La Brea Tar Pits
The La Brea Tar Pits are a group of tar pits around which Hancock Park was formed in urban Los Angeles. Natural asphalt has seeped up from the ground in this area for tens of thousands of years; the tar is covered with dust, leaves, or water. Over many centuries, the tar preserved the bones of trapped animals; the George C. Page Museum is dedicated to researching the tar pits and displaying specimens from the animals that died there; the La Brea Tar Pits are a registered National Natural Landmark. Tar pits are composed of heavy oil fractions called gilsonite. In Hancock Park, crude oil seeps up along the 6th Street Fault from the Salt Lake Oil Field, which underlies much of the Fairfax District north of the park; the oil reaches the surface and forms pools at several locations in the park, becoming asphalt as the lighter fractions of the petroleum biodegrade or evaporate. The tar pits visible today are from human excavation; the lake pit was an asphalt mine. The other pits visible today were produced between 1913 and 1915, when over 100 pits were excavated in search of large mammal bones.
Various combinations of asphaltum, dust and water have since filled in these holes. The asphalt appears in vents, hardening as it oozes out, to form stubby mounds; these can be seen in several areas of the park. This seepage has been happening for tens of thousands of years. From time to time, the asphalt would form a deposit thick enough to trap animals, the surface would be covered with layers of water, dust, or leaves. Animals would wander in, become trapped, die. Predators would enter to eat the trapped animals and become stuck; as the bones of dead animals sink into the asphalt, it soaks into them, turning them a dark-brown or black color. Lighter fractions of petroleum evaporate from the asphalt, leaving a more solid substance, which encases the bones. Dramatic fossils of large mammals have been extricated from the tar, but the asphalt preserves microfossils: wood and plant remnants, rodent bones, mollusks, seeds and pollen grains. Examples of some of these are on display in the George C. Page museum.
Radiometric dating of preserved wood and bones has given an age of 38,000 years for the oldest known material from the La Brea seeps. The pits still ensnare organisms today, so most of the pits are fenced to protect humans and animals; the Native American Chumash and Tongva people living in the area built boats unlike any others in North America prior to contact by settlers. Pulling fallen Northern California redwood trunks and pieces of driftwood from the Santa Barbara Channel, their ancestors learned to seal the cracks between the boards of the large wooden plank canoes by using the natural resource of tar; this innovative form of transportation allowed access up and down the coastline and to the Channel Islands. The Portolá expedition, a group of Spanish explorers led by Gaspar de Portolá, made the first written record of the tar pits in 1769. Father Juan Crespí wrote, While crossing the basin the scouts reported having seen some geysers of tar issuing from the ground like springs; the scouts reported that they had come across many of these springs and had seen large swamps of them, they said, to caulk many vessels.
We were not so lucky ourselves. We christened them Los Volcanes de Brea. Harrison Rogers, who accompanied Jedediah Smith on his 1826 expedition to California, was shown a piece of the solidified asphalt while at Mission San Gabriel, noted in his journal that "The Citizens of the Country make great use of it to pitch the roofs of their houses"; the La Brea Tar Pits and Hancock Park are situated within what was once the Mexican land grant of Rancho La Brea, now part of urban Los Angeles in the Miracle Mile district. For some years, tar-covered bones were found on the Rancho La Brea property but were not recognized as fossils because the ranch had lost various animals–including horses, cattle and camels–whose bones resemble several of the fossil species; the original Rancho La Brea land grant stipulated that the tar pits be open to the public for the use of the local Pueblo. They mistook the bones in the pits for the remains of pronghorn antelope or cattle that had become mired. Union Oil geologist W. W. Orcutt is credited, in 1901, with first recognizing that fossilized prehistoric animal bones were preserved in pools of asphalt on the Hancock Ranch.
In commemoration of Orcutt's initial discovery, paleontologists named the La Brea coyote in his honor. Contemporary excavations of the bones started in 1913–1915. In the 1940s and 1950s, public excitement was generated by the preparation of recovered large mammal bones. Subsequent study demonstrated the fossil vertebrate material was well preserved, with little evidence of bacterial degradation of bone protein, they were believed to be from the last glacial period, believed to be about 30,000 years ago. After radiocarbon dating redated the last glacial period as still occurring 11 to 12,000 years ago, the fossils were redated to be 10–20,000 years old. Methane gas escapes from the tar pits. Asphalt and methane appear under surrounding buildings and require special operations for removal to prevent the weakening of building foundations. In 2007, researchers from UC Riverside discovered that the bubbles were caused by h
An art museum or art gallery is a building or space for the display of art from the museum's own collection. It might be in public or private ownership and may be accessible to all or have restrictions in place. Although concerned with visual art, art galleries are used as a venue for other cultural exchanges and artistic activities, such as performance arts, music concerts, or poetry readings. Art museums frequently host themed temporary exhibitions which include items on loan from other collections. In distinction to a commercial art gallery, run by an art dealer, the primary purpose of an art museum is not the sale of the items on show. Throughout history and expensive works of art have been commissioned by religious institutions and monarchs and been displayed in temples and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as an early form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects donated their collections to temples.
It is unclear. In Europe, from the Late Medieval period onwards, areas in royal palaces and large country houses of the social elite were made accessible to sections of the public, where art collections could be viewed. At the Palace of Versailles, entrance was restricted to people wearing the proper apparel – the appropriate accessories could be hired from shops outside; the treasuries of cathedrals and large churches, or parts of them, were set out for public display. Many of the grander English country houses could be toured by the respectable for a tip to the housekeeper, during the long periods when the family were not in residence. Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with most of the paintings of the Orleans Collection, which were housed in a wing of the Palais-Royal in Paris and could be visited for most of the 18th century. In Italy, the art tourism of the Grand Tour became a major industry from the 18th century onwards, cities made efforts to make their key works accessible.
The Capitoline Museums began in 1471 with a donation of classical sculpture to the city of Rome by the Papacy, while the Vatican Museums, whose collections are still owned by the Pope, trace their foundation to 1506, when the discovered Laocoön and His Sons was put on public display. A series of museums on different subjects were opened over subsequent centuries, many of the buildings of the Vatican were purpose-built as galleries. An early royal treasury opened to the public was the Grünes Gewölbe of the Kingdom of Saxony in the 1720s. Established museums open to the public began to be established from the 17th century onwards based around a collection of the cabinet of curiosities type; the first such museum was the Ashmolean Museum in Oxford, opened in 1683 to house and display the artefacts of Elias Ashmole that were given to Oxford University in a bequest. In the second half of the eighteenth century, many private collections of art were opened to the public, during and after the French Revolution and Napoleonic Wars many royal collections were nationalized where the monarchy remained in place, as in Spain and Bavaria.
In 1753, the British Museum was established and the Old Royal Library collection of manuscripts was donated to it for public viewing. In 1777, a proposal to the British government was put forward by MP John Wilkes to buy the art collection of the late Sir Robert Walpole who had amassed one of the greatest such collections in Europe, house it in a specially built wing of the British Museum for public viewing. After much debate, the idea was abandoned due to the great expense, twenty years the collection was bought by Tsaritsa Catherine the Great of Russia and housed in the State Hermitage Museum in Saint Petersburg; the Bavarian royal collection was opened to the public in 1779 and the Medici collection in Florence around 1789. The opening of the Musée du Louvre during the French Revolution in 1793 as a public museum for much of the former French royal collection marked an important stage in the development of public access to art by transferring the ownership to a republican state; the building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, similar royal galleries were opened to the public in Vienna and other capitals.
In Great Britain, the corresponding Royal Collection remained in the private hands of the monarch and the first purpose-built national art galleries were the Dulwich Picture Gallery, founded in 1814 and the National Gallery opened to the public a decade in 1824. University art museums and galleries constitute collections of art developed and maintained by all kinds of schools, community colleges and universities; this phenomenon exists in the East, making it a global practice. Although overlooked, there are over 700 university art museums in the US alone; this number, compared to other kinds of art museums, makes university art museums the largest category of art museums in the country. While the first of these collections can be traced to learning collections developed in art academies in Western Europe, they are now associated with and housed in centers of higher education of all types; the word gallery being an archite
Noah Strausser Speer Wyle is an American film and theatre actor. He is known for his roles as Tom Mason in Falling Skies, he has played Steve Jobs in the docudrama Pirates of Silicon Valley, Dr. Kenneth Monnitoff in Donnie Darko, Flynn Carsen in The Librarian franchise. Wyle, the middle of three children, was born in Hollywood, the son of Marjorie, a registered orthopedic head nurse, Stephen Wyle, an electrical engineer and entrepreneur, his father was Jewish and his mother Episcopalian, he was raised "fairly nondenominationally", around both faiths. Wyle's parents divorced in the late 1970s, his mother married James C. Katz, a film restorationist with three children of his own from a previous marriage. Wyle's paternal grandparents and Frank Wyle, founded the Los Angeles Craft and Folk Art Museum, his grandfather founded Wyle Laboratories. Edith R. Wyle was an expressionist painter who created The Egg and The Eye, a café and shop in the Miracle Mile district of Los Angeles. Wyle was educated at The Thacher School in Ojai and graduated with the class of 1989.
Wyle participated in a Theatre Arts program at Northwestern University after his junior year of high school and appeared in high school plays winning an award for a play he wrote. After graduation, he studied with acting teacher Larry Moss while living in a small apartment on Hollywood Boulevard. Wyle’s big break came when he was given the pilot script for ER and was cast as medical student John Carter, he was the youngest member. Wyle was the only major cast member of ER to have been with the show since its inception when he left after its eleventh season, his performances on the show earned him Emmy Award nominations in each of its first five seasons. As part of an ensemble he was nominated several times for the Screen Actors Guild Award, he was recognized with three Golden Globe nominations as Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and won the 2001 TV Guide Award for Supporting Actor in a Drama Series. Wyle left the series at the end of the eleventh season, although he returned in guest appearances for a four-episode arc during the twelfth season.
He stated that he left because he wanted to spend more time with his family and friends and to make room for the upcoming generation. However, in 2009, Wyle returned to ER during its fifteenth and final season for five episodes, including the series finale. According to the Guinness World Records 2005 Special 50th Anniversary Edition, Wyle became the holder of a "Highest paid TV drama actor per episode" record during the 2003–2004 tenth season, earning $400,000 per episode. While on ER, Wyle's estimated salary was $9 million a year. Wyle has appeared in the most episodes of ER, 254, four more than Laura Innes. Wyle was first seen in the Paul Bartel film Lust in the Dust as an extra in the local gang running the small town of Chili Verde, his roles were a mini-series and featuring in the movie Crooked Hearts in 1990. In 1993 he appeared in another feature film, There Goes My Baby. After appearing in several local plays in Los Angeles, he was cast in the box-office hit A Few Good Men, in which he played a Marine jeep driver who testified in court.
He appeared in the feature Swing Kids as Emil Lutz, a leader in the Hitler Youth, in the independent movie The Myth of Fingerprints with Roy Scheider, Blythe Danner, Julianne Moore. Additionally, he starred as Lancelot opposite Sheryl Lee in the Television movie Guinevere. Wyle starred in the original film The Librarian: Quest for the Spear with Sonya Walger, in its sequel The Librarian: Return to King Solomon's Mines opposite Gabrielle Anwar, in the third part of the series The Librarian: Curse of the Judas Chalice alongside Stana Katic, his latest work dealing with The Librarian is a series called The Librarians. It focuses on 3 additional new librarians who are brought into the library at a time of cataclysmic events. In the beginning of the series, Noah Wyle was more of a co-star, versus his original role of the main character. Following seasons, he had more appearances. Until, with the latest season, he'supposedly' quit the job of The Librarian, his other work has included a critically acclaimed turn as Steve Jobs in the Emmy-nominated Pirates of Silicon Valley.
Steve Jobs was so impressed with the performance that he invited Wyle to step on stage as him at the opening of his annual speech at the Apple convention. He has appeared in several feature films, including White Oleander opposite Renée Zellweger, Enough opposite Jennifer Lopez, the independent feature Donnie Darko, as the President's interpreter in the 2000 live-television production of Fail Safe, in the independent film The Californians. Along with his film and television career, Wyle is Artistic Producer of The Blank Theatre Company located in Hollywood, California. With the company, he has appeared on stage in the 1995 production of The 24th Day with Peter Berg, The Why, Lobster Alice, opposite Nicholas Brendon, where he played the surrealist painter Salvador Dalí. For his work as one of the producers of 2005 Los Angeles Production of Michael John LaChiusa's The Wild Party, he won an NAACP Theatre Award. Wyle starred as the lead in TNT's sci-fi series Falling Skies. Wyle plays Tom Mason, a former Boston University history professor who becomes the second-in-command of the 2nd Massachusetts Militia Regiment, a group of civilians and fighters fleeing post-apocalyptic Boston while f
Wilshire Boulevard is one of the principal east-west arterial roads in the Los Angeles area of Southern California, extending 15.83 miles from Ocean Avenue in the city of Santa Monica east to Grand Avenue in the Financial District of downtown Los Angeles. It is one of the major city streets though the city of Beverly Hills. Wilshire Boulevard runs parallel with Santa Monica Boulevard from Santa Monica to the Miracle Mile district, after which it runs a block south of Sixth Street to its terminus. Wilshire Boulevard is densely developed throughout most of its span, connecting Beverly Hills with five of Los Angeles's major business districts to each other. Many of the post-1956 skyscrapers in Los Angeles are located along Wilshire. Aon Center, at one point Los Angeles' largest tower, is at 707 Wilshire Boulevard in downtown Los Angeles. One famous stretch of the boulevard between Fairfax and Highland Avenues is known as the Miracle Mile. Many of Los Angeles' largest museums are located there; the area just to the east of that, between Highland Avenue and Wilton Place, is referred to as the "Park Mile".
Between Westwood and Holmby Hills, several tall glitzy condominium buildings overlook this part of Wilshire, giving it the title of Millionaire's Mile. This section is known as the Wilshire Corridor and Condo Canyon; the Wilshire Corridor, located next to Century City, is one of Los Angeles' busiest districts, contains many high-rise residential towers. The Fox and MGM studios are located in a series of skyscrapers, along with many historic Los Angeles hotels. Wilshire Boulevard is the principal street of Koreatown, the site of many of Los Angeles' oldest buildings, as well as skyscrapers. Koreatown and Mid-Wilshire are among Los Angeles' most densely populated districts. Much of the length of Wilshire Boulevard can be traced back to the indigenous Tongva people who used it to bring back tar from the La Brea pits in today's Miracle Mile section of Wilshire Blvd, back to their settlement on the coast; this road was used by Spanish explorers and settlers, calling it El Camino Viejo. The route that became Wilshire crossed the original pueblo of Los Angeles and five of the original Spanish land grants, or ranchos.
Wilshire was pieced together from various streets over several decades. It began in the 1870s as Nevada Avenue in Santa Monica, in the 1880s as Orange Street between Westlake Park and downtown. Nevada and Orange were renamed as parts of Wilshire; the boulevard was named for Henry Gaylord Wilshire, an Ohio native who made and lost fortunes in real estate and gold mining. In 1895 he began developing 35 acres of a barley field, stretching westward from Westlake Park for an elite residential subdivision, donated to the city a strip of land 120 feet wide by 1,200 feet long for a boulevard, on the conditions that it would be named for him and that railroad lines and commercial or industrial trucking would be banned; the road first appeared on a map under its present name in 1895. A historic apartment building on the corner of Wilshire Blvd. and S. Kenmore Ave. the Gaylord, carries his middle name. The Wilshire Boulevard home of J. Paul Getty was used as the filmset for the 1950 film Sunset Boulevard: it was demolished in 1957.
The Purple and Red subway lines of the Los Angeles Metro run along Wilshire Boulevard from just past the 7th/Figueroa Street station before serving the Westlake/MacArthur Park and Wilshire/Vermont stations, where the Purple Line continues along Wilshire to serve two stations at Normandie Avenue and at Western Avenue in Koreatown, while the Red Line branches off to terminate in North Hollywood. The construction of the future Purple Line extension along Wilshire Boulevard commenced in November 2014; the construction timeline would see the project from the existing Wilshire/Western station to the planned Wilshire/La Cienega station on the corner of Wilshire and La Cienega Boulevard, to be completed by 2023. The second phase got under way on February 23, 2018 from Wilshire/La Cienega to Century City Station. Phase three of the Purple Line extension, when completed, will extend to UCLA and Westwood/VA Hospital, will follow Wilshire Boulevard for most of its route. Phase four to downtown Santa Monica has no funding.
Metro Local Line 20, Metro Rapid Line 720, Santa Monica Transit Line 2 operate along Wilshire Boulevard. Due to the high ridership of line 720, 60-foot NABI articulated buses are used on this route, bus lanes are in place along some segments of the line. All of the boulevard is at least four lanes in width, most of the portion between Hoover Street and Robertson Boulevard has a raised center median; the widest portion is in the business district of central Westwood, where mobs of pedestrians crossing Wilshire at Westwood Boulevard must traverse ten lanes. According to a 1991 study by the Los Angeles Department of Transportation and the nearby intersection of Wilshire and Veteran are among the busiest in Los Angeles; the boulevard's widest portion is in Westwood and Holmby Hills, where it expands to six, eight lanes. The sections of Wilshire Boulevard in the city of Los Angeles are notorious for their giant potholes. Wilshire Boulevard ended at the MacArthur Park lake, but in 1934 a berm was built for it to cross and link up with the existing Orange Street into downtown Los Angeles.
Otto Natzler was an Austrian–born ceramicist. With his wife Gertrud Natzler, he produced what were considered some of the most admired ceramic pieces of the 20th century; the son of Dr. Sigmund Natzler, a dentist, a stay-at-home mother Regina Frieda Lowy, Natzler was born in Vienna and first exposed to art by his uncle, he began his working life at the age of 15 by taking a textile design course and subsequently finding employment devising colour schemes at a local necktie factory, a company, blacklisted in Nazi Germany and shut down in 1933. Natzler's first wife was Bertha Steinmetz whom he married on November 1930 in Vienna, Austria. Naztler met his second wife and partner, secretary Gertrud Amon, in 1933, although their romance did not blossom until after he divorced his first wife in 1934. Though they were self-taught, by 1937 they had begun to submit pieces, winning a silver medal at the Paris Exposition in 1937. 1938 marked the beginning of the Naztlers' serious commitment to their craft.
After winning the silver medal on March 11 of that year, the couple married in June and fled Vienna for Los Angeles in September, with the help of Otto's cousin. From 1938 to 1971, the year of Gertrud's death, the duo produced an notable body of work, with Gertrud as the potter and Otto as the glazer. Gertrud's forms were reminiscent of the Vienna Secessionist movement, while Otto perfected over 2,000 colours and styles of glazes. In 1999, Modernism Magazine declared that the Natzlers' work was "among the finest pottery of all time." Gertrud died in 1971 and Otto married photographer Gail Reynolds in 1973. Otto refused to glaze the last set of pots that Gertrud had thrown, but Reynolds soon convinced him to return to his work. After being described as "vital and active" from a rigorous exercise program well into his 90s, Natzler succumbed to cancer in Los Angeles at the age of 99; the Grace Museum, Texas Cooper-Hewitt Museum Everson Museum of Art Honolulu Museum of Art Kantonales Gewerbemuseum Los Angeles County Museum of Art Metropolitan Museum of Art Museo Internazionale delle Ceramiche Museum of Arts and Design Museum of Modern Art Nelson-Atkins Museum of Art Victoria and Albert Museum Arts Central Biography
Sam Maloof was a furniture designer and woodworker, the first craftsman to receive a MacArthur fellowship. Maloof's work is in the collections of several major American museums, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Philadelphia Museum of Art, the Smithsonian American Art Museum, he was described by the N. Y. Times as "a central figure in the postwar American crafts movement". Maloof was born Samuel Solomon Maloof, a member of the large Maalouf family, in Chino, California, to Lebanese immigrants. Maloof's father, Slimen Nasif Nadir Maloof, mother, had immigrated to the U. S. in 1905 from Lebanon, at that time a region of the Ottoman Empire. Maloof learned to speak Spanish from a Mexican-born housekeeper and Arabic from his parents before he learned English, he was engaged in woodworking as a child, made a broad spatula for his mother for turning bread, carved dollhouse furniture and other toys. He attended high school first at Chaffey High School in Ontario, where he took his first woodworking class and was recognized by his art teacher as having extraordinary skill.
He attended Chino High School. Shortly after completing high school, Maloof began working in the art department of the Vortox Manufacturing Company in Claremont, California, he was drafted into the United States Army on October 11, 1941. Maloof was soon promoted from private to master sergeant while doing display work in Alaska, he was one of 35,000 WW II troops sent to protect Alaska from the Japanese, an engagement the Allies expected to be a "bloodbath." In actuality, the Japanese forces had left Kiska. Maloof was one of the few soldiers who had a camera, while not trained as a photographer, Maloof took 1,800 photographs which were "alive and clear and informative."After completing his service, Maloof left the army in 1945 to return to Southern California. Maloof married Alfreda Louise Ward on June 27, 1948 and the couple moved into a house at 921 Plaza Serena, California, where Sam set up a furniture workshop in the garage. From necessity, Maloof designed and built a suite of furniture for his home using salvaged materials.
Commissioned pieces followed and, from 1949 to 1952, Maloof continued working in the garage of his Ontario home. In 1953, Maloof relocated to California. Over time, he added 16 rooms, including a furniture-making shop and studio, to the original 6-room house. In 2000, when the path of the new CA-210 freeway extension included the Maloof property, the home was moved about 3 miles to its current location at 5131 Carnelian Street; the Sam and Alfreda Maloof Compound serves as the office of the Sam and Alfreda Maloof Foundation for Arts and Crafts as well as the Sam Maloof Historic Residence and Woodworking Studio, which offers tours. Maloof's work is in the collections of several major American museums, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Philadelphia Museum of Art, the Smithsonian American Art Museum. In 1985 he was awarded a MacArthur "Genius" grant. Presidents Jimmy Carter and Ronald Reagan have both owned Maloof rockers, he is featured in the 2007 PBS series "Craft in America: Memory, Community", produced by Carol Sauvion.
Maloof's chairs, for which he is most famous, have a sculptural quality about them, yet are very ergonomic, austere in their simplicity. They can be characterized by rounded over corners at mortise and tenon joints. Maloof tended to favor only a handful of woods: Claro Walnut, Oak and Yew. On larger pieces, he used Poplar in areas that would not be visible during ordinary use, he was described by the Smithsonian Institution as "America's most renowned contemporary furniture craftsman" and People magazine dubbed him "The Hemingway of Hardwood." But his business card always said "woodworker." "I like the word," he told a Los Angeles Times reporter, his eyes brightening behind large, owl-eyed glass frames. "It's an honest word."In 1985 Mr. Maloof became the first craftsman to receive a MacArthur fellowship, his autobiography was titled Sam Maloof: Woodworker. Head, Jeffrey. "The Collector & The Craftsman," Palm Springs Modernism, pp. 34–35. Maloof, Sam.. Sam Maloof: Woodworker. Tokyo: Kodansha International.
ISBN 978-0-87011-910-1. Smithsonian American Art Museum. Smithsonian Institution. "A Visit with Sam Maloof" - D. J. Marks Sam and Alfreda Maloof Foundation for Arts and CraftsGallery of Pictures of Projects Inspired by Sam Maloof showcased in Fine Woodworking magazine Video Library: A Woodworking Experience with Sam Maloof - at the Wood Working Channel Sam Maloof dies at 93. Video of Sam Maloof at his home and woodworking shop, 2000 on YouTube
Edith R. Wyle
Edith Robinson Wyle was an American artist and arts patron, founder of the Craft and Folk Art Museum in Los Angeles. Edith Robinson was born in the daughter of Rose and Louis Robinson, her grandparents were Jewish emigrants from Eastern Europe. Her parents were professional musicians, but her father trained as a dentist. Edith moved to Los Angeles with her parents; as a girl she studied art and dance. She earned a degree in English at the University of California Los Angeles, worked as a secretary before she married; as a young wife and mother in the 1940s, Edith Wyle returned to painting, studied with the painter and sculptor Rico Lebrun, who encouraged her particular interest in folk arts. Through adulthood she continued to take classes including weaving and pottery. In 1965, Edith Wyle opened The Egg and the Eye, a commercial gallery and café on Wilshire Boulevard, across from the LaBrea Tar Pits and the Los Angeles County Museum of Art. Describing the gallery's founding, she told the Los Angeles Times: "I'd always had this wild notion of wanting to walk through a tapestry gallery and eat a good lunch.
And I could cook only omelettes. Presto... The Egg and the Eye. I think it is the best thing that could happen to a woman whose kids are grown." In 1973, the gallery and cafe became Folk Art Museum. Wyle was program director of the museum until 1984 when she retired, taking the title of Founder/Director Emeritus and going on the Board. Wyle refused to allow a merger with LACMA in 1997 and, always struggling financially, the museum closed for 14 months, she lived to see the museum reopened under the auspices of the Los Angeles Cultural Affairs Department. In connection with her museum work, Edith Wyle conceived of the Festival of Masks in 1976, a multicultural parade and arts celebration. Wyle worked on arts events during the 1984 Summer Olympics, served on the board at California Institute of the Arts, she was the author of several exhibition catalogs. Edith Robinson married Frank S. Wyle in 1942, they had three children together: Nancy Romero, Stephen Wyle, Diana Munk. Edith Wyle died from cancer in October 1999, age 81.
The Edith R. Wyle Research Library of the Craft and Folk Art Museum, now housed at LACMA, was named in her honor in 1995