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Michael Webb
writes on modern architecture, design, and travel. He is the author of 26 books, most recently Modernist Paradise: Niemeyer House, Boyd Collection (Rizzoli) and Venice CA: Art +Architecture in a Maverick Community (Abrams). He travels widely in search of new and classic modern architecture and contributes to magazines around the world. Michael lives in the Neutra apartment that Charles and Ray Eames once called home.

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Michael Webb

Tuesday
May282013

Exhibitions: From the Generic to the Quirky

One of the images from the new show Windshield Perspective at the A+D Museum.Tom Bonner, Dog & Cat.Courtesy A+D Museum.

By Michael Webb

It’s hard to keep up with Pacific Standard Time, the flurry of exhibitions sponsored by the Getty in local museums that explore LA’s architectural culture. Overdrive, the Getty’s own historical survey, was reviewed a few weeks ago, and two upcoming exhibitions, The Presence of the Past, opening at LACMA on June 9, and A New Sculpturalism opening at MOCA on June 16 are eagerly anticipated. Two smaller shows also deserve attention.

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Thursday
May232013

Books: Honest Ed

By Michael Webb

Various Small Books: Referencing Various Small Books by Ed Ruscha. Phil Taylor. (The MIT Press, $39.95); Ed Ruscha’s Los Angeles. Alexandra Schwartz (The MIT Press, $29.95); Ed Ruscha and Some Los Angeles Apartments. Virginia Heckert (J. Paul Getty Museum, $24.95).

David Hockney defined the light and color of southern California, as Matisse did for the Côte d’Azure, but Ed Ruscha is the quintessential LA artist. Like most keen observers of the local scene, Ruscha is an immigrant (from Nebraska and Oklahoma) who drove to LA in 1956 and stayed on. In those six decades he has addressed the urban landscape, and created iconic images of the Hollywood sign, the 20th Century Fox logo, gas stations, commercial strips, and the geometry of city boulevards. The man and his art are perfectly matched: laconic, deadpan, infused with irony. The simplicity of his paintings and prints is deceptive; Ruscha is a true original and a master of his craft.

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Monday
May202013

Set Design: Magical Realism at the Broad

Jenny Okun's photographs provide the backdrop for a production of Dulce Rosa at the Broad Stage. Image courtesy the Broad Stage.

By Michael Webb

For visual spectacle it would be hard to top the sets for Dulce Rosa, a new opera that is receiving its first performances at the Broad Stage in Santa Monica through June 9. In fact, there is only one physical set: A broken arch, some flats and a flight of steps, but these serve as projection screens. As the action moves from back streets to a hacienda, a guerrilla outpost in the jungle, and a family chapel, the scenes shift seamlessly as though we were watching a movie. Most opera productions make do with a single versatile set or resort to heavy lifting during long intermissions. That’s another kind of spectacle—prominently featured in the Met Live productions—as troupes of stage hands roll one vast construction into the wings to replace it with another.

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Thursday
May162013

Book Review: From Art to Architecture

By Michael Webb

Diller Scofidio + Renfro: Architecture After Images. Edward Dimendberg. (The University of Chicago Press, $65).

A timely and penetrating study of a firm that has surged to prominence on the strength of two headline projects in New York: its imaginative transformation of Lincoln Center and the High Line (in association with Field Operations). In both, the architects were highly respectful of existing structures and that augers well for an even greater challenge: extending the Museum of Modern Art without destroying the American Museum of Folk Art. MoMA outraged the architectural establishment by threatening to demolish its next-door neighbor. It will require all of DS+R’s skill to integrate Tod Williams & Billie Tsien’s unique building into the new structure, and convince an overbearing institution to reconsider its threatened act of vandalism.

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Wednesday
May082013

Books: Old Japan Made New

A new monograph explores the compelling work of architect Kengo Kuma.

By Michael Webb

Kengo Kuma: Complete Works.  (Thames & Hudson, $65)

In his erudite introduction, Kenneth Frampton calls Kengo Kuma “quintessentially Japanese” and the 25 projects the architect has selected are deeply rooted in the craft traditions of that country. The title is misleading: Only a quarter of Kuma’s buildings are featured, and the large commercial projects in Beijing that have sustained his practice in recent years are omitted. It’s a wise choice, for Kuma works best on a modest scale with traditional materials. In his foreword, he writes with feeling of his collaboration with traditional craftsmen in rural Shikoku and in Tohuku, a region ravaged by the earthquake and tsunami of 3/11.  “The richness and strength of that culture cannot be understood until one has worked with the people who live there—until one has eaten their food, drunk their sake, talked with the craftsmen and made things with them,” he writes.

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