Review: Exterior Decoration: Hollywood's inside-out Houses by John Chase; Los Angeles Transfer: Architecture in Southern California 1880-1980 by Robert Judson Clark, Thomas S. Hines; Santa Barbara-The Creation of a New Spain in America by David Gebhard; The Second Generation by Esther McCoy; Building Through Time: The Life of Harold C. Whitehouse, 1884-1974 by Sally B. Woodbridge

1985 ◽  
Vol 44 (2) ◽  
pp. 188-191
Author(s):  
Karen J. Weitze
Phytotaxa ◽  
2016 ◽  
Vol 245 (4) ◽  
pp. 297
Author(s):  
Jeffery R Hughey ◽  
Kathy Ann Miller

The marine red alga Sciadophycus stellatus E.Y.Dawson (1945) (Figure 1) was described from specimens dredged at 40–50 meters from the Kellett Channel, south shore of Cerros Island (also known as Cedros Island), Baja California, Mexico (Dawson 1945).  This uncommon subtidal species occurs in southern California, Baja California, Mexico and Isla Floreana, Galapagos Islands (as Fauchea rhizophylla Taylor) (Dawson 1945, Abbott and Hollenberg 1976, Millar 2001, Aguilar-Rosas et al. 2010).  In California, S. stellatus has been collected in San Diego County (UC2003699) and Palos Verdes Peninsula, Los Angeles County (UC1882843), on the mainland coast of southern California and, more commonly, offshore from Santa Catalina (UC1471598), Santa Barbara (UC2034301), Anacapa (WTU-A-012879) and Santa Cruz Islands (UC1965240).  In Mexico, in addition to the type locality, it has been collected from Isla Los Coronados (UC1574390), La Bufadora (Aguilar-Rosas et al. 2010), Isla Natividad (UC1882846), Punta Eugenia (US13095) and Bahia Tortugas (US42090), Baja California (distribution records, unless otherwise cited, are based on specimens in herbaria at the University of California at Berkeley [UC], University of Washington [WTU-A], and the Smithsonian Institution [US]).


Author(s):  
Michele Fiala

David Weiss performed as principal oboe with the Los Angeles Philharmonic from 1973 to 2003. He taught at the University of Southern California and the Music Academy of the West in Santa Barbara and was also a published photographer. In this chapter, he discussed his early career, teaching, tone, and auditions. He told stories from his performances on the musical saw.


2014 ◽  
Vol 91 (4) ◽  
pp. 56-63
Author(s):  
Josh Sides

In 1916, Cornelius Birket Johnson, a Los Angeles fruit farmer, killed the last known grizzly bear in Southern California and the second-to last confirmed grizzly bear in the entire state of California. Johnson was neither a sportsman nor a glory hound; he simply hunted down the animal that had been trampling through his orchard for three nights in a row, feasting on his grape harvest and leaving big enough tracks to make him worry for the safety of his wife and two young daughters. That Johnson’s quarry was a grizzly bear made his pastoral life in Big Tujunga Canyon suddenly very complicated. It also precipitated a quagmire involving a violent Scottish taxidermist, a noted California zoologist, Los Angeles museum administrators, and the pioneering mammalogist and Smithsonian curator Clinton Hart Merriam. As Frank S. Daggett, the founding director of the Los Angeles County Museum of History, Science and Art, wrote in the midst of the controversy: “I do not recollect ever meeting a case where scientists, crooks, and laymen were so inextricably mingled.” The extermination of a species, it turned out, could bring out the worst in people.


2020 ◽  
Vol 2 (3) ◽  
pp. 53-59

The California missions, whose original church spaces and visual programs were produced by Iberian, Mexican, and Native artisans between 1769 and 1823, occupy an ambiguous chronological, geographical, and political space. They occupy lands that have pertained to conflicting territorialities: from Native nations, to New Spain, to Mexico, to the modern multicultural California. The physical and visual landscapes of the missions have been sites of complex and often incongruous religious experiences; historical trauma and romantic vision; Indigenous genocide, exploitation, resistance, and survivance; state building and global enterprise. This Dialogues section brings together critical voices, including especially the voices of California Indian scholars, to interrogate received models for thinking about the art historical legacies of the California missions. Together, the contributing authors move beyond and across borders and promote new decolonial strategies that strive to be responsive to the experience of California Indian communities and nations. This conversation emerges from cross-disciplinary relationships established at a two-day conference, “‘American’ Art and the Legacy of Conquest: Art at California’s Missions in the Global 18th–20th Centuries,” sponsored by the Terra Foundation for American Art and held at the University of California, Los Angeles, in November 2019.


Author(s):  
Pete Dartnell ◽  
David Finlayson ◽  
Jamie Conrad ◽  
Guy Cochrane ◽  
Samuel Johnson

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