art

The imposing Beaux-Arts mansion at the Huntington in San Marino, designed at the start of the 20th century by architects Myron Hunt and Elmer Grey, first opened to the public in 1928, just for a few weekday afternoon hours, following the deaths of founders Arabella and Henry E. Huntington. (They’re buried out on the lawn.) The railroad, shipbuilding and real estate tycoon (1850-1927) and his wife (1850-1924) were sometimes said to be America’s wealthiest couple, equivalent to billionaires today when their fortune is adjusted for inflation, and they had been spending lavishly on art for two decades. Their nonprofit was founded in 1919, partly to take advantage of brand new income tax deductions for charities, a government novelty lessening what was surely a hefty annual federal assessment, plus eventual estate taxes. For more than 30 years after it opened, their grand house-museum held the best art collection — by far — that the suburban Los Angeles public could see.

The Huntington’s Art Museum, once home to Henry and Arabella Huntington, boasts a large collection of European, American and East Asian art.

(Allen J. Schaben / Los Angeles Times)

L.A. has seen various major art museums blossom since the 1960s, but the Huntington collection is still enormously impressive. The centerpiece is European paintings, sculptures and decorative arts — especially 18th century British and, secondarily, French — while American art claims maturing depth. (Chinese and Japanese art holdings are modest.) A 2021 acquisitions partnership with the Ahmanson Foundation is bringing major additions, so far including exceptional paintings by Francisco Goya and Thomas Cole.

What follows is a selection of 22 works, chosen from the mansion and the Virginia Scott Steele Galleries for American Art, a short walk away. (The art’s locations are noted as “M1” or “M2” for the mansion’s two floors, or “S” for the Steele.) Note, however, that this is most definitely not a “best of” list. Some works would surely turn up on such a selection, but the aim here is instead to give an idea of the diverse pleasures that will be found throughout the place. The list is in chronological order.

Twenty-five years ago (25!), I was talking with John Cusack about his movie “High Fidelity,” the one where he played Rob Gordon, a record store owner and compulsive list maker. We were batting around top-fives — Rob’s top five movies: “Blade Runner,” “Cool Hand Luke,” the two “Godfather” films and “The Shining” are as good a list as any — and I asked Cusack if he, like Rob, had a funeral music top five.

“‘Many Rivers to Cross’ feels like the perfect choice at No. 1,” Cusack answered, citing the great Jimmy Cliff’s enduring anthem of perseverance.

Now Cliff has crossed over to the other side, which makes it feel like a good time to cue up “The Harder They Come” — though there is never a bad time to play that trailblazing reggae soundtrack.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, thankful I can see clearly now the rain is gone. Let’s look at how box-office success is all relative these days when it comes to awards season.

With Oscar voters, box-office perception is reality

Misato Morita and Brendan Fraser in the movie “Rental Family.”

(James Lisle / Searchlight Pictures)

What movies are you seeing this Thanksgiving weekend? If you’re pushing aside the pie and leftovers, chances are you might be buying a ticket for “Wicked: For Good” or “Zootopia 2.” The “Wicked” sequel opened to an estimated $150 million last weekend, besting the original and making my optimistic forecast for its Oscar prospects look a little rosier.

Meanwhile, “Rental Family,” a sweet, superficial drama starring Brendan Fraser looking to savage your heartstrings once again, opened to just $3.3 million from nearly 2,000 screens. Even in a lead actor field that isn’t particularly deep this year, Fraser’s chances of returning to the Oscars are now pretty much nil.

“Rental Family” is the latest fall film festival awards contender starring an A-list (or A-list-adjacent) actor to disappear at the box office. The list includes “The Smashing Machine” (Dwayne Johnson), “Christy” (Sydney Sweeney), “After the Hunt” (Julia Roberts and Andrew Garfield) and “Die My Love” (Jennifer Lawrence).

Going through these titles, you could make a case that moviegoers are simply showing discernment. None of the movies worked. Critics shrugged, and audiences responded in kind. Good on Johnson and Sweeney for using their star power to stretch, but when people are questioning if they can afford to eat out at McDonald’s, they’re going to need a reason to buy a ticket beyond mere curiosity.

The dead-on-arrival opening weekends of these movies have recast the lead actor and actress Oscar races, boosting anyone not stained by perception of outright failure.

But in this post-pandemic age of moviegoing, what constitutes success? Pushing through to December when the critics groups (as well as “critics” groups) start handing out awards and nominations, the goal is to convey an impression of success and hope that financial windfall might follow.

For example: Joachim Trier’s decidedly unsentimental family drama “Sentimental Value” has parlayed its strong word of mouth and critical acclaim to decent-enough ticket sales in its limited engagement the last two weeks. No one expects a Norwegian-language movie to burn up the box office. Doing fine is a victory.

Then there’s Richard Linklater’s “Blue Moon,” a modest, moving portrait of legendary Broadway lyricist Lorenz Hart, which opened last month in five theaters, quickly expanded to nearly 700 screens before retreating to a few dozen. It didn’t flame out commercially but has grossed a mere $2 million. That’s … OK. The strong reviews for the film and its lead, Ethan Hawke, have kept Hawke in the conversation for his first lead actor Oscar nomination.

Is it fair that Hawke lives while Lawrence, Sweeney, Roberts and Johnson, whose movies opened wide to disastrous results, feel finished?

“Oscar voters aren’t going to watch a movie that has been deemed a failure,” says a veteran awards publicist, who spoke on the condition of anonymity in order to discuss the situation candidly. “When people read those scary headlines opening weekend, they don’t forget.”

Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

Netflix, which opens its contending films in qualifying releases before they land on the streaming platform, is mostly immune to this kind of negative publicity as it doesn’t report box-office numbers. But it will release the number of “views” its films rack up. Guillermo del Toro’s monster movie “Frankenstein” accumulated nearly 63 million views in its first 10 days; Kathryn Bigelow’s riveting thriller “A House of Dynamite” totaled 31.6 million in its first two weeks. (The company defines a view as the total time spent watching a movie divided by the running time.)

Guess which movie is currently Netflix’s perceived Oscar favorite?

The movie to watch this weekend then, in more ways than one, is Chloé Zhao’s celebrated drama “Hamnet,” which has piled up audience awards at film festivals the last several weeks. Focus Features is platforming it in 100-plus theaters, and if you live in Southern California, you won’t have to drive too far to see this beautiful story of love and loss and transcendent catharsis.

What narrative will emerge? I’ll write more about “Hamnet” on Monday. For now, get thee to a theater and let me know what you think.

Do you like your “Wicked” sweet or sour?

How you answer may be the key in how much you enjoy the sequel, “Wicked: For Good,” which opens today and is on track to sell more tickets in its first weekend than its predecessor.

Will the new movie once again cast a spell at the Oscars? The answer, for the moment, is confusifying.

I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and someone hoping to see a movie at the Village before the Olympics land in L.A. in 2028. Which film should they book to kick off its revival?

‘Wicked’ can’t defy gravity this time

Cynthia Erivo, left, and Ariana Grande perform at the 97th Academy Awards in March.

(Myung J. Chun / Los Angeles Times)

Who wasn’t charmed by the first “Wicked” movie last year? Film critics gave it more than a pass, with reviews scoring a respectable 73 grade on aggregator site Metacritic. Audiences loved it, powering the film to a $758 million worldwide box office haul. And Oscar voters fell in line, rewarding “Wicked” with 10 nominations and wins for production design and costumes. Gratitution abounded.

Repeating success is a taller order, our beloved Dodgers notwithstanding. As noted, multiplexes should be full this first weekend and, you’d expect, the lucrative Thanksgiving weekend as well. But the reviews haven’t been as kind this time around. “Wicked: For Good” sits at a 60 on Metacritic. Empire magazine’s review sums up the sentiment: “‘Wicked: For Good,’ sure — but not quite Wicked: For Great.”

Sequels rarely land as well as the original film, so the drop-off isn’t surprising. And, if you’ve seen the Broadway musical, you already knew this was coming. All the best songs are packed into the show’s first act, culminating in the soaring, sustaining final notes of “Defying Gravity.” But you can only beat that gravitational force for so long before you fall flat on the ground.

That splat you hear is “Wicked: For Good.”

Not everyone feels that way. The Vulture review sports the grabby headline: “‘Wicked: For Good’ is actually better than the first.” Times film critic Amy Nicholson agrees in her write-up titled: “The first one was a candy-colored slog, but ‘Wicked: For Good’ is pleasantly sour.”

Which brings me back to the question I first asked you: What are you looking for in a “Wicked” movie? I enjoyed all the spirited dancing and singing and, yes, the bright, candy colors of the first movie. You want a slog? The sequel takes almost an hour to bring together the two characters you truly care about — Elphaba and Glinda.

To get to that moment, you have endure a lot of filler, as if the musical doesn’t have enough material to sustain two movies totaling nearly five hours. (It doesn’t.)

The so-so critical reaction shouldn’t keep “Wicked: For Good” from picking up a best picture nomination, provided the movie’s fans keep showing up at theaters through the end of the year. With so many high-profile festival films — “The Smashing Machine,” “After the Hunt,” “Die My Love” among them — failing to connect with audiences and critics, there’s room at the inn. Academy voters will likely keep the light on.

Equaling the first film’s 10 nominations will be difficult. Cynthia Erivo and Ariana Grande opened the Oscars ceremony last year in spectacular fashion, but a reunion might not be in the cards. The pair were arguably co-leads in the first movie. “For Good” belongs more to Glinda than Elphaba, charting the Good Witch’s journey from complacency and compliance to … less complacency and compliance. Maybe Glinda’s going to learn from all this and take principled stands moving forward, though the movie doesn’t do enough to convince me. Grande’s dimple has more depth.

Still, Grande figures to score another supporting actress nomination and, who knows, she may well win. Voters love big theater-kid energy in this category, giving Oscars to Jennifer Hudson (“Dreamgirls”), Anne Hathaway (“Les Misérables”), Ariana DeBose (“West Side Story”) and Zoe Saldaña (“Emilia Pérez”) in recent years.

Erivo, placed in the more competitive lead class, might not be as fortunate, as she no longer centers the movie. She still masterfully conveys Elphaba’s vulnerability and sadness, but she’s also saddled with a chemistry-free love story with Capt. Fiyero (Jonathan Bailey). I won’t count her out. But Erivo could well lead the “snubs” and surprises list come nominations morning.

Repeat nominations in production design and costume design, the two Oscars the first movie won, seem safe bets. Hair and makeup does too, as does sound since voters love movies heavy on music. “Wicked: For Good” might pick up another nomination in the newly created casting category, as it won’t be a spot where voters feel like they’re repeating themselves. And while the first movie didn’t have any new songs, “For Good” sports two. Look for “The Girl in the Bubble,” sung by Grande, to pop.

Eight nominations? That’d be a win. The loss would be if “Wicked: For Good” followed the path of the two “Black Panther” movies. The first, a critical, commercial and cultural sensation, earned seven nominations, including best picture, and won three Oscars. The less-regarded sequel picked up five nods, winning one. It was not nominated for best picture.

Sometimes being popular isn’t enough.

Read more coverage of ‘Wicked’

Vatican City is the world’s cheapest destination, where visitors can explore this tiny European country for an average of just £11 per person

If you’re looking to immerse yourself in a place steeped in history and culture, you might assume you’d need to set aside several days and a hefty budget. However, that’s not always the case.

While some destinations do demand more time, there’s one tiny city that can be fully explored in just a day. Even better, it’s the cheapest place to visit globally.

According to research by Safari company Go2Africa, Vatican City is one of the least expensive places to explore worldwide.

They analysed different countries’ total tourism receipts for the year and compared this figure with the total number of international visitors to find out where it was cheapest.

They discovered that visitors to the Vatican have an average spend of just £11 per visitor – the lowest in the world.

This is likely because Vatican City is so small that most of its sites can be seen within a few short hours, eliminating the need for overnight accommodation, reports the Express.

Vatican City is not only Europe’s smallest country but also holds the title for being the smallest in the world by size and population.

Just 501 people call this country home, yet it attracts millions of visitors every year.

If you fancy being one of them, there are some must-see sights during your visit.

One of the most famous is St Peter’s Basilica. Construction began in 1506 and was completed in 1615, making it one of the most renowned works of Renaissance architecture.

The basilica is a significant pilgrimage site, attracting tens of thousands of visitors. It’s also home to stunning works of art and intriguing religious relics.

Art enthusiasts will be thrilled to know that Vatican City houses Michelangelo’s renowned La Pietà sculpture, widely regarded as one of the most emotionally stirring sculptures ever crafted.

This marble masterpiece portrays the Virgin Mary holding the body of Christ after his crucifixion. Positioned at the entrance of the basilica, it’s one of the world’s most celebrated pieces of art.

Serious financial woes have plagued the Palm Springs Art Museum for at least six years, according to internal documents obtained by The Times. Recent developments have opened a Pandora’s box.

On Jan. 15, the accounting firm conducting the annual audit of the museum’s 2024 books attached to its report a “letter of material weakness,” a standard accounting practice for alerting a client to the reasonable possibility that its internal financial statements are significantly out of whack.

Less than three months after the audit letter, in early April, the museum’s director suddenly resigned, and trustee defections began. A cascade of at least eight resignations from the museum’s board of trustees — nearly one-third of its membership — has occurred since spring. One resignation came on the advice of the trustee’s attorney. With 19 trustees remaining, according to a listing on the museum’s website, the total number has fallen below the minimum of 20 required in the museum’s by-laws.

Palm Springs Art Museum board chair Craig Hartzman did not respond to multiple requests for comment.

Accountants at Eide Bailly, citing a “deficiency in internal control” at the museum, highlighted six areas of concern, including problems with reporting of endowment spending, improper recording of the market value of donated and deaccessioned art, and faulty recording of admissions revenues.

Former museum director Adam Lerner had reportedly been negotiating a three-year contract renewal when he stepped down. Without elaborating on his unexpected decision to depart, he was cited in a museum press release as leaving for personal reasons. Lerner returned to Colorado, where he previously headed the Museum of Contemporary Art Denver.

Reached by text, Lerner declined a request for interview, referring questions to the museum.

Financial problems at PSAM are not new. According to six pages of notes obtained by The Times, compiled by a trustee who led a task force charged with examining museum finances, the ending statement on the 2019 endowment balance was $3 million higher than the beginning balance on the 2020 statement. Audits and tax returns posted on the museum website confirm the puzzling discrepancy.

The notes say it is “highly unlikely” the funds were stolen. Instead, they question internal museum accounting practices, which can create a misleading appearance of fiscal health. By the 2021 audit, the outside accounting firm that had been preparing them annually prior to Eide Bailly had quit.

“This is always a red flag,” wrote museum trustee Kevin Comer, an art collector who retired after 30 years as a managing director at Deutsche Bank in New York, and who is a former professor of accounting and fiduciary management techniques at the Ohio State University. A trustee for less than two years, Comer resigned Nov. 6.

Reached by telephone, Comer declined to discuss the accounting firm’s letter or the task force notes.

Palm Springs Art Museum

(Guillaume Goureau/Palm Springs Art Museum)

Since late July, a lengthy anonymous email has also been circulating from a self-described “whistleblower with a direct relationship” to the Palm Springs Art Museum. Fourteen itemized complaints, most concerning fiscal matters, are presented with sobriety, plus a slow burn of understandable anger. Whether or not the unidentified whistle blower has an ax to grind is unknown to me, but plainly the email is not a list of wild accusations hurled by an unreliable gadfly.

The coherent level of informed specificity certainly suggests authorship by a knowledgeable insider. Some stated grievances may have benign explanations, while others are troubling.

Comer pulled few punches in his own letter of resignation to fellow trustees, also obtained by The Times. The fiduciary expert, a former member of the board’s finance committee, said he was resigning on the advice of his attorney.

The board, Comer alleged, is sidestepping the fundamental fiduciary obligation to protect “the integrity of the museum, despite our best intentions.” The letter urges hiring both a law firm and a forensic accounting firm to review museum finances, partly to untangle apparently inappropriate methods in the past for the benefit of the current board, and partly to address potential liability.

An earlier task force suggestion to that effect was discussed by the board but went unheeded, he charges.

Especially concerning is a 2019 reclassification of some restricted funds. Task force notes suggest the $3-million discrepancy between 2019 and 2020 may have originated as a change in restricted funds to unrestricted status. Assets specifically donated for a particular function could then appear to be available for general operating purposes.

The museum consistently operated at a loss, the notes say, with some operating shortfalls covered by the 2019 reclassification. A deficit is not unusual for an art museum, but whether the reclassifications of some restricted funds were appropriate appears to be in doubt. Presumably, funds reclassified as unrestricted at the end of one year to make the financial filing look good may have had their restricted status restored at the start of the next year.

Restricted funds can include money raised through the deaccession and sale of art donated to a museum’s collection. Common museum ethical standards require income from deaccessioned art to be sequestered, used only for other art purchases, as well as for direct care of the collection. For accounting purposes, the monetary value of a nonprofit museum’s art collection is not considered a material asset to be carried on the books. Reclassification of sequestered art funds could support an appearance of general financial vigor.

During the lengthy 2020 pandemic closure, the cash-strapped museum made the controversial decision to deaccession and then sell a prized 1974 Helen Frankenthaler painting, which brought $4.7 million at auction. The 2024 audit puts total donor restricted funds for art purchases and collection maintenance at $7.8 million.

To pay the bills the museum has also been drawing down the endowment. According to the 2024 audit, the most recent financial statement currently available, the endowment is slightly more than $17 million — extremely small for a museum that last year had an operating budget of approximately $10.5 million.

“Endowment draws over the past decade totaled roughly $8 million, and contributions to the endowment totaled roughly $500,000,” the notes report. “Most years the museum operated at a loss, including for the last three years when the board believed we were profitable,” it states.

Such a disproportion between fundraising and expenditure, between money coming in and money going out, is frankly unsustainable for this — or any — art museum, especially when inflation is factored in.

The endowment is a nonprofit’s “seed corn,” eaten for short-term gain only at its long-term peril. Most disturbing: The notes suggest that while the five-person executive committee may have been aware of some of the situation’s more difficult details, the rest of the board appears not to have been fully informed of the museum’s financial position
.
“Bottom line,” Comer’s resignation letter astutely observes, “this is a leadership group that doesn’t know what it doesn’t know, and that is the most dangerous place in which an institution can be placed.”

The Palm Springs Art Museum has apparently wedged itself firmly between a rock and a hard place. Now, it is unclear how the museum can move forward without a full cohort of 20 trustees authorized to vote on making essential decisions — including accepting new members to the board.

California is once again fighting in federal court for a Jewish family’s right to have a precious Impressionist painting returned to them by a Spanish museum nearly 90 years after it was looted by the Nazis.

The state is also defending its own authority to legally require art and other stolen treasures to be returned to other victims with ties to the state, even in disputes that stretch far beyond its borders.

The state has repeatedly weighed in on the case since the Cassirer family first filed it while living in San Diego in 2005. Last year, it passed a new law designed to bolster the legal rights of the Cassirers and other families in California to recover valuable property stolen from them in acts of genocide or political persecution.

On Monday, California Atty. Gen. Rob Bonta’s office filed a motion to intervene in the Cassirer case directly in order to defend that law. The Thyssen-Bornemisza Collection Foundation — which is owned by Spain and holds the Camille Pissarro masterpiece — has claimed that the law is unconstitutional and should therefore be ignored.

Bonta, in a statement to The Times, said the law is “about fairness, moral — and legal — responsibility, and doing what’s right,” and the state will defend it in court.

“There is nothing that can undo the horrors and loss experienced by individuals during the Holocaust. But there is something we can do — that California has done — to return what was stolen back to survivors and their families and bring them some measure of justice and healing,” Bonta said. “As Attorney General, my job is to defend the laws of California, and I intend to do so here.”

Bonta said his office “has supported the Cassirers’ quest for justice for two decades,” and “will continue to fight with them for the rightful return of this invaluable family heirloom.”

Thaddeus J. Stauber, an attorney for the museum, did not did not answer questions from The Times. Bonta’s office said Stauber did not oppose its intervening in the case.

Sam Dubbin, the Cassirers’ longtime attorney, thanked Bonta’s office for “intervening in this case again to defend California’s interests in protecting the integrity of the art market and the rights of stolen property victims.”

“California law has always provided strong protections for the victims of stolen property and stolen art in particular, which the Legislature has consistently reinforced,” Dubbin said.

The state bucked the powerful U.S. 9th Circuit Court of Appeals by passing the law last year. The appellate court found in a ruling in January 2024 that the painting was lawfully owned by the Spanish museum.

Bonta’s latest move ratchets up the intrigue surrounding the 20-year-old case, which is being watched around the globe for its potential implications in the high-stakes world of looted art litigation.

The painting in question — Pissarro’s “Rue Saint-Honoré in the Afternoon. Effect of Rain” — is estimated to be worth tens of millions of dollars. Both sides acknowledge it was stolen from Lilly Cassirer Neubauer by the Nazis in 1939, after she agreed in desperation to surrender it to a Nazi appraiser in exchange for a visa to flee Germany at the dawn of World War II.

The attention surrounding the case, and its potential to set new precedent in international law, likely makes the painting even more valuable.

After World War II, Lilly received compensation for the painting from the German government, but the family never relinquished its right to the masterpiece — which at the time was considered lost. What she was paid was a fraction of the current estimated worth.

In the decades that followed, Lilly’s grandson Claude Cassirer — who had also survived the Holocaust — moved with his family to San Diego.

In 2000, Claude made the shocking discovery that the painting was not lost to time after all, but part of a vast art collection that Spain had acquired from the late Baron Hans Heinrich von Thyssen-Bornemisza, the scion of a German industrialist family with ties to Hitler’s regime. Spain restored an early 19th-century palace near the Prado Museum in Madrid in order to house the collection as the Museo Nacional Thyssen-Bornemisza.

Claude asked the museum to return the painting to his family. It refused. He sued in U.S. federal court in 2005. The case has been moving through the courts ever since.

California passed its new law in response to the 9th Circuit ruling last year, which held that state law at the time required it to apply an archaic Spanish law. That measure dictates that the title to stolen goods passes legitimately to a new owner over time, if that owner wasn’t aware the goods were stolen when they acquired them — which the Thyssen-Bornemisza Collection has argued makes its ownership of the painting legally sound.

In September 2024, Gov. Gavin Newsom signed the new law during a small gathering with the families of Holocaust survivors at the Holocaust Museum LA. Lilly’s great-grandson and Claude’s son David Cassirer, who now lives in Colorado, was there, praising the state’s lawmakers for “taking a definitive stand in favor of the true owners of stolen art.”

In March, the Supreme Court in a brief order ruled that the 9th Circuit must reconsider its ruling in light of California’s new law.

In September, the Thyssen-Bournemisza Collection filed a motion asking the appellate court to rule in its favor once more. It put forward multiple arguments, but among them was that California’s new law was “constitutionally indefensible” and deprived the museum of its due process rights.

“Under binding Supreme Court precedent, a State may not, by legislative fiat, reopen time-barred claims and transfer property whose ownership is already vested,” the museum argued.

It said the U.S., under federal law, “does not seek to impose its property laws or the property laws of its own states on other foreign sovereigns, but rather expressly acknowledges that different legal traditions and systems must be taken into account to facilitate just and fair solutions with regard to Nazi-looted art cases.”

It said California’s law takes an “aggressive approach” that “disrupts the federal government’s efforts to maintain uniformity and amicable relations with foreign nations,” and “stands as an obstacle to the accomplishment and execution of federal policy.”

David Cassirer, the lead plaintiff in the case since Claude’s death in 2010, argued the opposite in his own filing to the court.

Cassirer argued that California’s new law requires an outcome in his favor — which he said would also happen to be in line with “moral commitments made by the United States and governments worldwide, including Spain, to Nazi victims and their families.”

“It is undisputed that California substantive law mandates the award of title here to the Cassirer family, as Lilly’s heirs, of which Plaintiff David Cassirer is the last surviving member,” Cassirer’s attorneys wrote.

They wrote that California law holds that “a thief cannot convey good title to stolen works of art,” and therefore requires the return of the painting to Cassirer.

Assemblymember Jesse Gabriel (D-Encino), who sponsored the bill in the legislature, praised Bonta for stepping in to defend the law — which he called “part of a decades long quest for justice and is rooted in the belief that California must stand on the right side of history.”

How do you find inspiration? Say you’re doing your holiday shopping and you’re struggling to find the perfect gift for that difficult person on your list — parent, partner, paramour. How do you let your mind drift to a place where the clouds part and you achieve a sort of awakening?

To be honest, I don’t always get there. But caffeine is usually a good place to start.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, back in your inbox for the next few months as we sail through the atmospheric river of awards season. Climb aboard.

Cover story: The best six minutes in movies this year

(Bexx Francois / For The Times)

You might remember how much I love “Sinners,” Ryan Coogler’s audacious, genre-defying blockbuster that explores the intrinsic power of American blues music and Black life in the Jim Crow South within the context of a vampire horror movie.

So I was thrilled to talk with Coogler and his longtime department heads — a movie family that includes Oscar winners who have been with him since his 2013 debut, “Fruitvale Station” — for The Envelope’s first cover story of the season. There were a dozen different ways I could have gone with the piece, but our conversations kept coming back to the scene in the juke joint when young Sammie (Miles Caton) conjures spirits from the past and future onto the dance floor.

How did Coogler summon this scene? It goes back to that question I asked at the outset: How do you find inspiration?

For Coogler, “Sinners” began on Nov. 17, 2021, a date fixed in his mind because it was the day one of his favorite rappers, Young Dolph, was murdered. Coogler was devastated. And his mind drifted back to Nipsey Hussle, the L.A. rapper gunned down outside his South L.A. clothing store in 2019. Coogler was living in Los Angeles at the time, trying to get a “Space Jam” sequel off the ground.

“I felt like I had my heart ripped out, bro,” Coogler told me. “I have two younger brothers I’m really close with, and I remember reading an article in the L.A. Times about his older brother recounting what happened. It just broke me. And then I get the news that Dolph’s been killed in his hometown, and I just remember feeling, ‘I’m done with rap, man.’”

Later, Coogler spoke with his friend, “Black Panther” producer Nate Moore, lamenting that rappers who talk about their lives, beating the odds and escaping hardship, sometimes end up succumbing to the thing they thought they left behind. Moore isn’t a rap guy, but told Coogler that his favorite music, grunge, was just like that — in this case, artists addressing their struggles with depression and addiction and then, on occasion, overdosing or taking their own lives.

Toward the end of that day, Coogler was driving back from the set of “Black Panther: Wakanda Forever.” Passing through Byron, Ga., the Oakland native looked out his window and saw, for the first time in his life, a cotton field. During our interview, Coogler pulls out his phone and finds a video his sister-in-law shot of him taking it all in and picking a sprig of cotton. Coogler kept it, eventually putting it on his work desk at home.

“That was a part of finding ‘Sinners,’” Coogler says. “The other thing that happened was I started listening to grunge music, taking a break from rap. And as soon as I put the music on, I was like, ‘Yo, this feels like my uncle’s. It led me right back to his record collection.”

That uncle, James Edmonson, loved the blues. Coogler’s cousin, Edmonson’s youngest daughter, told the filmmaker about a Bill Withers’ song, “I Can’t Write Left-Handed,” written from the perspective of a Vietnam veteran. Coogler listened to it, and it reminded him of “Rooster,” the Alice in Chains song written by guitarist Jerry Cantrell for his father, who served in Vietnam.

“So I’m playing these two songs one after another, and I’m like, ‘These genres that you wouldn’t find next to each other at a Tower Records back in the day, they’re so close,’” Coogler says. “And studying the history of it, it’s people playing it different, but it’s the same idea.”

“And that’s when I realized I had to make ‘Sinners.’”

Coogler scrolls through his phone and shows a picture of the cotton sprig on his desk. He dedicated “Sinners” to his uncle, who died about a decade before it arrived in theaters.

“So many cosmic moments came together for this movie,” Coogler says. “I was always like, ‘All right. I just gotta make sure I don’t f— it up.’”

The most insulting thing about the success of Breaking Rust, an artificial intelligence “artist” that topped Billboard’s Country Digital Song Sales Chart this week, is the titles of the hits.

“Walk My Way.”

“Living on Borrowed Time.”

The EP — which is also on the charts — is called “Resilient,” as if Breaking Rust spent years playing for tips in empty bars. And maybe Aubierre Rivaldo Taylor, who is credited for writing the songs, did. But the bluesy voice we hear singing about pain and suffering did not overcome anything.

In fact, you could say this completely computer-generated country singer found chart success by mocking people. A year ago, a handful of loud industry folks in Nashville questioned whether Beyoncé, who was born and raised in Texas, was country enough to do a country album. Good times. Today AI-generated “performers” such as Breaking Rust and Xania Monet, which hit the Billboard R&B charts, are suggesting you don’t even need to be human to fit into those genres.

Eric Church, whose latest release “Evangeline vs. the Machine,” was nominated this month in the best contemporary country album category at the Grammys, told me he’s not too worried because fans still want to see live shows and “AI algorithm is not going to be able to walk on stage and play.” He says that the best thing the industry can do is establish AI music as its own genre and that award shows should establish a separate category.

“I think it’s a fad,” he said, adding that he finds it fun. “When people like a song or connect with an artist the ultimate thing for them is then to go experience that artist with people who also like that artist, that’s the ultimate payoff. You’re not going to be able to do that with AI.”

Church wraps up touring on Saturday at the Intuit Dome in Inglewood. In addition to promoting the new album, this year his foundation began providing housing for victims of Hurricane Helene using funds from a benefit concert. The North Carolina native also released a single to raise funds to help his neighbors. You know, things only a flesh-and-blood artist can do. Regarding Breaking Rust, he said: “The better thing we should be doing is making the general public aware that it’s AI because … I don’t think they know that.”

“The biggest problem is the ability to deceive people or manipulate people because it looks real, it sounds real, it’s pretty disingenuous if you didn’t say it,” Church told me. “I’ve seen stuff from me that is online.… They take my face and they put it on another body.… My mom sent me one and I was like, ‘Mom, that’s not me.’

“That’s where it gets dangerous and that’s where it gets scary.”

If AI-generated “musicians” like Breaking Rust are a passing fad, as Church suggests, it’s one that’s been 50 years in the making. While use of the voice box on recordings goes back to the 1960s, it was the 1975 recording of Peter Frampton’s double live album, “Frampton Comes Alive,” that popularized its use. In the 1980s Zapp had a string of gold albums with front man Roger Troutman using the voice box technology to make his voice sound futuristic, and in the 1990s AutoTune went from being a tool producers use to fine-tune a singer’s pitch on a recording to being the featured sound on a recording. This gave us Cher’s global chart-topper “Believe.”

Over the decades, technology in the studio has made it possible for the vocally challenged to usurp craftsmanship and talent.

Before MTV debuted in 1981, we were warned that video was going to kill the radio star. That obviously didn’t happen. And now, AI-generated video can theoretically replace filmed human performances. But even that should not be a threat to real stars.

As with most things in life, when expertise is devalued, it’s easier to pass trash off as treasure. AutoTune and AI are enabling people who lack musical talent to game the system — like audio catfish.

When an artist like Church sings of heartbreak, listeners can identify with his lived experience. However, Breaking Rust is on the top of the charts with a song called “Walk My Way” … and the entity singing those words has never taken a step.

That’s not to say an AI ditty can’t be catchy. It most certainly can be. I just wonder: If the artist isn’t real, how can the art be?

YouTube: @LZGrandersonShow

To watch “Trifole” is to fall in love with Langhe, a gorgeous section of the Piedmont region of northern Italy. Famed for its farming, cheeses and wine, this hilly, rural countryside feels cut off from modernity: an agrarian past perfectly preserved in an uncertain present. Among Langhe’s hallmarks is its rich tradition of truffle foraging, which becomes the centerpiece for director Gabriele Fabbro’s gentle drama about an aging truffle hunter, his restless granddaughter and a way of life vanishing before their eyes. Unfortunately, this heartfelt film resonates most strongly through those majestic landscapes, not via the story that unfolds.

Constructed with the elemental purity of a fable, “Trifole” introduces the viewer to Dalia (Ydalie Turk), who’s in her late 20s and visiting her grandfather Igor (Umberto Orsini). The trip is a reluctant one for Dalia. Prompted by her anxious mother Marta (Margherita Buy), she’s taking a break from her stalled life in London to check in on him due to Marta’s concern that his failing memory may require him to abandon his beloved crumbling cottage and enter a nursing home. When Igor initially mistakes Dalia for his daughter — Dalia’s mother — his confusion validates Marta’s worries.

Happy to live out the rest of his days in his remote paradise alongside his loyal dog Birba, who ably assists him in his truffle hunts, Igor is displeased that Dalia has rejected her family roots for the big city. Indeed, Dalia has trouble with her Italian, and when she offers to help him find truffles, he insists his granddaughter doesn’t have the instincts or the calloused hands necessary for the job. But Igor isn’t just adept at sniffing out truffles — he quickly deduces that she’s emotionally lost. (A writing career hasn’t materialized as she’d hoped.) Both of them are at a crossroads, neither sure what the future holds.

Turk and Fabbro, who co-wrote the screenplay, did extensive research on the region, incorporating locals’ stories into the narrative. No matter how fantastical “Trifole” eventually becomes, the filmmakers insist the plot points derive from tales they collected. (To that end, there actually is an Igor, Birba is a real truffle-hunting dog and there’s a 2020 documentary, “The Truffle Hunters,” that correlates with much of what we see.) Not surprisingly, this melancholy picture celebrates and mourns Langhe, a region imperiled by global warming and encroaching industrialization that threaten the once-fecund practice of truffle gathering. Igor’s fading memory proves to be an apt, albeit obvious metaphor for a vocation slowly losing its connection to its past as truffles have emerged as a hot gastronomic trend.

In its early stretches, “Trifole” is almost rudimentary in its storytelling, establishing a familiar generational conflict between Dalia and Igor, who live under the same roof but can’t see eye to eye. When she tries to compliment his picturesque farmland, he curtly responds, “It’s nothing like the soil I knew when I was young.” The tension only escalates once Dalia discovers he’s terribly behind on his mortgage, owing hundreds of thousands he doesn’t have. Igor’s only hope is to find an elusive (and valuable) white truffle that could save him from foreclosure. But he is now too frail to brave the deep woods. Dalia, guided by Birba, must take up the quest.

The film’s themes are simply drawn and easy to follow. Dalia may reside in cosmopolitan London but is, of course, miserable, with wise old Igor immediately diagnosing the cause of her malaise. “You don’t love anything,” he advises sagely. “This will end up hurting you a lot.” Consequently, Dalia’s journey to find the mythical white truffle will also be an opportunity to locate a sense of purpose, coming to appreciate her grandfather in a more profound way. Turk conceives her character as a collection of insecurities and hesitant expressions, making Dalia the perfect candidate to be metaphorically reborn through an unlikely forest adventure in which magical events will occur.

In his sophomore feature, Fabbro, who previously directed the 2021 romantic thriller “The Grand Bolero,” juxtaposes the quiet grace of Igor’s modest life with the cacophony and commercialism of contemporary truffle auctions. But Fabbro’s wistful salute to bygone traditions has significant limitations, especially noticeable in the reductive design of his diametrically opposed main characters. Now in his early 90s, Orsini (best known for Luchino Visconti’s 1969 drama “The Damned”) projects a fragile but resilient gravitas that’s quite affecting, but Igor is reduced to a noble symbol — a simplification that also undercuts Dalia, who is little more than a stand-in for a younger generation ignorant of its country’s history.

Only when Fabbro trains his camera on the Langhe skies, the land stretching off into the distance, does “Trifole” suggest the weight and majesty of a culture in danger of disappearing. You can almost touch the sacred soil of Igor’s youth, a world that he alone remembers.

We live in Pasadena with our two teen boys, 14 and 17. We moved from the East Coast four years ago and are still getting to know all the interesting neighborhoods, foods and quirks of Los Angeles. We spent a lot of time in Little Tokyo as we love all things Japanese, but we need to explore more and see other neighborhoods that we don’t even know about. We’re interested in art, but not really art museums because that’s too boring for teen boys. We love food as an anchor for a visit to a neighborhood. Can you give me some suggestions? — Margaret Hunt

Looking for things to do in L.A.? Ask us your questions and our expert guides will share highly specific recommendations.

Here’s what we suggest:

I don’t have kids yet, but every time my siblings visit me from Las Vegas, I’m reminded of how difficult it is to keep teenagers entertained (and off their phones). But it sounds like your boys have some cool interests. We’ve put together a few mini itineraries in different neighborhoods. You won’t be able to cover them all in one day, so choose your own adventure.

If your teens are into the art form of comic books, check out Revenge Of, not too far from Pasadena in Glassell Park. “The shop, with its black-and-white tile floors, murals and neon lighting, is full of comic books, graphic novels and collectibles,” Times entertainment and features editor Brittany Levine Beckman tells me. “There are also pinball machines and arcade games, which may be as fun for you as they are for your kids.” Next door is sister shop And Destroy, which offers coffee and inventive beverages (the November menu includes a cornbread matcha concoction and sweet potato latte), and hosts a board game day on Sundays. Up the street is Bub and Grandma’s diner (the tuna made our food critic’s list of great sandwiches in L.A. a few years ago). But be warned, it gets packed on the weekends, so prepare to wait for a table or order to go.

For a Westside option, given that your family is already acquainted with Little Tokyo, explore L.A.’s other Japanese enclave: Sawtelle. Kick off your adventure at Odd One Out, an award-winning boba tea shop, then take a quick walk to the Giant Robot store, which is often cited as the birthplace of Asian pop culture products. Your kids will love browsing the shelves. In a Times guide to Sawtelle, Grace Xue writes that it’s packed with “quirky-cool art pieces, blind boxes, plushies, home goods, toys, anime merch and gifts that will delight the young and young at heart.” Across the street is Giant Robot’s sister gallery, GR2. The snug art hub is anything but boring — this month’s group exhibit features dinosaur art. By now, you’ve probably worked up an appetite and the noodles at Wadaya are hearty enough to satisfy the stomachs of teen boys. Times contributor Tiffany Tse recommends its mazemen: “the rich, sauce-slicked, brothless cousin of the classic noodle bowl.”

A neighborhood that should be at the top of every East Coaster’s list is Los Feliz, one of the most walkable areas in L.A. Start your day off at Ululani’s Hawaiian Shaved Ice, a Maui-born sweet shop that sells cloud-like shaved ice that is so soft it practically melts in your mouth. There are fun flavors like cotton candy and pickled mango. Once you’ve secured your treats, head to Barnsdall Art Park, where you can relax on on a luscious lawn and take in a stunning view of the city. Don’t forget to bring a picnic blanket, and for bonus points, bring a card game to play. I did this with my siblings and we had so much fun. You can also tour the century-old, Frank Lloyd Wright-designed Hollyhock House from Thursday to Saturday — advance tickets are recommended. Have a quick dinner at smash burger hot spot Goldburger and be sure to order the curly fries. Finally, wrap up your evening at Vista, a glorious single-screen movie theater owned by Quentin Tarantino.

Now for some rapid-fire picks across L.A.: There’s Koreatown, where you can take your pick of delicious Korean BBQ joints, then go bowling at Shatto 39 Lanes, virtual golfing at W Screen Golf or sing your heart out at karaoke. My colleague, food writer Stephanie Breijo, also suggests checking out Santa Monica’s pier, Camera Obscura Art Lab, “some of the L.A.’s best pastries at Petitgrain Boulangerie” and having dinner at Southeast Asian hot spot Cobi’s. For an off-the-beaten-path art option, there’s Phantasma Gloria, one Echo Park man’s massive front-yard sculpture. It’s made of rebar and colorful glass bottles, and shines differently depending on the light that day. You can see the art from the street on a drive-by or schedule a free tour by texting the creator, Randlett King Lawrence, in advance at (213) 278-1508. He says he has some “recent spectacular expansions.” Finally, Downtown L.A. is overflowing with things to do such as exploring the treasured Last Bookstore, eating food from around the globe at Grand Central Market, taking a ride along the iconic Angels Flight railway and learning about music history at the Grammy Museum.

Living in L.A. is realizing how expansive it is. Each time I feel like I’ve figured this city out, something new and exciting pops up, sending me down a road of discovery. So as you and your family explore the sprawling city, I hope you find more and more reasons to love it as much as I do.

If our waking hours are a canvas, the art is how one fills it: tightly packed, loosely, a little of both. At a time when they were both 40 and the art scene in ’70s New York was in thrall to street-centered youth of all stripes, real-life writer Linda Rosenkrantz asked her close friend, photographer Peter Hujar, to make a record of his activities on one day — Dec. 18, 1974 — and then narrate those details into her tape recorder the following day at her apartment.

The goal was a book about the great mundane, the stuff of life as experienced by her talented confidants. In Hujar’s case, an uncannily observant queer artist and key gay liberation figure planning his first book, what emerged was a wry narrative of phone calls (Susan Sontag), freelancing woes (is this gig going to pay?), celebrity encounters (he does an Allen Ginsberg shoot for the New York Times) and chance meetings (some guy waiting for food at the Chinese restaurant). The Hujar transcript, recovered in 2019 sans the tape, was ultimately published as “Peter Hujar’s Day.”

Now director Ira Sachs, who came across the text while filming his previous movie “Passages,” has given this quietly mesmerizing, diaristic conversation cinematic life as a filmed performance of sorts, with “Passages” star Ben Whishaw perfectly cast as Hujar and Rebecca Hall filling out the room tone as Rosenkrantz. (They also go to the roof a couple of times, which offers enough of an exterior visual to remind us that New York is the third character getting the time-capsule treatment.)

From the whistle of a tea kettle in the daylight as Hujar amusingly feels out from Rosenkrantz what’s required of him, to twilight’s more honest self-assessments and a supine cuddle between friends who’ve spent many hours together, “Peter Hujar’s Day” captures something beautifully distilled about human experience and the comfort of others. For each of us, any given day — maybe especially a day devoid of the extraordinary — is the culmination of all we’ve been and whatever we might hope to be. That makes for a stealthy significance considering that Hujar would only live another 13 years, succumbing to AIDS-related complications in 1987. It was a loss of mentorship, aesthetic brilliance and camaraderie felt throughout the art world.

Apart from not explaining Hujar for us (nor explaining his many name drops), Sachs also doesn’t hide the meta-ness of his concept, occasionally offering glimpses of a clapperboard or the crew, or letting us hear sound blips as it appears a reel is ending. There are jump cuts too, and interludes of his actors in close-up that could be color screen tests or just a nod to Hujar’s aptitude for portraits. It’s playful but never too obtrusive, approaching an idea of how art and movies play with time and can conjure their own reality.

The simple, sparsely elegant split-level apartment creates the right authenticity for Alex Ashe’s textured 16mm cinematography. The interior play of light from day to night across Whishaw and Hall’s faces is its own dramatic arc as Hujar’s details become an intimate testimony of humor, rigor and reflection. It’s not meant to be entirely Whishaw’s show, either: As justly compelling as he is, Hall makes the act of listening (and occasionally commenting or teasing) a steady, enveloping warmth. The result is a window into the pleasures of friendship and those days when the minutiae of your loved ones seems like the stuff that true connection is built on.

MIAMI BEACH — South Florida is seeing a wave of new cars, but they won’t add to traffic or lengthen anyone’s commute. That’s because the cars are made of marine-grade concrete and were installed underwater.

Over several days late last month, crews lowered 22 life-size cars into the ocean, several hundred feet off South Beach. The project was organized by a group that pioneers underwater sculpture parks as a way to create human-made coral reefs.

“Concrete Coral,” commissioned by the nonprofit REEFLINE, will soon be seeded with 2,200 native corals that have been grown in a nearby Miami lab. The project is partially funded by a $5-million bond from the city of Miami Beach. The group is also trying to raise $40 million to extend the potentially 11-phase project along an underwater corridor just off the city’s 7-mile-long coastline.

“I think we are making history here,” Ximena Caminos, the group’s founder, said. “It’s one of a kind, it’s a pioneering, underwater reef that’s teaming up with science, teaming up with art.”

She conceived the overall plan with architect Shohei Shigematsu, and the artist Leandro Erlich designed the car sculptures for the first phase.

Colin Foord, who runs REEFLINE’s Miami coral lab, said they’ll soon start the planting process and create a forest of soft corals over the car sculptures, which will serve as a habitat teeming with marine life.

“I think it really lends to the depth of the artistic message itself of having a traffic jam of cars underwater,” Foord said. “So nature’s gonna take back over, and we’re helping by growing the soft corals.”

Foord said he’s confident the native gorgonian corals will thrive because they were grown from survivors of the 2023 bleaching event, during which a marine heat wave killed massive amounts of Florida corals.

Plans for future deployments include Petroc Sesti’s “Heart of Okeanos,” modeled after a giant blue whale heart, and Carlos Betancourt and Alberto Latorre’s “The Miami Reef Star,” a group of starfish shapes arranged in a larger star pattern.

“What that’s going to do is accelerate the formation of a coral reef ecosystem,” Foord said. “It’s going to attract a lot more life and add biodiversity and really kind of push the envelope of artificial reef-building here in Florida.”

Besides the project being a testing ground for new coral transplantation and hybrid reef design and development, Miami Beach Mayor Steven Meiner expects it to generate local jobs with ecotourism experiences such as snorkeling, diving, kayaking and paddleboard tours.

The reefs will be located about 20 feet below the surface of the water and about 800 feet from the shore.

“Miami Beach is a global model for so many different issues, and now we’re doing it for REEFLINE,” Meiner said during a beachside ceremony last month. “I’m so proud to be working together with the private market to make sure that this continues right here in Miami Beach to be the blueprint for other cities to utilize.”

The nonprofit also offers community education programs, where volunteers can plant corals alongside scientists, and a floating marine learning center, where participants can gain firsthand experience in coral conservation every month.

Caminos, the group’s founder, acknowledges that the installation won’t fix all of the problems — which are as big as climate change and sea level rise — but she said it can serve as a catalyst for dialogue about the value of coastal ecosystems.

“We can show how creatively, collaboratively and interdisciplinarily we can all tackle a man-made problem with man-made solutions,” Caminos said.

Fischer writes for the Associated Press. Associated Press videojournalist Cody Jackson contributed to this report.

Somehow in Los Angeles, everything comes back to traffic.

While making their works featured in the Hammer Museum’s Made in L.A. biennial, artists Patrick Martinez, Freddy Villalobos and Gabriela Ruiz set out to capture the essence of the city’s crammed streets through different lenses.

For over a decade, the Hammer has curated its Made in L.A. series to feature artists who grapple with the realities of living and making art here. It’s an art show that simultaneously pays homage to legacy L.A. artists like Alonzo Davis and Judy Baca, and gives a platform to newer faces such as Lauren Halsey and Jackie Amezquita.

This year’s show, which opened last month, features 28 artists. As part of that cohort, Martinez, Villalobos and Ruiz bring their lived experiences as Latinos from L.A. to the West Side art institution, drawing inspiration from the landscapes of their upbringing.

While creating their displayed works, Martinez took note of the many neon signs hanging in stores’ windows, leading him to make “Hold the Ice,” an anti-ICE sign, and incorporate bright pink lights into his outdoor cinder block mural, “Battle of the City on Fire.” With flashing lights and a shuttered gate tacked onto a painted wooden panel, Ruiz drew on her experiences exploring the city at night and the over-surveillance of select neighborhoods in the interactive piece, “Collective Scream.” Villalobos filmed Figueroa Street from a driver’s perspective, observing the street’s nighttime activity and tracing the energy that surrounds the place where soul singer Sam Cooke was shot.

This year, Made in L.A. doesn’t belong to a specific theme or a title — but as always, the selected art remains interconnected. These three artists sat down with De Los to discuss how their L.A. upbringing has influenced their artistic practice and how their exhibited works are in conversation. Made in L.A. will be on view until March 1, 2026.

The following conversation has been condensed and edited for clarity.

All three of you seem to put a spotlight on various elements of L.A.’s public spaces. How is your art affected by your surroundings?

Ruiz: I really got to explore L.A. as a whole, through partying and going out at night. I prefer seeing this city at night, because there isn’t so much traffic. That’s how I started my art practice. I would perform in queer nightlife spaces and throw parties in cheap warehouses. With my commute from the Valley, I would notice so much. I wouldn’t speed through the freeway. I’d instead take different routes, so I’d learn to navigate the whole city without a GPS and see things differently.

Martinez: That’s also how I started seeing neons. I had a studio in 2006 in downtown, off 6th and Alameda. I would wait for traffic to fade because I was staying in Montebello at the time. I would drive down Whittier Boulevard at night. And you see all the neon signs that have a super saturated color and glow bright. I thought about its messaging. None of the businesses were open that late. They were just letting people know they were there.

Ruiz: Specifically in this piece [“Collective Scream”], there’s a blinking street lamp. It reminds me of when I would leave raves and would randomly see this flickering light. It’s this hypnotizing thing that I would observe and take note of whenever I was on the same route. There’s also a moving gate, [in my piece,] that resembles the ones you see when you’re driving late at night and everything’s gated up.

Villalobos: You do experience a lot of L.A. from your car. It’s a cliche. But f— it. It’s true. When I moved out of L.A., I felt a little odd. I missed the bubble of my car. You can have what seems to be a private moment in your car in a city that’s packed with traffic and so many people. It made me think about what that means, what kind of routes people are taking and how we cultivate community.

Patrick Martinez’s “Battle of the City on Fire,” made in 2025, was inspired by the work of the muralist collective, named the East Los Streetscapers.

(Sarah M Golonka / smg photography)

It’s interesting that you all found inspiration in the biggest complaints about L.A. Maybe there’s something to think about when it comes to the way those born here think of car culture and traffic.

Martinez: I see its effects even with the landscapes I make. I’ll work from left to right, and that’s how we all look at the world when we drive. I always think about Michael Mann movies when I’m making landscapes, especially at night. He has all those moments of quiet time of being in the car and just focusing on what’s going on.

Beyond surveying the streets, your works touch on elements of the past. There’s a common notion that L.A. tends to disregard its past, like when legacy restaurants shut down or when architectural feats get demolished. Does this idea play any role in your work?

Martinez: The idea of L.A. being ashamed of its past pushed me to work with cinder blocks [in “Battle of the City on Fire”]. One of the main reasons was to bring attention to the East Los Streetscapers, the muralists who painted in East L.A. [in the 1960s and ‘70s as a part of the Chicano Mural Movement]. There was this one mural in Boyle Heights that was painted at a Shell gas station. It was later knocked down and in the demolition pictures, the way the cinder blocks were on the floor looked like a sculptural painting. It prompted me to use cinder blocks as a form of sculpture and think about what kind of modern-day ruins we pass by.

Villalobos: Speaking about L.A. as a whole feels almost too grand for me. But if I think about my specific neighborhood, in South Central, what comes to my mind is Black Radical Tradition. It’s where people are able to make something out of what other people might perceive as nothing. There’s always something that’s being created and mixed and mashed together to make something that, to me, is beautiful. It’s maybe not as beautiful to other people, but it’s still a new and creative way to see things and understand what comes before us.

Ruiz: Seeing my parents, who migrated to this country, come from nothing and start from scratch ties into that idea too. Seeing what they’ve been able to attain, and understanding how immigrants can start up businesses and restaurants here, speaks so much to what L.A. is really about. It’s about providing an opportunity that everybody has.

So it’s less about disregarding the past and more about making something out of nothing?

Martinez: It ties back to necessity, for me. Across this city, people come together by doing what they need to do to pay rent. It’s a crazy amount of money to be here. People need to regularly adjust what they do to survive. Recently, I’ve been seeing that more rapidly. There are more food vendors and scrolling LED signs, advertising different things. Once you understand how expensive this backdrop can be, that stuff sits with me.

Freddy Villalobos’ “waiting for the stone to speak, for I know nothing of aventure,” is an immersive work in which viewers can feel loud vibrations pass as they, figuratively, travel down Figueroa Street.

(Sarah M Golonka / smg photography)

We’ve talked a lot about how the past affects L.A. and the role it plays in your art. Does a future L.A. ever cross your mind?

Villalobos: I feel very self-conscious about what I’m gonna say. But as much as I love L.A. and as much as it helped me become who I am, I wouldn’t be too mad with it falling apart. A lot of people from my neighborhood have already been moving to Lancaster, Palmdale and the Inland Empire. When I go to the IE, it feels a little like L.A. and I’m not necessarily mad at that.

Ruiz: It’s really difficult to see what the future holds for anybody. Even with art, what’s going to happen? I don’t know. It’s really challenging to see a future when there’s a constant cycle of bad news about censorship and lack of funding.

Martinez: It’s murky. It’s clouded. This whole year has been so heavy, and everyone talking about it adds to it, right? We’re facing economic despair, and it’s all kind of heavy. Who knows what the future will hold? But there are definitely moves being made by the ruling class to make it into something.

When Los Angeles County Museum of Art director Michael Govan first stepped up to the podium at the museum’s star-packed 14th annual Art + Film Gala, the Dodgers were down one point to the Toronto Blue Jays in the eighth inning of the final game of the World Series.

There was no giant screen in the massive tent where a decadent dinner was being served Saturday night in celebration of honorees artist Mary Corse and director Ryan Coogler. Instead guests in elaborate gowns and tuxedos discreetly glanced at their phones propped on tables and at the base of flower vases across the star-packed venue. This became apparent when Miguel Rojas hit a game-tying home run at the top of the ninth inning and the whole room erupted in cheers.

Michael Govan, CEO of LACMA, wearing Gucci, speaks onstage during the 2025 LACMA Art+Film Gala.

(Amy Sussman / Getty Images for LACMA)

When Govan returned to the stageto begin the well-deserved tributes to the artist and filmmaker of the hour, the game had been won, the effusive cheering had died down, and the phones had been respectfully put away.

“Go Dodgers!” Govan said, before joking that LACMA had engineered the win for this special evening. The room was juiced.

It made Los Angeles feel like the center of the universe for a few hours and was fitting for an event that famously brings together the city’s twin cultural bedrocks of art and cinema, creating a rarefied space where the two worlds mix and mingle in support of a shared vision of recognizing L.A.’s immeasurable contributions to the global cultural conversation.

“This is a celebration that can only happen in L.A. — where art, film and creativity are deeply intertwined,” Govan said. “I always say this is the most creative place on Earth.”

The event raised a record $6.5 million in support of the museum and its programs. Co-chairs Leonardo DiCaprio and LACMA trustee Eva Chow hosted a cocktail party and dinner that drew celebrities including Dustin Hoffman, Cynthia Erivo, Cindy Crawford, Queen Latifah, Angela Bassett, Lorde, Demi Moore, Hannah Einbinder, Charlie Hunnam and Elle Fanning alongside local elected officials and appointees including U.S. Rep. Sydney Kamlager-Dove (D-Los Angeles); L.A. County Supervisors Holly Mitchell and Lindsey Horvath; L.A. Councilmember Katy Yaroslavsky; West Hollywood Councilmember John M. Erickson, and Kristin Sakoda, director of the Los Angeles County Department of Arts and Culture.

Sakoda said she thoroughly enjoyed the festivities “as representative of the incredibly diverse culture of Los Angeles and how that speaks to our entire nation.”

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1. George Lucas arrives at the LACMA Art + Film Gala on Saturday. (Jordan Strauss / Invision via Associated Press) 2. Elle Fanning arrives at the LACMA Art + Film Gala on Saturday. (Jordan Strauss / Invision via Associated Press) 3. Angela Bassett arrives at the LACMA Art + Film Gala on Saturday. (Jordan Strauss / Invision via Associated Press)

A special nod of gratitude went to previous gala honorees in attendance including artists Mark Bradford, James Turrell, Catherine Opie, Betye Saar, Judy Baca, George Lucas and Park Chan-Wook. Leaders from many other local arts institutions also showed up including the Hammer Museum’s director, Zoe Ryan; California African American Museum Director Cameron Shaw; and MOCA’s interim Director Ann Goldstein.

Rising in the background was LACMA’s new David Geffen Galleries, the 110,000-square-foot Peter Zumthor-designed building scheduled to open in April as the new home for the museum’s 150,000-object permanent collection.

“Every day I’m in that little building behind installing thousands of artworks,” Govan said to cheers. “I can’t wait for people to rediscover our permanent collection, from old favorites to new acquisitions. It’s a monumental gift to L.A., and in addition to L.A. County and the public, I would like to thank the person whose generosity brought us to this landmark moment, Mr. David Geffen.”

Geffen sat in a sea of black ties and glittering gowns, near Disney CEO Bob Iger and DiCaprio — who had been filmed earlier in the week in attendance at Game 5 of the World Series at Dodger Stadium.

Govan also gave a special acknowledgment to former LACMA board co-chair, Elaine Wynn, who died earlier this year and was one of the museum’s most steadfast champions. Wynn contributed $50 million to the new building — one of the first major gifts in support of the effort. Govan noted that the northern half of the building will be named the Elaine Wynn wing.

Honoree Ryan Coogler, wearing Gucci, speaks onstage during the 2025 LACMA Art+Film Gala.

(Amy Sussman / Getty Images for LACMA)

Left unmentioned was the fact that earlier in the week LACMA’s employees announced they are forming a union, LACMA United, representing more than 300 workers from across all departments, including curators, educators, guest relations associates and others. One worker told The Times there were no plans to demonstrate at the gala, which raises much-needed funds for the museum.

The crowd sat rapt as the night’s guests of honor, Corse and Coogler, humbly spoke of their journeys in their respective art forms, with Govan introducing them as “artists whose brilliant groundbreaking work challenges us to see the world differently.”

The night concluded with an enthusiastic performance by Doja Cat on an outdoor stage in the shadow of the David Geffen Galleries, the lights girding its massive concrete underbelly like stars in the sky.

“It was a beautiful evening of community coming together around something that reminds us of our shared humanity at a time when we need it,” said Yaroslavsky with a smile as the evening wound down.