Ruben Ochoa and Pete Galindo are premiering “The Politics of Street Vendors in Los Angeles” with LACMA this Saturday.
Alex Prager’s “Farewell, Work Holiday Parties” at LACMA captures the awkwardness that ensues when a room full of intoxicated, mostly white people get together during the holidays.
Tom Gores owns a telecom company that “rakes in more than $700 million per year charging egregious rates for phone calls from prisons, jails, and immigrant detention centers.”
On Earth Day, Julia Christensen discusses the concept of “upgrade culture” and how it has impacted our daily lives.
Thomas Joshua Cooper has feverishly circumnavigated the globe in an effort to chart the Atlantic basin. His recent photos of the California coast, subject to wildfires and drilling, feel all the more poignant.
The new building will be smaller than the total area of the four current buildings which are fated to be torn down. No explanation for the shrinkage has been provided as of yet.
Charles White: A Retrospective at the Los Angeles County Museum of Art surveys an illustrious career that spans from the Great Depression to the age of Black Power.
Inherent in the show Outliers and American Vanguard Art is a kind of subtle hierarchy among artists, even if the curator has tried to delimit its force.
The Los Angeles County Museum of Art’s own Christine Y. Kim and Rita Gonzalez are co-curators at this year’s Gwangju Biennale, Asia’s oldest contemporary art biennial.
This year Los Angeles showcased especially diverse and robust exhibitions, thanks in part to an enormous initiative around Latin American and Latino art.
This year, the Getty initiative known as Pacific Standard Time has focused on the very broad categories of Latino and Latin American art. How we talk about these categories matters.
The letter, received some two years ago by curator of Latin American art at LACMA, was penned in an odd, first-person style, speaking as the painting itself.