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.
Some artists seem to negate any attempt at communication with the viewer, and pass on the inconvenient responsibility of generating some coherent meaning to curators.
The performance was staged on a LeWittian large-scale sculpture by Solange that will travel around the US this summer.
In honor of the new edition of Brakhage’s 1963 book Metaphors of Vision, the UCLA Film & Television Archive and the Los Angeles Filmforum are screening some of his most seminal films.
Lawrence Abu Hamdan attempts to reconstruct the psycho-physical conditions in which prisoners lived at Syria’s Saydnaya prison by using recorded testimonials.
From an exhibition about the first superstar curator to Pacific Standard Time’s performance festival, there’s strong work aplenty on the horizon.
From local contemporary art to rare surveys on Latin American modernism, there is plenty of good art to see before the new year.