Los Angeles County, California
Los Angeles County the County of Los Angeles, in the Los Angeles metropolitan area of the U. S. state of California, is the most populous county in the United States, with more than 10 million inhabitants as of 2017. As such, it is the largest non–state level government entity in the United States, its population is larger than that of 41 individual U. S. states. It is the third-largest metropolitan economy in the world, with a Nominal GDP of over $700 billion—larger than the GDPs of Belgium and Taiwan, it has 88 incorporated cities and many unincorporated areas and, at 4,083 square miles, it is larger than the combined areas of Delaware and Rhode Island. The county is home to more than one-quarter of California residents and is one of the most ethnically diverse counties in the U. S, its county seat, Los Angeles, is California's most populous city and the nation's second largest city with about 4 million people. Los Angeles County is one of the original counties of California, created at the time of statehood in 1850.
The county included parts of what are now Kern, San Bernardino, Inyo, Tulare and Orange counties. In 1851 and 1852, Los Angeles County stretched from the coast to the border of Nevada; as the population increased, sections were split off to organize San Bernardino County in 1853, Kern County in 1866, Orange County in 1889. Prior to the 1870s, Los Angeles County was divided into townships, many of which were amalgamations of one or more old ranchos, they were: Azusa El Monte Azusa and El Monte Townships were merged for the 1870 census. City of Los Angeles Los Angeles Township Los Nietos San Jose San Gabriel Santa Ana. For the 1870 census, Annaheim district was enumerated separately. San Juan. San Pedro. Tejon When Kern County was formed, the portion of the township remaining in Los Angeles County became Soledad Township According to the U. S. Census Bureau, the county has an area of 4,751 square miles, of which 4,058 square miles is land and 693 square miles is water. Los Angeles County borders 70 miles of coast on the Pacific Ocean and encompasses mountain ranges, forests, lakes and desert.
The Los Angeles River, Rio Hondo, the San Gabriel River and the Santa Clara River flow in Los Angeles County, while the primary mountain ranges are the Santa Monica Mountains and the San Gabriel Mountains. The western extent of the Mojave Desert begins in the Antelope Valley, in the northeastern part of the county. Most of the population of Los Angeles County is located in the south and southwest, with major population centers in the Los Angeles Basin, San Fernando Valley and San Gabriel Valley. Other population centers are found in the Santa Clarita Valley, Pomona Valley, Crescenta Valley and Antelope Valley; the county is divided west-to-east by the San Gabriel Mountains, which are part of the Transverse Ranges of southern California, are contained within the Angeles National Forest. Most of the county's highest peaks are in the San Gabriel Mountains, including Mount San Antonio 10,068 feet ) at the Los Angeles-San Bernardino county lines, Mount Baden-Powell 9,399 feet, Mount Burnham 8,997 feet and Mount Wilson 5,710 feet.
Several lower mountains are in the northern and southwestern parts of the county, including the San Emigdio Mountains, the southernmost part of Tehachapi Mountains and the Sierra Pelona Mountains. Los Angeles County includes San Clemente Island and Santa Catalina Island, which are part of the Channel Islands archipelago off the Pacific Coast. East: Eastside, San Gabriel Valley, portions of the Pomona Valley West: Westside, Beach Cities South: South Bay, South Los Angeles, Palos Verdes Peninsula, Gateway Cities, Los Angeles Harbor Region North: San Fernando Valley, Crescenta Valley, portions of the Conejo Valley, portions of the Antelope Valley and Santa Clarita Valley Central: Downtown Los Angeles, Mid-Wilshire, Northeast Los Angeles Angeles National Forest Los Padres National Forest Santa Monica Mountains National Recreation Area Los Angeles County had a population of 9,818,605 in the 2010 United States Census; the racial makeup of Los Angeles County was 4,936,599 White, 1,346,865 Asian, 856,874 African American, 72,828 Native A
Pellissier Building and Wiltern Theatre
The Pellissier Building and adjoining Wiltern Theatre is a 12-story, 155-foot Art Deco landmark at the corner of Wilshire Boulevard and Western Avenue in Los Angeles, California. The entire complex is referred to as the Wiltern Center. Clad in a blue-green glazed architectural terra-cotta tile and situated diagonal to the street corner, the complex is considered one of the finest examples of Art Deco architecture in the United States; the Wiltern building is owned and the Wiltern Theatre is operated by Live Nation's Los Angeles division. The Wiltern Theatre is located at the western edge of the Los Angeles neighborhood of Koreatown, at the southeast corner of Wilshire Boulevard and Western Avenue; the Koreatown district is served by Metro Rail. Named after the family that owned the land upon which it was developed, the Pellissier Building is a 12-story steel-reinforced concrete office tower. Set upon a two-story pedestal that contains ground floor retail and the theater entrance, the tower has narrow vertical windows that sweep the eye upward and create the illusion of a much taller building.
The tower is an example of French Zig-Zag Moderne styling. The entrance to the Wiltern Theatre is flanked by large vertical neon signs while patrons approach the ticket booth set back among colorful terrazzo paving; the Wiltern's interior was designed by G. Albert Lansburgh and is renowned for its Art Deco design containing decorative plaster and tile work along with colorful murals painted by Anthony Heinsbergen; the most dramatic element of the design is the sunburst on the ceiling of the auditorium, with each ray its own Art Deco skyscraper—Lansburgh's vision of the future of Wilshire Boulevard. When the Wiltern first opened, it housed the largest theater pipe organ in the western United States. Both the Wiltern Theatre and the Pellissier Building have been named to the National Register of Historic Places and declared a Los Angeles Historic-Cultural Monument by the City of Los Angeles. Built in 1931, the Wiltern was designed by architect Stiles O. Clements of Morgan, Walls & Clements, the city's oldest architectural firm.
The Wiltern Theatre was designed as a vaudeville theater and opened as the Warner Brothers Western Theater, the flagship for the theater chain. Closing a year the theater reopened in the mid-1930s and was renamed the Wiltern Theatre for the major intersection which it faces. In 1956, the building and theater were sold to the Franklin Life Insurance Company of Springfield, Illinois; the Los Angeles chapter of the American Theater Organ Enthusiasts worked to restore the theater's 37-rank Kimball pipe organ—reputed to be the largest one in Los Angeles at the time—and held recitals there through the late 1960s and into the mid-1970s. However, the owners ignored the landmark building, by the late 1970s, the Wiltern had fallen into disrepair. Only the intervention of a group of local preservationists saved the complex from being demolished on two occasions in the late 1970s, when the owners filed for demolition permits. In 1981, the Wiltern was purchased by developer Wayne Ratkovich, who worked with architect Brenda Levin to restore both the theater and the office building to their former glory.
Previous successes with the Fine Arts Building and the Oviatt Building renovations in downtown Los Angeles and the refurbishing of the nearby Chapman Market complex on Sixth Street convinced many in the city that they were the right people for the job. The renovation of the office building was complete by 1983, but the Wiltern Theatre presented a much more difficult problem and took another two years to complete; the theater had been poorly maintained—many of the murals and plasterwork were damaged, many of the fixtures had been sold off or pillaged, portions of the ceiling had crashed onto the ground floor seats. It had been used as the primary location for the film Get Crazy, which caused further damage. To restore the theater to its original state required expert craftsmanship by A. T. Heinsbergen, son of the original painter, some creativity to replace what had been lost; this included salvaging vintage Art Deco seats from the soon-to-be-renovated Paramount Theater in Portland, Oregon. Furthermore, while it was designed and run as a movie theater, Ratkovich wanted to convert the Wiltern into a performing arts center that could host live concerts and Broadway-level stage performances—which entailed opening up the rear wall and extending the stage and stage house of the theater back 15 feet.
After a four-year renovation the Wiltern Theatre opened again to the public on May 1, 1985, with performances by the Alvin Ailey American Dance Theater company. Bill Graham Presents was retained to provide the oversight of operations; the Wiltern was operated as a producing theater, hosted its own live performances and those sponsored by Avalon Attractions, Concerts West, Universal Concerts, Timeless Entertainment, many others, was used for many televised events, commercial filming and feature film locations. On August 7, 1985, Tom Petty and the Heartbreakers played a show at the theater, most of the live show was subsequently used for Petty's first official live release Pack Up the Plantation: Live! The concert was filmed; the Wiltern seated 2,344. Subsequent modifications in 2002 removed the 1,200 p
Streamline Moderne is an international style of Art Deco architecture and design that emerged in the 1930s. It was inspired by aerodynamic design. Streamline architecture emphasized curving forms, long horizontal lines, sometimes nautical elements. In industrial design, it was used in railroad locomotives, toasters, buses and other devices to give the impression of sleekness and modernity. In France, it was called the Style Paquebot, or "Ocean liner style", was influenced by the design of the luxurious ocean liner SS Normandie, launched in 1932; as the Great Depression of the 1930s progressed, Americans saw a new aspect of Art Deco, i.e. streamlining, a concept first conceived by industrial designers who stripped Art Deco design of its ornament in favor of the aerodynamic pure-line concept of motion and speed developed from scientific thinking. The cylindrical forms and long horizontal windowing in architecture may have been influenced by constructivism, by the New Objectivity artists, a movement connected to the German Werkbund.
Examples of this style include the 1923 Mossehaus, the reconstruction of the corner of a Berlin office building in 1923 by Erich Mendelsohn and Richard Neutra. The Streamline Moderne was sometimes a reflection of austere economic times; the style was the first to incorporate electric light into architectural structure. In the first-class dining room of the SS Normandie, fitted out 1933–35, twelve tall pillars of Lalique glass, 38 columns lit from within illuminated the room; the Strand Palace Hotel foyer, preserved from demolition by the Victoria and Albert Museum during 1969, was one of the first uses of internally lit architectural glass, coincidentally was the first Moderne interior preserved in a museum. Streamline moderne appeared most in buildings related to transportation and movement, such as bus and train stations, airport terminals, roadside cafes, port buildings, it had characteristics common with modern architecture, including a horizontal orientation, rounded corners, the use of glass brick walls or porthole windows, flat roofs, chrome-plated hardware, horizontal grooves or lines in the walls.
They were white or in subdued pastel colors. An example of this style is the Aquatic Park Bathouse in the Aquatic Park Historic District, in San Francisco. Built beginning in 1936 by the Works Progress Administration, it features the distinctive horizontal lines, classic rounded corners railing and windows of the style, resembling the elements of ship; the interior preserves much of the original decoration and detail, including murals by artist and color theoretician Hilaire Hiler. The architects were William Mooser Jr. and William Mooser III. It is now the administrative center of Aquatic Park Historic District; the Normandie Hotel, which opened during 1942, is built in the stylized shape of the ocean liner SS Normandie, it includes the ship's original sign. The Sterling Streamliner Diners were diners designed like streamlined trains. Although Streamline Moderne houses are less common than streamline commercial buildings, residences do exist; the Lydecker House in Los Angeles, built by Howard Lydecker, is an example of Streamline Moderne design in residential architecture.
In tract development, elements of the style were sometimes used as a variation in postwar row housing in San Francisco's Sunset District. In France, the style was called ocean liner; the French version was inspired by the launch of the ocean liner Normandie in 1935, which featured an Art Deco dining room with columns of Lalique crystal. Buildings using variants of the style appeared in Belgium and in Paris, notably in a building at 3 boulevard Victor in the 15th arrondissement, by the architect Pierre Patout, he was one of the founders of the Art Deco style. He designed the entrance to the Pavilion of a Collector at the 1925 Exposition of Decorative Arts, the birthplace of the style, he was the designer of the interiors of three cruise ships, the Ile-de-France, the l'Atlantique, the Normandie. Patout's building on Avenue Victor lacked the curving lines of the American version of the style, but it had a narrow "bow" at one end, where the site was narrow, long balconies like the decks of a ship, a row of projections like smokestacks on the roof.
Another 1935 Paris apartment building at 1 Avenue Paul-Daumier in the 16 arrondissement had a series of terraces modeled after the decks of an ocean liner. The defining event for streamline moderne design in the United States was the 1933-34 Chicago World's Fair, which introduced the style to the general public; the new automobiles adapted the smooth lines of ocean liners and airships, giving the impression of efficiency and speed. The grills and windshields tilted backwards, cars sat lower and wider, they featured smooth curves and horizontal speed lines. Examples include the 1934 Studebaker Land Cruiser; the cars featured new materials, including bakelite plastic, Vitrolight opaque glass, stainless steel, enamel, which gave the appearance of newness and sleekness. Other examples include the 1950 Nash Ambassador "Airflyte" sedan with its distinctive low fender lines, as well as Hudson's postwar cars, such as the Commodore, that "were distinctive streamliners—ponderous, massive automobiles with a style all their own".
Streamlining became a widespread design practice for aircraft, railroad locomotives, ships. Streamline style can be contrasted with functionalism, a leading design style in Europe at the same time. One reason for the simple designs in functionalism was to lower the production costs of the items, making them
3rd Street, Los Angeles
3rd Street in Los Angeles is a major east–west thoroughfare. The west end is in downtown Beverly Hills by Santa Monica Boulevard, the east is at Alameda Street in downtown Los Angeles, where it shares a one-way couplet with 4th Street. East of Alameda it becomes 4th Street, where it heads to East Los Angeles, where it turns back into 3rd Street upon crossing Indiana Street. 3rd Street becomes Pomona Boulevard in Monterey Park, where it turns into Potrero Grande Drive and turns into Rush Street in Rosemead and ends in El Monte.3rd Street passes along the south side of The Grove and "The Original" Farmers Market at Fairfax Avenue, near the headquarters of The Writers Guild of America, West. There are many other restaurants and antique stores on this specific strip of 3rd Street, less upscale and more relaxed than nearby Robertson Boulevard and Melrose Avenue.3rd Street is parallel to two other major thoroughfares, Wilshire Boulevard to the south and Beverly Boulevard to the north. It is four lanes wide east of Doheny Drive, it passes through the same communities as Wilshire Boulevard.
From east to west: Bradbury Building Million Dollar Theater St. Vincent Medical Center Marlborough School Yeshiva Aharon Yaakov-Ohr Eliyahu Park La Brea Farmers Market and The Grove Writers Guild of America, West Joan's on Third Beverly Center Cedars-Sinai Medical Center Little Bangladesh Los Angeles Board of Education Headquarters Evelyn Thurman Gratts Elementary School, 3rd Street and Lucas Avenue Miguel Contreras Learning Complex, 3rd Street and Lucas Avenue Metro Local bus lines 16, 17 and 316 serve west 3rd Street. Montebello Transit line 40 serves east 3rd Street; the Metro Gold Line runs on 3rd Street between Atlantic Boulevard. Collapse of 3rd Street Tunnel construction in 1900 West Third Street Business Association
Los Angeles Historic Preservation Overlay Zone
The Historic Preservation Overlay Zone of the City of Los Angeles in California has been hailed by historic preservation advocates for its pioneering program, which designates not just buildings but entire neighborhoods or districts as worthy of historic preservation. Most of these districts are areas dominated by Victorian and Craftsman single-family houses, but some are predominantly Mission Revival or Spanish Colonial Revival, one is a mid-century modern area; the current HPOZs in Los Angeles, according to the Los Angeles Conservancy, include: Angelino Heights Historic Preservation Overlay Zone, Angelino Heights, Echo Park. Balboa Highlands Historic Preservation Overlay Zone, Granada Hills, northern San Fernando Valley Banning Park Historic Preservation Overlay Zone, Wilmington Carthay Circle Historic Preservation Overlay Zone, Carthay Circle Country Club Park Historic Preservation Overlay Zone, Country Club Park Gregory Ain Mar Vista Tract Historic Preservation Overlay Zone, Mar Vista Hancock Park Historic Preservation Overlay Zone, Hancock Park Harvard Heights Historic Preservation Overlay Zone, Harvard Heights Highland Park-Garvanza Historic Preservation Overlay Zone, Highland Park-Garvanza Hollywood Grove Historic Preservation Overlay Zone, Central Los Angeles Jefferson Park Historic Preservation Overlay Zone, Jefferson Park Lafayette Square Historic Preservation Overlay Zone, Lafayette Square Lincoln Heights East Historic Preservation Overlay Zone, Lincoln Heights Melrose Hill Historic Preservation Overlay Zone, Melrose Hill Miracle Mile Historic Preservation Overlay Zone, Miracle Mile Miracle Mile North Historic Preservation Overlay Zone, Miracle Mile North Pico-Union Historic Preservation Overlay Zone, Pico-Union South Carthay Historic Preservation Overlay Zone, South Carthay Spaulding Square Historic Preservation Overlay Zone, Spaulding Square Stonehurst Historic Preservation Overlay Zone, Sun Valley, northeastern San Fernando Valley University Park Historic Preservation Overlay Zone, University Park Van Nuys Historic Preservation Overlay Zone, Van Nuys Vinegar Hill Historic Preservation Overlay Zone, San Pedro, California West Adams Terrace Historic Preservation Overlay Zone, West Adams Western Heights Historic Preservation Overlay Zone, Western Heights Whitley Heights Historic Preservation Overlay Zone, Whitley Heights, Hollywood Wilshire Park Historic Preservation Overlay Zone, Wilshire Park Windsor Square Historic Preservation Overlay Zone, Windsor Square Windsor Village Historic Preservation Overlay Zone, Windsor Village For detailed articles about districts, see also: Category: Los Angeles Historic Preservation Overlay Zones.
City of Los Angeles: Historic Preservation Overlay Zones Los Angeles Conservancy: City of Los Angeles Historic Preservation Overlay Zones
A ZIP Code is a postal code used by the United States Postal Service in a system it introduced in 1963. The term ZIP is an acronym for Zone Improvement Plan; the basic format consists of five digits. An extended ZIP+4 code was introduced in 1983 which includes the five digits of the ZIP Code, followed by a hyphen and four additional digits that reference a more specific location; the term ZIP Code was registered as a servicemark by the U. S. Postal Service, but its registration has since expired; the early history and context of postal codes began with postal district/zone numbers. The United States Post Office Department implemented postal zones for numerous large cities in 1943. For example: The "16" was the number of the postal zone in the specific city. By the early 1960s, a more organized system was needed, non-mandatory five-digit ZIP Codes were introduced nationwide on July 1, 1963; the USPOD issued its Publication 59: Abbreviations for Use with ZIP Code on October 1, 1963, with the list of two-letter state abbreviations which are written with both letters capitalized.
An earlier list in June had proposed capitalized abbreviations ranging from two to five letters. According to Publication 59, the two-letter standard was "based on a maximum 23-position line, because this has been found to be the most universally acceptable line capacity basis for major addressing systems", which would be exceeded by a long city name combined with a multi-letter state abbreviation, such as "Sacramento, Calif." along with the ZIP Code. The abbreviations have remained unchanged, with the exception of Nebraska, changed from NB to NE in 1969 at the request of the Canadian postal administration, to avoid confusion with the Canadian province of New Brunswick. Robert Moon is considered the father of the ZIP Code; the post office only credits Moon with the first three digits of the ZIP Code, which describe the sectional center facility or "sec center." An SCF is a central mail processing facility with those three digits. The fourth and fifth digits, which give a more precise locale within the SCF, were proposed by Henry Bentley Hahn Sr.
The SCF sorts mail to all post offices with those first three digits in their ZIP Codes. The mail is sorted according to the final two digits of the ZIP Code and sent to the corresponding post offices in the early morning. Sectional centers do not deliver mail and are not open to the public, most of their employees work the night shift. Mail picked up at post offices is sent to their own SCF in the afternoon, where the mail is sorted overnight. In the case of large cities, the last two digits coincide with the older postal zone number thus: In 1967, these became mandatory for second- and third-class bulk mailers, the system was soon adopted generally; the United States Post Office used a cartoon character, which it called Mr. ZIP, to promote the use of the ZIP Code, he was depicted with a legend such as "USE ZIP CODE" in the selvage of panes of postage stamps or on the covers of booklet panes of stamps. In 1971 Elmira Star-Gazette reporter Dick Baumbach found out the White House was not using a ZIP Code on its envelopes.
Herb Klein, special assistant to President Nixon, responded by saying the next printing of envelopes would include the ZIP Code. In 1983, the U. S. Postal Service introduced an expanded ZIP Code system that it called ZIP+4 called "plus-four codes", "add-on codes", or "add-ons". A ZIP+4 Code uses the basic five-digit code plus four additional digits to identify a geographic segment within the five-digit delivery area, such as a city block, a group of apartments, an individual high-volume receiver of mail, a post office box, or any other unit that could use an extra identifier to aid in efficient mail sorting and delivery. However, initial attempts to promote universal use of the new format met with public resistance and today the plus-four code is not required. In general, mail is read by a multiline optical character reader that instantly determines the correct ZIP+4 Code from the address—along with the more specific delivery point—and sprays an Intelligent Mail barcode on the face of the mail piece that corresponds to 11 digits—nine for the ZIP+4 Code and two for the delivery point.
For Post Office Boxes, the general rule is. The add-on code is one of the following: the last four digits of the box number, zero plus the last three digits of the box number, or, if the box number consists of fewer than four digits, enough zeros are attached to the front of the box number to produce a four-digit number. However, there is no uniform rule, so the ZIP+4 Code must be looked up individually for each box; the ZIP Code is translated into an Intelligent Mail barcode, printed on the mailpiece to make it easier for automated machines to sort. A barcode can be printed by the sender, it is better to let the post office put one on. In general, the post office uses OCR technology, though in some cases a human might have to read and enter the address. Customers who send bulk mail can get a discount on postage if they have printed the barcode themselves and have presorted the mai
Levitated Mass is a 2012 large-scale public art sculpture by Michael Heizer at Resnick North Lawn at the Los Angeles County Museum of Art. The installation consists of a 340-ton boulder sculpture placed above a 456-foot viewing pathway to accommodate 360-degree viewing; the nature and scale of the installation attracted discussion within the public art world, its notable 106-mile transit from the Jurupa Valley Quarry in Riverside County was covered by the media. The piece does not require museum admission. According to Public Art in Public Places, the Levitated Mass sculpture is located less than a 3-minute walk north of Urban Light, the most popularly visited public art sculpture in Southern California; the work is composed of a 21.5-foot tall boulder mounted on the walls of a 456-foot long concrete trench, surrounded by 2.5 acres of compressed decomposed granite. The boulder is bolted to two shelves affixed to the inner walls of the trench, which descends from ground level to 15 feet below the stone at its center, allowing visitors to stand directly below the megalith.
Initial plans for the work described the boulder as being affixed to the trench walls themselves, giving the boulder the appearance of'floating' when viewed from within the trench via optical illusion, hence the work's title. Support shelves were subsequently required. A 1982 Heizer work in Manhattan called Levitated Mass, consists of a much smaller, carved rock set on hidden supports, does preserve this'floating' effect. Heizer explains or comments on his work and has never offered a public explanation of Levitated Mass's meaning or significance, he has however described the piece as being'static art' and emphasized the importance of the boulder's size and of the work's longevity, saying that the work is meant to last 3,500 years. LACMA has published a preliminary sketch of the work by Heizer that contains a handwritten notation saying that the work "destroys'gestalt' concepts". Heizer first conceived of the work in 1968, attempted its construction using a 120-ton boulder in 1969; this attempt was abandoned, when the boom of the crane being used to lift the boulder broke.
In December 2006, Heizer discovered a new 340-ton rock at Stone Valley Quarry in Jurupa Valley, California in Riverside County while preparing a different project. With the help of LACMA director Michael Govan, funding was secured for the boulder's removal and transportation and for the construction of the finished work at the museum; the cost of the project has been estimated at $10 million, was funded via private donations. The boulder was scheduled for transport in August 2011. Due to the difficulty in securing permits for the journey, the trip was delayed, with the boulder leaving the quarry at the end of February 2012; the rock was loaded onto a 295-foot long, 196-wheeled transporter custom-built by Emmert International. Because of the transporter's size and needs, the boulder could only be moved at night at a maximum speed of about seven miles per hour. Though the quarry is located less than 60 miles from the LACMA campus, a circuitous 106-mile route traversing 22 cities in 4 counties was taken in order to avoid busier roads or overpasses that could not support the combined weight of the boulder and transporter.
Numerous trees were cut down, cars towed and traffic lights temporarily removed in order to facilitate the transporter's movement. The rock itself was wrapped in cotton sheets and an outer layer of thick plastic before being loaded onto the transporter; the trip took 11 days, with large crowds gathering to see the boulder both in motion and while parked during the day. Spontaneous block parties and at least one marriage proposal took place at the transporter's various resting places; the transporter arrived at LACMA at 4:30am on March 10, 2012. A crowd estimated at over 1,000 assembled to see the installation's arrival. Completion of the concrete trench and the final securing of the boulder took an additional three months; the installation was opened to the public on June 24, 2012 at a ceremony attended by Govan, Los Angeles Mayor Antonio Villaraigosa, County Supervisor Zev Yaroslavsky and the famously reclusive Heizer himself. LA Times art critic Christopher Knight said that Levitated Mass was "a good sculpture if not a great one", describing the dichotomy of a desert landscape cut into Los Angeles's urban metropolis and of the sculpture's permanence in a comparatively fragile cityscape.
Adding "as monoliths go, the stone seems rather modest."During the journey of Levitated Mass's boulder from quarry to museum, French artist Régis Perray moved a toy dump truck carrying 340 grams of dust from the vault of the Chartres Cathedral as a work entitled 340 Grammes Déplacés... during Levitated Mass by Michael Heizer. The work curated by Observatoire du Land Art was a transatlantic action performed as an "echo" of Levitated Mass's simultaneous displacement of 340 tons of rock. Complex magazine listed Levitated Mass as one of its 50 Most Iconic Artworks of the Past Five Years. A parody/tribute work by Mungo Thomson, entitled Levitating Mass, was commissioned by the Aspen Art Museum and appeared at the 2012 Aspen Old-Fashioned Fourth of July Parade, just ten days after the public opening of the original work, it consists of a one-half scale helium balloon replica of Levitated Mass's central boulder. Boulder Mass: The Levitation is a short-subject Avante-Garde Film by Director Joseph Quinn.
Levitated Mass: The Story of Michael Heizer's Monolithic Sculpture, a documentary by filmmaker Doug Pray, debuted at LACMA's Bing Theater on June 20, 2013 as part of the Los Angeles Film Festival. The film focuses on the transport