The Venice Area Chamber of Commerce has selected Michael P. Alongi as its new manager.
Two artists share simultaneous shows and a certain obscurity but otherwise have little in common.
Osvaldo Romberg's paintings look as if they need to be lanced and drained.
Every summer, L.A.
Mixed-media sculpture by Peter Shelton evokes the peculiar sensation of being estranged from one's own body.
One approaches a show of new work by an acknowledged Los Angeles master with about equal parts anticipation and trepidation.
The Atlantic Richfield Foundation has given a $15,000 grant to the Venice Family Clinic, a
to begin planning increased public access to the beach south of the Venice Pier.
Tony Berlant is the art world's preeminent tin man.
Like most of the post-war generation of German painters, Bernd Koberling employs a gestural, "expressionistic" style as both a distancing device for more conceptual concerns and a means of exploring the language of painting itself.
There are lots of double tracking and fancy footwork in paintings by Colin Lee.
For decades, modern artists belittled traditional academic skill.
In the early '80s, Tom Wudl abandoned his geometric abstractions on perforated paper in favor of figurative imagery on canvas.
Jeff Joyce taps into the Romantic tradition of painting at the gray-green end of the spectrum.
Ed Moses, one of the originals of L.A. art, promised to go ape in his current two-gallery exhibition and he did so, at least after his fashion.
Wesley Kimler, a 34-year-old painter from Chicago, is billed as a young academic artist working in the tradition of Willem De Kooning, David Park and Jackson Pollock.
Honorable obscurity shrouded the sincere, awkward figurative painting of Charles Garabedian until he was "discovered" as a precursor by the Neo-Expressionist generation.
The Venice Town Council and the Coalition of Concerned Communities, a South Bay homeowners group
The CLARE Foundation has dedicated two new cooperative-living centers in Venice.
A small step backward, a big step forward.