What started as a monthly paper in 1969 geared towards Asian American students at UCLA soon expanded to the greater Los Angeles community.
Otherwise/Revival traces the contours of Black spiritual thought from Louisiana plantations to Azusa Street to our present moment.
Harmony Holiday wants to show “the Baldwin who was baffled and befuddled and wounded and perfectly real.”
Gale considers the work occurring behind the scenes and how technologies structure our experience of live performances.
Youngblood’s paintings would probably make Piet Mondrian yelp.
In sculptures made of sugar, salt, and glass, Sula Bermúdez-Silverman explores the colonial undertones of monster movie imagery.
Each canvas follows its own off-beat rhythm.
“The Black Index” at UC Irvine pursues knottier narratives of self-representation.
In Shame Space, the narrator obsesses over sex, money, fitness, drugs, friends, work, and self-hatred.
Joseph’s project is installed in various Black-owned small businesses throughout Los Angeles, from a barbershop to a medical clinic.
In This Is What I Know About Art, Drew uses her own fumbles and triumphs as a frame in which to examine the symbiotic relationship between art and activism.
Begun at the start of quarantine in the US and finished days after George Floyd’s murder, Intimations ekes out a semblance of narrative during our moment of destabilizing upheaval.