By A. Laura Brody What is the language of bat senses and beaver teethmarks? How does water communicate to soil and roots, and how do we translate the paths left by burrowing insects or the markings of trees? These are questions asked by the Journal of Therolinguistics exhibition at Descanso Gardens' Boddy House, on view now until July 5, 2026. Oscar Salguero has curated a fascinating exploration of the expressive worlds of plants and animals brought to life by international a

By Tm Gratkowski With intent and the will to do it her own way, there is a gallery in the most unlikely of places, off the 210 freeway on Lincoln Avenue in Pasadena. Imagine walking into the parking lot of an old lumber yard, stumbling down a paved area past old materials, equipment, and a small cluster of shed-like buildings. Nothing new, no signs, just your average ubiquitous Southern California lot. As you wander in you notice a little welcoming front porch and tucked away

By Melanie Chapman Timed in conjunction with the Taschen publication "My Education," the first book-form retrospective of photographer Bruce Weber's multi-decade career, the new exhibition now on view at Fahey Klein Gallery, Bruce Weber: Try a Little Tenderness, is worth more than one visit. Likely due to Weber's genre-defining success as a fashion photographer for Calvin Klein, GQ, Vogue, etc., particularly at its height in the 1980s and '90s, the line for the recent gallery

By Barbara Patterson Zarina Van Ranzow's debut solo exhibition featuring work from her ongoing series Let it Bleed and Music for Lovers opened on May 8 at STONE/AGE Studios in East Los Angeles. Drawing from archival photographs of the artist's family and portraits of a variety of musicians, the series adapts photographic content into oil and airbrush paintings that pick up where the camera leaves off. Diffusing the harsh, resolute forms that photography's understanding of the

By Mary Singh Los Angeles has been in a prolonged conversation about monuments. Co-organized by The Museum of Contemporary Art and The Brick, and co-curated by Hamza Walker, Kara Walker, and Bennett Simpson, earlier this year, "MONUMENTS" brought ten decommissioned Confederate statues into the Geffen Contemporary's vast industrial space, placing them in direct dialogue with contemporary works by nineteen artists. Praised by the Los Angeles Times as "the most significant show

By Lacey Argus It's easy to miss the bite-sized rainbows orbiting around the travertine surfaces of The Getty Center's Main Entrance. Some people breeze by them, eager to visit the various galleries that lie just beyond them. Others dash through them as they rush into a crowded bathroom line. Some briefly glance upward at the towering glass light prisms suspended from the atrium enclosing the space. But not children. If you spend an afternoon amongst these rainbows, you're su

By Melanie Chapman Let the Art (and the Artist) Speak for Itself Outside of the art world, painter Celeste Dupuy-Spencer may not yet be as familiar a name as Jean-Michel Basquiat or Vincent Van Gogh, but to those who followed her artistic growth over the past ten years, she was on her way. Perhaps therein lay the problem. For those who knew Celeste personally and/or had the opportunity to work with her professionally, there is still a profound sense of loss permeating most co

By Coral Pereda Serras Among established and other art spaces in Melrose Hill, sits 1028 N. Western Ave., home to Western Avenue Collective artists studios. This 1922 building hosts 22 artist spaces among which is El Nido, an artist-run curatorial and research space by VC Projects. El Nido, borrowing from its Spanish name, is nested in this distinctly LA courtyard and through "Photography Into Sculpture: An Homage and An Update," emerges as a portal into the imagined memories

By Lorraine Heitzman Erik Otsea's show, Clever Animals & Static at Alto Beta is a menagerie of a different sort. His tabletop ceramic sculptures are quirky but solemn hand-built industrial shapes that suggest machine parts found in abandoned factories or as models for obscure patent applications. They conjure Soviet-style brutalist architecture and futuristic inventions, all simple geometric forms that hint at a bygone time when we believed that life could be improved through

By William Moreno The painter constructs, the photographer discloses. Susan Sontag, “On Photography” William Camargo’s current exhibit of twenty-four plus works, dated 2019 through 2025, reads as a mini survey, with photographic images and installations thematically placed throughout the modest gallery. It’s his largest showing of works to date. Early in his career, the Anaheim native considered fashion and product photography, photojournalism and conflict reportage, findin

By Nancy Spiller Alec Egan's painting "Dawn House," in his show "Groundskeeper" at Vielmetter Los Angeles, is tender, serene, and calm — a lavender and peach sky sheltering the triangular top of a house flanked by two palm trees and the tip of a cypress. In its companion painting, "Night House," the sky takes a sinister turn with layers of dark blue, sunset orange, and a roiling strip indicative of flames mixed with what might be smoke. It hints at something of what Egan, his

By Jorge Rodriguez-Jimenez Gustavo Rimada is showing his third solo show and largest to date at Thinkspace Projects. The show, titled “Rhythmic Sequence,” brings together his masterfully vivid acrylic paintings and his newly found love for ceramics. Offering mugs with faces that both haunt and delight, Rimada, who was born in Mexico and raised in California, is blending his Mexican heritage and his California lifestyle to create bold and culturally stunning works of art. Rima

By Katherine Kesey In the last few years, Los Angeles's Melrose Hill neighborhood has quickly become one of the city's most walkable arts districts. This past Saturday night, there were nearly ten coordinated openings, and I attended almost all of them. Taken individually, the shows were equally captivating. Together, they were a warm and exciting medley of passionate color, lighthearted mystery, and wry humor. Hannah Tishkoff, Beyond Love There is No Belief. 2026. Acrylic, o

By Kristine Schomaker The work hits immediately. Not one piece — all of it, simultaneously. Large sculptural assemblages covering the walls, a freestanding sculpture in the middle of the room, a piece suspended from the ceiling. The whole gallery feeling like its own solar system, each work a satellite orbiting something enormous and unspoken. Last night, four humans splashed down in the Pacific Ocean after flying around the Moon for the first time in more than fifty years. A

San Juan Capistrano Library #1 Amir Zaki No Dust to Settle Diane Rosenstein Gallery April 4 - May 9, 2026 by Jody Zellen The saying "waiting for the dust to settle" might refer to when things will calm down and return to normal. It could be said that "the dust never settles" and there is no state of definitive calmness because everything is in flux, both in life and in art. This might be taking the personal into account by reading too much into the title of Amir Zaki's curren

By Kristine Schomaker Standing in front of Leonie Weber's cardboard relief at Wönzimer and my brain's trying to sort through everything it's reminding me of—Abstract Expressionism, Nevelson, Bontecou, constructivism, Malevich's Black Square. All these art history touchstones showing up in what's essentially crushed Amazon boxes painted black and mounted on a wall. From a distance it reads as pure gesture—black forms exploding across the surface. But get closer and you see the

“Where Do We Come From? What Are We? Where Are We Going?” ~ Paul Gauguin "I paint self-portraits because I am so often alone, because I am the person I know best." ~Frida Kahlo NOTE: This essay is about Tony Pinto’s brilliantly conceived and curated “Self/not Selfie” exhibition currently at the Golden West College Gallery. As its name indicates, the exhibition focuses on artists’ private images of themselves (i.e., self-portraits)—not on contemporary Smartphone photographs

By Betty Ann Brown “Historically, the portrayal of minorities in movies and television is less than ideal. Whether it’s appearing in...

By Betty Ann Brown An artist is an ordinary person who can take ordinary things and make them special. ~Ruth Asawa ...

By Kristine Schomaker What happens when artists are given a remnant of a jute rug and told, go forth and create something inspired by the...

By Genie Davis The San Diego-based Feminist Image Group, known as FIG, presents two key exhibitions in LA this month. Women Work Together...

Written by Genie Davis The Dark Bob’s New Musical Work Hums with Fun and Reverence The Dark Bob is bringing wit and musical wisdom to...

“Desert Forest: Life with Joshua Trees” September 7 – December 29, 2024 Presented by Getty PST ART Digital Program By Betty Ann Brown...

Adeola Davies-Aiyeloja Sacred Imprints: Words of Wisdom PC Kristine Schomaker You can’t sit around and wait for somebody to say who you...