Featured Events in Los Angeles in February, 2024 (May Updated)

Experience the most EPIC All-Star Spoken Word Competition on the West Coast at the Flypoet Classic Slam! This highly anticipated event will captivate audiences with its extraordinary talent and unforgettable performances. Taking place in the beautiful city of Redondo Beach, at the prestigious Redondo Beach Performing Arts Center, the Flypoet Classic Slam promises an evening of poetic brilliance that will leave you inspired and moved. Mark your calendars for February 24, 2024, and immerse yourself in the power of words as gifted poets from around the nation come together to showcase their extraordinary skills. The Redondo Beach Performing Arts Center, located at 1935 Manhattan Beach Boulevard, Redondo Beach, CA 90278, provides the perfect backdrop for this cultural celebration, offering state-of-the-art facilities and a comfortable atmosphere for all attendees. Prepare to be mesmerized by the talent on display as these gifted poets bring their words to life, painting vivid pictures and evoking deep emotions. Each performance is carefully crafted and delivered with passion, making for an unforgettable experience that will stay with you long after the event ends. Don't miss out on this unique opportunity to witness the Flypoet Classic Slam, an event that promises to push the boundaries of spoken word poetry and leave you inspired. Book your tickets now and be part of this extraordinary evening of artistic excellence.

Join guest curator and USC Roski professor Jenny Lin for an in-depth exploration of USC PAM's current special exhibition, Another Beautiful Country. This captivating exhibition will be on view at USC Pacific Asia Museum in Pasadena from January 26 to April 7, 2024. Dr. Lin, an esteemed art historian and curator, will delve into the genesis of the exhibition and the significant role that the featured artworks play in shaping our diverse understanding of Chinese American identities. Through the integration of personal anecdotes, familial histories, and narratives of migration and diasporic connections, Dr. Lin invites attendees to envision a captivating "other" country, one that is firmly rooted in cross-cultural exchange and collaboration. Admission to this enlightening event is free, but we recommend RSVPing in advance to secure your spot. Dr. Jenny Lin brings a wealth of expertise to this event as an Associate Professor of Critical Studies in Art and Design and Graduate Director in Curatorial Practices at the University of Southern California. She has dedicated her career to exploring the intersection of contemporary art and design within the context of cross-cultural relations. Notably, Dr. Lin is the author of the acclaimed book "Above Sea: Contemporary Art, Urban Culture, and the Fashioning of Global Shanghai" and the award-winning exhibition catalogue "Picturing Global China." If you require any special assistance during your visit, please don't hesitate to reach out to Cristina Hernandez-Guerrero at ch45852@usc.edu. Your needs are of utmost importance to us, and we are here to provide any necessary support. We look forward to welcoming you to this captivating exhibition and to experiencing the transformative power of art and cultural exchange.

BELLYFUSION LAB, hosted by Jazmin De Luna and Inanna, is a monthly open level fusion dance workshop held in Pasadena. This workshop is designed for belly dancers looking to expand their skills or non-belly dancers looking to explore this style. Inanna combines lyrical, contemporary, and Bellydance techniques to create a unique and edgy combo set to contemporary music. Following that, Jazmin will showcase her exclusive Datura Style in a fluid and precise combo. One exciting feature of this workshop is the opportunity to have a performance video shot for your reels. Each participant will have a chance to shine in a professional setting, complete with a fog machine. These vertical short form videos can be shared on social media or kept as part of your repertoire. Bellyfusion Lab not only focuses on dance instruction but also aims to create a safe space for networking and building a dance community. Participants can stay after class to chat and enjoy refreshments. The workshop takes place on the last Sunday of every month, with the first session scheduled for February 25th from 11 am to 2 pm. The venue, Acrotopia Creative Space, is a cozy private studio located at 3422 East Green Street, Pasadena, CA 91107. The cost for each session is $40, which includes both classes, the video shoot, and networking time. If you have any questions or would like more information, please contact Inanna at hi@inannaforearth.com or Jazmin at jazmindelunadance@gmail.com.

The highly anticipated event, United Wrestling Network Live at Thunder Studios, is set to take place in the vibrant city of Long Beach. Prepare to witness the thrilling action and intense athleticism that only professional wrestling can deliver. Hosted by the renowned Thunder Studios, this event promises to be a night of high impact excitement that you won't want to miss. The address for Thunder Studios is conveniently located at 20434 South Santa Fe Avenue, Long Beach, CA 90810. Mark your calendars for February 25, 2024, as this is when the event will kick off. Tickets are available now, with prices ranging from $15 to $25. Don't wait any longer to secure your spot, as seats are filling up fast. Experience the electrifying atmosphere of United Wrestling Network Live at Thunder Studios in Long Beach and be a part of an unforgettable night of professional wrestling.

Experience the captivating work of artist Jordan Wolfson at the Fine Arts Theatre in Beverly Hills. Join Gagosian for an exclusive screening of the renowned "Body Sculpture" followed by a thought-provoking conversation between the artist and Johanna Burton, the esteemed Maurice Marciano Director of the Museum of Contemporary Art (MOCA) in Los Angeles. This remarkable animatronic masterpiece, acquired by the National Gallery of Australia, is currently on display at the prestigious museum until April 28, 2024. Be part of this extraordinary event on February 25, 2024, at the Fine Arts Theatre located at 8556 Wilshire Boulevard in Beverly Hills, California. The doors will open at 2:45pm, and the screening will commence promptly at 3:00pm. Immerse yourself in the artistry of Jordan Wolfson as you witness his groundbreaking "Body Sculpture" installation. Don't miss this exceptional opportunity to engage with the brilliance of Jordan Wolfson and gain insights into his creative process. This event is free of charge, allowing everyone to partake in the transformative power of contemporary art. Mark your calendars and join us at the Fine Arts Theatre for an enriching evening celebrating the intersection of technology and artistic expression.

Exclusive Vendors VIP, the highly anticipated arts event, is set to dazzle and captivate visitors in the vibrant city of Long Beach. Mark your calendars for February 25, 2024, as the venue at 129 W 5th St transforms into a haven for art enthusiasts. This exclusive affair promises an unforgettable experience, showcasing the finest talents and creations from a curated selection of vendors. Prepare to be immersed in the world of artistic expression, as you explore the diverse range of mediums and styles on display. From stunning paintings to intricate sculptures, this event is a true celebration of creativity. As you stroll through the elegant surroundings of 129 West 5th Street, Long Beach, CA 90802, you will be transported into an enchanting realm where imagination knows no bounds. The ambiance is serenely refined, providing the perfect backdrop for these masterpieces. With tickets priced at a reasonable $175, art aficionados can indulge in this unparalleled opportunity to witness the brilliance of Exclusive Vendors VIP. Discover the magic, the ingenuity, and the passion that defines this extraordinary event. Be part of this extraordinary gathering, and let the art weave its spell upon you.

This February ‘DRIVE’ will open with The Parking Space, featuring a Chevrolet Caprice and Impala, a Ferrari 328 GTS and a Ligier microcar, parked in the gallery alongside a video in which Rhoades fervidly discourses on his concept of the Car Projects. While driving around Los Angeles in 1998, Rhoades explains the relationship of cars to his art (parking is equated with sitting in a sculpture) and to daily practice (driving between the house, the studio and stores is time and space for the mind to race and wander). He expounds on cars as icons of art history (Marcel Duchamp and Francis Picabia speeded modern art forward with their mechanized abstractions), identifiers of class (you are what you drive) and environments of control. The radio is tuned to Power 106 FM and as the world streams by to the propulsive hip-hop beat, the romance of cars seems irresistible. In April, the installation will be reconfigured to accommodate a lounge and become The Pit. An influx of archival materials will be key to unpacking the various episodes of Rhoades’ Car Projects, starting with the Caprice and the 1996 exhibition ‘Traffic.’ Not only did the artist cut a deal with CAPC musée d’art contemporain de Bordeaux, France the organizers of the show, to go in on buying him the car as a transactional work of art, he later leveraged its symbolic value by trading the Caprice for a Ferrari. This summer the exhibition’s focus will swerve onto The Racetrack. A set of half-scale NASCAR-style cars, custom jackets and colorfully painted tire barriers are among what remains of ‘The Snowball.’ Staged in California as a daylong racing event at Willow Springs speedway, ‘The Snowball’ was ultimately destined for the 2000 Venice Biennale and Rhoades’ collaborative work for the Danish Pavilion. In September, The Garage will cover the final stretch of ‘DRIVE’ with a selection of framed works on paper and a major sculptural installation. Throughout the year, the line-up for ‘DRIVE’ will feature a range of public programs. A film series centered on cars and the city of Los Angeles will be curated by film historian and critic Elvis Mitchell. A theatrical staging of the playwright Charles Mee’s ‘Under Construction,’ which was inspired by Rhoades’ art in its collage depiction of America today, will be presented as part of Hauser & Wirth’s Performance Project. Organized as an investigation in real time, ‘DRIVE’ invites people to approach the exhibition like a garage of art and ideas, in which cars are coming and going and tinkering is a productive state of mind. As an artist, Rhoades was keenly attuned to sources of cultural power and weakness. When he put the internal combustion engine on art’s pedestal, was he presciently placing the car where it belongs for a greener tomorrow? The car as a subject in Rhoades’ art continues to drive and trouble the imagination today.

The VIP Opening Night Ticket for the SPRING/BREAK Art Show in Culver City on February 27, 2024, from 5pm to 8pm is a must-have for art enthusiasts. This exclusive ticket grants access to the private opening, providing a unique opportunity to experience contemporary art by established and emerging artists. With over 50 curatorial projects, 70 curators, and 200+ artists, this curated exhibition showcases the theme of INTERIOR/EXTERIOR. Please note that no bags larger than a small purse will be permitted on the premises, and there is no bag check available. Backpacks, luggage, other artwork, and large tote bags are not allowed. To ensure a smooth entry, it is important to arrive at the event at the selected time indicated on the ticket. Late arrivals may be accommodated, but refunds will not be granted if access is not possible. The SPRING/BREAK Art Show is a highlight of the Armory Arts Week and Frieze Arts Week Los Angeles. By purchasing a ticket, you are not only supporting the exhibition of emerging and established curators and artists but also providing free exhibition space to independent curators. The event takes place at 5880 Adams Boulevard, Culver City, and offers private secure parking onsite. Rideshares are encouraged, and drop-off is available at the venue. The health and safety of all attendees, staff, and exhibitors are of utmost importance. A Health & Safety Plan has been developed based on recommendations by the Center for Disease Control (CDC) and the State of California. Please refrain from attending if you are sick or have been recently exposed to illness. Further details regarding safety protocols and entry requirements will be provided to ticket holders via email closer to the event. Don't miss out on this opportunity to indulge in the world of contemporary art at the SPRING/BREAK Art Show in Culver City.

From 1984 to 1991, pioneering American artist Jasper Johns (b.1930) produced a significant body of work inspired by the theme of the four seasons, including a remarkable series of prints that are exhibited together in this display. The Seasons are complex and distinctive works, weaving together themes of artistic creation, the passage of time, and the artist’s own biography, with Johns’ shadow appearing prominently in each composition. Printmaking is one of Johns’ major preoccupations, and this display will reveal his application of an array of techniques to create a collaging of imagery that is both evocative and mysterious. The Courtauld was fortunate to be given the series of nine prints by Johns in 2016 by Barbara Bertozzi Castelli, the widow of John’s long-term dealer Leo Castelli, and is the only museum in the UK to have the series in its collection.

The Soul Rebels, a highly anticipated concert, is all set to take place at Tellus 360 on February 29, 2024. Located at 24 East King Street, Lancaster, PA, 17602, this venue is known for its vibrant energy and captivating atmosphere. This extraordinary event promises to be a night filled with soulful melodies and unforgettable performances. Delve into the mesmerizing world of The Soul Rebels as they take the stage and mesmerize the audience with their unique blend of jazz, funk, and soul. Immerse yourself in the rhythmic beats and infectious grooves that will transport you to another dimension. Mark your calendars, as this is an opportunity you don't want to miss. From December 22, 2023, at 15:00, until March 1, 2024, at 00:00, tickets for The Soul Rebels will be available for purchase. Don't delay, secure your spot at this extraordinary concert and let The Soul Rebels uplift your spirit and leave you craving for more.

Join Lisa at Sunrise Solitude, a PAINT & SIP EVENT, and discover your inner artist! This two-hour painting experience, located at The Compass Rose Room inside the Lancaster Motel in Lancaster, NH, offers step-by-step instruction and full support from Lisa herself. Leave your worries at the door and immerse yourself in the pure joy of painting. During this event, you'll have the opportunity to purchase alcoholic drinks at The Compass Rose Room, but please note that outside food and drink are not permitted. All the necessary supplies, including a 12X16" canvas, paint, and brushes, are included in the ticket price. Simply bring yourself and a friend or two, and get ready to unleash your creativity. Lisa welcomes artists of all levels of experience. Whether you're a beginner or have been painting for years, this event is designed to help you learn new techniques and painting basics. With Lisa's guidance, you'll gain a deeper understanding of the art of painting and leave with newfound knowledge. Feel free to express your creativity and enjoy the soothing ambiance of popular music playing in the background. Sunrise Solitude is the perfect opportunity to relax, unwind, and indulge in a peaceful and enjoyable painting experience. Don't miss out on this chance to join Lisa for a memorable event that goes beyond simple instruction. Get your tickets now for Sunrise Solitude, a PAINT & SIP EVENT with Lisa at The Lancaster Motel in Lancaster, NH. Happy painting!

The Founder Chapter 1: The Ballad of Time is a groundbreaking docu-service that is a first of its kind. A private movie screening of this powerful event will be held at the Claremont 5 Theatre in Claremont, CA on Thursday, February 29, 2024. The screening will begin at 7 PM, preceded by a black tie dress code with a red carpet and photographer. This event offers a unique opportunity to delve into the journey of The Founder with Chapter 1: The Ballad of Time. It is a celebration of ministry, worship, inspiration, and the unwavering power of God's will. We warmly invite you to join us for this exclusive screening. To secure your tickets, please register for the event. This is an experience not to be missed. Don't delay, sign up today to be part of The Founder Chapter 1: The Ballad of Time Private Movie Screening at the Claremont 5 Theatre in Claremont, CA.

The Pirates of Penzance: Pay What You Can! is an exquisite arts event coming to the vibrant city of Hermosa Beach. Held at the renowned 2nd Story Theatre, located at 710 Pier Avenue, Hermosa Beach, CA 90254, this one-of-a-kind performance is set to take place on the auspicious date of February 29th, 2024. Prepare to be mesmerized by the captivating tale of pirates, musically woven with a touch of humor and romance. This event offers a unique opportunity for art enthusiasts and theater aficionados to experience the magic of live performances, all while supporting a worthy cause. The Pirates of Penzance: Pay What You Can! stands out from the crowd, as it allows attendees to contribute according to their means, with a suggested donation as the ticket price. This inclusive approach ensures that everyone can partake in this cultural extravaganza, regardless of their financial abilities. So mark your calendars and be ready to immerse yourself in an enchanting evening of music, laughter, and sheer theatrical brilliance. Don't miss out on this exceptional event that promises to leave an indelible mark on your heart and soul. The Pirates of Penzance: Pay What You Can! awaits your presence with bated breath.

By the late nineteenth century, the federal government’s efforts to fully assimilate Native Americans had proved unsuccessful. Growing concerns over the welfare of Native communities led to the establishment of twenty-five federal off-reservation boarding schools for Native American children, where students could be formally educated and “civilized” through a strict program of academics, vocational training, and Christian teachings, far away from their families and tribal communities.

1301PE is pleased to present its sixth solo exhibition with internationally revered Thai artist Rirkrit Tiravanija entitled “NO MORE REALITY (FOR PP)”. In August 2020, Tiravanija collected American newspapers that are still published daily. This is the starting point for “NO MORE REALITY” which references Philippe Parreno’s seminal 1991-93 series of work. Focusing on this phrase in large painted text which forms an expansive floor to ceiling installation, while upstairs Tiravanija refines it to a single text per the front and back page of the newspaper. The phrase continually renews itself through Tiravanija’s work and finds new relevancy each time it is exhibited–it purposefully welcomes its reinterpretation and renewal. The phrase “NO MORE REALITY,” which invites a certain interpretation, pushes back on the viewer’s preconceived notions commenting not on the news itself but of the interpretation of the news. The varied newspapers come from different towns with different ideas, politics and beliefs which in turn is reflected by what is valued and displayed by the local news. “Everywhere, we feel the shift of power under our feet; how can we not address it, even with our tongues in our cheeks!” -Rirkrit Tiravanija For more than thirty years, Tiravanija’s work has had resounding effects on the entire field of contemporary art. Participation, both active and passive, has been a primary element of his artistic practice, which in a way that is unique to Tiravanija dissolves the onlooker and object dichotomy.

1301PE is pleased to present its sixth solo exhibition with internationally revered Thai artist Rirkrit Tiravanija entitled “NO MORE REALITY (FOR PP)”. In August 2020, Tiravanija collected American newspapers that are still published daily. This is the starting point for “NO MORE REALITY” which references Philippe Parreno’s seminal 1991-93 series of work. Focusing on this phrase in large painted text which forms an expansive floor to ceiling installation, while upstairs Tiravanija refines it to a single text per the front and back page of the newspaper. The phrase continually renews itself through Tiravanija’s work and finds new relevancy each time it is exhibited–it purposefully welcomes its reinterpretation and renewal. The phrase “NO MORE REALITY,” which invites a certain interpretation, pushes back on the viewer’s preconceived notions commenting not on the news itself but of the interpretation of the news. The varied newspapers come from different towns with different ideas, politics and beliefs which in turn is reflected by what is valued and displayed by the local news. “Everywhere, we feel the shift of power under our feet; how can we not address it, even with our tongues in our cheeks!” -Rirkrit Tiravanija For more than thirty years, Tiravanija’s work has had resounding effects on the entire field of contemporary art. Participation, both active and passive, has been a primary element of his artistic practice, which in a way that is unique to Tiravanija dissolves the onlooker and object dichotomy.

1301PE is pleased to present its sixth solo exhibition with internationally revered Thai artist Rirkrit Tiravanija entitled “NO MORE REALITY (FOR PP)”. In August 2020, Tiravanija collected American newspapers that are still published daily. This is the starting point for “NO MORE REALITY” which references Philippe Parreno’s seminal 1991-93 series of work. Focusing on this phrase in large painted text which forms an expansive floor to ceiling installation, while upstairs Tiravanija refines it to a single text per the front and back page of the newspaper. The phrase continually renews itself through Tiravanija’s work and finds new relevancy each time it is exhibited–it purposefully welcomes its reinterpretation and renewal. The phrase “NO MORE REALITY,” which invites a certain interpretation, pushes back on the viewer’s preconceived notions commenting not on the news itself but of the interpretation of the news. The varied newspapers come from different towns with different ideas, politics and beliefs which in turn is reflected by what is valued and displayed by the local news. “Everywhere, we feel the shift of power under our feet; how can we not address it, even with our tongues in our cheeks!” -Rirkrit Tiravanija For more than thirty years, Tiravanija’s work has had resounding effects on the entire field of contemporary art. Participation, both active and passive, has been a primary element of his artistic practice, which in a way that is unique to Tiravanija dissolves the onlooker and object dichotomy.

One of the largest pastels made in the 18th century, Maurice Quentin de La Tour’s Portrait of Gabriel Bernard de Rieux is an astonishing object. In this colossal portrait, the ambitious La Tour pushed pastel to new heights, capturing his sitter’s likeness and surrounding de Rieux with the trappings of his wealth: fine furniture, an extensive library, imported porcelain, and a globe turned to display the West coast of Africa. This focused exhibition highlights both La Tour’s technical achievement and the global reality that financed and furnished de Rieux’s world.

This sprawling exhibit explores the profound impact and influence that hip-hop music and culture has had on the United States and the world since it burst forth in the Bronx 50 years ago. The Mixtape Exhibit delves deep into the sounds, scenes and history of hip-hop music, dance, graffiti, fashion, business, and activism. On view are rarely displayed artifacts from Tupac Shakur, Notorious B.I.G., MC Lyte, Lil Wayne, Slick Rick, Egyptian Lover, Eminem, and many others, and visitors can make their own hip-hop music with five unique interactives. The exhibit was curated by a team of four co-curators who bring a deep knowledge of hip-hop, academic rigor and creativity to the project: Felicia Angeja Viator, associate professor of history, San Francisco State University, author of To Live And Defy In LA: How Gangsta Rap Changed America, and one of the first women DJs in the Bay Area hip-hop scene; Adam Bradley, professor of English and founding director of the Laboratory for Race and Popular Culture (the RAP Lab) at UCLA, and co-editor of The Anthology of Rap; Jason King, dean, USC Thornton School of Music and former chair of the Clive Davis Institute of Recorded Music at NYU; and Dan Charnas, associate arts professor, NYU Clive Davis Institute of Music, and author of Dilla Time: The Life And Afterlife Of The Hip-Hop Producer Who Reinvented Rhythm. The co-curators worked in conjunction with GRAMMY Museum Chief Curator and VP of Curatorial Affairs Jasen Emmons as well as a 20-member Advisory Board.

This sprawling exhibit explores the profound impact and influence that hip-hop music and culture has had on the United States and the world since it burst forth in the Bronx 50 years ago. The Mixtape Exhibit delves deep into the sounds, scenes and history of hip-hop music, dance, graffiti, fashion, business, and activism. On view are rarely displayed artifacts from Tupac Shakur, Notorious B.I.G., MC Lyte, Lil Wayne, Slick Rick, Egyptian Lover, Eminem, and many others, and visitors can make their own hip-hop music with five unique interactives. The exhibit was curated by a team of four co-curators who bring a deep knowledge of hip-hop, academic rigor and creativity to the project: Felicia Angeja Viator, associate professor of history, San Francisco State University, author of To Live And Defy In LA: How Gangsta Rap Changed America, and one of the first women DJs in the Bay Area hip-hop scene; Adam Bradley, professor of English and founding director of the Laboratory for Race and Popular Culture (the RAP Lab) at UCLA, and co-editor of The Anthology of Rap; Jason King, dean, USC Thornton School of Music and former chair of the Clive Davis Institute of Recorded Music at NYU; and Dan Charnas, associate arts professor, NYU Clive Davis Institute of Music, and author of Dilla Time: The Life And Afterlife Of The Hip-Hop Producer Who Reinvented Rhythm. The co-curators worked in conjunction with GRAMMY Museum Chief Curator and VP of Curatorial Affairs Jasen Emmons as well as a 20-member Advisory Board.

This exhibition examines the ways painting manuals published in the 17th and 18th centuries used innovative printing methods to introduce the techniques, history, and appreciation of painting to widening audiences in early modern China. Gain insight into early art education in China through painting manuals originally published in the 17th and 18th centuries. “Paintings in Print: Studying Art in China” examines the ways these manuals used innovative printing methods to introduce the techniques, history, and appreciation of painting to widening audiences in early modern China. In the 16th century, Chinese publishers began creating educational art manuals that were filled with colorful prints of paintings and texts on the history and methods of brush arts. The manuals were unprecedented because they taught aspiring painters and collectors from the growing merchant class how to create and appreciate literati art—a combination of painting, calligraphy, and poetry long practiced by elite scholars. Drawing from The Huntington’s collection, “Paintings in Print” will focus on two books: The Mustard Seed Garden Manual of Painting and the Ten Bamboo Studio Collection of Calligraphy and Painting. The books will be displayed together, in their entirety, for the first time in the United States. The texts will be presented in their original form as well as digitized to allow visitors to explore the materials more closely. The books will be complemented with paintings—including recent donations from the Berman Foundation—that exemplify how artists studied manuals like these to learn the basics of their art.

For the first time in her practice, Judy Baca transforms a museum into a studio. She and artists from the Social and Public Art Resource Center expand into the 21st century, painting two sections of the mural at LACMA. LACMA’s exhibition presents murals from the 1960s depicting the Chicano Movement, Watts Renaissance, and archival materials that have never been exhibited, revealing Baca’s process and innovations to muralism. Baca conceived (1975) as a monument to the people of California, featuring moments from prehistoric times to the 1950s. She collaborated with 400 youth and community members to design and paint the mural on the walls of the L.A. River to tell history from the perspective of those erased from it. After the artists complete the paintings at LACMA, they will add them to , creating a mile of visual history.

The American Museum of Ceramic Art is proud to present REVEAL: Recent Acquisitions, showcasing a remarkable variety of ceramics that AMOCA has recently acquired for its permanent collection. AMOCA’s permanent collection encompasses 13,000+ ceramic objects that date from Pre-Columbian to contemporary times. The collection has been acquired through the generosity of many individuals who wish to share their gifts with the public. Within the scope of this exhibition, AMOCA will showcase a range of previously unseen works from artists such as Clayton Bailey, Mette Maya, Ron Nagle, David Furman, and many more. This diverse grouping of forms, styles, and techniques highlights a range of art movements in the ceramic community.

Featuring more than 100 remarkable works from Nigeria, Benin, Brazil, Cuba, and the United States, this exhibition highlights pan-Yoruba theological principles as expressed through a variety of art forms including sculpture, beadwork, and ritual costume design. Juxtaposing material representations of West African Òrìṣàs (divinities) with those of diasporic Afro-Brazilian Orixás and Afro-Cuban Orichas, the exhibition will illustrate key conceptual and aesthetic continuities across the Yoruba Atlantic as well as regional innovations. Artist and abolitionist Patrisse Cullors will contribute a live performance and an installation titled Free Us, a multimedia work that unveils the resilience of these pan-Atlantic Yoruba divinities.

Renowned American artist Betye Saar’s large-scale work “Drifting Toward Twilight”—recently commissioned by The Huntington—is a site-specific installation that features a 17-foot-long vintage wooden canoe and found objects, including birdcages, antlers, and natural materials harvested by Saar from The Huntington’s grounds. The work is the centerpiece of the immersive exhibition “Betye Saar: Drifting Toward Twilight.” The commission is personal for Saar, who has fond memories of visiting The Huntington as a child and of the trees and landscape in her north Pasadena neighborhood. “When I was a child in the 1930s, I would come to The Huntington with my mother and aunt, who were avid gardeners. As I became an artist, I realized the importance, and the influence, of nature in my work—whether it’s the moon and the stars, branches and rocks, or bones and shells,” Saar said. “It is my desire that Drifting Toward Twilight brings the outside in, blending the gardens with the gallery and creating an immersive, contemplative experience for the viewer.” Drifting Toward Twilight also showcases Saar’s major status as a pioneer of assemblage art and as part of the foundational generation of Black artists in Los Angeles. “Betye Saar: Drifting Toward Twilight” transforms an entire room in the Scott Galleries into what the artist calls a “cocoon-like environment.” The walls are painted in an oceanic blue gradient, featuring a poem by Saar and phases of the moon. Shifting lighting effects in the gallery emulate phases of daylight to twilight, evening to night, and night to dawn. Inside the canoe, Saar positions mysterious “passengers,” including antlers in metal birdcages, children’s chairs, and architectural elements—all drawn from the artist’s ever-evolving collection of found objects. The space beneath the canoe is illuminated by a cool neon glow, highlighting plant material.

features Valdez’s oil painting on a 1953 Good Humor ice cream truck portraying the forced removal of a predominantly Mexican American community for the construction of Dodger Stadium in the late 1950s. In 2004, Cooder invited Valdez to collaborate and create a painting to align with his album “Chavez Ravine” (2005), a musical interpretation of the neighborhood’s history. Posing a visual contradiction between the eviction and the ice cream truck, Valdez depicts Dodgers owner Walter O’Malley, former LAPD Chief William H. Parker, J. Edgar Hoover, and displaced families. Shown alongside Valdez’s preparatory materials, draws from the style and history of Mexican and American muralism and Chicano car culture. Recently acquired by LACMA, the work is a monument to a disturbing chapter in L.A. history and symbolizes struggles across the country about affordable housing, eminent domain, gentrification, and discrimination.

Aparicio’s materially inventive practice is informed by the Salvadoran communities in Los Angeles in which he was raised, decolonialist discourse, and an approach to ecological justice as a form of social justice. The foundation of Aparicio’s practice is “total material non-neutrality,” which the artist initially realized through his Caucho (Rubber) series (2016–ongoing). MOCA Focus: Eddie Rodolfo Aparicio showcases a range of Caucho works, in which Aparicio casts the trunks of Los Angeles trees, frequently the ficus, slated for removal in rubber—the internal fluids of the Castilla elastica, a species native to El Salvador. The resulting impressions are textured with residual bark, exhaust particles, and graffiti marks. The casts couple with collages of found clothing and ephemera from the Pico-Union, Highland Park, and Westlake neighborhoods of Los Angeles, and are embellished with painted references to the presence and expression of the Central American diaspora in popular culture and the built environment. In this body of work, Aparicio invokes rubber’s history as a vital pre-Hispanic Indigenous technology and its status as a material of imperialist trade, giving shape to immigrant communities’ connections to land and place. At the core of Aparicio’s practice is a commitment to the cultural and scientific knowledge of often marginalized and even vilified Central American immigrant communities, making MOCA’s location in downtown Los Angeles, the heart of the Salvadoran diaspora, particularly resonant.

MOCA’s presentation of Paul Pfeiffer: Prologue to the Story of the Birth of Freedom will be accompanied by a full-color monographic catalogue, co-published by the museum and MACK Books, with new scholarship and critical readings of the artist’s work that will offer a much-needed overview of Pfeiffer’s impact and influence to date. The catalogue will be available February 2024 and will include documentation of Pfeiffer’s installation at the Geffen at MOCA.

Renowned American artist Betye Saar’s large-scale work “Drifting Toward Twilight”—recently commissioned by The Huntington—is a site-specific installation that features a 17-foot-long vintage wooden canoe and found objects, including birdcages, antlers, and natural materials harvested by Saar from The Huntington’s grounds. The work is the centerpiece of the immersive exhibition “Betye Saar: Drifting Toward Twilight.” The commission is personal for Saar, who has fond memories of visiting The Huntington as a child and of the trees and landscape in her north Pasadena neighborhood. “When I was a child in the 1930s, I would come to The Huntington with my mother and aunt, who were avid gardeners. As I became an artist, I realized the importance, and the influence, of nature in my work—whether it’s the moon and the stars, branches and rocks, or bones and shells,” Saar said. “It is my desire that Drifting Toward Twilight brings the outside in, blending the gardens with the gallery and creating an immersive, contemplative experience for the viewer.” Drifting Toward Twilight also showcases Saar’s major status as a pioneer of assemblage art and as part of the foundational generation of Black artists in Los Angeles. “Betye Saar: Drifting Toward Twilight” transforms an entire room in the Scott Galleries into what the artist calls a “cocoon-like environment.” The walls are painted in an oceanic blue gradient, featuring a poem by Saar and phases of the moon. Shifting lighting effects in the gallery emulate phases of daylight to twilight, evening to night, and night to dawn. Inside the canoe, Saar positions mysterious “passengers,” including antlers in metal birdcages, children’s chairs, and architectural elements—all drawn from the artist’s ever-evolving collection of found objects. The space beneath the canoe is illuminated by a cool neon glow, highlighting plant material.

explores how the media spectacle in which we live had origins in World War I and the burgeoning mediascape of posters, photography, cinema, illustrated newspapers, and ephemera that made it the first global media war. How did the media and artists imagine a war encompassing the entire world? Combatants included forces from Australia, Canada, Asia, the Middle East, and Africa, as well as racially and ethnically diverse American and Indigenous peoples including Māori, First Peoples, and Choctaw “code talkers.” will consider how the media mobilized the masses, imagined the battlefield, facilitated the global war, and contained the aftermath. With some 200 objects by artists, war photographers, and filmmakers as well as soldiers from across several continents, will explore the intermingling of mass media and the artistic imagination.