The Museum of Contemporary Art has acquired Kara Walker’s sculpture “Unmanned Drone,” a cornerstone of the museum’s groundbreaking “Monuments” exhibition.
It joins the 158 works by 106 artists that were added to MOCA’s permanent collection last year, including major works by Jacqueline Humphries, Mike Kelley, Shizu Saldamando, Mary Weatherford, Julie Mehretu and Nairy Baghramian. Fifty artists are new to the collection, including Jonathas de Andrade, Leilah Babirye, Meriem Bennani, Paul Chan, Cynthia Daignault and Ali Eyal.
“Unmanned Drone” — a towering testament to the power of transmogrification — commands a room of its own at the Brick, which co-presented the “Monuments” exhibition in October. Walker created the 13-foot-tall bronze sculpture out of a statue of the prominent Confederate Gen. Stonewall Jackson that was originally in Charlottesville, Va. The statue had been removed after serving as a significant gathering place for the infamous 2017 Unite the Right rally of white supremacists.
A detail of a severed arm — part of Kara Walker’s sculpture “Unmanned Drone,” which she created using a decommissioned statue of Confederate Gen. Stonewall Jackson.
In an interview last fall, Brick director Hamza Walker explained to The Times that the city of Charlottesville issued a request for proposals from organizations interested in taking possession of the statue. The Brick applied and was deeded the statue, taking physical possession on Jan. 6, 2022. The gallery then gave the statue to Walker.
“They were getting rid of the Lee and the Stonewall Jackson statues, and they said, ‘We don’t want them put back up for further veneration,’” Hamza Walker said. “And so the idea of giving the statue to an artist fit that bill.”
Other applicants skipped over the line about not putting them up for further veneration, Hamza Walker said, noting that the Brick’s proposal was up against ones from Civil War battlefields and Laurel Hill, the birthplace of Confederate general J.E.B. Stuart.
A detail of the horse’s nostril in Kara Walker’s sculpture “Unmanned Drone,” which MOCA has acquired.
(Etienne Laurent / For The Times)
Kara Walker sliced apart the statue with a plasma cutter and welded it back together in an entirely new form. She did away with Jackson’s face and put much of the focus on his famous steed, Little Sorrel. The horse now stands upright with its head pushing out from the back of its saddle.
“She didn’t want you to be able to identify with him. She wanted the emphasis on Little Sorrel rather than the myth of the man,” Hamza Walker explained of Kara Walker’s intentions. “She wanted to reduce it to horse and rider.”
“The fiend has no head,” Knight commented in his review. “The folkloric Euro-American story of the ‘headless horseman’ comes to mind — a nightmarish, animated corpse who haunts the living. As a metaphor for obtuse white supremacy, still active today, that terror figure is hard to beat.”
Walker’s work was the only transformed statue out of the nearly dozen decommissioned statues related to the Confederacy featured in the “Monuments” exhibition. The others were all presented as they looked when they were removed, many during the protests that swelled in the summer of 2020 in the wake of the murder of George Floyd.
A detail of a sword on Kara Walker’s sculpture “Unmanned Drone.”
(Etienne Laurent / For The Times)
In addition to “Unmanned Drone,” MOCA announced several other acquisitions that were either featured in recent exhibitions or have significant connections to the museum. These include an environmental sculpture by Olafur Eliasson; work by Takako Yamaguchi; a media installation by Paul Pfeiffer titled “Red Green Blue” (2022), co-acquired with the Brooklyn Museum; and pieces by Cynthia Daignault, Shizu Saldamando and Henry Taylor.
“The expansion of MOCA’s collection this year reflects a sustained and deeply collaborative effort to think critically about what it means to build a museum collection in the twenty-first century,” Clara Kim, chief curator and director of curatorial affairs, said in a statement.
Lyndon J. Barrois Sr. always knew he wanted to be an artist, even as a child.
From crafting figures out of chewed gum stuck underneath the pews at his Catholic school’s church after he was forced to scrape them as punishment from teachers to collecting his mother’s discarded gum wrappers, Barrois felt a creative itch to make something out of nothing.
“I had seen too much art [and thought to myself], ‘Someone had to be doing this, why not me?,’” Barrois said with a chuckle. “I always dreamt of doing this. Other kids played with Play-Doh. I made stuff with anything I could get my hands on like clay, aluminum foil and discarded phone wire.”
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Now the 61-year-old New Orleans native is debuting his latest project at the Los Angeles County Museum of Art: “Fútbol Is Life.” It depicts some of the most iconic plays and political moments in the 95-year history of the FIFA World Cup, coming to L.A. this summer, with “humble” gum wrappers.
Barrois and LACMA curator Britt Salvesen assembled 60 works, including 40 vignettes from past World Cups and four animated short films, among them the movie “Fútballet,” which re-creates 21 famous scenes on a 50-inch soccer pitch.
Suspended artwork of Brazilian Swedish footballer Marta Vieira da Silva, known mononymously as Marta, made by Barrois. He made a conscious effort to feature women’s contributions to soccer.
(Allen J. Schaben / Los Angeles Times)
A large-scale projection of a miniature of French footballer Kylian Mbappé hangs on the wall. Two life-size replicas of Argentina’s Lionel Messi and Brazil’s Marta Vieira da Silva hang from the ceiling, the first of their kind for the artist, who has done miniatures of NBA legend Kobe Bryant and NFL star Patrick Mahomes.
The exhibition is laid out to resemble a playing field.
“We really wanted to create that environment that you feel like you’re in a separate world, and my colleague Darwin Hu took a personal and creative interest in this,” Salvesen told The Times. “He did a bunch of visual research on soccer fields in schools and prisons, where fields were improvised in whatever spaces were available. We wanted to wrap the lines up the walls and have the turf. Your sense of the space changes when you go from a hard floor to a softer floor.”
With a suspended Lionel Messi at right, Noa Carter, 4, and dad Darius L. Carter of Pasadena get a preview of artist Lyndon J. Barrois Sr.’s LACMA exhibition, “Fútbol Is Life.”
(Allen J. Schaben / Los Angeles Times)
Barrois’ 1-inch tall “sportraits” are carefully painted to capture even the tiniest detail. The majority of the installations include a mirror, allowing the viewer to see themselves as part of the moments “frozen in time,” he said.
A total of 325 individual mini soccer and football players, including Portugal’s Cristiano Ronaldo, are included in the show.
“I had so much fun making the sculptures that when I was done, it was like hitting a wall after all that adrenaline,” Barrois said. “Now we get to hang it. Install it. You just start to see all the things we envisioned just come to life. I love this s—.”
Before sculpting, Barrois did “tons of research, a lot of reading, [looking at] photography and video.” He and a friend rewatched the most famous plays and examined the history surrounding the World Cup, stretching back to the 1930s, and before the Women’s World Cup started in 1970.
A “Sportraits” work shows the German soccer team highlighting migrant workers’ rights ahead of the 2021 World Cup. “I chose moments that I personally thought would be important, there’s a lot of politics involved,” Barrois said.
(Allen J. Schaben / Los Angeles Times)
“I just wanted to tell a story with the politics involved, like in 1938, the German team was all Nazis, and they’re doing the salute, and by 2022, the German team has human rights on their T-shirts,” Barrois said. “We also had the Iranian women project. All these things happened on such a huge platform. So it was a tough editing process to bring that down to 40.”
Barrois spent seven months completing his pieces.
Curator Sandra Jackson-Dumont, former director and CEO of the Lucas Museum of Narrative Art, applauded Barrois’ use of gum wrappers.
“I like that Lyndon is using materials that are a part of our everyday lives that we take for granted and we discard,” Jackson said. “He’s using those materials to make something creative.”
Barrois was surrounded by family and friends for the exhibition’s preview, most of whom grew up with the artist. Dany Wilson, who went to elementary school with Barrois, said he was “proud of him.”
The exhibition also features works from scientist Harold Edgerton and photographer Eadweard Muybridge that explore the history of motion studies and time-lapse photography.
‘Fútbol Is Life’
Where: LACMA, 5905 Wilshire Blvd., L.A.
When: Through July 12; closed Wednesdays
Admission: $21-$30; discounts for youth, seniors and students
The photograph is so intimate, so vulnerable, it’s painful to look at.
It depicts a woman in her early 20s lying on a hospital bed twisted to the side, her wrists and ankles restrained. The black-and-white image — nearly five feet wide — is so crisp that bits of the woman’s toenail polish glimmer and the hair on her thigh appears to spark. Most pronounced: the loneliness and resignation on her face.
“I was 20 or 21 then. I’d had a psychotic episode and was taken to a public hospital in Massachusetts,” says Palm Springs-based artist Lisa McCord of the self-portrait she later staged. “I’m very transparent and I wanted to share my experience afterward. It was the ‘70s. I’d tell people, in school, I’d been in a psychiatric hospital and no one wanted to hang out with me — it was a very lonely time.”
McCord’s work is part of an exhibition at the Los Angeles Center of Photography addressing the idea of loneliness, now considered an epidemic in America. The exhibition, “Reservoir: Photography, Loneliness and Well Being,” was curated by LACP‘s executive director, Rotem Rozental, and includes participation from more than 40 artists representing “a wide array of geographies, approaches, ages, nationalities and lived experiences,” she says.
Rozental had been thinking about loneliness in our society — how increasingly pervasive it is — since the start of the pandemic. In late 2024 she began having conversations about it with LACP board chair and artist Jennifer Pritchard. Art reflects the world that we live in and Rozental felt that, as a photography center, LACP had an obligation to amplify “some of the larger issues” our society is grappling with.
“There’s something about photography that really brings people together around their vulnerabilities,” Rozental says. “Even if it just means you’re seeing, through an image, that someone else is experiencing what you’re experiencing.”
In this case: loneliness — “something that is looming heavy on everybody,” Rozental adds.
Asiya Al. Sharabi’s “Inward” (2025) addresses the uncertainty, and sometimes loneliness, of being a woman and an immigrant.
“Most recent studies indicate that 50% of Americans are often lonely,” Nobel says, adding that a December 2025 study found that “loneliness is increasing, even after the pandemic. And it’s driving a change in behavior, the big one being that people are disengaging from each other and community activities, so that also isolates them.”
What’s more, chronic loneliness has tangible, dangerous effects on our health, he says.
“Loneliness increases the risk of heart attack and stroke and general early mortality by up to 30%. Dementia risk goes up by 40%, diabetes risk goes up 35% from being chronically lonely. That’s increased the urgency to address it as a public health crisis.”
It’s important to note, Nobel says, that there’s a difference between being alone and being lonely, with the former potentially good for your health.
“Being alone means you don’t have social connection. Loneliness is the subjective feeling that you don’t have the social connections you want,” Nobel says. “You can be lonely in a crowd, you can be lonely in a racist workplace, you can be lonely in a failed relationship or marriage. But being alone can actually be quite positive — solitude. You can be in touch with thoughts and feelings and can have emotional growth.”
Nobel consulted with many of the artists during the development of “Reservoir.” It was a natural pairing as his more than 20-year-old nonprofit, the Foundation for Art & Healing, explores how creative expression helps individuals and communities heal. The experience “definitely validated ‘how do creative people use their creative orientation to further explore and reveal what’s going on with loneliness,’” he says. “That’s the power of this exhibit.”
A detail shot from Diane Meyer’s “The Empty Space of Nothing #43” (2025)
(Diane Meyer)
To create the exhibition, Rozental selected six photographic mentors, all established artists, each of whom chose a theme around loneliness — “aging,” “immigration,” “technology and hyper-consumerism” or “the solo creative process,” for example. The mentors then invited artists to create new work responding to their themes. Over nine months last year, the groups of artists met monthly on Zoom — “six countries and seven time zones,” says Rozental — along with therapists, scholars and others to plumb the topic.
The resulting exhibition features mostly two-dimensional photography but also includes multimedia works and 3D installations.
L.A.-based artist Diane Meyer sourced about 100 old black-and-white photographs from private collections. Then she hand-painted each of them, blocking out most everything in the image except select figures with white paint. The individuals in the photos appear to float in a sea of clouds or snow, disconnected.
In one image, two young boys teeter on a seesaw, as if suspended in midair; in another, a middle-aged man lies on a blanket in the fetal position, white paint spilling over onto his blanket and body, as if he is sinking into a void. The creative process — which the work speaks to — is evident here, the artist’s hand noticeable. The paint is splotchy in places and the photographs are pinned delicately to a dark surface, their edges curling, giving the overall installation a textured materiality.
Meyer’s work is in stark contrast to Jacque Rupp’s installation on the opposite wall. Rupp’s slick multimedia work speaks to both technology and societal perceptions of aging women. After recently becoming a grandmother, the Bay Area-based artist asked AI to “imagine a grandmother in 2025.” The result is a black-and-white photo grid of several hundred female faces staring blankly into the camera, mouths closed and eyes vacant. Beside it is a TV monitor on which their faces morph into one another, without audio. The overall effect is polished and high-tech, touching on the perceived invisibility of women as they age.
“I felt that these two works needed to be in conversation,” Rozental says.
Julia Buteux’s “Have We Said Hello” (2025)
(Rotem Rozental)
Nearby, Julia Buteux’s three-dimensional installation of transparent fabric panels hang from the ceiling, shimmying in the air and inviting guests to walk around it. The Rhode Island-based artist downloaded images from social media and deleted the people from them. The backgrounds are colorful but all that’s left of the subject is a transparent imprint of their face and upper body. “So you’re getting the absence of the user,” Rozental says. It speaks to how isolating online social milieus can be.
Asiya Al. Sharabi — who is Yemeni American and lives between Egypt and Virginia — created large-scale, conceptual self-portraits that she manipulated in the printing process. One is a double exposure depicting the front and side of her face. It addresses issues of duality and the uncertainty of her standing in society as both a woman and an immigrant. In another, the artist sits in a rocking chair in a home beside a vase of dead flowers — but her body is transparent. “She almost disappears within the domestic space,” Rozental says.
McCord’s photograph is part of a larger interactive installation that includes a “visual diary” guests can flip through featuring photographs of her life over the decades paired with handwritten diary entries from 1977 to 2021. McCord narrates snippets from the diary, which visitors may listen to on headphones.
“Reservoir” aims, of course, to shine a light on the condition of loneliness. But it also hopes to serve as a public health intervention by hosting creative workshops — incorporating the photography in the exhibition — to address loneliness and spark connection.
“Creative expression changes our brains,” Nobel says. “It reduces levels of the stress hormone cortisol, it increases the levels of the feel-good hormones, so you’re less anxious about the world and in a better mood. It’s then easier to engage with others. It invites us to be less lonely and more connected, not just to other people, but ourselves.”
The exhibition, which closes March 14, is planned to travel internationally, including to the Museo Arte Al Límite in Chile, the Inside Out Centre for the Arts in South Africa and to the Karuizawa Foto Fest in Japan. The goal is to use the workshop element as a model that can be replicated in community arts organizations around the world.
Rozental says photography is the perfect conduit for that, calling the medium “a language, a space for connection and communication.”
“We hope that people will walk into this space and see themselves on the walls,” she says. “Maybe their burden will ease a little bit by knowing that they might feel lonely, but they’re not alone.”
Pop artist Kii Arens made a name for himself in music over the years, creating concert posters for bands and vocalists such as Radiohead, Elton John, Dolly Parton, the Weeknd, Sonic Youth, Tame Impala, Diana Ross and more.
That work is taking center stage at Arens’ new downtown Los Angeles gallery, FAB LA, in a show titled “And the Winner Is.” Curated by Arens and featuring poster art of Grammy winners, the exhibition is set to open Friday, two days before the 2026 Grammys descend on the city, and just in time to welcome plenty of visiting celebrity faces to the gallery’s third-ever event.
A glittering party scene is part of every exhibition Arens hosts, dating back to his previous gallery, LA-LA Land, which he opened two decades ago on Santa Monica Boulevard in Hollywood and ran until its lease came up last year.
FAB LA officially launched in October with “XO, LA: A Love Letter to Los Angeles,” an exhibition that reflected the eclectic voices and existential challenges that define L.A. culture with paintings, illustrations and mixed media works by Shepard Fairey, Corita Kent, Anthony Ausgang, Ashley Dreyfus, Paul Frank and others.
Pop artist Kii Arens lays on his desk in his new gallery, FAB LA, inside the historic Fine Arts Building on 7th Street in downtown Los Angeles. Posters from his new show, “And the Winner Is,” feature images of Grammy winners just in time for the big awards show.
(Genaro Molina / Los Angeles Times)
The flamboyant “Mick Rock’s Rocky Horror Art Show” followed in December. The exhibition was among the last events marking the famous cult film’s 50th anniversary, and featured Rock’s famous photographs alongside pieces by pop star designer Michael Schmidt and digital portraitist Plasticgod. As with previous events at LA-LA Land, the opening attracted rockers, drag queens and club world cognoscenti.
DJs Sean Patrick (Simon Says) and Chris Holmes (Paul McCartney’s touring DJ, and creative collaborator with Cosm) manned the decks, and “RuPaul’s Drag Race All Stars” winner and podcaster, Alaska Thunderf—, performed as Tim Curry’s Dr. Frank-N-Furter, dancing and prancing around the grand environs.
There are galleries all over Los Angeles, but few can be described as works of art unto themselves. FAB LA is that and more.
Its majestic headquarters are housed inside downtown’s historic Fine Arts Building — a breathtaking palace-like structure with a 100-year history of craftsmanship and creativity.
Located near the intersection of 7th and Flower streets, the landmark building was featured in the 2009 film “(500) Days of Summer,” a hidden gem overshadowed in recent years by hectic street life, chain food spots and bustling business energy. Used primarily as an office building, its ornate design, carvings and sculptures — including a ground floor fountain with frolicking bronze youths — hadn’t invited much public attention or appreciation.
Pop artist Kii Arens catches some air in front of the historic Fine Arts Building where he has opened his new gallery, FAB LA. The building was designated a Historic-Cultural Monument in 1974 and restored in 1983.
(Genaro Molina / Los Angeles Times)
That changed late last year when Arens took over the first two floors.
“Historically, artists lived and worked inside this building,” he said during a recent opening. “This idea really resonated with me.”
Originally from St. Paul, Minn., Arens moved to L.A. in 2004 and promptly opened LA-LA Land. The Hollywood showroom debuted on election night 2004 with a group exhibition called “Happy War,” featuring anti-war works and Fairey as DJ. Wild and kitschy shows followed with opening fetes dedicated to colorful subjects including Andy Warhol, circus clowns, and Canadian television creators and puppeteers Sid and Marty Krofft.
In addition to creating art and DJing, Arens is also a musician, and his eclectic music projects reflect his nostalgic proclivities. They include a rock outfit called FLIPP, which he describes as, “the Sex Pistols meets the Spice Girls,” as well as a pop-duo called Jinx, and solo work that counts 4 Non Blondes’ Linda Perry as a collaborator.
Arens is a largely self-taught visual artist. His work has always leaned toward entertainment figures and musical subject matter, which led to major commissions for album covers and tour poster art — some of which will be featured in the upcoming exhibition at FAB LA.
Poster prints of Elton John, left, and Jim Morrison, by Pop artist Kii Arens are part of his latest show, “And the Winner Is,” which features poster art of Grammy winners and is on display in Aren’s new gallery, FAB LA, which opened late last year.
(Genaro Molina / Los Angeles Times)
When LA-LA Land’s lease expired, Arens sought a new place that would embrace his experimental energy. He also wanted a unique backdrop for showcasing imagery that “treats pop culture as a shared memory for all to take in,” he said. “Something worthy of being preserved, not just consumed.”
The Fine Arts Building’s longtime real estate representative, Gibran Begum, was looking for the same thing. Preservation was part of the conversation when the two connected, but both were also focused on revitalization and augmenting the structure’s old-world charms with something fresh and modern. The goal was to once again bring art lovers to the neighborhood.
A cohesive arts event had been lacking in the area since the monthly Downtown Los Angeles Art Walk scaled down in the face of traffic and permit issues, and more recently COVID closures. The event recently resumed, and though it’s much smaller Arens said he has high hopes for its growth, and for FAB LA’s place in its future.
As does Begum, who calls the Fine Arts Building “a rare and special space.”
“The second you enter, you’re somewhere else, it’s almost like walking into something in Florence, Italy,” Begum said. “We were looking for someone to help rejuvenate and reenergize it and who understood the culture of it.”
Pop artist Kii Arens strikes a pose inside the historic Fine Arts Building where he has opened his new gallery, FAB LA. The building was designed in the Romanesque revival style by architects Albert R. Walker and Percy A. Eisen, who also created the Beverly Wilshire Hotel in Beverly Hills.
(Genaro Molina / Los Angeles Times)
Designed in the Romanesque revival style by revered architects Albert R. Walker and Percy A. Eisen, who also created the nearby Oviatt Building as well as the Beverly Wilshire Hotel in Beverly Hills, the building’s exterior is embellished with dramatic columns and arches. Its interior features gargoyles, griffins and other mystical figures by sculptor Burt W. Johnson, as well as hand-crafted tiles by Ernest Batchelder and murals by Anthony B. Heinsbergen. A vintage elevator ferries guests between floors.
The opulent building opened on Dec. 8, 1926, attracting an estimated crowd of 27,000, and was named a Historic-Cultural Monument in 1974.
Though various artists have shown in the building over its 100-year history, FAB’s vibrant vision, focused on the intersection of design and fine art media, feels like the right fit for the current moment.
“I almost feel like the ghosts of some of the artists are looking down at me and smiling, knowing that what they loved is happening here again,” Arens said.
This includes immersive gatherings, which are a big part of Arens’ plans for FAB. “We’ll have movie premieres, live music events, poetry and I definitely want to have fashion,” Arens said. “The room would make a great runway!”
Charity is also part of the picture.
“And the Winner Is,” serves as a fundraiser for Oxfam, which works to relieve global poverty. Arens said he’s been hosting charity events for the group for the last five years — always right around the Grammys.
“We’ll have a bunch of amazing vinyl records donated by Rhino, and we’ll have clothing donated from famous musicians. Matt Pinfield is DJing and so is Jeffrey Ross,” Arens said.
A poster of Liza Minnelli by Pop artist Kii Arens is part of his latest show, “And the Winner Is” which features poster art of Grammy winners and opens over Grammy weekend.
(Genaro Molina / Los Angeles Times)
The exhibition, which closes March 8, will feature some of what Arens calls his “greatest hits,” including an ebullient Liza Minnelli portrait, and other significant prints such as a black-light poster design of Dolly Parton, and a Van Halen print representing Eddie Van Halen’s famed red-, black- and white-splattered “Frankenstein” guitar design on a notebook.
“I’m into simplifying images until they become familiar, immediate and emotional,” Arens said of his work. “I like to strip images down to what people recognize instantly. The feeling comes first, then I’m focused on evoking optimism, color and joy.”
Up next: A show in April in association with the animation studio Titmouse and dedicated to the art of animation.
“In this moment where everything feels disposable, I want to make something that is solid, something you stand in front of, not scroll past,” Arens said.
