The Museum of Contemporary Art has acquired Kara Walker’s sculpture “Unmanned Drone,” a cornerstone of the museum’s groundbreaking “Monuments” exhibition.
It joins the 158 works by 106 artists that were added to MOCA’s permanent collection last year, including major works by Jacqueline Humphries, Mike Kelley, Shizu Saldamando, Mary Weatherford, Julie Mehretu and Nairy Baghramian. Fifty artists are new to the collection, including Jonathas de Andrade, Leilah Babirye, Meriem Bennani, Paul Chan, Cynthia Daignault and Ali Eyal.
“Unmanned Drone” — a towering testament to the power of transmogrification — commands a room of its own at the Brick, which co-presented the “Monuments” exhibition in October. Walker created the 13-foot-tall bronze sculpture out of a statue of the prominent Confederate Gen. Stonewall Jackson that was originally in Charlottesville, Va. The statue had been removed after serving as a significant gathering place for the infamous 2017 Unite the Right rally of white supremacists.
A detail of a severed arm — part of Kara Walker’s sculpture “Unmanned Drone,” which she created using a decommissioned statue of Confederate Gen. Stonewall Jackson.
In an interview last fall, Brick director Hamza Walker explained to The Times that the city of Charlottesville issued a request for proposals from organizations interested in taking possession of the statue. The Brick applied and was deeded the statue, taking physical possession on Jan. 6, 2022. The gallery then gave the statue to Walker.
“They were getting rid of the Lee and the Stonewall Jackson statues, and they said, ‘We don’t want them put back up for further veneration,’” Hamza Walker said. “And so the idea of giving the statue to an artist fit that bill.”
Other applicants skipped over the line about not putting them up for further veneration, Hamza Walker said, noting that the Brick’s proposal was up against ones from Civil War battlefields and Laurel Hill, the birthplace of Confederate general J.E.B. Stuart.
A detail of the horse’s nostril in Kara Walker’s sculpture “Unmanned Drone,” which MOCA has acquired.
(Etienne Laurent / For The Times)
Kara Walker sliced apart the statue with a plasma cutter and welded it back together in an entirely new form. She did away with Jackson’s face and put much of the focus on his famous steed, Little Sorrel. The horse now stands upright with its head pushing out from the back of its saddle.
“She didn’t want you to be able to identify with him. She wanted the emphasis on Little Sorrel rather than the myth of the man,” Hamza Walker explained of Kara Walker’s intentions. “She wanted to reduce it to horse and rider.”
“The fiend has no head,” Knight commented in his review. “The folkloric Euro-American story of the ‘headless horseman’ comes to mind — a nightmarish, animated corpse who haunts the living. As a metaphor for obtuse white supremacy, still active today, that terror figure is hard to beat.”
Walker’s work was the only transformed statue out of the nearly dozen decommissioned statues related to the Confederacy featured in the “Monuments” exhibition. The others were all presented as they looked when they were removed, many during the protests that swelled in the summer of 2020 in the wake of the murder of George Floyd.
A detail of a sword on Kara Walker’s sculpture “Unmanned Drone.”
(Etienne Laurent / For The Times)
In addition to “Unmanned Drone,” MOCA announced several other acquisitions that were either featured in recent exhibitions or have significant connections to the museum. These include an environmental sculpture by Olafur Eliasson; work by Takako Yamaguchi; a media installation by Paul Pfeiffer titled “Red Green Blue” (2022), co-acquired with the Brooklyn Museum; and pieces by Cynthia Daignault, Shizu Saldamando and Henry Taylor.
“The expansion of MOCA’s collection this year reflects a sustained and deeply collaborative effort to think critically about what it means to build a museum collection in the twenty-first century,” Clara Kim, chief curator and director of curatorial affairs, said in a statement.
“If I love you, I have to make you conscious of the things you don’t see.”
James Baldwin’s quote about the artist’s role in society is emblazoned on billboards across Los Angeles this winter. Created by artist Patrick Martinez, the purpose of the signage is two-fold: to promote Frieze Los Angeles and, in the case of neon signs at the art fair’s entrance, to stand as a discrete work of art on its own.
Martinez, an East Los Angeles-based artist, has long translated protest language into storefront-style neon, a strategy he now extends into a broader campaign tied to Frieze, which runs Feb. 26 through March 1 at the Santa Monica Airport and features more than 100 galleries.
This year, however, some of the fair’s most compelling work may be happening outside the tent. Frieze Projects’ “Body & Soul” features eight installations staged across Santa Monica’s Airport Park and beyond. The initiative is intended, organizers say, to broaden the fair’s reach beyond its art world audience — positioning Frieze as a civic platform rather than a purely commercial event.
In addition to Martinez’s creations, “Body & Soul” brings together site-specific works including Amanda Ross-Ho’s durational performance rolling a 16-foot inflatable Earth around the perimeter of a nearby soccer field; Cosmas & Damian Brown’s interactive fountain installation incorporating ceramic heads, incense and water; and Shana Hoehn’s first large-scale public sculpture, fabricated from a fallen tree sourced through Santa Monica’s Urban Forest program. Off campus, Kelly Wall extends the program to a former Westwood Village newsstand, where glass “magazines” will be displayed — 136 in all, priced at $300, with 15 given away.
Martinez’s billboards bearing 2024’s “If I Love You (James Baldwin)” serve as the most highly visible part of the fair’s public outreach. His neon installations respond to ICE raids and immigrant rights, placing protest at the literal threshold of one of Los Angeles’ most visible art events.
L.A. artist Patrick Martinez’s work is featured on billboards around the city, as well as at the entrance to Frieze Los Angeles.
(David Butow / For The Times)
The public art program acts as “a way that we can bring in people who may not be just the ticket goers or the VIP,” said Christine Messineo, Frieze’s director of Americas.
It also serves to amplify the city’s cultural temperature.
“Our job is to represent what’s happening in our community,” Messineo said, adding that immigration and social impact are not anomalies at the fair but part of its foundation.
Some of Martinez’s neon entrance signs — including “Abolish ICE” (2018), “No Body Is Illegal” (2021) and “Then They Came for Me 2” (2025) — predate the current political moment. Instead, they emerge from years of observation and protest.
The artist credits Messineo with approaching him last summer to utilize what he calls his “urgent warning signs” as the face of the fair. Demonstrators also carried signs bearing Martinez’s imagery last June during protests against ongoing federal immigration crackdowns in downtown Los Angeles.
Those events, Martinez says, are not experienced evenly across the city — particularly by the well-heeled audience that attends Frieze and spends $85 to $106 for weekend general admission tickets.
Patrick Martinez, “If I Love You (James Baldwin),” 2024.
(artwork Patrick Martinez / photo Paul Salveson)
Martinez wants his signs to unsettle viewers who are insulated from the city’s unrest.
“The Westside people aren’t even going to see any of that, right? So it’s bringing that kind of mindfulness to that space.”
“It felt prescient then,” Messineo said of engaging Martinez last year, “and I think even more so now.”
Frieze has integrated public art into its Los Angeles fair since its 2019 debut. But the works in “Body & Soul,” produced with the nonprofit Art Production Fund, lean into the particular conditions of public space.
The exhibition brings together Los Angeles artists exploring ideas of memory, community and collective experience — often in quieter ways than Martinez’s overt messaging.
Additional participants include Dan John Anderson, Polly Borland and Kohshin Finley.
Casey Fremont, Art Production Fund’s executive director, said most of the works are newly commissioned.
The program is designed to prioritize innovation over sales. “It isn’t transactional. It’s really just about experimenting and giving the public the opportunity to experience art like they’ve never experienced before.”
Artists scale up — and slow down
“Body & Soul” marks several participants’ first ventures into public work, including Hollywood artist Finley, whose “The Piano Player” will be installed near the corner of Airport Avenue and Donald Douglas Loop. Finley’s piece arranges ceramic vessels inside shadow-box shelving that the artist describes as containers for memory — some “you love to take out and peek into,” others that “should just stay shut forever.”
Kohshin Finley’s “The Piano Player” arranges ceramic vessels inside shadow-box shelving that the artist describes as containers for memory.
(Micaiah Carter)
The title references the film “Casablanca,” and its piano player, Sam, whose music stirs up memories of the central love story.
Finley said the public setting creates an unusually direct encounter as he, like many of his fellow artists, will be standing with his work.
“A lot of people have never seen a living artist,” he said.
Ross-Ho takes visibility even further with her inflatable soccer ball Earth, which weighs 78 pounds. The familiar “blue marble” image will no doubt draw spectators at the Airport Park Soccer Field outside the Frieze tent.
Amanda Ross-Ho is creating a durational performance on a soccer field by Frieze Los Angeles.
(Jennelle Fong for ILY2)
Ross-Ho’s performance, “Untitled Orbit (MANUAL MODE),” functions as an endurance test that is a response to what she calls “the temporal container of the art fair” — and to the pressures of contemporary life.
“Gesture and duration are the ways that I could achieve scale rather than something that was materially constrained like a giant sculpture,” she said.
Designing for gathering
Brown’s installation, “Fountain: Sources of Light,” invites guests to congregate. Positioned between the Airport Park playground and dog park, it combines running water, ceramic vessels, incense and sound.
“I really wanted to make a fountain because I thought that [it’s] something that … people tend to gravitate to,” he said.
The work will incorporate metal plates and bowls created by participants in the youth workshop Art Sundae, taking place Feb. 28 at Airport Park.
Near Brown’s fountain, Echo Park artist Hoehn will present “Deadfall,” a massive fallen fig tree embedded with carved cheerleader legs and skirts — imagery drawn from her Texas upbringing.
Shana Hoehn with one of her carved wooden sculptures.
(Josh Cohen)
“I’ve been working with cheerleading iconography for the past few years,” she said, linking the imagery to what she calls an omnipresent football culture layered with “American patriotism and militaristic qualities.”
Hoehn acknowledged that the fair’s four-day window and limited nearby parking may keep the audience closer to fair-goers than the broader public the program aims to reach.
Beyond the airport fence
A few miles away in Westwood Village, Mar Vista artist Wall will extend the program beyond the airport campus with “Everything Must Go,” installed at a defunct newsstand and on view from 5:48 p.m. (sunset) to 8 p.m. during the fair.
Where magazines and newspapers once were, glass stand-ins bearing skyline imagery will occupy illuminated lightbox shelves. As the glass “magazines” are removed, glowing silhouettes mark their absence.
Kelly Wall, ‘Everything Must Go’.
(Kelly Wall)
Wall’s related project will appear on the Frieze campus with found newspaper boxes transformed into lightbox displays for her glass publication.
“In things coming to an end, there is no real end … there’s transformation,” she said. “How you might see [the piece] may differ depending on different times — or where you’re personally at in your life.”
Disney California Adventure this month turns 25. Though Disneyland Park’s littler and much younger sibling, the park has grown into a respectable offering, one that ranks among my favorite Disney parks in North America. No small feat, considering its checkered, less-than-ambitious launch.
California Adventure is today emblematic of some of the best that Disney has to offer. And yet it remains a work in progress. The subject of constant tinkering, another reimagining is on the horizon.
With more Marvel, more “Avatar” and more Pixar due to be injected into the park, California Adventure stands at a crossroads. But also one with risks: Will it soon feel like a collection of brand deposits? This, of course, has appeared to be the vision of the company’s theme parks in the recent past. This doesn’t always have to be a negative. Consider it more a word of caution.
A “Coco” boat ride is destined for Disney California Adventure. The ride is under construction.
(Pixar / Disneyland Resort)
Few Disney properties, for instance, seem more ripe for exploration in a California-focused theme park than “Coco.” Under construction where Paradise Gardens and Pixar Pier meet, a “Coco”-inspired boat ride will give the park at long last a permanent home to recognize our state’s Latin culture and heritage. While fans may long for the days of original attractions such as Pirates of the Caribbean and the Haunted Mansion, those based on intellectual property — IP in industry speak — aren’t evil, especially when used to heighten the overall themes of the park. California Adventure’s own Cars Land is a key example.
When it starts to feel like retail, however, parks can become exhausting. Looking at you, Avengers Campus, a half-finished land with a bombastic orchestral score and familiar, urban design that wouldn’t be out of place in downtown L.A. In its current state, the land works best as a backdrop for live entertainment as it lacks the welcoming feel of Disney’s top creations.
California Adventure, at its most idealized, stood for more than an assortment of film properties. Its pitch was to show the Golden State as a romanticized destination, one that in the post-Gold Rush era has often given America permission to dream. It would capture our people, our nature, our food and our glamour through a lighthearted, optimistic lens. When completed, the park had a mini Golden Gate Bridge and giant letters that spelled out the name of our state (which were removed about a decade later).
By the time California Adventure opened in February 2001, it had already been the subject of much revision. The Walt Disney Co. wanted it to be a West Coast answer to Walt Disney World’s Epcot. Its plans at the time were well-documented, with the Walt Disney Co. initially giving Westcot, as it was to be called, a spherical answer to the Florida park’s Spaceship Earth. In time, and in attempts to quell neighborhood concerns, the globe’s design would shift to become a large, futuristic needle.
California Adventure in 2001 was meant to depict a romanticized vision of California.
(Mark Boster / Los Angeles Times)
None of it was to be. Financial headaches, caused in part by the early-year struggles of Disneyland Paris, inspired Disney to change course. Disney California Adventure would open with few attractions that rose to the Disneyland level, and yet The Times was kind in its opening coverage, praising the park’s change of pace from its neighbor and admiring how its architecture blurred fiction and reality.
The hang-gliding simulation Soarin’ Over California was an instant hit, and Eureka! A California Parade was Disney theatricality at its weirdest, with floats that depicted Old Town San Diego, Watts and more. But California Adventure’s prevalence of dressed-up county fair-like rides failed to command crowds. Disney’s own documentary “The Imagineering Story” took a tough-love approach, comparing some of its initial designs to those of a local mall.
The grand opening of California Adventure in February 2001.
(Mark Boster / Los Angeles Times)
And yet today it’s home to one of the Walt Disney Co.’s most fully-realized areas in Cars Land, which opened in 2012. Flanked by sun-scarred, reddish rocks that look lifted from Arizona, Cars Land is a marvel, and on par with the best of Walt Disney Imagineering’s designs (see New Orleans Square, Star Wars: Galaxy’s Edge and Pandora — the World of Avatar). Nodding to our Route 66 history, the land is a neon-lit, ‘50s rock leaning hub of activity, complete with the showstopping Radiator Springs Racers.
Cars Land led a major makeover of the park that also included the nostalgic Buena Vista Street, a nod to the Los Feliz era of the 1920s. And by the mid-2010s, many of California Adventure’s most insufferable traits, such as its ghastly puns (San Andreas Shakes was bad, but the Philip A. Couch Casting Agency was cringe-inducing) as well as the short-lived disaster of a ride that was Superstar Limo, had begun to disappear.
Cars Land, added to California Adventure in 2012, is one of Walt Disney Imagineering’s grandest achievements.
(Mark Boster / Los Angeles Times)
With the nighttime show World of Color, and a bevy of in-park entertainment, California Adventure pre-pandemic began to feel like something akin to a full-day park. It wasn’t perfect, of course — no park is.
The Little Mermaid — Ariel’s Undersea Adventure, though lightly charming, suffers from being a hodgepodge of familiar scenes from the film rather than a narrative tableau that can stand on its own. Too many empty buildings clutter its Hollywood Land area, the makeover of Paradise Pier into Pixar Pier did little but add garish film-referencing art to the land and the crowd-pleasing transformation of the Twilight Zone Tower of Terror into Guardians of the Galaxy — Mission: Breakout! was completed at the expense of the park’s prime Southern California theming.
Paradise Pier at California Adventure in 2002. The land has since been remade into Pixar Pier.
(Don Kelsen / Los Angeles Times)
But there is much about California Adventure to adore. It shines during holidays, whether that’s Lunar New Year at the top of the year or the back-to-back combo of Halloween and Christmas seasons near its end. Here is when California Adventure’s entertainment comes to the fore, bringing the park alive with cultural tales that at last reflect the diversity of the modern theme park audience.
How grand it would be, however, if California Adventure were blessed with this level of entertainment year-round. The Hyperion Theater, a 2,000-seat venue at the end of Hollywood Land, and once home to shows inspired by “Frozen,” “Aladdin” and “Captain America,” today sits empty. If the Walt Disney Co. can’t justify funding the theater, jettison it with the park’s upcoming makeover, as it stands as a reminder of how fickle the corporation can be when it comes to live performance (also gone, the great newsboy-inspired street show).
Staff at California Adventure put the final bit of polish on the letters that spell out “California” ahead of the park’s 2001 opening. The letters once stood at the entrance of the park.
(Mark Boster / Los Angeles Times)
Looking ahead, I expect Disney to deliver a powerful “Avatar” ride, and early concept art has shown a thrilling boat attraction that appears to use a similar ride system to Shanghai’s Pirates of the Caribbean: Battle for the Sunken Treasure, which is hailed by many as one of the company’s strongest modern additions. Worthy of debate, however, is how the pure fantasy landscape of “Avatar” fits in a park that still nominally tries to reflect California and our diversity.
And does it matter?
The company would likely argue that if the ride wows guests and extends the “Avatar” brand into another generation, that it does not. But Disneyland next door isn’t timeless because it has “Peter Pan” and “Star Wars.” It has endured for 70 years because its attractions, by and large, reflect cultural myths. And it’s a park we want to spend days in, thanks to its gorgeous landscaping, calming Rivers of America, and human tales of avarice, unity and romance spread throughout its attractions.
For theme parks, after all, can jump the shark, so to speak. Spend some time, for instance, sitting in California Adventure’s San Fransokyo Square. It’s a needless, post-pandemic makeover. What was once a simple food court has been transformed into a loud nook stuffed with a “Big Hero 6” meet-and-greet and gift shop. You’ll be transported, but to a place more akin to a marketing event.
So happy 25, California Adventure. We love you, and you’re a park worth celebrating, but like most post-collegiate kids, there’s still some room to learn.
Is there anyone out there who doesn’t love Timothée Chalamet? I mean, besides the old-timer Oscar voter who recently told me he doesn’t like the young man’s “shenanigans.”
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Calico Mine Ride or Timber Mountain Log Ride? That’s a 1A / 1B ranking decision. It all depends if I’ve just eaten a slice of boysenberry pie.
Now … back to Timothée …
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Did you catch any of the screenings during the American Cinematheque’s recent eight-film retrospective celebrating Chalamet’s career? Or perhaps you landed at the motion picture academy’s Samuel L. Goldwyn Theater on Monday when Chalamet was mobbed following a Q&A after a showing of “Marty Supreme” for guild voters.
If you witnessed a moment during this weeklong celebration — this Chalamania, if you will — you saw a young man whose talent as an actor is matched only by his genius at promotion.
And yet, there has been a lot of postulating that maybe one of the other nominated actors — Leonardo DiCaprio (“One Battle After Another”), Michael B. Jordan (“Sinners”), Ethan Hawke (“Blue Moon”) and Wagner Moura (“The Secret Agent”) — has a chance. You know … if things fall just the right way, there’s a path!
I get it. This year’s awards season has felt endless, and the Oscars are still more than three weeks away. Stories must be written, possibilities explored, no matter how remote.
But c’mon. Chalamet has this Oscar locked, just like “Hamnet” lead Jessie Buckley has owned the lead actress trophy since her movie premiered at Telluride in September. Admittedly, the lack of drama isn’t fun or exciting. Pine for an upset if you must, though it might be more fun to just surrender and celebrate Chalamet, a gifted actor and certified movie star who has stockpiled a remarkable body of work over the last decade.
This isn’t to say that you can’t make the case about who should win. DiCaprio continues to be one of our great comic actors and deserves attention just for the master class in phone acting he gives in “One Battle.” Moura carries “The Secret Agent” with an intense, brooding charisma that, one year shy of his 50th birthday, should push him to even greater recognition. Playing the desperate, despairing lyricist Lorenz Hart, Hawke empties his soul and his vocabulary, venting his way through the entirety of “Blue Moon.” And Jordan connects on the biggest swing of his career, playing twin brothers in “Sinners.”
So why is Chalamet winning in a walk? It’s a process of elimination. DiCaprio and Jordan are out as “Sinners” and “One Battle After Another” are ensemble films. (Even with the dual roles, Jordan is only in half the movie.) Moura’s work in “The Secret Agent” is sublime, but the Oscars rarely reward subtle acting. (This is a category that has gone to Rami Malek in “Bohemian Rhapsody,” Brendan Fraser in “The Whale” and Joaquin Phoenix in “Joker” in recent years.) And Hawke’s nomination is but one of two for “Blue Moon.” Not enough. Even the execrable “The Whale” managed three.
Chalamet already won the Golden Globe for performance by a male actor in a motion picture musical or comedy for “Marty Supreme.” Our columnist predicts an Oscar is next.
(Allen J. Schaben / Los Angeles Times)
Meanwhile, Chalamet is Marty Supreme, the undeniably talented, relentless self-promoter careening toward his goals of fame and fortune with little regard to the damage he is inflicting on others. (That’s Marty, not Timothée.) Marty’s despicable, but also, as played by Chalamet, winningly charming.
No, you’re not supposed to like the guy, which, for voters who, say, blanched at supporting DiCaprio in “The Wolf of Wall Street,” might be a problem. But the academy has changed a lot since Scorsese’s wildly entertaining movie screened for academy members at the Goldwyn and an unnamed screenwriter, seeing Scorsese, DiCaprio, Jonah Hill and writer Terence Winter emerging from an elevator afterward, ran over to them and started screaming, “Shame on you!”
It’s true that not everyone embraces the anxiety-inducing cinema that is the brand of “Marty Supreme” co-writer and director Josh Safdie. Not everyone embraces Safdie himself, after a noisy tabloid story resurfaced allegations of a toxic work environment on the set of the 2017 film “Good Time,” which Safdie directed with his brother, Benny.
But that has nothing to do with Chalamet, who did not work on the movie, or his ferocious, frenetic work in “Marty Supreme.” The biggest knocks against Chalamet seem to be the unorthodox ways he goes about promoting his movie (and himself) and his age (he just turned 30). Historically, the lead actor Oscar goes to men with a few more miles on the odometer. Adrien Brody is the youngest winner, taking the trophy in 2003 for “The Pianist” when he was 29.
But, as noted earlier, things have changed since the film academy began greatly expanding its membership over the past decade. This new academy gave its best picture and three acting prizes to “Everything Everywhere All at Once,” a bonkers movie that embraced chaos, fingers made of hot dogs and sex toys used as weapons. The new academy just crowned indie auteur Sean Baker king of the world for “Anora,” a Cinderella story about a stripper and a Prince Charming who knows where to score the best ketamine in Vegas.
You think these voters are going to care that Chalamet hasn’t “paid his dues,” an idea that’s patently silly on its surface anyway as this is his third Oscar nomination? He’s the youngest actor to earn three Oscar nominations since Marlon Brando did it, at age 30, in 1954.
By the way, Brando won the Oscar that year for “On the Waterfront.”
Teddy Riley took to social media late Thursday to walk back earlier comments he’d made about wanting to work with the disgraced R&B singer R. Kelly.
In an interview with The Times published on Wednesday, the veteran producer and musician — widely known as the architect of the New Jack Swing sound that dominated Black pop in the late 1980s and early 1990s — said he’d “talked a few times” with Kelly, who’s serving a 30-year prison sentence after a jury convicted him of racketeering and sex trafficking charges, and that he’s “bringing in investors” to help release some portion of the 25 albums Kelly has said he’s recorded in prison.
“Everybody deserves a second chance,” Riley told The Times. “Everyone deserves to repent, and everyone gets forgiven by God when you come to him. People miss [Kelly’s] music. I’m the messenger to bring R&B back.”
Yet Thursday he appeared to changed course.
“As a producer, I’ve always been excited about the possibilities of music and creative collaboration,” he wrote in an Instagram post. “That excitement has defined my career. But I also understand that words carry weight, and I never want my passion for music to overshadow the very real pain that many people have experienced.
“If my comments caused hurt, I sincerely apologize,” he added. “That was never my intention. I take seriously the impact that abuse and misconduct have had on survivors and their families. Their experiences matter, and they deserve to be acknowledged with care and respect.”
Riley, whose long career has included collaborations with Michael Jackson, Bobby Brown and Keith Sweat, described his plan to work with Kelly as “a creative idea discussed in passing. It is not something that will move forward. Loving music and recognizing its cultural impact does not mean condoning harmful behavior, and I want to be clear about that.
“I have spent my life building a legacy rooted in innovation, integrity, and love for the art form. That remains my focus. I appreciate the dialogue, and I remain committed to moving forward with intention and accountability,” said Riley, who this month published a book, “Remember the Times,” about his life and work.
“Thank you to everyone who continues to support me, my memoir, and the journey,” he wrote on Instagram.
Embattled Hollywood mogul Casey Wasserman, who is facing mounting pressure to resign from his position at the helm of the 2028 L.A. Olympics, also holds another important cultural appointment on the Los Angeles County Museum of Art’s board of trustees.
Wasserman, 51, joined LACMA’s board in 2004 when he was 30, two years after he founded his eponymous talent and marketing agency. Just last week, Wasserman announced he would sell his agency after racy emails between himself and convicted sex trafficker and Jeffrey Epstein associate, Ghislaine Maxwell, emerged at part of the Justice Department’s latest release of millions of documents related to the Epstein files.
Wasserman, the grandson of legendary studio exec Lew Wasserman, arrived at LACMA as part of a wave of relatively young additions to a notoriously older board. His addition also heralded the dawning of an era in which LACMA actively sought to strengthen its connections with the entertainment world. In 2011, LACMA launched its glitzy Art + Film Gala, an annual party co-chaired by Leonardo DiCaprio that serves as a melting pot for A-list celebrities and art world stars.
“There was an understanding — the message was there needed to be a change in the board,” museum director Michael Govan told The Times in a 2015 interview. “The board was in extreme need of refreshment.”
Now that Wasserman’s leadership in other roles is being questioned , will his relationship with LACMA follow? LACMA did not respond to a request for comment. Although the board generally meets a few times a year, it may not be an issue that has come to the fore as of yet.
Thus far, LA28 has stood by Wasserman, noting in a recent statement that his emails with Maxwell were sent years “before Mr. Wasserman or the public knew of Epstein and Maxwell’s deplorable crimes … This was his single interaction with Epstein.”
“The Executive Committee of the Board has determined that based on these facts, as well as the strong leadership he has exhibited over the past ten years, Mr. Wasserman should continue to lead LA28 and deliver a safe and successful Games,” LA28 wrote.
L.A. Mayor Karen Bass said in a recent CNN interview that she believed Wasserman should step down, and that it is “unfortunate” that Olympic organizers remained in support of him.
In a memo to staff at his talent agency, Wasserman wrote that he was “heartbroken that my brief contact with them 23 years ago has caused you, this company, and its clients so much hardship over the past days and weeks.”
I’m arts editor Jessica Gelt with this week’s arts and culture news.
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The week ahead: A curated calendar
FRIDAY
The cast of “Cinderella: A Salsa Fairy Tale.”
(South Coast Repertory)
Cinderella: A Salsa Fairy Tale The classic fairy tale moves to the basketball court in this hip-hop fueled musical adaptation for young audiences with a book and lyrics by Karen Zacarías and music by Deborah Wicks La Puma. Directed by Sara Guerrero. Through March 8. South Coast Repertory, Julianne Argyros Stage, 655 Town Center Dr., Costa Mesa. scr.org
Dear Little Friend: Impressions of Galka Scheyer The exhibition from the German-born art dealer’s collection includes portraits and ephemera, featuring such artists as Maynard Dixon, Peter Krasnow, Beatrice Wood and Edward Weston, as well as gifts from the Blue Four artsist, whose work Scheyer championed: Alexei Jawlensky, Lyonel Feininger, Paul Klee and Vassily Kandinsky. Thursday-Monday, through July 20. Norton Simon Museum, 411 West Colorado Blvd., Pasadena. nortonsimon.org
The Industry LAB 2026 The innovative opera company partners with REDCAT for this series featuring new works: a shared program of Guillermo E. Brown’s “The Instrument, Romance, Bee Boy” and Carmina Escobar’s “Our Voice Is Not at the End of Anything” (8 p.m. Tuesday-Wednesday; 8 p.m. Friday and Saturday; 3 p.m. Saturday-Sunday); and Matana Roberts’ “spiral resonance: a study in the abstract,” an immersive sound and moving image installation exhibition (noon-6 p.m., daily through March 1) with solo activation performances in the space by Patrick Shiroishi (8 p.m. Tuesday); Ryan Sawyer (8 p.m. Wednesday); Roberts (8 p.m. Feb. 27); Kyp Malone (8 p.m. Feb. 28); and Judith Berkson (3 p.m. March 1). Through March 1, 2026 REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Wallace Berman/Bruce Conner A pair of solo exhibitions highlighting extraordinary mark-making: “It Don’t Mean a Thing (If It Ain’t Got That Swing)” salutes the centennial of post-war counter-culture artist Berman with a rare showing of his large-scale photographic collages; “Inkblots and Felt Tip Drawings” focuses on an often overlooked aspect of multimedia artist Conner’s work. A selection of Conner’s experimental films are being exhibited at Marciano Art Foundation (see below). Tuesday-Saturday, through April 25. Michael Kohn Gallery, 1227 North Highland Ave. kohngallery.com
Missa Solemnis Gustavo Dudamel and the Los Angeles Philharmonic are joined by more than 100 voices from the Cor de Cambra of the Palau de la Música Catalana and Orfeó Català of Barcelona for this Beethoven mass that is rarely performed due to its ambitious scale. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Jon Serl: As One, As Many Starting in vaudeville before moving to California and working as a Hollywood voice actor and gardener, Serl became a painter following World War II with a long, expressive career illustrated in this retrospective. Fittingly, the artist had his first museum exhibition in 1981 at the Newport Harbor Art Museum (now UC Irvine Langson Orange County Museum of Art). Through June 7. UC Irvine Langson/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art
Marco Perego “The Being” is a solo exhibition featuring video, installations and drawings by Italian-born artist. Through April. Jeffrey Deitch, 7000 Santa Monica Blvd., Los Angeles. deitch.com
Christina Kirk and Norbert Leo Butz, seated, with the cast of “The Recipe.”
(Rich Soublet II/La Jolla Playhouse)
The Recipe Christina Kirk and Norbert Leo Butz star as Julia and Paul Child in the world premiere of Claudia Shear’s play about the world-famous chef. Directed by Lisa Petersen. Through March 22. La Jolla Playhouse, 2910 La Jolla Village Dr. lajollaplayhouse.org
Puppet Up! – Uncensored Created by Brian Henson and directed by Patrick Bristow, this irreverent, ever-changing show features the Miskreant puppets plus classic Jim Henson sketches unseen by live audiences for decades. 7 p.m. Friday and Saturday; 5 p.m. Sunday; 7 p.m. Feb. 27-28; 5 p.m. March 1. The Montalbán, 1615 Vine St., Hollywood. puppetup.com
SATURDAY Kyreeana Breelin Alexander The interdisciplinary artist performs “We Cool,” a solo autobiographical coming-of-age story fueled by rhythm and movement. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Judith F. Baca With “The Great Wall Of Los Angeles: The 1970’s — A Decade Of Defiance And Dreams,” the artist’s organization SPARC (Social and Public Art Resource Center) exhibits the latest complete segment in the monumental work’s expansion. Opening reception, 6-8 p.m.; through April 4. Jeffrey Deitch, 925 N. Orange Dr. deitch.com
Bruce Conner, “Crossroads,” 1976. 35mm, black/white, sound, 37 min. Digitally Restored, 2013.
(The Conner Family Trust/Michael Kohn Gallery)
Bruce Conner “Recording Angel” brings together seven of the artist’s experimental films, composed of found, scavenged and original footage, and re-cut using his influential rapid-fire editing techniques. Through July 18. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org
Patti LuPone The Broadway star marks the 25th anniversary of her concert “Matters of the Heart,” which ran on Broadway and London’s West End and toured the globe. 7:30 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
John Snow The bassist and his band explore “The Poetry in Music” through works by John Coltrane, Joni Mitchell, Patti Smith, Langston Hughes, Hoagy Carmichael, Bob Dylan and others. 8 p.m. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Tap Fest: Listen to This! Dancers Derick Grant, Sam Weber and Josette Wiggan join the Colburn’s tap faculty and students for a program exploring the concept of the Tap Artist as both a dancer and musician. 7 p.m. Colburn School, Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
SUNDAY Zhanna Kadyrova A collaboration with Kyiv to LA, an ongoing project supporting Ukrainian artists through a Los Angeles-based residency, and the Thomas Mann House, the solo exhibition “Sliced Realities” explores the artist’s anti-war practice and coincides with the four-year anniversary of Russia’s full-scale invasion of Ukraine. Sunday-Feb. 28. Thomas Mann House (1550 N San Remo Drive, Pacific Palisades. vatmh.org
Museums Free-For-All An Southland tradition in which Southern California arts and cultural institutions open their doors for free general admission. Participants include the Academy Museum of Motion Pictures, the Autry Museum of the American West, The Broad, California African American Museum, the Getty Center and the Getty Villa, UCLA Hammer Museum, LACMA, MOCA, Skirball Cultural Center and many, many more. At some locations, tickets are limited and reservations may be required. All-day Sunday. See complete list of participating institutions at socalmuseums.net/free
Queen Elisabeth Music Chapel Colburn Conservatory of Music welcomes the Belgian conservatory and its master-in-residence, cellist Gary Hoffman, for a joint performance of Fauré’s “Piano Quintet No. 1” and Messiaen’s “Quartet for the End of Time.” 3 p.m. Colburn School, Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
Sueño Perro This film Installation by Alejandro G. Iñárritu both marks the 25th anniversary of his debut “Amores Perros” and serves as a “resurrection” using projections of never-before-seen fragments from that film’s production. Through July 26. Los Angeles County Museum of Art, BCAM, Level 1, 5905 Wilshire Blvd. lacma.org
We Hold These Truths: A Celebration of Black History Month Over 100 Years The contributions of Black Americans to the cause of democracy over the years are recognized in this collaboration of performers from across artistic mediums. Featured artists include actor Phil Morris, composer Tamar-kali, dancer Ishaun Jackson-Moaney, the West Angeles COGIC Victory Dance Company, opera baritone Derrick Lawrence and promising talent out of the USC Thornton School of Music, opera mezzo-soprano and producer Raehann Bryce-Davis, poet Alyesha Wise and arts scholar and activist Derrell Acon. 3 p.m. Nocturne Theatre, 324 N. Orange St., Glendale. eventbrite.com
TUESDAY Flashback Fun Six Disney classics return to the big screen: “Muppet Treasure Island” (Tuesday); “The Aristocats” (Wednesday); “Dumbo” (Thursday); “The Rescuers” (Feb. 27); “Bolt” (Feb. 28); and “Oliver and Company” (March 1). The El Capitan Theatre, 6838 Hollywood Blvd. elcapitantheatre.com
Filmmaker Jafar Panahi at the Toronto International Film Festival last September.
(Kate Dockeray/For The Times)
It Was Just an Accident: Live Read Film Independent presents writer-director Jafar Panahi’s “incisive drama,” winner of the Palme d’Or at Cannes in 2025 and nominated for international feature film and original screenplay at this year‘s Academy Awards, to the Wallis stage read by a new cast. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Haegue Yang “Star-Crossed Rendezvous” pairs two of the Korean-born, Berlin-based artist’s large-scale installations employing utilitarian objects. The first, “Sol LeWitt Upside Down — K123456, Expanded 1078 Times, Doubled and Mirrored” (2015) is a monochromatic installation inspired by the cube structures of the American conceptual artist. Across the gallery, “Star-Crossed Rendezvous after Yun” (2024) is an homage to composer and political dissident Isang Yun (1917–95). Synchronized to Yun’s “Double Concerto” (1977), an array of moving lights animate vibrant geometric structures to create an ever-changing, multisensory experience. The L.A. Philharmonic will perform Yun’s piece on March 10 at Walt Disney Concert Hall, with a pre-concert viewing of the installation at MOCA Grand. Through Aug 2. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org
WEDNESDAY L.A. Art Week It happens every February. Thousands of artists, collectors, curators and gallerists descend on the city, swelling an already vibrant local scene with a global reach into a week of discovery, creative adventure and fashion flamboyance. The Big Kahuna, of course, is Frieze Los Angeles (Thursday-March 1. frieze.com), a fair with a primarily contemporary focus, approximately 100 galleries, installations and pop-ups restaurants from around L.A.; Butter Fine Art Fair (Thursday-March 1. Hollywood Park, 1237 District Drive, Inglewood. butterartfair.com) features artists representing the African diaspora; Enzo (Wednesday-Saturday. 1634 W. Temple St. enzolosangeles.com) presents nine New York City galleries in an Echo Park warehouse; Felix Art Fair (Wednesday-March 1. Hollywood Roosevelt, 7000 Hollywood Blvd. felixfair.com) showcases exhibitors from around the world in a classic Hollywood setting; the cheekily-named The Other Art Fair Los Angeles (Thursday-March 1. 3Labs, 8461 Warner Dr., Culver City. theotherartfair.com) promises “the bizarre, unexpected, and never normal” with work from 160 independent artists; Post-Fair (Thursday-Feb. 28. 1248 5th St., Santa Monica. post-fair.com) is a dealer-led event in a historic Santa Monica Post Office building; and Start Up Art Fair (Friday-March 1. The Kinney Venice Beach, 737 Washington Blvd. startup-art.com) brings together 150 independent artists, collectors, curators and art professionals. It’s mostly next weekend but we wanted to give you a heads-up. Be sure to watch for Times reporter Malia Mendez’s upcoming preview. Happy art hunting and people watching.
THURSDAY Beethoven and Ortiz with Dudamel Gustavo Dudamel and the L.A. Phil are joined by Grupo Corpa and the L.A. Master Chorale for this charged program pairing Beethoven’s “Seventh Symphony” with Gabriela Ortiz’s ballet “Revolución diamantina (Glitter Revolution).” 8 p.m. Thursday and Feb. 27; 2 p.m. Feb. 28-March 1. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Norbert Leo Butz The Broadway star and two-time Tony Award winner (currently performing in “The Recipe” at La Jolla Playhouse, above) will perform excerpts from his signature roles, original compositions from his four solo records and covers from Tom Waits, Elton John and Bruce Springsteen. 7 p.m. Thursday-Feb. 28. Segerstrom Center for the Arts, Samueli Theater, 300 Town Center Dr., Costa Mesa. scfta.org
Arts anywhere
Something to read, something to hear and something to watch wherever you are.
The Art Book: Mini Format
(Phaidon Press)
The Art Book What’s it like to hold art history in the palm of your hand? Find out with the new Mini edition of this beloved text celebrated for bringing art appreciation to the masses. First introduced in 1994, the updated edition of this A-Z survey features more than 600 artists from medieval times to the present. It’s far from stuffy, including overlooked and contemporary figures including Berenice Abbott, Romare Bearden, Guerrilla Girls and more; plus Takashi Murakami and Wolfgang Tillmans, who The Times happened to interview recently and have L.A. shows (see below). Phaidon Press: 592 pp., $20. phaidon.com
Yunchan Lim
(IMG Artists)
Goldberg Variations Live at Carnegie Hall, New York, 2025 Recorded fewer than 30 blocks form where Glenn Gould laid down his own landmark recording of Johann Sebastian Bach’s masterpiece, pianist Yunchan Lim’s new album has been topping the classical charts since its release earlier this month. If you missed his performance of the Variations at Disney Hall last October (or if even if you didn’t), this is a must listen. Decca Records: $8-38. Available on vinyl, CD and digital download. deccarecordsus.com
An image from Frederick Wiseman’s ‘Titicut Follies.’
(courtesy of Zipporah Films)
Frederick Wiseman The filmmaker, who died Monday at 96, was a master storyteller and craftsman who mainly inhabited the nonfiction realm of the documentary. His perceptive explorations of public and cultural institutions was unparalleled and he was honored with an honorary Academy Award in 2016. If you would like to revisit Wiseman’s work or want an exhaustive introduction, check out the Frederick Wiseman Essential Films Collection at kanopy.com. Virtually every film he ever made is available and all you need is a public library card (an apt requirement!). His final film, “Menus-Plaisirs Les Troisgros” from 2023, can be viewed via the PBS Passport membership portal.
— Kevin Crust
Culture news and the SoCal scene
A detail of miniature “sportraits” during a preview of award-winning animator and visual-effects artist Lyndon J. Barrois’ exhibit, “Futbol Is Life” at LACMA.
Jefferson Mays in “Amadeus” at Pasadena Playhouse.
(Jeff Lorch)
A new take on Peter Shaffer’s “Amadeus” premiered at Pasadena Playhouse last week, and it may be the Tony Award-winning regional theater’s most lavish production to date. I got a behind-the-scenes tour of the theater’s amazing on-site scene shop to write about what it took to put the set, lighting and costumes together; and Times theater critic Charles McNulty attended opening night. Director Darko Tresnjak, writes McNulty in his review, “treats the play as though it were a tragedy wearing the mask of comedy. He doesn’t resist the melodrama that’s inherent in the material, but he refuses to overindulge it. This production hasn’t convinced me that ‘Amadeus’ is a world classic… But I doubt I’ll have the opportunity to see a better revival in my lifetime.”
McNulty also caught a performance of “Sylvia Sylvia Sylvia,” Beth Hyland‘s new play that recently had its world premiere at the Geffen Playhouse, and explores the lives of married writers living in the Boston apartment once occupied by the poet Sylvia Plath and her husband Ted Hughes. “World premieres are risky, and the writing for this one hasn’t yet settled. The play’s split focus, moving between 1958 and the present, is a sign of conceptual ambition. But Hyland struggles to find the pacing and rhythm of her complicated vision,” McNulty writes.
Meanwhile, “Here Lies Love,” David Byrne’s disco musical about the Ferdinand Marcos regime arrived at the Mark Taper Forum in a show directed by Center Theatre Group’s artistic director Snehal Desai. The Times’ Malia Mendez sat down with members of the all-Filipino cast to discuss the ways the show’s exploration of the perils of authoritarianism dovetail with the modern political moment.
Japanese artist Takashi Murakami sits in front of his painting at Perrotin Gallery on Feb. 13, 2026 in Mid City in Los Angeles, Calif.
(Ariana Drehsler/For The Times)
I had the opportunity for a one-on-one chat with artist Takashi Murakami about his solo show at Perrotin, Los Angeles, which features 24 new canvases that explore the connection between the ancient Japanese art of ukiyo-e and Impressionism. A trip to Monet’s gardens in Giverny, France, cemented Murakami’s idea for the paintings.
Contributor Steve Appleford wrote a thoughtful profile on German photographer Wolfgang Tillmans, who is currently staging his ninth Los Angeles exhibition at Regen Projects. “In 2000 Tillmans became the first photographer and first non-British artist to win the prestigious Turner Award. Tate Britain staged his mid-career retrospective in 2003 and the Hammer Museum in Westwood mounted his first major U.S. retrospective that same year, which traveled to Chicago’s Museum of Contemporary Art and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.,” Appleford writes.
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A sketch from architect Paul R. Williams’ archive at The Getty Center.
(Juliana Yamada/Los Angeles Times)
Paul Williams, the first Black architect licensed west of the Mississippi, is the focus of a series of upcoming shows to be staged from August through July 2027 at the Getty, LACMA and USC Fisher Museum of Art. Throughout the course of his six-decade career Williams designed more than 3,000 projects, including for clients such as Frank Sinatra, Lucille Ball and the Beverly Hills Hotel. The exhibitions will feature architectural drawings, photographs, plans and memorabilia, some of which have never been on view to the public before.
Los Angeles Master Chorale announced Artistic Director Grant Gershon’s 25th anniversary season featuring work by Brahms, Bruckner, Arvo Pärt, Bach, Morten Lauridsen and Orlando di Lasso. Guest artists will include the National Chorus of Korea, composer Eric Whitacre, violinist Anne Akiko Meyers, Baroque ensemble Le Concert d’Astrée and theater director Peter Sellars. Subscriptions are available now, and single tickets will go on sale June 1.
The nonprofit arts organization, Los Angeles Nomadic Division (LAND), announced the four artists chosen to receive its 2026 Mohn LAND Grants. They are Shana Hoehn, Angela Anh Nguyen, Harrison Kinnane Smith and Adam Thompson. Winners receive a $5,000 award as well as $5,000 in production funds to use towards a new work commission.
TEMPE, Ariz. — Dodgers starting pitcher Yoshinobu Yamamoto toed the rubber Saturday for the team’s Cactus League opener against the Angels at Tempe Diablo Stadium with the expectation that it would be his only start before joining Team Japan for next month’s World Baseball Classic.
Even manager Dave Roberts believed that was the case as he came out to lift his star pitcher with two outs in the bottom of the second inning.
“Doc came to the mound, and he said, ‘Good luck in the WBC,’” Yamamoto said via interpreter Yoshihiro Sonoda. “But actually, I have one more game to pitch.”
After giving up one earned run, three hits and striking out three in his 30-pitch outing, Yamamoto said he believes his next start will be on Friday against the San Francisco Giants at Scottsdale Stadium.
Yamamoto cruised through the first inning, striking out third baseman Yoan Moncado swinging and getting shortstop Zach Neto to look at a called strike three on a darting sinker.
But then the Dodgers, who had scored three runs in the top of the first, sent 11 men to the plate, scoring six runs on five hits, two walks and a hit batter in a half-inning that took nearly 30 minutes. Yamamoto believes the long break between innings may have disrupted his workflow, contributing to a messy second inning.
A dropped fly ball on the warning track in left field by Teoscar Hernández spelled trouble for Yamamoto, scoring a run and allowing Jo Adell to reach second base with nobody out. Yamamoto struck out the next hitter, getting left fielder Josh Lowe to swing through a splitter, before allowing back-to-back outfield line drives to catcher Logan O’Hoppe and second baseman Christian Moore. After Bryce Teodosio flied out for the second out of the inning, Yamamoto’s day was done.
Yamamoto reached into his five-pitch repertoire Saturday, mixing in six fastballs, eight splitters, five sinkers, four cutters, four curveballs and three sliders. His fastball sat between 91 and 93 mph, topping out at 94.9 mph.
“I was looking for some stuff I needed to get back before I go back to Japan and join the team,” Yamamoto said. “I was looking forward to the feeling, the delivery and those things.”
Fans pack Diablo Stadium for Saturday’s game between the Angels and Dodgers.
(Ronaldo Bolanos / Los Angeles Times)
He added: “Yesterday’s practice, I was already feeling good. And then, somehow I was able to carry that to today’s game, especially the first inning. I think I was great, but due to the gap between innings, that affected me a little bit.”
With Yamamoto’s time being limited with the Dodgers before the WBC, Roberts spoke pregame Saturday about what he hopes to see from his star pitcher in the time leading up to the event.
“I think that obviously, him going and pitching for Team Japan, he’s going to be trying to ramp it up and get prepared,” Roberts said. “So, I think it’s just more of what he does [on] strike one, [how he] uses secondaries, and be efficient and get some outs.”
Though Yamamoto will pitch once more before leaving for the WBC, Roberts told reporters that he isn’t concerned about the WBC interrupting Yamamoto’s preparation for the regular season.
“I think I’m confident because there’s no exact science on ramping up early and success, or being methodical and not participating to result in success during the season,” Roberts said. “There’s just no exact science. For me, and for all of us, you’re just believing in the player, knowing that he knows what it takes to be ready for a season and he takes care of himself, so I think for me, it’s an easy way to think and wrap my head around, just kind of believing in him, trusting him.”
Etc.
Dodgers right fielder Teoscar Hernandez hugs Dodgers manager Dave Roberts after scoring in the first inning.
(Eric Thayer/Los Angeles Times)
Just over a week into camp, utilityman Hyeseong Kim has already made a strong first impression, as he vies for more playing time in his second season. On Saturday, he went two for three with three RBIs to help spark the Dodgers’ offensive outburst. Elsewhere, the top three hitters in the lineup — Shohei Ohtani, Hernández and Andy Pages — combined for six hits in nine at-bats with two RBIs. … The Dodgers claimed outfielder Jack Suwinski from the Pittsburgh Pirates. To make room on the 40-man roster, the Dodgers transferred utilityman Kiké Hernández to the 60-day injured list.
WASHINGTON — Immigrant advocates fear a Trump administration proposal released Friday amounts to an indefinite pause on new work permits for asylum seekers.
The draft regulation from U.S. Citizenship and Immigration Services would halt the acceptance of work permit applications when average processing times at the agency exceed 180 days.
The regulation also would extend the time asylum seekers must wait before becoming eligible to apply for a work permit, lengthening the period from 150 days to 365 days.
The proposal says USCIS expects that new work permit applications for asylum seekers “would be paused for an extended period, possibly many years.”
Conchita Cruz, co-executive director of the Asylum Seeker Advocacy Project, said the regulation would be catastrophic for asylum seekers, their families and U.S. communities.
“Forcing individuals who are working and living in the United States legally out of their jobs is not only cruel, but it is bad policy,” she said. “If this regulation goes into effect, it will hurt U.S. families, businesses and the U.S. economy.”
The proposed regulation change comes amid broad efforts by the Trump administration to end humanitarian benefits and restrict legal immigration.
For example, Homeland Security has sought to terminate Temporary Protected Status benefits that provided work permits and deportation protection to hundreds of thousands of immigrants. And in a memo released this week, the agency said agents are authorized to detain refugees who have not yet filed applications for lawful permanent residence after their first year in the U.S.
Under the first Trump administration, agency officials in 2020 similarly proposed increasing the employment eligibility waiting period to one year.
Despite Linda Carter and Max Branning sharing a kiss and his claims that he loves her – to his daughter’s disbelief – another woman seems set to become his new love interest
08:52, 19 Feb 2026Updated 08:52, 19 Feb 2026
EastEnders fans ‘work out’ who Max’s bride is – and it’s not Linda(Image: CREDIT LINE:BBC/Kieron McCarron)
The Walford Womaniser has struck again! While Max Branning seems convinced he’s in love with his ex Linda Carter, he’s found himself in another flirty interaction with a different woman has led EastEnders fans to say they know who his next love interest is.
Since he returned, many have thought Max (Jake Wood) might eventually marry his former flame Linda (Kellie Bright) in 2027. In the flashforward to next year, he was about to walk down the aisle to a mystery woman, and Linda was teased to be one of them.
But, during Tuesday’s episode (17 February), Max had a date with Linda that couldn’t be described as anything other than a disaster. For starters, Linda didn’t even know it was a date. When Max turned up with flowers and tried to kiss her, she firmly rejected him, leaving the worst philanderer in Walford to dejectedly lick his wounds.
The devastated Max then gave the flowers to Gina Knight (Francesca Henry), wishing her a happy birthday. The brief interaction had many thinking Gina would be the next woman added to Max’s long list of lovers.
“They’re gonna do max and gina as a couple,” said one fan. Another added: “I do think there’s something in Max giving Gina the flowers.” Others, though convinced that the show was hinting and a Max and Gina romance, were clear that they did not want it to happen.
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“I refuse to be in a reality where Gina and Max have a baby,” a fan said, referring to the pregnant woman seen in Max’s bed during the flashforward.
Another said: “Please for the love of god do not put Gina and Max together – he’s got form for younger women and Gina is already in a complex relationship with Harry after George and Nicola’s baby news. Gina can do better then him and he’s too much baggage for her.”
A third posted a TikTok where they pointed out that Max had previously had a relationship with Gina’s half sister Lucy Beale (Hetti Bywater) just before she died. At the time, Lucy was 21 and Max was not only 45, but her best friend’s father. The TikTok poster said: “Ewww were these scenes foreshadowing Max trying it on with Gina or something?
“Is that why Peter [Beale, Gina and Lucy’s brother] is p***ed off at him in the flashforward and why Cindy [Beale, their mother] didn’t look happy with him? As if getting with Lucy wasn’t bad enough…”
Max has been romantically linked to many women over the years and has a tendency to go for younger women. One of his major storylines in the late 2000s involved an affair with Stacey Slater (Lacey Turner), who was his own son’s wife.
Jake Wood, who plays Max, has previously said that he thinks Stacey is the love of Max’s life. When asked at a press event who Max’s true love is, Jake mentioned Tanya (Jo Joyner), the mother of three of his children, but settled on Stacey.
The actor said: “Obviously, Tanya is very high, but I think probably Stacey as well. I think we saw that when Max came back a couple of months ago. The connection is still really strong between the pair of them; they really understand each other. I think wherever they are in different parts or wherever they are in their lives, they’d always have that connection. So, if you asked Max, he would probably say Stacey.”
“Do you mind if I smoke?” asks German photographer Wolfgang Tillmans with a laugh during a recent video call from his home in Berlin.
As he lights his cigarette, he looks every bit the renegade artist he is known for being. At 57, Tillmans is in the midst of staging his 10th exhibition in Los Angeles since the mid-1990s at Regen Projects. He is one of the most celebrated photographers of his era, with a practice that collapses the distance between fine art and the pulse of street culture, spanning epic abstractions and the familiar textures of contemporary life.
At the same time, Tillmans has another life as a serious electronic musician, recording a series of experimental albums, including his most recent, 2021’s “Build From Here.” He is deeply connected to the music world, and photographed the cover for Frank Ocean’s acclaimed “Blonde,” making him a rare artist to be in major museums while genuinely engaged with popular music and the club scene — a bit of a rock star in his own right.
The official opening of his Regen show, “Keep Movin’,” attracted a line that wrapped around the building. Fans are drawn to his varied strands of work, which move instinctively between disparate approaches and subject matter, from famous faces to images sensitive to light and shape, in subjects as simple as the curve of paper folded softly over itself.
A security guard, right, stands near the work “Robin Fischer, Dirostahl, Remscheid 2024” in German-based photographer Wolfgang Tillmans’ current exhibition, “Keep Movin’,” at Regen Projects.
(Christina House / Los Angeles Times)
During an early walk-through for a few dozen invited guests, Tillmans held forth on his personal cosmos, surveying pictures from the experimental to the deeply intimate. Portraits, politically charged tabletop collages and quiet photographs that capture the simple vibrance of daily life are strewn across Regen’s 20,000 square feet of gallery space.
“I see my work evolve more in evolutions, rather than in revolutions,” Tillmans said, gesturing to a conceptual wall-sized image created with a photocopier.
His Regen show, through March 1, also features short video works and the abstractions of camera-less images he considers “pure photography,” created in the darkroom by shining light directly onto photosensitive paper. There are pictures relating to human sexuality and images from nature. Each subject and approach is an ongoing concern left intentionally open-ended, and never contained within a single project, title or grouping. They are all inseparable in his own mind, free from categories or a finite series of pictures.
“I am aware that these art historical categories exist in my oeuvre, but I’m not seeking them out,” Tillmans explained after the walk-through. His practice is not about “working through one series or genre and then moving on to another.”
Installation view of Wolfgang Tillmans’ “Keep Movin’” at Regen Projects.
(Evan Bedford / Regen Projects)
On his trip to Los Angeles, Tillmans made a long-planned visit to the Mt. Wilson Observatory to satisfy his lifelong interest in astronomy. He used the giant telescope to capture the twinkling of Sirius, the brightest star in the night sky. This preoccupation resurfaces at Regen in a large-scale print of 2023’s “Flight Honolulu to Guam,” revealing a star field above the clouds.
Tillmans’ interest in stargazing goes back to his adolescence, and images of the moon and cosmos recur in his work. “It gave me a sense of not being lonely, seeing the infinite sky and universe,” he says. “I always felt it was a very grounding experience that all humans share. I always got something from this — besides the beauty and the formal marvel of it all — this sense of location and locating myself.”
His depiction of the heavens is just one of many threads and themes that run through his decades of work.
A piece of work personally hung by photographer Wolfgang Tillmans in his current exhibition, “Keep Movin’” at Regen Projects.
(Christina House / Los Angeles Times)
Early in his career, Tillmans began shooting for the British street style magazine i-D, creating portraits of the famous and unfamous, while also documenting club life and gay culture. In 1995, Taschen published his first book, which made a stir with portraits of soft, indirect illumination, emphasizing naturalness. By avoiding the dramatic lighting and exaggerated special effects often seen in pictures of youth culture, he landed on a distinctive visual style.
“I felt the heaviness of life and the joy of life,” Tillmans says. “I saw myself as a multifaceted complex being, not just as young. So I experimented with lighting and film — how can I photograph my contemporaries in a way that approximates the way that I see through my eyes? And that was stripping back anything effectful, almost taking away the camera.”
He continues to do assignment work for magazines, which he considers part of his artistic practice. Several recent portraits are at Regen, including a foundry worker in Tillmans’ hometown of Remscheid and another of actor Jodie Foster. The editorial work brings him into contact with people and places he might not otherwise meet.
In 2000 Tillmans became the first photographer and first non-British artist to win the prestigious Turner Award. Tate Britain staged his mid-career retrospective in 2003 and the Hammer Museum in Westwood mounted his first major U.S. retrospective that same year, which traveled to Chicago’s Museum of Contemporary Art and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.
Coming after major retrospectives at the Pompidou Centre in Paris last year and the Museum of Modern Art, New York City, in 2022, the Regen show dispenses with the retrospective frame while quietly performing a similar task — taking in the main currents of Tillmans’ work over the past two decades, and a few images dating to the late ‘80s. His relationship with the gallery began with his first Los Angeles exhibition.
Visitors walk through photographer Wolfgang Tillmans’ exhibition, “Keep Movin’,” at Regen Projects in Los Angeles.
(Christina House / Los Angeles Times)
As ever, the images are displayed in a startling range of shapes and sizes: framed and unframed, huge wall-size prints hang alongside tiny, snapshot-scale pictures. One of the largest, “Panorama, left” (2006), spans nearly 20 feet and hangs only from bulldog clips. Smaller pictures are simply taped to the wall, but nothing is meant to indicate hierarchy.
“The biggest may not be the most important, and the smallest might be overlooked,” he explains. “It’s a little bit like projecting the way that I look at the world.”
In his first decade of exhibitions, he had no frames at all. “I taped those photographs to the wall, not as a gesture of disrespectful grunginess, but as a gesture of purity,” he adds. “That sense of immediacy — and not imbuing something with outside signifiers of value — lets the fragile piece of paper speak for itself.”
One of the current show’s larger conceptual pieces, “Memorial for the Victims of Organized Religion II,” fills a corner with 48 rectangular portrait-sized photographs, all of them solid black or dark blue. It’s a near-replica of a work shown at the Pompidou with the same solemn title, created to recognize those “physically maimed or mentally harmed” by doctrine and intolerance.
“I myself have a spiritual side,” says Tillmans, still grateful for positive experiences attending a Lutheran church in his youth. “But over the years I’ve become ever more distrustful of organized religions and seeing the role of religion in government. I find it incredibly immodest for humans to tell other humans what God wants.”
When he’s not exploring his spirituality and creativity visually, he focuses his energy on the music world. It’s a natural setting for Tillmans, who is increasingly active releasing his own electronic-based pop music. He’s occasionally worked as a DJ, and has been involved in acid house, techno and other electronic music. Despite his notoriety in the art world, he has no concern about hitting the charts.
“This is part of my work. I’m doing it the same way that I’m doing a photograph. I’m not doing a photograph to be peak popular in two months’ time,” Tillmans said. “It’s there and it’s still there in 24 years.”
Wolfgang Tillmans, “Keep Movin’”
Where: Regen Projects, 6750 Santa Monica Blvd., Los Angeles
Connor Cipolla, an Eaton wildfire survivor, last year praised Southern California Edison’s plan of burying more than 60 miles of electric lines in Altadena as it rebuilds to reduce the risk of fire.
Then he learned he would have to pay $20,000 to $40,000 to connect his home, which was damaged by smoke and ash, to Edison’s new underground line. A nearby neighbor received an estimate for $30,000, he said.
“Residents are so angry,” Cipolla said. “We were completely blindsided.”
Other residents have tracked the wooden stakes Edison workers put up, showing where crews will dig. They’ve found dozens of places where deep trenches are planned under oak and pine trees that survived the fire. In addition to the added costs they face, they fear many trees will die as crews cut their roots.
“The damage is being done now and it’s irreversible,” homeowner Robert Steller said, pointing Maiden Lane to where an Edison crew was working.
For a week, Steller, who lost his home in the fire, parked his Toyota 4Runner over a recently dug trench. He said he was trying to block Edison’s crew from burying a large transformer between two towering deodar cedar trees. The work would “be downright fatal” to the decades-old trees, he said.
Altadena resident Robert Steller stands in front of his Toyota 4Runner that he parked strategically to prevent a Southern California Edison crew from digging too close to two towering cedar trees.
(Ronaldo Bolaños / Los Angeles Times)
The buried lines are an upgrade that will make Altadena’s electrical grid safer and more reliable, Edison says, and it also will lower the risk that the company would have to black out Altadena neighborhoods during dangerous Santa Ana winds to prevent fires.
Brandon Tolentino, an Edison vice president, said the company was trying to find government or charity funding to help homeowners pay to connect to the buried lines. In the meantime, he said, Edison decided to allow owners of homes that survived the fire to keep their overhead connections until financial help was available.
Tolentino added that the company planned meetings to listen to residents’ concerns, including about the trees. He said crews were trained to stop work when they find tree roots and switch from using a backhoe to digging by hand to protect them.
“We’re minimizing the impact on the trees as we [put lines] underground or do any work in Altadena,” he said.
Although placing cables underground is a fire prevention measure, consumer advocates point out it’s not the most cost-effective step Edison can take to reduce the risk.
Undergrounding electric wires can cost more than $6 million per mile, according to the state Public Utilities Commission, far more than building overhead wires.
Because utility shareholders put up part of the money needed to pay for burying the lines, the expensive work means they will earn more profit. Last year, the commission agreed Edison investors could earn an annual return of 10.03% on that money.
Edison said in April it would spend as much as $925 million to underground and rebuild its grid in Altadena and Malibu, where the Palisades fire caused devastation. That amount of construction spending will earn Edison and its shareholders more than $70 million in profit before taxes — an amount billed to electric customers — in the first year, according to calculations by Mark Ellis, the former chief economist for Sempra, the parent company of Southern California Gas and San Diego Gas & Electric.
That annual return will continue over the decades while slowly decreasing each year as the assets are depreciated, Ellis said.
“They’re making a nice profit on this,” he said.
Tolentino said the company wasn’t doing the work to profit.
“The primary reason for undergrounding is the wildfire mitigation,” he said. “Our focus is supporting the community as they rebuild.”
It’s unclear if the Eaton fire would have been less disastrous if Altadena’s neighborhood power lines had been buried. The blaze ignited under Edison’s towering transmission lines that run down the mountainside in Eaton Canyon. Those lines carry bulk power through Edison’s territory. The power lines being put underground are the smaller distribution lines, which carry power to homes.
A power line outside the home of Altadena resident Connor Cipolla.
(Ronaldo Bolanos/Los Angeles Times)
The investigation into the fire’s cause has not yet been released. Edison says a leading theory is that one of the Eaton Canyon transmission lines, which hadn’t carried power for 50 years, might have briefly reenergized, sparking the blaze. The fire killed 19 people and destroyed more than 9,000 homes, businesses and other structures.
Edison said it has no plans to bury those transmission lines.
The high cost of undergrounding has become a contentious issue in Sacramento because, under state rules, most or all of it is billed to all customers of the utility.
Before the Eaton fire, Edison won praise from consumer advocates by installing insulated overhead wires that sharply cut the risk of the lines sparking a fire for a fraction of the cost. Since 2019, the company has installed more than 6,800 miles of the insulated wires.
“A dollar spent reconductoring with covered conductor provides … over four times as much value in wildfire risk mitigation as a dollar spent on underground conversion,” Edison said in testimony before the utilities commission in 2018.
By comparison, Pacific Gas & Electric has relied more on undergrounding its lines to reduce the risk of fire, pushing up customer utility bills. Now Edison has shifted to follow PG&E’s example.
Mark Toney, executive director of the the Utility Reform Network, a consumer group in San Francisco, said his staff estimates Edison spends $4 million per mile to underground wires compared with $800,000 per mile for installing insulated lines.
By burying more lines, customer bills and Edison’s profits could soar, Toney said.
“Five times the cost is equal to five times the profit,” he said.
Last spring, Pedro Pizarro, chief executive of Edison International, told Gov. Gavin Newsom about the company’s undergrounding plans in a letter. Pizarro wrote that rules at the utility commission would require Altadena and Malibu homeowners to pay to underground the electric wire from their property line to the panel on their house. He estimated it would cost $8,000 to $10,000 for each home.
Residents who need to dig long trenches may pay far more than that, said Cipolla, who is a member of the Altadena Town Council.
An oak tree stands tall in an area impacted by the Eaton fires. Homeowners worry such trees could be at risk in the undergrounding work.
(Ronaldo Bolanos/Los Angeles Times)
Last week, Cipolla showed a reporter the electrical panel on the back of his house, which is many yards away from where he needs to connect to Edison’s line. The company also initially wanted him to dig up the driveway he poured seven years ago, he said. Edison later agreed to a location that avoids the driveway.
Tolentino said Edison’s crews were working with homeowners concerned about the company’s planned locations for the buried lines.
“We understand it is a big cost and we’re looking at different sources to help them,” he said.
At the same time, some residents are fuming that, despite the undergrounding work, most of the town’s neighborhoods still will have overhead telecommunications lines. In other areas of the state, the telecommunications companies have worked with the electric utilities to bury all the lines, eliminating the visual clutter.
So far, the telecom companies have agreed to underground only a fraction of their lines in Altadena, Tolentino said.
Cipolla said Edison executives told him they eventually plan to chop off the top of new utility poles the company installed after the fire, leaving the lower portion that holds the telecom lines.
“There is no beautification aspect to it whatsoever,” Cipolla said.
As for the trees, Steller and other residents are asking Edison to adjust its construction map to avoid digging near those that remain after the fire. Altadena lost more than half of its tree cover in the blaze and as crews cleared lots of debris.
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1.A pedestrian walks past Christmas Tree lane in Altadena. Christmas Tree Lane was officially listed in the National Register of Historic Places in 1990.2.A “We Love Altadena” sign hangs from a shrub on Christmas Tree Lane.3.Parts of a chopped down tree rest on a street curb in Altadena.
Wynne Wilson, a fire survivor and co-founder of Altadena Green, pointed out that the lot across the street from the giant cedar trees on Maiden Lane has no vegetation, making it a better place for Edison’s transformer.
“This is needless,” Wilson said. “People are dealing with so much. Is Edison thinking we won’t fight over this?”
Carolyn Hove, raising her voice to be heard over the crew operating a jackhammer in front of her home, asked: “How much more are we supposed to go through?”
Hove said she doesn’t blame the crews of subcontractors the utility hired, but Edison’s management.
“It’s bad enough our community was decimated by a fire Edison started,” she said. “We’re still very traumatized, and then to have this happen.”
Artist Ako Castuera is best known for her work on the award-winning animated series “Adventure Time.” As a writer and storyboard artist, she helped intrepid heroes Jake the Dog and Finn the Human become iconic toon characters.
Though she brought flying rainbow unicorns and a platoon of plotting penguins to life on screen, there’s more to Castuera’s resume than hyper-imaginative animation.
Ceramist, writer and storyboard artist Ako Castuera in her studio.
(Kayla Bartkowski / Los Angeles Times)
The Echo Park-based creative is also a professional ceramicist whose hand-built vessels and sculptures have been on display at the Japanese American National Museum of Art, Oxy Arts and the Oakland Museum of Art.
In this series, we highlight independent makers and artists, from glassblowers to fiber artists, who are creating original products in and around Los Angeles.
While Castuera’s studio is filled with its fair share of playful “Pee-wee’s Playhouse”-themed ceramic charms and anthropomorphic banana figurines, her craft is just as much devoted to highlighting Southern California’s natural resources and Indigenous people, as well as her own Mexican-Japanese heritage.
“‘Whimsy’ is a word that’s been applied to my work a lot. This is not my word,” she said during a recent tour of the Monrovia workspace she shares with her husband, artist Rob Sato, and fellow ceramicist Rosie Brand.
Ako Castuera’s work is anthropological and at times unusual, like her foot box sculptures. She also feels a special connection to her tools.(Kayla Bartkowski / Los Angeles Times)
“Not that whimsy is negative, but I do feel like it doesn’t really get a handle on the substance of what I feel I’m working with, as far as the depth of the clay, the depth of the experience, of the land.”
She sat perched on a stool at her workbench, using a smooth stone to grind soil clumps into fine dust as she talked. She collects the red earth during nature walks around the San Gabriel Mountains area — whether the riverbed of the Arroyo Seco, or the foothills of Claremont, her hometown.
“This is special dirt,” she explained.
To her, it has a presence, a life of its own and a cherished history. She uses it to make anything from trinket boxes to ornate geometric vases to statuettes of quizzical creatures.
Some of her most recent creations stand on a nearby wooden shelf. They’re ceramic depictions of Pacific tree frogs and great herons, both denizens of the L.A. River. The waterway has long been a source of inspiration for Castuera.
Ako Castuera’s work ranges from massive pieces to the miniature, like these figurines.
(Kayla Bartkowski / Los Angeles Times)
“I love the L.A. River,” she said. “It’s my neighbor. It’s my teacher. It’s a place where I walk and bike.”
She regards the river as a muse and wants to inspire Angelenos of all ages to appreciate it. To that end, she teaches youth workshops at the riverside arts hubs Clockshop and Sooki Studio. What’s more, the river was a “main character” on “City of Ghosts,” the L.A.-celebrating, Emmy-winning Netflix animated series she directed. She’s even been known to use some of its water to transform soil into moldable clay.
“The more people who are brought into a sense of kinship with the river, the better,” she said. “Because then, they really feel like ‘The river takes care of me; I want to take care of the river.’”
Castuera’s work has an anthropological bent, as well as an ecological one. For example, her research into Southern California’s Kumeyaay and Cahuilla Indigenous tribes inspired a series of large jars patterned after ollas, traditional pots used for water and seed storage. She plans to incorporate these jars into an immersive installation that will be on view at the Candlewood Arts Festival in Borrego Springs in March and April. And last fall, she hosted a community event with Los Angeles Nomadic Division in which she discussed how soil played a vital role in the societies of both the Gabrielino-Tongva tribes of L.A. and the Ryukyuan people of her mother’s native Okinawa.
Finding the sweet spot where cultures combine is a constant source of motivation for Castuera. She’s created her own twist on shisa, lion-dog statues that are common sights all around Okinawa. And she’s currently working on a collection of small sculptures honoring her patrilineal ties to Puebla, Mexico. Her “taco babies” were inspired by one of the region’s best-known dishes, tacos árabes, which combine flavors from Mexico and the Middle East.
“I was thinking about the beauty of being in a living mix and what that would look like personified,” she said of the wee figures wrapped in colorful tortilla-like blankets.
Ako Castuera makes ceramics for the love of the process, not the final product.
(Kayla Bartkowski / Los Angeles Times)
Some of Castuera’s work makes it into gallery shows and some she sells. But just as often, she smashes it and takes the soil back to where she originally found it. It’s a habit of creating and destroying that she formed as a student at Claremont High School, where she studied the craft for two semesters, yet fired zero pieces.
“I don’t think I could’ve articulated this at 15, but it’s about the process of building, not the process of creating a product. It’s about working with the material — just making the space and the time for that practice,” she said.
“The excitement and the magic is really about the discovery of the unexpected. It’s so engrossing and it really just gets me engaged with life.”
1.Yoshiki Ideguchi, who traveled from Tokyo, watches at Dodgers spring training at Camelback Ranch in Arizona Monday.(Ronaldo Bolanos/Los Angeles Times)2.Children lean against a fence and wait to greet players during Dodgers spring training at Camelback Ranch in Arizona on Monday.(Ronaldo Bolanos/Los Angeles Times)3.A fan holds a World Series bobblehead while waiting to greet players at Dodgers spring training at Camelback Ranch in Arizona on Monday.(Ronaldo Bolanos/Los Angeles Times)
Frederick Wiseman, a preeminent documentary filmmaker, has died. He was 96.
The filmmaker’s death was announced by his family Monday in a statement released by Zipporah Films, Wiseman’s distribution company.
In a career that lasted nearly 60 years, Wiseman produced and directed 45 films beginning in 1967 with “Titicut Follies,” a documentary on the the patient-inmates of Bridgewater State Hospital for the Criminally Insane in Massachusetts, through 2023’s “Menus-Plaisirs — Les Troisgros,” a documentary on the Troisgros family’s Michelin three-starred restaurant in Ouches, France. His final film earned universal critical acclaim, and was recognized as the best nonfiction film of 2023 by the New York Film Critics Circle, the Los Angeles Film Critics Assn. Awards and the National Society of Film Critics.
“Wiseman, whose observational approach has often been mischaracterized as objective or omniscient, here drops any pretense to neutrality, so potent and overpowering is his sense of kinship with a fellow artist,” wrote Justin Chang in his 2023 review. “The marriage of sensibilities in front of and behind the camera is the stealthiest meeting in ‘Menus-Plaisirs — Les Troisgros,’ and the most unexpectedly satisfying.”
A scene from Frederick Wiseman’s “Menus-Plaisirs – Les Troisgros.”
(PBS)
The filmmaker considered both Cambridge, Mass., and Paris his homes. His films, to an extent, reflected that transatlantic residency in their freshness of perspective. They display an innate curiosity and astonishing degrees of empathy, intelligence and perceptiveness, with subjects ranging from public and social institutions to cultural and specialized spaces and the minutiae of human interactions.
Wiseman’s other films included “High School” (1968), “Welfare” (1975), “Juvenile Court” (1973), “Public Housing” (1997), “La Danse” (2009), “National Gallery” (2014), “Ex Libris — The New York Public Library” (2017) and “City Hall” (2020). The varied body of work earned three Emmy Awards and an honorary Academy Award. Wiseman was also awarded Guggenheim and MacArthur Prize fellowships.
Beyond documentaries, the director also made three fiction films, “Seraphita’s Diary” (1982), “The Last Letter” (2002) and “A Couple” (2022). In reviewing the last, Chang wrote, “I suspect [Wiseman] is no more likely to impose himself on one of his fictions than he would on one of his documentaries, which ‘A Couple’ may resemble more than it appears. Wiseman has spent a career probing the complex inner workings and painfully human errors of America’s establishments, but in marriage itself, he may have found the most fraught, mysterious and unreformable institution of all.”
Nathalie Boutefeu in the movie “A Couple.”
(Film Forum)
Frederick Wiseman was born Jan. 1, 1930, in Boston. He graduated from Willams College and Yale Law School before embarking on a filmmaking career in the mid-1960s. He remained staunchly independent, establishing Zipporah Films, named for his wife, in 1971, in order to maintain control over distribution of his work.
In addition to his filmmaking career, Wiseman worked as a theater director and actor, including a recent appearance in Rebecca Zlotowski’s 2025 film “A Private Life,” starring Jodie Foster.
Wiseman’s wife of 65 years, Zipporah Batshaw Wiseman, died 2021. He is survived by his two sons, David (Jennifer) and Eric (Kristen Stowell), and three grandchildren, Benjamin, Charlie and Tess, as well as his friend and collaborator Karen Konicek, with whom he worked for 45 years.
I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy wondering about the profit margin on a $6 churro.
In the meantime, welcome back to the newsletter as we push through to the Oscars on March 15. Have you been catching up on the nominated movies? “Sentimental Value” is a delight … though just how delightful has been the subject of some debate.
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Its primary quartet of actors — Stellan Skarsgård as a legendary director angling for a comeback, Renate Reinsve and Inga Ibsdotter Lilleaas as his daughters and Elle Fanning as an A-list actor who becomes entangled in the family drama — all received nods. Fanning’s name was the first called when nominations were announced, signaling that Scandinavian melancholy would be notably absent that morning. Never mind the hour: Champagne glasses were raised.
The celebratory scene stood in stark contrast to the vibe just two weeks earlier when “Sentimental Value” was blanked at the Actor Awards (formerly known as the Screen Actors Guild Awards). And it wasn’t the only international film ignored. The 2,500 SAG-AFTRA nomination committee voters also shunned Wagner Moura, the lead of celebrated Brazilian drama “The Secret Agent.” Moura went on to nab an Oscar nomination, one of four noms, including best picture, that Kleber Mendonça Filho’s drama earned.
The disparity between the choices of the motion picture academy and SAG-AFTRA could be an anomaly. Or it might be the latest evidence of an Oscar trend this decade. As the academy’s membership has become more global — 24% of Oscar voters live outside the United States — the Academy Awards have become increasingly an international affair, leading to a widening divide with the Hollywood guilds.
Is this a bad thing? It depends who you ask. If you queried the actors that SAG-AFTRA nominated who ended up being Oscar also-rans, the answer would be no. Those who believe that cinema is global, particularly now that American studios have largely abandoned making movies geared toward grown-ups, would have a different response.
“The fact that not one international film got in says a lot,” says a veteran awards consultant, who, like others interviewed, requested anonymity in order to speak freely about the industry. Indeed, one journalist tabbed SAG’s Actor Awards nominations the “‘America First’ List,” which, while technically accurate, might have taken the perceived xenophobia a bit far.
“The SAG Awards or Actor Awards — whatever they’re called now — are in danger of looking like a middlebrow affair,” another awards campaigner notes. “I know this is going to sound elitist, but it’s true. There’s a big difference between an organization where you have to be invited or apply to join versus one where, if you’re a disc jockey in Kansas City, you have voting rights.”
To be fair, DJs, Kansas City-based or otherwise, probably don’t vote for the Actor Awards’ nominations — just for the final awards. In the nominations round, 2,500 randomly selected active SAG-AFTRA members make the choices. To serve on the committee, members must be categorized as an actor/performer, dancer, singer or stuntperson in the SAG-AFTRA database. Could a DJ be classified as a performer? Probably not. In the guild’s view, actor and performer are synonymous, encompassing both principal and background players.
And sure, since only 7% of SAG-AFTRA actors and performers earn $80,000 or more a year, that means there are going to be a few full-time waiters on those nomination committees. But as the speeches at the Actor Awards remind us annually, it’s a profession where you’re just one job away from making it. Think of Connor Storrie, who worked at restaurants for eight years before getting his break on “Heated Rivalry.”
There’s still the question of why, say, SAG-AFTRA dancers and singers are voting on the merits of an acting performance, however. In contrast to the Actor Awards, nominations for the Oscars are decided by the academy’s various branches. Actors vote for actors, writers for screenplays and so on, with the general membership voting for best picture.
“Peer groups are deciding what’s worthy, and that’s the way it should be,” says an academy member from the public relations branch. “I’m not voting for visual effects.”
Not initially, at least. Academy members vote for all 24 categories in the final round, provided, per a rule change that went into effect this year, they attest to watching all the nominated work in the category.
SAG-AFTRA voters have rewarded non-English-language work over the years, but usually when a particular film or TV show — Bong Joon Ho’s 2019 masterpiece “Parasite” or Netflix’s “Squid Game” — is undeniable. Voters ignored recent lead turns from Fernanda Torres (“I’m Still Here”), Yalitza Aparicio (“Roma”) and Sandra Hüller (“Anatomy of a Fall”). All three went on to earn lead actress Oscar nominations.
This year’s snubbing of “Sentimental Value” is particularly puzzling as the movie featured well-known actors like Fanning and Skarsgård, an institution from roles in blockbuster franchises like “Pirates of the Caribbean” and most recently the TV series “Andor.” It’s also a film about, among other things, the blurring of art and reality and the challenges of acting. And, in the scenes featuring Fanning, it’s in English.
What gives? Like every other contender, “Sentimental Value” screened four times for voters and was available for streaming.
“I just think people are less inclined to watch a movie with subtitles at home,” says one awards consultant, alluding to the ways that passive, multiscreen viewing has encroached upon our multitasking lives. Maybe that’s why Skarsgård, when he accepted the Golden Globe award for his work in the movie, preached that “cinema should be seen in cinemas” in his speech.
Does that sound elitist? It shouldn’t. But it does seem to be a belief from a time that’s slipping away. One certainty: With the academy nominating two international features for best picture for the third straight year, global cinema is now entrenched at the Oscars. Whether SAG-AFTRA voters decide to join the party is now a question for next year.
Michael Silverblatt, the longtime host of the KCRW radio show “Bookworm” — known for interviews of authors so in depth that they sometimes left his subjects astounded at his breadth of knowledge of their work — has died. He was 73.
Silverblatt died Saturday at home after a protracted illness, a close friend confirmed.
Although Silverblatt’s 30-minute show, which ran from 1989 to 2022 and was nationally syndicated, included interviews with celebrated authors including Gore Vidal, Kazuo Ishiguro, David Foster Wallace, Susan Orlean, Joan Didion and Zadie Smith, the real star of the show was the host himself, the nasal-voiced radio personality who more than once in life was told he did not have a voice for his medium.
His show represents one of the most significant archives of conversations with major literary powerhouses from the late 20th and early 21st centuries.
But Silverblatt knew that he was as much a character as the people he interviewed.
“I’m as fantastical a creature as anything in Oz or in Wonderland,” he said during a talk in front of the Cornell University English department in 2010. “I like it if people can say, ‘I never met anyone like him,’ and by that they should mean that it wasn’t an unpleasant experience.”
Born in 1952, the Brooklyn native learned to love reading as a child when he was introduced to “Alice’s Adventures in Wonderland.” Neighbors would see him walking the streets of Brooklyn with his head in a book and would sometimes call his parents out of fear he might get hurt.
But until he left home for the University at Buffalo, State University of New York, at the age of 16, Silverblatt has said, he had never met an author.
His college, however, was filled with such famous authors as Michel Foucault, John Barth, Donald Barthelme and J.M. Coetzee, who were all working as professors.
Silverblatt was shy and too embarrassed to speak during class because of his inability to clearly pronounce the letter “L,” which appears three times in his own name. Yet he considered the authors to be his friends, even if they did not know it yet, he said during the Cornell talk.
He would approach them after class to speak about their work.
Despite his interest in literature, Silverblatt’s parents wanted him to become a mail carrier, he said. The summer after his freshman year, Silverblatt worked a New York City mail route, delivering letters to the mayor’s mansion on an Upper East Side route that took him past numerous old bookstores and used-books shops. During that job, he said in the Cornell talk, he purchased the complete works of Charles Dickens.
Silverblatt moved to Los Angeles after college in the mid-1970s and worked in Hollywood in public relations and script development.
Like many young writers in Los Angeles, he wrote a script that never got made.
It was in Los Angeles that Silverblatt met Ruth Seymour, the longtime head of KCRW.
Seymour had just returned to the United States from Russia and was at a dinner party where everyone was discussing Hollywood. There, she and Silverblatt became immersed in a one-on-one discussion of Russian poetry.
“He’s a great raconteur and so the rest of the world just vanished,” Seymour told Times columnist Lynell George in 1997. “Afterward I just turned and asked him: ‘Have you ever thought about doing radio?’”
For the next 33 years, that’s exactly what he thought about.
“Michael was a genius. He could be mesmerizing and always, always, always brilliant,” said Alan Howard, who edited “Bookworm” for 31 years.
“It’s an extraordinary archive that exists, and I don’t think anyone else has ever created such an archive of intelligent, interesting people being asked about their work,” Howard said. “Michael was very proud of the show. He devoted his life to the show.”
Silverblatt once dreamed of being on the other side of the microphone, as a writer in his own right, Howard said. But he faced bouts of writer’s block through his 20s and gave up writing.
“Eventually, he came to find peace with the reality of that,” Howard said.
Instead of writing, he became an accumulator of a vast amount of other writers’ work — in his library as well as the repository in his head. He had an incredible memory for the books he read.
Silverblatt converted the apartment next to his Fairfax apartment into a library where he kept thousands of books, Howard said.
“It was heaven,” he said. “It was a fabulous library.”
“He was such a singular person,” said Jennifer Ferro, now the president of KCRW. “He had a voice you would never expect would be on radio.”
Alan Felsenthal, a poet who considered Silverblatt a mentor, called Silverblatt’s voice “sensitive and tender.”
Felsenthal said the show was about creating a space of “infinite compassion,” where writers could share things they might not share in everyday conversation.
“Michael was one of a kind, truly singular. And his voice is too,” Felsenthal said.
One of the most important tenets of Silverblatt’s approach was that he not only read the book he was discussing on his show that day, but also read the entire oeuvre of the authors he interviewed.
“A significant writer would come in and be bowled over by Michael’s depth of vision of the work at hand,” Howard said.
David Foster Wallace, in one interview, said he wanted Silverblatt to adopt him.
Silverblatt said he strove to read an author’s entire body of work, but he never claimed to have read it all if he hadn’t.
“In general I try to read the author’s complete work. … That’s not always true, and I never say it if it isn’t true. But more often than not, I have, at least, read the majority of the work. And sometimes it’s a superhuman challenge,” he said in the 1997 Times column.
The voracious reader said that the best books, those that brought him happiness, were not the ones that ease our way in this strange and difficult world.
“The books I love the most made it harder for me to live,” he said.
Silverblatt is survived by his sister, Joan Bykofsky.
“In the interest of the country, we must remain united.” Bangladeshi Prime Minister-in-waiting Tarique Rahman urged opposition parties to work with the incoming BNP government after its landslide victory in the first elections since Sheikh Hasina’s ouster.
Doctors Without Borders, known by its French initials MSF, has suspended some operations at a Nasser Hospital in Gaza after its staff and patients saw “armed men, some masked” posing “serious security threats” inside the building.
The Geneva-based medical charity reported on its website that non-essential work at the hospital in Khan Younis was halted on January 20 due to concerns with the “management of the structure, the safeguarding of its neutrality, and security breaches”.
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“MSF teams have reported a pattern of unacceptable acts, including the presence of armed men, intimidation, arbitrary arrests of patients, and a recent situation of suspicion of movement of weapons”, said the site’s “frequently asked questions” section, last updated on February 11.
“Hospitals must remain neutral, civilian spaces, free from military presence or activity to ensure the safe and impartial delivery of medical care”, it said, adding that the charity expressed concern to the “relevant” authorities.
Under the suspension, MSF will continue supporting critical services, such as inpatient and surgical departments, but will end support to the paediatrics and maternity wards, including the neonatal intensive care unit, and will no longer offer a range of outpatient consultations and other services.
The organisation was not able to indicate the armed men’s affiliation, but said its concerns were heightened by previous, deliberate Israeli attacks on health facilities.
Israel has decimated the enclave’s health infrastructure and continues to hold captive 95 Palestinian doctors and medical workers, including 80 from Gaza.
Zaher al-Waheidi, the head of the records department at Gaza’s Ministry of Health, said that MSF’s suspension will have a significant impact as hundreds of patients are admitted to the maternity and burn wards daily. He said the ministry would take over maternity patient care.
Gaza’s Ministry of Interior said in a statement that it is committed to preventing any armed presence inside hospitals, and that legal action will be taken against violators. It suggested that armed members of certain families recently entered hospitals, but did not identify those involved.
Israeli ban on aid organisations
MSF’s announcement comes after Israel recently ordered the charity and dozens of other international organisations to stop their work in Gaza and the Israeli-occupied West Bank if they did not meet new rules, including sharing details about their staff.
Two weeks ago, MSF – which provides international staff for six hospitals, and operates two field hospitals and eight primary health centres, clinics and medical points – said it would not submit a staff list to Israel after failing to receive assurances for their safety.
Israel has repeatedly attacked hospitals and healthcare workers throughout its genocidal war on Gaza.
In other developments on Saturday, Israel’s military said its troops “eliminated” a person in northern Gaza, alleging that the unidentified individual crossed the “yellow line“. The demarcation divides Gaza into an eastern area under Israeli military control and a western area where Palestinians face fewer movement restrictions but are under constant threat of air strikes and forced displacement.
Palestinian President Mahmoud Abbas slammed Israel for violating the US-brokered “ceasefire”, during which Israel has killed nearly 600 Palestinians since October 10.
In a speech by Prime Minister Mohammed Mustafa at an African Union summit in Ethiopia, he called on Israel to remove all “obstacles” to implementing phase two of the “truce” deal, including the work of a technocratic committee that will oversee the daily governance of Gaza.
More than 72,000 Palestinians have been killed and 171,000 wounded in attacks in Israel’s genocidal war on Gaza since October 2023.
Akshay Bhatia shot an eight-under-par 64 to share the second-round lead with Ryo Hisatsune at 15 under at the AT&T Pebble Beach Pro-Am.
Defending champion Rory McIlroy birdied the final hole to sign for a 67 but sits six strokes off the pace heading into the weekend.
The Northern Irishman made five birdies and an eagle but was left to rue bogeys on the 10th and 14th, although his four on the par-five 18th proved a more than satisfactory conclusion to the five-time major winner’s day.
American Bhatia had earlier produced one of the rounds of the day at Spyglass Hill, while Hisatsune recovered from dropping shots either side of the turn to pick up four shots in his final five holes.
Rickie Fowler was equally as impressive as he moved into a tie for second alongside Sam Burns, at 14 under as he chases his first win since July 2023.
Austria Sepp Straka is currently the best placed European player at 12 under, with England’s Matt Fitzpatrick two shots further back along with the likes of Keegan Bradley, Jordan Spieth and Xander Schauffele.
Englishman Tommy Fleetwood followed his 67 on Thursday with a 68 to sit at nine under with McIlroy, with Ireland’s Shane Lowry one shot further back.
A charging Scottie Scheffler brought himself back into picture with three birdies and an eagle on a five-hole stretch after the turn to reach the clubhouse at six under across the first two days.
England’s Justin Rose and Harry Hall are at five under with Scotland’s Robert MacIntyre, with each player in the field having played one round at Pebble Beach and Spyglass Hill.
All the third and fourth-round action will take place solely at Pebble Beach, with there also being no 36-hole cut at the $20m (£14.7m) PGA Tour signature event.
When the Justice Department released an additional 3 million pages of documents related to convicted sex trafficker Jeffrey Epstein at the end of January, ARTnews unearthed and published excerpts from dozens of emails between Epstein and David A. Ross, a former director of the Whitney Museum of American Art who started his career in the 1970s as deputy director and curator of video art at the Long Beach Museum of Art.
Ross, who served as the chair of the MFA art practice program at New York’s School of Visual Arts since 2009, promptly resigned.
If the emails had been less damning, the revelation of Ross’ connection to Epstein might have played out differently, but that was not the case. In one letter, dated Oct. 1, 2009, Epstein wrote to Ross that Roman Polanski’s attorney was coming to see him and that he was considering funding an exhibit titled, “Statutory.”
“Girls and boys ages 14 – 25, where they look nothing like their true ages,” Epstein wrote. “Juvenile mug shots, photo shop, make up. Some people go to prison because they can’t tell true age. Controversial. Fun. Maybe it should be a web page with hits, tallied.”
“You are incredible,” Ross wrote back. “This would be a very [sic] owerful and freaky book. Do you know that total porno commercial kiddie picture of Brooke Sheilds that Richard Prince appropriated for an exhibition in the early 1980’s?”
Epstein replied in the affirmative to Ross’ reference to a Prince photo titled, “Spiritual America,” which appropriated a 1976 photo of a naked, 10-year-old Shields taken by commercial photographer Gary Gross.
“They closed it off in the London show,” Epstein noted.
Ross also expressed sympathy for Epstein’s legal travails in 2009 following a 13-month sentence he served in Florida after pleading guilty to reduced state charges of procuring a minor for prostitution.
“Glad the nightmare is over, Jeffrey,” Ross wrote. “It was an undeserved punishment foisted upon you by jealous creeps.”
In an email to ARTnews, Ross expressed remorse that he “fell for” Epstein’s lies.
“Like many he supported with arts and education patronage, I profoundly regret that I was taken in by his story,” Ross wrote. “I continue to be appalled by his crimes and remain deeply concerned for its many victims.”
Ross noted that he first met Epstein when he was director of the Whitney in the mid-1990s. Ross also served as director of the San Francisco Museum of Modern Art and the Institute of Contemporary Art in Boston.
“I knew him as a wealthy patron and a collector, and it was part of my job to befriend people who had the capacity and interest in supporting the museum,” Ross wrote, adding that when Epstein was jailed in 2008, he told Ross that it was a political “frame-up” resulting from his support for former President Bill Clinton. Ross said he believed him.
It seems lots of men believed Epstein. Meanwhile, behind all the power lunches, private plane rides and callous late-night emails, far too many women and girls suffered.
I’m Arts editor Jessica Gelt with your arts and culture news for the week.
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On our radar
Michael Feinstein and the Carnegie Hall Ensemble will perform Valentine’s Day at Segerstrom Hall in Costa Mesa.
(Segerstrom Center for the Arts)
Michael Feinstein: A Broadway Valentine The singer, musician, conductor and stalwart proponent of the Great American Songbook celebrates the holiday of the heart with the Carnegie Hall Ensemble. Timeless love songs and lush orchestrations seem like a perfect way to spend the evening. 7:30 p.m. Saturday, Segerstrom Center for the Arts, Segerstrom Hall, 300 Town Center Drive, Costa Mesa. scfta.org
A detail of miniature “sportraits” from Lyndon J. Barrois, Sr.’s exhibit, “Fútbol Is Life,” at LACMA.
(Allen J. Schaben / Los Angeles Times)
Fútbol Is Life: Animated Sportraits GOOOOOOOOAAAAAAAL! Ahead of this summer’s World Cup, with L.A. as one of 16 host cities across the U.S., Canada and Mexico, arrives this unique exhibition celebrating the beautiful game. Portraying transcendent moments in men’s and women’s soccer, award‑winning animator and visual effects artist Lyndon J. Barrois, Sr. fashions engrossing scenes in miniature from gum wrappers, glue, paint and other materials. The handmade sculptures and stop-motion animations on display bring together the visual and emotional elements that make it the world’s most popular sport. Jasmine Mendez spoke to Barrois about his process and Times photographer Allen J. Schaben provides more marvelous images. Sunday through July 12. LACMA Resnick Pavilion, 5905 Wilshire Blvd. lacma.org
The Academy Museum’s exhibition “Studio Ghibli’s Ponyo” opens Saturday.
(Nibariki-GNDHDDT)
Studio Ghibli’s Ponyo A deep dive into Hayao Miyazaki’s 2008 animated film about a goldfish who longs to be human honors the traditional hand-drawn animation processes used by its creators. The exhibition includes more than a hundred items handpicked by Studio Ghibli: art boards, posters, a Studio Ghibli animation desk and original hand drawings by Miyazaki and others. “Because writer-director Miyazaki very much follows his own star when it comes to story, narratives like ‘Ponyo’ remind you of no one else’s tales,” wrote Times film critic Kenneth Turan upon the film’s U.S. release. “Not only do they offer up fantastical images, like Ponyo running on the crests of waves, they make deep connections to our emotions without following conventional paths, using the logic of dreams to excellent effect.” Screening 2:30 p.m. Saturday; exhibition, Saturday through Jan. 10. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
The week ahead: A curated calendar
FRIDAY Nitrate Festival The American Cinematheque’s annual tribute to the beautiful, if highly volatile, film format that was used from the 1890s until the 1950s, offers audiences the rare opportunity to see this work on the big screen. The festival opens with the 1947 noir “Dead Reckoning,” starring Humphrey Bogart and directed by John Cromwell, and continues with William Wyler’s “The Good Fairy” (1935), Gregory La Cava’s “My Man Godfrey” (1936), William Wellman’s “Nothing Sacred” (1937), Mikio Naruse’s “Wife! Be Like A Rose!” (1935), David Lean’s “Blithe Spirit” (1945) and Cecil B. DeMille’s “Samson and Delilah” (1949). 7 p.m. Friday, through Feb. 22. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
Foursome Matthew Scott Montgomery, Adrián Javier, Jimin Moon and Calvin Seabrooks star in Montgomery’s comedy about a quartet of queer friends who reunite for an emotionally fraught, desire-filled weekend at a cabin. Directed by Tom DeTrinis. Through March 23. Atwater Village Theatre, 3269 Casitas Ave. iamatheatre.com
Guards at the Taj Two sentries at the Taj Mahal have their friendship, faith and sense of duty challenged in Rajiv Joseph’s play set centuries in the past with contemporary resonance. Behzad Dabu and Kausar Mohammed star. Directed by Behzad Dabu. 8 p.m. Friday and Saturday; 2 and 7 p.m. Sundays, through Feb. 22 El Portal Theatre, 5269 Lankershim Blvd., North Hollywood elportaltheatre.com
Alfredo Rodriguez, left, and Pedrito Martinez will perform Friday at the Nimoy.
(Anna Webber)
Alfredo Rodriguez and Pedrito Martinez Pianist Rodriguez and percussionist-vocalist Martinez perform traditional Cuban songs, original compositions and some surprises. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Incitation To The Dance A young man upends an older gay couple’s relationship in the world premiere of writer-director Michael Van Duzer’s dark comedy. Through March 15. Theatre West, 3333 Cahuenga Blvd. https://theatrewest.org/on-stage/incitation-to-the-dance
Roksana Pirouzmand The Iranian-born, L.A.-based multidisciplinary artist’s solo exhibition “everything was once something else” explores the contrasting properties forged by earth and fire through clay and metal works. Through April 11. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu
SATURDAY Attune 1.0 A free public light- and sound-art experience happens simultaneously across L.A. County locations presented by NXT Art Foundations with community support. 4:30-7:30 p.m. Barnsdall Park, East Hollywood; Sycamore Grove Park, Northeast Los Angeles ; Jessie Brewer Jr. Park, Exposition Park; Jane and Bert Boeckmann Park, Porter Ranch; Hansen Dam, Lake View Terrace; Leimert Park, South Los Angeles; Wende Museum, Culver City; Promenade Square Park, Long Beach; Tongva Park, Santa Monica and Loma Alta Park, Altadena. nowartpublic.com
Desert Dreams and Coastal Currents The exhibition tracks the concurrent emergent of artistic hubs in Southern California and the Southwest, featuring work by artists in areas such as Laguna Beach, and Taos and Santa Fe, N.M. The Autry, 4700 Western Heritage Way, Griffith Park. theautry.org
Wally Hedrick “Sex Politics Religion” is a two-venue retrospective of the Pasadena-born artist, who established himself in the burgeoning post-war San Francisco art scene. Hedrick eschewed “style” in favor of pursuing a vision including welded assemblage junk sculptures, Bauhausian abstraction, black monochromes, gestural figuration, graphic signage, pictographic diagrams and near-photorealism. Through April 4. Parker Gallery, 6700 Melrose Ave.; The Box 805 Traction Ave., downtown L.A. parkergallery.com
Honour The Ruskin’s grand opening on the Kaplan Stage features Joanna Murray-Smith’s drama on the precariousness of marriage, directed by Max Mayer and starring Marcia Cross, Matt Letscher, Ariana Afradi and Jude Mayer. 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays, through March 22. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica.
Artist Takashi Murakami.
(Shin Suzuki)
Takashi Murakami The new solo exhibition “Hark Back to Ukiyo-e: Tracing Superflat to Japonisme’s Genesis” features 24 paintings by the Japanese artist. 4-7 p.m. opening, free and open to the public; exhibition continues through March 14. Perrotin, 5036. W Pico Blvd. perrotin.com
Mythical Creatures: The Stories We Carry Immigrant narratives and pan-Asian mythology infuse this immersive exhibition featuring contemporary artists including Dinh Q. Lê, Dominique Fung, Lily Honglei, Greg Ito, Wendy Park, Momoko Schafer, Kyungmi Shin, Sanjay Vora and Lauren YS. Conceived by L.A.-based Korean American artist and muralist Dave Young Kim. Through Sept. 6. USC Pacific Asia Museum, 46 N. Los Robles Ave. Pasadena. pacificasiamuseum.usc.edu
PASSION + MYSTERY Los Angeles Chamber Orchestra, led by conductor Jaime Martín, celebrate Valentine’s Day weekend with Fauré’s “Pelléas et Mélisande” and Gernot Wolfgang‘s “Desert Wind,” and are joined by pianist Fazıl Say for Beethoven’s “Piano Concerto No. 3.” 7:30 p.m. Saturday. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday, The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org
Red Harlem Four Black actors in 1932 Harlem are recruited by the Communist Party to make a film in the Soviet Union in Kimba Henderson’s drama based on true events. Directed by Bernadette Speakes. Through March 15. Company of Angels, 1350 San Pablo St. companyofangels.org
Retro Romantics: An Academy Film Archive Trailer Show in 35mm Vintage cinematic love stories unspool in their original abridged glory, seductively beckoning you to the movies. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
SUNDAY Black History Month at The Ebell Soprano Gertrude Bradley performs a tribute to Joel Graham, accompanied by pianist Greg Schreiner in an African Americans for LA Opera recital; and Inner City Youth Orchestra of Los Angeles (ICYOLA) salutes the 250th anniversary of the Declaration of Independence in “I, Too, Sing America,” a nod to the Langston Hughes poem. AALAO Recital, 12:30 p.m. Sunday; LA Voices: ICYOLA, 4:30 p.m. Sunday. Ebell of Los Angeles, 743 S. Lucerne Blvd. https://www.ebellofla.org/
Isidore String Quartet The group performs “Brahms: the Admirer,” an exploration of the composer’s work alongside complementary pieces by Bach and Beethoven. 3:30 p.m. Caltech Beckman Auditorium, 332 S. Michigan Ave. Pasadena. colemanchambermusic.org
What Happened to Flamenco Clap your hands as dancer and choreographer Fanny Ara brings the folkloric tradition to life. 7 p.m. Fountain Theatre, 5060 Fountain Ave. fountaintheatre.com
TUESDAY Seth MacFarlane The erstwhile animator, writer, producer, director, actor and comedian picks up the mic, backed by an orchestra, for a program dedicated to the music of Frank Sinatra. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com/events
WEDNESDAY I Love You, You’re Perfect, Now Change Barry Pearl directs the long-running off-Broadway musical comedy revue on modern love, featuring book and lyrics by Joe DiPietro and music by Jimmy Roberts to open ICT’s 41st season. Through March 8. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org
Patti LuPone The Broadway star marks the 25th anniversary of her “Matters of the Heart,” which ran on Broadway and London’s West End and toured the globe. 8 p.m. Segerstrom Center for the Arts, Segerstrom Hall, 300 Town Center Drive, Costa Mesa. scfta.org
Preservation Hall Jazz Band Can’t get to New Orleans for Mardi Gras? The Soraya brings it to the Valley via the deep roots of this legendary French Quarter ensemble. 8 p.m. The Saroya, 18111 Nordhoff Street, Northridge. thesoraya.org
Emma Elizabeth Smith as Catherine of Aragon in The North American touring company of “Six.”
(Segerstrom Center for the Arts)
Six The national tour of the Broadway musical by Toby Marlow and Lucy Moss, a modern pop take on the sextet of women who were the wives of Henry VIII. Through March 9. Hollywood Pantages Theatre, 6233 Hollywood Blvd.; March 10-15. Segerstrom Center for the Arts, 300 Town Center Dr., Costa Mesa. sixonbroadway.com
THURSDAY Compagnie Hervé Koubi: Sol Invictus The French-Algerian choreographer’s dance troupe performs “Sol Invictus,” with a score featuring music by Swedish composer Mikael Karlsson, minimalist composer Steve Reich and digital composer Maxime Bodson. 7:30 p.m. Friday and Saturday; 2 p.m. Sunday. February 19 – 21, 2026 The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org
Culture news and the SoCal scene
The cast of “Brassroots District” performs on Sunday.
(Gabriella Angotti-Jones/For The Times)
Features columnist Todd Martens checked out “Brassroots District: LA ’74,” a piece of immersive theater he describes as “part concert, part participatory theater and part experiment, attempting to intermix an evening of dancing and jubilation with high-stakes drama. How it plays out is up to each audience member. Follow the cast, and uncover war tales and visions of how the underground music scene became a refuge for the LGBTQ+ community. Watch the band, and witness a concert almost torn apart as a group on the verge of releasing its debut album weighs community versus cold commerce. Or ignore it all to play dress-up and get a groove on to the music that never stops.”
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The UCLA Hammer Museum has announced the winner of the $100,000 Mohn Award.
(Eric Staudenmaier)
Artist Ali Eyal, who grew up in Baghdad in the late 1990s and early 2000s during U.S. military operations in Iraq, is the recipient of the $100,000 Mohn Award, which honors artistic excellence, in conjunction with the Hammer Museum’s Made in L.A. 2025. In addition to the award money, the Hammer will produce a publication for Eyal. The Hammer also announced that sculptor Carl Cheng has been given the $25,000 Career Achievement Award; and that painter Greg Breda won the $25,000 Public Recognition Award.
The news out of the Kennedy Center continues to be grim. This week, Trump-appointed center president Richard Grenell sent an email to staffers informing them that significant cuts would be implemented when the center closes for renovations, beginning July 4. “Over the next few months, department heads and I will be evaluating the needs and making the decisions as to what these skeletal teams left in place during the facility closure and construction phase will look like,” Grenell wrote in the email obtained by The Times.
I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and the guy answering all of the above to this newsletter’s initial question.
Everyone loves a surprise or two on Oscar nominations morning, and this year gave us the gift of Delroy Lindo, 73, finally earning his first Oscar nomination for his standout performance as bluesman Delta Slim in “Sinners.”
Some people are still smiling about the news. Lindo certainly is.
Lindo and I talked about the lessons he has learned as an actor over the course of a career that has spanned a half-century. He recalled the self-doubts that plagued him when he first played the lead in “A Raisin in the Sun,” the story of a struggling Black family dealing with discrimination in 1950s South Chicago, and how he overcame those fears when he revisited the role three years later.
“This was an absolute period of growth for me as an actor all because I learned the most important thing: preparation, preparation, preparation,” he told me.
But even when you exercise that level of care, you still deal with doubt. Actors will be the first to tell you that they’re needy, neurotic.
To play Delta Slim, Lindo read books on the blues, listened to Son House, Muddy Waters and Howlin’ Wolf and immersed himself in the culture of the Mississippi Delta. Musicians helped him hone his harmonica and piano playing. He was ready.
But that doesn’t mean he couldn’t use a little affirmation for a final boost.
Lindo says there were two such “seminal moments” for him while making “Sinners.” The first came when they filmed the scene where Lindo stands as his car passes a chain gang. Delta Slim exhorts the prisoners to “hold your heads.”
“[Director] Ryan [Coogler] was very nervous,” Lindo says. “He didn’t want any accidents.”
Shortly after shooting the scene, the movie’s unit publicist, Anna Fuson, emailed Lindo’s agents, telling them how his work had moved her and the crew.
“That doesn’t happen,” Lindo says, his voice cracking with emotion.
Later they shot Delta Slim’s monologue, in which he recalls the lynching of a fellow musician, ending with Lindo breaking into a guttural humming and drumming, expressing pain that transcends words. That night Zinzi Coogler, Ryan’s wife and a producer on “Sinners,” wrote Lindo telling him how much that scene had meant to her.
“Those two moments gave me a grounding,” Lindo says quietly. “It let me know this work is impacting people. And you can’t put a value on that kind of thing.”
When “Dawson’s Creek” premiered on Jan. 20, 1998, I was 11 years old. I had never been in a love triangle or gotten drunk at a house party. Yet, like so many other millennials, I religiously set the VHS player to record “Dawson’s Creek” every week on the WB.
My parents didn’t approve of their impressionable child devouring the semi-debaucherous teen melodrama, so I labeled the VHS tapes “The Brady Bunch,” then routinely snuck out of bed late at night to quietly watch Dawson, Joey, Pacey and Jen navigate their hormonal angst via unbelievably erudite dialogue.
On Wednesday, “Dawson’s Creek” star James Van Der Beek died at 48 after being diagnosed with colorectal cancer. He left behind six kids, a wife and decades of work across film and television.
But for many millennials, he will always be Dawson Leery.
Van Der Beek’s health was already in decline when I profiled “Dawson’s Creek” creator Kevin Williamson for The Times last year. Still, the actor kindly agreed to answer questions for the piece via email. His commentary went beyond what was expected, graciously detailing his time on the show and praising his co-stars and collaborators.
In the “Dawson’s” audition room, for example, Van Der Beek said his soon-to-be co-star Joshua Jackson “stood out because while other actors nervously went over their sides (myself included), he had the energy of a guy who was ready for a prize fight. I remember thinking, ‘THAT GUY is really interesting. If they cast him as Pacey, this is going to be really good.’”
James Van Der Beek, left, and Joshua Jackson in “Dawson’s Creek,” which would launch them to stardom.
(Fred Norris/The WB)
Van Der Beek likewise effused that, as a showrunner, Williamson “felt like a friend who was excited to go make a movie in his backyard. Even the way he ‘pitched’ storylines — it was never a pitch. It was a campfire story about people he cared about that he’d unfold in such a simple, compelling way that you couldn’t help but care about them too.”
Millennial viewers did care. Alot.
“Dawson’s Creek,” a simple drama about four friends growing up in a small, coastal town, quickly became a defining touchstone of Y2K culture, a major hit for the WB network — the series finale drew more than 7 million viewers — and a star-making machine for its four leads: Van Der Beek, Jackson, Katie Holmes and Michelle Williams.
The floppy-haired, often flannel-clad Van Der Beek wasn’t the show’s breakout heartthrob. (That honorific belonged to Jackson, who played Pacey, Dawson’s charming best friend and Joey’s end-game paramour.)
But as the title character and a partial avatar for Williamson — who had similarly spent his own teen years dreamily pining and aspiring to be a filmmaker — Dawson was the boy-next-door pillar around which the show orbited.
Yes, Dawson was whiny and moody and extremely self-centered, but so are a lot of teenagers. Through Van Der Beek’s wistful performance, viewers were given a window through which to grapple with betrayal, death, heartbreak and a litany of bad decisions.
For better or worse, Dawson served as an emotional, often cautionary, proxy for millennials’ own coming-of-age messiness.
In the years since the series ended in 2003, Dawson has largely been reduced to the “Dawson crying” meme: a Season 3 screenshot of Van Der Beek, face contorted in pain and on the verge of crying messy, heaving tears as Dawson tells Joey she should choose Pacey over him.
The emotional relationship between Joey and Dawson was core to the series.
(Fred Norris/The WB)
Van Der Beek later revealed that the tears weren’t scripted. So attuned had he become to his character’s sensitivity by that point that the emotions flowed naturally.
“I think at the heart of [Williamson’s] projects are characters that he himself cares about deeply — flaws and all,” Van Der Beek said in his email last year. “They’re authentic to their background, sincere according to their world view… and vulnerable.”
Van Der Beek was vulnerable, too. As his cancer progressed, he was open with fans about his health struggles and the early warning signs. He appeared via video at a “Dawson’s Creek” reunion event in New York City last September, the proceeds of which raised money for cancer awareness.
In Van Der Beek’s death, there is no real-world instrumental score or innate montage of his best moments to soften the blow, as would have happened with a character on “Dawson’s Creek” (though the internet will surely be awash in such fan-made edits).
But through his work on “Dawson’s,” a generation can take comfort in a starry-eyed boy on a dock in Capeside who once invited us into his messy, emotional world.
