In Stanya Kahn’s earlier films, Los Angeles seems ready to spark a revolution at any moment. But in the newest adventure, the urban sprawl creeps into the inhabitants’ states of mind, and everything languishes.
Artist Panteha Abareshi discusses the role of curation in museums and the crucial work of disabled artists like herself.
While Morton’s career spanned less than a decade (1968–1977), her work remains vital to questioning what it means to be a woman in art history and society.
In Kelly’s sculptures, manmade objects morph into new or composite forms that seem to verge on organic.
“My work is always about people being able to sort of mentally try it on, mentally get inside the suit, or to see the effort of me trying to learn this dance, or to think about eating food,” Blake told Hyperallergic.
Sadie Barnette’s recreation of the New Eagle Creek Saloon at the Institute of Contemporary Art, Los Angeles, will be activated this Thursday night with talks, a performance, and a DJ set.
The Del Hierro brothers craft their costumes from polyurethane foam, which they find in whatever city they happen to be in, tearing into discarded couches or mattresses and ripping out the “meat” inside.
The “34,000 Pillows Project” by artist duo Díaz Lewis offers the public a way to give back to immigrant advocacy groups, and they’ll be hosting a workshop and reading series for the cause at the Institute for Contemporary Art, Los Angeles.
The program kicks off this Sunday at the ICA LA, with an edit-a-thon focused on women and comedy.
To celebrate the opening of This Has No Name, ICA LA is hosting an Open House on September 30 with an Art Talk featuring curator Jamillah James in conversation with artist B. Wurtz.
Two Angeleno artists discuss the rich history of sign painting in this visually cacophonous metropolis.
Driven by a boundless intellectual curiosity, Szeemann challenged historical narratives and exploded aesthetic hierarchies, expanding the role of curator from simply a steward of objects to a shaper of ideas.