WASHINGTON — President Trump had something urgent to address while flying back to Washington from his Mar-a-Lago estate on a recent Sunday.
It wasn’t the Iran war, nor the partial government shutdown over Department of Homeland Security funding. He was focused on a monumental issue of a different kind, hoisting artist renderings of the $400-million White House ballroom he’s building, complete with hand-carved “top-of-the-line” Corinthian columns.
“I’m so busy that I don’t have time to do this. I’m fighting wars and other things,” Trump said before extensively detailing plans for “the greatest ballroom anywhere in the world.”
His divided attention has become a Democratic point of attack and a concern for some Republicans who worry he’s not spending enough time on issues that voters care most about ahead of November’s midterm races.
The contrast was on full display Thursday, when, as Trump flew to Las Vegas to discuss tax cuts for Americans earning tips, his administration was pushing ahead with another of his splashy projects: Plans to build a 250-foot Triumphal Arch near the Lincoln Memorial replete with a Lady Liberty-like statue and a pair of golden eagles.
The president’s ability to speak to the concerns of working people has always seemed incongruous with his biography as a billionaire real estate developer. Yet his populist policies and emphasis on the economy during his 2024 campaign helped catapult him back to the White House.
Republican strategist Rick Tyler noted that, when Trump first ran for president in 2016, his wealth was a selling point.
“While other people, like Mitt Romney, played down how rich he was, Trump was giving free helicopter rides at the Iowa State Fair,” Tyler said. “People loved it.”
Still, Trump’s preoccupation with some of the gilded trappings of the presidency, as more Americans worry about bills, has drawn accusations that he’s a modern-day Marie Antoinette.
“ ‘Fighting wars’ and surging gas prices, yet Trump has time to brag about his billionaire backed ballroom,” Sen. Andy Kim (D-N.J.) responded on X to Trump’s Air Force One presentation.
Democratic California Gov. Gavin Newsom, a potential 2028 presidential hopeful, has been more direct in comparing Trump to the last queen before the French Revolution, who has come to embody extravagant opulence — even posting an AI-generated image of Trump’s face on her body on social media.
“TRUMP ‘MARIE ANTOINETTE’ SAYS, ‘NO HEALTH CARE FOR YOU PEASANTS, BUT A BALLROOM FOR THE QUEEN!’” Newsom wrote in October 2025, at the start of last fall’s 43-day government shutdown.
White House says Trump’s success benefits all Americans
Asked about opponents invoking Marie Antoinette, White House spokesman Davis Ingle said Trump “is going to go down in history as the most successful and consequential president in our lifetime.”
“His successes on behalf of the American people will be imprinted upon the fabric of America and will be felt by every other White House that comes after him,” Ingle said in a statement.
The president faced similar critiques during his first term. But lately he’s been unabashed about accusations he’s disconnected from Americans’ worries about high costs, which could leave Republicans with an uphill battle to retain control of Congress.
Republicans have been loath to question Trump, though notably there has been little criticism of a federal judge’s ruling that work on the project must stop until it has congressional approval. The GOP-controlled House and Senate also haven’t prioritized legislation to move the ballroom project forward.
“I’m not much into architecture,” Republican Sen. John Kennedy of Louisiana said last fall.
About two-thirds of Americans said Trump is “out of touch” with the concerns of most people in the United States today, according to an ABC News/Washington Post/Ipsos poll from February, though the same percentage said the same about the Democratic Party.
Presidents are usually removed from voters, separated by layers of security and surrounded by adoring subordinates. In her book “Why Presidents Fail and How They Can Succeed Again,” Elaine Kamarck argues that presidents get too focused on their own political narratives rather than the public’s concerns. Yet, when it comes to Trump, “All of this stuff is frankly unique to him.”
She pointed to the ballroom as well as Trump’s other White House renovations, soon adding his signature to paper currency and renaming the Kennedy Center after himself.
“It’s a reflection, I think, of his own background as a businessman and somebody who made his fortune selling his name,” said Kamarck, who worked in Bill Clinton’s White House.
While Trump focuses on the ballroom and other Washington projects, some public work projects in other parts of the country have languished.
Joe Meyer, the former mayor of Covington, Ky., spent years pushing for critical improvements to the Brent Spence Bridge connecting his town with Cincinnati, a project listed as a top federal priority dating back to Trump’s first administration.
Federal funds for improvements were approved under President Biden but held up by a Trump-ordered review. Work is finally set to begin later this year, though delays will likely limit design options and slow the project, Meyer said.
“The ballroom is Washington inside-baseball,” Meyer said. “The bridge is just a wreck. It’s frustration that we’ve been dealing with forever.”
A $100 tip and a golden tractor
Trumpeting new tax deductions for tips, Trump staged ordering McDonald’s to the Oval Office — which he has adorned with gold flourishes — and tipped the grandmother making the delivery $100. When she described large medical bills from her husband’s cancer treatments, Trump said she should bring him to an upcoming UFC fight on the White House lawn.
When hundreds of farmers were invited to the White House for an agricultural policy speech, they stood on the South Lawn beside a tractor that had been painted gold. It drizzled, but Trump stayed dry, addressing them from a covered second-floor balcony.
“You don’t mind rain,” the president told the farmers below.
He then flew to Miami for a conference of Saudi investors who, the president noted, were too rich to be impressed by U.S. families scrounging to save up $5,000.
“I know they’re looking like, ‘What the hell is $5,000?’ ” Trump joked. “Their shoes cost them more than $5,000.”
When asked in February, meanwhile, for his message to young people wanting to buy a home, Trump replied: “Save a little longer. Wait a little longer.”
Members of the Cabinet have also fed the perception that Trump’s promised “Golden Age” may not be arriving for everyone. Health Secretary Robert Kennedy Jr. advised Americans to buy liver instead of beef.
“If you go and buy a steak, it’s still pretty expensive. But if you buy the cheaper cuts, it’s great meat. And it is very, very affordable. Or liver, or, you know, all these alternatives,” he told podcast host Joe Rogan.
Agriculture Secretary Brooke Rollins said people could still afford meals consisting of “a piece of chicken, a piece of broccoli, corn tortilla and one other thing.”
Texas-based Republican consultant Brendan Steinhauser said he thinks that Trump “can kind of get away with” building a ballroom because voters have come to expect that from him as a brash dealmaker and businessman.
But Steinhauser said he worries that dramatic increases in gas prices and a potentially weakening economy could resonate with voters. Ahead of the midterms, Steinhauser said, Democrats could score points “trying to make it more about Trump and his oligarch friends.”
Price and Weissert write for the Associated Press. AP writers Linley Sanders in Washington and Ali Swenson in New York contributed to this report.
More than a century after the Gilded Age, we have entered another: The gilded age of Trump.
A little over a year after President Trump was sworn into office for the second time, the country has borne witness to a striking aesthetic makeover of the White House and Washington, D.C. A week ago, when the Trump-packed Commission of Fine Arts approved a 24-karat commemorative coin stamped with Trump’s image, that makeover ascended to staggering new heights.
The coin, which breaks with the country’s longstanding tradition of not featuring a living person on its currency, joins a swiftly growing list of other Trumpian imprints on arts and culture, including architectural choices deemed gaudy and garish by experts and laypeople alike.
Plenty of people are on guard against these changes. This week a coalition of eight cultural heritage and architectural organizations, including the National Trust for Historic Preservation and the American Institute of Architects, filed a lawsuit to require the Trump administration to comply with historic preservation laws and get congressional authorization before making any changes to the Kennedy Center.
“The Kennedy Center is not a personal project of any president. It is a national cultural monument built to honor John F. Kennedy and to serve the American people. Federal law requires transparency, expert review, and public participation before it can be fundamentally altered,” Rebecca Miller, executive director of the DC Preservation League, said in a statement.
The same could be said of the White House, the Smithsonian, the NPS and the United States Mint. But Trump doesn’t care about due process, congressional approval or the courts. Time and again he has shown his willingness to go it alone when making big decisions that affect not only America but the world. This includes his actions in Venezuela and Iran. But if he decides he wants to take the Kennedy Center “down to the steel,” as he once threatened, there isn’t really anything that can stop him.
The gilded age of Trump proves that the look of things really does affect how the country sees itself — and how it acts as a result of its new self-image. Golden gaudiness conjures thoughts of empire and imperial rule, but it is also unserious and incidental, bombastic and self-centered. The Trump aesthetic screams, “Me, me, mine!” A willingness to tear down historic structures without care for their symbolic meaning reveals an inability to learn from the past, a tendency that has proved frighteningly perilous.
Will the leader who rises after Trump tear down all that Trump has built? And even if they do, can the damage really be undone?
I’m Arts editor Jessica Gelt, keeping it small and simple for posterity. Here’s your arts and culture news for the week.
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FRIDAY
Laura Aguilar The late trailblazing photographer’s exploration of her queer Chicana identity against the natural backdrops of Southern California and the Southwest is on display in the exhibition “Body and Landscape.” More of the artist’s work will be on display starting Sept. 20 in “Laura Aguilar: Day of the Dead.” Through Sept. 7. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Cassandra Kulukundis holds the first-ever Oscar for casting for her work on “One Battle After Another” during the Academy Awards, March 15, 2026.
(Robert Gauthier/Los Angeles Times)
The Art of Casting With Cassandra Kulukundis recently winning the first Oscar in the category for her work on Paul Thomas Anderson’s “One Battle After Another,” what better time to learn more about the subject? The academy’s video presentation goes inside the casting process with casting directors discussing their craft and includes previously unseen auditions and screen tests. Through July 6. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Brahms & Beethoven Uzbek pianist Behzod Abduraimov performs Beethoven’s “Piano Concerto No. 3” as Paavo Järvi conducts the L.A. Phil in Brahms’ “Second Symphony” and Schumann’s “Overture, Scherzo and Finale.” 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
A performance of “Escape.”
(Traj George Simian)
Escape Diavolo reprises this production featuring its trademark blend of dance, movement and storytelling as 22 artists challenge their abilities against a variety of architectural structures. 8 p.m. Fridays and Saturdays; 6 p.m. Sundays, through June 14. L’Espace Diavolo, 616 Moulton Ave. diavolo.org
Arshile Gorky: Horizon West In the summer of 1941, the Armenian immigrant artist, his soon-to-be wife Agnes “Mougouch” Magruder and the artist and furniture designer Isamu Noguchi drove from New York City to L.A. Gorky was emerging as one of the most important figures in the nascent Abstract Expressionism movement, and his cross-country adventures had an enormous impact on his art, which is explored in depth in this exhibit. A selection of landscapes include Gorky’s rich, surrealistic paintings and drawings from before, during and after the life-changing trip. (Jessica Gelt) Through April 25. Hauser & Wirth West Hollywood, 8980 Santa Monica Blvd. hauserwirth.com
A New Song: Langston Hughes in the West The exhibition reveals Hughes’ time spent in California, Nevada and Mexico during the Great Depression, World War II and into the 1950s, when he produced significant work, including lectures, film scripts, plays and his first book of short stories. Through Sept. 13. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org
The White Album Arthur Jafa’s 2018 30-minute experimental film, a social critique of whiteness, uses found and produced footage to demonstrate how the creative work of Black Americans has been co-opted by white culture throughout history. Through Aug 30. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu
SATURDAY
Akira Kurosawa’s “Seven Samurai,”starring Takashi Shimura, from left, Toshiro Mifune and Yoshio Inaba.
(Janus Films)
Darkness and Humanity: The Complete Akira Kurosawa The 1954 classic “Seven Samurai,” starring Toshiro Mifune, kicks off this comprehensive retrospective of the great Japanese filmmaker’s work. 6 p.m. Saturday; series continues through May 30. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
from rock to rock… aka how magnolia was taken for granite Choreographer Jeremy Nedd’s exploration of the hidden poetry, virtuosic freedom and ownership features five performers examining “the Milly Rock,” a viral dance move. 8 p.m. UCLA Macgowan Hall, Freud Playhouse, 245 Charles E. Young Drive East. cap.ucla.edu
A Queer Arcana: Art, Magic, and Spirit On The exhibition collects an intergenerational group of Queer artists whose work examines hidden and mystical knowledge to find sources of connection and transformation. Through Oct. 18. Palm Springs Art Museum, 101 Museum Drivepsmuseum.org
Ralph Steadman More than 140 original artworks and ephemera, including sketchbooks, handwritten notes and personal photographs are included in “And Another Thing,” a traveling exhibition tracing six decades of the artist and illustrator’s career. Through May 9 Torrance Art Museum, 3320 Civic Center Drivetorranceartmuseum.com
Tonality The vocal ensemble performs “Refuge/Requiem,” a program that includes Caroline Shaw’s 17th-century-influenced contemporary work “To the Hands,” and “1605 Requiem,” composed for the funeral rites of Empress María by Tomás Luis de Victoria. Presented with the Wallis. 7:30 p.m. All Saints’ Beverly Hills, 504 N. Camden Drivethewallis.org
SUNDAY To Sleep With Anger Written and directed by the protean Charles Burnett, this film does more than vividly illuminate South-Central’s rarely portrayed Black middle class. A deft domestic horror story, it’s a contemporary tale with a folkloric twist that has old friend Harry (Danny Glover) visiting a married couple and gradually revealing himself to be a trickster with trouble on his mind. With a terrific ensemble headed by Mary Alice and Paul Butler as the couple in question. (Kenneth Turan) 7 p.m. The 35mm screening includes a Q&A with the filmmaker and Ashley Clark, author of “The World of Black Film: A Journey Through Cinematic Blackness in 100 Films.” Beginning at 6 p.m. Clark will sign copies of the book. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu
TUESDAY Philip Glass’ Cocteau Trilogy Pianists and siblings Katia and Marielle Labèque perform the composer’s triptych inspired by the films of Jean Cocteau. Part of the LA Phil’s “Body and Sound” festival. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Mary Halvorson The contemporary jazz musician, guitarist and composer and new quartet project Canis Major — featuring Dave Adewumi on trumpet, Henry Fraser on bass and Tomas Fujiwara on drums — perform an evening of music designed for deep listening and total immersion. 7 p.m. Getty Center, Harold M. Williams Auditorium, 1200 Getty Center Drive, L.A. getty.edu
Arts anywhere
New releases of arts-related media.
Album cover for “Evening Light: Raga Cycle I.”
(Cantaloupe Music)
Evening Light: Raga Cycle I The first release of an eight-album series in which American composer and pianist Michael Harrison collaborates with a global assortment of artists combining Eastern and Western musical traditions. Each chapter represents three hours of day or night following the Indian raga time cycle. For “Evening Light,” Quebec-based Brazilian vocalist Ina Filip co-composed the music with Harrison. Also appearing on the album are American composer Elliot Cole on synthesizer, French composer Benoit Rolland on electro-acoustics and Bangladeshi tabla virtuoso Mir Naqibul Islam. Cantaloupe Music: download ($10).
Book jacket for “Stephen Sondheim: Art Isn’t Easy” by Daniel Okrent.
(Yale University Press)
Stephen Sondheim: Art Isn’t Easy Part of Yale University Press’ Jewish Lives series, Daniel Okrent’s new biography of the award-winning composer-lyricist who took Broadway musicals to new heights “is a brisk, engaging read that avoids hagiography,” writes Julia M. Klein in a review for The Times. “Okrent highlights the emotional frailties that coexisted with the brilliance and generosity. He seeks to liberate Sondheim’s reputation from the encrustation of myth and to demystify his relationships, while offering a succinct analysis of his achievements. That’s a tall order for a compact book, especially given its subject’s long, complicated life. Okrent’s failings are, unsurprisingly, primarily those of omission.” Yale University Press: 320 pages, $35
Martha Graham Dance Company: We Are Our Times A two-part documentary goes behind the scenes with the troupe as it prepares for its 100th anniversary celebration. Producer-directors Peter Schnall and Cyndee Readdean followed the dancers from rehearsal to premiere on a global tour, capturing their artistic routines and everyday lives. Episode 1, “American Spirit,” 9 p.m. Friday; Episode 2, ““Athletes of God,” 9 p.m. April 3 on PBS. Streaming at pbs.org and on the PBS app.
Culture news and the SoCal scene
Pritzker Prize-winning architect Frank Gehry is photographed in May 2019 with a model of the Grand Avenue Project at his L.A. offices.
(Jay L. Clendenin / Los Angeles Times)
Can downtown L.A. still benefit from the vision of late-great architect Frank Gehry, who put so much time and energy into lifting the area up? Times classical music critic Mark Swed says yes in an optimistic column noting that, “So many plans Frank Gehry imagined for L.A. still remain. Gehry bequeathed blueprints and models, sketches and concepts, for his large and devoted team of younger architects and next-generation visionaries equipped to fabricate our way out of angst.” The time to build, Swed writes, is now.
Freelance writer Jane Horowitz got the skinny on the fifth edition of High Desert Art Fair, which arrives in Pioneertown this weekend, transforming “the rooms of the historic Pioneertown Motel into exhibition spaces for 20 galleries and publishers, while expanding into a broader mix of programming — something akin to a mini Coachella Valley Music & Arts Festival. This year’s edition includes an opening night party with a DJ set by street artist Shepard Fairey, panel discussions, guided meditation and even a sound bath.”
Monty Python” alum Eric Idle poses for a portrait at the Hollywood Pantages.
(Jason Armond / Los Angeles Times)
Malia Mendez sat down with British comedy legend Eric Idle to talk about his spoof musical “Spamalot,” which arrives at the Pantages more than a decade after its last stop at the stage. Over a margarita with a side of chef olives, Idle opened up to Mendez about “his earliest forays into comedy, his legendary run and subsequent break with his former ‘Monty Python’ castmates, and why ‘Spamalot’ arrives in L.A. at the perfect time.”
Times theater critic Charles McNulty headed to the Matrix Theatre to watch Rogue Machine’s production of Jackie Sibblies Drury’s Pulitzer Prize-winning 2018 drama “Fairview.” He writes that the play is “a shape-shifting work that eludes an audience’s assumptions at every turn,” and concludes that the new production “may struggle with the slipperiness of Drury’s writing.” The dramatic construction, however, is solid enough to withstand some of the overly broad strokes of the staging.”
Richard Neutra imagined his first Los Angeles project, the Jardinette Apartments, as a prototype for future garden apartment buildings.
(Myung J. Chun / Los Angeles Times)
Sam Lubell wrote a fascinating story about the painstaking rehabilitation of Modernist architect Richard Neutra’s first L.A. commission: the Jardinette Apartments in Hollywood. The building was hailed a structural and technical breakthrough when it opened in 1928, but it soon dropped from public view and sank into disrepair. The new owner spent more than $5 million on the historic preservation project and the complex may soon go on the market.
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The Hammer Museum Gala on Oct. 8, 2022, in Los Angeles.
(Michelle Groskopf / For The Times)
The Hammer Museum has announced the honorees for its annual gala. They are artist Betye Saar and television creator Darren Star. The highly anticipated event, set to take place in the Hammer’s garden courtyard on May 2, aims to honor impactful artists while raising funds to support the museum’s exhibitions and public programs.
The 80th Ojai Music Festival, set to take place June 11-14, recently announced this season’s programming and artistic collaborators. Much of this year’s event will be devoted to unpacking and performing works that have been central to the 2026 festival’s music director‘s artistic life. “Esa-Pekka Salonen is one of the most vibrant and adventurous creative forces in our musical world,” said Executive Director Ara Guzelimian in a statement. “It has been an absolute joy to dream up programs together that focus on numerous personal dimensions — his work as composer and conductor, his rich associations with and remarkable history in Los Angeles, the formative influence of his teachers and the giant musical figures of 20th century music, his deep friendships with many peer composers, and his championing of a new generation of composers.”
Washington National Opera Artistic Director Francesca Zambello, who was instrumental in the company’s decision to leave the Kennedy Center after Trump’s takeover, was inducted into the Opera Hall of Fame at the OPERA America Salutes Awards Dinner on March 20, at the Plaza Hotel in New York City.
