Phil Paradise, "Ranch Near San Luis Obispo," ca. 1935. Oil on canvas, 28 x 34 inches. The Buck Collection, Laguna Beach, CA

The 11-year-old Pasadena Museum of California Art has sought to fulfill the aspirations of founders Robert and Arlene Oltman to present the breadth of California art and design through exhibitions that explore the cultural dynamics and influences that are unique to California.

“California Scene Paintings from 1930 to 1960” is currently mounted in the museum’s main gallery. The exhibition explores representational art created by artists employed through the Works Progress Administration to create artworks for government buildings and public places. Key artists include Phil Dike, Millard Sheets, Ben Messick and Rex Brandt. The exhibition is curated by Gordon T. McClelland.

The museum’s Project Room features “Meander,” an installation by artist John O’Brien. Christopher Miles’ “Bloom” is on display in the Back Gallery. All are on view through July 28.

PMCA has mounted more than 100 exhibitions. Among them are “Family Legacies: The Art of Betye, Lezley and Alison Saar” (2006), “Richard Diebenkorn: The Carey Stanton Collection” (2006) and “Millard Sheets: The Early Years (1926—1944)” (2010).

—Beverly Lafontaine

PMCA, 490 E. Union St., Pasadena. Hours are Wednesday through Sunday from noon to 5 p.m. For more information, visit http://pmcaonline.org/.

Annenberg Space for Photography–Both Days
The Autry–Both Days
California African American Museum–Both Days
California Science Center**–Both Days
Craft and Folk Art Museum–Sunday, Jan. 27 ONLY
Fowler Museum at UCLA–Both Days
Hammer Museum–Both Days
The Getty Center–Both Days
The Getty Villa***–Both Days
Los Angeles County Museum of Art****–Sunday, Jan. 27 ONLY
The Museum of Contemporary Art–Both Days
Museum of Latin American Art–Both Days
The Museum of Tolerance*****–Sunday, Jan. 27 ONLY
Pacific Asia Museum–Sunday, Jan. 27 ONLY
The Paley Center for Media–Both Days
Pasadena Museum of California Art–Sunday, Jan. 27 ONLY
Santa Monica Museum of Art–Saturday, Jan. 26 ONLY
Skirball Cultural Center******–Both Days
University Art Museum, CSULB–Both Days*******

*Regular parking fees apply. General museum admission only. May not apply to ticketed exhibitions.
**Timed tickets are required to see the Endeavour exhibition. Please visit www.californiasciencecenter.org.
***Timed tickets are required. Visit www.getty.edu.
****Offer valid for general admission only. Does not apply to specially ticketed exhibitions Caravaggio and His Legacy and Stanley Kubrick.
***** Advance reservations are recommended as capacity is limited. Please see www.museumoftolerance.com for hours and ticket information.
******Timed-entry tickets to the Noah’s Ark at the Skirball™ galleries will be on a walk-up, first-come, first-served basis on these dates, subject to availability.
*******The University Art Museum will only be open for an opening reception from 6-8 p.m. on Saturday, Jan. 26.

Mount Vesuvius, 1985, Andy Warhol

The new show at the Getty Villa, The Last Days of Pompeii, refers variously to an event, a book, and a rich history of mythmaking. The event, of course, is the A.D. 79 eruption of Mount Vesuvius outside Naples that buried the prosperous Roman town. But if you come expecting to see a display of artifacts from the Pompeii excavations, you will be sorely disappointed as there are only a handful of such items. The unexpected, but nonetheless compelling thrust of this exhibit is to trace the origins and development of Western culture’s enduring popular fascination with the ancient tragedy.

The name of the show is taken from a hugely popular 1834 book by Edward Bulwer-Lytton, the British dandy whose name also happens to be attached to the annual Bulwer-Lytton Fiction Contest in which contestants attempt to dream up the worst possible beginnings to imaginary novels (Bulwer-Lytton began one of his novels with the infamous line “It was a dark and stormy night…”). The enormous success of The Last Days of Pompeii inflamed the popular imagination, and inspired contemporary artists to come up with their own ridiculously over-romanticized concepts of the tragedy, such as the pair of lovely Lawrence Alma-Tadema canvases depicting languid, swooning ladies with a smoking volcano in the background.

The show is small, comprising only three rooms and a hallway, and is naturally divided into three successive themes: decadence, apocalypse, and resurrection. Each section comprises a mix of artworks from various periods, hence, you will see a Salvador Dalí next to an Ingres, or an Andy Warhol beside a presentation case for Pope Pius IX — all focusing on various aspects of Pompeii. In the decadence section, things are a bit too chaste; nothing there really points to the great amount of explicit erotica unearthed in Pompeii.

Glaucus and Nydia, 1867, Lawrence Alma-Tadema (inspired by the main characters in the 1834 book, Last Days of Pompeii)

This omission is made up for in the apocalypse area with a couple of amusing bits. One is an abstract panel by Mark Rothko for a commission to create murals for the Four Seasons restaurant in New York. Rothko, ever the bomb-thrower, said, “I hope to paint something that will ruin the appetite of every son of a bitch who ever eats in that room.” The murals, which represented a burning city, were never installed. The other fun thing is a selection of old photos depicting a huge spectacle created by impresario James Pain in the late 19^th century. Also called The Last Days of Pompeii, it was America’s first “Pyrodrama,” which featured live gladiator battles, circus animals, and a huge stage set of an ancient “Pompeii” which, during the finale, collapsed in a great conflagration augmented with fireworks. This show toured America extensively and could be seen at Coney Island from 1879-1914.

The show also explains how carefully controlled access and advances in technology contributed to the Pompeii-mania. The Bourbon rulers of Naples were in charge of the excavations in the 18^th and 19^th centuries and held annual fairs, showing off ancient finds that they felt would help to legitimize their own rule. At the same time, the advent of photography allowed detailed visual records of the finds to be disseminated across Europe and America, stimulating great curiosity. Around the same time, an Italian figured out how to successfully create plaster casts of the cavities left by ash-entombed people and animals, adding another fascinating layer of wonder. And when the first train line to Pompeii opened in 1841, the tourists descended and have never stopped coming since.

Each artwork has detailed, well-lit explanations, and there are TV monitors placed about that run loops from various Hollywood films beginning in 1913, all called — you guessed it — The Last Days of Pompeii. There are also artifacts from an 1825 opera of the same name by Pacini. It’s a shame they do not have more actual relics from Pompeii in the show, but the good thing is, you can simply step into the adjoining museum and see many top-quality pieces of Roman art, one of which, a magnificent full-sized bronze statue called “Youth as a Lamp Bearer,” was unearthed at Pompeii and is on long-term loan from the archeological museum in Naples.

Lion Attacking a Horse, Greek, 325–300 B.C.; restored in Rome in 1594

If you are on the fence about whether to go see this show, here is another inducement: a fourth-century B.C., larger than life-size sculpture called “Lion Attacking a Horse” is now on display in the rotunda of the Getty Villa, and it is a must-see. This dramatic sculpture, full of energy and movement, was originally mounted in Rome’s Circus Maximus where chariot races and mock hunts took place. It has not left Rome for more than 2,000 years, and now that conservation work is done, it is going back to its permanent place at the Palatine Museum on Feb. 4, 2013. Both exhibits are highly recommended.

—David Maurer, Culture Spot LA

The Last Days of Pompeii continues through Jan. 7, 2013, at the Getty Villa in Pacific Palisades. For more information and reservations, visit www.getty.edu/visit/.

Image credits:

Mount Vesuvius, 1985, Andy Warhol. Screen print on Arches 88 paper, 28 1/2 x 32 in. (72.4 x 81.3 cm). The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

Glaucus and Nydia, 1867, Lawrence Alma-Tadema. Oil on wood panel, 15 3/8 x 25 5/16 in. (39 x 64.3 cm). The Cleveland Museum of Art, Gift of Mr. and Mrs. Noah L. Butkin, 1977.128

Lion Attacking a Horse, Greek, 325–300 B.C.; restored in Rome in 1594. Sovraintendenza ai Beni Culturali di Roma Capitale— Musei Capitolini

Now in its 25th year, The Music Center Spotlight program is so much more than a competition. Spotlight is a nationally acclaimed scholarship and arts-training program for high school students in the performing and visual arts. It’s free to apply, and all talent levels are encouraged.

In addition, The Music Center is offering a one-day, free performing arts workshop at The Music Center on Sunday, Sept. 30, for all high school students, parents and teachers to come hear arts professionals, collegecircuit.net counselors and USC faculty talk about applying to college, music conservatories, getting a dance agent, developing artistry and much more.

The Music Center Spotlight program provides high school students an opportunity to stretch themselves by learning about audition skills, exploring artistry and developing self-confidence; all in a safe and nurturing environment.  It’s free, it’s easy, and, most importantly, it’s fun! Each year, Spotlight awards more than $100,000 to students in scholarships.

Each performing arts student comes to a live private audition and receives detailed written feedback which they can share with their teachers and parents.  The judges are arts professionals and university faculty members who are nurturing and supportive.

The Music Center works with Performing Arts students on:

How to walk into an audition room and present yourself
Developing self-confidence
Developing artistry
How to deal with nerves
What to do after you leave an audition or interview
Learning to cultivate self-discerning skills

For those students who advance to semi-finals, there are individual and group master classes. All students can attend the group master classes, whether or not they advance to higher levels.

In the Visual Arts categories, young artists and photographers have their worked reviewed by a panel of professional artists and photographers. These outstanding artists review all the student submissions. The works of all the semifinalists are shown at a special awards reception in a prominent Southern California gallery. All applicants are offered private museum tours and special art workshops conducted by noted professionals.

The Performing Arts categories are ballet, non-classical dance, classical voice, non-classical voice, classical instrumental music and jazz instrumental music. The Visual Arts categories include two-dimensional art and photography.

You must RSVP at spotlight@musiccenter.org for a spot in the Sept. 30 event, and The Music Center will send you a schedule of classes to choose from. High school students of all levels of prior training are welcome to attend, whether or not they plan to audition in the Spotlight program. Deadline for applying for the Spotlight program is Oct. 17 for Performing Arts and Dec. 1 for Visual Arts. Learn more at www.musiccenter.org/spotlight.

Fish Blood, 1897–98, Gustav Klimt. Brush and black ink, black chalk, heightened with white. Private collection, courtesy Galerie St. Etienne, New York

Gustav Klimt’s paintings, like his ornate and gilded “The Kiss,” are seemingly ubiquitous, printed on posters, mugs, notebooks, T-shirts. But we don’t really know his work, said Lee Hendrix, senior curator of drawings at the Getty Museum, where “Gustav Klimt: The Magic of Line” opened on July 3 and continues through Sept. 23.

We can best learn about Klimt’s work through his drawings, Hendrix noted at a press preview of the exhibit, which beautifully traces the evolution of the Viennese master draftsman from academic realist in the mid-1880s to radical modernist in the early-20th century.

Featuring more than 100 drawings, many of which have never been exhibited in North America, this first retrospective fully dedicated to Klimt’s drawings was organized with the Albertina Museum, Vienna, to mark the 150th anniversary of the artist’s birth.

For Klimt, drawing was a daily practice (approximately 4,000 of his drawings survive). Working with live models, in particular the female nude, he developed his signature themes of human suffering, the struggle for love and happiness, and the cycle of life. As Dr. Marian Bisanz-Prakken, curator of drawings at the Albertina Museum, said during the press tour, Klimt’s work asks the question “What is the essence of life?” and explores that mystery in pure line.

Even the curators expressed amazement about the exceptionally intricate “Allegory of Sculpture,” one of Klimt’s early works with traditional modeling, light and shadow, which they had to view with a magnifying lens to discover its most subtle details. This piece is one of numerous highlights in the show.

“Fishblood” is another, a work influenced by Japanese art, eschewing three-dimensional space, and created during the early years of the Secession movement, which Klimt led. The exhibit continues with the controversial, rejected Faculty paintings and the ambitious “Beethoven Frieze,” both of which demonstrate Klimt’s changing approach to the human form. He moved toward the pure linear nude which could best capture the most raw and intense human emotions or “nuda veritas,” the naked truth of humanity, Hendrix noted.

Yet another highlight is a monumental transfer drawing of the “Three Ages of Women,” which became a famous painting. The final room of the exhibit is filled with images in which Klimt captured women floating in erotic states, representing an “idealized state of being” and “extreme expression of self-absorption,” Hendrix explained. In this later work, his style has changed from smooth, flowing lines to nervous, broken lines. In the particularly exquisite “Standing Figure Wrapped in a Kimono,” Klimt creates a “symphonic vocabulary of dots, dashes and circles,” Hendrix said.

“Gustav Klimt: The Magic of Line” ends with a quote by Max Eisler from “Klimt: The Aftermath” which says, “Klimt the draftsman is a completely independent master and without equal in this field.” Indeed, it’s a statement you’ll find proven by the works on display. Add to that thought the fact that Bisanz-Prakken could think of no real heirs or descendants of Klimt in contemporary art, and this is an exhibit not to be missed.

Among many related exhibits and events to enjoy are a lecture by Bisanz-Prakken titled “Gustav Klimt: Drawing as a Guiding Principle” at the Getty Museum on Sunday, July 8, and a performance of Beethoven’s Ninth Symphony by the LA Philharmonic and LA Master Chorale at the Hollywood Bowl, featuring video imagery by Herman Kolgen inspired by Klimt’s “Beethoven Frieze” to accompany the famous “Ode to Joy” finale, on Tuesday, July 10.

For more information, visit http://www.getty.edu/art/exhibitions/klimt/.

In 1981, the exhibition “Multicultural Focus” was mounted at Los Angeles Municipal Gallery Barnsdall Park where Josine Starrels was Gallery Director. The exhibition was organized by Sheila Pinkel for the Los Angeles Center For Photographic Studies and curated by 12 artist/curators in the Los Angeles area, three each from the Asian, Black, Latino, and White communities, The show was one of two exhibitions selected to celebrate the Los Angeles Bicentennial, and it was the first cross‐cultural exhibition of photography in the Los Angeles area. Suzanne Muchnic, called it “the best contemporary show (of photography) of the year,” Los Angeles Times: Dec. 27, 1981.

“Refocus: Multicultural Focus” will include current work by 19 of the original artists in the exhibition. A catalogue will accompany the exhibition providing images from the original show juxtaposed to contemporary work and statements by participating artists. Catalogue essays by Deborah Bright, Carla Williams and Paul Von Blum will reflect the concept of and changes that have taken place in multiculturalism and photography during the last 30 years.

Participating artists are: Arden Alger, Don Anton, Stephen Axelrad, Carroll Parrott Blue, Elizabeth Bryant, Gillian Brown, Steve Berens, Dennis Callwood, Todd Gray, Robin Lasser and Adrienne Pao, Daniel Joseph Martinez, Willie Robert Middlebrook, Patrick Nagatani, Joan Salinger, Rick Tejeda‐Flores, Linda Wolf, Nancy Webber, Mihoko Yamagata and Bruce Yonemoto.

ARENA 1, 3026 Airport Ave., Santa Monica 90405. Hours are noon to 6 p.m. Wednesday through Saturday. For more information, call (310) 397-7456 or visit www.santamonicaartstudios.com.

Ray and Charles Eames photographing an early model of the exhibition "Mathematica: A World of Numbers and Beyond," 1960 / ©2011 Eames Office, LLC

You may not know it, but most people are informally aware of Charles and Bernice “Ray” Eames’ aesthetic impact on the world. In “Eames: The Architect and the Painter,” producers Jason Cohn and Bill Jersey recount the lives and creative output of the Eameses, who are best known for their modern furniture (such as the molded plywood Eames Lounge Chair and Ottoman) and their ventures into film (most notably “Powers of Ten,” where a couple is seen picnicking at regular scale, and perspective then zooms out to a view from the far universe and finally zooms back in and through to the atomic level).

The film (written by Cohn and narrated by James Franco) follows the collaborative couple’s career as it moves from furniture design and manufacturing to the postindustrial communication of ideas and information. Their work had ties to political, economic, and technological development (some of their clients were the U.S. government, furniture retailer Herman Miller, and IBM) and their work subsequently tracked the complex changes in culture. This mix of partnerships revealed an unsettling relationship between art, commerce, and culture that appeared to catch the Eameses between modern and postmodern sensibilities.

The irony in the title of the film is the fact that Ray rarely painted, even though she was highly capable (she studied under Hans Hoffman), and the fact that Charles dropped out of architecture school and was never a licensed architect. The irony in the film is how the subjects of the documentary are disturbingly tarnished by abrupt emphasis on infidelity issues and by the questioning of Charles’ authorship (former office staff members in the film claimed he took full credit for collaborative efforts). After getting to “know” the Eameses, the infidelity segment at the end of the film made me feel sorry for a neglected Ray. The issues with authorship similarly followed the film’s building up of the Eameses in a very positive light, and then unexpectedly tearing them down by unraveling the documentary’s carefully crafted personas.

The infusing of these negative aspects into the film was troubling, especially if they were inserted for dramatic subjectivity in the documentary format. It was disturbing to see the film’s subjects besmirched after presenting them in such a delicately admirable way. It could possibly be that the Eameses had been rendered too likable for their flaws to be exposed, but for the first film to be made about them since their deaths (Charles in 1978 and Ray in 1988), I think the positive aspects of their lives would be more appropriate for a lasting, historical preservation of their significance. After all, this film seems to fulfill a need to solidify their influence and positive accomplishments in the historical record, not their shortcomings.

“Eames: The Architect and the Painter” presents a documentary that reveals the limitations of imposing a (cinematic) form upon a collaborative couple who were endlessly dynamic and complex. By trying to compress a chaotic expanse of creative output into a tidy historical narrative, the resulting message regarding Charles and Ray can be appropriately ambiguous and disconnected. The chronicled accelerating change in their work’s media and messages captures the disjointed, experimental approach of the Eameses, which is interestingly mirrored by the splintering and clouding of the film’s message as it tries to contain the voluminous chaos of their production. Like “Powers of Ten,” the film tries to view something dauntingly large and diverse; unlike “Powers of Ten,” the film doesn’t maintain a distinct, linear progression and becomes unfocused by a diffused detail overload.

But it seems the Eameses weren’t concise, and the entangled layering of information appeared similarly unfocused. If intentional, this defocusing not only is an effective and clever means of understanding the atmosphere created by their quirky and experimental collaboration, but it poetically captures the essence of the Eames epoch.

I struggled with the desire to see clearly organized and objective historical information, but by taking a distanced perspective after viewing the film, the blur came into focus and I was able to appreciate the Eameses in a fully personal, subjective way. The oddly convincing point of view used in this documentary conveys the unusual beauty of the Eameses’ insatiably creative, inquisitive, and progressive process, which left an enduring impact on aesthetics and design. “Eames: The Architect and the Painter” is a great chance to get to know formally, or be reacquainted with, the artists and their legacy.

“Eames: The Architect and the Painter” opened in Los Angeles in November and is available on DVD from First Run Features.

—Bryan Kent, Culture Spot LA

Guest contributor Bryan Kent is an artist working in New York City.

Image from the Juno Project at the Pasadena Museum of California Art. / Courtesy of NASA/JPL-Caltech

The A x S Festival 2011 runs Oct. 1 through 16, continuing the Pasadena Arts Council’s biennial celebration of Pasadena’s unique heritage as a city of art and science. The festival, focused on the theme of fire and water, features two weeks of art, dance, music, theater, performance and conversation at venues throughout the city. Plus, beginning this month, many Pasadena arts venues are participating in the Getty’s “Pacific Standard Time” creative collaboration. Art Night (Oct. 14 from 6 to 10 p.m.) is your opportunity to experience “Pacific Standard Time” and the A x S Festival for free, with free transportation between 15 participating cultural institutions.

Some of the highlights of A x S include:

“WORLDS”: Experience the art and science of our solar system in “WORLDS” at the Art Center College of Design’s Williamson Gallery. The objects and images on display include contemporary art, sculpture and large-scale installations as well as NASA spacecraft imagery, meteorites and science fiction video. Also on view are high-resolution prints of historical astronomical book sketches by Galileo, Copernicus and other astronomers — scanned and drawn from the rare-book collection at the Huntington Library. The exhibit runs Oct. 14, 2011 through Jan. 15, 2012 (opening night reception Oct. 13).

“Sunflowers in Snow”: Boston Court Performing Arts Center partners with Red Hen Press in an evening of spoken word and poetry, focusing on the theme of fire and water and featuring Garrett Hongo, Jim Tilley and Evie Shockley, on Oct. 10 at 7 p.m.

“Beneath the Surface”: Experience the mystery of the Juno spacecraft’s visit to Jupiter before it actually gets there in 2016 with Jet Propulsion Laboratory Visual Strategist Dan Good’s interactive installation at the Pasadena Museum of California Art. Oct. 16 will feature a full day of speakers and activities, as well as free admission. The exhibit runs through Jan. 8, 2012.

“Picturing the Bomb”: This exhibit at the Pasadena City College Art Gallery features photographs from the secret world of the Manhattan Project, curated by Rachel Fermi (granddaughter of physicist Enrico Fermi) and Esther Samra. Opens Oct. 5.

Among the many choices on Art Night are: Kidspace Museum’s activities with JPL Gravity Scientist Sami Asmar, the Norton Simon Museum’s “Proof: The Rise of Printmaking in Southern California,” and Armory Center for the Arts’ “Speaking in Tongues: The Art of Wallace Berman and Robert Heinecken.”

For a brief synopsis of “Pacific Standard Time,” read our recent post.

Image from the exhibit "California Design, 1930-1965: Living in a Modern Way" at the Los Angeles County Museum of Art.

Beginning on Oct. 1, “Pacific Standard Time: Art in L.A., 1945-1980” brings together more than 60 cultural institutions throughout Southern California to tell the story of the rise of the L.A. art scene and its impact on the art world. This colossal collaboration was initiated by the Getty Foundation, and the Getty Center has organized four exhibitions and an installation, along with films, lectures, panel discussions, classes and more, continuing into 2012.

Participating museums, galleries, educational institutions and other venues span L.A., Pasadena and Long Beach and extend as far as San Diego, Santa Barbara and Palm Springs. Exhibits and events cover a wide variety of artistic developments — everything from pop, post-minimalism and modernist architecture to Chicano performance art, Japanese-American design and African-American film. Important L.A. artists featured in various exhibits include John Baldessari, Judy Chicago, David Hockney, Ed Ruscha and Betye Saar. A jam-packed website provides opportunities to browse by exhibit, location, date and type of art and suggests complementary exhibits of interest as you explore.

Given the number and range of events related to “Pacific Standard Time,” the historical overview exhibit at the Getty is a good place to start: “Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970″ runs Oct. 1, 2011, through Feb. 5, 2012, concurrently with another exhibit revealing how artists at that time disseminated their work, “Greetings from L.A.: Artists and Publics, 1950-1980.”

In addition to a photography exhibit called “In Focus: Los Angeles, 1945-1980,” which will be on view Dec. 20, 2011, to May 6, 2012, visitors to the Getty can see De Wain Valentine’s “Gray Column,” a 12-foot-high column of polyester resin, and Robert Irwin’s “Black on White,” a monumental wedge of granite, through March 2012.

Image from the exhibit “California Design, 1930-1965: Living in a Modern Way” at the Los Angeles County Museum of Art. Monarch Bay Homes, Laguna Niguel (Outdoor Dining Terrace) (1961). Carlos Diniz Ladd & Kelsey. Screenprint 20 1/8 x 26 in. LACMA, Gift of Gilbert Ortiz and Edward Cella Art + Architecture, M.2010.76.2 Photograph © 2011 Museum Associates/LACMA.

How Hollywood’s Mae West (5 feet) looked tall: Custom platform shoes (9.5”) c. 1945-50 Description: Pepenie Custom Made, printed cotton and leather platform shoes (image courtesy of FIDM)

Austrian composer Joseph Haydn’s walking stick (c. 1800), an afternoon dress by Gabrielle “Coco” Chanel (c. 1937), Mae West’s platform heels (c. 1945-50), and the “Peacock Dress” by Alexander McQueen (commissioned by FIDM in 2010) are among the varied objects covering more than 200 years of fashion history currently on display at the FIDM Museum & Galleries. “Fabulous! Ten Years of FIDM Museum Acquisitions, 2000–2010” runs through Dec. 17 at the Fashion Institute of Design & Merchandising in downtown Los Angeles.

The FIDM Museum collection includes a whopping 15,000 historical fashions, and this exhibit will feature 170 of them, acquired over the past 10 years. French haute couture, international contemporary designers, and mid-20th-century American designers are all represented. The accompanying 375-page catalogue features a preface by Hubert de Givenchy.

Admission is free. The museum is open Tuesday through Saturday, 10 a.m. to 4 p.m. For more information, visit www.fidmmuseum.org.