Featured Events in Los Angeles in September, 2024 (April Updated)

Sat 28TH SEPT 𝙰𝚝𝚝𝚎𝚗𝚝𝚒𝚘𝚗 𝚁𝚊𝚟𝚎𝚛𝚜 𝚂𝚊𝚝𝚞𝚛𝚍𝚊𝚢 28Th September 𝚠𝚎 𝚘𝚏𝚏𝚒𝚌𝚒𝚊𝚕𝚕𝚢 𝚒𝚗𝚟𝚒𝚝𝚎 𝚢𝚘𝚞 𝚝𝚘 The Boiler Room Project 005 , 𝙵𝚎𝚊𝚝𝚞𝚛𝚒𝚗𝚐 𝚂𝚙𝚎𝚌𝚒𝚊𝚕 𝙶𝚞𝚎𝚜𝚝 Little FritterSupported By Guest Resident Valo & Mackay’s Very Own The Happenings Co - Mulekick & Dr.Durbridge 𝟹𝟼𝟶 𝚍𝚎𝚐𝚛𝚎𝚎 𝚋𝚘𝚒𝚕𝚎𝚛 𝚛𝚘𝚘𝚖 𝚍𝚊𝚗𝚌𝚎 𝚏𝚕𝚘𝚘𝚛 𝚎𝚡𝚙𝚎𝚛𝚒𝚎𝚗𝚌𝚎 | 𝙻𝙸𝚅𝙴 𝚟𝚒𝚍𝚎𝚘 𝚛𝚎𝚌𝚘𝚛𝚍𝚒𝚗𝚐 𝚘𝚏 𝚎𝚊𝚌𝚑 𝙳𝙹 𝚙𝚎𝚛𝚏𝚘𝚛𝚖𝚊𝚗𝚌𝚎 |𝙷𝚘𝚞𝚜𝚎, 𝙶𝚊𝚛𝚊𝚐𝚎, 𝚃𝚎𝚌𝚑𝚗𝚘, 𝙳𝙽𝙱 & More| 𝟿𝚙𝚖-𝙻𝚊𝚝𝚎 Featured Selectors - Little Fritter | Valo| Mulekick | Dr.Durbridge | Arki-S Information Source: Jump Touring & Ultraglow Paint Party | eventbrite

準備迎接戶外探險界盛事——2024年越野博覽會，將於那年的9月28日在美國加利福尼亞州波莫納的Fairplex盛大舉辦。此次展會匯聚了世界各地的越野愛好者和專業人士，共同探索最新的越野裝備、技術和體驗。活動現場將展示各式各樣的越野車輛、配件和戶外用品，提供給您前所未有的探險靈感。不論是越野駕駛新手或是資深冒險者，2024年越野博覽會均致力於滿足您的需求，讓您的越野之旅更加安全、舒適、刺激。不容錯過的2024年越野博覽會，期待您的蒞臨。

The Gilberto Classico is a Memorial Beach Volleyball tournament held in memory and in honor of Gilberto Fierro who died of cancer in June 1995. He was an amazing father, a great person and a positive contributor to society. He had a passion for life, the game of volleyball and the southern California lifestyle. He always urged his two sons Vince & Dylan to be grateful for their good fortune and to give back to those in need. After his passing in 1995, Vince and his friends decided that the best way to celebrate his life was to hold a volleyball tournament at Gilbert's home court in Venice where he loved to play and raise money for a local charity. All net proceeds will be donated to St. Jude’s Children’s Hospital. The mission of St. Jude Children’s Research Hospital is to advance cures, and means of prevention, for pediatric catastrophic diseases through research and treatment. Format - Dinosaur Doubles - Sign up as a team - minimum team age 80. Hybrid old school/new school format. Regulation beach court size, side out scoring. If your team is 5 years older than your opponent you get a 1 point lead up to 5 points in a game to 15, and up to 4 points in a game to 11. Pool play - single elim playoffs. If you don't have a partner , we will do our best to match you up with someone. Check-in - 8:30 am. The tournament will start promptly at 9 am. Parking -There is street parking if you can find it. Make sure to read all signs. Also there are parking lots at the end of Venice Blvd & Washington Blvd. www.GilbertoClassico.com Information Source: GilbertoClassico.com | eventbrite

FarYad | SECOND SHOW Starring: Borzou Arjmand, Ehsan Karami, Mina Deris Produced by Sheed Film FarYad is a theatrical performance about an Iranian couple who clash over the decision to emigrate. The man is a singer at mourning ceremonies, while the woman is an underground singer. The man believes that the current situation is perfect for staying, whereas the woman desires to escape the current conditions and build a future for herself, her husband, and their daughters in a free world. Throughout the performance, through the spirit of the man's father, we delve into Iran's past and explore how subsequent generations have been shaped by such conflicts. Date: Saturday, Sep 28, 2024 8:00 PM Venue: The Hudson Theatres Address: 6539 Santa Monica Blvd, Los Angeles, CA 90038 Information Source: Sheed Film | eventbrite

Enchanted Melodies Enchanted Melodies is an interactive fairytale opera for the whole family. It tells the story of a princess who finds her own storybook and needs to reckon what it means to know the ending to your own story through a narrative that empowers children to follow their own paths. The audience is invited to sing, dance, and play along to bring the story to life. The performance features music from operas and operettas of many cultures with an original story and English libretto by Emily Gallagher. Enchanted Melodies strives to create increased community interest in live music and theater by making accessible pathways for children to attend their first live performance. Children of all ages are encouraged to attend and participate. POP’s mission is to make “accessible affordable and entertaining opera“ for all. By co-producing this recital, we’re able to offer it free to the public. You can support this mission by giving a donation. Information Source: Pacific Opera Project | eventbrite

STADIUM TOURS The Rose Bowl Stadium opens its gates to the public for guided tours. Guests can delight in this unforgettable opportunity to go behind-the-scenes of 'America's Stadium' where countless moments in history have been made. Your tour guide will lead you through this National Historic Landmark, including the original 1922 locker room, current locker rooms, press box, Court of Champions and more. Throughout the tour, you will learn about the iconic history that has taken place here at the Rose Bowl Stadium, from the Four Horsemen of Notre Dame to Brandi Chastain’s game winning kick in the 1999 FIFA Women’s World Cup Final. Tours will not only be an outdoor excursion, but a historical learning experience that you will never forget. RECOMMENDATIONS Please arrive at least 15 minutes prior to tour start timePlease allow up to two hours for your visit here at the Rose Bowl StadiumComfortable walking shoes are recommendedProper attire, including shoes and shirts, must be worn at all times. In the spirit of a family friendly environment, we ask you to use your discretion in appropriate attire.Check the local weather report before you leave for the stadium since portions of the tour are outdoorsPlease keep in mind that all tour locations are subject to change. This can be due to stadium events and/or the stadium’s current construction project. Information Source: Rose Bowl Stadium Tours | eventbrite

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.

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.

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.

The American Museum of Ceramic Art (AMOCA) is delighted to announce Fahrenheit 2024, the revival of our juried exhibition. Launched in 2018, Fahrenheit 2018 received an overwhelming response and showcased over 80 artists’ best ceramic creations juried by Patti Warashina. This year, AMOCA aims to feature the talents of artists contributing to the contemporary ceramic arts community. We are honored that Kathy King, Director of the Ceramics Program at Harvard University, is the esteemed juror for this year’s exhibition. Artists whose works are selected through the jurying process will be celebrated at the opening reception. This exhibition will provide an invaluable platform for showcasing a diverse range of work and fostering recognition within the ceramics community. Juror Kathy King is an active studio artist in the Boston area and an Instructor and Director of Education at the Ceramics Program – Office for the Arts at Harvard in Allston, MA. She has taught at Massachusetts College of Art in Boston, Rhode Island School of Design in Providence, RI, and University of Massachusetts in Dartmouth, MA, and was an Associate Professor at Georgia State University in Atlanta, Georgia, until 2007. Her undergraduate work included the School of the Museum of Fine Arts in Boston, MA, and she received her BA in Studio Art with a major in Ceramics from Connecticut College, New London, CT, in 1990. She received her MFA from the University of Florida in Gainesville, FL, in 1998. She has given workshops and lectures at over seventy-five colleges, schools, and art centers throughout the USA. The National Council on Education for the Ceramic Arts featured King as an Emerging Artist in 1999, a Demonstrating Artist in 2002, a co-juror with Mark Burns for the 2012 National Student Juried Show, and a lecturer and panelist. The Boston Foundation, Boston, MA, recently awarded her a Brother Thomas Fellowship. Her work can also be found in numerous publications and periodicals, including Ceramics: Art and Perception, Studio Potter, Clay Times, Art Papers, and Ceramics Monthly. Learn more on King’s website.

The American Museum of Ceramic Art (AMOCA) is delighted to announce Fahrenheit 2024, the revival of our juried exhibition. Launched in 2018, Fahrenheit 2018 received an overwhelming response and showcased over 80 artists’ best ceramic creations juried by Patti Warashina. This year, AMOCA aims to feature the talents of artists contributing to the contemporary ceramic arts community. We are honored that Kathy King, Director of the Ceramics Program at Harvard University, is the esteemed juror for this year’s exhibition. Artists whose works are selected through the jurying process will be celebrated at the opening reception. This exhibition will provide an invaluable platform for showcasing a diverse range of work and fostering recognition within the ceramics community. Juror Kathy King is an active studio artist in the Boston area and an Instructor and Director of Education at the Ceramics Program – Office for the Arts at Harvard in Allston, MA. She has taught at Massachusetts College of Art in Boston, Rhode Island School of Design in Providence, RI, and University of Massachusetts in Dartmouth, MA, and was an Associate Professor at Georgia State University in Atlanta, Georgia, until 2007. Her undergraduate work included the School of the Museum of Fine Arts in Boston, MA, and she received her BA in Studio Art with a major in Ceramics from Connecticut College, New London, CT, in 1990. She received her MFA from the University of Florida in Gainesville, FL, in 1998. She has given workshops and lectures at over seventy-five colleges, schools, and art centers throughout the USA. The National Council on Education for the Ceramic Arts featured King as an Emerging Artist in 1999, a Demonstrating Artist in 2002, a co-juror with Mark Burns for the 2012 National Student Juried Show, and a lecturer and panelist. The Boston Foundation, Boston, MA, recently awarded her a Brother Thomas Fellowship. Her work can also be found in numerous publications and periodicals, including Ceramics: Art and Perception, Studio Potter, Clay Times, Art Papers, and Ceramics Monthly. Learn more on King’s website.

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.

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.

Since 2007, JANM has partnered with Eric Nakamura, founder of Giant Robot, to produce the Giant Robot Biennale, a recurring art exhibition that highlights diverse creative works celebrating the ethos of Giant Robot—a staple of Asian American alternative pop culture and an influential brand encompassing pop art, skateboard, comic book, graphic arts, and vinyl toy culture. Giant Robot Biennale 5 will feature artists Sean Chao, Felicia Chiao, Luke Chueh, Giorgiko, James Jean, Taylor Lee, Mike Shinoda, Rain Szeto, and Yoskay Yamamoto, among others.

Ed Ruscha has consistently held up a mirror to American society by transforming some of its defining attributes—from consumer culture and popular entertainment to the ever-changing urban landscape—into the very subject of his art. In 1956, Ruscha left Oklahoma City to study commercial art in Los Angeles, where he drew inspiration from the city’s architectural landscape—parking lots, urban streets, and apartment buildings—and colloquial language. As his first comprehensive, cross-media retrospective in over 20 years, ED RUSCHA / NOW THEN traces Ruscha’s methods and familiar subjects throughout his career and underscores the many remarkable contributions he has made well beyond the boundaries of the art world. The exhibition includes his early works produced while traveling through Europe, his installations—such as the Chocolate Room and the Course of Empire presented at the Venice Biennale in 1970 and 2005, respectively—and his ceaseless photographic documentation of the streets of Los Angeles beginning in 1965.

Ed Ruscha has consistently held up a mirror to American society by transforming some of its defining attributes—from consumer culture and popular entertainment to the ever-changing urban landscape—into the very subject of his art. In 1956, Ruscha left Oklahoma City to study commercial art in Los Angeles, where he drew inspiration from the city’s architectural landscape—parking lots, urban streets, and apartment buildings—and colloquial language. As his first comprehensive, cross-media retrospective in over 20 years, ED RUSCHA / NOW THEN traces Ruscha’s methods and familiar subjects throughout his career and underscores the many remarkable contributions he has made well beyond the boundaries of the art world. The exhibition includes his early works produced while traveling through Europe, his installations—such as the Chocolate Room and the Course of Empire presented at the Venice Biennale in 1970 and 2005, respectively—and his ceaseless photographic documentation of the streets of Los Angeles beginning in 1965.

The Western landscape is a place where the transformation of physical space involves both visualization and manipulation, where the connections between what can be physically seen and how it is visually represented are not always clear; technologies originally designed to render places visible often became instruments of invisibility and surveillance, severing western lands from the populations that depend on them. Out of Site focuses on three technological revolutions to examine how visual technologies, artistic interventions, and the workings of state power have evolved in tandem with the Western landscape: wet-plate photography, used to theorize geological processes; the rise of aerial photography and pattern recognition; and the increasing use of drones, satellites, and other long-range photographic technologies to image secretive sites, military installations, and other technologically-mediated locales. The exhibition features 90 artworks, archival materials, and devices ranging from mammoth plate cameras to drones. Carleton Watkins’ Nevada mining photographs,19th-century geological reports, and stereoviews, and Margaret Bourke-White’s aerial surveys published in LIFE magazine in 1936 are juxtaposed with contemporary photographic and video pieces by David Maisel, Michael Light, and Steven Yazzie, among other artists.

The Western landscape is a place where the transformation of physical space involves both visualization and manipulation, where the connections between what can be physically seen and how it is visually represented are not always clear; technologies originally designed to render places visible often became instruments of invisibility and surveillance, severing western lands from the populations that depend on them. Out of Site focuses on three technological revolutions to examine how visual technologies, artistic interventions, and the workings of state power have evolved in tandem with the Western landscape: wet-plate photography, used to theorize geological processes; the rise of aerial photography and pattern recognition; and the increasing use of drones, satellites, and other long-range photographic technologies to image secretive sites, military installations, and other technologically-mediated locales. The exhibition features 90 artworks, archival materials, and devices ranging from mammoth plate cameras to drones. Carleton Watkins’ Nevada mining photographs,19th-century geological reports, and stereoviews, and Margaret Bourke-White’s aerial surveys published in LIFE magazine in 1936 are juxtaposed with contemporary photographic and video pieces by David Maisel, Michael Light, and Steven Yazzie, among other artists.

The Western landscape is a place where the transformation of physical space involves both visualization and manipulation, where the connections between what can be physically seen and how it is visually represented are not always clear; technologies originally designed to render places visible often became instruments of invisibility and surveillance, severing western lands from the populations that depend on them. Out of Site focuses on three technological revolutions to examine how visual technologies, artistic interventions, and the workings of state power have evolved in tandem with the Western landscape: wet-plate photography, used to theorize geological processes; the rise of aerial photography and pattern recognition; and the increasing use of drones, satellites, and other long-range photographic technologies to image secretive sites, military installations, and other technologically-mediated locales. The exhibition features 90 artworks, archival materials, and devices ranging from mammoth plate cameras to drones. Carleton Watkins’ Nevada mining photographs,19th-century geological reports, and stereoviews, and Margaret Bourke-White’s aerial surveys published in LIFE magazine in 1936 are juxtaposed with contemporary photographic and video pieces by David Maisel, Michael Light, and Steven Yazzie, among other artists.

KYDOIMOS: The Din of Battle is comprised of more than 50,000 aerial photographs of Dugway Proving Ground, a classified military installation set in a remote portion of Utah’s Great Salt Lake Desert. The flickering images in KYDOIMOS depict test grids inscribed into the desert floor, where chemical and biological weapons and their facsimiles are detonated, turning this isolated landscape into a measuring device against which dispersal rates, toxicity levels, and threats to the human body are measured. Gaining access to the site required patience, persistence, and a government handler who accompanied the artist at all times. Maisel was further challenged by posted signs declaring that “Photography, or making notes, drawings, maps, or graphic representations of this area, or its activities, is prohibited unless specifically authorized by the Commander.” These limitations notwithstanding, Maisel was able to capture an abundance of images that collectively convey the scope and scale of the secretive activities at Dugway Proving Ground, while also acknowledging the ways in which they are abstracted and concealed.

The Broad is pleased to announce the launch of a new touring special exhibition Mickalene Thomas: All About Love, running from May 25 to September 29, 2024. Co-organized by the Hayward Gallery, London, and The Broad, Los Angeles, and in partnership with the Barnes Foundation, Philadelphia, Mickalene Thomas: All About Love will be the first major international tour of this pioneering artist’s work. Marking its debut at The Broad with over 80 works made by the artist over the last 20 years, the exhibition highlights how Mickalene Thomas has mastered and innovated within several disciplines, from mixed-media painting and collage to installation and photography. The exhibition shares its title and several of its themes with the pivotal text by feminist author bell hooks, in which love is an active process rooted in healing, carving a path away from domination and towards collective liberation. “Mickalene Thomas’s visionary artistic practice presents an unapologetic focus on Black female representation, amplifying portraiture’s capacity to capture authentic lived experience and relationships,” said Joanne Heyler, Founding Director of The Broad. “Thomas’s work, while pushing conventional boundaries of technique and material, touches all aspects of culture and society, from notions of beauty to sexuality and politics, powerfully bringing visibility to those who have historically been excluded and marginalized in art history.” Born in 1971 in Camden, New Jersey, Thomas completed her MFA from the Yale University School of Art in 2002 and a residency at the Studio Museum in Harlem in 2003. Soon after she became well known for her large-scale acrylic paintings of Black women in states of leisure and repose using rhinestones, a central material in her practice that symbolizes the complexities of femininity. Depicting women with confident and assured expressions, the subjects of her works are often seen in domestic interiors from Black America, claiming the agency of womanhood while deconstructing the art historical canon. Similarly, Thomas’s photographs, collages, and figurative paintings often re-stage scenes from 19th century French painters such as Henri Matisse and Édouard Manet, pushing back against the subjugation and oppressive narratives upheld by Western archives, cultural institutions, and representation systems. “In Mickalene Thomas’s hands, collage becomes a way of thinking about love in a serious way,” said Ed Schad, Curator at The Broad. “As Thomas keeps the essence of individuals alive in her work—as the individuals are re-imagined and remade, configured from different moods and different circumstances over many years of trust and commitment—it is a love ethic she is after.” The Broad’s debut of Mickalene Thomas: All About Love will reflect some of the artist’s earliest inquiries into visual culture, sexuality, memory, and erotica and move into the present. On view will be the early photographic triptych, Lounging, Standing, Looking (2003), a piece which depicts the artist’s own mother, exploring kinship and care. These modes of intimate relations come to inform work such as Portrait of Maya No. 10 (2017) from the Broad collection. This acrylic and rhinestone work embodies Thomas’s signature ability to apply several layers of material and symbolic meaning into a single surface. At eight feet tall, the subject is empowered, sparkled, and poised, commanding her outward gaze. The exhibition is largely populated by works at this immersive and ambitious scale, such as the twelve-foot wide I’m Feelin Good (2014), which also uses rhinestone elements. Unifying these larger-than-life subjects together in the museum’s galleries will envelop viewers into the bold and dynamic universe the artist has created, where steadfast love overcomes political strife. In addition to towering wall works, video collages such as Angelitos Negros (2016) will also be presented. This work immortalizes the late singer and actress Eartha Kitt, who sings about the absence of Black angels in art history, reflecting a core theme within the exhibition. Through her queries into pop culture and mass media, Thomas offers a reverberating demand for Black women to be seen and understood, and for viewers to become what hooks calls “practitioners of love.” The themes of the exhibition will extend into a full slate of associated programming developed in collaboration with the artist, including a summer concert series and in-gallery programs centering women and Black and queer communities. Additional details will be announced in the coming months.

The Broad is pleased to announce the launch of a new touring special exhibition Mickalene Thomas: All About Love, running from May 25 to September 29, 2024. Co-organized by the Hayward Gallery, London, and The Broad, Los Angeles, and in partnership with the Barnes Foundation, Philadelphia, Mickalene Thomas: All About Love will be the first major international tour of this pioneering artist’s work. Marking its debut at The Broad with over 80 works made by the artist over the last 20 years, the exhibition highlights how Mickalene Thomas has mastered and innovated within several disciplines, from mixed-media painting and collage to installation and photography. The exhibition shares its title and several of its themes with the pivotal text by feminist author bell hooks, in which love is an active process rooted in healing, carving a path away from domination and towards collective liberation. “Mickalene Thomas’s visionary artistic practice presents an unapologetic focus on Black female representation, amplifying portraiture’s capacity to capture authentic lived experience and relationships,” said Joanne Heyler, Founding Director of The Broad. “Thomas’s work, while pushing conventional boundaries of technique and material, touches all aspects of culture and society, from notions of beauty to sexuality and politics, powerfully bringing visibility to those who have historically been excluded and marginalized in art history.” Born in 1971 in Camden, New Jersey, Thomas completed her MFA from the Yale University School of Art in 2002 and a residency at the Studio Museum in Harlem in 2003. Soon after she became well known for her large-scale acrylic paintings of Black women in states of leisure and repose using rhinestones, a central material in her practice that symbolizes the complexities of femininity. Depicting women with confident and assured expressions, the subjects of her works are often seen in domestic interiors from Black America, claiming the agency of womanhood while deconstructing the art historical canon. Similarly, Thomas’s photographs, collages, and figurative paintings often re-stage scenes from 19th century French painters such as Henri Matisse and Édouard Manet, pushing back against the subjugation and oppressive narratives upheld by Western archives, cultural institutions, and representation systems. “In Mickalene Thomas’s hands, collage becomes a way of thinking about love in a serious way,” said Ed Schad, Curator at The Broad. “As Thomas keeps the essence of individuals alive in her work—as the individuals are re-imagined and remade, configured from different moods and different circumstances over many years of trust and commitment—it is a love ethic she is after.” The Broad’s debut of Mickalene Thomas: All About Love will reflect some of the artist’s earliest inquiries into visual culture, sexuality, memory, and erotica and move into the present. On view will be the early photographic triptych, Lounging, Standing, Looking (2003), a piece which depicts the artist’s own mother, exploring kinship and care. These modes of intimate relations come to inform work such as Portrait of Maya No. 10 (2017) from the Broad collection. This acrylic and rhinestone work embodies Thomas’s signature ability to apply several layers of material and symbolic meaning into a single surface. At eight feet tall, the subject is empowered, sparkled, and poised, commanding her outward gaze. The exhibition is largely populated by works at this immersive and ambitious scale, such as the twelve-foot wide I’m Feelin Good (2014), which also uses rhinestone elements. Unifying these larger-than-life subjects together in the museum’s galleries will envelop viewers into the bold and dynamic universe the artist has created, where steadfast love overcomes political strife. In addition to towering wall works, video collages such as Angelitos Negros (2016) will also be presented. This work immortalizes the late singer and actress Eartha Kitt, who sings about the absence of Black angels in art history, reflecting a core theme within the exhibition. Through her queries into pop culture and mass media, Thomas offers a reverberating demand for Black women to be seen and understood, and for viewers to become what hooks calls “practitioners of love.” The themes of the exhibition will extend into a full slate of associated programming developed in collaboration with the artist, including a summer concert series and in-gallery programs centering women and Black and queer communities. Additional details will be announced in the coming months.

Simone Leigh, a traveling exhibition organized by the ICA Boston and co-presented in Los Angeles by LACMA and the California African American Museum, is the first comprehensive survey of the richly layered work of this celebrated artist. LACMA’s presentation features approximately 20 years of Leigh’s production in ceramic, bronze, video, and installation, as well as works from her 2022 Venice Biennale presentation. Over the past two decades, Leigh has created works exploring questions of Black femme subjectivity and knowledge production. Addressing a wide swath of historical periods, geographies, and traditions, her art references vernacular and hand-made processes from across the African diaspora, as well as forms traditionally associated with African art and architecture. Accompanied by a major monograph, this exhibition offers visitors a timely opportunity to gain a holistic understanding of Leigh’s complex and profoundly moving work.

Simone Leigh, a traveling exhibition organized by the ICA Boston and co-presented in Los Angeles by LACMA and the California African American Museum, is the first comprehensive survey of the richly layered work of this celebrated artist. LACMA’s presentation features approximately 20 years of Leigh’s production in ceramic, bronze, video, and installation, as well as works from her 2022 Venice Biennale presentation. Over the past two decades, Leigh has created works exploring questions of Black femme subjectivity and knowledge production. Addressing a wide swath of historical periods, geographies, and traditions, her art references vernacular and hand-made processes from across the African diaspora, as well as forms traditionally associated with African art and architecture. Accompanied by a major monograph, this exhibition offers visitors a timely opportunity to gain a holistic understanding of Leigh’s complex and profoundly moving work.

Simone Leigh, a traveling exhibition organized by the ICA Boston and co-presented in Los Angeles by LACMA and the California African American Museum, is the first comprehensive survey of the richly layered work of this celebrated artist. LACMA’s presentation features approximately 20 years of Leigh’s production in ceramic, bronze, video, and installation, as well as works from her 2022 Venice Biennale presentation. Over the past two decades, Leigh has created works exploring questions of Black femme subjectivity and knowledge production. Addressing a wide swath of historical periods, geographies, and traditions, her art references vernacular and hand-made processes from across the African diaspora, as well as forms traditionally associated with African art and architecture. Accompanied by a major monograph, this exhibition offers visitors a timely opportunity to gain a holistic understanding of Leigh’s complex and profoundly moving work.