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“Antiquity and Photography: Early Views of Ancient Mediterranean Sites” Through May 1 This exhibition occupies the largest temporary gallery space and features mid-19th century photographs of some of the most famous ancient monuments in Italy, Greece and the Holy Land. The Getty collection is known for its extensive collection of photographs, and without exception, “Antiquity and Photography” also offers some gems to its audience. In particular, the exhibit highlights the groundbreaking work of French photographer Joseph-Philibert Girault de Prangey, which resulted in the earliest surviving photographic views of ancient classical sites, dating back to 1842. Although the pictures of classical monuments are beautiful (especially photographer William Stillman’s shots of the Erechtheion), views of Egypt and the Holy Land steal the show. On the wall alongside some of these works, photographer Maxime du Camp describes his experience of seeing the fabled Egyptian Sphinx for the first time: “I am pale, my legs trembling. I cannot ever remember having been moved so deeply.” Indeed, the photographers’ awe at these sights is tangibly translated into their pictures. Photographer Francis Firth is especially effective at capturing the vastness of the Giza and Dahshur pyramids, by including native Egyptians alongside the landmarks. This artistic decision also emphasizes the distinction between the ancient and modern worlds, and consequently addresses the state of the viewer as they are displayed in a museum.

“The Getty Villa Reimagined” Through May 8 The name of the exhibit aptly sums up its contents: It offers a time line of the villa’s extensive renovation process, displaying sketches from several architects vying for the project, including the winning design of Machado and Silvetti Associates. The exhibit also features a scale model of the entire villa grounds and gives viewers a taste of the work that went into determining each design element of the villa, such as the entry pavilion, walls and floors of the villa itself, signs, exhibition furniture and lighting of individual galleries. The strongest aspects of the exhibit by far are the video elements, which include interviews with architects and construction companies, as well as photographs of sites from around the world that provided inspiration for the renovation process. The photographs include residences and landmarks in Beaulieu-sur-mer, France; Tivoli, Italy; Rome and Pompeii, among others. This approach is likely insightful and helpful for those who remember the Getty Villa prior to its renovation. But many museum-goers may feel dissatisfied with the lack of reference to the original villa. The exhibit remarkably showed little to no comparison between the original and renovated villas, instead documenting the villa renovation as an independent process. Maybe we’re a generation too attuned to television shows such as “Extreme Makeover” or “Trading Spaces,” but it seems that some “before” and “after” clips would have been interesting and insightful.

“Molten Color: Glassmaking in Antiquity” Through July 24 To celebrate its recent acquisition of over 350 pieces of ancient glass from the collection of Erwin Oppenlander, the Getty Villa presents over 180 of these works in the temporary exhibition “Molten Color.” Each piece is separated into a group based on its method of creation, including core-formed, mosaic, cast, mold-blown and free-blown glass. These techniques are all visually demonstrated in short video clips alongside the display cases. Quite simply, the glass is spectacular. Many of the pieces, especially the extensive range of perfume flasks, are small enough to fit in the palm of your hand (although they look so delicate that you’d be afraid to crush them if they were). Some of the pieces on display are fragments of larger work, but are unbelievably intricate and complex, with dramatic swirls of vibrant color. Even more impressive are the bowls and cups molded into animal shapes, including birds, a mouse and fish. The works are so elaborately designed that it’s hard to believe they were originally created for function. But indeed, the cups and bowls were used for everyday dining and the flasks were filled with ink or perfume; they were even tied around a person’s neck to be available at all times. This exhibition marks the first time many of these pieces have even been seen in North America, and you’ll be glad you took the time to see them.