Tomorrow Night the Hammer Museum Presents Ai Weiwei's Film "Human Flow"

In L.A.? Tomorrow night @hammer_museum presents  @aiww 's film "Human Flow" and Q&A with Ai Weiwei https://t.co/pFlTnIuLyD pic.twitter.com/zMsYYTTUAC

— Gregg Chadwick (@greggchadwick) January 3, 2018

9th Anniversary of Santa Monica Art Studios on Saturday, October 12, 6-9 pm

Gregg Chadwick

Mulholland Blue 

24"x30" oil on linen 2013

Please join me for the 9th Anniversary of Santa Monica Art Studios on Saturday, October 12, 6-9 pm and Sunday, October 13, 1-5 pm.

I will be giving a sneak peek of my new artwork and would love to see you!

Also all of the painters, printmakers, photographers, sculptors and mixed media artists who call Santa Monica Art Studios home will open their working spaces for the event.

Hope to see you soon.

Gregg

Gregg Chadwick

Vanishing Point

30"x40" oil on canvas 2013

Santa Monica Art Studios
3026 Airport Avenue
Santa Monica, CA 90405
ph:  310.397.7449
fax: 310.397.7459 

http://www.santamonicaartstudios.com

Introducing the Getty Museum's Open Content Program

by Gregg Chadwick

Unknown maker, French (photographer) , Polyorama Panoptique Lorchette Enchantée, French, about 1855, Lithograph, colored, Image: 8.3 x 16.5 cm (3 1/4 x 6 1/2 in.)
Digital image courtesy of the Getty's Open Content Program

The Getty Museum in Los Angeles is making available, without charge, all available digital images to which the Getty holds rights or that are in the public domain. These images may  be used for any purpose. No permission is required. As an artist I am excited to delve into the Getty's rich collection in search of inspiration. In our litigious and money conscious world, it is refreshing that the Getty Museum and the Rijksmuseum in Amsterdam are putting creativity and scholarship above image control and profit.

Download free images of artworks in the Getty Museum's collection at Open Content Images. 

"Why open content? Why now? The Getty was founded on the conviction that understanding art makes the world a better place, and sharing our digital resources is the natural extension of that belief. This move is also an educational imperative. Artists, students, teachers, writers, and countless others rely on artwork images to learn, tell stories, exchange ideas, and feed their own creativity. In its discussion of open content, the most recent Horizon Report, Museum Edition stated that 'it is now the mark—and social responsibility—of world-class institutions to develop and share free cultural and educational resources.' I agree wholeheartedly." 
- Getty CEO James Cuno in The Getty Iris 



Info from the Getty Museum on Open Content:

Why Open Content?

The Getty adopted the Open Content Program because we recognized the need to share images of works of art in an unrestricted manner, freely, so that all those who create or appreciate art—scholars, artists, art lovers, and entrepreneurs—will have greater access to high-quality digital images for their studies and projects. Art inspires us, and imagination and creativity lead to artistic expressions that expand knowledge and understanding. The Getty sincerely hopes that people will use the open content images for a wide range of activities and that they will share the fruits of their labors with others.

Access to Open Content Images

Initially, the images available through the Open Content Program are of works in the J. Paul Getty Museum's collections. Over time, images from the Getty Research Institute and the Getty Conservation Institute will be added. Museum images can be found on the Museum's Collection webpages or on the Getty Search Gateway. Those available as open content images are identified with a "Download" link. Images provided are JPEG files at a minimum of 300 DPI. See the Guidelines for Successful Printing (PDF) for more information on file format. 

If you need new photography, resizing, or color correction, you can request those services by Contacting Museum Rights & Reproductions. A fee (PDF)will be charged for this service.

Public Domain and Rights

Open content images are digital surrogates of works of art that are in the Getty's collections and in the public domain, for which we hold all rights, or for which we are not aware of any rights restrictions. Rights restrictions are based on copyright, trademark, privacy and publicity laws, and contractual obligations. If an image you want is not designated as an open content image, it is because one or more of the above identified legal rights restricts our ability to make that content available under this program. While the Getty reviews the metadata about each picture before making it available as an open content image, there may be some underlying rights that were unknown to us. For that reason, we strongly recommend that users consider the possibility that rights of third parties may be involved, and permission for those rights may need to be obtained by the user for the proposed use.

Fair Use

Open content images can be used for any purpose without first seeking permission from the Getty. Images of many other works in the collections are also on our website in varying formats. The Getty supports fair use of images when the applicable legal criteria are met. For more information on use of digital images of works in the Getty's collections, please refer to the Getty'sTerms of Use.

Hippolyte Bayard (photographer) [French, 1801 - 1887]
Arrangement of Specimens
27.7 x 21.6 cm (10 15/16 x 8 1/2 in.) Cyanotype [Direct Negative]  about 1842
Digital image courtesy of the Getty's Open Content Program

Attribution to the Getty

Please use the following source credit when reproducing an image:

Digital image courtesy of the Getty's Open Content Program.

When using open content images, you should not suggest or imply that the Getty endorses, approves of, or participated in your projects.

Publications Using Open Content Images

While there are no restrictions or conditions on the use of open content images, the Getty would appreciate a gratis copy of any scholarly publications in which the images are reproduced in order to maintain the collection bibliography. Copies may be sent to the attention of:

Open Content Program
Registrar's Office
The J. Paul Getty Museum
1200 Getty Center Drive, Suite 1000
Los Angeles, CA 90049

Frequently Asked Questions

Get answers to frequently asked questions about the Getty's Open Content Program.

Learn more about our Open Content Program: http://bit.ly/19e5I5r 

Love art? Follow the Getty on Google+ to stay in touch:http://bit.ly/gettygoogleplus

Banner image, clockwise from left: Irises (detail), 1889, Vincent van Gogh. Oil on canvas, 28 x 36 5/8 in. The J. Paul Getty Museum, 90.PA.20; Mixing Vessel with Apollo and Artemis(detail), about 415–400 B.C., attributed to the Palermo Painter. Greek, made in Lucania, South Italy. Terracotta, 22 1/16 x 13 3/8 in. The J. Paul Getty Museum, 85.AE.101;Decorated Initial O (detail) in the Stammheim Missal, about 1170s, unknown illuminator. German, made in Hildesheim. Tempera colors, gold leaf, and silver leaf on parchment, 11 1/8 x 7 7/16 in. The J. Paul Getty Museum, Ms. 64, fol. 154v (97.MG.21.fol. 154v)

Thoughts On Vermeer's "Woman In Blue Reading A Letter" on Loan at the Getty Museum

Johannes Vermeer
Woman In Blue Reading A Letter
(Brieflezende vrouw)
18 5/16" x 15 3/8" oil on canvas 1663-64
Rijksmuseum, Amsterdam.
On loan from the City of Amsterdam (A. van der Hoop Bequest)

 "It seems appropriate that a gesture so paradigmatic of Vermeer's art, should appear concerned with the weighing and balancing of light itself."

- Edward Snow

Currently on view at the Getty Museum in Los Angeles, is Vermeer's haunting painting Woman In Blue Reading A Letter. On loan from the Rijksmuseum in Amsterdam, the Getty is the artwork's last stop on a world tour before returning to the Netherlands for the reopening of the Rijksmuseum on April 13, 2013. The painting is on view at the Getty through Sunday, March 31, 2013.

The Getty has thoughtfully installed Woman in Blue Reading a Letter amidst paintings by Vermeer's Dutch contemporaries. On a recent visit to see the work at the Getty with my friend, art conservator René Boitelle, we both were struck by how modern Vermeer's painting looks in a room full of other 17th century paintings. Both the cinematic quality of Vermeer's art and the painting's rich harmonies in blue seem to carry the work forward into our time. Also, the mystery of the image gives space for the viewer to enter into the scene and to create a sort of pictorial meaning out of the clues presented. 

This is what we appear to see:

It is morning. A woman fresh from bed, she still wears her nightcoat, stands before a window quietly reading a letter. It is a cool, wintery Northern light. The light from the window provides only a hint of warmth in a scene limned by blues. The woman's flesh is grayed with transparent glazes of lapis lazuli, as is the wall behind her. Reds seem to have been banished from the composition. Did Vermeer plan to add layers of color to this scene or did he intend to leave an image in blues?

On the wall in this blue room is a map quite similar to one printed by the Dutch artist and mapmaker Claes Jansz. Visscher in 1652. The map depicts Holland in the 17th century and brings to mind thoughts of seafaring and trade - major Dutch commercial activities then and now.  

Claes Jansz. Visscher
Map of Holland
Third State published by his grand-son Nicolaas II

Just as twitter, text messaging, and e-mail now dominate written communication, in the 17th century the personal letter became the preferred means of transmitting thoughts and ideas to close acquaintances, friends, family, and lovers. Of course official and legal correspondence had long been in use, but the discussion of private thoughts, feelings, and desires in epistolary form came into fashion during the 1600's along with a rise in middle class wealth and literacy in the Netherlands. I can't help but wonder who the letter is from. Is the map a clue? Is the letter from an absent husband? Lover? Did she receive it recently? Or did she pull it like a treasure from the open box on the abstracted table in the foreground? She reads with rapt attention. Perhaps this is her morning ritual - to each day reread the words her love left for her to cherish until his homecoming. Vermeer, amazingly allows us to witness her private moment of strength and serenity.

Johannes Vermeer
Woman In Blue Reading A Letter (detail)(Brieflezende vrouw)
18 5/16" x 15 3/8" oil on canvas 1663-64 Rijksmuseum, Amsterdam.
On loan from the City of Amsterdam (A. van der Hoop Bequest) 

More At:

Vermeer's 'Woman In Blue' Brings Her Mystery, Allure To L.A.

Vermeer's 'Woman in Blue" at the Getty Museum

Today: Santa Monica Airport ArtWalk - March 16, 2013

Explore open studios, watch artful demonstrations, enjoy live music, food trucks and family friendly activities. Painting, sculpture, ceramics, and mixed media will be represented and many artists will be selling work from their studios and offering refreshments.  More than 60 local artists and performers will have their private studios and works on view. The airport has developed over time into an arts incubator, and is home to a number of creative venues housed in converted airplane hangars. click here to view the full ARTWALK PROGRAM ARENA 1 presents: Decade of Dissent: Democracy in Action, 1965-1975, an exhibition featuring protest posters that reveal the persuasive power of art to inspire ideals of democracy. www.arena1gallery.com 12:30pm GUIDED TOUR  with Carol Wells, founder of the Center for the Study of Political Graphics, the largest repository of post–World War II historical posters in the nation.

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Nick Cave Live From Los Angeles: Feb 21, 2013

Nick Cave & The Bad Seeds Live In L.A. on February 21, 2013
 24 Hour HD Re-Broadcast  (Full Video)

"It was another title track, though, that represented for me the night's most profoundly emotional moment: A massive, knee-wobbling, tear-inducing version of “From Her to Eternity,” his great song of obsession with a woman living in the flat above. It’s a sparse, menacing track that suggests Elvis Presley possessed by a demon Kurt Weill.

I never thought I’d see him play it live, and its performance — with Ellis leading a scraping string section, Savage poking out that off-kilter piano melody and Adamson offering keyboard clusters — was overwhelming, music that conjured heaven and embodied the kind of bliss only present in the purest of expressions. The heavens opened over those five minutes, and I'm still buzzing about it."

-  Randall Roberts

Los Angeles Times Pop Music Critic

Rufus and Martha Wainwright's Christmas 101 at Royce Hall: A Holiday Tribute

by Gregg Chadwick

If this was the way the world ended on 12 21 12, those of us gathered at UCLA's Royce Hall for the second night of Rufus and Martha Wainwright's Christmas 101 were being ushered into eternity with heavenly voices. 

Rufus and Martha Wainwright, the son and daughter of  Loudon Wainwright III and Kate McGarrigle - who passed away in 2010 from a rare sarcoma cancer, both possess extraordinary voices and mesmerizing stage presence. Their combined talents bolstered by musical kin and comrades, including Emmylou Harris, folk singer Maria Muldaur's daughter Jenni Muldaur, the legendary Van Dyke Parks, former Eels drummer Butch Norton, Sloan Wainwright, Lucy Wainwright Roche, Carrie Fisher, Rufus' husband Jorn Weisbrodt, and more, brought holiday cheer and at times poignant retrospection into last night's concert.

Christmas 101 continues a concert tradition begun in 2005 by Kate McGarrigle and her sister Anna. As well as being musical events, the shows are star splashed fundraisers for the Kate McGarrigle Fund which supports cancer care and research at the McGill University Cancer Centre and the renowned teaching hospitals of McGill University in Montreal, including the McGill University Health Centre and the Jewish General Hospital. 

The evening opened with the traditional Christmas carol God Rest Ye Merry Gentlemen, as vocalists and musicians stretched across the stage beneath a bright blue scrim dusted with images of snowflakes. The hall overflowed with family history as if we had stepped into a McGarrigle/Wainwright Christmas reunion.  

Moving from tradition to contemporaneity, Rufus next crooned his searing ode to unconditional love - Spotlight on Christmas. Rufus' richly crafted lyrics use the Christmas story as a vehicle to examine inequality and consumerism:

People love the working man
Who does the best that he can
But don't forget all the horses and toys
Never could fix the poor little rich boys
People say they love the maid
Who sweats and toils just like a slave
But don't forget all the diamonds and pearls
Never could fix the poor little rich girls

You can measure it in blood
You can measure it in mud
Let us say for these twelve days
Put the measuring away

Cause it's Christmas
And the spotlight's shining on Christmas
And the spotlight's shining on us

People love and people hate
People go and people wait
But, don't forget Jesus, Mary, and Joseph
Once were a family poor but rich in hope, yeah
Don't forget Jesus, Mary, and Joseph
Running from the law, King Herod had imposeth
And they were each one quite odd
And mensch, a virgin, and a God
But don't forget that what kept them aflow
Floating through the desert doesnt take a boat no
Don't forget that what kept them above
Is unconditional love

And, you can measure it in blood
You can measure it in mud
Let us say for these twelve days
Put the measuring away

Cause it's Christmas
And the spotlight's shining on Christmas
And the spotlight's shining on us
And the spotlight's shining on Christmas
And the spotlight's shining on

People love the working man
Who does the best that he can
But, don't forget all the horses and toys
Never could fix the poor little rich boys

The mood shifted, as it would all night in what seemed a conscious reflection of holiday tensions amidst a world soaked in violence and injustice, as Rufus and Jenni Muldaur played wolf and mouse in Frank Loesser's seductive standard Baby, It's Cold Outside. 

Van Dyke Parks appeared almost as a white haired saint throughout the evening. His passion and musicianship lifted the music and took it into another realm, particularly when he strolled into the audience to play Royce Hall's thundering organ. 

Rufus and Martha Wainwright Perform at Christmas 101
Royce Hall, UCLA
December 21, 2012
photo courtesy @christmas_101

Lucy Wainwright Roche brought the house to tears with her poignant version of Joni Mitchell's River. Many of us remarked at intermission that Lucy's singing brought the haunting lyrics to the forefront:

It's coming on Christmas
They're cutting down trees
They're putting up reindeer
And singing songs of joy and peace
Oh I wish I had a river 
I could skate away on
But it don't snow here
It stays pretty green
I'm going to make a lot of money
Then I'm going to quit this crazy scene
I wish I had a river
I could skate away on
I wish I had a river so long
I would teach my feet to fly
Oh I wish I had a river
I could skate away on
I made my baby cry

He tried hard to help me
You know, he put me at ease
And he loved me so naughty
Made me weak in the knees
Oh I wish I had a river 
I could skate away on
I'm so hard to handle
I'm selfish and I'm sad
Now I've gone and lost the best baby
That I ever had
Oh I wish I had a river
I could skate away on
I wish I had a river so long
I would teach my feet to fly
Oh I wish I had a river
I made my baby say goodbye

It's coming on Christmas
They're cutting down trees
They're putting up reindeer
And singing songs of joy and peace
I wish I had a river
I could skate away on

Van Dyke Parks and @WainBright killing it: Trois Anges
photo courtesy @christmas_101

Near the close of the first half of the night, Carrie Fisher delivered a hilariously ribald spoken word routine that LA Underground thought could have been titled “A Very Fisher Christmas.” Suffice to say, it included a riff on self pleasuring Christmas gifts for Grandma and daughter as well as memories of Fisher's childhood yule-tide holidays in Vegas.

Soon after, Rufus and Martha's aunt Sloan Wainwright shook Royce Hall with her gospel fueled Thank God It's Christmas, revving the evening into a communal celebration of birth, life, death and everything in between. 

Before the break, Rufus, Martha, family and friends gathered for a lovely rendition of  White Christmas, which smartly added a nod to the absence of African-Americans in the song's lyrics and the culture itself that many of the holiday tunes rose from.

Gigi warming up Royce Hall
photo courtesy @christmas_101

After intermission, three songs in particular commanded rapt attention. Emmylou Harris dedicated her rendition of O Little Town of Bethlehem to the children and the teachers gunned down in Newtown, Connecticut one week before. Harris' voice  quietly conveyed the fragility inherit in all our lives. She screamed "Enough!" in a whisper.

Later, Rufus asked for the mics and monitors to be turned off before he wafted into an a cappella rendition of the lovely Cantique de Noël - the original French version of O Holy Night. Wainwright's voice carried and echoed around Royce Hall, reminding me of the countless students, educators, politicians, and performers whose voices had also echoed in this room. 

Echoes of Royce Hall - 2008
photo by Gregg Chadwick

Martha Wainwright, brought the entire night home with her haunting singing of her mother's song Proserpina. This musical retelling of the Roman goddess Proserpina's tale was the last song Kate McGarrigle wrote. 

The myth recounts the abduction of the goddess Proserpina (or Persephone in Greek) by Pluto, the master of the underworld. Proserpina's mother Ceres, the goddess or mother of the earth, searched in vain for her daughter. Ceres lamented her vanished girl. Where had she gone? In time Ceres found a clue - a small belt dropped by her daughter in the abduction, but the fate of her daughter remained unknown. In anger, Ceres halted nature's growth. Plants withered and the world touched by her footprints turned to desert. Finally, to end Ceres wrath, Pluto who had hidden Proserpina in his underworld was forced by the other gods to set his abducted bride free. But a price was set. Proserpina could return for six months each year to her mother - Spring and Summer. But each year when the seasons change to Fall and Winter, Proserpina must return underground. 

Dante Gabriel Rossetti
Proserpina

Before Martha sang Proserpina she remarked that she once thought that her mother, Kate, had written the song about her. That she was the lost daughter. But instead, Martha said that she has come to realize that the song was written by her mother about herself as she prepared to return to meet her own mother - Martha's Grandma. 

Martha carried the song last night in a rich plaintive voice. We were honored to hear her sing and be in the presence of such a remarkable musical family. 

The entire ensemble joined in on John Lennon and Yoko Ono's Happy Xmas (War Is Over) to provide a fitting ending to an inspirational evening.

Christmas 101 concludes with a final performance at Royce Hall tonight. I urge you to drop everything and attend. For me, this concert series perfectly embodies what the holidays should be all about.

Martha Wainwright and Van Dyke Parks at Royce Hall
photo courtesy @christmas_101

 


More:

Rufus & Martha Wainwright's Christmas 101   

Rufus and Martha Wainwright Host 'Christmas 101' in Oakland

The Azure Hour

The Azure Hour,

GreggChadwick 

40" x 30" oil on linen 2012

I'm excited to announce that my work has been featured in today's Saatchi newsletter. Here is a link to share with all:
http://eepurl.com/sJ8y9

What a perfect time of the day...."The Azure Hour." Painting by Saatchi Online artist Gregg Chadwick (LA). Learn more about this wonderful piece and view Gregg's portfolio here: http://saatol.us/UHezq1

Happy Holidays !

8th Anniversary Celebration at the Santa Monica Art Studios

Gregg Chadwick

Occupy

40"x30" oil on linen 2012

I am pleased to invite you to the 8th Anniversary Celebration of the Santa Monica Art Studios at the Santa Monica Airport. Come by this weekend - Saturday, October 13th from 6-9PM and Sunday, October 14th from 1-5 PM for a sneak peek at my new work in Studio #15 and the other amazing artists in our 22,000 square foot art laboratory.

Gregg Chadwick
Studio #15
3026 Airport Avenue
Santa Monica, CA 90405

Mulholland Drive

Gregg Chadwick

Mulholland Drive

30"x40" oil on linen 2012