The dinosaurs are coming this holiday season. The South Coast Botanic Garden in Palos Verdes Estates will host “Dinosaurs Around the World,” bringing 13 lifelike animatronic figures to the green space.
Running Nov. 1 to Jan. 31, the exhibit will feature a broad array of reptiles, ranging from the 6-foot-long Australovenator to a nearly 30-foot-long Tyrannosaurus rex. Guests can see the dinosaurs on two walking trails. One is a short loop designed primarily for young children, which will feature a little more than half of the dinosaurs, while the other is a full jaunt around the garden.
All the dinosaurs will move, some will roar and none will bite.
The South Coast Botanic Garden host 13 animatronic dinosaurs this winter, including a Neovenator.
(Imagine Exhibitions)
On weekends, South Coast will run a separately ticketed, eight-passenger tram dubbed the “Pangaea Express” that will include a tour of the exhibit with dinosaur and garden facts. The goal, in part, is to highlight the so-called “living fossils” of the South Coast Botanic Gardens.
“Specifically, we have a Dawn Redwood that we’re going to be talking about a bit,” says Claire Griswold, the garden’s learning and engagement manager. “We have a really great collection of Ginkgo trees as well, and Sago palm cycads.” A living fossil is a term for a species that was once known only from its fossil record and was later discovered in living form, apparently preserving the physical features from long-gone ancestors.
“Dinosaurs Around the World” is a touring exhibit from creative experiential firm Imagine Exhibitions. It was developed in conjunction with paleontologist Gregory M. Erickson, currently a member of the faculty of Florida State University.
Griswold hopes the exhibit is a way to marry some of the wonder and technology of a theme park with the natural awe of an 87-acre botanical garden.
‘Dinosaurs Around the World’
“Whether or not you learn something, you still get to have a great experience in nature and do something outside of the ordinary,” Griswold says. “And what’s more fun than dinosaurs, really?”
The Los Angeles area is blessed with numerous gardens that will host seasonal events this fall and winter. Descanso Gardens in La Canada Flintridge, for instance, will be bringing back its Halloween-focused Carved, while the Huntington in San Marino will host its otherworldly-focused Strange Science for a weekend in late October.
NEW YORK — The Smithsonian Institution has removed from an exhibit a reference to President Trump’s two impeachments, a decision that comes as the White House exerts pressure to offer a more positive — and selective — view of American history. A spokesperson said the exhibit eventually “will include all impeachments.”
A label referring to impeachment had been added in 2021 to the National Museum for American History’s exhibit on the American presidency, in a section called “Limits of Presidential Power.” Smithsonian spokesperson Phillip Zimmerman said Friday that the section, which includes materials on the impeachment of President Clinton and the Watergate scandal that helped lead to President Nixon’s resignation, needed to be overhauled. He said the decision came after the museum was “reviewing our legacy content recently.”
“Because the other topics in this section had not been updated since 2008, the decision was made to restore the Impeachment case back to its 2008 appearance,” Zimmerman said in an email.
He said that in September 2021, the museum installed a temporary label on content concerning Trump’s impeachments. “It was intended to be a short-term measure to address current events at the time,” he said. But the label remained in place.
“A large permanent gallery like the American Presidency that opened in 2000 requires a significant amount of time and funding to update and renew,” he said. “A future and updated exhibit will include all impeachments.”
White House spokesperson Davis Ingle said the Smithsonian has “highlighted divisive DEI exhibits which are out of touch with mainstream America” for too long.
“We are fully supportive of updating displays to highlight American greatness,” he said in a statement that did not address the missing reference to Trump’s impeachments.
Trump’s impeachments were more recent
Trump is the only president to have been impeached twice — in 2019, for pushing Ukraine President Volodymyr Zelensky to investigate Joe Biden, who would defeat Trump in the 2020 election; and in 2021 for “incitement of insurrection,” a reference to the Jan. 6, 2021, siege of the U.S. Capitol by Trump supporters attempting to halt congressional certification of Biden’s victory.
The Democratic majority in the House voted each time for impeachment. The Republican-led Senate each time acquitted Trump. Soon after Trump’s first impeachment, the history museum issued a statement saying that curators “will determine which objects best represent these historic events for inclusion in the national collection.”
Since returning to office in January, Trump has cut funding, forced out officials and otherwise demanded changes across a range of Washington cultural institutions, including the Smithsonian, the Library of Congress, the Kennedy Center and the National Endowment for the Humanities.
The current administration has targeted interpretations of history
In March, Trump issued an executive order titled “Restoring Truth and Sanity to American History,” in which he alleged that the Smithsonian was beholden to “a divisive, race-centered ideology.” He has placed Vice President JD Vance in charge of an effort to ensure no funding goes to “exhibits or programs that degrade shared American values, divide Americans based on race, or promote programs or ideologies inconsistent with Federal law and policy.”
Congressional Democrats issued a statement in April calling Trump’s order a “flagrant attempt to erase Black history.”
Last week, artist Amy Sherald canceled a planned exhibit at the National Portrait Gallery after officials raised concerns over her painting “Trans Forming Liberty, 2024,” in which she depicts a nonbinary transgender person posing as the Statue of Liberty. Sherald is best known for her painting of then-First Lady Michelle Obama, which was commissioned by the Portrait Gallery.
Founded in the 19th century, the Smithsonian oversees a network of cultural centers that includes the portrait gallery, the history museum, the National Zoo and the Smithsonian Gardens. News of the Trump impeachment label being removed was first reported by the Washington Post.
For thousands of years, the Chumash people lived along California’s Central Coast and on its Channel Islands. Then the newcomers arrived — Spanish explorers, Catholic missionaries, Mexican rancheros, California settlers — and the Chumash way of life was dismantled, their people enslaved and their traditions, culture and language forbidden.
So it’s hardly surprising that the main message at the new Santa Ynez Chumash Museum and Cultural Center is as poignant as it is defiant: “We are the first people. And we are still here.”
The Santa Ynez Band of Chumash Indians Elders Council commissioned New Mexico sculptor George Rivera to create this arresting bronze sculpture, “Keeping Our Culture Alive,” to stand near the entrance to the museum.
(Patrick W. Price)
The museum, which opened in May, sits on Highway 246 and Edison Street in tiny Santa Ynez, just across the road from Chumash Casino Resort operated by the Santa Ynez Band of Chumash Indians. But where the resort is a sleek, modern high-rise, the low-lying museum and lushly landscaped grounds are dedicated to the past, showcasing the stories, craftsmanship and even the plants of the Chumash, whose bands ranged along the coast from Malibu to Morro Bay and as far inland as the San Joaquin Valley, said Nakia Zavalla, the tribal historic preservation officer and cultural director of the Santa Ynez band.
While the focus is on the past, however, the museum’s storytelling is high-tech, with lots of interactive displays that activate with just the wave of a hand. The tribe doesn’t permit photos inside the museum, and the few photos provided for publication don’t really do the exhibits justice, so believe me when I say the displays are far more engaging than just shelves of artifacts and well worth a visit for adults and children.
From the large parking lot, the path to the entrance winds along a man-made recirculating stream lush with spiky, deep-green mounds of deergrass (Muhlenbergia rigens), feathery sandbar willow (Salix exigua) and a variety of juncus such as basket rush (Juncus textilis), used for making the tribe’s intricate baskets. The 3.5-acre grounds as well as the museum itself were designed by Jones & Jones Architects of Seattle, which also designed the Smithsonian National Museum of the American Indian in Washington, D.C.
The main entrance is visually stunning, bringing visitors inside a larger-than-life “ap” (pronounced ahp), a towering representation of the traditional Chumash dwellings made from willow branches and dried leaves of tule plants, such as hardstem bulrush (Schoenoplectus acutus), which also grows on the grounds. The museum’s entry is like a giant dome with a big round skylight at the top. The large, sloping walls feature projections of birds taking flight and sparks rising from the faux firepit in the center of the room, along with detailed illustrations recognizing the region’s Chumash bands.
The broad curving walls and round skylight of the giant dome-shaped “ap” create a distinctive and dramatic entrance to the Santa Ynez Chumash Museum and Cultura Center.
(Patrick W. Price)
Inside, the exhibits are arranged in a meandering flow (just follow the blue line) that introduces visitors to a large and engaging range of interactive displays and stories, many of which were provided by elder Maria del Refugio Solares, Zavalla’s “fifth great-grandmother” and one of the last native speakers of the Chumash language Samala. Some tribal members are trying to resurrect Samala through classes and “just getting together and speaking with each other,” said Zavalla. “It’s opened so many doors to understanding our culture, our medicinal plants and ceremonies.”
Solares died in 1923 at 81, but left wax cylinder recordings of Chumash songs, stories and translations with linguist and Native American language ethnologist John Peabody Harrington. Incorporating Solares’ songs and stories makes the exhibits come alive.
For instance, near the beginning of the permanent exhibit there is a cave-like room explaining the Chumash understanding of the universe, which is divided into three levels. The upper world is inhabited by celestial Sky People, such as Sun and Sky Coyote, whose peón gambling games affected the seasons for everything from harvesting acorns to hunting game. The dark, eerie lower world is dominated by two giant rattlesnakes whose writhings cause the ground in the middle world — our world — to shake.
The phases of the moon? Those are caused by the way Slo’w, the Sky Eagle, stretches his wings. Thunder? The result of two brothers in the Upper World playing a rowdy stick game.
Nearby, an alcove features a preserved California condor known as AC8, the last female in the wild who was taken into captivity in 1986 to become part of a breeding program to rebuild the critically endangered population of North America’s largest land bird. In the exhibit, you must look up to see her, preserved as if in flight, her massive wings outstretched, while below is a miniature depiction of the local hills with a small gliding shadow of a condor in flight.
Further on are hunting outfits made from deer and bear heads and skins, examples of traditional Chumash stick and gambling games, and stuffed animals for children that were — literally — dead, cuddly rabbits carefully preserved. There are exquisite medallions and hair ornaments made from iridescent abalone shells and strings of Chumash currency — tiny, doughnut-shaped beads created from carefully cut olivella shells.
A coiled line with large silver hooks, attached to a smooth, palm-size rock was once used for fishing and is now part of the exhibit at the Santa Ynez Chumash Museum and Cultural Center.
(From the Santa Ynez Chumash Museum and Cultural Center)
And of course, there are multiple examples of Chumash basket weaving, from the tightly woven vessels used to hold food and even water to the carriers designed to securely tote babies. The museum includes more recent history as well, such as the startling news that running water wasn’t available on the reservation until 1969.
Outside, in the 3.5-acre cultural park, you can follow a winding trail through the Ancestor’s Grove — young coast live oak trees, each with a marker honoring a deceased tribal elder — to view the long redwood plank canoe known as a tomol, big enough to seat at least six adults and used annually to re-create the trips their ancestors made between the mainland and the Channel Islands. The park also features another recirculating stream and 100 species of native plants that would have provided food, shelter and habitat in the region before the explorers and colonists arrived.
The landscape is constantly changing, said Megan Carey, the museum’s collections and archives manager. “One of my favorite things about the Culture Park is that you see something different, something blooming, every week.”
A condor’s-eye view of the sprawling Santa Ynez Chumash Museum and Cultural Center, with its 3.5 acres of paths through 100 species of hyperlocal native plants.
(From the Santa Ynez Chumash Museum and Cultural Center)
Twenty-five years ago on Sept. 11, 2000, UPN debuted a comedy called “Girlfriends” that followed the lives of four Black women living in Los Angeles.
The show’s creator, Mara Brock Akil, who’d gotten her start writing on shows like “South Central,” “Moesha” and “The Jamie Foxx Show,” was tired of seeing out-of-touch depictions of Black women on screen. She wanted to raise a mirror to Black women and showcase them in their fullness as fleshed out characters who are ambitious, creative, messy at times and most importantly nuanced.
The first season of “Girlfriends” on DVD.
(Jason Armond / Los Angeles Times)
For eight seasons until the show was abruptly canceled in 2008, viewers tuned in to watch the tight-knit friend group that included Joan (Tracee Ellis Ross), Toni (Jill Marie Jones), Lynn (Persia White) and Maya (Golden Brooks) navigate relationships, sexism at work, beauty, classism, sexuality and everything in between. Today, “Girlfriends,” which was added to Netflix’s catalog in 2020, is widely considered one of the most influential TV shows to affect Black culture.
To commemorate the 25th anniversary of “Girlfriends,” DCDG & Co., an L.A.-based fine arts agency, has teamed up with the cast and Loren LaRosa of iHeartRadio’s “The Breakfast Club” to independently curate an art exhibition that pays homage to the groundbreaking series. The showcase, which explores the show’s core themes including sisterhood, ambition and self-discovery through photography, sculpture, paintings, an installation and more, will be on display from Friday through Sunday at the Line Hotel in Koreatown.
Each artwork featured in the all Black women exhibition was selected by the “Girlfriends” cast and LaRosa — all of whom are first time art curators. The three-day event will also feature an artist talk led by DCDG & Co. co-founder Delaney George on Saturday, which is open to the public.
A sculpture of a Black woman’s head titled “She” by Alé Reviere was selected for the exhibition.
(Jason Armond / Los Angeles Times)
“[This] show deserves to be celebrated and if we in the culture don’t do it, then we’re just waiting for the powers that be or networks that are transitioning to a digital space,” says David Colbert Jr., co-founder of DCDG & Co. “These moments might get passed up on.”
“Girlfriends: A Visual Tribute” is part of DCDG & Co.’s ongoing curatorial series called Iconic Visions, which invites individuals in various creative spaces like TV, film, music, fashion and sports to step into the role of curator.
When Colbert brought the idea about doing the exhibit to his friend Brooks — whom he met at Frieze a couple of years ago — her response was an immediate yes.
“We are wearable art,” says Golden Brooks. “We are visual art in the space of a TV show.”
(Jason Armond / Los Angeles Times)
“I always want to do something special for [these milestones] because it is a bookmark of everything that “Girlfriends” has done,” says Brooks. “We are still uplifting communities. We are still entertaining and empowering the daughters of the mothers who watch the show, so we’re kind of raising generations of young women.”
Brooks, who has been a longtime supporter of the L.A. arts community, says having an art exhibition to celebrate the anniversary was the perfect way to blend both of her passions.
“We are wearable art. We are visual art in the space of a TV show,” she says. “This also inspired artists to celebrate how they see us as women of color, as women in a space of unity and connection, and what better way to be the springboard and the catalyst to celebrate what sisterhood looks like?”
White, who’s been drawing and painting since she was a child, had a similar reaction to being a part of the exhibit. “When they sent me the links to the art, I literally got tears in my eyes,” she says. “I was just really touched by the women and [their] different experiences.”
“Girlfriends: A Visual Tribute” also features a solo exhibition put together by DCDG & Co. cultural curator Erika Conner, which is a collection of photos of iconic Black women including Rihanna, Lil Kim and Naomi Campbell, taken by renowned photographer Cheryl Fox.
While the main exhibition pays tribute to “Girlfriends,” there’s only one artwork — a mixed media piece by Jillian Thompson that uses acrylic, thread and collage — that displays the beloved friends group’s actual faces. All of the other artwork draws inspiration from the show’s aesthetic, style and themes.
McKayla Chandler, a multidisciplinary artist based in L.A., created an interactive installation for the exhibit called “Mama’s Hands Only.” The installation mimics a living room and features a couch, rug, an entertainment center with family photos sprinkled on top and an old school TV that displays episodes of “Girlfriends.” The focal point of the installation, which hangs on a wall above the couch, is a large portrait of Chandler’s mother braiding her hair as she’s done since she was a little girl.
A close-up of multidisciplinary artist McKayla Chandler’s installation titled “Mama’s Hands Only.”
(Jason Armond / Los Angeles Times)
“To me it feels like connection. Any young, Black woman or Black kid in general can relate to sitting in their mom’s lap and getting their hair braided,” says Chandler. “[The show] is really about these friends going through life together, going through different relationships and even bickering with each other, [then] coming back together. It’s a very special bond that they have with each other, so [with] me thinking about showing my mom here and having this place for you to sit down, look through someone’s old photographs and watch ‘Girlfriends,’ it lends to the nostalgic feeling of it all.”
Although Tiffany “Just Rock” Brown, a photographer based in L.A., primarily takes photos of men, particularly male rappers, she decided to submit a few images for the “Girlfriends” exhibit because she grew up watching the show with her family. Her photo, titled “In This Light,” that was selected for the show depicts two Black women embracing while on the set of Kendrick Lamar’s “Not Like Us” music video, which was shot in Nickerson Gardens.
A painting titled “Leona’s in the Upper Room” by Marie Jose is featured in the “Girlfriends: A Visual Tribute” exhibit.
(Jason Armond / Los Angeles Times)
“These girls are the epitome of what you see when you come to these areas, but they’re also the inspiration for high fashion, for all those things that don’t get acknowleged,” she says. It reminded her of the void that “Girlfriends” filled when it debuted.
“I think there’s beautiful representation of what [Black people] have done and what we’ve accomplished, and “Girlfriends” is a true representation of that,” says Brown. “Women that were dressed flawlessly. They were beautiful. They were successful. They were just living life and trying to find love, just regular stories. It’s very much still a space that’s missing [in television], but I think it should definitely be celebrated.”
Like Brown, Brittany Byrd, a multidisciplinary artist from L.A., was also introduced to “Girlfriends” at a young age. “It was just always on in my house,” says Byrd. “I just remember seeing Tracee Ellis Ross and I was like, ‘Damn, she’s beautiful!’”
For the exhibit, Byrd created a piece titled “Episode 17,” which is inspired by an episode in Season 4 titled “Love, Peace and Hair Grease.”
“It’s mostly about Lynn and her exploring her hair through her identity as a Black woman, but whether you’re mixed or all Black, hair is something that is at the top of our minds,” says Byrd, who was still putting the final touches on her 6-foot painting. “Whether it’s done or if we’re polished, we’re always just kind of seeking those questions of validity through societal beauty standards when it’s like we’re as beautiful as we feel. So I want my piece to just evoke emotion.”
As she prepares for opening night of the exhibit, Brooks says she’s most excited to meet all of the artists and to see how all of the artwork comes together.
One of her favorite pieces in the exhibit is a massive, hyperrealism painting by Alé Reviere. Fittingly titled “See Through You,” it depicts a young woman’s face, staring intensely back at the viewer.
A painting titled “See Through You” by Alé Reviere is featured in the “Girlfriends” tribute exhibition.
(Jason Armond / Los Angeles Times)
“All of her features were just so us,” says Brooks. “The texture of her hair and the expression on her face. There was a pain. There was a sadness, but there’s also sort of this freedom and unapologetic look in her eyes.”
There’s a new interactive exhibit opening on Thursday at the California Science Center across the street from the Coliseum that will provide Disneyland-like sports entertainment for all ages, and it’s free.
Using censors, cameras and 21st century technology, “Game On!” takes up 17,000 square feet formally occupied by the Space Shuttle Endeavor exhibit. It allows visitors to learn about science, sports and movement. You get to actively participate by hitting a softball against pitcher Rachel Garcia, take batting practice instructions from Freddie Freeman and kick a soccer ball into a goal while learning from Alyssa and Gisele Thompson. All are mentors.
Yet there’s so much more. You get to try swimming strokes, skateboarding, snowboarding, cycling. There’s climbing, yoga, dancing and challenging your senses during an exhibit that tests your quickness trying to block a hockey puck. There’s a basketball exhibit where you shoot a ball toward the basket and learn if your form is good or not.
One of the murals at the new interactive sports exhibition at California Science Center.
(Eric Sondheimer / Los Angeles Times)
“There’s something for everybody,” said Renata Simril, president and CEO of the LA84 Foundation that helped provide funding along with the Dodgers Foundation and Walter Family Foundation.
She’s not embellishing. Parents, children, adults, teenagers — they’re all going to be smiling. Don’t be surprised if nearby USC students discover a new place to enjoy an hour break for fun and laughter from studying by walking over to the exhibition hall when it opens at 10 a.m.
The California Science Center new interactive sports exhibit — “Game On!” — opens on Thursday. It’s free.
(Eric Sondheimer / Los Angeles Times)
It’s supposed to be open through the 2028 Olympic Games in Los Angeles, but don’t be surprised if popularity creates momentum to keep it around longer.
“It’s really cool,” said Garcia, a former UCLA All-American softball pitcher who appears on a screen showing off her 60 mph pitch as a participant swings a real bat trying to hit an imaginary ball as a light trail moves down a rail toward the batter. “I think it’s phenomenal. It’s going to get a lot of kids engaged.”
New interactive sports exhibit opens Thursday at California Science Center. It’s incredible. And it’s free. Kids, adults will love it. Thanks to Jeff Rudolph for the tour. Climbing, baseball, softball, soccer, swimming, yoga, dancing. Open through 2028 Olympic Games. pic.twitter.com/ARhmNFkmQW
Garcia even tried to hit against herself. “I missed the first time,” she said.
The batting cage where Freeman is providing hitting advice has a real soft ball and bat. It will be popular for all ages.
The rock climbing exhibit still has not been completed, but participants will wear a harness as they climb toward the ceiling.
While kids will be the most enthusiastic, a dinner recently held at the facility that had adults dressed in tuxedos and dresses resulted in them trying out the exhibits and acting like teenagers again.
Using science to teach lessons could provide inspiration for non-sports visitors. There’s sound effects throughout and most important, pushing a button doesn’t just mean you watch and listen. It means you get to participate, whether hitting a baseball or softball, trying to make a free throw, trying to swim or skateboard.
Don’t be surprised when word gets out how fun this exhibition creates. There will be lines. The only question will it be kids lining up or adults?
