As summer heats up alongside the exhausting news cycle, it’s crucial to find ways to unplug and wind down. Golden Hour in the newly renovated sculpture garden at the Norton Simon Museum is just the thing. Taking place tonight (Friday), and on two more Fridays this season (July 31 and Aug. 28), the event lasts from 4:30-6:30 p.m. and features a different musical group each time.
Tonight is the Verbena Quartet; a North Indian ensemble and a jazz trio are upcoming.
The fun is free with museum admission, and guests are encouraged to bring blankets to relax in the grass. I took my family of four to a recent event and it proved to be the rare occurrence when both the 10-year-old and the 17-year-old were happy. The museum provides all kinds of great art supplies on a big table by the entrance, including sketch paper, clipboards, colored pencils and charcoal drawing utensils.
There are also sheets of paper encouraging creative ways to approach drawing various sculptures in the garden, alongside a family-friendly Golden Hour bingo card with squares including “Spot something framed by tree branches” and “Look at the space between two objects.”
I did some drawing with my toes in the grass while my kiddos curved their necks over their own mini masterpieces. My husband read a book. The sun slanted low as the afternoon melted into early evening, casting lovely shadows on the families, couples, friend groups and solitary artists scattered around the garden sipping wine and snacking on cheese and crackers from the nearby cafe.
When we had our fill of relaxing, we ambled into the museum. My daughter wanted to gaze at the Picassos and the Van Goghs. As did I. I never don’t cry when I look at “The Mulberry Tree.”
“Can you imagine what he was thinking?” I asked my 10-year-old as we regarded the painting. “The pain and the beauty of it?”
She nodded sagely, gently smoothing her thumb against her own recent drawing, her deep inner world a mystery to me. The beauty and the pain of it. I was glad we had cuddled together in the late afternoon sunshine.
I’m arts editor Jessica Gelt, wishing you and your loved ones peace. This is your arts and culture news for the week.
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings of L.A.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
The week ahead: A curated calendar
FRIDAY
Antigone The Bebelos Players present a back-to-basics production of Sophocles’ classic drama about a young woman who defies a king to honor her dead brother. 7 p.m. Friday-Sunday. Theosophy Hall, 245 W. 33rd St. eventbrite.com
“Horse,” by Rick Bartow, 2014, wood, tar, wax, false teeth, nails. 56 x 42 x 12 in.
(Yubo Dong, ofstudio)
Rick Bartow Last chance to catch “All of these things have happened,” an exhibition of works on paper by the late Native American artist that touch on tragedies from throughout his life, as well as “Horse,” a 2014 sculpture covered in tar, wax, false teeth and nails that is “a study of sustained resilience.” Noon-5 p.m. Friday-Sunday, Wednesday and Thursday (last day). Timothy Hawkinson Gallery, 7424 Beverly Blvd. timothyhawkinsongallery.com
Spencer Finch “Balboa of House and Garden,” composed entirely of new work, is the artist’s first exhibition in Los Angeles. The show includes more than 50 unique works on paper, a site-specific skylight installation and a monumental outdoor sculpture. Finch’s “Memory Landscape (Nairobi, Chicago, Honolulu, Jakarta),” 2025, a commissioned tile wall mural inspired by places from President Barack Obama’s formative years, was recently installed at the Obama Presidential Center in Chicago. Opening, 6-8 p.m. Friday; 10 a.m.-6 p.m. Tuesday-Saturday, through Aug. 22. Lisson, 1037 N. Sycamore Ave. lissongallery.com
Bodo Mato The pseudonymous multidisciplinary artist uses a subconscious dreamworld to access a legendary lost city to find real-world parallels in the exhibition “Atlantis: Echoes of Hubris.” Opening reception, 6-10 p.m. Friday. 11 a.m.-5 p.m. Saturday-Tuesday. 7811 Gallery (West), 7813 Melrose Ave. 7811gallery.com
Raymond Saunders, “Layers of Being,” 1985. Mixed media on canvas, 81 x 59 15/16 x 1 in.
Raymond Saunders “Flowers From a Black Garden” is a career-spanning look at the painter (1934-2025) as he moved from Dada, expressionism and assemblage to Fluxus, Pop and postmodernism, beginning in the 1960s. 11 a.m.-6 p.m. Wednesday-Sunday, through Jan. 3. UC Irvine Langson Orange County Museum of Art, Segerstrom Center for the Arts, 3333 Avenue of the Arts, Costa Mesa. langson.uci.edu
SATURDAY
Chrysalis prototypes deployed in Joshua Tree, 1970, reproduction.
(Chrysalis Corporation)
Alternative Palm Springs: Other Desert Architectures In some parallel reality there may exist a Coachella Valley unlike anything you’ve ever imagined. In lieu of that, this exhibition shares the unbuilt visions of prominent architects, off-grid designs of the counterculture, and private and public worlds created by the LGBTQ+ during the 20th century, yielding an expanded view of the area’s architectural ambitions. 10 a.m.-5 p.m. Friday-Sunday; noon-8 p.m. Thursday; through Jan. 4; closed June 26 and July 4. Architecture and Design Center, Edwards Harris Pavilion, 300 S. Palm Canyon Drive, Palm Springs. psmuseum.org
Declarations of Independence Gay Men’s Chorus of Los Angeles and guest artist Justin Tranter celebrate national and individual freedom and pride for America’s 250th anniversary. 7 p.m. Saturday; 3:30 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills. gmcla.org/declarations
A Great Night in Hip-Hop The Roots return for their third year at the Bowl, joined by Nas, with appearances from T.I., Bun B, De La Soul and more. 7:30 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
Rota Fortunae A one-night-only experimental opera featuring Jordan Slaffey reimagines the four women of the 1996 crime thriller “Set It Off” using movement, live music and fashion. Directed by Chris Emile, music by composer and DJ Cody Perkins and designs by James Flemons. 7:30 p.m. Indoor Swap Meet, 128 S. La Brea Ave., Inglewood. eventbrite.com
Peter Stampfel An innovator of anti-folk, freak-folk and psych-folk, the 87-year-old co-founder of the Holy Modal Rounders makes a rare West Coast appearance. 8 p.m. McCabe’s Guitar Shop, 3101 Pico Blvd., Santa Monica. mccabes.com
THURSDAY
Ojai Film Society Summer Screening Series Annual presentation of independent, foreign, documentary, critically acclaimed and classic films kicks off Thursday with Taika Waititi’s 2016 adventure comedy “Hunt for the Wilderpeople,” starring Sam Neill. Other screenings: “Selena Y Los Dinos” (July 10); “Cookie Queens” (July 17); “Best in Show” (July 24); “Arrival” (Aug. 20); and “Jurassic Park” (Aug. 27). 7:30 p.m. Thursday; various dates through Aug. 27. Libbey Bowl, 210 S. Signal St., Ojai. ojaifilmsociety.org
Tank and the Bangas The Grammy-winning New Orleans music group shares its signature blend of funk, soul, hip-hop, rock and spoken word. Featuring an opening set by Butter Funk Family and DJ sets by Tosstones. 7 p.m. Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org
Arts anywhere
Meryl Streep, from left, and Amanda Seyfried, Rachel McDowall and Ashley Lilley in the 2008 movie version of “Mamma Mia!”
(Peter Mountain / Universal Pictures)
Broadway unbound
Two of the biggest hit musicals ever are in town simultaneously starting this week — “Mamma Mia!” is at the Ahmanson through July 19 and “Phantom of the Opera” plays the Hollywood Pantages through Aug. 9. If you want to bone up beforehand or relive the hits after you’ve been to the theater, the cinematic adaptations of both are widely available. The 2008 movie version of “Mamma Mia!” starring Meryl Streep and Amanda Seyfried streams on Prime through the end of June and the 2004 “Phantom” with Gerard Butler and Emmy Rossum is streaming on Prime and Apple TV. Both films are available to rent or buy on various platforms and, if you’re into physical media, relatively inexpensive Blu-ray and DVD versions can be had online. Public libraries are also great resources for arts-related content.
— Kevin Crust
Culture news and the SoCal scene
Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax Station in Los Angeles on May 8, 2026.
(Genaro Molina / Los Angeles Times)
With the new Metro D Line subway extension up-and-running with new stations at Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega, we asked architecture writer Sam Lubell to take an aesthetic look at these new displays of public art. “Suddenly the city feels different. Not transformed, exactly. But more connected,” wrote Lubell. “The fracturing grip of the city’s incomprehensible expanses, clogged arteries and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. … The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience … But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below.”
The Hollywood Bowl opened its summer season with a lavish production, “The Best of Broadway,” starring Lea Salonga, Brian Stokes Mitchell, Darren Criss, Renée Elise Goldsberry and Halle Bailey, and hosted by Billy Crystal. The program including a selection of Broadway tunes old and new, was delivered with flair to an appreciative audience. “I had a lovely time,” reports Times theater critic Charles McNulty, “but I can’t say the concert lived up to its title. Not that impressive virtuosity wasn’t on display, but Broadway is truly at its best when musical numbers are embedded in a story, allowing the performers to feed off each other and reach heights that they might not be able to reach on their own. Too much of the bill required the actors to stand and deliver, ‘American Idol’-style. It was a little unfair to place such a heavy burden on them.”
McNulty also reviewed the Geffen Playhouse’s Los Angeles premiere of Pearl Cleage’s “Angry, Raucous, and Shamelessly Gorgeous,” about an American expat actor angling for her big comeback. The play, wrote McNulty, “is hamstrung with exposition. More time is devoted to setting up the dramatic situation than to activating it. … The intentions are noble and the themes are handled with admirable complexity, but the writing is sluggish. The plot is like an old car whose engine just refuses to start on a cold winter morning.”
After 20 years as LA Opera Music Director James Conlon will step down.
(Robert Gauthier / Los Angeles Times)
The final show of L.A. Opera’s production “Marriage of Figaro” last Sunday also marked the end of James Conlon’s tenure at the podium as the organization’s music director. Stepping down after 20 years, Conlon spoke to Times classical music critic Mark Swed. “I love L.A. and I’m not going to leave,” said Conlon. “I am absolutely happy at this point in my life. You know my age is 76. It is not a secret. I wear it proudly. But I’ve been a music director for 47 years, and I don’t want to be a music director any longer. I will still conduct.” Will he return regularly to L.A. Opera? “That’s the theory,” he said
Another maestro who can’t quit L.A. is Esa-Pekka Salonen. Last weekend, the beloved composer and conductor, who is back with the L.A. Phil as creative director, returned to the Ojai Music Festival after a quarter-century absence. “Salonen found renewal not from the desperation of rethinking but from freshening, illuminating the perception of exceptional young musicians first encountering greatness,” wrote Swed in his review of the four days. “In these uncertain times, that may be the most remarkable act of artistic optimism.”
Spanish artist Nieves Gonzalez stands next to one of her paintings that is part of her solo show at the Richard Heller Gallery at Bergamot Station in Santa Monica on June 18, 2026.
(Genaro Molina / Los Angeles Times)
Not yet 30, Spanish painter Nieves González is a burgeoning international art star with an exhibition at Richard Heller Gallery in Santa Monica. “Fashion inspires me,” she told writer Jane Horowitz in a recent interview. “Just as 17th century artists drew inspiration from the fashion of their day — often creating paintings that served as catalogs of current styles — I do the same. The goal is to not merely convey a specific message or ideology but to create a testament to a generation and the era in which we live.”
“California Gothic: A Bus Tour,” an avant-garde sightseeing event organized by the New Theater Hollywood, turns Tinseltown “into a stage, drawing locals for a mash-up of state history, gothic storytelling and public-intellectual riffing on the broken California dream,” wrote Times staff writer Eloise Rollins-Fife. The tour ended its latest run in mid-June, but will reopen during the last week of October for a special “ghost tour” edition.
Times columnist Patt Morrison reported from the City of Lights on Paris-born street artist JR’s “La Caverne du Pont Neuf,” which she describes as “an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range … an homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.” The work uses about 200,000 square feet of printed fabric on the city’s oldest bridge to create the illusion and the artist told Morrison, “Your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”
Enjoying this newsletter? Consider subscribing to the Los Angeles Times
Stewart McLaurin, president of the White House Historical Assn., displays a newly-acquired suite of four interrelated paintings by Norman Rockwell titled, “So You Want to See the President!” at the association’s offices Wednesday, June 10, 2026, in Washington.
(John McDonnell / Associated Press)
In the 1940s, Norman Rockwell spent time in the visitor’s lobby of the White House sketching U.S. senators, members of the military, the press and a Miss America as they awaited entry into the Oval Office to see President Franklin D. Roosevelt. Eight decades later, four of the sketches have been acquired by the White House Historical Assn. for $7 million, according to the Associated Press. Titled “So You Want to See the President!” the sketches will be on public display through June 2027 at the historical association’s “The People’s House” education center near the White House.
It was a busy week for announcing some of this fall and winter’s Broadway openings. Lincoln Center Theater’s Vivian Beaumont will host a revival of Aaron Sorkin’s “A Few Good Men,” starring Bradley Whitford and Tom Blyth, directed by six-time Tony winner Michael Arlen, starting Oct. 8. In March 2027, LCT Artistic Director Lear deBessonet will helm a new production of Rodgers and Hammerstein’s “The Sound of Music,” for its first Broadway run in nearly 30 years. A revival of Richard Greenberg’s “Three Days of Rain” lands in February 2027 at a Shubert Organization-owned theater to be announced with Anna D. Shapiro directing. The cast will include “Heated Rivalry’s” François Arnaud and David Corenswet of “Superman” in their Broadway debuts, joined by Yvonne Strahovski of “The Handmaid’s Tale.” The play was previously on Broadway in 2006 with Julia Roberts, Bradley Cooper and Paul Rudd. Walter Hill’s 1979 gang saga “The Warriors” will make the leap from screen to stage as a musical, with a book, music and lyrics by Lin-Manuel Miranda and Eisa Davis. Previews begin at Broadway’s Lunt-Fontanne Theatre in March 2027 with an opening slated for April. Jenny Koons will direct.
Diego Cano-Lasso had been looking for an architectural project when he found two hillside lots with spectacular views for sale in Mt. Washington. With work scarce in 2012, the SCI-Arc graduate persuaded his family to invest in the property, and together they bought the two plots for $95,000.
“We are not developers,” he says, “but sometimes you have to jump.”
He didn’t realize the Mt. Washington project would take 12 years to complete, including a shutdown during the COVID-19 pandemic, or that he, his family and friends would end up doing much of the work themselves.
Diego Cano-Lasso stands in front of the hillside lots in 2012. (Hassan Ismail)The lots today.(Myung J. Chun / Los Angeles Times)
As a fan of Los Angeles’ Midcentury Modern architecture, he imagined designing and building a post-and-beam dream home next-door to a similar home by his aunt Lucia Cano and her husband, José Selgas, of the Madrid architecture firm SelgasCano, stretching over the hillside and connecting to the city below.
“It’s why I moved here,” Cano-Lasso says. “Midcentury design was like a dream to me, because it’s not just an architectural style; it’s a lifestyle.”
But his dream quickly hit a snag when the geotechnical engineer arrived in Mt. Washington to assess the site.
“He said the plots were unbuildable,” Cano-Lasso recalls. “He told me, ‘It is impossible. We cannot even do the soils report, because a big machine can’t fit up here on these narrow streets.’”
Eventually, Cano-Lasso found someone who visited the site and said, “No problem.”
La Canaria House by José Selgas and Lucia Cano features canary yellow aluminum tubes.
Cano-Lasso and his wife, Belén Rodero, in the open kitchen and living area of La Canaria House.
Then the city told him that he didn’t have the right to build on the property. To get permission, Cano-Lasso and his family would need to widen the narrow street, put in a sewer system and add a power pole.
Permits were just as difficult. According to Cano-Lasso, neighbors complained about the project, and the city bureaucracy dragged out the process for three years.
Eventually, he and his crew began digging into the hillside and moved more than 120 truckloads of soil through the steep, narrow streets of Mt. Washington. Without a general contractor, they managed construction themselves and hired different crews for each job.
When COVID-19 hit, construction on the project stopped, and Cano-Lasso returned to Spain. Construction did not restart until 2022, by which time the construction industry had changed and the project felt even more challenging to complete.
“Everything cost more, and there weren’t enough skilled workers,” Cano-Lasso says. As a result, Juan de Santiago, the master builder Cano-Lasso hired and calls “paramount to the project,” was too busy to finish the houses, which had windows and drywall but still needed finishing.
“The only way we could do it was by doing most of the work ourselves and with friends,” Cano-Lasso says.
With help from his brother Alejandro Cano, who is also known as Cato, and his wife, Belén Rodero, they handled everything from carpentry and metal work to lighting, wall finishes, flooring, painting, furniture, custom garage doors and landscaping.
“What I didn’t realize at the time — not even when hundreds of boxes of Moroccan tiles showed up at our door in Madrid — was that I was signing up for both a crash course and a career in tiling,” Cato says of designing murals for three of the Cano Home’s four walls. “I wasn’t expecting to lay a single tile, let alone take on the filing, sanding, rearrangement and all the care and attention required when most tiles come in odd sizes.”
Seven years and plenty of mishaps later, including the time a truck got stuck on the narrow, winding streets of Mt. Washington hauling 42-foot wooden beams, Cano-Lasso finally has a finished home that feels peaceful and warm.
With eye-catching details everywhere, the 2,250-square-foot homes feel relaxed and reflect the style of a Spanish designer inspired by Frank Lloyd Wright and Rudolph Schindler. (Cano-Lasso once lived in Schindler’s Sachs apartment in Silver Lake.) The open floor plan, designed by his father, Spanish architect Diego Cano Pintos, features warm oak floors, inexpensive radiata pine walls and ribbed wood ceilings.
“I am enjoying witnessing the house being lived in,” Cano-Lasso says of renting his house to music producer Jennifer Jimenez and interior designer Hanna Li, pictured right.
The rooms of the Cano House are filled with colorful art, accessories and custom furniture by Andrew Riiska and Cato. “Although we were working toward a deadline on a project that had already been under construction for several years, most pieces of furniture were designed and fabricated on site, with the conviction that we were building something special,” Cato says of setting up a furniture workshop in the garage.
Ceramic rain gutters from Ceramiques Est in Spain have been repurposed as wall-mounted light fixtures for indoor use. Door handles are made from stones found on the beach, and glass light fixtures by Luz Mixtura in Spain echo Robert Irwin’s disc installations. Large boulders from the excavation were brought inside to serve as furniture. Built-ins were made in Spain and shipped to Los Angeles in three containers. Outside, the house is covered in shou sugi ban charred-wood siding, which they installed themselves.
Both homes have similar structures and layouts with four bedrooms and four bathrooms, but La Canaria House features canary yellow powder-coated aluminum tubes inspired by California sunsets, while the Cano House is minimal and warm. “The homes are all about the beams,” Cano-Lasso says, which makes them look like they are floating above the city.
The neutral rooms feel warm and simple, with striking pops of yellow that reflect Southern California’s sunshine and decks that allow a smooth flow from indoors to outdoors.
Li, left, and Jimenez in their music room. The custom DJ workstation, designed by Li, is clad in ceramic tiles designed to look like plywood.
Behind the Cano House, Cano-Lasso created a narrow outdoor space with built-in banquette seating, a raised-bed herb garden and a water fountain. Now the house opens up to the outdoors, making it easy to entertain. “The garden is the coolest feature,” he says. “It really makes the house feel special.”
In some ways, the modern design has revived the midcentury ideal by using post-and-beam construction, an open floor plan, simple materials and easy indoor-outdoor access, all with Cano Lasso’s artistic touch.
But finishing the project also left Cano-Lasso with the large debt he took on — he estimates the project cost about $1 million, although he saved around 40% by acting as his own contractor.
Cano-Lasso and his wife divide their time between La Canaria House and a project in Venice, so he is renting out his dream house to interior designer Hannah Li and music producer Jennifer Jimenez, who grew up together in Pasadena.
Li descends the spiral staircase to the music room on the first floor.
Renting such a personal project might seem overwhelming for the tenants, since the rental included some of Cano-Lasso’s custom furnishings, but the two have made the house their own. They added a striking listening room on the first floor, with a turntable lined with ceramic tiles designed by Li to resemble plywood.
“We’re all artists in this house,” Jimenez says. “We’re always creating here, and other music producers often come over to make music and jam with us. It’s such an inspiring, creative space.”
“It’s a very comfortable house,” adds Li, who enjoys practicing archery on the terrace deck.
The friends’ rental is filled with treasures from their travels, along with pieces Li designed specifically for the home. Li turned one of the first-floor bedrooms into a cozy study by paneling the walls with wood and adding textiles she collected on her trips.
Recently, they hosted a birthday party with art-making stations, candle-making and even goats and they invited their landlord. “Mt. Washington has so many artists, so it’s wonderful to bring everyone together,” Li says.
Cano-Lasso, greets Jimenez, center, and Li on their side-by-side terraces.
When asked if he might consider tackling another hillside project, Cano-Lasso laughs.
“When I finished, I said, ‘I will never do that again,’” he says. “Now I’m starting to think there’s a plot of land for sale nearby. We installed a sewer line, so why not take advantage of it?”
Despite his debt, he isn’t planning to sell the house. “In a way, the project doesn’t finish with construction; I am enjoying witnessing the house being lived in,” he says. Even if he’s not the one living in it.
A coalition of advocacy groups for artists, songwriters and managers is warning musicians about the growing risks of artificial intelligence music.
Recently, many major record labels have inked deals with AI music startups such as Suno, Udio and Klay. But the coalition, which includes organizations such as the Music Artists Coalition and the Songwriters of North America, argues in a new letter that “artists and songwriters whose works, voices, performances, likenesses and creative identities make those deals valuable are not being meaningfully consulted.”
The letter, released Monday, stated that many artists and songwriters in existing recording and publishing agreements are currently receiving letters from their labels and publishers claiming that they “will be opted in to AI-related uses by default, with little actual choice offered.” Even new artists are receiving agreements that include “AI rights clauses as a standard condition of signing.”
“We support innovation and recognise that AI can create new opportunities for music,” the coalition wrote in the letter. “However artists are not simply catalogue assets, and innovation cannot be used to override artists’ rights.”
The National Independent Talent Organization, a live entertainment advocacy group that signed the letter, said many of its members are coming to the organization with label contracts that include “non-negotiable AI usage clauses.”
“We can’t allow for contract language signed decades before this technology existed to be the standard bearer. These rights belong to the creators and they get the final say on usage,” said Nathaniel Marro, NITO’s executive director, in a statement to The Times.
“Music companies are leading the fight to protect artists’ and songwriters’ rights in the age of AI,” said a spokesperson for IFPI, the recording industry’s global trade body.
“While our members have taken different approaches, they share the same fundamental objectives: combating the unauthorized use of music and establishing licensing models that return revenue to artists and songwriters,” the IFPI spokesperson added.
The coalition is asking the industry to move forward on AI deals only under four conditions: that musicians directly consent to any agreement; that artists receive fair compensation; that there be transparency between the companies and the talent; and that companies make a public commitment to end contracts built on default AI opt-ins and forced AI clauses.
“Artists need a real seat in these conversations, clear terms on revenue share, and the ability to say no without losing their deal,” said Ron Gubitz, the Music Artists Coalition’s executive director, in a statement.
A little over two weeks ago, the American Federation of Musicians sued Universal Music Group and Warner Music Group. The complaint claims the major labels “received significant compensation” from the AI companies for past copyright violations and licensed “substantial” portions of their music catalogs to them, but haven’t shared that with the musicians.
Despite the confrontational tone of the letter, some signatories struck a more conciliatory note. Overall, the industry seems to be receptive to these AI changes, said Willie “Prophet” Stiggers of the Black Music Action Coalition, another signatory advocacy group. At this point in AI’s development, he added, everyone in the industry — from artists and labels to AI start-ups and policymakers — has a responsibility to establish effective guardrails.
“The companies building these technologies understand that trust is essential to long-term success, and trust begins with respecting creators’ rights,” Stiggers said in a statement to The Times. “There’s still important work ahead, but we’re encouraged that the conversation has shifted from whether protections are needed to how we build them together.”
“The structures being created now will shape the music ecosystem for years to come,” the coalition’s letter said. “The future of music must be built with artists, songwriters and their representatives, not imposed on them.”
Times staff writer Wendy Lee contributed to this report.
Iran’s chief negotiator said the Strait will never return to the way it was before the war, but also said Iran will fully comply with international law. He spoke while on his way back from first round talks with the US in Switzerland.
“Do you have an extra ticket?” a man shouted outside SoFi Stadium last Thursday.
The World Cup has been drawing fans from around the globe. But for many, getting a seat in the stadium has come at a steep price.
Some were lucky enough to nab $400 to $500 tickets through official World Cup lotteries, others paid thousands of dollars to catch the action IRL. Tickets for the upcoming USA versus Turkey match were selling for more than $1,400 on resale sites.
The demand has been so high that authorities have been warning fans about how to avoid ticket scams.
As crowds flocked into the stadium, we asked attendees about how much they paid to get into the most-watched sporting event in the world. Here’s what they shared.
Their responses have been lightly edited for length and clarity.
Luis Moreno, Luis Moreno Jr., Angelica Castellano, Diana Moreno and Ramon Aguilera of Orange County
Luis Moreno, Luis Moreno Jr., Angelica Castellanos, Diana Moreno and Ramon Aguilera sport Mexico gear.
How much did you pay for your tickets?
Diana: We don’t want to say because I don’t want our parents to know.
*Whispers* We paid retail. It was like $500 per ticket. For Father’s Day, we wanted to make sure he got to enjoy it.
Why did you want to attend the World Cup?
Castellano: We went in ‘86 in Mexico, ‘94 in Pasadena and now here. We’re excited because I want to enjoy it with my kids. If we didn’t come, I would’ve been sad because they need to see how it is.
Diana: Now, it’s our turn. Even though [today’s match] is not our country, we still had to come and experience it. We’ll watch our team play later on the big screen.
Did you have to give up anything to be here?
Diana: Work, but that doesn’t matter. This is more important. Time with family.
Luis Jr.: Sleep. [Laughs]
Diana: It’s Thursday. We’re out here watching the game, we’re drinking, so there’s no complaints.
Was it worth it?
Diana: Absolutely. No matter what happens today. The fact that we’re here, it’s already a success.
Tell me about your outfit. You’re rocking Paisaboys, an L.A. brand.
Diana: I got the Paisaboys shirt on, repping. I know they have a collaboration with Nike. I got my Nike shoes on and I’m just ready to have a good time. My mom sewed her top last night. She wanted to add a little touch to it.
Angelica: Yes! This is an old, old, old jacket.
Diana: My dad’s outfit is sponsored by me. All Adidas, Father’s Day gift.
Luis Sr.: I got lucky this year.
Adam Chapman and Sarah Harrell of Washington, D.C.
Adam Chapman and Sarah Harrell.
How much did you pay for tickets?
Harrell: We went to two games: USA versus Paraguay [in Los Angeles] and Senegal versus France in New Jersey/New York.
Chapman: The L.A. tickets were way more expensive. We bought them presale for like $1,940, but the [seats] were still very high in the arena and the resale prices are actually cheaper than the ones we bought on presale. It’s horrible. [Laughs]
Why did you want to come to the World Cup?
Chapman: This is my first men’s World Cup. I went to the women’s World Cup in Australia a couple years ago. The last time the U.S. had a men’s World Cup here was like forever ago. We’re probably not going to have another in our lifetime, so I really wanted to make sure we had a chance to go to some games.
Did you have to give up anything to be here?
Harrell: We’re moving the day we get back, so we were packing until the moment we got here. Some of this gear was last-minute purchasing in order to make that work. Also, we took a six-hour plane ride, middle seats. We really committed to get here. We got cat sitters, we both took days off from work, the whole thing.
Was it worth it?
Chapman: Yeah, just for the experience. It’s more money than we would’ve wanted to pay but yeah.
Harrell: We bought the tickets like a year and a half ago, so it’s been on the calendar forever. We ended up getting to bring my brother and his best friend to celebrate his 40th birthday, so it sort just worked out for all of us.
Cambage: This is my first fútbol game ever. I wanted to come cause it’s L.A. Yay sports! It’s a once-in-a-lifetime opportunity. Let’s get out there and get into it.
Samimi: I’m born and raised in L.A. so I’m happy to see the World Cup here.
Tell me about your outfit inspiration.
Samimi: I’m wearing Honor the Gift, Russell Westbrook’s brand, a Nike top, my shorts are from a random boutique in L.A. and Jordan shoes.
Cambage: I just went crazy at the Nike store. I’m not gonna lie. We just came from the Nike store. I’m reppin’ USA today. Yes, I am Australian, but I do live in America and USA is AUS. [Laughs]
Kenan Sahbaz of St. Louis and family
Bosnia and Herzegovina fans cheer on their team.
How much did you pay for your ticket?
I got mine directly through the FIFA website. We paid $500 a piece. I brought my son, my cousins and their kids.
Why did you want to attend the World Cup?
Sahbaz: This is our very first World Cup. It’s a historic event for our very small country, Bosnia and Herzegovina. This is a huge accomplishment in the past 12 years. This is going to be the first time we’ve made it here again. We’ve got a really good squad and I think we can do some amazing things for our country. This is a time when we really need some support and joy in the country, and no better way to do it than at the World Cup.
Who’s your favorite player?
Kids: Džeko.
Did you have to give up anything to be here?
Sahbaz: A lot. Work. Time. We were initially going to go on vacation to the Bahamas, but I asked him either the Bahamas or the World Cup. So when we found out that we made it, it was the World Cup. We canceled everything else. We even went to the qualifiers in Wales and that was a once-in-a-lifetime experience as well. There was just no way we were going to miss it.
Was it worth it?
Sahbaz: 100%. Win or lose, we still win today.
Daniel Henriquez and David Njenga of Seattle
David Njenga, left, sports Kenya gear, while Daniel Henriquez cheers for El Salvador.
How much did you pay for your ticket?
Henriquez: This match was $500 each. We bought it in like October of last year.
Why did you want to attend the World Cup?
Njenga: Because this is the World Cup. You have to go to a World Cup. This is my second one. I was in Qatar for the last World Cup.
Henriquez: The energy! World Cup baby!
Njenga: There’s people from all over the world. We are all assembled here to enjoy this moment.
Henriquez: This is what happens when all the world comes together. This is our utopia. We all love each other. We’re all here for one thing, to support our country.
Did you have to give up anything to be here?
Njenga: My job. I have to be at work right now, but I took the day off. I don’t mind.
Henriquez: I’m a nurse for the fire department. My boss was awesome. She gave me a day off. I love my boss Nancy. Go Nancy!
Was it worth it?
Njenga: It is worth every penny. It’s not even the money. It’s the experience. After this, we head to San Francisco for another game.
Henriquez: Then we’re heading to Vancouver and then we have another game in Seattle.
Njenga: We’re going to six games [in total]. Our Houston tickets were the cheapest. They were about $400.
Cindy Vazquez of Grenada Hills
Cindy Vazquez Zavala reps Mexico with her outfit.
How much did you pay for your ticket?
It was free.99. Shh!
Why did you want to come to the World Cup?
This is my first World Cup. The Jordan team invited me to attend this game, so lucky me. That’s why I’m wearing Jordans today. I’m in the industry so they invited a few employees from neighborhood stores to come.
Tell us about your outfit inspiration.
Today there’s a Mexico game, so I still gotta rep even though I’m attending this match [Switzerland versus Bosnia and Herzegovina]. The outfit is a Nike T90 jersey and my lace is from Amazon. I got the little [soccer] ball, the little World Cup and teddy bear from the gas station. I needed it.
Did you have to give up anything to be here?
I actually had to request PTO to attend, but the store is still running without me. Right after this game, I actually have to jet back. I work at Feature, which is a sneaker boutique in Studio City. S/O Feature for allowing me to come here!
Fabian Almiron of Spain
Fabian Almiron, originally from Paraguay but currently living in Spain, rides Metro to the game.
How much did you pay for your ticket?
I paid $1,100 for the first game [June 12], $290 for the Turkey game [June 19] and the last game with Australia was $170 [June 25].
Why did you want to come to the World Cup?
This is my first World Cup. I live in Spain, but I’m rooting for Paraguay. I’m very excited to be seeing them participate after 16 years.
Did you have to give up anything to be here?
I used like 20 to 25 days of vacation time to come see the World Cup.
Was it worth it?
Yes!
Sunny Kwong, Sam Mallari, Antonio Evangelista, Michael Evangelista of San Diego and Los Angeles
Antonio Evangelista, Sam Mallari, Michael Evangelista and Sunny Kwong are decked out in Bosnia and Herzegovina gear.
How much did you pay for your ticket?
Michael: We paid $400 each. We got lucky with the last chance lottery. They released the tickets a few months ago.
Why did you want to attend the World Cup?
Michael: We’re rooting for Bosnia this time. This is our first World Cup.
Antonio: It’s a lifelong dream. I’ve loved the sport ever since I was in the Philippines.
Did you have to give up anything to be here?
Michael: Most of us had the day off. I worked in the morning at like 6 a.m. and then I’m going to work afterward. I really wanted to carve out time to be there.
Mallari: I took time off because this is my first soccer game ever and I wanted to experience the World Cup with true fans.
Was it worth it?
Michael: 100%. It’s honestly a once-in-a-lifetime experience. It’s been awesome to be here with my dad. We watched the last World Cup finals and we were literally in tears. I know he’s been playing soccer ever since he was in the Philippines military.
Antonio: 20 years.
Becky Clift of Orange County and William Wagner of San Diego
Colleagues William Wagner and Becky Clift sport traditional festival inspired outfits to cheer on Switzerland.
How much did you pay for your ticket?
Clift: They were gifted to us.
Wagner: We’re a fortunate group.
Why did you want to come to the World Cup?
Clift: The World Cup in America is super fun, so we wanted to support it and be a part of it. This was the game that we got tickets for, so we decided to dress up a little bit and have some fun.
Wagner: We’re both soccer people. We both speak the world’s language, so we’re happy to be a part of it here.
Tell me about your outfit inspiration.
Wagner: I have a very close Swiss friend who was equipped for this. One quick phone call and here I am.
Clift: Then I had to get mine so I could support.
Did you have to give up anything to be here?
Wagner: A full day of work. We’re both engineers. We know each other through work.
Was it worth it?
Wagner: We’ll find out.
Clift: Heck yeah!
Jorge Morales of Topanga
Jorge Morales holds out a ball he got at the World Cup opener in Mexico City.
How much did you pay for tickets?
It was between $800 to $900 for my USA versus Paraguay tickets. I bought them through Seat Geek.
Why did you want to come to the World Cup?
I wanted to experience it not just in Los Angeles, but I also wanted to experience it in Mexico. I’m going to three games in Los Angeles and four in Mexico City. Going to my first World Cup in Mexico City was a whole different ballgame. Mexico played in their home country and they won. It was like pandemonium. Even though it was raining over there at the time, it was still a lot of fun. Everyone was hugging each other. I’m looking at you, New York Knicks fans. [Laughs]
Did you have to give up anything to be here?
I’m used to traveling, so I’m like this ain’t nothing. I just wanted to experience a World Cup game and the fact that it’s in three countries, you’re not going to experience that any other time. It’s the one and only World Cup where you’re going to see three countries hosting it.
Alexi Kulik, Marcella Harkness, Luke Kulik and Ian Harkness of San Diego
Switzerland fans Alexi Kulik, Marcella Harkness, Luke Kulik and Ian Harkness.
How much did you pay for your ticket?
Ian: $450 per ticket.
Alexi: We won the ticket lottery. That’s the only way ‘cause the resale is expensive.
Why did you want to attend the World Cup?
Marcella: This is our first World Cup!
Ian: I was at the Switzerland versus Qatar game. Similar outfit. We got it dialed this time. Lots of fun. Tough ending, but what are you going to do?
Luke: We wanted to support Switzerland. Everyone in the family is Swiss. It’s fun to go to a World Cup game. We were just excited to get tickets. I think it’s a great way for the family to spend time together and a good excuse to get out of work.
Did you have to give up anything to be here?
Luke: Time off work. Time to come here. We drove up here. I don’t think we gave up much. We just enjoy being here.
Ian: $450.
Alexi: And we woke up at 5 a.m., so that we could come up here and spend the day together.
Was it worth it?
All: Yes!
Anja Gegic, Dino Gegic, Benjamin Mustafic, Nordin Kapic, Armin Kapic of Los Angeles
Bosnia and Herzegovina fans Anja Gegic, Dino Gegic, Benjamin Mustafic, Nordin Kapic and Armin Kapic.
How much did you pay for your ticket?
Nordin: $3,000. We’re like literally on the field.
Anja: $450. In L.A., we got it like that.
Why did you want to attend the World Cup?
Anja: This is our second time ever qualifying for the World Cup. We are so proud to be here and support our country today.
Nordin: I mean, look around. Why would you not want to be here today?
Armin: We’re hoping for the win!
All: 2-0!
Bendicht Hügli and Lucia Grajales of Mexico City
Lucia Grajales and Bendicht Hugli, both currently living in Mexico City, hold a Swiss flag.
How much did you pay for your ticket?
Hügli: The ticket was $650. That’s stealing. That’s robbery. When I went in ‘86, I think the tickets were 10% of the price I paid for this year.
Why did you want to attend the World Cup?
Hügli: I had some business in San Diego. I saw Switzerland is going to be here, so let’s hit it and break the bank to get tickets. I went to the World Cup in Mexico City in ’86. I saw 12 games. I’m going to one this time.
Was it worth it?
Hügli: We’ll see. If Switzerland plays lousy, then I’m going to be pissed, but I think they’ll do better than in the first game.
Flavia Sacco and Isidoro Garcia of Washington, D.C.
Flavia Sacco and Isidoro Garcia root for Paraguay.
How much did you pay for your ticket?
Isidoro: I think it was around $500 per ticket. Again, we were very lucky because Paraguay was the first game.
Flavia: It was early bird without knowing who was going to play.
Isidoro: We’re also going to the Paraguay versus Turkey game in San Francisco and the third one in Mexico City.
Why did you want to come to the World Cup?
Flavia: We’re rooting for Paraguay. I’m from Paraguay, born and raised.
Isidoro: This is my second World Cup. I went to the one in Qatar. We were very excited about it. Actually, we were very lucky too because we bought Paraguay’s tickets when they were selling them blank. So we just bought the three tickets for Paraguay before knowing the group stage and then it turned out to be in the U.S., so it was awesome.
Flavia: We were hoping it would be on the East Coast because that’s where we live and it ended up being on the other side of the country, but we already had the tickets and we really wanted to go to a game, so we flew. We’re coming straight from the airport. We have our 5-month-old baby who is at the hotel with my mom.
Did you have to give up anything to be here?
Isidoro: I guess time with our daughter. Even though it’s only going to be a few hours, we miss her a lot. She’s very tiny. Every [moment] is precious with her.
Was it worth it?
Isidoro: Yes, even though it’s a few hours and hopefully Paraguay will pull it off.
Jorge Espinosa of Los Angeles
Jorge Espinosa of Los Angeles.
How much did you pay for tickets?
For the USA versus Paraguay ticket, I think I paid like $1,800, and for another match, I think I paid about $1,020, so a little less. I think that’s when the prices started to go down.
Why did you want to come to the World Cup?
I’ve always wanted to go. I missed my chance to go to Brazil in 2014. I really wanted to go, but I had just taken a huge trip to Asia, so I couldn’t really go. I didn’t have any money left and I’ve been thinking about the World Cup being here since it was awarded to the U.S. I was really bummed out when it was awarded to Qatar instead of the U.S. and also instead of Australia. I’m really excited about it. It feels unreal.
What does it mean for the World Cup to be in your hometown?
It means so much. I remember when they had it here in ‘94. I didn’t get a chance to go to any of the games, but the energy that you feel around the city is like next level. The events they’ve been hosting are so awesome. You get to meet more people from other walks of life and other countries.
Did you have to give up anything to be here?
I just pretty much had to pick up more debt, but I get points so it’ll help fly somewhere. Also, debt disappears when you die so they can try coming after me for that World Cup money, but they never will. [Laughs]
Was it worth it?
I looked at the price and was like, “It’ll never be this cheap in my life, ever.” It’s only ever going to go up, and, hey, it’s in my backyard.
Al Jazeera cameraman Ahmed Wishah dedicated his life to documenting the voices of his people, showcasing their grief, displacement, survival and resilience under Israel’s genocidal war on Gaza, before he was killed by an Israeli attack.
BBC fans think they’ve spotted a budding relationship on the cards for two fan-favourites.
Is there going to be a romance on the cards for Siobhan?(Image: BBC)
Casualty viewers believe a romance is unfolding.
The latest episode of the BBC show was full of drama as fans saw the continued fallout of Stevie Nash’s (Elinor Lawless) relationship with junior doctor Matty Linlaker (Aron Julius).
While she is yet to find out her fate at the Holby ED, viewers also saw a relationship come to an abrupt end when Cam Mickelthwaite (Barney Walsh) broke it off with Indie Jankowski (Naomi Wakszlak).
However, as one relationship ends, it seems as though another could be on the cards for two Casualty fan-favourites.
During the programme, Siobhan McKenzie (Melanie Hill) tried to get some of the patients waiting to be seen to leave due to the overcrowding.
Showing them that the black water they’d ingested was nothing to worry about, as someone had put activated charcoal into the water tanks, her demonstration worked as people started to leave.
Jan Jenning (Di Botcher) pointed out that people had started to go to Siobhan before she highlighted a black mark she had on her mouth. When Siobhan failed to wipe it away, Jan sprang into action and took it off for her.
She replied: “Oh, it’s like nobody loved you, as my mother would say!”
When Siobhan asked if she’d managed to get the mark away, BBC fans noticed Jan lingering a little too long as she stared at her intensely.
People on social media were quick to comment on the interaction, as many think a romance is on the cards.
One person on X said: “Jan and Siobhan need to get together.” Another commented: “Is anyone else excited for Jan and Shiv.”
While another person shared: “Jan fancies Siobhan.” A fourth tweeted: “Jan’s eyes. Is she seeing Siobhan in a new light?”
On Reddit, someone else wrote: “Jan and Siobhan? I can see the two maybe getting into a relationship or sharing a drunken kiss, especially with the scenes they shared lately.”
Someone agreed, replying: “I’m not sure if they’re gonna do a full relationship, but like you, I think they’re definitely gearing up for some kind of fling. I hope Siobhan does some happier storylines soon poor woman can’t catch a break.”
England head coach Brendon McCullum says he is ready to work with Ben Stokes when the captain returns for the third Test against New Zealand at Trent Bridge.
The results of the investigation are still to be confirmed, but McCullum has confirmed Stokes will return as captain, a position he has held since 2022, in Nottingham.
“Ben will be back,” said McCullum. “He’ll be back and he’ll be captain.”
Following a 4-1 Ashes series defeat that was dogged by off-field problems, both Stokes and McCullum denied their relationship had deteriorated in Australia.
Then, following England’s win in the first Test since the Ashes – against New Zealand at Lord’s – Stokes broke the team’s midnight curfew in celebrating the victory.
On his relationship with Stokes, McCullum told BBC Test Match Special: “You’re just trying to make sure you’re very communicative right throughout.
“We all got the same ambition, which is to make English cricket a very good team and to try to achieve results on the field, and that hasn’t changed.”
McCullum said he has spoken to Stokes “every day” since the nightclub incident, which occurred in the early hours of Monday, 8 June.
The New Zealander also confirmed England director of cricket Rob Key has visited Stokes this week.
Spanish painter Nieves González arrives in Los Angeles for her first U.S. solo exhibition having already experienced a taste of fame.
The 29-year-old caught the attention of the art and fashion worlds last year after being discovered on Instagram and commissioned to paint the cover of Lily Allen’s album “West End Girl.” Depicting the singer as a Baroque aristocrat clad in contemporary designer fashion, the portrait helped propel González onto an international stage.
Collectors have taken notice. The 13 paintings in “A Friendship Story,” opening Saturday at Richard Heller Gallery in Santa Monica, have already sold out, according to the gallery, with prices ranging from $4,000 to $20,000.
Share via
Elle magazine dubbed González “Fashion’s Favorite New Artist,” while exhibitions in Rome, Paris, Belfast and Bilbao, Spain, expanded her reputation across Europe.
González developed her classic yet defiantly modern approach while studying at the University of Seville, where Spanish masters such as Diego Velázquez and Francisco de Zurbarán painted in the naturalist Baroque tradition. Drawing liberally from fashion, art history and everyday life, she often dresses the subjects of her portraits in puffer jackets — garments she wears herself during the cold winters of Granada, Spain, where she lives. The material, she said, recalls the sculptural rendering of fabric in paintings by Zurbarán and Velázquez: the folds, the volumes, the high shine.
Nieves González often dresses her subjects in puffer jackets.
(Genaro Molina / Los Angeles Times)
“It works beautifully from a visual standpoint,” she said, speaking Spanish during an interview at Santa Monica’s Bergamot Station a few days before the exhibition opened. Wearing blue jeans and a pink button-down blouse, she echoed the pastel blues and pinks that appear throughout many of the works surrounding her.
“Fashion inspires me,” she said. “Just as 17th century artists drew inspiration from the fashion of their day — often creating paintings that served as catalogs of current styles — I do the same,” she said. “The goal is to not merely convey a specific message or ideology but to create a testament to a generation and the era in which we live.”
This fall, González’s painting “La Sfida” (2025) will appear in the Städel Museum’s exhibition “Mary Magdalene. Sin. Pray. Love” in Frankfurt, Germany, alongside works by Lady Gaga, Marlene Dumas and Auguste Rodin. The painting depicts Mary Magdalene with long, flowing hair, draped in a regal red garment and clutching a skull — a contemporary interpretation of one of Christianity’s most enduring figures.
“Nieves González is the youngest of these artists and, at the same time, probably the one who most closely follows in the tradition of the Old Masters,” curators Bastian Eclercy and Stefan Roller wrote in an email.
The Santa Monica exhibition marks an evolution from the paintings that established González’s reputation. Earlier works often centered on solitary women posed with the self-possession of royal portraits or religious icons. “A Friendship Story” focuses on relationships between pairs of women, exploring friendship, intimacy, support and shared experience.
For González, friendship is one of the most profound aspects of women’s lives and a subject she felt deserved greater attention in painting.
Victoria Rios, a curator who works with González, said the artist’s paintings “rewrite the narratives of the past, rewrite the history of martyrdom and place women at the center.”
“Nothing in her painting is arbitrary,” Rios said in an email. “Every formal decision is also an ethical one.”
“The horse elevates the art; symbolically, it carries connotations of elegance and nobility,” Nieves González said. “It seemed like a way to elevate the concept of friendship.”
(Genaro Molina / Los Angeles Times)
González frequently turns art historical conventions on their head. In “Salir a robar caballos: Go out to steal horses,” she replaces the archetypal portrait of a gallant man on horseback with two young women dressed in puffer and vinyl jackets, posed like contemporary Amazons atop rearing horses.
“The horse elevates the art; symbolically, it carries connotations of elegance and nobility,” González said. “It seemed like a way to elevate the concept of friendship. It also has an element of play, adventure and fun, since having fun is part of the bond too.”
The artist also sees her work through a feminist lens.
“We live in a patriarchal society, and so, unfortunately, I belong to the oppressed segment of that society, and my work relates to that,” she said. “It stems from a struggle, an understanding and a process of redefining concepts that we have historically established as normal, natural and habitual.”
“I am interested in portraying us as brave and powerful, sometimes even with an air of haughtiness,” she said.
Another painting, “Something’s crossed over me and I can’t go back” (2026), captures González’s fusion of historical and contemporary references. Two women dressed in green and pink fur cradle each other’s heads, reimagining medieval depictions of cephalophores — Christian martyrs who carry their severed heads while continuing to preach or pray.
The title comes from a pivotal line in the 1991 film “Thelma & Louise,” marking the turning point for Geena Davis’ character Thelma, fully committing to her ultimately fatal adventure with Susan Sarandon’s Louise.
Nieves González, “Holding You,” 2026 (oil on canvas).
(Genaro Molina / Los Angeles Times)
González builds each painting from what she calls a “Frankenstein” — a digital composite assembled from archival photographs, found images and reference material. The painting process then takes over. A mid-project visit to the Prado Museum in Madrid, for instance, might send her back to the digital sketch to pull in a compositional element from Velázquez before returning to the canvas. “The final result often ends up being completely different from what I initially envisioned,” she said.
Heller began representing González, whom he calls an “original voice,” last year after being introduced to her work by another painter.
Staging her first U.S. solo exhibition in Los Angeles rather than New York reflects what he sees as a more relaxed environment for an emerging artist, without the glare and expectations of the New York art world.
“L.A. feels a little less constrained,” Heller said. “It feels a little more free.”
González’s portrait of Allen is currently on view at London’s National Portrait Gallery, hanging in the same room as a self-portrait by David Hockney. She said while it “has been very significant in terms of media exposure,” exhibitions and professional opportunities were already in motion before the album cover brought wider attention.
“I’ve always said that what I want to do in life is make a living from painting,” she said.
Mission accomplished.
‘Nieves González: A Friendship Story’
Where: Richard Heller Gallery, 2525 Michigan Ave. #B-5A, Santa Monica
PERRIE Edwards is already booked and busy following her stunning wedding to Alex Oxlade-Chamberlain.
The former Little Mix songstress, 32, and her footballer husband tied the knot in an intimate ceremony less than a week ago after after nine years of dating.
Sign up for the Showbiz newsletter
Thank you!
Perrie Oxlade-Chamberlain is already back to work after her weddingCredit: Not known, clear with picture deskThe songstress was beaming as she performedCredit: Not known, clear with picture desk
But it appears Perrie is already getting back to work, and was pictured dressed up behind the scenes at the Isle of Wight Festival yesterday.
The singer got up on stage and performed for a buzzing crowd while wearing an all black skintight outfit.
Though she couldn’t help but take a moment to gush about her wedding to everyone, sharing how she is utterly “obsessed” with being able to call Alex her husband now.
Perrie and Alex jetted off to Portugal for their big day alongside friends and family.
She was performing at Isle of Wight Festival yesterdayCredit: Not known, clear with picture deskPerrie’s wedding to beau Alex was only days agoCredit: InstagramThe happy couple had been dating for nearly a decade before tying the knotCredit: InstagramPerrie debuted three gorgeous wedding dresses before jetting back to the UKCredit: Instagram
Insiders said the pair married in a low-key ceremony before hosting their closest family friends at the posh Parrilla Natural restaurant.
The pair said their vows in the Igreja Matriz de Estoi church in the village of Estoi in Faro, close to where they own a villa.
Perrie, who had six bridesmaids including her sister Caitlyn wore a long-sleeved, lace gown, while Alex looked smart in a tux.
Her bandmate Jade Thirlwall missed the celebrations as she was booked to perform at Primavera Sound Festival on the same day.
A source said: “Perrie and Alex’s wedding day could not have been more special.
“It was intimate and emotional.
“Perrie and Alex’s son Axel had a special role to play in the ceremony. It was adorable to see.
“She looked absolutely radiant and Alex didn’t stop smiling. It was a truly beautiful day.”
In the days after the wedding Perrie debuted two more wedding dresses in Portugal, including a gorgeous sparkly mini dress with a detachable jacket.
Former Little Mix bandmate Jesy Nelson is said to have not received an invitation.
Did Ben Kingsley in “Gandhi” cross your mind? Probably not.
The 82-year-old Oscar winner thinks it should.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Don Logan or Mahatma Gandhi? The answer isn’t as plain as you might think.
Sign up for The Envelope
Get exclusive awards season news, in-depth interviews and columnist Glenn Whipp’s must-read analysis straight to your inbox.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
Not long ago, I spoke with Kingsley just before an Emmy FYC event for “Wonder Man,” the enjoyable new Marvel TV series that finds him revisiting Trevor Slattery, the washed-up, drug-addled actor he first played in 2013’s “Iron Man 3.”
“Wonder Man” follows struggling actor Simon Williams (Yahya Abdul-Mateen II), trying to land a big break in Hollywood while keeping his superpowers hidden. Trevor befriends Simon. Initially he has ulterior motives, but soon becomes Simon’s mentor, turning the series into a look at the indignities that actors face while pursuing their profession.
Taking notes while watching the show’s eight episodes, I wrote, “Ben Kingsley’s seething anger is everything.”
You may remember Kingsley’s bullying and badgering and swaggering menace playing the underworld sociopath in Jonathan Glazer’s 2000 crime-thriller “Sexy Beast,” still my favorite Kingsley performance, one that earned him a supporting actor Oscar nomination. (He lost to Jim Broadbent in “Iris.”)
Is that kind of boiling rage as fun to play as it is to watch?
“If the expression of rage or indignation is completely dramatically justified and that expression of indignation is of enormous benefit to the tribe, yes,” Kingsley answers.
(Larsen&Talbert / For The Times)
Kingsley says Itzhak Stern, Oskar Schindler’s loyal aide and factory manager in “Schindler’s List,” was, “bless him,” all about “contained rage.”
“And a colleague of mine who saw ‘Gandhi’ said, ‘That’s the angriest performance I’ve ever seen on screen,’” Kingsley continues. “That righteous indignation propelled him, and it can be expressed in many ways. Sometimes the safety valve is efficient enough to allow it to come through language and gesture, and sometimes the safety valve can’t hold it.
“That was Don Logan in ‘Sexy Beast.’ No safety valve.”
Let’s circle back to that thought of how rage can help the “tribe.” In “Wonder Man,” Trevor proclaims that “acting is not a job. It’s a calling, the single most consequential thing anyone could ever do with their life.”
“I would broaden the definition and refine it back to its origins,” Kingsley says when I ask if he shares Trevor’s view on acting. “There are images, thoughts and threads that I find nourishing and sustaining, and I treasure them. The tribal storyteller is a very consequential figure in the tribe, and if the mantle of the tribal storyteller falls upon that person’s shoulders, that is the single most consequential thing that person can do in their lives.”
“Trevor expresses it quite differently, and that’s fine,” Kingsley says. “That’s in the script. I honor the lines. But for me personally, as a rather convoluted answer, the tribal storyteller is the hand I hold and the baton I want passed on to me. Maybe it has. I hope I’m worthy, but it’s …” Kingsley widens his eyes and whispers, “Wow.”
“It is the single most consequential thing I can do with my life.”
There’s something delightful about plays about grand divas in crisis.
The prima donna in extremis in Pearl Cleage’s “Angry, Raucous, and Shamelessly Gorgeous,” which is having its Los Angeles premiere at the Geffen Playhouse, has an air of Bette Davis extravagance to her. When Anna Campbell (Charlayne Woodard) struts around her elegant hotel suite in Atlanta, she can’t resist delivering one of Davis’ signature lines: “What a dump!”
She’s not at all dissatisfied with the accommodations. She’s just frustrated that the weather isn’t cooperating with her upcoming outdoor performance and agitated that this might be a bad omen for her big American comeback.
More than 30 years ago, Anna and her manager and trusted companion, Betsy Samson (a formidable Denise Burse), fled to Europe on the heels of a highbrow scandal. Anna made waves when she performed “Naked Wilson,” a protest piece that had her delivering male monologues from August Wilson’s plays while standing stark naked before a divided audience.
The idea was to call attention to the way women have been de-centered in the male canon, but some felt it was sacrilege to subject Wilson’s work to a feminist stunt. Acting opportunities dried up, and Anna high-tailed it to Amsterdam, where her histrionic grandeur was put to good use in European classics.
Charlayne Woodard in “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.
(Jeff Lorch)
Woodard brings Anna to life with a smokey voice, a statuesque presence and an arch demeanor. When her arms are in flamboyant motion, she leaves the impression of a seductive windmill that might slice you to bits if you come too close.
The sumptuous production, directed by LaTanya Richardson Jackson with solidarity for Cleage’s characters, provides a marvelous showcase for Woodward to slink around on Beowulf Boritt’s glamorous five-star set in costume designer Emilio Sosa’s inspired Pucci-esque outfits. Her Anna doesn’t do much but give attitude. Ah, but what delicious attitude she gives!
Cleage’s play, it must be said, is hamstrung with exposition. More time is devoted to setting up the dramatic situation than to activating it. Author of “Blues for an Alabama Sky,” a 1995 abortion drama still ahead of its time, Cleage is telling a backstage story that’s clearly close to home. She’s also spinning an intergenerational tale of Black women groping past their initial distrust to a deeper understanding of what they have in common.
The intentions are noble and the themes are handled with admirable complexity, but the writing is sluggish. The plot is like an old car whose engine just refuses to start on a cold winter morning.
Anna has returned to Atlanta to headline a festival that is rebooting her “Naked Wilson” piece. She’s worried about disrobing at her age, but it turns out that she’s only being honored for her work. A much younger and far less experienced performer has been cast in the part that made her a cause célèbre.
Denise Burse, from left, Deborah Joy Winans, Charlayne Woodard and Olivia Washington in “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.
(Jeff Lorch)
Precious Watson (Olivia Washington), who goes by Pete, has not only never performed in a Wilson play but she’s never even seen one on stage. She’s a stripper whose only real dramatic experience has come from the adult entertainment industry. (Don’t call her a porn star, not because she’s ashamed of the films she made but because she’s too modest about her screen credits.)
Anna, her hauteur hardening like a protective shell, is aghast. She’s also fearful about her future. She’s run out of money, and this festival was to have launched her return to the U.S.
Betty, whose fate is tied to Anna’s, has been dangling the prospect of a national tour. But when Kate Hughes (an appealingly grounded Deborah Joy Winans), the producer of the festival, hears of this idea, she thinks it’s completely unrealistic.
“I love Anna,” she tells Betty. “ I’m honoring Anna, but there just isn’t an audience for the kind of presentation you’re talking about.”
Time marches on, and one era’s sensational renegade becomes a footnote in the next. But Anna can’t believe that all she holds sacred — study, discipline, seriousness, commitment — is of little value in the social media world.
Deborah Joy Winans, left, and Denise Burse in “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.
(Jeff Lorch)
Pete (whom Washington plays with impressive self-possession) doesn’t seem at all bothered about what she doesn’t know. Anna keeps prefacing her remarks with the words “no offense,” but Pete can’t help being offended by her pointed disdain. Their standoff energizes the play, but this jolt of momentum comes a little too late.
“Angry, Raucous, and Shamelessly Gorgeous” is not just the title. It’s also a plot summary. The gorgeous part is the richness of Cleage’s characters, radiantly realized by all four actors under Jackson’s warm direction.
Cleage gives the women plenty of substance, though her novelistic mode — more telling than showing — deprives her drama of style. The elegant staging tries to compensate, but the performers have to rely a little too heavily on their own charms to make up the difference in a play that swerves unexpectedly at the end into a cutesy fairy tale.
‘Angry, Raucous, and Shamelessly Gorgeous’
Where: Gil Cates Theater at Geffen Playhouse, 10886 Le Conte Ave., L.A.
When: 7:30 p.m. Wednesdays-Thursdays, 8 p.m. Fridays, 3 and 8 p.m. Saturdays, 2 and 7 p.m. Sundays. (Check for exceptions.) Ends July 12
Walter Parazaider, the saxophonist and co-founder of the rock group Chicago, has died. He was 81.
Parazaider died June 17 of complications from Alzheimers disease. In a statement posted to social media on Wednesday, the band said that “Chicago is heartbroken at the sad news of Walter Parazaider’s passing this morning. We extend our deepest condolences to his family, friends and countless Chicago fans who are all grieving his loss today.”
His daughter, Felicia Helen Parazaider, also posted on Facebook that “I love you poppy, my Pal…You coloured our world.”
Born in Maywood, Ill., Parazaider began his music career as a clarinetist, before founding Chicago with childhood friends in the group’s namesake city. The band’s pop hits like “25 or 6 to 4” and “Saturday in the Park” were staples of the ‘70s and remain beloved fixtures of classic rock. His diverse woodwind skills helped give the band its regal sound, adding saxophone riffs to hits like “Just You ‘n’ Me” and a poignant flute solo on “Colour My World.”
While Chicago’s lineup changed often, Parazaider remained with the group until retiring in 2018. In April of 2021, Parazaider wrote in a statement on Chicago’s website that “I was diagnosed with Alzheimers disease. Needless to say, my wife, daughters and myself were shocked and devastated. It has taken awhile to process this news and the fact is, we still are. The good news is we have a wonderful medical facility here and I have a very good doctor. I am working hard and not going to give up.”
Chicago gave credit to Parazaider for conceiving of the band’s distinct instrumentation, and the work ethic that made them stars. “A Rock & Roll band with horns was Walt’s idea,” Chicago’s statement continued. “He put the band together and they rehearsed in the basement of his mother’s home. He is also the one who did the hard work to book shows for the young, unknown band, performing top 40 covers at local bars in and around Chicago.
“We are forever grateful for his contribution,” they continued. “Perhaps his greatest gift was bringing people together. This amazing music may have never been heard had it not been for Walt’s vision.”
Parazaider is survived by wife JacLynn and daughters Laura and Felicia.
Stephanie Shih, “梅國 (Still life with chamoy and Dirty T Tamarindo),” 2025/2026. Archival pigment print on wood panel, varnish, glue, acrylic, frame. 38.25×48.25×3.75.
(From the artist)
Much has been written about the experience of aimlessness in the new David Geffen Galleries at LACMA, but it is another thing to experience it firsthand. The meandering floor plan, with its rooms of various sizes and orientations alongside their resulting passageways and corners, demands that you wander, not map, your perusal of the galleries. As a result, a visitor can easily feel disoriented, or in my case, a touch deconstructed. A little depersonalized, if you will.
Fortuitously, I was there to meet with multidisciplinary artist Stephanie Shih, whose photo-based compositions have the opposite effect, grounding the viewer in their personhood and experience. Her still lifes are made both beautiful and meaningful through their intentional arrangement of specific food, florals and ephemera, touching on diasporic understandings of self, Western and European appropriations of the “exotic” and the juxtaposition of the natural with the fabricated. In other words, to view a Shih piece is to collaborate with the artist on reconstructing or, in some cases, reclaiming an understanding of place and self.
We were talking about, and in front of, Shih’s new piece, “梅國 (Still life with chamoy and Dirty T Tamarindo),” which was not only commissioned by LACMA, but created in a temporary studio Shih constructed within the gallery itself over the course of two weeks late last year. The image features two ceramic vessels, one slightly in front of the other, within a traditional still life scene. The background jar stands alone, while the piece in the foreground overflows with a rainbow of plants, flowers, fruit, chamoy candies, gummies and a single real butterfly. To get to the small but sunny corridor that houses the work, one might make a few indirect turns and cross the gallery containing Andreas Gursky’s “Ocean” series. Flanked by four wall-size photographs of vast, overhead perspectives of the deep blue Indian Ocean, it’s easy to feel small among the giant panels. Luckily, when I met Shih at LACMA, she intercepted me outside and led us confidently up the Geffen’s dramatic exterior staircase and to “The Global Appeal of Blue-and-White Ceramics” installation — no crossing of oceans necessary.
After our conversation, I stayed to wander the galleries for a few more hours. I am a completist and I wanted, no, needed to see everything. Without the prescribed navigation I was accustomed to in a museum, this became a fool’s errand. I got physically lost and a bit lost to myself. Had I already seen that statue or did it just look like another visage also rendered in marble a few galleries back? I was pretty sure I had already taken these two rights and then a left before, but what if I hadn’t and would then miss a whole other room? The 360-degree curved glass walls encasing the galleries offered many glimpses of a face that belonged to me but somehow wasn’t mine. Who was I? I felt like I would never see everything on display, but also maybe never again exist beyond the funhouse of the Geffen Galleries. In my confusion, I passed by “梅國 (Still life with chamoy and Dirty T Tamarindo)” more than once and was reminded of Shih’s ability to articulate complex reconstructions of self through her exquisite, serene compositions. It was enough to reassure me that I could find myself again, if only I slowed down and considered my context with curiosity instead of fear.
This curiosity led me to “Shaping Dutch Identity: The Mr. and Mrs. Edward Carter Collection.” It was a serendipitous encounter for two reasons: One, the visual and symbolic correlation between Shih’s painterly use of shadow in her food- and floral-centered compositions, and the still life masterpieces of the 17th century Dutch. And two, because much like her work itself, our interview included layered discussion of constructing and shaping identities. Take the new Peter Zumthor-designed building in which we found (and in my case, lost) ourselves, which builds upon the existing galleries of LACMA while redefining the museum’s identity. Or Shih’s in-situ studio, which was created for creation’s sake, then taken down with only a photo of its contents remaining — contents which were constructed by the artist, too.
There was also the progression across cultures and continents of blue-and-white ceramics, which mirrors the evolution of chamoy, a pickled fruit condiment in Mexican cuisine that, along with a blue-and-white Talavera jar, is at the center of Shih’s piece. Both the ceramic and the chamoy traditions symbolize layers of culture as shaped by globalism and localism.
At one point in our conversation, I was momentarily embarrassed when I couldn’t recall the Filipino term for dried sour plums (kiamoy), a precursor to Mexico’s chamoy. It was an aspect of my identity as a third-generation Filipina that was also irretrievable to me that day. Shih was understanding and gracious in her response: “One of the really fun parts of the work I get to do is learning a lot of these histories that get hidden from us.” Given Shih’s academic background — she holds a PhD from Stanford University in linguistics — it makes sense that she brings deep research to her practice. Her art is rich with symbolism and history. But Shih’s work is also playful and, much like her response to me, generous in the invitation it extends to viewers to bring their own identities to her pieces in order to construct meaning for themselves. I may have felt unmoored among the Geffen’s myriad corners and paths, but never when I was standing in front of Shih’s piece.
Installation view of the inaugural presentation in the David Geffen Galleries, April 2026, featuring (top) Stephanie Shih’s 梅國 (Still life with chamoy and Dirty T Tamarindo) (2025- 26) and (bottom) Jar (c. 1700-50).
(Museum Associates / LACMA)
Claire Salinda: Your composition captures flowers, chamoy and other candies and fruit sumptuously arranged in and around a ceramic jar from LACMA’s permanent collection. How did you decide on chamoy as a subject? And how is it contextualized within the new David Geffen Galleries?
Stephanie Shih: “梅國 (Still life with chamoy and Dirty T Tamarindo)” is on display in “The Global Appeal of Blue-and-White Ceramics.” The gallery presents a condensed history of blue-and-white ceramics globally in dishes, starting in the Middle East with a 9th century Iraqi piece. From the Middle East we really got the use of cobalt in designs, and that married with the introduction of porcelain from China. We also have the Iznik kilns in Turkey, which are still operating today, and influences into Southeast Asia, and so on. Later on, the influence spread farther afield into Japan and France, where they started adding even more to it. The blue-and-white tradition has really spread globally, so this gallery is a nice microcosmic story of the effects of globalism before modern globalism.
For a long time I’ve been wanting to make a piece about chamoy and was just waiting for the opportunity to do so. The story of chamoy really parallels this journey of blue-and-white ceramics, which got to Mexico because of Spanish colonialism and then was adopted by local artisans. They really made it their own in the Talavera tradition. Chamoy similarly comes from Asia through pickled plums, particularly China via the Philippines. Filipino laborers came to Mexico via colonialism, and adapted and adopted champoy with spices and chilies from Mexico to become chamoy.
The curator, Susie Ferrell, gave me a whole list of blue-and-white surveys that they were looking at. We went to storage and to the conservation labs to look at all the pieces and we ended up choosing two pieces to work with. The one in “梅國 (Still life with chamoy and Dirty T Tamarindo)” is a Mexican Talavera jar from the 1700s. It’s the first non-Asian origin institutional ceramic I’ve gotten to work with in my career, which is the reason that I gravitated toward it.
Chamoy has been used by a lot of modern day food makers and chefs with American nostalgic candies, like peach rings and gummy worms, and my personal favorite, Gushers. One of these food makers, Alana Solis, who’s based in Tucson, runs Dirty T Tamarindo, a chamoy candy business she started during the pandemic. It was from her that I learned the history of chamoy, and so I wanted to do a piece with her candies for a long time. And this is just a really perfect opportunity with the Talavera jar.
I had pitched to Susie that it might be nice to have a second ceramic in the piece, a companion that demonstrates the origins and precursors of the blue-and-white ceramics in Mexico, a Chinese piece or something. She actually picked the one pictured here, which is also from the LACMA collection. It’s a 12th century Qingbai ware prunus vase, a meiping jar. When Susie pitched it to me, I didn’t even realize how perfect it was: A prunus vase is usually what they put plum blossoms in, and meiping means beautiful plum vase. It just ended up being a really, really good pick from her.
CS: You built a studio space within the gallery to create the piece. I’m curious about the constraints and what was surprising for you.
Artist Stephanie Shih’s makeshift set in the Los Angeles County Museum of Art (LACMA) David Geffen Galleries for her two-week commission project residency; Light test detail.
(Stephanie Shih)
SS: I was here for two weeks. I had a friend build a wall, we painted it downstairs and then brought it in and had it in the gallery with the light coming in through the windows. They gave me a refrigerator to store all the food, because I wasn’t supposed to have it out in the gallery space. We built out work tables too … it’s hard to kind of imagine with all the other stuff here now.
It was in December, and so the building was in several stages of installation with the art. There were just stacks of crates and boxes, which is amazing — it was very cool to just see statues half unpacked.
And actually, seeing everything get installed affected my thinking about the frame. Originally I wasn’t going to do a framed piece, it was just going to be on a panel. But then as I saw everything else go up, there was a weightiness to the way everything was framed and thought about. A lot of the frames are gold gilded, which are incredibly beautiful and historical. I wanted something that played off of that tradition, but using a red frame made it really obvious that it’s not 100% within tradition.
CS: How does this commission fit into your practice?
SS: My work started out really thinking about the artistic references we get as people working in food and still life. So many of the references are of this very Eurocentric art historical tradition. But if you look at that tradition, many things are taken from other cultures and used to symbolize the access and wealth and value that was assigned to these objects from the perspective of European imperialists, to put it nicely. It wasn’t until very recently that people were even thinking, “Well, where are these things from? What other artistic traditions does that mean that we’ve sort of borrowed from?” And so a lot of my work thinks about responding to that, but also taking back some of that tradition to tell stories of diaspora communities today here in the U.S.
From there, I’ve really started thinking a lot about the construction of identity and how we get to the things that symbolize who we are, and how we use symbols as we move through the world. As a cognitive scientist and linguist, a lot of my research training is about symbols and about the construction of identity in that way.
CS: Do you think that this piece could have been made anywhere else?
SS: No, I don’t think so. There’s something so special about the mission with the new building, how it’s so much more fluidly built and how LACMA is trying to think curatorially outside of the silos that have been set up by traditional art history. Thinking about that really, really influenced my approach to these pieces in terms of trying to collapse in each piece the timescales of historical influences and contemporary identity, but also the locality.
There’s stuff in “梅國 (Still life with chamoy and Dirty T Tamarindo)” that’s very global and far away, but also hyper local and here in L.A. For instance, the butterfly was found by my friend just a couple miles north in WeHo while I was working at LACMA. It’s native to California.
Do you know who Rachel Ruysch is? She was one of the big Dutch still life painters and in some of her later work, she was able to access flowers and plants from the American West, which was really rare at that time. She has a piece with prickly pear cactus as well as datura in it, which is crazy. We see those plants right here, but not in England and the Netherlands, where she was working at the time. Seeing that piece was part of the influence as well. In my piece, we have candy stripe ranunculus, which I was able to find for the candy. The cactus is from my backyard. There’s marigold and chamomile for their significance in Mexican culture, and the hibiscus flower, which has a long history across the Pacific Rim, tracing a lot of the places that ended up with chamoy and sour plums. I wanted a little nod to Hawaii with the pineapple because that’s where we also get salted plum culture.
Artist Stephanie Shih poses on set.
(From the artist)
CS: As we stand and chat in front of “梅國 (Still life with chamoy and Dirty T Tamarindo),” I can’t help but notice folks stopping to take it in. How is it being here and seeing people interact with the work?
SS: Oh, really fun!
CS: Do you ever want to interrupt them to answer a question you overhear?
SS: No. I think my favorite part of watching people interact with the pieces is what they bring to it. Some people see the chamoy immediately and they recognize their experiences in it, which is really lovely to see. Like, I can see someone’s been pointing at it, there’s a nice fingerprint mark. That’s funny. Some people recognize the candy in it. Kids often ask me, “How did the gummy butterflies fly?” and that’s really fun to answer. I appreciate that everyone brings their own experiences to it, and that sort of completes the piece for me.
There are more than 100 Emmy categories, and if you scroll through each and every one of them on the Television Academy’s website, you’re probably one of those people who read the terms and conditions on a document before signing your name.
This hasn’t been the greatest year for television, which has had the converse effect of prompting me to sample more shows than ever in a quest to unearth that one hidden gem that merits a place on my mock Emmy ballot. Truth be told, I’m still looking. I’m sure I’ve missed something. And I’m sure you’ll let me know.
In the meantime, here are my picks for the top 15 categories — five each for comedy, drama and limited series — along with a brief line of reasoning for each. And if it’s predictions you’re after, you can find our full BuzzMeter panel’s choices here. Emmy nominations will be announced July 8.
Sign up for The Envelope
Get exclusive awards season news, in-depth interviews and columnist Glenn Whipp’s must-read analysis straight to your inbox.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
Comedy series
“Abbott Elementary” “The Bear” “The Comeback” “Hacks” “The Lowdown” “Margo’s Got Money Troubles” “The Fall and Rise of Reggie Dinkins” “Shrinking”
Sterlin Harjo’s “The Lowdown” feels like it’s on the same trajectory as his last series, “Reservation Dogs,” an under-the-radar charmer that grows in estimation as its audience builds. Noir crime stories don’t come more delightful.
Comedy actress
Quinta Brunson, “Abbott Elementary” Rose Byrne, “Platonic” Ayo Edebiri, “The Bear” Elle Fanning, “Margo’s Got Money Troubles” Lisa Kudrow, “The Comeback” Jean Smart, “Hacks”
“Platonic” heightened the chaos and conflict in its second season, affording the gifted Byrne additional room to flex her comic chops. How do you sleep on a show starring a newly minted Oscar nominee?
Comedy actor
Yahya Abdul-Mateen II, “Wonder Man” Ethan Hawke, “The Lowdown” Tracy Morgan, “The Fall and Rise of Reggie Dinkins” Jason Segel, “Shrinking” Martin Short, “Only Murders in the Building” Jeremy Allen White, “The Bear”
Morgan acting oblivious is one of the funniest things ever.
Comedy supporting actress
Hannah Einbinder, “Hacks” Janelle James, “Abbott Elementary” Ashley Padilla, “Saturday Night Live” Michelle Pfeiffer, “Margo’s Got Money Troubles” Sheryl Lee Ralph, “Abbott Elementary” Jeanne Tripplehorn, “The Lowdown” Jessica Williams, “Shrinking”
The Padilla Pause is one reason I’m watching “Saturday Night Live” again.
Comedy supporting actor
Harrison Ford, “Shrinking” Marcello Hernández, “Saturday Night Live” Ben Kingsley, “Wonder Man” Ebon Moss-Bachrach, “The Bear” Nick Offerman, “Margo’s Got Money Troubles” Stephen Root, “Widow’s Bay” Tyler James Williams, “Abbott Elementary”
Hernández’s charisma and physical comedy is another.
Drama series
“Industry” “A Knight of the Seven Kingdoms” “The Night Manager” “Paradise” “The Pitt” “Pluribus” “Slow Horses” “Task”
How many Emmy voters finally caught up on “Industry,” the fast-paced drama about a group of cutthroat Gen Zers? Four seasons in, it’s more addictive than ever.
Drama actress
Caitriona Balfe, “Outlander” Myha’la, “Industry” Chase Infiniti, “The Testaments” Michelle Pfeiffer, “The Madison” Rhea Seehorn, “Pluribus” Zendaya, “Euphoria”
Now that “Outlander” is over, it’s time to pour one out for Balfe. Over the course of eight seasons, she hopscotched through time, enduring and overcoming numerous assaults and kidnappings, dealing with grief and trauma and enjoying lots of emotionally grounded sex. Balfe has earned a final reward.
Drama actor
Sterling K. Brown, “Paradise” Peter Claffey, “A Knight of the Seven Kingdoms” Tom Hiddleston, “The Night Manager” Gary Oldman, “Slow Horses” Mark Ruffalo, “Task” Noah Wyle, “The Pitt”
Claffey turned bumbling into art.
Drama supporting actress
Isa Briones, “The Pitt” Taylor Dearden, “The Pitt” Fiona Dourif, “The Pitt” Supriya Ganesh, “The Pitt” Katherine LaNasa, “The Pitt” Sepideh Moafi, “The Pitt” Karolina Wydra, “Pluribus”
LaNasa should have bumped herself up to lead. As Whitaker explains to Langdon in Season 2’s penultimate episode, Robby’s the Professor of the ER and LaNasa’s Dana is the Skipper. And the Skipper should be lead.
Drama supporting actor
Patrick Ball, “The Pitt” Diego Calva, “The Night Manager” Shawn Hatosy, “The Pitt” Gerran Howell, “The Pitt” Ken Leung, “Industry” Tom Pelphrey, “Task” Carlos-Manuel Vesga, “Pluribus”
Pelphrey has called his desperate single dad on “Task” the role of a lifetime. No argument here.
Limited series
“Bait” “Beef” “DTF St. Louis” “Death by Lightning” “Half Man”
I put off watching the finale of the punishing “Half Man” for weeks. Does that mean the show worked?
Limited series/TV movie actress
Sally Field, “Remarkably Bright Creatures” Camila Morrone, “Something Very Bad Is Going to Happen” Carey Mulligan, “Beef” Sarah Pidgeon, “Love Story” Robin Wright, “The Girlfriend”
Riz Ahmed, “Bait” Charlie Hunnam, “Monster: The Ed Gein Story” Matthew Macfadyen, “Death by Lightning” Mitchell Robertson, “Half Man” Michael Shannon, “Death by Lightning”
The young actors on “Half Man” — Robertson and Stuart Campbell — outshone their well-known counterparts.
Limited series/TV movie supporting actress
Linda Cardellini, “DTF St. Louis” Grace Gummer, “Love Story” Laurie Metcalf, “Monster: The Ed Gein Story” Cailee Spaeny, “Beef” Joy Sunday, “DTF St. Louis” Constance Zimmer, “Love Story”
Both Cardellini and Sunday for “DTF St. Louis”? No way, José, you say? Yes way, I say. All the way!
Limited series/TV movie supporting actor
(Larry Horricks / Netflix)
Jason Bateman, “DTF St. Louis” Stuart Campbell, “Half Man” Richard Gadd, “Half Man” David Harbour, “DTF St. Louis” Charles Melton, “Beef” Nick Offerman, “Death by Lightning”
The mutton-chopped Chester A. Arthur joins Ron Swanson’s ’stache in television’s facial hair hall of fame.
“Nothing has changed since the last time I talked about all this,” Rogen said, “and I haven’t worked with him in a really long time and I have no plans to.”
The actors got their start in Hollywood on the cult classic TV show “Freaks and Geeks.” At the time, Rogen was 16 and Franco was 21. As they continued to make their way through the industry, they became known for a string of well-loved early-2000s and 2010s comedies including “This Is the End,” “The Disaster Artist” and “Pineapple Express.”
Franco’s illustrious movie career came to a halt when five women, including several of his acting students, accused him of sexual exploitation. Some of the allegations included removing protective plastic guards covering actresses’ vaginas during the filming of intimate scenes, and Franco getting angry when actresses didn’t want to go topless.
Two of the accusers filed a class action in 2019, claiming sex discrimination, sexual harassment, fraudulent business practices and intimidation. Franco settled the case in 2021 for $2.2 million.
Rogen and Franco’s friendship has been a point of contention for the actor, as Rogen continues to climb the ranks in Hollywood. Just last year, “The Studio,” a show that Rogen created, writes, stars in, directs and produces won 13 Emmys and is currently filming its second season.
Rogen previously said he regretted saying that he could work with Franco again after the allegations surfaced.
“What I can say is that I despise abuse and harassment and I would never cover or conceal the actions of someone doing it, or knowingly put someone in a situation where they were around someone like that,” Rogen said in 2021, in an interview with the U.K.’s Sunday Times. “I also look back to that interview in 2018 where I comment that I would keep working with James, and the truth is that I have not and I do not plan to right now.”
The actor is still hesitant to detail the nuances of his friendship with Franco. He told the New York Times that it’s “a very personal thing.”
“There’s the public-facing side of it, which I’ve spoken about, and I have the same stance publicly that I’ve had, and I think the proof is in the pudding — I have not worked with him in years,” Rogen said. “But the personal side of it is just so nuanced, and it involves people that I don’t know if I should be dragging into this.”
WASHINGTON — Republican Sen. Mitch McConnell of Kentucky was admitted to a hospital Sunday, his spokesperson said, but there was no immediate information about why he was there or his prognosis.
McConnell, 84, was the longest-serving Senate leader in history before stepping aside from that role while finishing his final term, which ends in January.
“Senator McConnell was admitted to the hospital this morning. He is receiving excellent care,” spokesperson David Popp said in a statement without elaboration. It was not immediately clear whether McConnell was in Washington, Kentucky or elsewhere.
McConnell’s health has been a subject of scrutiny for years.
He fell and sprained his wrist while walking out of a GOP luncheon in December 2024. He was hospitalized with a concussion in March 2023 and missed several weeks of work after falling in a Washington hotel. After he returned, he twice froze up during news conferences that summer, staring vacantly ahead before colleagues and staff came to his assistance.
McConnell had polio in his early childhood, and he has long acknowledged some difficulty as an adult in walking and climbing stairs. In addition to his 2023 fall, he tripped and fell in 2019 at his home in Kentucky. He had surgery for a fractured shoulder.
McConnell was first elected to the Senate in 1984 and was the Republican leader from 2007 until 2025, serving as both majority and minority leader during that period.
He remains active in the Senate, showing up for work when the chamber is in session, and recently chairing public hearings and grilling officials from his perch as chair of the Senate appropriations subcommittee on defense. He has intermittently used a wheelchair to navigate the Capitol and is routinely accompanied by his security detail, as a former congressional leader.
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
What does it mean to lack ambition in a country that worships wealth? It means you are a capitalist wallflower, a laggard with a serious character flaw. No field of endeavor is immune from this attitude, the art world least of all. But artists with a desire for riches and fame must not declare their intentions so brazenly. At a time when the plastic arts are about as marginalized as they ever have been, and media buzz is generated by dead painters whose works sell for enormous sums at auction, creation in and of itself has little value unless it is lashed to something marketable.
With his new novel “Contrapposto,” Dave Eggers has written a big-hearted, deeply moving story about the choices artists make, or don’t make, to square up their own notions of success and happiness. The book is dual bildungsroman, following two friends across the long span of their lives from adolescence to their 70s, as they fall in and out of each other’s lives, make their way in the world, and fumble around for meaning and purpose in their art.
The protagonist in “Contrapposto” is Rob “Cricket” Dibb, an underclass Midwestern kid, raised by a single mother in a North Indiana suburb that’s about as nowheresville as it gets for budding artists with dreams of glory. Cricket doesn’t dream big. He’s just trying to endure without bodily harm, seeking refuge from his mother’s abusive boyfriend in the basement with his grandfather Silas, who teaches him about jazz and the beauty of a glorious sunset. He draws so he doesn’t have to think. Immersion in art is his escape hatch from the dreariness of his pinched world: “The drawing meant nothing, would never mean anything to anyone, but it was true to how he saw it. His hand had recorded what he saw and felt about this thing. He was an ugly, common creature who could occasionally freeze time. That was enough.”
Cricket’s apprenticeship is decidedly informal. No full scholarship rides to Bard or Pratt for him; instead he saves up to enroll himself in a life drawing class in Chicago, where he discovers the beauty of applying rigor and rules to his work, how to break down pictures into the geometry of circles and squares, planes and angles. “He measured proportions and improved,” writes Eggers. “He grew more confident with each pass on his drawing, and realized … that much of the rightness of the drawing, of any drawing, came through time and diligence and discernment.”
He meets his slightly older schoolmate Olympia, one of Eggers’ most beguiling creations, when she implores him to scrawl scatological bathroom graffiti on a playground structure in Old-English typography. Unlike Cricket, Olympia is earnest and sincere about her art in the way that only a young person untainted by cynicism can be. She claims to inhabit the soul of Albert Camus, and flings around aphorisms about art that fly over Cricket’s head. She is an aesthete, someone who likes to go to the race track just to revel in the colors on display there. She wants to create an art scene in their little world. “You know all the great art movements have friends at their core, right?,” she tells Cricket. “A lot of time they’re jammed together by some critics and the artists reject the name and the association. But think about Patti Smith and Sam Shepard. Did you know they dated for a while?”
Cricket is beguiled by her, and Olympia in turn is taken in by Cricket’s talent. When the local library pulls a few of Cricket’s semi-nude life drawing portraits down for fear of offending their patrons, Olympia becomes his advocate and champion. In contrast to Cricket, who skates along with no end plan, Olympia is a committed careerist, an artist who insists on a captive audience to justify her work. She wants to earn money as an artist; Cricket just wants to be left alone. This push and pull between the two frame Eggers’ novel across the six decades of his narrative.
One of many joys of “Contrapposto” is observing Cricket’s artistic awakening via the mentors who guide him into his artistic consciousness. Marcus Carpenter, a wizened sage in battered work boots (one imagines him as the art world analogue to the late novelist Jim Harrison), is the moral conscience of the novel, fighting the good fight for personal expression and railing against the “new, paradoxical tyranny wherein those without technical skill terrorize those who possess it.” Carpenter plucks Cricket from arts college and its meaningless pontificating to his “atelier in the corn,” a ramshackle Victorian where Cricket learns how to transmute what he sees with color and light. “The talented have talent,” Carpenter tells Cricket during one of his endearing rants. “The untalented have theories.”
From there, Cicket’s life is a crooked line. He doesn’t abandon art, but he can’t summon the urge to sell himself or his work, to graft his joy in making things onto the caprices of the marketplace. As Eggers jumps through time, we find Cricket working as an intern in an art gallery, an arid, lifeless space where nothing inspiring can possibly exist. As a young man he works as a ship-breaker in Turkey; in middle-age, we find him in a coastal town in Cambodia, making replicas of great paintings for tourists. Olympia, his elusive love and sporadic muse, flits in and out of his life as she works her way up the tiers of the art world’s ziggurat. She gently berates him for his timidity: “This is how artists have power. We sell work. You’re implying there’s nobility in powerlessness. That’s been an idiotic trope for too long — that participating in the business side of it taints you. Do you know how dumb that is? That artists have to be these fragile little wood nymphs that are too precious to touch the money?”
As “Contrapposto” arrives at its beautiful, life-affirming conclusion, we are left pondering the significance of artistic endeavor in a world that commodifies everything, including our bodies and brains. At a time when even the greatest achievements are debased in a culture that gives equal weight to meretricious novelty, is it even worth the trouble? Eggers’ brilliant novel has the answer: Follow your bliss. In the final analysis, it is all that matters.
Last January, Spencer Pratt’s house in Pacific Palisades was razed by the raging flames of the Palisades Fire. Now, there has been what he called a “very suspicious fire” in a building in the neighborhood’s tony Highlands where he maintained an office for his crystals company.
Pratt, a former reality TV star who ran a high-profile campaign for Los Angeles mayor that he appeared to concede on Friday, talked to the California Post about the incident, which was first reported by the Palisadian-Post. According to the company’s website, the business sells precious and semi-precious crystal pendants, carvings and chains.
“I want to be careful to not compromise an arson investigation, but this incident is very suspicious,” Pratt told the California Post.
“I will wait for the investigators to make public the details, but this was no accident, and the timing of this … on the heels of all of the contentious election tomfoolery of the last two weeks, it is very suspect, indeed.”
Fire officials have not determined what sparked the blaze, and, in an interview with the Palisadian-Post, the building superintendent said he doesn’t believe the fire is related to Pratt’s campaign for mayor.
A spokesperson for Pratt did not immediately respond to phone calls and a text message seeking comment Saturday afternoon. Pratt suggested in his remarks to the California Post that he believes the fire may have been a politically motivated arson.
“This fire was not an accident, and it would not surprise me in the least if this were a reprisal for my work in opposing Karen Bass and Nithya Raman,” he said.
LAFD Public Service Officer Jamie Stewart told The Times in a phone interview Saturday afternoon that the department received a call at 6:09 p.m. Thursday reporting “a two-story commercial building with light smoke showing.” Stewart added that “arson was notified” and that LAFD arson personnel “did respond and they were on scene” of what he said was a one-alarm fire.
According to the Palisadian-Post, on Thursday, “Multiple firefighting units, including two ladder trucks, were dispatched by LAFD from Fire Stations 23 and 69 in the Palisades and Station 92 in Cheviot Hills to respond to the fire.”
The complex’s superintendent, Oscar Chang, told the local publication that the building was being remediated while waiting for a permit for work on its roof. Eyewitnesses, he told the Palisadian-Post, “saw two guys exiting the building shortly before the fire was reported.”
Chang added that he did not believe the fire was related to Pratt’s political campaign.
“One of the tenants shared a video with me of a homeless person right around the corner,” Chang told the publication, but “no one was living in the building.”
On Saturday morning, Pratt posted on social media about the Thursday fire, which tore through the Highlands Circle commercial complex at 1515 Palisades Drive. The complex was best known as the longtime home of the beloved Italian eatery Casa Nostra Ristorante, which closed a week before the Jan. 7, 2025, Palisades Fire and never reopened.
In the social media posting, he referred to the Los Angeles Times as the El Segundo Times — a derisive moniker referring to the location of its building in the coastal city near LAX Airport — and his repeated allegation that the newspaper “doxxed” him by reporting in April that he was staying in Santa Barbara County, not L.A.
“The El Segundo Times were very eager to dox where my children sleep; they thought that was newsworthy,” he wrote on X, formerly known as Twitter. “Have they reported on the arsonists who set fire to my office in the middle of my election?”
Overhead video footage of the fire posted on the Palisadian-Post’s YouTube channel showed smoke rising from the building as firefighters stood on the roof.
A filing in February with the L.A. City Department of Buildings and Safety proposed work for “change of use from commercial to retail, 2-story” at the property. In September, the department issued a code enforcement violation for “ABANDONED OR VACANT BUILDING LEFT OPEN TO THE PUBLIC.”
Get exclusive awards season news, in-depth interviews and columnist Glenn Whipp’s must-read analysis straight to your inbox.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
That Super Bowl in question was Super Bowl LIX, pitting the Philadelphia Eagles against the Kansas City Chiefs. Melton hosted a watch party, and since he considers Kansas home and played football for Kansas State University, you might think he’d be rooting for the Chiefs.
Nope.
“When I was living in Germany, I fell in love with Donovan McNabb,” Melton, an army brat, tells me, name-checking the longtime Eagles quarterback.
Spaeny, it turns out, was the only Chiefs fan at the party. To enter Melton’s home, she had to step on a doormat that was fitted with a red-and-white Chiefs jersey. (“It got real dirty,” Melton says with pride.)
Melton and Spaeny enjoy a relaxed and playful give-and-take, borne from the months they spent preparing to play Austin and Ashley, a Gen-Z couple working at a Montecito country club, dreaming and scheming toward upward mobility in “Beef.”
(Erik Carter / For The Times)
The most memorable episode they shared found the couple in an overcrowded, ninth-circle-of-hell emergency room with Ashley, uninsured, experiencing severe ovarian torsion. Her concerns are dismissed and she begs for someone to save her.
“Unfortunately, it’s an all-too-common experience,” Spaeny says. “I probably have a conversation once a month with female friends who go to the doctor’s office and are gaslit by the system, just being made to feel like what they’re experiencing isn’t really happening or they’re making it up. It’s scary.”
Still, being “Beef,” the episode has its share of mordant humor, like the scene where a nurse asks Ashley to rate her pain, zero being pain-free and 10 being excruciating.
“Oh, I thought it was like Letterboxd,” Ashley replies, referring to the movie review social platform. “Two-and-a-half stars out of five is average.”
“My whole life I’ve been a six or seven,” Melton says, noting his own personal pain scale. “I’ll have a cold and I’ll be like, ‘Six or seven.’”
“That sounds like you,” Spaeny says.
“I can get pretty dramatic,” Melton says. “It’s really like the end of the world when I’m sick.”
Spaeny deleted her Letterboxd account because she gets anxious about anything online containing reviews.
“It takes two buttons to click on a movie that I’ve been in and see what people say about me,” Spaeny says. “So I forgot my password and left it that way.”
Melton is an enthusiastic adopter and says he has twice shared his four favorite films, a feature where actors, usually on the red carpet, list a quartet of beloved movies. (Here’s one at the “May December” premiere where Melton enthuses over “The Matrix,” “In the Mood for Love,” “Brokeback Mountain” and “Persona.”)
“I saw them at another event and they were like, ‘Charles, so good to see you.’ And I was like, ‘Do you want my four favorite films?’ And they said, ‘No, you’ve already done it enough,’” Melton laughs. “What can I say? I love movies!”
David Hockney, the innovative and prolific British artist who arrived in Los Angeles in 1964, soon celebrating its sun-drenched life and landscapes in colorful, wildly popular paintings, has died.
He was 88.
Calling himself “an English Los Angeleno,” Hockney immortalized the city’s sparkling swimming pools, palm trees and beautiful young men, then went on to experiment with intricate photo collages, portrait suites, painted and filmed images of Yorkshire landscapes, iPad drawings and more.
Since his Pop Art paintings in the early ‘60s at London’s Royal College of Art, Hockney was rarely out of the limelight and, more important, rarely out of fresh ideas for how to draw, paint, film, print, photograph or otherwise express his creativity. The David Hockney Foundation owns more than 8,000 of his works, including about 200 sketchbooks, more than 230 self-portraits, opera designs and portraits of family and friends.
Hockney loved Hollywood — the people and the place — and liked to say he was brought up in England and Hollywood because of the time he spent at the movies. His peroxide blonde hair reportedly was inspired when he was a student and saw Clairol TV ads claiming “blondes have more fun.” But it was his interest in everything from Elvis Presley to the Hubble Space Telescope and his sense of humor that set him apart. Time Magazine art critic Robert Hughes once called him “the Cole Porter of modern art.”
He was open about being gay, even when homosexuality was outlawed in Britain. His early love affair with artist Peter Schlesinger, a younger man he met when teaching a summer drawing class at UCLA in 1966, inspired Hockney’s monumental 1972 painting “Portrait of an Artist (Pool with Two Figures),” a centerpiece of Jack Hazan’s 1974 film “A Bigger Splash.” The painting’s 2018 auction at Christie’s drew a record $90 million for a living artist.
He was a dedicated reader and student of art, paying homage in his work to Picasso and Cubism as well as to Monet, Matisse, Van Gogh and Cezanne. A lover of opera, he often had it playing loudly in the studio and enjoyed taking visitors on curated car trips through the Hollywood Hills or Malibu while listening to Wagner. He designed sets for major companies in Los Angeles, Chicago, New York, London and elsewhere over the years, and some of his set models were later shown in museums.
David Hockney’s work “Gregory in the Pool (Paper Pool 4)” is part of his solo exhibition “David Hockney: Perspective Should Be Reversed” at the Palm Springs Art Museum in Palm Springs. (Courtesy of the Palm Springs Art Museum)
(Courtesy of the Palm Springs Art Museum)
His solo shows drew enormous crowds to the Los Angeles County Museum of Art as early as 1988. In 2017 a major retrospective of his work, keyed to his 80th birthday, was presented at New York’s Metropolitan Museum of Art, Paris’ Centre Pompidou and London’s Tate Modern. Chronicling Hockney’s arrival as an important artist in the “ravishing” Met retrospective, the New Yorker writer Andrea K. Scott called it “a revelation.” It was, she wrote, “a retort to all the eye-rollers,” including herself, who dismissed his work “as, at best, a guilty pleasure.”
In 2012 he received the coveted Order of Merit, which Queen Elizabeth II presented to him at Buckingham Palace.
David Hockney was born the fourth of five children to a working-class family in Bradford, Yorkshire, on July 9, 1937. He has said he started “making marks on paper” at 8 and received private painting lessons before moving on to Bradford School of Art in 1953. The first painting he sold was a portrait of his father in 1955. He attended the Royal College of Art in London from 1959 until his graduation in 1962 and received the school’s Gold Medal.
After college he did not slack off, noted his biographer Christopher Simon Sykes. In his 2014 book, “Hockney: The Biography,” Sykes pointed out that the artist’s first flat had a chest of drawers near the bed on which he had painted, in large capital letters, the words “get up and work immediately.”
David Hockney in 2017.
(Catherine Opie, Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong and Seoul.)
Hockney lived by that command for the rest of his life, turning out canvas after canvas, photo after photo. In the ‘80s came his extraordinary multi-image photographic collages of friends including writer Christopher Isherwood and artist Don Bachardy and such landmarks as the Brooklyn Bridge, Grand Canyon and Pearblossom Highway.
“The Polaroids started oddly enough when I’d just finished a long period of work in the theater, which is of course playing with perspective and illusion,” he once told The Times. “People say, ‘You are a painter, and photography is a sideline.’ But nothing is a sideline for me.”
That included his continuing fascination with technology. The artist’s long career swept in artworks made not only on cameras and canvases, but on such things as fax machines and photocopiers. Hockney liked to experiment, whether it was with state-of-the-art printing devices or centuries old painting techniques. He went several times to a show of portraits by Jean Auguste Dominique Ingres at London’s National Gallery in 1999 and was greatly taken with the photographic’ quality of Ingres’ 19th century drawings. Certain that Ingres had used something optical to achieve that quality, Hockney bought himself a camera lucida, a small device that works like a prism. He then applied Ingres’ methods–as Hockney imagined them–to his own portraits of friends and family, and in 2001, he published “Secret Knowledge,” exploring his theories on early artistic uses of optical devices.
His death was confirmed by the Associated Press and New York Times.
A MUM was forced to cancel her flight after discovering her son doodled a dinosaur in her passport just hours before a work trip abroad.
The distraught parent shared the stressful experience online, along with photos of the ballpoint scribbles, captioned: “I hate dinosaurs!”
Sign up for the Travel newsletter
Thank you!
A mum in Malaysia was forced to change her flight after her son drew dinosaurs in her passportCredit: Jam PressOfficials declared the passport damaged and not valid for travelCredit: Jam Press
“I feel like crying. My flight is tonight,” she said.
“I was packing, and my little one was busy scribbling on my passport. I didn’t notice when he got hold of it.
“This morning I was running around queuing at immigration.
“I’m hoping I don’t have to declare the passport as damaged.”
The woman then went to the Immigration Department in Kajang, Malaysia before being sent to Putrajaya.
Unfortunately, her worst fears were realised.
Officials told her her passport was damaged and not valid for travel.
To make matters worse, as it was a weekend, she could not get a replacement until Monday.
She said: “I’m now on the way to Kuala Lumpur International Airport to ask Qatar Airways if I can change my ticket to Monday night.
“Please pray that everything is made easier.”
Fortunately, she was able to change her flight to Monday – though at a not insignificant price of £114.
Accepting the outcome, she wrote: “To those asking about the little one who scribbled on the passport, he’s still smiling without any sense of guilt and still saying, ‘Let’s go to the airport!’
“Please pray that our affairs are made easier as we continue our 11,977km journey soon… amen.
“Also, thank you to the immigration officer in Putrajaya who was on duty this morning and helped us accept fate with more calmness.
“God willing, there is a blessing in it.”
This is not the first time passport issues have caused last-minute travel chaos.
