museum

Kathy Kanjo, the director and CEO of the Museum of Contemporary Art San Diego, has been named the new director of the UC Irvine Langson Orange County Museum of Art. The news comes a little more than two months after UC Irvine announced it had acquired Orange County Museum of Art in a merger that created the new institution.

At that time, a rep for UCI said the hope was to announce a new director in the new year, so Kanjo’s appointment comes ahead of schedule. Kanjo has been at MCASD since 2016. Prior to that, she served as director of the University Art Museum at UC Santa Barbara.

When I first wrote about the merger, UC Irvine confirmed that it was taking over OCMA’s assets, employees and debt. A rep for UC Irvine declined to comment on a number, writing in an email that the budget for the new museum will come from university operating funds.

Kanjo inherits responsibility for a substantial collection of more than 9,000 artworks, including UC Irvine’s Gerald Buck Collection of more than 3,200 paintings, sculptures and works on paper by some of the state’s most important artists, including David Hockney and Ed Ruscha.

“The newly merged collection is both anticipated and underknown,” wrote Kanjo in an email. “I am eager to unveil and contextualize the artistic legacies of the Irvine, Buck, and OCMA collections from a particularly California point of view. Collected over time and together at last, these objects are an asset to be shared generously and supported by scholarly research. The constellation that is the UC Irvine Langson Museum offers a portrait of our state’s innovative artistic impulses.”

Kanjo also said the new museum would get a significant boost from UC Irvine’s research strength and commitment to public service.

“We will create rigorous and welcoming exhibitions that resonate with our region’s diverse audiences, young and old,” she wrote.

Despite the great fanfare of its opening in 2022, OCMA — with its 53,000-square-foot, $98-million Morphosis-designed building on the eastern edge of the Segerstrom Center for the Arts campus — never seemed fully realized. Problems were hinted at — but never explained — in April when CEO Heidi Zuckerman announced her intention to step down.

Meanwhile UC Irvine had been planning to construct a museum for its collection for quite some time. That, too, never really got off the ground. If there were ever a time to build consensus around a new mandate for the merged organizations, that time is now. Kanjo has a vision for the future that appears to center scholarship.

“I want to clarify the core identity of the collection and find connections back to campus and into the community,” she wrote. “The post is appealing because of its connection to UC Irvine, a leading research university, and the opportunity to work with the students within the Claire Trevor School of the Arts and all of the campus resources. The potential to foster innovation by working in a cross-disciplinary/cross-campus way is strong.”

I’m arts and culture writer Jessica Gelt, planning a drive to Orange County in the new year. Here’s your arts and culture news for the week.

On our radar

Broadway star Ben Platt will perform 10 shows at the Ahmanson starting Friday.

(Rob Kim / Getty Images)

Ben Platt: Live at the Ahmanson
The award-winning star of stage and screen hits town for 10 shows where he’ll sing his greatest hits and Broadway favorites. And where Platt goes, his big-time friends follow, so expect some great surprise guests each night.
8 p.m. Friday-Saturday and Dec. 19-20; 3 and 8 p.m. Sunday and Dec. 21; 7:30 p.m. Wednesday-Thursday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

“Holiday Legends” is this year’s seasonal performance by the Gay Men’s Chorus of Los Angeles.

(Gay Men’s Chorus of Los Angeles)

Holiday Legends
The Gay Men’s Chorus of Los Angeles’ annual celebration pays homage to the greats, including Mariah Carey, Irving Berlin and Johnny Mathis, plus traditional choral classics, pop Christmas anthems and Hanukkah favorites.
8 p.m. Saturday. 3 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills gmcla.org

The Huntington in San Marino.

(Allen J. Schaben/Los Angeles Times)

Stories from the Library: From Brontë to Butler
This series highlights the literary side of the Huntington and its world-class library. In the newest exhibition, journals, letters, photographs and personal items provide a behind-the-scenes look at two centuries of women writers bookended by Charlotte Brontë and Octavia E. Butler.
Through June 15. The Huntington, 1151 Oxford Road, San Marino. huntington.org

The week ahead: A curated calendar

FRIDAY
Holiday Soirée & Cabaret
Fountain Theatre celebrates the season with a live announcement of its 2026 season, a cabaret performance from Imani Branch & Friends, plus, a raffle and reception. There will also be two separate performances of the cabaret.
Soirée and cabaret: 7 p.m. Friday. Cabaret: 7 p.m. Saturday; 2 p.m. Sunday. Fountain Theatre, 5060 Fountain Ave. FountainTheatre.com

Violinist Renaud Capuçon.

(Los Angeles Philharmonic)

Mozart & Sibelius
Violinist Renaud Capuçon joins conductor Gustavo Gimeno and the L.A. Phil for a program that combines “Mozartian elegance with brooding Nordic drama.”
8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Santasia
The long-running holiday spectacle featuring broad comedy, musical parodies and old school claymation returns to L.A. for a 26th year.
Through Dec. 27. Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks. santasia.com

SATURDAY

Laurel Halo performs Saturday at the Nimoy.

(Norrel Blair)

Laurel Halo
Currently based in L.A., the musician combines ambient, drone, jazz and modern sensibilities in new works for piano and electronics in a preview of her forthcoming album.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Sound + Source
Art meets music as DJs Novena Carmel, Francesca Harding and KCRW music director Ale Cohen provide a site-specific soundtrack to the exhibition “Corita Kent: The Sorcery of Images.”
11 a.m.-6 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org

Pacific Jazz Orchestra
The 40-piece hybrid big band and string ensemble, led by Chris Walden, presents its “Holiday Jazz Spectacular,” featuring vocalists Aloe Blacc, Sy Smith and Brenna Whitacre.
8 p.m. Alex Theatre, 216 N. Brand Blvd., Glendale. pacificjazz.org

Holiday Family Faire
Theatricum Botanicum’s annual daylong winter wonderland featuring performances, food and drink and a marketplace; followed by “It’s a Wonderful Life: A Live Radio Play,” by Joe Landry, and starring Beau Bridges, Wendie Malick, Joe Mantegna and Rory O’Malley.
11 a.m. Family Faire; 5 p.m. “It’s a Wonderful Life.” Will Geer Theatricum Botanicum, 1419 Topanga Canyon Blvd, Topanga. theatricum.com

SUNDAY

The band Emily’s Sassy Lime in Olympia, Wash., circa 1995.

(Emily’s Sassy Lime)

Artist Talk
Emily Ryan, Amy Yao and Wendy Yao of the ‘90s Orange County riot grrrl band Emily’s Sassy Lime join artist-activist-musician Kathleen Hanna of the band Bikini Kill for a discussion of adolescence, creativity and community. The talk is part of the museum’s “2025 California Biennial: Desperate, Scared, But Social,” which closes Jan. 4.
2 p.m. UC Irvine Langson Museum/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art

English Cathedral Christmas
The Los Angeles Master Chorale brings the magic of Canterbury Cathedral downtown, reveling in the grand tradition of British choral works from the 16th century to the present..
7 p.m Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

TUESDAY
Aron Kallay
In “Midcentury/Modern,” the pianist performs works from world premieres by Michael Frazier, Zanaida Stewart Robles and Brandon Rolle, along with 20th century works by Grażyna Bacewicz and Sergei Prokofiev in a program presented by Piano Spheres.
8 p.m. Thayer Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. pianospheres.org

WEDNESDAY
BOTH: A Hard Day’s Silent Night
Open Fist Theatre Company’s annual holiday charity concert benefiting Heart of Los Angeles, an organization that helps kids in underserved communities, infuses the music of the Beatles with Gospel flair to tell the Christmas story.
8 p.m. Wednesday-Friday; 3:30 and 9 p.m. Saturday; 3:30 and 7 p.m. Sunday. Atwater Village Theatre, 3269 Casitas Ave. openfist.org

Elaine May and Walter Matthau star in “A New Leaf,” which screens at the Academy Museum on Wednesday.

(Film Publicity Archive/United Archives via Getty Images)

A New Leaf
Elaine May made Hollywood history with this 1971 screwball noir as the first woman to write, direct and star in her own feature film. Walter Matthau co-stars as a playboy who has burned through his own fortune so plans to marry and murder May’s kooky heiress to get hers.
7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Culture news and the SoCal scene

Architect Frank Gehry in his Playa Vista office in 2015.

(Ricardo DeAratanha / Los Angeles Times)

The world is mourning the death of legendary architect Frank Gehry, who died last Friday at age 96. Times classical music critic Mark Swed wrote a beautiful appreciation about how Gehry used his buildings — Walt Disney Concert Hall in particular — to transform music. I made a video appreciation that tried to encapsulate Gehry’s best work, and his deep connection to his adopted hometown, and L.A. Times contributor Sam Lubell compiled a list, with photographs, of Gehry’s finest buildings in L.A., and around the world. Deputy managing editor Shelby Grad wrote about the importance of the Gehry-designed Danzinger studio.

This week also marked the release of The Times best-of-2025 lists. These include Swed’s selection of the best of L.A.’s classical music performances; Times theater critic Charles McNulty’s pick of the best theatrical works;
and former (sob!) Times art critic Christopher Knight’s 10 best art shows at SoCal museums.

Swed also wrote a story that came out of a recent trip to Tokyo about Carl Stone, an L.A. based composer from the Japanese capital, who uses his laptop to record environmental sounds and transform them into sonic sculptures. “Stone’s iPad, with its open sonic complexity, created a sense of space, a roomy aural soundscape in which jazz and butoh became elements not egos, not larger than life, just more life, the merrier,” writes Swed.

McNulty wrote an interesting essay about characters breaking the fourth wall and how it can galvanize an audience. “Breaking the fourth wall is a tried-and-true method of calling an audience to attention. But a new breed of dramatist, writing in an age of overlapping calamities — environmental, political, economic, technological and moral — is retooling an old playwriting device to do more than inject urgency and immediacy in the theatrical experience,” McNulty writes.

I spent time in Palm Springs over the Thanksgiving break to cover the grand reopening of the Palm Springs Plaza Theatre, which recently underwent a $34-million restoration. To celebrate, it hosted an intimate show featuring actor, singer, songwriter Cynthia Erivo.

I also had the pleasure of sitting down for an interview with Broadway actor Ben Platt in advance of his 10-day residency at the Ahmanson Theatre. We bonded over being anxious people, and he shared that he keeps his anxiety in check through live performance.

Cameron Watson is the new artistic director of Skylight Theatre Company.

(David Zaugh)

Cameron Watson has been named Skylight Theatre Company’s new artistic director, beginning Jan. 1. He will replace Gary Grossman, who is stepping down after four decades at the helm of the Los Feliz-based theater, during which time he turned the company into one of the most respected small theaters in the city. “Cameron’s passion, his theatrical vision and his ability to lead, listen, nurture and mentor make him the perfect fit for Skylight,” Grossman said in a statement.

Earlier this week, philanthropist MacKenzie Scott gave $20 million to the Japanese American National Museum — the largest single gift in the organization’s history. Scott, the former wife of Amazon founder Jeff Bezos, also gave the museum $10 million in 2021.

Hamza Walker, the Brick executive director who is behind the critically acclaimed “Monuments” exhibit at the Brick and MOCA, has been honored with the 2026 Audrey Irmas Award for Curatorial Excellence, given by the Bard College Center for Curatorial Studies. “Hamza’s three decades of curatorial practice have brought forward voices and perspectives that challenge dominant narratives, create dialogue, and have left a lasting imprint on the field,” said Tom Eccles, executive director of the Center for Curatorial Studies, in a statement.

Sherman Oaks resident Kate Stermer won the National Portrait Gallery’s 2025 Teen Portrait Competition, alongside Matilda Myers of Towson, Md. The annual competition is open to teens ages 13 to 17, and the museum says it received more than 1,100 entries from 48 states, Guam, Puerto Rico and Washington, D.C. We here at Essential Arts are proud of you, Kate!

— Jessica Gelt

And last but not least

The Times this week released its annual list of the 101 best restaurants in Los Angeles. I plan to go to every one. Well, maybe, like 20. It could get expensive.

Dec. 8 (UPI) — After a water leak damaged hundreds of books this morning at the Louvre in Paris, labor unions voted to strike against the iconic art museum.

Rolling walk-outs are set to begin Dec. 15. If all 2,100 employees join, it could cause closures during a peak season.

The strike notice said the unions no longer want to negotiate with museum Director Laurence des Cars.

It said “every day, museum spaces are closed well beyond the provisions of the guaranteed opening plan, due to insufficient staffing, technical failures and the building’s aging condition.”

“Staff are struggling with ever-increasing workloads, an increasingly harsh approach to human resources and contradictory directives that prevent a calm public service,” the notice said. Le Monde reported that the number of visits to the occupational psychologist rose from 37 in 2022 to 146 in 2024.

The museum suffered a water leak in its libraries that damaged hundreds of books, it announced earlier Monday.

The leak was discovered in late November and announced Sunday by Francis Steinbock, deputy administrator of the Louvre. Steinbock said up to 400 documents were damaged by the leak from one of the three library rooms in the museum’s Egyptian antiquities department. But no works of art were damaged, he said.

The pieces that were damaged were archaeology journals, mostly from the 18th and 19th centuries, that researchers consulted. Steinbock said dehumidifiers are in the room and the items are being dried one page at a time.

“No ancient works were affected,” said Hélène Guichard, director of the Egyptian antiquities department. “And the Louvre’s rapid and efficient response to the incident greatly limited the damage.”

The French Democratic Confederation of Labor, a union that represents some of the museum’s workers, posted on LinkedIn: “This new incident confirms a situation that has been deteriorating for too long, as the trade unions have been constantly alerting, including the CFDT-CULTURE.”

“Fragile infrastructure, a lack of strategic visibility on the work being carried out, and poor working conditions mean that the protection of the collections and the safety of staff and visitors remain insufficiently guaranteed,” it said. Union leaders would meet Monday morning to “decide on the next steps to be taken,” it added.

An October report by France’s Cour des Comptes, a public audit agency, was critical of the museum’s excessive spending on art “to the detriment of the maintenance and renovation of buildings.”

The Louvre is in a former palace, originally built as a fortress in the 12th century. The building’s deterioration has become an ongoing issue. A show was canceled in 2023 because pipes in the walls burst. In November, weak beams caused a gallery to close.

A major renovation was announced in January by President Emmanuel Macron and the Louvre’s director Laurence des Cars. Its goal is to ease overcrowding with a new entrance and a new room specifically for the Mona Lisa. Included are infrastructure repair and the outdated security system, which recently contributed to the jewel heist.

Steinbock said in a TV interview that the ventilation and heating network, which operates with water pipes, is scheduled to be replaced in September 2026.

Frank Gehry, who died Friday at 96, challenged the notion that buildings needed to behave themselves — creating artful, strange, kinetic combinations of structure, material, form and light, and transforming cities in the process. Here are 10 of his most famous structures that pushed the boundaries of architecture, culture, taste and technology.

Guggenheim Museum Bilbao, Bilbao, Spain, 1997

Curves and angles mix in this section of the Guggenheim Museum in Bilbao.

(Javier Bauluz / Associated Press)

While only one piece of a much larger urban transformation, this uproarious structure, perched at the edge of the Basque city’s industrial waterfront, utterly transformed its image, giving birth to the overused phrase “Bilbao Effect.” Its curving, ever-changing titanium facade — with offset panels catching the light and wowing millions of visitors — became a symbol of a new era of baroque, digitally-driven architecture. (Gehry and his team worked with CATIA, a software formerly employed by aircraft designers.) Inside, a dizzying atrium ties together a fluid series of galleries, all sized for contemporary art’s expanding scale. “I didn’t mean to change the city, I just meant to be part of the city,” Gehry told the design magazine Dezeen in 2021. The project would achieve the former, and transform the field of architecture in the process.

Walt Disney Concert Hall, Los Angeles, 2003

The Walt Disney Concert Hall is a visual anchor in downtown Los Angeles.

(Al Seib / Los Angeles Times)

Dreamed up by Walt Disney’s widow, Lillian, in 1987, the project wouldn’t be completed until 2003. But it was worth the wait. Now the cultural and visual anchor of downtown Los Angeles, Disney’s riot of steel sails reflect rippling waves of music, Gehry’s love of sailing, fish scales and other nautical themes, and the frenetic city around it. Inside, the boat-like, wood-clad hall has an intimate, vineyard-style seating arrangement, with its superb acoustics shaped by Yasuhisa Toyota. Don’t forget the 6,134-pipe organ, which resembles a box of exploding French fries. Lillian Disney, a connoisseur of flowers, would die before the hall was finished, but its hidden rear garden is centered around the “Rose for Lilly” fountain, composed of thousands of broken blue and white Delft china pieces.

Fondation Louis Vuitton, Paris, 2014

The “Fondation Louis Vuitton” has 3,600 glass panels that form its 12 sails.

(Frederic Soltan / Corbis via Getty Images)

Commissioned by LVMH Chief Executive Bernard Arnault, the Fondation Louis Vuitton, set in Paris’ Bois de Boulogne, is wrapped in 12 massive, curved glass sails, hovering above a white concrete “iceberg.” The museum’s billowing forms, which help lighten its considerable scale, were realized via head-spinning structural complexity: None of its 3,600 glass panels are the same, while each timber and steel supporting beam is curved uniquely. Inside and out, Gehry orchestrates a meandering gallery of paths and multistory overlooks that frame both art and landscape. While marooned on Paris’ western edge, the spectacular building has nonetheless become a cultural icon in a city where that’s very hard to achieve.

Vitra Design Museum, Weil am Rhein, Germany, 1989

Frank Gehry’s Vitra Design Museum helped inspire other inventive buildings on the campus.

(Education Images / Universal Images Group via Getty)

While tame in comparison to his later work, Vitra marked Gehry’s transition from rough-edged, industrial bricolage to sculptural spectacle. Its tumble of white plaster forms — cubes, cylinders, sweeping curves — seem to freeze mid-collision, as if the gallery had been torn apart by seismic forces. (Just a year before, Gehry had been included in MoMA’s “Deconstructivist Architecture” exhibition, but he always rejected that label.) The structure also helped launch a string of impressive experiments on the Vitra campus, including buildings by Zaha Hadid, Tadao Ando, Nicholas Grimshaw, Álvaro Siza, Herzog & de Meuron and more.

8 Spruce (formerly New York by Gehry), New York, 2011

8 Spruce in Manhattan has 76 stories.

(Don Emmert / AFP via Getty Images)

Gehry’s first skyscraper, 8 Spruce, reimagined the Manhattan high-rise as a kind of gleaming, pleated fabric, its shifted stainless steel panels rippling downward, catching daylight in a constantly shifting display. A buff brick base contains a public school and retail frontages, activating the street and helping establish the financial district as a legit residential neighborhood. Inside, apartments are far more rational, organized around generous windows that frame the city. Only 30 of the building’s 76 floors had been constructed when the Great Recession hit. For a time, the developer, Forest City Ratner, considered cutting the building’s height in half. But by 2010, the structure was back on.

Dancing House (Fred and Ginger), Prague, 1996

The Dancing House stands out amid Prague’s 19th century facades.

(Insights / Universal Images Group via Getty Images)

Designed with Czech architect Vlado Milunić, the building — a major step forward for Gehry, who increasingly dabbled in digital design — pits a leaning glass tower against an upright, solid partner, creating a kinetic duet that instantly earned the nickname “Fred and Ginger.” The complex’s opaque tower is clad in cream-colored concrete panels, stepping rhythmically with protruding windows that drift off-center. Its frenetic steel-ribboned crown, which stands out amid 19th century facades along Prague’s Vltava River, is nicknamed “Medusa.” The glass tower — emerging from a cluster of angled columns — cinches inward at its waist, bulging outward again as it rises, like a figure leaning into a twirl. Traditionalists panned the project when it first opened, but it’s now core to the city’s identity.

Stata Center, Cambridge, Mass., 2004

The Ray and Maria Stata Center on the campus of the Massachusetts Institute of Technology stands out for its form — and the lawsuit the university filed over leaks and cracks, which was settled amicably.

(Steven Senne / AP)

The Stata Center tilts, twists and fractures, its brick towers — referencing traditional Cambridge architecture — leaning into planes of glass, mirrored steel, aluminum, titanium, corrugated metal and plywood. The village-like building’s spatial looseness was part of a concerted effort to encourage chance encounters and interdisciplinary exchange at the school. The fragmented forecourt echoes the building around it, with skewed paving patterns, angled retaining walls and unpredictable sight lines. In 2007, MIT filed suit against Gehry’s firm and the general contractor Skanska USA, alleging persistent leaks, cracking masonry, poor drainage and sections where ice and snow slid off the building. The lawsuit was “amicably resolved” in 2010, but it represented one of several instances in which Gehry’s ambition would butt up against practical realities.

Weisman Art Museum, Minneapolis, 1993

The Weisman Art Museum.

(Raymond Boyd / Getty Images)

Perched on a bluff above the Mississippi River at the University of Minnesota, the museum was a trial run for Bilbao and Disney, without the help of advanced digital tools. Its stainless steel facade unfurls toward the river in faceted, reflective forms that contrast with the building’s campus-facing facade, a series of various-sized cubes wrapped in earth-toned brick, matching the rest of campus. Inside, a series of flexible galleries support changing exhibitions. The museum is named for Frederick R. Weisman, a Minneapolis-born entrepreneur, art collector and philanthropist who broke sharply with conventional wisdom to support a Gehry-designed building that would loudly announce the arts and become an artwork in its own right.

Jay Pritzker Pavilion, Chicago, 2004

The Jay Pritzker Pavilion stands out in the center of Millennium Park. The main stage can accommodate a full orchestra and 150-person chorus.

(Andia / Universal Images Group via Getty Images)

The centerpiece of Chicago’s wildly successful Millennium Park, the bandshell’s billowing 120-foot proscenium, supported by a web of aluminum arms, is fronted by dozens of torqued stainless steel ribbons, which exuberantly frame the stage. The ribbons connect to an overhead trellis of crossed still pipes that house lights and speakers, while the stage itself is sheathed in warm Douglas fir, and includes a colorful light projection system (first planned for Disney Hall, but scuttled for budget reasons) that transforms the pavilion’s face. Seating 4,000, the Pritzker envelops a “Great Lawn,” with room for another 7,000.

DZ Bank Building, Berlin, 2000

Curves abound in the DZ Bank Building.

(Henri-Alain Segalen/Gamma-Rapho via Getty Images)

A stone’s throw from the Brandenburg Gate, DZ’s stone facade aligns seamlessly with its blocky neighbors on Pariser Platz, providing little hint of its shocking interior. A curved stainless steel conference hall, clad inside with a riot of warm wood panels, resembles an angry sea creature, its humpbacks, saddles, bulges, tucks and pinches creating one of the most kinetic building forms this author has ever seen. The piece dominates a soaring atrium, capped with a curved, crystalline glass roof. Locals nicknamed the split-personality building the “Whale at the Brandenburg Gate.” It remains one of the architect’s most underrated masterpieces.

Less than a month after announcing its opening date, the Lucas Museum of Narrative Art told staff that chief curator Pilar Tompkins Rivas is leaving the museum this week.

“There are no immediate plans to replace Pilar’s role as Chief Curator and Deputy Director of Curatorial and Collections,” wrote interim Chief Executive Jim Gianopulos in an email obtained by The Times. “George Lucas will continue to oversee curatorial content and direction.”

Rivas did not respond to a request for comment.

The $1-billion Lucas Museum, which remains on track to open on Sept. 22, 2026, issued a statement that said, “We thank Pilar Tompkins Rivas for her hard work over the last five years, which has been instrumental in preparing the museum for its opening. We wish her well in her future endeavors.”

Rivas’ departure comes nine months after former museum director and CEO Sandra Jackson-Dumont stepped down from her role. Jackson-Dumont did not comment publicly about her departure, but the museum said in a statement at the time that her decision was based on a “new organizational design” that would split her job into two positions, with Lucas responsible for content direction and Gianopulos, the former chairman and CEO of 20th Century Fox and Paramount Pictures, assuming the CEO title until a permanent one could be found.

Three months after that, the museum laid off 15 full-time employees, many from the organization’s education and public programming team — amounting to 14% of the full-time staff. An additional seven part-time, on-call employees also lost their jobs. At that time, two employees, who asked to remain anonymous out of fear of retaliation, described the layoffs as shocking and chaotic.

In 2020, the Lucas Museum was touted for appointing six women — five of whom were women of color — to leadership roles. That number did not include Jackson-Dumont. With Rivas no longer in her job, only two women hired at that time remain: Larissa Gentile, managing director of special projects, and Erica Neal, director of computing and infrastructure.

“I’m an advocate for diversity, equity, inclusion and accessibility, that’s a huge part of who I am,” Jackson-Dumont told The Times in 2020. “But when I’m hiring, I’m looking for the best and most qualified candidates — and that was them.”

Rivas is known for her connection to Los Angeles and its diverse communities. She was formerly the director and chief curator at the Vincent Price Art Museum at East Los Angeles College. Prior to that she worked as coordinator of curatorial initiatives at the Los Angeles County Museum of Art. Her resume also includes curatorial and project coordinator positions at Santa Monica’s 18th Street Arts Center, the UCLA Chicano Studies Research Center and the Claremont Museum of Art.

Claude, a rare albino alligator whose ghostly white scales and statue-like stillness earned him a cult-like following around the world, died Tuesday, according to the California Academy of Sciences in San Francisco. He was 30.

The cause was end-stage liver cancer, Bart Shepherd, director of the museum’s Steinhart Aquarium, said in an interview Wednesday night.

A connoisseur of fish heads (preferably trout) and just-unfrozen rats dubbed “ratsicles,” Claude had been closely monitored in recent weeks because of a waning appetite. He was moved out of his publicly viewable swamp habitat to be treated for a suspected infection and had seemed to be responding well to antibiotics before he was found dead early Tuesday morning, Shepherd said.

A necropsy was conducted at the UC Davis School of Veterinary Medicine on Tuesday, revealing that “almost the entire liver” was overtaken with cancerous tumors, Shepherd said.

Hatched at a Louisiana alligator farm on Sept. 15, 1995, Claude rose to fame in San Francisco, where he spent the last 17 years living in a swamp habitat at the Academy of Sciences aquarium in Golden Gate Park.

Claude became an unofficial mascot for the City by the Bay, where he appeared on billboards and advertisements at bus and light-rail stations. He was the subject of two children’s books. And his every move was tracked by a recently launched 24/7 livestream called Claude Cam, underwritten by San Francisco-based tech company Anthropic, which developed an artificial intelligence chatbot called, you guessed it, Claude.

In a post on X, Rep. Nancy Pelosi (D-San Francisco) called the gator the museum’s “cold-blooded icon” and wrote that “San Francisco is heartbroken by the loss of Claude — our city’s distinguished albino alligator who was taken from us in his prime at just 30.”

Museum staffers dubbed Claude their “iconic swamp king.” And thousands turned out for his 30th birthday bash in September, during which he was presented a “cake” made of fish and ice and a proclamation from Mayor Daniel Lurie, declaring Sept. 15 to be “Claude the Alligator Hatch Day.”

“Claude represented that core San Francisco value of seeing the beauty & value in everyone, including those who are a bit different from the norm. Rest in peace, buddy,” state Sen. Scott Wiener (D-San Francisco) tweeted Tuesday.

Measuring 10 feet long and weighing 300 pounds, Claude was one of fewer than 200 alligators in the world with albinism, a genetic mutation that causes an inability to produce melanin, making his translucent skin appear white.

The condition resulted in poor eyesight, which, along with his inability to camouflage himself, made him vulnerable to predators in the wild, according to the museum. American alligators without albinism can live about 50 years in their natural habitats, according to the Smithsonian’s National Zoo & Conservation Biology Institute, but they can live up to 70 in captivity.

As a “banana-sized” baby, Claude was moved from the Louisiana alligator farm where he hatched to the St. Augustine Alligator Farm Zoological Park in Florida, where he lived in an enclosure alone for 13 years.

In 2008, Claude was loaded into a wooden crate and trucked across the country to San Francisco.

He made the four-day trip — albeit in a separate crate — with Bonnie, a female alligator with typical pigmentation. Biologists hoped they would get along and placed them in the museum’s swamp exhibit together.

But Bonnie did not like Claude, whose limited vision caused him to bump into his surroundings — and into her. She bit his right front pinkie toe, which became infected and had to be surgically removed.

Bonnie was sent back to Florida. Claude’s toe remains in the museum’s veterinary hospital in a jar.

He lived peacefully with three female alligator snapping turtles named Donatello, Raphael and Morla, each of whom was believed to be at least 50 years old.

Claude’s enclosure had no doors for human access. Biologists had to use a ladder to climb down into the space for his weekly feedings.

Claude once swallowed a child’s ballet slipper that fell into his enclosure — he was placed under anesthesia to have it removed — but spent much of his time in the near-total stillness typical of an ambush predator.

“He didn’t move much. That was the joke with Claude — if you see him move, it’s an amazing day,” said Emma Bland Smith, who wrote a nonfiction children’s book about him called “Claude: The True Story of a White Alligator.”

Smith, who interviewed biologists who cared for Claude, said children are enthralled by the gator’s “rags to riches” story.

“Claude had been through a lot in his life,” Smith said. “We tend to anthropomorphize animals, but there is just something about Claude that is so appealing and charming. Claude was able to find a place for himself in the world even though he was different from others.”

Smith said she had done a reading at the museum about two weeks before Claude’s death and, as she did during frequent visits, peered down at him, smiled, and said, “Hey, Claude.”

“He doesn’t do anything,” she said, “but you feel this connection with him.”

The California Academy of Sciences said it will host a public memorial for Claude “in the near future.”

Shepherd said Claude’s care team at the museum has been heartened by an enormous outpouring of support — text messages, emails and voicemails from around the world; flowers placed outside the facility; even an edible fruit arrangement for staffers.

“It’s nice to see people care about the folks that care about these animals,” he said. “It’s also been a reminder to me about … the reach that even one animal can have. It really was global.”

A UK museum solely for kids has been named the best in Europe.

The Young V&A located in London is a branch of the Victoria and Albert Museum and reopened in July 2023 in East London.

Inside the museum, there are three main galleries which are designed for different age groups: Imagine, Play and Design.

Now the museum has been awarded the 2026 Council of Europe Museum Prize by the Culture Committee of the Parliamentary Assembly of the Council of Europe (PACE).

Luz Martínez Seij, committee representative for the Museum Prize, said: “The Young V&A is a clearly outstanding museum in terms of its mission to engage visitors with the themes of human rights, equality, participation and cultural democracy.

“It conveys a strong message of empowerment of young generations, particularly those from deprived areas who may have limited contact with mainstream and institutional cultural offerings, with experiences that can help them embrace the future with confidence and participate fully in democratic societies.”

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Inside the museum, visitors can get creative with programmes that connect design and play with real-world themes such as sustainability.

The museum is also inclusive, with activities available for children with special educational needs and disabilities.

Visitors can attend play sessions, such as Festive Play Saturdays where kids can dress up, dance to music and bring stories to life.

There are family design sessions too, to make items such as Christmas decorations or sequin brooches.

And on February 12, 2026, a major new exhibition will open at the museum.

The exhibition will celebrate the producers of Wallace and Gromit – Aardman’s 50th anniversary year, and allow fans to see scenes from the stop-motion animations and find out how Aardman brings clay to life.

Famous characters on display include Wallace and Gromit, Shaun the Sheep and Morph.

The exhibition will cost around £11 per person to visit.

However, the rest of the museum is free to visit, and is open seven days a week.

To get to the museum, it is just a two-minute walk from Bethnal Green underground.

In 2024 – the museum’s first year of opening – the Young V&A also won the Art Fund Museum of the Year 2024, which is the largest museum prize in the world.

Vick Hope, broadcaster and judge for Art Fund Museum of the Year 2024, said: “Young V&A is such a special and unique place, offering an experience for children (and their adults) like no other out there.

“The museum truly places young people centre stage, encouraging them to play, design and get creative through a fascinating collection of objects and artworks.

“I was inspired by the museum’s vision to become a space for the next generation to feel empowered and to imagine their future; a space that will cement museums as places they belong and feel welcome as they grow up, regardless of their background.”

The Council of Europe Museum Prize has been awarded each year since 1977 to a museum that has made a significant contribution to the understanding of European cultural heritage.

Last year, Euskararen Etxea, the House of Basque Language, in Bilbao, Spain won the award.

In other museum news, the UK’s newest national museum is more like an Ikea store – and Kate Middleton is already a fan.

Plus, Britain’s best hidden gems have been named, from free museums to brewery tours.

Qatar has opened the world’s first museum dedicated to exiled Indian artist Maqbool Fida Husain, who left India in 2006 after controversy over his artwork. The Lawh Wa Qalam museum showcases the works MF Husain created during his final years in Qatar.