(Futurity) A new study finds positive and negative health effects for African American women who use a “Superwoman” persona to cope with the stress of discrimination.
The Superwoman persona refers to the idea of feeling a need to be strong, self-sacrificing and emotionless, says Yijie Wang, assistant professor of human development and family studies at Michigan State University.
Wang and Amani Allen, associate professor of community health sciences and epidemiology at the University of California, Berkeley, conducted the study with 208 self-identified African American women in the San Francisco Bay area.
“Research has already identified discrimination as a risk factor for health outcomes,” Wang says. “We want to know whether the Superwoman mindset helps buffer the deleterious effects of discrimination on black women’s health, and if so, which ones.”
The researchers found that, when faced with high levels of racial discrimination, some aspects of the Superwoman persona—such as feeling the need to be strong and to suppress one’s emotions—seemed to protect health and reduce the negative health effects of chronic racial discrimination.
At the same time, other facets of the persona, such as having an intense drive to succeed and feeling an obligation to help others, seem to further exacerbate the damaging health effects—such as cardiovascular disease and diabetes—of chronic stress associated with racial discrimination.
“For those aspects of the persona, or what we call ‘Superwoman schema,’ that worsen the negative health effects associated with racial discrimination, how do we lessen those risks?” Allen says. “And for those factors that are more protective, how do we leverage them to inform interventions designed to promote health and well-being for African American women?”
In the study, researchers asked participants to rate their experience of racial discrimination in different contexts, including finding housing, finding employment, at work, at school, getting credit for a bank loan or mortgage, and in health-care settings. They also rated to what extent they identified with different aspects of the Superwoman schema.
The participants also received a physical exam, with researchers recording their height, weight, blood pressure, blood sugar and other health indicators.
Some surprising relationships emerged. For example, the study found that women who reported suppressing emotions had less stress in their bodies. This contradicts psychological studies, which commonly show that suppressing emotions, rather than openly expressing them, can increase stress and be detrimental to health.
“The Superwoman schema also reflects gendered racial socialization that African American women receive early in life and throughout their lives,” Wang says. “By identifying the protective vs. risky dimensions, we also hope to figure out the types of messages that should be conveyed to African American women and girls.”
The council’s resolution asks New Hanover County to spend the year discussing health care issues, funding, hospital economics, and antitrust issues.
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“I believe what the City Council is requesting is exactly what we’re trying to accomplish through the process that has been outlined,” Gizdic said.
On Tuesday, Wilmington City Council plans to vote on pushing back the process of creating a request for proposals for a year to “hold extensive community discussion… so that the community may have a thorough appreciation of the issues and be confident that their best interests is paramount…,” as stated in the proposal.
Gizdic says this should not be tabled. He says he’s surprised by the timing of this resolution, but this plan is still a go. Gizdic says this has been a long deliberate process that has involved the community.
“As part of the resolution that was approved by the county commissioners on September 16, they approved a Partnership Advisory Group (PAG),” Gizdic said. “This would be a group that is representing the community that would come together and take point on this process.”
Coudriet says, as of last night, 19 people have confirmed their position in the PAG.
He says the group is made up of 5 hospital trustee members, 5 physicians, and 9 community members with it almost evenly men and women. He says around 25% are African American. Coudriet adds some of them have been outspoken against the sale. He says the NHRMC Board of Trustees endorsed all 9 of the community members, which include a clergy, a finance expert, business expert and a nursing expert.
Gizdic says the 5 physicians were chosen by the NHRMC staff.
“A very important part of the Partnership Advisory Group in place…is the very fact that they represent the community,” Gizdic said. “It’s not just John Gizdic or Chris Codriet that is driving this process. It will be all 19 members of that Partnership Advisory Group who come from all different parts of our community.”
He says their tasks will include “..issuing the RFP on behalf of the county, coming up with the organizations we would send that to,as well as then, evaluating those proposals when we get them back probably sometime in the late Spring.”
The City’s resolution pushes to keep the hospital locally controlled, but Gizdic says a sale is not the only option.
With a rapidly growing community, he says it’s a matter of figuring out what is required to be successful. Gizdic says, over the last several years, there has been a significant increase in surgeries, inpatient admissions and physician office visits.
“I really don’t see delaying or tabling this process for a year as being helpful at all,” Gizdic said.
Coudriet says, with only two business days until Tuesday, the PAG members will be announced before the hearing, but will not meet before then as previously stated.
The county is holding another public hearing on Tuesday at Snipes Elementary School from 4 to 7 pm. The community will be able to share feedback with commissioners. It will also be streamed live on the county’s Facebook page.
We reached out to Wilmington City Council members. Those, who responded, did not want to comment.
Building on decades of experience setting selling records and launching careers of now wildly popular artists is contingent upon nimbly embracing all aspects of the dynamic art market, from anticipating seismic shifts in buyer appetites to harnessing the broad reach of technology to collaborating across cultures and generations. Ed Dolman exudes a calm intensity that sets the stage for the forward-looking auction world.
During his five years as chief executive officer at Phillips, the auction house has transformed with the record-breaking sale of Pablo Picasso’s La Dormeusefor $57.8 million and Jean-Michel Basquiat’s Flexible for $45 million. Perhaps more significantly, Phillips has introduced to auction artists such as KAWS, Mark Bradford and Urs Fischer.
“It’s been an undeniable progressive change in taste as far ago as the mid-1990s. By the end of the 1990s, the Post-War Contemporary market was still relatively small, but you could see it was building,” Dolman said in an interview at his New York office. “YBA (Young British Art) movement with (Charles) Saatchi’s support of Sarah Lucas, Rachel Whiteread and Damien Hirst, really forced a taste in collecting among some of the most influential collectors.”
Demographics play a major role. “It’s the fact that art isn’t now collected by a small club of well-established families on the Upper East Side and Paris,” said Dolman. “We are now seeing newly enriched collectors coming to us from the emerging markets. They tend to be younger and they have made money faster, and they are interested in the culture they are living in now, not to aspire to 18th-century grandeur.”
Works by two artists sold by Phillips at auction for the first time on September 24 handily exceeded estimates.
Leidy Churchman’s Big Kali (Goddess of Time and Death) (2014), a signed and dated oil on canvas fetched $50,000, more than triple the high end of the $10,000 to $15,000 estimate. Ad Minoliti’s Queer Deco Intervention (2014), a signed, acrylic on printed canvas, generated $16,250, more than double the high end of the $6,000 to $8,000 estimate.
“I think people look to us because within the DNA of Phillips is support and staging of sales to bring new artists to the attention of the market and collectors. We do a good job there. It’s a balancing act, because we don’t want too much to disrupt the careers of young artists, because prices inflate and then crash. We are proud of bringing new artists to market,” Dolman said. “When we talk about the rise of Post-War Contemporary, you see cycles within it. Certain artists reach great levels at auction and some fade away. We have seen recent significant interest in the work of African American artists and female artists, and that market will grow considerably in size.”
Post-War and Contemporary Art is now the biggest sector in the art market. Impressionism and Modern Art remain important, but sales are dependent on master works coming to market at outrageously high prices.
“New buyers are coming in from around the world, and they tend to buy Contemporary Art. You can’t exclude the U.S.,” said Dolman. “The art market itself is very interesting to collectors. The Chinese have been the most dominant in last ten years, and that market continues to grow. I think it’s very important for everyone in our business to continue to look at Europe and Asia without forgetting the U.S.”
Dolman credits Phillips’ team of experts working across Asia, Europe and the Americas with tracking the pulse of global trends.
“They are totally immersed in the art world and art market, and we rely on their judgment, and that is very important for them. We have a very seasoned and respected team, but also a young team,” he said. “We strive to have integrity, credibility and expertise. We like to feel we’re more entrepreneurial, more dynamic. We hope to continue to create a market for young specialists to bring this evolving taste. We rely on this cross-generational input.”
Technology has had a dramatic impact, especially over the last five years.
“We’ve reached a tipping point where our clients expect to engage with us over the internet. Certainly, online bidding is now the most popular part of our sales. We now have sales with more than 700 online registered bidders,” said Dolman. “It is also being reflected in work of artists with what we are now beginning to see in virtual reality and augmented reality.”
The global art world is increasingly relying on blockchain technology to boost buyer confidence in provenance and record keeping. Verisart, a pioneer in using blockchain to verify valuable items like fine art, last week announced it has raised $2.5 million in seed financing in a round led by Galaxy Digital EOS VC Fund—a partnership between blockchain-focused merchant bank, and Block.one, the publisher of EOSIO, the blockchain protocol—bolstering the investments from Sinai Ventures and Rhodium.
“I’m very interested in what blockchain can do to shared ownership of works of art,” said Dolman.
While at a conference last month in Seoul, Dolman learned about Korean art-blockchain project ARTBLOC, which introduced the world’s first fractionalized ownership sale of David Hockney. The British artist is wildly popular in Korea.
Those investors “own a piece of Hockney that you can sell and trade. People have looked at this before, and creating a shared marketplace for these works of art has been challenging,” said Dolman. “I think people’s comfort with blockchain technology as an asset-backed digital key will enable trade. People are trying very hard to create a blockchain authenticator. The art market is very small in comparison to most markets.”
Technology also plays a key role in increased access to information of global art sales and prices.
“The pricing database of art has had a huge impact,” said Dolman. “Before Artnet there was no place to get prices on the art market. Now people are given great comfort with more pricing data.”
Despite the rise and necessity of technology, collectors aren’t ready to abandon the thrill of live auctions.
“One of the reasons online-only auctions have struggled to get traction is it’s very difficult to capture the impact of a work of art digitally and transform it on a screen,” said Dolman. “I think online auctions where clients can’t physically inspect the works are hamstrung. The exhibition is very important to us. We spend a lot of time on exhibitions.”
Phillips will soon enhance its exhibition space with a move into 55,000 square feet of commercial space at 432 Park Avenue, the third-tallest building in the United States and the second-tallest building in New York City, behind One World Trade Center and ahead of the Empire State Building. Phillips will take over the double-height, column-free underground concourse of more than 30,000 square feet with direct access from Park Avenue and executive office space with an entrance on 40 East 57th Street across from the Four Seasons Hotel.
“It’s the scale of the space that will allow us to exhibit some of the largest works of art,” Dolman said. “Were looking to have the same impact in New York as we do in London with our new space in Berkeley Square, which has transformed the market.”
Prior to joining Phillips, Dolman worked at the Qatar Museums Authority after serving as chairman of Christie’s International. During 27 years at Christie’s, he held various roles including managing director of Christie’s Europe, managing director of Christie’s Americas and managing director of Christie’s Amsterdam.
“People feel much more comfortable compared with when I started in the business going back those generationally wealthy grandiose families,” said Dolman. “Sales in London at Christie’s and Sotheby’s were fantastically intimidating. That has changed dramatically with the spirit of contemporary art sales. I’m cautious of saying that the art market has been democratized, because it’s still expensive. Fashion houses have seen this, and the worlds of fashion and art are colliding now whether we like it or not. Artists themselves, whether consciously or not, have become brands in the art world. People in the art market are now so used to being excited by brand names. Younger generations are more comfortable with brand recognition. KAWS is an assumed name and an assumed identity, and then he produces characterizations that are inspires by cartoons. They way the younger collectors see the world is through images, like seeing the world through emojis.”
RankTribe™ Black Business Directory News – Arts & Entertainment
Artist Kehinde Wiley discusses his work. Credit: A. D. McKenzie/IPS
PARIS, Oct 11 2019 (IPS) – Fresh from unveiling a huge statue of a black man on horseback in New York’s Times Square, renowned African American artist Kehinde Wiley flew to France this week to “meet” 18th-century French painter Jacques-Louis David.
Wiley – most known for painting the portrait of US President Barack Obama in 2017 – is now “sharing a room” with David, who lived from 1748 to 1825 and was a painter and supporter of French military leader Napoleon Bonaparte.
In an exhibition titled “Wiley Meets David”, the American artist’s massive and colourful 2005 painting Napoleon Leading the Army over the Alps can for the first time be viewed opposite David’s 1800 depiction Bonaparte Crossing the Great St. Bernard Pass (Le Premier Consul franchissant le col du Grand-Saint-Bernard), in a show that runs until Jan. 6, 2020.
“There’s lots of chest beating going on … that’s why when you look closely at my painting, you’ll see sperm cells swimming across the surface,” said Wiley at the Oct. 9 opening of the exhibition. “This is masculinity boiled down to its most essential component. All of this stuff, warfare, is about egos, about nationhood, about the formation of society.”
The two works of powerful-looking men on horseback are presented “in dialogue” at the imposing Château de Malmaison, just outside Paris. This is the former residence of French Empress Joséphine, which she shared with Bonaparte before they divorced in 1809.
Wiley’s painting comprises a reinterpretation of David’s portrait, and it is the first in his series “Rumors of War”, where African American subjects replace the historically mighty in a questioning of warfare and inequality. Here, a model named Williams is on horseback, in the same pose as David’s Napoleon, but wearing contemporary urban gear and a golden cloak. In contrast, David’s depiction was a “symbol of the glory of Bonaparte” when it was produced in 1800, according to the show’s curators.
Wiley stressed that his work was meant to make people of African descent visible in ways that they haven’t been in the history of art. But he added that despite the aura of power in his painting, he was also portraying “fragility”, even amidst certain social advances.
Wiley arrives at the Château de Malmaison with associates. Credit: A. D. McKenzie
“I want to caution us against a facile acceptance,” Wiley said. “These steps that we’re moving forward with, I prize greatly, but I also recognize their fragility. As powerful as that young man looks on that horse, it’s not his power that I’m concerned about, but rather his fragile position within that culture … that relegates artists like myself to even need to make utterances like the ones that I’ve done.”
Before being brought to France, Wiley’s painting had been exhibited for years at the Brooklyn Museum of Art, and the current show is a joint project between this museum and the Château de Malmaison.
After the exhibition in France, both paintings will be on display in Brooklyn, from Jan. 24 to May 10, 2020. David’s work is therefore returning to the United States, where it had spent time in New Jersey in the 1800s as part of the property of Napoleon’s brother Joseph.
“The partnership with the Brooklyn Museum will provide an opportunity to shed light on the current practices of North American museums with regard to groups of artists who have been overlooked in history and the history of art, and their links to audience development,” said Emmanuel Delbouis, a co-curator of the exhibition.
For Wiley, 42 years old, it’s high time for a change in the narrative regarding the contributions of people who have traditionally been excluded from mainstream stories. He said it was not a “trend” or a “movement” that so many artists of African descent are now focusing on historical issues affecting people of colour.
“We have been able and capable of contributing to the larger conversation globally, and now these conversations are happening,” he said during the exhibition’s press opening. “I think perhaps the culture is evolving. So, it’s not a trend … it’s simply another human voice being paid attention to.”
He said his painting was a criticism of colonialism and a challenge to its legacy, but that it was also an “embrace” of French art and David’s talent.
Wiley, who rose to fame with the portrait of Obama, has seen his artistic impact grow, both in the United States and internationally. He has held several exhibitions in France, and before the opening of this latest show, the unveiling of his 27-foot-high statue in Times Square, on Sept. 27, garnered global attention.
That work, his first public sculpture, will be on view at the famed square for several weeks before being permanently installed at the entrance to the Virginia Museum of Fine Arts, in Richmond, Virginia. It is being shown at the same time as the painting in France, sparking dialogue on both sides of the Atlantic about history and who gets to be celebrated in public monuments.
“We’re standing on the leading edge of story-telling, arguably on the leading edge of propaganda,” Wiley said in France. “Art has for centuries been at the service of churches, of state, of powerful men. And now artists have the ability to take that language and do what they will with it.
“So what am I doing? I’m engaging that language in a way that says ‘yes’ to certain things and ‘no’ to others,” he added. “The culture evolves, but we’re stuck here together, and we have to figure out how we’re gonna evolve together.”
This article is published in an arrangement with Southern World Arts News. Follow on Twitter: @mckenzie_ale
RankTribe™ Black Business Directory News – Arts & Entertainment
Rebecca Ryan isn’t a household name in Buncombe County. And why would she be? A resident of Madison, Wis., and a frequent flyer who consults with organizations and local governments around the country, Ryan spends more of her time powwowing in big-city conference rooms and attending think-tank discussions than she does exploring communities like Leicester, Weaverville or Black Mountain.
But while most Western North Carolina residents wouldn’t know her from Adam, Ryan’s spent the past year and change learning quite a bit about us. Over a series of monthly visits that stretch back to last summer, the consultant has trained her sometimes unnervingly intense gaze on the future of Asheville and Buncombe County. She’s been leading the creation of three important plans — the AVL Greater vision plan, the AVL 5×5 2025 economic development plan and a strategic plan for the Buncombe County Board of Commissioners — during a period of local change she describes as the most profound she’s seen anywhere in her career.
Xpress has followed Ryan’s progress in WNC over the past 16 months. As she wrapped up her work on the AVL Greater and AVL 5×5 2025 plans in late September, we chatted about her upcoming encore keynote address at the Asheville Area Chamber of Commerce’s WomanUP gala on Thursday, Nov. 18, what makes Asheville and Buncombe County different and how we’ll know if the area is on track to make good on the new strategies.
After delivering the keynote at last year’s WomanUP celebration, “I thought I was off the hook,” Ryan says. But local event organizers had other ideas, inviting her back for a second appearance this November. While the details of her talk remain under wraps, she teases a couple of the themes she plans to address.
“The suffrage movement is 100 years old this year,” Ryan notes. “It will be a nice opportunity to look back and look ahead.” She will also examine the impact of the anti-sexual assault and women’s empowerment #MeToo and Time’s Up movements, looking at recent examples of social change like same-sex marriage legalization for clues to anticipate potentially lasting shifts in gender dynamics.
Much of Ryan’s practice focuses on work for chambers of commerce, economic development partnerships and local government agencies, so she follows research on municipal governance. She cites a recent study on the financial performance of local governments in five Southwestern states that found that, “In local governments where women are the CEOs, you are far more likely to have a AAA bond rating for the government.”
While acknowledging that former Buncombe County Manager Wanda Greene achieved a AAA bond rating while “raping the county,” Ryan nonetheless posits that financial markets are beginning to consider the gender of top managers in their search for “safe money.”
“If Wall Street can put more money into bond markets where women are leading the municipalities, that is going to do a ton for how we think about women CEOs, how we think about women leaders,” she says. Pointing to local female executives like Avril Pinder, Buncombe’s new county manager, and Debra Campbell, Pinder’s counterpart at the city of Asheville, Ryan thinks the area’s gender game is strong.
“I’ve only worked with one other community [Minnetonka, Minn.] where there have been women in so many important positions,” Ryan reveals. While she cautions against focusing too heavily on gender-based stereotypes, she continues, “Generally, women tend to be very collaborative: less competition-oriented and more collaboration-oriented. And for this region, that’s going to be a great thing.”
Winds of change
Considering the number and extent of the organizational transitions the area has seen since she began working here in June 2018, Asheville and Buncombe County need all the advantages they can muster, Ryan says.
“I just feel like you guys have been at the all-you-can-eat buffet for change,” she muses. “It’s hard for me to think about another community that has gone through this much change in the 16 months I’ve been knowing you.”
The hiring of Antony Chiang from Spokane, Wash., to lead the new foundation exemplifies a trend Ryan sees as positive: “The idea that we can hire from outside of the community; we don’t have to make all of our hiring decisions from within.” Campbell’s background managing rapid growth in Charlotte, as well as Pinder’s experience in a community impacted by severe weather associated with climate change, similarly diversify the area’s knowledge base, she notes.
Kit Cramer, president and CEO of the Asheville Area Chamber of Commerce, agrees that the time was right to undertake the planning process.
“None of this is easy,” says Cramer. “It hasn’t been easy and it won’t be easy. But it’s the absolute right thing to do given where we are at this point in our community’s maturation process and given where we are with so many brand-new leaders in key roles.”
There grows the neighborhood
Over the past 16 months, Ryan says she’s had to keep reminding herself that Asheville is still a pretty small town. “We’re like the indie band that struck it big, that had a big hit, and now we’re like, ‘Holy crap. We’re totally in demand, but we don’t have the systems to manage this,’” she explains.
“When you go from the freshman team to the varsity team, you’ve got to play at a whole new level,” continues Ryan, who once played professional basketball in Hungary. She sees her role in part as offering perspectives from places further along the growth trajectory. “Very often there was an opportunity to say, ‘Hey, there is a whole different way of thinking about this,’” she reflects.
At the Sept. 18 rollout of the AVL Greater plan at Sierra Nevada Brewing Co. in Mills River, Ryan said the area’s recent growth will continue. “This level of growth that you are experiencing — basically, adding two additional cities the size of Asheville through 2040 — this amount of growth makes you grow up fast,” she said. “What we’re trying to do with AVL Greater is raise our game, raise our teamwork and figure out how to manage this in the best possible way, because it’s coming. Like it or not, it’s coming.”
Unlike many other fast-growing metro areas, Ryan points out, Asheville faces significant geographic constraints. “I don’t think I’ve ever made a recommendation around land use before, but man, you have got to get that figured out,” she says. “You have very specific places that things can be built — not just houses, but roads as well.”
One exception to the area’s rapid growth is its black population. “This is one of the only communities that I can remember working in recently where your share of African American population is going down, not up,” Ryan says. “You’re an outlier on that.”
While the white population of the Asheville metropolitan area is projected to grow by 89,700 white residents between 2017 and 2037, the black population will only add 500 residents, according to chamber data. Within the boundaries of Buncombe County, “the number and overall share of African Americans is expected to decline by about 440, down to about 14,900, or 5%,” the AVL Greater research trend summary indicates.
Addressing the racially diverse, multigenerational crowd of about 100 movers and shakers at the AVL Greater rollout on Sept. 18, Ryan explained some of her thinking on race, noting that she can only speak from her own perspective as a white person. “Tolerance and inclusion are insufficient. The community we want to create is one where people feel that they belong. Not where they’re tolerated,” she said. “Inclusion is a delusion, in my opinion.”
If present trends continue, Ryan said, “this community will become older, whiter and richer.” To attract young families from diverse backgrounds, she continued, “We’ve got to say this out loud: The quality of your schools is the No. 1 branding issue for young families considering a move here. … If we don’t have a strategy to help our schools overcome the racial equity gaps currently, it doesn’t matter how much we work on the other things. Young families are never going to feel like this is a great place for them.”
Come in threes
Asked whether there are any disadvantages to having one consultant lead three different major planning processes in the same area, Ryan laughs and says she doesn’t have an answer. “This is my first time doing this level of work in a community,” she explains. “There may be downsides; we’ll find out.” Still, she says, “In this case, it’s been the right thing to do.”
Ryan says she connected with the chamber’s Cramer through another business contact. The outline of a planning project evolved through multiple conversations — “We dated for a while,” jokes Ryan — before a deal was struck. Later, that engagement was expanded to include support for the AVL 5×5 2025 economic development plan.
Completing the two planning processes in tandem, Cramer says, helped uncover connections between social issues like affordable housing and more traditional business concerns. Those linkages are often overlooked, but she believes taking a more holistic view makes good business sense. “We’ve asked for opportunities before the public bodies to speak … so that we can help drive better understanding of the entire picture of the economy, what we bring to it, where we all need to be working together and why,” she explains.
According to Pinder, Buncombe County’s new manager, her organization’s interest in Ryan grew out of the consultant’s work with the chamber. “County staff worked with Rebecca Ryan as participants in the AVL Greater work sessions in September of 2018. Through that work in our community, county staff felt she offered a unique knowledge of current data and trends,” Pinder wrote in an email.
“After a review of Ms. Ryan’s proposed workshop approach, her experience working individually with organizations in the community via AVL Greater and proposed scope of work, the county decided to hire Ms. Ryan in July 2019,” Pinder explained. Ryan’s $40,000 county contract runs through the end of the year.
Of the commissioners, Ryan says, “They have a real desire to turn the page [from the county government corruption scandal] and show that they are moving forward in a strategic way.”
As part of her agreement with the chamber, Ryan also served as “resident futurist” for chamber members interested in picking her brain, according to Cramer. By Ryan’s count, she has met with 13 area organizations, including the Center for Craft and the Asheville Area Arts Council.
“Increasingly, tourists say, ‘I don’t want to feel like a tourist. I want to feel like a local,’” Ryan observes. If the TDA’s future investments benefit both residents and tourists, “It’s a double win,” she says. “It’s a win for the residents and it’s also going to be an attractor for the visitors.”
At the same time, Ryan points out that the TDA’s planning process is being led by a 125-person tourism and destination planning consultancy, PGAV of St. Louis. Generally speaking, in the tourism industry, “not a lot has changed in how that market thinks and works. It’s about ads and placement and branding and taglines,” she says.
But comments by Marla Tambellini, the convention and visitors bureau’s deputy director, at the AVL Greater rollout gave Ryan hope that “maybe they get it: that making it a great place to live is what the magic is going to be for future tourists, because that’s correct,” she says. Referring to the portion of the hotel occupancy tax used to fund tourism-related projects, she commented, “That amount of money goes a long way in a community like Asheville and Buncombe County.” According to the TDA, $44 million generated by the tax has supported 39 local projects since 2001. That spending represents a quarter of the county’s 6% room tax; the other 75% pays for advertising and marketing the area.
As Dogwood Health Trust welcomes its first leader and sets goals for spending between $60 million and $75 million throughout an 18-county region annually, Ryan says, “I’m really interested to see how they define well-being. Because I know we did good research for AVL 5×5 on the most contemporary definitions of well-being and what the science is telling us about well-being. So I’m anxious to hear how Dogwood defines it and what they decide on as their theory of change.”
Eye on the ball
Ryan will wrap up her work with the Buncombe County Board of Commissioners by the end of the year, at which point she’ll be over and out in the region for now.
“The truth is, we’re really not going to know if this AVL Greater stuff really worked for several years,” she says. Many dominoes must fall to set in motion the expected beneficial effects of the wide-ranging and collaborative approach she has advocated. “And in a distraction economy like we live in, it’s sometimes hard to keep your eye on the ball for very long,” she points out.
“Four years from now, I want to be able to come back to this community and say, ‘How are we doing around leadership? Are we all on the same page? Are we using the triple bottom line as leaders?’” Ryan continues, referencing the philosophy that organizations should be driven in equal parts by economics, environmental impact and social responsibility. “I want to come back and say, ‘Do we have a land use plan?’ These are the things that I want to come back and check in on and see if these have happened in the way that we’ve said are going to be most beneficial for the long-term future.”
But as she pursues her globe-trotting, future-oriented consulting practice around the United States, there’s little chance that WNC will fall off Ryan’s map. Her wife, Lauren Azar, wants to retire here.
“Her mom and her sister live in Brevard,” Ryan says. “She loves Brevard, and Transylvania County is eventually going to get touched by all the growth you guys are experiencing, too. It’s headed that way.”
Diego Castillo worked a scoreless first inning after allowing a lead-off single to George Springer in ALDS Game 4. What happened next was nothing short of sorcery.
José Altuve has only struck out 82 times on the season and barely strikes out in general. He’s struck out twice in the ALDS, with the second coming on this absolutely bonkers pitch out of the hand of Castillo.
Witchcraft! Voodoo! The black arts! Rays devil magic! Whatever you want to call it, it worked. Castillo retired the next three batters — Michael Brantley, Altuve and Alex Bregman — via the strikeout, hitting triple digits on the gun.
Castillo has been used in many roles this year, but interestingly enough, hasn’t been as great as an opener. During the regular season, as a Rays opener, he typically wasn’t as effective as he was on Tuesday: he allowed five runs in 7 1/3 innings pitched over six opening appearances. That’s good — or not good — for a 6.14 ERA.
Castillo’s outing set the tone for a 4-1 Astros win, forcing a Game 5 on Thursday.
Seriously. So gross.
RankTribe™ Black Business Directory News – Arts & Entertainment
As next week’s debate looms, polls and donor contributions suggest a party seeking candidates for 2020 who will push the boundaries, while moderates argue they can beat President Trump.
Oct. 11, 2019
With a crucial debate looming next week in the Democratic presidential primary, the party’s populist wing appears increasingly in control of the race — rising in the polls, stocked with cash and with only a wounded leading candidate, Joseph R. Biden Jr., standing in its way.
Several slow-building trends have converged to upend the race over the last few weeks: Senator Elizabeth Warren’s steady ascent in the polls has accelerated. Both she and Senator Bernie Sanders, a fellow progressive, have raised immense sums of money from small donors online, dominating the Democratic field and each collecting about $10 million more than Mr. Biden in the last quarter. And Mr. Biden’s numbers have gradually slipped in a way that has alarmed his supporters.
The race is far from over: All three of the top candidates — Ms. Warren, Mr. Biden and Mr. Sanders — have a path to victory, and there is still time for longer-shot candidates to make a real run at the nomination. The CNN/New York Times debate in Ohio on Tuesday is likely to test Ms. Warren’s status as an emerging front-runner, subjecting her to new criticism from her fellow Democrats on matters ranging from health care policy to trade and the role of the government in overseeing the economy. Above all, she may need to allay lingering reservations about her appeal to swing voters in the general election.
And Mr. Biden signaled on Thursday night that he will come into the debate fighting. “One of the problems I’m finding, I’ve got to be more aggressive,” he said at a fundraiser in Los Angeles. He then used a roundabout example to explain that debate time restraints don’t allow time for lengthy answers.
“When someone says, you know, you know, ‘are you still beating your wife?’ And, and I go, ‘I have a long explanation’ and they say ‘you got 30 seconds to answer.’ And you say ‘No. And then, wait a minute, what’d I just say? No, I’m not still beating my wife.’ But so, I’ve had, I’ve had some difficulties,” he said.
If Tuesday’s debate could break in any number of directions, what may be resolved is the overall mood of Democratic primary voters, and whether they are more inclined to seek a politically cautious nominee who promises to restore normalcy in Washington, or a more confrontational standard-bearer with an ambitious and disruptive reform agenda. It is candidates in the latter category who now control the bulk of the financial might in the race, and are best positioned in most of the early primary states.
Anna Greenberg, a Democratic pollster who is not aligned in the primary, said an “anti-establishment” current had plainly taken hold, with voters rewarding candidates for defying the conventional limits of political debate and “pushing boundaries in really productive ways.” She pointed not only to Ms. Warren and Mr. Sanders but also to former Representative Beto O’Rourke, who has embraced a new political identity for himself as a gun-control activist and a critic of his own party’s relatively cautious platform on the issue.
“Across the board, whether it’s Beto talking about assault weapons or Warren and Sanders talking about Wall Street,” Ms. Greenberg said, “it does feel like there is a shift in the party that is kind of new.”
Ms. Greenberg said there was still space for Mr. Biden to run a strong campaign because of the way voters perceive his values and character. Americans, she said, believe Mr. Biden “cares about people and working class people, regular people, and that’s not an insignificant asset.”
Yet it has been Ms. Warren, rather than Mr. Biden, who has consistently gained strength. Campaigning on a message of purging corruption in Washington and restructuring the economy, Ms. Warren has closed Mr. Biden’s lead in the polls every week since the beginning of the summer and is now in a position to upset him in both Iowa and New Hampshire, the first two states to vote.
Mr. Biden remains a strong contender for the nomination, largely because of the support he collects from African-American voters. But he has struggled for months to articulate a clear vision for the future and has relied heavily on Democratic nostalgia for the Obama administration. In recent weeks, he has been consumed in a grisly political clash with President Trump.
So far, the support Mr. Biden has lost does not seem to have gone to another moderate, like Mayor Pete Buttigieg of South Bend, Ind. Only Ms. Warren has been moving up in the national polls, suggesting either that Mr. Biden’s lost supporters have defected to her camp or that they have become undecided altogether.
If Ms. Warren has become the leading liberal standard-bearer, Mr. Sanders has been a steady third in national polls and his fund-raising power is likely to keep him among the most formidable competitors in the race. Yet his campaign has been grappling with the implications of Mr. Sanders’s heart attack in Las Vegas last week, a medical emergency that landed him in the hospital and has kept him off the trail for days.
He has sent mixed signals about his path forward, first indicating that he would scale back his campaign schedule and then defiantly reversing that suggestion.
It is unclear whether Mr. Sanders’s physical condition will affect his poll numbers: He has a solid base of support nationally and few other candidates believe his core followers will be easily dislodged. There is at least a new degree of uncertainty about whether he will be in a strong position to vie for liberal Democrats who have already been migrating toward Ms. Warren.
Nearly all of the candidates feel pressure to do something in the Ohio debate to stop the race from becoming a contest entirely defined by a Warren-Biden rivalry, either by inflicting direct damage on Ms. Warren’s campaign or by outflanking her as an alternative to Mr. Biden. The ongoing impeachment inquiry targeting Mr. Trump has only added to the pressure on the Democratic field, since the tumult in Washington is likely to leave voters with even less time to devote to reviewing underdog options.
Mr. Buttigieg in particular has been moving assertively in recent weeks to position himself as a center-left alternative to both Mr. Biden and Ms. Warren, using his considerable war chest to run television ads in Iowa.
Several other candidates of different ideological stripes are counting on Iowa for a breakthrough, including Senators Kamala Harris, Cory Booker and Amy Klobuchar. A wild-card joining them onstage will be a new contender, Tom Steyer, a former hedge fund investor who has spent lavishly from his personal fortune to brand himself as a reform-minded outsider.
For Ms. Warren, meanwhile, the debate may help reveal whether she can consolidate her gains across the Democratic Party. On Wednesday, she campaigned in South Carolina, where she has so far struggled to gain traction with the African-American voters who largely decide the primary there. To cement her status as a front-runner, she may have to win over a range of constituencies torn between their interest in her ideas and a more cautious political calculus that draws them to Mr. Biden.
One of those voters is Ohio’s former governor, Ted Strickland, the only Democrat to hold that office this century. Like many Democratic voters, Mr. Strickland, a populist with close ties to organized labor, said he saw Mr. Biden as the safer bet for the general election but found it hard to resist the appeal of Ms. Warren’s proposals, most of all her plan for a new tax on vast private fortunes.
“I think there may be something to the electability issue for Mr. Biden, in Ohio,” Mr. Strickland said. “But if I could just choose to put someone in the presidency — if that was my choice alone — it would be hard for me to pass up Elizabeth Warren.”
Mr. Strickland said he had spoken with Mr. Biden recently and saw him as a seasoned diplomat and a reliable “economic progressive.” But Ms. Warren, he said, was gradually easing voters’ reservations about her ability to go up against Mr. Trump by talking about policy issues “in ways that are easily understood.”
Mr. Biden remains a clear favorite in just one of the early states, South Carolina, and his advisers have predicted that he would fare better in larger, more diverse states that vote later in the calendar. He is counting, in particular, on older and more moderate African-American voters to hold back the party from stampeding toward a more ideological liberal candidate. In 2016, black and Latino voters helped Hillary Clinton withstand a persistent primary challenge from Mr. Sanders.
Yet scattered polling in the later states has largely followed the national trend: Last week, for instance, the Public Policy Institute of California released a poll finding a statistical three-way tie in the nation’s most populous state between Mr. Biden, Ms. Warren and Mr. Sanders.
Mark Baldassare, president of the institute, said there was no indication in his poll that the state’s diversity would represent a stumbling block for candidates on the left, as Mr. Biden is hoping. The primary debates would be crucial to determining Ms. Warren’s continued momentum, he said, because voters seemed to be using them for insight into the general election.
“It has become kind of a proxy for: How are these candidates going to do when they stand up next to Trump?” Mr. Baldassare said. “I think this will be Elizabeth Warren’s moment now, because if she is in the mix for front-runner, people are going to be testing her and seeing: How does she do? How does she do when she has to be on defense?”
Sources: Polling data from ABC News/The Washington Post, Reuters, Monmouth University, Quinnipiac University, Fox News, USA Today/Suffolk University of New Hampshire, CBS News/YouGov, CNN, The Des Moines Register, NBC News/The Wall Street Journal, Winthrop University. Numbers are through Oct. 10.
As Democrats escalate their calls for President Donald Trump’s impeachment, the race to oust the president at the ballot box is tightening.
Sen. Elizabeth Warren and Vice President Joe Biden are essentially tied in the RealClearPolitics polling average this week in the field of 2020 Democratic contenders, but Warren is far from a sure thing to win her party’s nomination and neither is Biden, despite often being named the Democratic frontrunner.
The past few weeks have been active, with Warren rising in the polls, Biden finding himself at the center of Trump’s dealings with Ukraine, and Sen. Bernie Sanders, who hasn’t shaken a third-place standing in national polls, telling reporters he’ll have to initially level back his campaign appearances after suffering a heart attack.
Hanging over all that is an impeachment inquiry into President Donald Trump, one that involves Biden, who is having to tell rooms filled with donors that the Ukraine scandal shouldn’t keep them from opening their pocketbooks.
The horse race continues — with some serious tumult. What that tumult means (if anything) is not clear. Experts and pollsters all say the same thing: It’s still too early. The state of the race is fluid, many voters remain undecided, and they probably will remain that way until pretty close to election day.
The current state of the race, briefly explained
Still months from the February Iowa caucuses, when the first Americans will be able to vote for one of the Democratic candidates, the Democratic presidential primary remains a three-way race between a veteran of mainstream Democratic politics in Biden and two of Congress’s most progressive firebrands in Warren and Sanders. The three remain far ahead of the rest of the field, though Warren has widened her lead over Sanders in national polls.
But there are still 20 Democrats in the race, a dozen of whom will be on the October debate stage. South Bend, Indiana, Mayor Pete Buttigieg is still registering double-digits in some state polls, inching closer to Sanders in New Hampshire and Iowa. Sanders remains strong in California and Nevada, where he’s in a statistical tie for first.
There isn’t a clear narrative even among the top three. Fundraising totals from the third quarter put Sanders in the lead, while Biden’s numbers are closer to entrepreneur Andrew Yang’s than to Warren’s or Sanders’s. Campaigns are still building out their ground games in crucial early states, where their coalitions are overlapping.
All of this puts the race in a state of flux, and although national and local polls put Warren, Sanders, and Biden at the top of the field, many of the same polls suggest voters have not yet solidly gotten behind a single candidate.
“We have basically have had a tied race going back several months now,” Andy Smith, a pollster with the University of New Hampshire, told Vox. “People make up their minds at the very end.”
Smith suggested looking at New Hampshire, the first primary state where voters are being inundated with visits from presidential candidates as an example.
“People won’t really pay attention to the race until after New Year’s, and they won’t decide who they are going to vote for until two days before,” Smith said. “And that’s a state where actual campaigns are going on.”
The national polls tell a very good story for Warren. But it’s more complicated.
Warren’s stock has been steadily rising since she jumped into the race, while her biggest challengers — Biden and Sanders — have been dipping or stagnant, respectively. This narrative had a symbolic peak this week, when the latest Quinnipiac poll put her polling average ahead of Biden’s, by 0.2 percent, only for Biden to inch back ahead with the latest YouGov poll. Warren held a 3-percentage-point lead ahead of Biden in the early October poll from Quinnipiac, with 29 percent of the support.
That said, in most state polls all three top candidates remain within the margin of error of each other, Smith pointed out, noting that a lot of polling this early on still comes down to name recognition.
It’s about who is getting a lot of coverage (Warren) and who is getting positive coverage (Warren), Smith said. That’s not to say the polls don’t matter; simply that they still feed into a cycle: Better poll numbers mean more coverage, which means more money, more coverage, and better poll numbers. Warren’s ascendence is even shown through voters’ second choice; a recent Morning Consult poll conducted between September 30 and October 6, found Warren slightly edged out Sanders as the second choice for Biden supporters and dominated support as the second-choice pick for Buttigieg and Sen. Kamala Harris supporters.
Underlying the top-line numbers are trends that tell us more about each candidate’s coalition. Biden wins overwhelmingly with voters over the age of 65, and with African American voters. Warren has won over white liberal college graduates, though she is making bigger inroads with minority voters. And Sanders is holding on to his working-class base and picks up nearly half of the youngest voters, who despite being known for lower voter turnout, have been increasingly mobilized in recent elections.
Sanders beat out the whole Democratic field in terms of fundraising, raising $25.3 million in the last three months with more than 1 million donors — more money and donors than anyone else in the field. Warren raked in a close $24.6 million. Both Sanders and Warren are forgoing high-dollar fundraisers; meanwhile Biden, who has spent a lot of time courting high-dollar donors on the campaign trail, raised $10 million less in the third quarter. The days of big high-dollar fundraisers are looking increasingly passé.
That said each candidate has clear vulnerabilities. In an election where most Americans care most about electability, Biden and Sanders fair better (although only slightly) matched up against Trump. Sanders has been off the campaign trail for more than a week, after having a heart attack in Las Vegas in early October. And he has been forced to answer for his health.
Biden has been at the center of a White House scandal — one that is driving a House push toward impeachment — about Trump’s conduct with Ukraine. There is no evidence of misconduct on Biden’s part, but his handling of Trump lobbing allegations of wrongdoing against him has some concerned about how well he would counter presidential attacks during the general election.
Bernie Sanders had a very difficult week
Sanders is expected to be back on the campaign trail in the coming days, after spending time at his home in Burlington, Vermont. Sanders, his family, and campaign have had a difficult week of unforeseen events; the senator’s daughter-in-law died from a rare cancer Saturday just days after receiving a diagnosis and a week after Sanders had to undergo an emergency heart procedure.
The 78-year-old senator has been on a relentless campaign schedule — one that has come to define his political style. Sanders is known to hold upward of four events a day in early primary states. He told reporters he will initially have to scale back that schedule, but he clarified in an interview with NBC that he intends to build back up to that pace.
“We’re going to get back into the groove of a very vigorous campaign; I love doing rallies, and I love doing town meetings,” Sanders told NBC. “I want to start off slower and build up and build up and build up.”
His campaign is running a $1.3 million television buy in Iowa, a state his campaign aides and surrogates see as a “must-win” and has built a significant chest of small-dollar donations.
Can Biden ward off a progressive challenge?
Biden’s coalition of older voters and black voters is a strong one in the early states.
In 2016, voters 50 years and older made up 58 percent of Democratic caucus-goers in Iowa; 28 percent were 65 and older. And in South Carolina, more than 60 percent of the Democratic electorate is black.
Biden’s numbers may look like he’s fading in national polls, but this coalition makes Democratic strategists and pollsters skeptical of that narrative.
“There is more resiliency for Biden in this data because of the older person vote, because he does so well for African American voters, and because neither Harris and [Sen. Cory] Booker have been able to make inroads with African American voters,” one Democratic pollster, who asked to remain anonymous because of their proximity to a presidential campaign, told Vox.
But that’s where the all-important caveat comes into play: It’s still early.
It’s important to note that turn out in the Iowa caucuses is immensely low. In 2016, only 171,109 Iowans participated in the Democratic caucuses — a roughly 16 percent voter turnout. In such a crowded race, it’s possible the winning candidate in Iowa won’t actually need to turn out that many people.
Scott Huffmon, a pollster with Winthrop University in South Carolina, said he sees black women as a key demographic of the Southern primaries. Around this time in 2007, while Hillary Clinton was leading nationally, black women in South Carolina were divided: a third liked Clinton, a third liked Obama, and a third were undecided. Then Obama launched his successful beauty parlor and barbershop tour of South Carolina and changed the game.
What this means is that, again, things remain in motion: Biden has a very strong lead among black voters in South Carolina in particular, but there is nothing to stop Warren, Sanders, or anyone else with some momentum behind them from pulling off a move similar to Obama’s.
“If you look at Iowa, which is 97 percent white, and new Hampshire, that’s more fluid,” Huffmon said. “The black vote is much harder to dislodge with a new voice. It’s about trust. who they feel comfortable with. …Warren is doing her darndest to reach out to African American women — if that message starts catching then she can start moving.”
Malachi Lily has always found inspiration in the cosmos.
For Lily, a non-binary African-American artist of many crafts, seeking clarity from ancient stories of constellations reveals truths about the realities of present day.
“I love bringing in varying concepts from mythology, from science, from art history into all of my work,” Lily said. “So, everything is collaged in one way or another. I try to see this process as an example of collective consciousness – just pulling things from our collective minds into these works. And, I’m just one kind of filter for this collective voice.”
Though this spiritual notion has been the subject of Lily’s work for many years, the poet and curator, who identifies as they/them, has recently convened a creative community of artists who draw from similar imagination.
In their newest brainchild, Lily has crafted “Temple of Sirius,” a group exhibition running through Oct. 27 at Da Vinci Art Alliance, 704 Catharine St. The project cultivates a “sacred site of Black Divinity” through the visions of more than a dozen local artists.
From digital media to gel pens, the miscellany of mediums, Lily says, naturally diversified itself, as for them, the key in their recruiting process was connecting recurring themes.
“People were already engaging in these concepts,” Lily said. “And I just wanted to simply celebrate them and honor their work that they’re doing and bring them to a place where they can meet each other and connect. I really want to foster connections in all of my events.”
“Temple of Sirius” is a continuation of Lily’s “Children of Sirius,” which was held at Vox Populi, located at 11th and Callowhill streets, last June.
As Vox Populi’s 2019 Black Box Curatorial Fellow, Lily, who is now a Da Vinci Art Alliance Fellow, created this initial project in a similar headspace, as the collection of artists’ work, which also included performances, was intended for audiences to “stumble upon the gods at play” and feel blessed enough to have bared witness.
But, this new project, Lily says, weaves a new layer into this overarching realm of Black Divinity.
“The ‘Temple of Sirius’ is different,” they said. “The ‘Temple of Sirius’ is a place of pilgrimage where people come in reverence and in humility and in their own divinity to worship the works of art, to worship the artists, to worship themselves and to find peace and healing within the space.”
Though the artists’ techniques are varying, each of their works honor African astrological ancestry in some form or another.
In Lily’s eyes, nuances of contemporary social and racial notions exist within celestial tales.
For instance, they have always been drawn to mythological creatures, especially hybrids of humans and animals, such as merpeople and centaurs.
Perhaps, this fusion of beings can be used as a lens to view gender identity today.
“Kind of pushing the boundaries of the human form, like we’re kind of fighting to have our genders acknowledge and have ourselves acknowledge as non-binary people and trans people,” Lily said. “And to me, the exploration of breaking the boundaries of human construct goes beyond just gender but I think we have to take it a step at a time. But, I see expression of shapeshifting in various forms to be a very queer and beautiful expression.”
As Lily designed the layout of the exhibition, they wanted to produce a narrative in which the works aesthetically and spiritually elevate one another.
The creations of more than a dozen artists are woven together through various altars scattered around the first-floor gallery space. One element of the exhibition even includes a “sacred cave” showing digital media that attempts to act as an ethereal “birthing process.”
Lily hopes that audiences will see themselves, especially their own divinity, within the art.
Hopefully, exhibit attendees, particularly African-Americans, will “push themselves effortlessly into their own love.”
“I see connections between the work as far as joy and the life that is in the work,” Lily said. “A lot of black art gets categorized and valued for its sorrow and for its pain and for its struggle. And that’s all that ends up uplifted – is our deaths. And, I want to uplift our life, and I want to uplift our joy and our brilliance and our beauty and our expansion and our wisdom and our divinity. And that’s the connection I see between these works and my hope and my desire is that, especially black people, to enter this space and feel that joy.”
An exhibition reconsiders the work of a vaunted Los Angeles Modernist through women’s point of view and the late works of Manet go on view at the Getty Center. Here are eight exhibitions and events to check out in the coming week:
“Soft Schindler,” at the Mak Center. In 1949, Pauline Schindler, estranged from her husband, R.M. Schindler, painted half of the interior of the Modernist home they shared on Kings Road in West Hollywood a shade of salmon pink. For the architect, the paint job breached a design ethos that was all about natural materials. This exhibition explores that idea — how the various inhabitants of the Schindler House have over time softened its hard “masculine” edges with so-called “feminine” design flourishes: pillows, flower pots and curtains. These design binaries inspired the works on view in the show, which include installations by artists such as Tanya Aguiñiga, Bettina Hubby and Alice Lang, among others. Opens Saturday at 7 p.m. and runs through Feb. 16. 835 N. Kings Road, West Hollywood, makcenter.org.
“Manet and Modern Beauty,” at the Getty Museum. Painter Edouard Manet was notorious for large, confrontational nudes that unabashedly challenged convention in their day (such as his infamous “Olympia,” from 1863) and for being part of an upstart group of artists that turned their rejections from the French Academy into the now famous Salon des Refusés. But toward the end of his life, he painted smaller, more intimate works that depicted Paris street life, stylish women and café society. The exhibition will display more than 90 paintings and drawings from the final years of his life. Through Jan. 12. 1200 Getty Center Drive, Brentwood, Los Angeles, getty.edu.
Phillip K. Smith III, “10 Columns,” at Bridge Projects. Smith is known for his large-scale architectural installation projects, such as the mirrored structure he created for the 2017 iteration of Desert X in the Coachella Valley, and the defunct Detroit skybridge he turned into a beacon of colorful light. For the debut of this Hollywood gallery, the artist has created an immersive light installation for the 7,000-square-foot space that is inspired by the shifting nature of light in Los Angeles over the course of a day. Opens Saturday at 3 p.m. and runs through Feb. 16. 6820 Santa Monica Blvd., Hollywood, bridgeprojects.com.
Sadie Barnette, “The New Eagle Creek Saloon,” at the Institute of Contemporary Art, Los Angeles. The Oakland-based artist has created an installation that reimagines the Eagle Creek Saloon, the first black-owned gay bar in San Francisco — which happened to be owned by her father, Rodney Barnette (also a founder of the Compton chapter of the Black Panther Party). One part monument, one part sculpture and one part social space, the installation will be the site of regular events. Through Jan. 16. The artist will hold an art talk and shared birthday party with her father today at 7 p.m. 1717 E. 7th St., downtown Los Angeles, theicala.org.
Tanya Brodsky, “Tongue Tied,” at Ochi Projects. Brodsky is known for creating installations that take the objects of the everyday (say, hand railings) and deploying them in absurdist ways (placing that handrail in a corner to nowhere). For this installation she looks at the ways in which words and images are used to convey meaning — imagine the missives of stock images and upbeat wellness texts distributed by her health insurance company — and how meaning often has a way of slipping between the cracks. Opens Saturday at 6 p.m. and runs through Nov. 9. 3301 W. Washington Blvd., Arlington Heights, Los Angeles, ochiprojects.com.
“Natural History of Horror,” at the Natural History Museum of Los Angeles County. This exhibition explores our fascination with movie monsters with a display that includes film posters and props but also elements of the natural world that inspired their narratives. This includes a coelacanth fish, which served as the basis for the design of “The Creature From the Black Lagoon.” Opens today and runs through April 19. 900 Exposition Blvd., Exposition Park, Los Angeles, nhm.org.
“Night in the City: L.A. After Dark,” at the Natural History Museum. A series of public programs devised by the museum, in collaboration with the Huntington-USC Institute on California and the West, as well as KCET and Artifact Nonfiction, consider the city at night: This kicks off next Tuesday with a film and discussion about working the night shift, followed by conversations about the history of electricity in L.A. (on Oct. 29) and a full-day symposium that will touch on everything from noir novels to the science of evening skies (Nov. 16). Kicks off Tuesday at 6 p.m. 900 Exposition Blvd., Exposition Park, Los Angeles, nhm.org.
Mark Cottle, “The Cost of Money,” at Neutra VDL. Cottle has created a series of architectonic interventions that will inhabit the 1930s-designed home by architect Richard Neutra in Silver Lake. These are made from recycled shopping bags that he assembles into large geometric works that also serve as charts of exchanges, transactions and goods consumed. Opens Saturday at 6 p.m. and runs through Nov. 23. 2300 Silver Lake Blvd., Silver Lake, Los Angeles, neutra-vdl.org.
“Where the Sea Remembers,” at the Mistake Room. This project, devoted to contemporary art made in and about Vietnam, takes several forms, including an exhibition, a program series and a related website. It also marks a new series of collaborations between the Mistake Room and art spaces in Vietnam. The project’s title is inspired by the name of a song that was known widely among people who fled Vietnam after the end of the war in 1975 and will feature works and events by artists with connections to Los Angeles — such as Thinh Nguyen, Truc-Anh and Tuan Andrew Nguyen — as well as many artists who are based exclusively in Vietnam. Through Saturday. 1811 E. 20th St., downtown Los Angeles, tmr.la.
J.A. Feng, “Mothership,” Greg Colson, “Trending and Non-Trending,” and Laura Forman, “New Work,” at Craig Krull Gallery. The gallery has a trio of exhibitions on view. Colson takes elements of modern life and renders them in absurd ways — a painted taxonomy of pillows, for example. Feng produces paintings that fuse the figurative and abstract to tackle the psychological states of women. And Forman’s pastel drawings and plaster sculptures re-create ordinary objects (say, a Hallmark figurine) in odd and curious ways. Through Saturday. Bergamot Station, 2525 Michigan Ave., Bldg. B-3, Santa Monica, craigkrullgallery.com.
Lenz Geerk, “Mixed Blessings,” and Celeste Rapone, “Future Amateur,” at Roberts Projects. The gallery has two solo shows on view. The first is an exhibition of recent work by Geerk, a German painter known for bringing a disquieting intensity to portraiture, landscape and still-lifes. This time around he is focusing on domestic scenes. Also on view are paintings by Rapone, who is based in Chicago, and creates portraits that channel the emotions that result from overexposure: humiliation, vulnerability and self-doubt. Through Saturday. 5801 Washington Blvd., Culver City, robertsprojectsla.com.
“Bauhaus Beginnings,” at the Getty Research Institute. It has been the year of Bauhaus — marking the 100th anniversary of the globally influential art and design school that occupied locations in Berlin, Weimar and Dessau and then famously closed under pressure by the Nazis. This exhibition brings together more than 250 objects, primarily drawn from the Getty’s collections, that look at the school’s founding principles, which are rooted in spiritual expression and the development of a curriculum that touched all forms of artistic practice. Through Sunday. 1200 Getty Center Drive, Brentwood, Los Angeles, getty.edu.
“Gifted: Collecting the Art of California at Gardena High School 1919-1956,” at the Hilbert Museum of California Art. For almost four decades, the senior class at Gardena High School would come together to gift a work of art to their school — including pieces by notable California painters such as Edgar Payne and Maynard Dixon. Now that collection, which includes more than 70 paintings and an extensive archive of related material, is on view at the Hilbert — the most expansive display of the collection since the 1950s. Through Oct. 19. 167 N. Atchison St., Orange, hilbertmuseum.com.
Nathaniel Mary Quinn, “Hollow and Cut,” at Gagosian. In his first exhibition with the gallery, the New York artist is presenting a series of portraits inspired by collage: curious, cobbled-together figures that are composed of fragments of photos and advertising, but which Quinn renders painstakingly by hand. Through Oct. 19. 456 N. Camden Drive, Beverly Hills, gagosian.com.
Eric Beltz, “The Sun, The Moon and Stars, and the Void,” at Kopeikin. Employing only graphite pencil and Bristol paper, Beltz produces elaborate patterned drawings that also dwell on the cosmic. This new series is all about the lunar. Through Oct. 19. 2766 S. La Cienega Blvd., Culver City, kopeikingallery.com.
Julian Stanczak, “The Eighties,” at Diane Rosenstein Gallery. Stanczak was a pioneer of Op-Art (a reference to optical illusions), creating paintings that employ pattern and gradations of color to create subtle plays on light. This exhibition gathers work produced by the artist during an eight-year period in the 1980s. Through Oct. 19. 831 N. Highland Ave., Hollywood, dianerosenstein.com.
Galia Linn, “note to self,” at Five Car Garage. The Los Angeles sculptor and installation artist is debuting a new series of works inspired by shifts in her body and mind after turning 50. She describes the show as “an ode to joy, fear, magic, doubt, self-esteem, darkness and discovery.” Also on view is a two-artist show of painting and sculpture by Raychael Stine and David McDonald. Through Oct. 19. The gallery is housed in a garage in a private home in Santa Monica; email in advance for location details; emmagrayhq.com.
“The Light Touch,” at Vielmetter Los Angeles. A group show features work by artists working in numerous modes of abstraction. This includes a carefully-assembled composition in resin by Sadie Benning and a stylized canvas with a graphic edge by Math Bass, as well as works by Yunhee Min, Iva Gueorguieva, Caitlin Lonegon and Linda Besemer. Through Oct. 19. 1700 S. Santa Fe Ave., downtown Los Angeles, vielmetter.com.
Moffat Takadiwa, “Son of the Soil,” at Nicodim. Takadiwa, who is from Zimbabwe, explores craft and contemporary culture in his first solo exhibition in the United States (taking place in Nicodim’s new downtown location). His massive wall hangings are inspired by Zimbabwean textiles but his materials are drawn from the ravages of modern waste. Through Oct. 19. 1700 S. Santa Fe Ave., #160, downtown Los Angeles, nicodimgallery.com.
Cynthia Daignault, “Elegy,” at Night Gallery. In a large new solo exhibition, the Baltimore-based artist explores environmental calamity in the form of elegiac, black-and-white paintings. Through Oct. 19. 2276 E. 16th St., downtown Los Angeles, nightgallery.ca.
Tala Madani, “S— Moms,” at David Kordansky. The Los Angeles artist, known for her ribald depictions of middle-aged men and babies (and baby men) wreaking all manner of havoc (bodily and otherwise), is presenting a new series of paintings and videos. As the title implies, the show also examines the fraught nature of mothering. Through Oct. 19. 5130 W. Edgewood Place, Mid-Wilshire, davidkordanskygallery.com.
“Nayland Blake’s Opening,” at Matthew Marks. Blake’s work has long explored the fuzziness of identity and sexuality, topics they have tackled in the form of actions and costume play. (Blake uses gender-neutral pronouns.) This exhibition features some of these artistic ensembles, aspects of which evoke the body and nod playfully to BDSM. A novelty candle that forms the word “LOVE” also serves as a point of inspiration for a series of small sculptures. Through Oct. 19. 1062 N. Orange Grove Ave., West Hollywood, matthewmarks.com.
Pamela Smith Hudson, “Marking Space,” at Chimento Contemporary. The Los Angeles artist employs paper and panel to create large-scale abstract works that evoke topographical landscapes. Her process is inspired, in part, by the rhythmic aspect of music, including jazz and punk. Through Oct. 19. 4480 W. Adams Blvd., West Adams, Los Angeles, chimentocontemporary.net.
“Bakeru: Transforming Spirits,” at Japan House. If you are looking for a kid-friendly exhibition that also offers lessons about folk traditions, this is it. In this interactive display, participants don masks that allow digital technology to render them as figures from Japanese folklore on a large screen. These are inspired by tales from the northern region of Tohoku, such as the story of Namahage, a deity that frightens misbehaving children, or Shishi-Odori, a dance in which participants mimic beasts as part of beckoning a good harvest. The show also features paper and 3-D printed masks inspired by these legends. Mask-making workshops for kids will be held throughout the run of the show. Through Oct. 20. Hollywood & Highland Center, Level 2, 6801 Hollywood Blvd., Hollywood, japanhouse.jp.
“Watching Socialism: The Television Revolution in Eastern Europe,” at the Wende Museum. It might be easy to think that television programming screened in the former Soviet bloc would have been an endless stream of propaganda. But reality was more complicated. Residents in border areas often received Western TV signals, complicating the picture of Soviet politics. And in the latter years under communist rule, TV networks introduced advertising — a capitalist conceit that was molded to socialist need. This exhibition looks at the television panorama in Eastern Europe during the Cold War. Through Oct. 20. 10808 Culver Blvd., Culver City, wendemuseum.org.
Robin F. Williams, “With Pleasure,” at Various Small Fires. The New York artist takes tropes of femininity and picks them apart on canvas, reimagining the sensual poses of advertising and imagining the physical embodiments of virtual assistants such as Siri and Alexa. Through Oct. 26. 812 N. Highland Ave., Hollywood, vsf.la.
Laura Krifka, “The Game of Patience,” at Luis De Jesus Los Angeles. Situations that are kind of weird (a nude couple sucking on lemons) and backdrops that are slightly oversaturated (patterned wallpaper straight out of the ’70s) — those are some of the settings for Krifka’s stylized figures. Through Oct. 26. 2685 S. La Cienega Blvd., Culver City, luisdejesus.com.
Dan Barry, “The flowers must all fade fruits must decay,” at Luz de Jesus Gallery. Collages with a retro feel incorporate bits of found imagery, drawing, needlepoint and drawing. Through Oct. 27. 4633 Hollywood Blvd., Los Feliz, laluzdejesus.com.
“Buried by Vesuvius: Treasures From the Villa dei Papiri,” at the Getty Villa. When J. Paul Getty built a museum on his Malibu property in the late 1960s, he chose to model it after the Villa dei Papiri in southern Italy, the luxurious Roman estate from AD 79 uncovered in 1750. This exhibition presents some of the most spectacular archeological finds from the site — including bronzes, marble statuary and objects from the library of papyrus scrolls that give the villa its name. Through Oct. 27. 17985 Pacific Coast Highway, Pacific Palisades, getty.edu.
Elyse Pignolet, “You Should Calm Down,” at Track 16 Gallery. Pignolet takes quotidian aspects of women’s lives — cosmetics, tampons, the crude catcalls that men toss at women on the street — and renders them in Mediterranean-style ceramics, including tiles and vases. This new series takes misogynist expression and renders it in wry, decorative ways. Through Nov. 2. Bendix Building, 1206 Maple Ave., #1005, downtown Los Angeles, track16.com.
Judy Chicago, “Los Angeles,” at Jeffrey Deitch. In the 1960s, before she was known as the artist of high-profile feminist works such as “The Dinner Party,” Chicago was producing painting and sculpture in a much more minimal vein. This show at Deitch explores her early years in Los Angeles and Fresno, when Chicago was mastering the art of color and form. Through Nov. 2. 925 N. Orange Ave., Hollywood, deitch.com.
Theaster Gates, “Line Drawing for Shirt and Cloak,” at Regen Projects. In his second solo exhibition at Regen, Gates is taking his own wardrobe as a point of inspiration for a series of works that will come together to form a large-scale sculpture. The installation, which will feature a new vocal work by the artist, will also employ the storefront areas in ways that comment on questions of consumption and desire. Through Nov. 2. 6750 Santa Monica Blvd., Hollywood, regenprojects.com.
Shana Lutker, “An Analphabet,” at Vielmetter Los Angeles. The title of the exhibition refers to, among other things, the title of a 1947 book of drawings by Man Ray, a book that explored the nature of symbols and letters. This premise serves as the basis of Lutker’s show, which presents a series of sculptures in reflective cut steel inspired by shapes from the artist’s archive of surrealist ephemera. Through Nov. 2. 1700 S. Santa Fe Ave., downtown Los Angeles, vielmetter.com.
Ernesto Neto, “Children of the Earth,” at Tanya Bonakdar Gallery. The Brazilian artist is known for creating immersive environments from hand-dyed fabrics, spices and shells. These interactive spaces — which participants can often fully inhabit — are inspired by craft and the natural world. Through Nov. 2. 1010 N. Highland Ave., Hollywood, tanyabonakdargallery.com.
Zak Ové, “The Invisible Man and the Masque of Blackness,” at the Los Angeles County Museum of Art. The museum’s Cantor Sculpture Garden will be more than just Rodin works this summer as it becomes the installation site for the Trinidadian artist’s platoon of graphite figures evoking traditional African sculpture. The piece nods to histories of racial objectification and key works related to those issues — including Ben Jonson’s 1605 play, “The Masque of Blaqueness,” and Ralph Ellison’s 1952 novel, “Invisible Man.” Through Nov. 3. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.
“Current:LA Food,” in locations around Los Angeles. Food is the sort of topic that can be linked to bounty, to desire and to literal hunger. It is the mannerist object on Instagram. It is the grain that shrivels in a year of drought. And it is the subject of this year’s public art triennial, organized by the City of L.A.’s Department of Cultural Affairs in collaboration with the Institute of Contemporary Art, Los Angeles. This includes major public art commissions in neighborhoods around the city, including sites such as Pan Pacific Park, Leimert Plaza Park, the Venice Beach Recreation Center and Barnsdall Park, among many others, featuring works by artists such as Nari Ward, Jazmin Urrea, Michael Rakowitz, Julio César Morales and Max La Rivière-Hedrick. Check the website for locations and for the many related programming and events. Through Nov. 3. In locations around Los Angeles, currentla.org.
Ari Benjamin Meyers, “Kunsthalle for Music,” at the Museum of Contemporary Art Santa Barbara. Meyers, who is based in Berlin, is turning the museum into a stage in which an ensemble performs a repertoire of musical works composed by the artist and others. Through Nov. 3. 653 Paseo Nuevo, Santa Barbara, mcasantabara.org.
“Paroxysm of Sublime,” at Los Angeles Contemporary Exhibitions. A group show explores the notion of “solastalgia” (a blend of the words “solace” and “nostalgia”), the feelings of distress that occur with changes in a person’s natural environment. The show, organized in collaboration with France Los Angeles Exchange, includes works by Carmen Argote, Beatriz Cortez, Candice Lin, Eddie Aparicio and many others. Through Nov. 3. 6522 Hollywood Blvd., Hollywood, welcometolace.org.
Sayre Gomez, “X-Scapes,” at François Ghebaly. Inspired by trompe l’oeil and filmic set painting, Gomez uses a multitude of techniques to stitch together disparate aspects of the Los Angeles landscape in ways that channel the hyperreal. Themes include the more quotidian aspects of the landscape: strip mall signage and cell towers. Also on view will be sculptures that evoke elements of the urban environment. Through Nov. 3. 2245 E. Washington Blvd., downtown Los Angeles, ghebaly.com.
“Air Land Sea: A Lithographic Suite by William Crutchfield,” at the Norton Simon Museum. The late artist was born in Indianapolis but settled in Los Angeles in the ‘60s, near the port of San Pedro. This provided plenty of inspiration for drawings and prints that dwell on the architectural and the industrial, images of trains, planes and buildings that were all reimagined as hybrids of each other. This show consists of a suite of 13 lithographs printed at the Tamarind Lithography Workshop in 1970. Through Nov. 4. 411 W. Colorado Blvd., Pasadena, nortonsimon.org.
Chris Hood, “Para,” at Praz Delavallade. Hood, an L.A. painter, is making his gallery debut with a series of canvases that layer landscapes, objects and figures — images that the artist harvests from his collection of personal photographs. Through Nov. 9. 6150 Wilshire Blvd., Mid-Wilshire, Los Angeles, praz-delavallade.com.
Analia Saban, “Dry Clean Only,” at Mixografia. The artist is releasing a suite of eight prints inspired by garment labels with the L.A. print-making studio known for producing highly textured, practically three-dimensional works on paper. Their large scale highlights the labels’ aesthetic and utilitarian elements — from font design to the hurried nature in which they are produced. Through Nov. 9. 1419 E. Adams Blvd, Central-Alameda, Los Angeles, mixografia.com.
Gordon Parks, “The Flávio Story,” at the Getty Center. In the early 1960s, photographer Gordon Parks traveled to Brazil and photographed a poignant story about a young favela dweller named Flávio da Silva that highlighted issues of poverty and inequity in that country. But the pictures generated controversy there, where Parks was criticized for creating poverty porn. This led various Brazilian photographers to travel to the U.S. to photograph poverty here. The Getty Museum is showing Parks’ images, along with images by the Brazilian photographers who responded to Parks’ work. Through Nov. 10. 1200 Getty Center Drive, Brentwood, Los Angeles, getty.edu.
Mary Corse, “A Survey in Light,” at the Los Angeles County Museum of Art. This is an overdue survey of one of the few women associated with SoCal’s Light and Space movement, an artist who has long toyed with light and the emotional states it can induce. The show highlights critical moments in Corse’s career: her experiments with shaped canvases, light boxes powered by Tesla coils (that she builds herself) and glass microbeads that make her work shimmer in hallucinatory ways. Through Nov. 11. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.
“B.A.T. State III: Women Artists in Conversation With El Nopal Press,” at the Kleefeld Contemporary Art Museum. A group exhibition gathers works by 37 women artists who, over a span of 30 years, made prints at Francisco X. Siqueiros’ print-making studio, El Nopal Press in downtown Los Angeles. This includes lithographs, relief prints, monoprints and other works produced by artists such as Judith F. Baca, Lisa Adams, Carolyn Castaño, Diane Gamboa, Emily Cheng, Anita Bunn and many others. Through Nov. 14. Cal State Long Beach, 1250 Bellflower Blvd., Long Beach, csulb.edu.
“On the Surface: Wallpaper From 1797 to the Present,” at Palos Verdes Art Center. This broad survey brings together a wide sample of European, English and American wallpapers dating back to the late 18th century — including loaned samples from Zuber & Cie in France, the oldest extant manufacturer of wallpaper in the world. Through Nov. 16. 5504 Crestridge Road, Rancho Palos Verdes, pvartcenter.org or onthesurface.design.
“Visualizing the People’s History: Richard Cross’s Images of the Central American Liberation Wars,” at the Museum of Social Justice. Photojournalist Richard Cross was only 33 years old when his car struck a landmine in Honduras and both he and a fellow journalist — Dial Torgerson, then Mexico bureau chief of the Los Angeles Times — were instantly killed. This exhibition gathers work from 1979 until his death in 1983, during which time Cross covered a range of liberation conflicts in Central America. The show is part of an ongoing effort at the Tom & Ethel Bradley Center at Cal State Northridge to digitize their photographic collection, which places an emphasis on underrepresented communities. Through Nov. 24. 115 Paseo de la Plaza, basement of the La Plaza Methodist Church, downtown Los Angeles, museumofsocialjustice.org.
Matías Duville, “desert means ocean,” at the Museum of Latin American Art. The Argentine artist has spent two months in residency at the museum working on a suite of drawings that parallel the brutal similarities between desert and ocean. Through Dec. 1. 628 Alamitos Ave., Long Beach, molaa.org.
Amir Zaki, “Empty Vessel,” at the Frank M. Doyle Arts Pavilion. This exhibition creates pairings of two types of vessels: broken ceramic containers and the undulating concrete skateparks that dot the California landscape. But rather than present these as objects of utility, Zaki is interested, primarily, in their sculptural qualities. Through Dec. 5. Orange Coast College, 2701 Fairview Rd. Costa Mesa, orangecoastcollege.edu.
“Salt & Silver: Early Photography, 1840-1860,” at the Santa Barbara Museum of Art. Drawn from the archives of the Wilson Centre for Photography in London, this exhibition features more than 100 seldom-displayed salt prints that hark back to the earliest days of photography. Through Dec. 8. 1130 State St., Santa Barbara, sbma.net.
“Every Living Thing: Animals in Japanese Art,” at the Los Angeles County Museum of Art. Lions, dogs, horses, fish and more — this survey looks at the broad representation of animals in Japanese art from the 5th century to the present. The show, which features more than 200 objects, many drawn from LACMA’s collection, examines the use of animals as zodiac symbols, in folklore and the natural world. Through Dec. 8. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.
Umar Rashid (Frohawk Two Feathers), “The World You Know is a Fiction…” at the Vincent Price Art Museum. Rashid takes American historical narratives, scrambles them, then reimagines them in paintings that take on issues such as colonization, war and the building of empires. Produced over several years, the work on view at the museum explores the vicissitudes of power and centers on figures that occupy his so-called “Frenglish Empire,” a fusion of the French and British colonial enterprises. Expect to see battalions of militiamen, freed slaves, indigenous nobility, all drawing on the visual and material traditions of colonial art. Through Dec. 21. 1301 Cesar Chavez Ave., Monterey Park, vincentpriceartmuseum.org.
Carolina Caycedo, “Apariciones / Apparitions,” at the Vincent Price Art Museum. As part of a project that was jointly curated by VPAM and the Huntington Library, Art Collections and Botanical Gardens, Caycedo spent time at the Huntington making a work that responded to the museum collection: a collaborative dance piece with choreographer Marina Magalhães that was inspired by indigenous and African dance practices and which, in many ways, responds to the issues of colonization raised by the entire Huntington enterprise. VPAM is now showing the video from that work, which it has acquired as part of its permanent collection. Through Dec. 21. 1301 Cesar Chavez Ave., Monterey Park, vincentpriceartmuseum.org.
“W|alls: Defend, Divide and the Divine” at the Annenberg Space for Photography. An exhibition takes a broad look at the ways in which humans have constructed barriers and the myriad purposes they have served — and continue to serve — be they political, spiritual or aesthetic. Through Dec. 29. 2000 Avenue of the Stars, Century City, Los Angeles, annenbergphotospace.org.
“The Archival Impulse: 40 Years at LACE,” at Los Angeles Contemporary Exhibitions. LACE, the historic Los Angeles art spot that gave key shows to Mike Kelley and groups such as Survival Research Laboratories in the ’80s, is turning 40 — and to mark the occasion, the organization has been poking around its metaphorical attic (aka its archive) to see what it might turn up. This show gathers elements from that archive as well as video works by a range of Los Angeles artists, including Jim Shaw, Susan Mogul and Reza Abdoh. Through Dec. 31. 6522 Hollywood Blvd., Hollywood, welcometolace.org.
Harry Fonseca, “Coyote Leaves the Res,” at the Autry Museum. The museum acquired the estate of the Sacramento-born painter and is now presenting works from his archive. Fonseca was known for his depictions of Coyote, a canine trickster who materializes in all manner of very human settings. It’s work that nods at the artist’s indigenous heritage without ever getting caught up in cliches. Through Jan. 5. 4700 Western Heritage Way, Griffith Park, Los Angeles, theautry.org.
“The Allure of Matter: Material Art From China,” at the Los Angeles County Museum of Art. A group exhibition features contemporary Chinese artists who are deeply engaged with their materials, be it wood, fabric or assembled scraps of photography. The show spans four decades and features work by Ai Weiwei, Cai Guo-Chiang, Song Dong and many others.Through Jan. 5. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.
“Lari Pittman: Declaration of Independence,” at the Hammer Museum. This is the most comprehensive retrospective of the Los Angeles painter, known for producing deeply layered, wildly ornate canvases that draw from an array of historical painting, textile and graphic traditions to address a range of social and historical conditions. In his work, he touches on queer sexuality, colonialism and the deadly ravages of the AIDS crisis — and all the in-between pieces of life that have to do with love, sex and death. Through Jan. 5. 10899 Wilshire Blvd., Westwood, Los Angeles, hammer.ucla.edu.
“Indian Country: The Art of David Bradley,” at the Autry Museum of the American West. This survey exhibition examines the four-decade career of Bradley (Chippewa), who is known for producing vibrant, figurative paintings inspired by the Native experience — while also wryly poking at stereotypes and Hollywood tropes.Through Jan. 5. 4700 Western Heritage Way, Griffith Park, Los Angeles, TheAutry.org.
Charles Gaines, “Palm Trees and Other Works,” and Philip Guston, “Resilience in 1971,” at Hauser & Wirth. The L.A. conceptual artist is known for using numbered grid systems to generate patterns and images — most famously, of trees. His new series is inspired by native California palms from Palm Canyon near Palm Springs. Also on view are works by the late Abstract Expressionist Philip Guston, who in his later years, became known for delving into figuration and the grotesque. The show focuses specifically on works from 1971, a pivotal year for the artist, including his Roma paintings and Richard Nixon drawings. Through Jan. 5. 901 E. 3rd St., downtown Los Angeles, hauserwirth.com.
“Mexicali Biennial: Calafia — Manifesting the Terrestrial Paradise” at the Armory Center for the Arts. The latest iteration of this roving, cross-border biennial is landing in Pasadena and the theme on this go-around are the literary origins of our state: Calafia, the black queen and her Amazon warriors who figure in Garci Rodríguez de Montalvo’s 16th century novel “Las Sergas de Esplandian,” the figure from which California gets its name. Featured in the show are artists such as Sandy Rodriguez, Mely Barragán, Chelle Barbour, Noé Olivas, Chinwe Okona, Cog*nate Collective, Invasorix and many others. As in other iterations of the biennial, there will be more to the show than the exhibition at the Armory Center, with satellite programming in Calexico, Mexicali and Tijuana. Through Jan. 12. 145 N. Raymond Ave., Pasadena, armoryarts.org.
Martin Durazo, “Monolith(ic),” and Chris Kallmyer, “Sundown Shelter,” at the Grand Central Art Center. The Santa Ana arts center has several exhibitions on view. This includes a new installation by Durazo, consisting of a Lamassu, the winged Assyrian deity (a symbol of power and protection), which will anchor a structure that will serve as a site of performance and lectures and other public events. Also on view will be a new video work by Kallmyer that features Slavic pagan performers in Warsaw. The piece will kick off with an immersive performance. Through Jan.12. 125 N. Broadway, Santa Ana, grandcentralartcenter.com.
“Nineteen Nineteen” at the Huntington Library, Art Collections and Botanical Gardens. Exactly a century ago, Henry and Arabella Huntington signed the trust document that established the Huntington Library in San Marino. This exhibition marks that momentous occasion by looking at the era in which the museum was established, the roiling years after World War I. Featured in the show are photographs, paintings, sculpture, maps, posters, rare books and other objects that define that historical moment. Through Jan. 20. 1150 Oxford Rd., San Marino, huntington.org.
“Following the Box,” at the USC Pacific Asia Museum. A show inspired by found photographs links past and present: 12 contemporary artists — two American and 10 Indian — have created works based on images snapped by an unknown U.S. serviceman in India at the end of World War II. The new pieces encompass a wide variety of media, including painting, installation and artist books. Through Jan. 26. 46 N. Los Robles Ave., Pasadena, pacificasiamuseum.usc.edu.
“No Wrong Holes: Thirty Years of Nayland Blake” at the Institute of Contemporary Art, Los Angeles. The influential artist is know for creating works out of modest materials — old shoes, racks of books, old bottles — that touch on heady topics: the vagaries of race, sexuality, gender and dominance. The artist’s adult-sized gingerbread house in one of the galleries will likely generate all manner of chatter, but the poignant works of video, assemblage and drawing will be worth marinading in too. Through Jan. 26. 1717 E. Seventh St., downtown Los Angeles, theicala.org.
“The Foundation of the Museum,” at the Museum of Contemporary Art. This permanent collection exhibition marks the museum’s 40th anniversary with a display of history-making works, including Chris Burden’s “Exposing the Foundation of the Museum,” 1986, in which the artist dug up a portion of the museum’s floor, revealing its concrete foundations. Through Jan. 27. 152 N. Central Ave., downtown Los Angeles, moca.org.
lauren woods, “American Monument,” at the Beall Center for Art + Technology. In this timely exhibition, the artist explores the ways in which African Americans have lost their lives due to police violence. Painstakingly compiled through government records requests, the central work is a sound installation in which viewers can employ the installed turntables to play audio from police killings. The audio is broadcast within the gallery space and to other exterior locations too. The installation generated headlines last year after the director of the University Art Museum at Cal State Long Beach, where it was supposed to be shown, was fired — and woods silenced the work. Now “American Monument” is back on view at UCI, ready to be seen and heard in full. Through Feb. 8. UC Irvine, 712 Arts Plaza, Irvine, beallcenter.uci.edu.
Gabriela Ruiz, “Full of Tears,” at the Vincent Price Art Museum. In her first solo museum show, the Los Angeles artist also known as “Leather Papi” employs a mix of media — video, 3-D mapping, sculptural installation — to examine identity and the self. Expect a full, wild immersion. Through Feb. 15. East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park, vincentpriceartmuseum.org.
Rodney McMillian, “Brown: Videos from the Black Show,” at the Underground Museum. This exhibition consists of a suite of video works previously shown as part of an installation at the Institute of Contemporary Art, Philadelphia that serve as meditations on class, race, gender and economic status around a central axis of blackness. Through Feb. 16. 3508 W. Washington Blvd., Arlington Heights, theunderground-museum.org.
Julie Green, “Flown Blue,” at the American Museum of Ceramic Art. Green is known for recycling second hand porcelain to create original works in shades of cobalt blue — among them “The Last Supper,” a large-scale installation of more than 800 plates that features last meal requests from inmates on death row. Through Feb. 23. 399 N. Garey Ave., Pomona, amoca.org.
Timothy Washington, “Citizen/Ship,” at the California African American Museum. The Los Angeles artist is known for assemblages he crafts from found objects that he embeds into large-scale armatures often dipped in cotton and white glue. For this show, he is displaying his first installation project, “Citizen/Ship,” a work that fuses Afrofuturism and rah-rah patriotism. Through March 1. 600 State Dr., Exposition Park, caamuseum.org.
OCMAEXPAND: Six new artist installations at the Orange County Museum of Art. The museum, still in its temporary space in an old furniture showroom near South Coast Plaza (do visit — this is a great space), has a whole new rack of installations by six artists working on the Pacific Rim, all of which are inspired by the environment and the natural world. This includes installations by Carolina Caycedo, Daniel Duford, Ximena Garrido-Lecca, Mulyana, Robert Zhao Renhui and Yang Yongliang. Through March 15. South Coast Plaza Village, 1661 W. Sunflower Ave., Santa Ana, ocmaexpand.org.
Betye Saar: “Call and Response,” at the Los Angeles County Museum of Art. Saar is one of the icons of the Black Arts Movements, a Los Angeles assemblagist known for taking some of the ugliest pieces of our culture’s detritus and making out of them things that are stirring and beautiful. This solo show examines the arc of her practice, pairing early schematic sketches with finished versions of her work from throughout her career. Through April 5. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.
Oscar Castillo, “L@s Tarahumaras: Life, Culture and Challenges,” at Jean Deleage Gallery. In 1972, the photographer reported a story about the Tarahumara runners of the High Sierras of Chihuahua. This exhibition showcases some of that work. Through December. Casa 0101 Theater, 2102 1st Street, Boyle Heights, Los Angeles, casa0101.org.
Daniel Hawkins, “Desert Lighthouse.” The Los Angeles-based artist is obsessed with producing works that toy with ideas of grandiosity, failure and gestures that border on the Sisyphean. (One of his goals as an artist is to ultimately build a scale replica of the Hoover Dam.) Now, Hawkins has installed a 50-foot-tall, fully functioning lighthouse in the Mojave Desert in the vicinity of Barstow. The piece even features a light to guide travelers through this rugged landscape. Directions and coordinates can be found on the website. On long-term view, Hinkley, Calif., desertlighthouse.org.
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