Featured Events in Los Angeles in May 2024 (June Updated)

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A Traveler’s Guide to Mettlach: Villeroy and Boch showcases everyday life in the 1800s Mettlach, Germany. Scenes of everyday life in Mettlach have been documented and celebrated by Villeroy and Boch, a ceramic production company founded in 1836 when Jean François Boch and Nicolas Villeroy merged their ceramic businesses into what is now known as Villeroy and Boch. The workers of the Mettlach factory came from diverse backgrounds, including art studios, archives, and museums. The varied backgrounds of the factory workers contributed to the artistic achievements of the Villeroy and Boch company. The Mettlach collection reflects German cultural experiences, societal interpretations, and mythology. This exhibition shows scenes of love and relationships as well as larger themes of fantasy, offering an all-encompassing snapshot of the myriad facets of human life within Mettlach. A Traveler’s Guide to Mettlach, on view in the Robert and Colette Wilson Gallery through June 2025, presents concepts of life, laughter, relationships, and the day-to-day existence of the German people.

Nov. 11, 2023–Nov. 30, 2027 | Renowned American artist Betye Saar’s large-scale work “Drifting Toward Twilight”—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.

Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples. The works in this exhibition are on special loan from the British Museum, London.

This site-specific work explores the fragility of the Earth’s ecosystem, as well as the destruction of the forest and its potential for regeneration. The sculpture celebrates the beauty of wood in its natural state and emphasizes its potential as a reusable and renewable resource.

This site-specific work explores the fragility of the Earth’s ecosystem, as well as the destruction of the forest and its potential for regeneration. The sculpture celebrates the beauty of wood in its natural state and emphasizes its potential as a reusable and renewable resource. California-based Japanese American artist Mineo Mizuno’s site-specific sculpture, titled Homage to Nature, is crafted from fallen timber gathered in the forests of the Sierra Nevada, where the artist lives and works. Views of the San Gabriel Mountains in the background will frame the work. The sculpture explores the fragility of the Earth’s ecosystem, as well as the destruction of the forest and its potential for regeneration. Homage to Nature celebrates the beauty of wood in its natural state and emphasizes its potential as a reusable and renewable resource. Using yakisugi (shou sugi), a traditional Japanese method of wood preservation known in the West as burnt timber cladding, the charred surfaces of the reclaimed timber in the sculpture speak not only to fire’s destructive power but also to its ability to reinvigorate the land. As a companion and response to the sculpture, a “fire landscape” will be planted near the sculpture to mimic new growth that occurs naturally after a fire. This new sculpture marks the culmination of a series of installations by the artist designed to reflect on The Huntington’s collections and link the gardens and art galleries. Homage to Nature will be unveiled on May 25, 2024, and will remain on view for five years.

Join author Salena Sheppherd at the Bottom of the Barrel Book Signing celebration in Torrance. Discover the profound narrative of Bottom of the Barrel: How God Rescued, Redeemed, and Revived Me, delving into the complexities of intergenerational trauma, systematic disempowerment, and emotional wounds passed down through generations. This book offers a candid exploration of poverty, abuse, and neglect, shedding light on the internal struggles of victims and the motivations of perpetrators. Through the author's personal journey, readers witness the possibility of healing and the transformative power of faith in overcoming adversity. Mark your calendar for this insightful event on May 4, 2024, at 3525 West Carson Street, Torrance, CA 90503. Admission is free, so don't miss this opportunity to engage with a narrative that embraces resilience and the resilience to triumph over life's greatest challenges.

Netflix Is A Joke Presents: Katt Williams is set to take the stage at the renowned YouTube Theater on May 4, 2024. This highly anticipated event will kick off at 1011 S. Stadium Dr, Inglewood, CA, 90301, promising a night full of laughter and entertainment. The show will feature a stellar lineup of songs that are sure to have the audience in stitches. Tickets for this exclusive event will go on sale starting from December 15, 2023, at 6:00 PM until May 5, 2024, at 3:00 AM. Don't miss the chance to experience the comedic genius of Katt Williams in person at Netflix Is A Joke Presents: Katt Williams. Mark your calendars and secure your tickets for a night that is guaranteed to leave you in fits of laughter.

Netflix Is A Joke Presents: The Downside With Gianmarco Soresi is set to take place at The Comedy Store on May 3, 2024. Located at 8433 Sunset Blvd, Los Angeles, CA, 90069, this event promises to tickle your funny bone with a night full of laughter and entertainment. The show will feature Gianmarco Soresi, known for his witty humor and unique style. Be prepared to be swept off your feet by his hilarious jokes and comedic timing. The tickets for this much-anticipated event will go on sale starting from February 21, 2024, at 21:34 and will be available until May 4, 2024, at 02:00. Don't miss this opportunity to witness Gianmarco Soresi in action and enjoy a night filled with laughter and joy. Mark your calendars and secure your tickets to Netflix Is A Joke Presents: The Downside With Gianmarco Soresi for an unforgettable evening.

The annual Cinco de Mayo 5K Fun Run will take place at Carson Park in the city of Carson on May 4, 2024. The event schedule is as follows: check-in begins at 10 am, followed by a warm-up session at 10:15 am, and the race starting promptly at 10:30 am. Registered participants are entitled to a race bib, a medal, and a delicious taco along with a refreshing beer (for participants aged 21 and above) or a drink at the conclusion of the race. Additionally, those who register before April 23rd will receive a commemorative T-shirt. Don't miss this exciting opportunity to participate in a fun-filled 5K run celebrating Cinco de Mayo.

The YOU ARE ENOUGH movement is dedicated to promoting mental health and wellness. Through a 5K Run/Walk event, it aims to unite individuals and provide them with a sense of visibility, worthiness, and support. This event, named the YOU ARE ENOUGH 5K Run/Walk for mental health and wellness, will take place in Hermosa Beach at the Schumacher Plaza on May 5, 2024. By participating in this event, attendees will contribute to the shared goal of improving mental health and well-being. The event's location in Hermosa Beach offers a beautiful setting for participants to come together and make a difference. Join this serious and important cause by taking part in the YOU ARE ENOUGH 5K Run/Walk for mental health and wellness in Hermosa Beach on May 5, 2024.

Experience the joy of creating unique greeting cards and connecting with new friends at the Arts & Crafts Social event. This gathering welcomes beginners of all ages to Gin Rummy in Marina del Rey. Nostalgic for childhood memories or simply seeking a fun and easy craft activity? This event is tailored for you, especially with Mother's Day and Father's Day just around the corner. Explore your creative side by crafting personalized cards for loved ones or yourself. There are no restrictions on the number of cards you can make on site. Enjoy the flexibility to drop in and leave at your convenience, with in-and-out privileges. The venue offers accessible facilities, outdoor spaces, and a variety of food and drinks available for purchase. All necessary craft supplies will be provided at the event on May 11, 2024. Tickets are priced between $20 and $30 for this exciting opportunity to unleash your creativity and socialize with like-minded individuals.

Get ready to immerse yourself in a soulful artistic experience at Moody R&B Paint N Sip event happening on May 17, 2024, at 1500 S Los Angeles St, Los Angeles. This unique event offers attendees the opportunity to unleash their creativity while enjoying the smooth vibes of R&B music. With a ticket price of $70, participants can indulge in a night of painting, sipping, and socializing in a relaxed and inviting atmosphere. The venue, located at 1500 South Los Angeles Street, Los Angeles, CA 90015, sets the perfect backdrop for a memorable evening filled with inspiration and self-expression. So mark your calendars and secure your spot at Moody R&B Paint N Sip for an unforgettable night of artistry and relaxation.

Experience the thrill of The Azusa Classic, a day filled with adrenaline-pumping boxing matches featuring amateur fighters from all corners of California. The event will take place at VFW, located at 250 East 1st Street, Azusa, CA 91702, on May 25, 2024, from 12:00 PM to 10:00 PM. Witness the raw talent and determination of these up-and-coming boxers as they compete for victory in a series of intense matches. Don't miss this opportunity to immerse yourself in the electrifying atmosphere of The Azusa Classic. Tickets are available for purchase, ranging from $15 to $549. Join us at this action-packed event and support these aspiring athletes as they showcase their skills in the ring.

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.

Pinto Gallery is an LA-based contemporary art gallery, showcasing the most impressive and innovative Japanese artists.

In the early 1990s a generation of artists in the United States were using exhibitions to draw attention to real-world crises: by the time Bill Clinton was inaugurated in January 1993, AIDS was officially the #1 cause of death for men aged 25 – 44 in the country; the Los Angeles uprising had been declared the most destructive period of local unrest in US history; and the Culture Wars were in full force, after the Robert Mapplethorpe ‘obscenity’ hearing marked the nation’s first criminal trial over content in an exhibition. Terms such as multiculturalism, identity politics and marginalization signified spaces of contestation, while in art, the market had collapsed following a global recession, causing an unprecedented number of galleries to shutter. It was in this context that artist Charles Gaines developed the exhibition ‘The Theater of Refusal: Black Art and Mainstream Criticism’ for the University Art Gallery at the University of California, Irvine, in close collaboration with the gallery’s director, Catherine Lord. Presenting works by Jean-Michel Basquiat, Renée Green, David Hammons, Ben Patterson, Adrian Piper, Sandra Rowe, Gary Simmons, Lorna Simpson, Carrie Mae Weems, Pat Ward Williams and Fred Wilson—all little known artists at that time—‘The Theater of Refusal’ intended to ‘reveal the strategies of marginalization and to propose an alternative,’ as Gaines described his approach then. Integral to the show was a reading room, for which Gaines accumulated articles and reviews about the participating artists that he highlighted to reveal limitations in the discourse of marginality and its instrumentalization by mainstream criticism. On the occasion of the 30th anniversary of ‘The Theater of Refusal’—in a social and political context that bears many similarities—this exhibition in downtown LA looks back at that seminal project and continues the theoretical investigation to understand its resonances today. Co-curator Homi K. Bhabha has called this process ‘retroaction.’ He suggests, ‘A conventional retrospective looks back from the summit of the present to synthesize the past by giving it a culminating shape. In contrast, ‘RETROaction’ brings forth the legacies of ‘The Theater of Refusal’ in the early 1990s to interact with the lessons and lesions of art today. It takes a view of the present in all its decolonizing tumult—racial violence, pandemics, climate catastrophe, migration and displacement—pinpointing a critical moment of transition in the ‘90s from which to move forward.’ ‘RETROaction’ presents works from the early 1990s by Charles Gaines, Lorna Simpson and Gary Simmons, who all participated in the original ‘The Theater of Refusal: Black Art and Mainstream Criticism,’ as well as a new iteration of the exhibition, this time subtitled ‘Black Art and Reconstitution,’ presenting the work of ten artists who all embrace abstraction and materiality in their practice, selected by art historian, Ellen Tani, together with Gaines. ‘We speak less now of marginalization and refusal than of the world systems—historic and ongoing—that undergird those processes: capitalism, colonialism, racism. We consider Bhabha’s description of the way we can think of past work and its relation to the present moment through an investigation of strategies of marginalization from the ‘90s and how it has transitioned into a critical space—30 years later—now dominated by the issues of decoloniality, which in turn gives representation to those suppressed ideas of the ‘90s,’ says Gaines. ‘We chose to undertake an investigation of abstract art produced by Black artists to show that the controversies around representation—a significant context for the marginalization of their practices—continues today. Like the original project, ‘Theater of Refusal: Black Art and Reconstitution’ rethinks structures of artistic knowledge and the critical discourse that surrounds it.’ About RETROaction and the New York presentation: RETROaction is a project initiated at Hauser & Wirth with the prominent Harvard academic, Homi K. Bhabha, to explore the ‘nowness’ of art and critical concepts from the recent past in dialogue with artists who work with the gallery: it posits that our current time is one for retroaction more than retrospection. The first iteration of the project created a smaller presentation of the ‘The Theater of Refusal: Black Art and Reconstitution’ and also explored the Whitney Biennial in 1993—a show that has subsequently been recognized as establishing many terms that underpin our current cultural debates. Artists included: Ida Applebroog, Charles Gaines, Mike Kelley, Zoe Leonard, Glenn Ligon, Cindy Sherman, Gary Simmons and Lorna Simpson with Kevin Beasley, Torkwase Dyson, Leslie Hewitt and Rashid Johnson. About the curators Homi K. Bhabha is the Anne F. Rothenberg Professor of the Humanities in the English Department and Comparative Literature Department at Harvard University. He is the author of numerous works exploring postcolonial theory, cultural change and power, contemporary art and cosmopolitanism. His works include ‘The Location of Culture,’ which was reprinted as a Routledge Classic, and the edited volume ‘Nation and Narration.’ Bhabha has also written articles on contemporary art for Artforum and essays on the work of William Kentridge, Anish Kapoor, Taryn Simon and Matthew Barney, amongst others. With the support of the Volkswagen and Mellon Foundations, Bhabha has led a research project on the Global Humanities. He is a Corresponding Fellow at The British Academy, Fellow of the Royal Society of Literature and Critic-in-Residence at the Boston Museum of Fine Arts. He holds honorary degrees from Université Paris 8, University College London, Freie Universität Berlin and Stellenbosch University. Charles Gaines is a pivotal figure in the field of conceptual art. His body of work engages formulas and systems that interrogate relationships between the objective and the subjective realms. The concept of identity politics has played a central role within Gaines’ oeuvre, and the radical approach he employs addresses issues of race in ways that transcend the limits of representation. Using a generative approach to create series of works in a variety of mediums, he has built a bridge between the early conceptual artists of the 1960s and 1970s and subsequent generations of artists pushing the limits of conceptualism today. Gaines is also exhibiting as an artist in ‘RETROaction.’ Ellen Tani is an art historian and curator based in Rochester NY, where she is Assistant Professor of Art History at Rochester Institute of Technology. She has held postdoctoral fellowships at the Smithsonian American Art Museum and the Center for Advanced Study in the Visual Arts, and her museum career includes curatorial roles at the ICA Boston, Whitney Museum and Bowdoin College Museum of Art. As a specialist in contemporary art’s intersection with critical race studies, with a particular focus on conceptual- and performance-oriented practices, Dr. Tani uses methods from the arts and humanities to explore questions of power, gender, race and ethnicity from the 20th Century to the global present. Her writing has been published in Art Journal, Panorama, American Quarterly, Art in America and other outlets. Kate Fowle is curatorial senior director at Hauser & Wirth. Prior to joining the gallery in 2023, she was director of MoMA PS1; chief curator at Garage Museum in Moscow; and executive director of Independent Curators International (ICI) in New York. She was also the first international curator of UCCA in Beijing and co-founder of the first Masters Program in Curatorial Practice on the West Coast. Fowle started her museum career in the UK, where she initially trained as an artist. She has curated more than 50 exhibitions internationally and initiated numerous institutional programs to support artistic research and collective practices. Publication In summer 2024, a new edition of the 1993 publication ‘The Theater of Refusal: Black Art and Mainstream Criticism’ will be released by Dancing Foxes Press with Künstlerhaus Stuttgart and LAXART, marking the 30th anniversary of Charles Gaines’ and Catherine Lord’s exhibition and publication ‘The Theater of Refusal.’ Coedited by Rhea Anastas, Charles Gaines, Jamillah James and Eric Golo Stone, this publication reprints in facsimile the eponymous 1993 publication that documented the show, which contained essays by Maurice Berger, Gaines and Lord, as well as the transcript of a roundtable that included a range of artists and writers. Reproducing images of the exhibition for the first time in color, the new edition augments the original publication with an essay by poet and scholar Fred Moten; recent conversations between Lord and Gaines and between Moten and Gaines; a roundtable discussion that echoes the first, moderated and edited by Thomas (T.) Jean Lax and Jamillah James; and an afterword by Rhea Anastas. Supporters include Hauser & Wirth, Galerie Max Hetzler, the Rennie Collection and a Teiger Foundation Director’s Award.

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.

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.

Between November 1982 and May 1984, Basquiat produced approximately a hundred paintings, numerous works on paper, and six silkscreen editions in Venice, California. For an artist closely affiliated with the New York art scene of the 1980s, Basquiat was extraordinarily prolific in Los Angeles. reflects on this pivotal era by bringing together nearly thirty works— several of which are among his most important paintings. Larry Gagosian notes, “Los Angeles has always been a great city for artists and Jean-Michel seemed to find it a refreshing change from New York. While the immensity of his talent was immediately apparent, it was nonetheless a highlight of my own career to work with him, to introduce him to Los Angeles, and to witness the amazing impact that his art and legacy have made on our culture.” After first meeting Basquiat in 1981, Gagosian invited him to Los Angeles. Basquiat’s solo exhibition with Larry Gagosian Gallery in LA—the first time his work was presented on the West Coast—opened in April 1982, immediately following his first solo show in New York at Annina Nosei’s gallery. The Los Angeles exhibition was seen as the arrival of a significant voice by the public and collectors alike. In November 1982 Basquiat returned to California, living and working at Gagosian’s residence on Market Street, a three-story structure with an interior courtyard open to the light and air from the beach nearby. That same year, Basquiat met Fred Hoffman, who was running New City Editions, and together they would produce six editioned prints, including and (both 1983), large-scale silkscreen works on canvas. Featuring white text, sketches, and directional arrows on a black ground, contrasts with Basquiat’s intensely colorful paintings of the era, its dense collection of allusive phrases ascending to the crown at its top. For Basquiat, working in Venice offered a reprieve from the distractions and pressures of the New York art scene. Many of the paintings he produced in Venice were shown at his next Los Angeles exhibition, which opened on March 8, 1983, at Larry Gagosian Gallery and presented approximately thirty paintings, including , , , , , and (all 1983). will present many of these pivotal works together again for the first time. A highlight of the exhibition is , a work that portrays Basquiat alongside fellow artists Toxic and Rammellzee as new Black celebrities in a palette that evokes the bright Southern California sun. Fusing drawing, painting, and text across three panels, pays homage to jazz greats Charlie Parker and Dizzy Gillespie. Underscoring the importance of music to Basquiat, it conveys the vitality of bebop in a visual style informed by contemporary graffiti and hip-hop. The same year it was painted, Basquiat would produce the influential hip-hop track “Beat Bop” on his own Tartown Record label, featuring Rammellzee and K-Rob. In the summer of 1983, Basquiat was drawn back to Los Angeles. He returned to Market Street, this time establishing his own studio a few doors down and remaining there until late in the spring of 1984. One night, while Basquiat was working, he went outside to a fenced-in courtyard just behind the studio, where he encountered an unhoused person sleeping. After this incident the courtyard’s fence was removed, but instead of disposing of the wooden slats Basquiat integrated them as supports for some of his most iconic paintings—, , and (all 1984), all of which will be exhibited as a group in Made on Market Street for the first time since they were created. With , Basquiat expanded his portrayal of the Black male, presenting a larger-than-life figure whose elastic, expressive arm gesture combines the artist’s interests in anatomy, symbolism, and qualities he characterized as “royalty, heroism, and the streets.” is accompanied by a catalogue that reproduces the exhibited works together with archival material, including installation images from the 1982 and 1983 exhibitions at Larry Gagosian Gallery, historical ephemera, and exhibition reviews, as well as previously unpublished photographs of Basquiat in his studio. A conversation between Larry Gagosian, Fred Hoffman, filmmaker Tamra Davis, and the artist’s sisters, Lisane Basquiat and Jeanine Heriveaux, will be featured, along with an essay where Hoffman reflects on the works that Basquiat produced in Los Angeles, discussing the complex symbolism and restless innovation that permeated his oeuvre. Larry Gagosian Gallery in Los Angeles presented three exhibitions with Basquiat during the artist’s lifetime: at 619 North Almont Drive, April 8–May 8, 1982; at 510 North Robertson Boulevard, March 8–April 2, 1983; and at 510 North Robertson Boulevard, January 7–February 8, 1986. is the seventh exhibition of Basquiat’s work that Gagosian has presented since the artist’s passing in 1988. Jean-Michel Basquiat was born in New York City in 1960, where he died in 1988. Major exhibitions include , Fruitmarket Gallery, Edinburgh (1984; traveled to Institute of Contemporary Arts, London; and Museum Boijmans Van Beuningen, Rotterdam, Netherlands, through 1985); Kestner Gesellschaft, Hannover, Germany (1986–87, 1989); Whitney Museum of American Art, New York (1993; traveled to Menil Collection, Houston; Des Moines Art Center, Iowa; and Montgomery Museum of Fine Arts, Alabama, through 1994); , Brooklyn Museum of Art, New York (2005; traveled to Museum of Contemporary Art, Los Angeles; and Museum of Fine Arts, Houston, through 2006); Fondation Beyeler, Riehen/Basel, Switzerland (2010; traveled to Musée d’Art Moderne de la Ville de Paris, 2010–11); (2017, Barbican Art Gallery, London; traveled to Schirn Kunsthalle Frankfurt, 2018); Albertina, Vienna (2022–23); and , Starrett-Lehigh Building, New York (2022–23, traveled to Grand LA, Los Angeles, 2023–24).

Louis Stern Fine Arts is pleased to present Richard Neutra: Travel Drawings. Richard Neutra (1892­ – 1970) is best known as an icon in the world of architecture, whose notable residential and commercial projects exemplified the functional principles and minimalist aesthetics of the mid-century modern movement. Neutra’s designs were distinguished by their thoughtful attention to the needs of his clients, with each structure carefully tailored to optimize the usability and comfort of the space. The lively drawings on display in the exhibition, executed during the architect’s numerous travels throughout the 1950s and 1960s, manifest the same empathetic and curious spirit that characterized Neutra’s approach to architectural design. Neutra traveled widely throughout Europe, Asia, and the Americas in his capacity as an architect and consultant, maintaining a consistent practice of producing “graphic notes” of his journeys. An eager and lifelong learner, he utilized drawing as a means to understand the architectural styles and traditions he encountered around the world. The cloisters of the Wat Po Buddhist temple complex in Bangkok, the vaulted ceilings of the Strasbourg Cathedral in France, and the wood beams and tatami mats of a traditional Japanese house in Kyoto are deftly and economically realized in a series of energetic charcoal and pastel strokes. Neutra’s expressive lines and bird’s-eye perspectives are reminiscent of the work of fellow Austrian artist Egon Schiele, while his bold, confident hand and cinematic concern with the interiors and inhabitants of everyday locations echo those of Edward Hopper. “Perhaps the world I have seen was an unreal one,” Neutra mused in his 1962 autobiography. Indeed, these drawings are not merely faithful recordings of the natural world or the built environment, but rather vivacious, colorful interpretations of the experience of taking them in. The unseen observer plays an important role in these works, shaping them through an inquisitive, personal lens. Just as they served Neutra as a form of communication that transcended language barriers, these drawings, in turn, offer a profound window into the perspective and interior life of their celebrated maker. Born in Vienna, Austria, Richard Neutra is primarily known for his Southern California-based architectural practice. He was mentored by Adolph Loos and was inspired to come to the United States after being exposed to the work of Frank Lloyd Wright. After moving to the U.S., Neutra worked with Wright as well as Rudolph Schindler. His American breakthrough came with the Lovell Health House in 1927-1929, and he was subsequently featured in the Museum of Modern Art’s traveling survey of Modern Architecture in 1932. Neutra continued to design groundbreaking modernist homes of steel and glass around Southern California and its environs. He returned to Europe toward the end of his life, where he designed several of his late projects.

Dating from the 1950s, 1970s, and 1980s, the three groupings of artworks in this exhibition demonstrate the recurring formal preoccupations with structure, movement, and perspective that define Diebenkorn’s endlessly powerful and mysterious oeuvre. These artworks also illuminate the approaches and motifs that captured the artist’s attention at particular points in his career, including the meaningful employment of color, the translation of landscape into two-dimensional terms, and a fascination with spade and club forms. Intimate in scale and medium, this exhibition communicates the poetic sensitivities inherent to Diebenkorn’s work and deepens our understanding of the artist’s distinct visual vocabulary. The earliest works in this presentation, dating from 1950 to 1955, are characterized by harmonized arrangements of blue and black ink, crayon, and charcoal, set against a white paper ground. Cups and patterns appear as quotidian markers within fields of abstraction, expressions of Diebenkorn’s known reverence for his immediate surroundings: In this rendering of everyday objects a reversal occurs, grounding the lyricism of free-flowing shapes in reality and signaling that these images are drawn from life. The use of just one color, a ‘Diebenkorn blue,’ underscores the philosophical weight the artist perceived in humble observations and the spiritual satisfaction he found in the distilled hues of the sky and ocean. Diebenkorn’s gouache paintings and etchings from the 1970s similarly engage with the beauty and truth to be found in simplicity as dynamic achromic lines prudently dissect each picture plane. Expanding on the legacy of Mondrian, a significant influence, Diebenkorn’s works diagram land- and cityscapes through transcendent geometric delineations, a feature which also defines the epic cycle of paintings and drawings. Aerial photographs taken by the artist verify that these compositions are akin to maps, distinguishing Diebenkorn from other Modernists as a figure who created across the continuum of abstraction and representation. The spade and club are significant motifs which captivated Diebenkorn’s attention and appear in full force in the mixed media works from the 1980s. Prior artworks, like those of the 1950s, anticipate this fascination through bulbous curves and other sensuous forms. It was primarily, however, from 1980 to 1982 that the artist devoted himself to these symbols, first encountered as a child, as if to process a lingering subconscious fixation. The personal significance of these shapes to the artist is unknown and secondary to their iconic value, dubbed ‘heraldic imagery’ by contemporary critics. These works stand out not only for their mysterious symbolic allusions, but also through a clear figure-ground relationship that suggests an association with the human figure. Even in a presentation across three time periods of the artist’s oeuvre, this collection of artworks illustrates the distinct and ranging poetry of Diebenkorn’s creative inquiries. Indeed, a trajectory of thought is detectable between the inky dividing lines of the earliest works and the thoughtfully segmented compositions from the 1970s, and the curvature of the symbolic spade appears more evident with each consideration. What is offered by these works on paper are the revelations of an extraordinary mind, one which saw composition in all things. — Richard Diebenkorn Born over 100 years ago, Richard Diebenkorn (1922–1993) produced a body of work whose beauty and mysteriously empathic nature has long attracted many devotees worldwide. He lived during the period of America’s great surge onto the world stage of visual art, working alongside the likes of Willem de Kooning, Philip Guston, and Joan Mitchell, but forging a decisively independent style. While still in his twenties he moved briefly to New York from his San Francisco region, realizing that its artistic climate was the most stimulating locus in the United States, but soon returned to California where, aside from two important early years in Albuquerque, New Mexico, and a year teaching in Urbana, Illinois, he remained. From a glorious early flowering in the language of Abstract Expressionism, where he responded directly to the light and landscapes of New Mexico and the urban Midwest, Diebenkorn turned to a prolonged period of making figurative and landscape art, going very much against the grain of his generation. A leader in Bay Area figurative painting, Diebenkorn produced work that was received with enormous affection and excitement by a wide audience. Then, quite abruptly in 1966, he turned to a new form of abstraction, again decisively different from his peers. Moving from Berkeley to Los Angeles, he proceeded to make the monumental abstract works known as the “Ocean Park” series, incorporating the lessons of two of his key influences, Henri Matisse and Piet Mondrian. — Jane Livingston

L.A. Louver is proud to present sculpture by Luis Bermudez (1953-2021). This survey exhibition of work made between 1986 and 2014 demonstrates the artist’s lifelong preoccupation with the interconnected nature of place, identity, and materiality, and the relationship between the physical and the spiritual. Entitled Sobre La Vida, which translates to “About Life,” the presentation celebrates the creative developments of a beloved cultural figure, who was an influential force in the lives of artists both within and outside of Los Angeles throughout the course of his career as an artist, educator, and curator. Bermudez’s aesthetic and philosophical vocabulary is embodied by the artworks of the La Caja series. Though differing in their unique textures and colors, the conceit of these works is the same: two complimentary forms poised on the cusp of interlocking engagement. Made from Bermudez’s distinctive, bespoke castable refractory – a material between cement and clay – these sculptures conjure a sensorial experience through their gritty, scaled, surfaces, and earthen coloration. The La Caja works consist of one ‘negative’ and one ‘positive’ element, evoking tension through a feeling of anticipated contact left unsatisfied. Moksha, M-10, a mossy-textured work from 1986, literally builds upon these engaged forms, crowned by a stepped vortex. Weighty and architectural, these works display sophisticated engineering of material and form. Existing as objects of positive and negative space, the sculptures evoke physical and metaphysical forces that evade language – a common thread throughout Bermudez’s oeuvre. Vulnerable Offering and Ultimate Offering similarly embody tension and contrast as gentle, unglazed porcelain bowls balance atop winding reptilian bodies. Redolent of Pre-Columbian iconography and objects of religious ritual, these works emit a mystical aura. Other sculptures like El Caracol, C6 of the Sacred Structures series illustrate the same reliquary quality: a delicate vessel (formed from a modified sake bottle) stands as a metaphor for the human figure, protected by a larger, stronger covering; every surface exquisitely textured. Bermudez intended for these works to be viewed from all sides, their physicality encouraging a performance of circumambulation. In Othila (Separation) (2013-2014) of the Runes series and El Cenote, C-3 (2006) of the Sacred Places series, Bermudez’s invitation to view from all angles endures. In addition to offering unique and phenomenological experiences, these sculptures present a metaphor for nonlinear time and narrative. Drawing on philosophical traditions, both ancient and modern outside of the Western perspective, Bermudez subverts the notion of prescribed interpretation and interaction despite their specific forms. Finding inspiration in both the natural world and his Mesoamerican heritage, these works are simultaneous representations of environmental sites and objects of transcendent, ancestral contemplation. The ultimate fulfillment of Bermudez’s interests in negative space, spiritual symbolism, experiential architecture, and environmental importance is accomplished in the immersive, room-sized Sobre La Vida (1993-1994). The installation is made of multiple facets including four walls punctuated by ceramic portals and paneless windows, a suspended yoyo-like luna, a tree fashioned in castable refractory and steel, and a human-scaled guardian figure whose silhouette is echoed in the doorway of the structure. Through its semi-abstracted forms and interactive nature, Sobre La Vida recreates and reframes our subjective experiences of perception and interaction through the presentation of a multiplicity of perspectives. Bermudez’s persistent quest to portray the interstitial seam of the subjective and universal is further demonstrated in the La Cueva and La Cabeza series. Wall-mounted, these works confront their viewer with faces existing at varying degrees of abstraction and representation, ranging from the melting, viscouslooking La Cueva, C-5 to the mirrored, iconographic symmetries of La Cabeza (Duality) to the zoomorphic states of Pre-Columbian deities seen in La Cabeza (Alter Ego) and La Cabeza (Seeking). Perhaps the most striking of these mysterious, cephalic sculptures are those entitled La Cabeza (Self Portrait) in which Bermudez’s head emerges from the mouth of a sharp-toothed creature. It is within these self-portraits that Bermudez lays explicit claim to his heritage, inserting himself within a lineage of artistic creation that gives form to the immaterial fabric of reality. About the artist A revered teacher and advisor, Bermudez held positions at several California Institutions including California State University, Northridge, the University of California, Los Angeles, and Otis College of Art and Design. He was as professor at California State University, Los Angeles, a position he held from 2002 until his untimely death in 2021. He is remembered by his students as a mentor who struck a potent balance between generosity and rigor, guiding them to hone their own skills and passion. Bermudez was recognized for his curatorial projects, notably the UCLA Ceramics Invitational of 1992, and worked with the Consulate General of Mexico to present NEPANTLA DREAMS: Cal-Mex State L.A. (2004-2005). Bermudez’s work has been shown at the Everson Museum of Art, the American Museum of Ceramic Art, the Museum of Contemporary Crafts (today the Museum of Art and Design), and the Armory Center for the Arts, among others. His work is held in the permanent collections of institutions including the Los Angeles County Museum of Art, the Hammer Museum, the Crocker Art Museum, the Scripps College Ceramic Collection, and the Long Beach Museum of Art. Most recently, Luis Bermudez received acclaim for his inclusion in the Hammer Museum’s 2023 biennial exhibition Made in L.A.

Seguimos features installation, video, photography, painting, works on paper and sculpture by an intergenerational group of thirteen Costa Rican artists, the majority of whom are highly regarded in Central America, but have never exhibited in the United States. The artists in this exhibition reflect a spectrum of interests and concerns facing Costa Ricans today, five of the artists identify with the queer community and all position themselves within the broadest developments in contemporary art, with particular focus on the topics of body, identity and place. The artists:Adrián Arguedas Ruano, Alina González, Allegra Pacheco, Christian Wedel, Isaac Loría, Javier Calvo, La Cholla Jackson, Lucía Howell, Luciano Goizueta, Matias Sauter Morera, Mimian Hsu Chen, Priscilla Romero-Cubero, and Valiente Pastel.

The exhibition brings visitors into a realm where the diverse beauty of nature is captured and interpreted by artists using various mediums, genres, and techniques in an 8-week group exhibition. Enchanted Earth - Capturing Natures’ Magic is more than an Earth Month exhibition; it's a celebration of the profound connection between humanity and nature, featuring multiple special events, artist talks, and presentations through April and May. Through the lens of these talented artists, witness the convergence of creativity inspired by the awe-inspiring wonders that surround us every day. This captivating art exhibition transcends the ordinary, inviting you on a journey through the intricate dance of flora and fauna, interpreted through the eyes and hands of ten visionary creators. Immerse yourself in a tapestry of colors and textures that echo the delicate hues of a garden with work created in rose petals by Boston artist Lori Schouela, monoprints by Rhonda Burton, and mixed media works that utilize organic materials by Sarah Pigion. Step into a scene of endangered species from Luis Sanchez and nature-influenced pop-surrealism by renowned street artist Mike ‘Tewsr’ Duncan. Appreciate bronze sculpture by Stuart Kusher, and the beautiful organic forms in wood and mixed media by Joshua Abarbanel, Matteo Borgardt and Gary Polonsky, and marvel at the skilled representational hand of Mark Brosmer and his unique trompe l’oeil realism. It’s a diverse exhibition tied together by various nature influences as interpreted by this group of highly skilled mid-career regional and national artists.

Wild Things Are Happening: The Art of Maurice Sendak celebrates the work of Jewish American artist Maurice Sendak, creator of the acclaimed children’s books Where the Wild Things Are (1963), In the Night Kitchen (1970), and Outside Over There (1980). Organized by The Columbus Museum of Art, where it premiered in October 2022, it is the first major Sendak retrospective since his death in 2012, and the largest and most complete exhibition of his work to date. Wild Things Are Happening is comprised of more than 150 sketches, storyboards, and paintings by Sendak drawn from the collection of The Maurice Sendak Foundation. Presented alongside landmark pictures for Sendak’s own books will be examples of artwork he created for such celebrated publications as The Bat-Poet by Randall Jarrell, A Hole is to Dig by Ruth Krauss, the Little Bear series by Else Holmelund Minarik, and Zlateh the Goat by Isaac Bashevis Singer. Designs for many of Sendak’s opera, theater, film, and television productions are also featured. His impact on the broader world of the performing arts is illuminated through his collaboration and friendship with directors, composers, playwrights, and visual artists, such as Carroll Ballard, Frank Corsaro, Spike Jonze, Tony Kushner, and Twyla Tharp. The exhibition will also highlight Sendak’s love of Mozart and the way the composer’s life and work influenced not only Sendak’s designs for Mozart’s operas, such as The Magic Flute, but also key books including Outside Over There and Dear Mili. As Sendak stated, “I love opera beyond anything, and Mozart beyond anything.” This groundbreaking exhibition also adds new depth to audiences’ understanding of Sendak’s life—as a child of Jewish immigrants, a lover of music, someone with close personal relationships—and how it dovetailed with his creative work, which drew inspiration from writers ranging from William Shakespeare to Herman Melville. From portraits that he made of loved ones to archival photographs of family members to toys he designed as a young adult, the exhibition brings Sendak and his work to life in three dimensions.

Mark your calendars for the highly anticipated Belle & Sebastian concert at Brooklyn Paramount on May 1, 2024. Located at 385 Flatbush Ave. Extension, Brooklyn, NY, 11201, this event promises to be a night to remember. With tickets going on sale from November 17, 2023, at 3:00 PM, until May 2, 2024, at 2:00 AM, fans have ample time to secure their spot at this must-see show. Belle & Sebastian will treat the audience to an unforgettable performance, showcasing their timeless hits and captivating melodies. So, don't miss out on the chance to experience the magic of Belle & Sebastian live on stage. Get ready to immerse yourself in an evening of pure musical bliss that will leave you wanting more.

Experience an unforgettable comedy night at the Comedy Shack Claremont, featuring a stellar lineup of top local, national, and international comedians. Delight in a non-stop laugh extravaganza showcasing some of Australia's biggest comedy names such as Wil Anderson, Chris Franklin, Greg Fleet, and more. Each show boasts a fresh lineup, promising a unique and entertaining experience every time. Hosted at the newly renovated Claremont Hotel, this heritage-listed venue seamlessly blends old-world charm with modern sophistication. Doors open at 7:30, allowing you to arrive early and savor a delicious meal before the show. Limited seating is available, so secure your tickets now to avoid missing out. Please note that line-ups are subject to change without prior notice, and tickets are non-refundable unless the event is canceled, in which case a full refund will be issued. Share the laughter with friends by passing on your tickets if you're unable to attend.

Get ready to laugh your socks off at Netflix Is A Joke Presents: Christopher Titus! This hilarious event is set to take place at The Kookaburra Lounge on May 2, 2024. The address for this uproarious show is 6801 Hollywood Boulevard, Los Angeles, CA, 90028. Be prepared for a night of side-splitting comedy as Christopher Titus takes the stage and delivers gut-busting jokes that will have you rolling in the aisles. With tickets going on sale from February 14, 2024, at 21:17 until May 3, 2024, at 02:30, make sure you secure your spot at this not-to-be-missed comedy extravaganza. So mark your calendars and get ready for a night full of laughter and fun with Netflix Is A Joke Presents: Christopher Titus!

Get ready to be entertained at Netflix Is A Joke Presents: Ahmed Ahmed & Friends, a comedy concert happening at The Kookaburra Lounge on May 2, 2024. Located at 6801 Hollywood Boulevard, Los Angeles, CA, 90028, this event promises to be a night full of laughter and fun. The lineup includes the talented Ahmed Ahmed and his friends, who will have you in stitches with their hilarious jokes and witty banter. Tickets for this show will be available for purchase from February 23, 2024, at 18:00 until May 3, 2024, at 04:30. Don't miss out on this opportunity to experience top-notch comedy in the heart of Hollywood. Mark your calendars and get ready for a night of non-stop laughter at Netflix Is A Joke Presents: Ahmed Ahmed & Friends!