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.
Sarah Lucas’s performance at the Hammer Museum was satisfying, liberating even. Women are not supposed to express anger, and we sure as hell aren’t supposed to make a mess.
The shift will be funded with a $10 million donation from MOCA Board of Trustees President Carolyn Clark Powers, who says: “Charging admission is counterintuitive to art’s ability and purpose to connect, inspire, and heal people.”
Ruppersberg, who has lived between Los Angeles and New York since the 1960s, pushes the ordinary toward the extraordinary in wildly divergent works.
In conjunction with the exhibition, the Hammer Museum hosts a day-long symposium on Piper’s vital work.
Carmen Argote’s exhibition at Commonwealth and Council suggests that she has no money left after participating in Made in LA, displaying work that resists any potential role as pricey art objects.
The body is at the center of much of the work in Made in LA, and overwhelmingly, that body is brown and black, female, queer, and indigenous.
The Hammer Museum has displayed the three video installations together for the first time.