduate programs in California, including Stanford University, the University of Southern California, and schools from across the University of California system. The symposium includes nine presentations from students, panel discussions moderated by faculty mentors, and question-and-answer sessions with the audience.
The Central Collecting Point in Munich: A New Beginning for the Restitution and Protection of Art
Iris Lauterbach Introduction by James J. Sheehan
At the end of World War II, the Allies' Central Collecting Point (CCP) in Munich, Germany was the epicenter for transporting and repatriating thousands of works of art looted by the Nazis. Through its Monuments, Fine Arts, and Archives division, the US Office of Military Government for Germany and Bavaria retrieved countless objects from their wartime hiding places. This fascinating history by the Zentralinstitut für Kunstgeschichte München's Iris Lauterbach documents the story of the CCP and uncovers the lives of the people who worked there, the bureaucratic inner-workings of the enterprise, the restitution process, and how art was returned to its owners.
Lantern slide of a mosque and kiosk in Istanbul (detail), 1900, J. Sengsbratl. The Getty Research Institute, 96.R.14
Pierre de Gigord Collection of Photographs of the Ottoman Empire and the Republic of Turkey
Containing over 6,000 images that form a visual record of the late years of the Ottoman Empire and the formation and early years of the Republic of Turkey, the Pierre de Gigord collection is considered one of the most comprehensive photographic collections documenting the Ottoman Empire outside of Istanbul. Images show the region over the course of approximately 100 years and were made using some of the most popular and rare 19th- and 20th-century processes and formats, including glass lantern slides, panoramas, calotypes, and collodion. The digitization of Series IVIII is complete and all of these images are accessible online.
The ex-raja of Ladak and family, ca. 18731874, Edward Francis Chapman. The Getty Research Institute, 2017.R.16
Edward Francis Chapman Photographs of Yarkand and Kashgar
Edward Francis Chapman's 90 photographs document the southern branch of the Silk Road and its routes, and are the first photographic record of the indigenous inhabitants of Chinese Turkistan. Chapman, a British Army officer who became Commander-in-Chief of India in 1885, captured these images as part of a six-month information gathering mission from Leh, India to Yarkand (Shache), China undertaken in 1873. The expedition was instigated by a request from Yakup Beg, amir of Yarkand and Kashgar, who hoped to establish a relationship with British India. All of the images in this collection are digitized and can be viewed online for free.
After Concretism: Audiovisual Experiments in Brazil
Video from January 30, 2018, Lecture
Brazilian filmmakers and artists of the Concrete art movement used film and moving images as an outlet for experimentation during the 1960s and 1970s. In this discussionwhich followed a screening of works by artists such as Raymundo Amado, Ivan Cardoso, Augusto de Campos, Willys de Castro, Hélio Oiticica, and Ana Sacerdotethe GRI's Zanna Gilbert and Tulane University's Christopher Dunn examine the shifting tenets of the movement as Brazil's sociopolitical climate changed throughout the decades.