In A Drop of Sun Under the Earth, Shikeith positions Black boyhood as a means to interrogate and open up other possibilities for Black masculinity.
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.”
The way Farber thought about movies shaped the way I watched movies, which meant he shaped my life, because all I cared about was watching movies.
Director Barry Jenkins’ If Beale Street Could Talk and video artist Kahlil Joseph’s “Fly Paper” transmute the aesthetics and storytelling of photographer Roy DeCarava’s 1950s portraits of Harlem.
The conservator of Pollock’s “Number 1, 1949” shares the challenges he will face when conserving the artwork in the Museum of Contemporary Art’s galleries.
Black Radical Imagination aims to expand the boundaries that have historically limited people of color in cinema.
LOS ANGELES — In a city whose name is synonymous with the motion picture industry, it’s common for the worlds of film and art to collide. It’s less common, however, for them to collide in a way that’s critical and not simply flirting with the idea of celebrity.
LOS ANGELES — On Wednesday night, art critic and provocateur Dave Hickey addressed a rapt audience at a pop-up event held by the Los Angeles Museum of Contemporary Art (LA MoCA) in downtown’s Grand Central Market, part of his book tour for the recently released Pirates and Farmers: Essays on Taste.
LOS ANGELES — Bob Mizer and Tom of Finland are to queer pop culture something like Picasso and Braque are to 20th-century abstraction: shocking then but still rich and surprising.
Why would a contemporary art museum launch a web comedy series? Well … why not, I guess?
Earlier this year, speculation swirled around whether the Los Angeles Museum of Contemporary Art would be forced to merge with another institution to survive — the latest episode in an ongoing drama, five years and counting, borne out of the museum’s financially precarious situation. But it turns out that while curators were being fired, while trustees were alternately defecting and trying to figure out how to save the museum, Jeffrey Deitch, MOCA’s current and controversial director was making $916,000.
LOS ANGELES — What do you get when you invite 1,500 people to make clay sculptures of whatever they want? An incredibly weird, crumbling, monotone wonderland. As part of his current retrospective, New York-based artist Urs Fischer organized this freewheeling project at the Geffen Contemporary MoCA in downtown Los Angeles, and titled, appropriately, “YES” (2013).