Tag Archives: LACMA


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.


In conjunction with the LACMA exhibition JULIE MEHRETU, join Sadie Barnette and curators Erin Christovale, Cecilia Fajardo Hill, and Essence Harden for the panel discussion FEMINIST PERSPECTIVES ON JULIE MEHRETU.

Rujeko Hockley, co-curator of the exhibition, will moderate.


Monday, March 2, at 7:30 pm.


5905 Wilshire Boulevard, Los Angeles.

Julie Mehretu, from top: Stadia II, 2004, ink and acrylic on canvas, Carnegie Museum of Art, Pittsburgh; Julie Mehretu, exhibition catalog; Retopictics: A Renegade Excavation, 2001, ink and acrylic on canvas, photograph by Erma Estwick. Images courtesy and © the artist, the photographers, Carnegie Museum of Art, and the Whitney Museum of American Art.


The most interesting thing for me now is to make sure that the planet is going in the right direction. I keep the words sky, water, earth, fire in my mind. Those are the elements, and that’s what my work has come to be about. That’s what I’m about… When I think about my painting and the political and the planet, it’s about the hope that it’s not too late and that people can still get together and in whatever small way make a difference that adds up. As far as physical strength and ability goes, I’m very weak, of course, because of my age, but I still can paint, I can still draw. And so that’s my contribution…

I enjoy life, and I feel I’ve been different people. I was a different person, for example, when I did these very sexy drawings and paintings of my body, looking at my body. [Laughs] It’s the truth. Sex was all I could think about…

When I used to go to my house in Taos, New Mexico, and go to watch tribal dances, they wouldn’t ask me if I was Indian; they would say, “What tribe are you?” I would say, “Venezuelan.’”And they’d say, “I’ve never heard of that one!”… Within myself, I felt that I was Indian. I felt that very much when I went to the dances, because the tribes had a complete attitude towards the earth, that it was alive. I remember asking why the dances in the winter were different from the summer dances. A lot of stomping went on in the summer. I asked a man about this once, and he said, “Because the earth is asleep, of course, in winter.” Instead of stomping, they drag the foot, so as not to wake the earth. It’s an attitude toward the planet as a living thing.Luchita Hurtado*

Frieze Los Angeles brings Hans Ulrich Obrist to the city for a conversation with Hurtado, who worked with the curator on her retrospective I LIVE I DIE I WILL BE REBORN—which opens at LACMA on February 16..

The discussion will be moderated by Jennifer King, associate curator of Contemporary Projects at LACMA.


Saturday, February 15, at 2 pm.


5905 Wilshire Boulevard, Los Angeles.

*“The Painter and the Planetarian: Luchita Hurtado in Conversation with Andrea Bowers,” Ursula 2 (Spring 2019).

Also see the monograph I LIVE I DIE I WILL BE REBORN.

Luchita Hurtado, from top: Untitled, 1973, oil on canvas and thread, photograph by Brian Forrest; Encounter, 1971, oil on canvas; Untitled, 1975, oil on canvas, photograph by Jeff McLane; Untitled, 1971, photograph by McLane; The Umbilical Cord of the Earth is the Moon, 1977, oil on canvas, photograph by McLane; Untitled, circa 1951, Los Angeles County Museum of Art, photograph by Genevieve Hanson; Untitled, 1972, oil on canvas, photograph by Hanson; Luchita Hurtado—I Live I Die I Will Be Reborn monograph cover, image courtesy and © Walther König.

Photograph of Luchita Hurtado by Man Ray, 1947, courtesy and © Man Ray 2015 Trust/Artists Rights Society, New York / Adagp, Paris. Artwork images courtesy and © Hurtado and Hauser & Wirth.