The 39 artists and collectives in the sixth edition of the Hammer Museum’s show call LA home but make visible legacies of migration that have built and shaped the city.
Cruel Youth Diary: Chinese Photography and Video greets us with the dizziness befitting a period of rapid economic growth and social change.
After two decades of renovations, the museum that calls itself a “well-kept secret” reopens with a mission to be more visible.
Jenkins’s videos do more than talk back to a racist screen.
N.I.H., short for No Humans Involved, was an acronym used by the LAPD to refer to “young Black males who belong to the jobless category of the inner-city ghettos.”
Through June 30, you can screen films by Alima Lee, Fox Maxy, and Maia Ruth Lee.
Harmony Holiday wants to show “the Baldwin who was baffled and befuddled and wounded and perfectly real.”
Performance has always been essential as a means of survival to participate in the fiction of America.
On Sunday April 11, Patrisse Cullors will be restaging “F*ck White Supremacy, Let’s Get Free” online for a global audience.
This Thursday, November 19, esparza will deliver a special lecture at the Hammer Museum.
In California, all construction — including museum expansions — has been categorized as essential. While much of the art world is standing still, expansions at LACMA, the Hammer, and other museums are prompting both questions and criticisms.
In her performance, Fraser plays the role of male feminists, both empathizing with them and exposing their failure to empathize with the goals of the Women’s Movement.