Tag Archives: LACMA


LACMA, the Taiwan Academy in Los Angeles, and the Taiwan Film and Audiovisual Institute present a rare virtual screening of THE END OF THE TRACK, the second feature by Mou Tun-fei.

Unreleased in its day and unseen for decades, The End of the Track now takes its rightful place as an early landmark of Taiwanese queer and independent cinema.*

The film will be preceded by Mou’s I Didn’t Dare Tell You. A post-screening conversation will include Ryan Pin-Hung Cheng and LACMA film curator Adam Piron.


Friday, September 25, from 10 am to 10 pm, PDT.

Mou Tun-Fei, The End of the Track (1970), images courtesy and © the Taiwan Film and Audiovisual Institute.


Join Ava DuVernay, Eraka P. Bath, Darnell Hunt, and Rashid Johnson for the second conversation in the online series RACISM IS A PUBLIC HEALTH ISSUE.

When news of a novel coronavirus arrived in the United States in early January, xenophobia was not far behind. Since the outbreak of COVID-19, reports of racist attacks against Asian Americans increased. As the number of confirmed cases exploded in America, racial disparities in health outcomes became starker. The hardest hit are often Black, Latinx, and Indigenous communities—many of whom are essential workers. Before and throughout the pandemic, Black and Brown people across the nation have continued to be murdered at harrowing and unacceptable rates by the police. Join For FreedomsGYOPOLACMA, and Stop DiscriminAsian (SDA) for a conversation about the pandemic’s impact on the movement for racial justice, and the country’s long standing health, economic, and racial inequities.

The trauma of racial violence reaches further than any single individual, especially when the news cycle about Black deaths is unavoidable. Panelists will discuss the way violent images of Black suffering have been mediated, circulated, and weaponized; the reinvention of one’s relationship to those images; the utilization of those images without re-traumatization; and the power of art to address anxiety and other harms of racism.*

The panel will be introduced by Christine Y. Kim and moderated by Naima J. Keith.

See link below for details.


Tuesday, July 21.

4 pm on the West Coast; 7 pm East Coast.

From top: Ava DuVernay, photograph by Koury Angelo; Eraka P. Bath; Darnell Hunt; Rashid Johnson, photograph by Kendall Mills, courtesy and © the artist and Hauser & Wirth; Christine Y. Kim (right) and Julie Mehretu in 2016 in Los Angeles, photograph by Rachel Murray; Naima J. Keith. Images courtesy and © the subjects and the photographers.


LACMA and Sky Hopinka present his first full-length feature film MALNI, TOWARDS THE OCEAN, TOWARDS THE SHORE. This “poetic exploration in his signature style… follows Sweetwater Sahme and Jordan Mercier’s perambulations through their worlds—sometimes overlapping, sometimes not—as they wonder and wander through the afterlife, rebirth, and the place in-between. Spoken mostly in chinuk wawa, a language indigenous to the Columbia River Basin, their stories are departures from the Chinookan origin of death myth, with its distant beginning and circular shape.”

Hopinka will participate in a post-screening Q & A.


Friday, May 29.

6 pm on the West Coast; 9 pm East Coast.

Sky Hopinka, Maɬni, towards the ocean, towards the shore, 2020. Images courtesy and © the artist and the Sundance Institute.


I’m a person who walks looking down, because you can find a lot of things on the ground. I’m basically a recycler. I find other people’s stuff and junk and recycle it into my stuff and junk. — Betye Saar

Check out the documentary short BETYE SAAR—TAKING CARE OF BUSINESS, directed by Christine Turner.

See the exhibition and catalog Betye Saar: Uneasy Dancer.

From top: Betye SaarLo, The Mystique City, 1965, etching with embossing, image courtesy and © 2019 the artist and Roberts Projects, Los Angeles, digital Image © 2018 the Museum of Modern Art, New York, photograph by Rob Gerhardt; Christine Turner, Betye Saar: Taking Care of Business (2020), film images (5) courtesy and © the artist, the filmmaker, and LACMA.


The rediscovery of the work that Hilma af Klint (1862–1944) began in 1906—an amalgam of abstraction, surrealism, and figuration—has necessitated a rewriting of the history of abstract art in the West, displacing Wassily Kandinsky as the self-appointed originator of the genre.

Af Klint, a well-educated member of Sweden’s aristocracy, was an adherent to spiritualism, theosophy, and anthroposophy. Coinciding with the scientific revelations of the early twentieth century—radiation, theories of relativity and quantum physics, the discovery of electromagnetic waves—her revolutionary art gave form to the invisible.

Thirty-five years after af Klint’s inclusion in the 1986 LACMA exhibition The Spiritual in ArtAbstract Painting 18901985—and seven years after the landmark Moderna Museet retrospective Hilma af Klint: A Pioneer of Abstraction rocked the art world—Halina Dryschka’s essential documentary BEYOND THE VISIBLE—HILMA AF KLINT is here to stream.

Participants include Moderna Museet director and curator Iris Müller Westermann, af Klint biographer Julia Voss, Swedish art historians Anna Maria Bernitz and Eva-Lena Bengtsson, and family members Ulla, Johan, and Elisabet af Klint.

Here was a woman who consequently followed her own path in life that led to a unique oeuvre. A strong character and, despite all restrictions, Hilma af Klint explored the possibilities that go beyond the visible. She knew that she was doing something important not only for herself but for many people. It is more than time to tell the untold heroine stories. And there are many of them. This is one.

This is a film about a truly successful life. A woman who was not dependent of the opinion of others and kept on going her very unique way of living and working. Dedicated to things that matter in everybody’s life: How do we want to live? How do we achieve a truly content and fulfilled life? And is that what we see real or do we just think it is real?

Hilma af Klint’s oeuvre goes even beyond art because she was looking for the whole picture of life. And with that she comes close to the one question: What are we doing here?Halina Dryschka

See link below for streaming details.


Laemmle Theatres

Hilma af Klint, from top: Group IV, No. 3, The Ten Largest, Youth, 1907; The Swan,No. 17, group IX, SUW/UW Series, 1915; No. 113, group III, The Parsifal Series, 1916; Group I, No. 7, Primordial Chaos, 1906–07; Group IV, No. 7, Adulthood, 1907; No. 3, The Teachings of Buddhism, 1920; No. 2a, The Current Standpoint of the Mahatmas, 1920; Beyond the Visible: Hilma af Klint poster, Zeitgeist Films; Hilma af Klint in Sweden; Tree ofKnowledge, No. 5, 1915; Group X, No. 1, Altarpiece, 1915. Artwork photographs by Albin Dahlström, Moderna Museet, Stockholm, courtesy and © the Hilda afKlint Foundation, Stockholm, the photographer, and Moderna Museet.