Jonny Negron captures the disappointment and delights of Dionysian narcissism.
The Lodge has a cheeky interpretation of Christmas cheer.
Artist Catherine Opie, in her first year as the chair of the UCLA Department of Art, told Hyperallergic that the faculty heavily considers how the artists will play off each other.
Bridget Mullen draws a line between the act of birth and the act of making art.
Lauren Satlowski’s paintings reflect the angst and solitude of the present moment, while thankfully leaving out any mention of face masks.
Reclaiming the infamous insult hurled at Hillary Clinton by Donald Trump, this show celebrates women’s contributions to art.
Linda Stark lends serious attention to the heart symbol, which, like most symbols associated with women and femininity, is easily dismissed and oft-overlooked.
In 1979, Frankenthaler traveled to the West Coast and was introduced to the gallery and studio Mixografia, where she would eventually produce a series of serene and exuberant prints.
“A lot of people have been turning to art, needing space to process,” says the artist Edgar Fabián Frías, who, along with Hayley Barker, Julie Weitz, and Patrisse Cullors, has been discussing their art as spiritual practice.
When We Are Here / Here We Are opened in mid-May, the street landscape of Los Angeles looked decidedly different.
More easily lost to trash bins than the annals of history, these posters form the basis for a book cataloguing student work at CalArts over the last 40 years.
The survey, which serves to “identify and map the needs of local artists,” is the first of its kind in a city whose artist population continues to rapidly expand.