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Journal articles on the topic 'Los Angeles Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Schad, Jasper G. "An Art-Hungry People." Southern California Quarterly 97, no. 4 (2015): 317–61. http://dx.doi.org/10.1525/ucpsocal.2015.97.4.317.

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Nineteen fifteen was a pivotal year for art in Los Angeles. Paintings of the adjacent countryside, already widely popular, became even more so that year, propelled by a rising tide of cultural progressivism, World War I, and the Panama-Pacific International Exposition. Those events raised art interest, introduced Angelenos to new forms of artistic expression, and quickened the pace of social, cultural, and economic change. In so doing, they also set the stage, during the 1920s, for the eventual collapse of the city’s vibrant 1915 art world.

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2

Bernier, Ronald R., and Rachel Hostetter Smith. "Editors’ Introduction: Christianity and Latin American Art." Religion and the Arts 18, no. 1-2 (2014): 1–4. http://dx.doi.org/10.1163/15685292-01801001.

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‭This brief introduction discusses the need for scholars to turn their attention to the intersections between art and Christianity in Latin America, and traces the origins of this special double-issue of Religion and the Arts to a one-day scholarly symposium entitled “Christianity and Latin American Art: Apprehension, Appropriation, Assimilation.” This symposium was sponsored by the Association of Scholars of Christianity in the History of Art (ASCHA), and held at the Cathedral of Our Lady of the Angels in Los Angeles, California, in February 2012.‬

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Zetterman, Eva. "The PST Project, Willie Herrón’s Street Mural Asco East of No West (2011) and the Mural Remix Tour: Power Relations on the Los Angeles Art Scene." Culture Unbound 6, no. 3 (2014): 671–95. http://dx.doi.org/10.3384/cu.2000.1525.146671.

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This article departs from the huge art-curating project Pacific Standard Time: Art in L.A., 1945–1980, a Getty funded initiative running in Southern California from October 2011 to April 2012 with a collaboration of more than sixty cultural institutions coming together to celebrate the birth of the L.A. art scene. One of the Pacific Standard Time (PST) exhibitions was Asco: Elite of the Obscure, A Retrospective, 1972–1987, running from September to December 2011 at the Los Angeles County Museum of Art (LACMA). This was the first retrospective of a conceptual performance group of Chicanos from

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4

Simms, Matthew. "Mapping the Los Angeles Art Underground." Archives of American Art Journal 54, no. 2 (2015): 34–63. http://dx.doi.org/10.1086/684541.

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5

Orozco, José. "Roberto Gutiérrez and the Art of Mapping Latino Los Angeles." Aztlán: A Journal of Chicano Studies 29, no. 2 (2004): 123–51. http://dx.doi.org/10.1525/azt.2004.29.2.123.

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Chicano artist Roberto Gutiérrez is one of the most important artists to come out of the East Los Angeles artistic boom of the early 1970s. However, he has been largely ignored. This essay explores Gutiérrez’s life and the significance of his work to the evolving Chicana/o artistic narrative about Latino life and aesthetics in Los Angeles. In particular, it explores the way in which Gutiérrez’s oeuvre reflects and creates an image of urban Los Angeles that is distinctly Latino and working-class.

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6

Hamera, Judith. "Counterpublic Goods in Interesting Times: Transitional Subjectivities Onstage at Highways Performance Space, 1989–1993." Theatre Survey 63, no. 1 (2021): 90–114. http://dx.doi.org/10.1017/s0040557421000582.

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A raging global pandemic handled inadequately and indifferently by the Republican-led US federal government, with Dr. Anthony Fauci in a featured role; an antiracist uprising in response to police brutality; a resurgent political Right fomenting and stoking culture wars; activists’ demands for a diverse and equitable art world; increasing fiscal precarity for small, innovative live art spaces; a looming recession; and an escalating housing crisis fueled by accelerating income inequality: welcome to Los Angeles between 1989 and 1993. In this period, AIDS became the leading cause of death for US

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7

Zetterman, Eva. "Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s." American Studies in Scandinavia 48, no. 1 (2016): 61–83. http://dx.doi.org/10.22439/asca.v48i1.5361.

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Abstract: Originating in the context of the Civil Rights Movements and political activities addressing issues of race, gender and sexuality, the Women’s Liberation movement and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separation, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by

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8

Li, Alexander. "Art Feature: “Clouds over California”." Oregon Undergraduate Research Journal 21, no. 1 (2022): vii. http://dx.doi.org/10.5399/uo/ourj/21.1.5.

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I took this picture flying out of Los Angeles. As the plane climbed, watching the different clouds roll over the hills and against the blue sky was inspiring. Seeing the clouds cast shadow across each other from a high angle was a wonderful sight.

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9

Earhart, Nick. "Nonprofit Poetry: Lewis MacAdams and the Art of Environmental Bureaucracy." American Literary History 36, no. 3 (2024): 773–96. http://dx.doi.org/10.1093/alh/ajae070.

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Abstract Poet Lewis MacAdams is widely regarded as a founder of the movement to restore the Los Angeles River, a 51-mile concrete drainage channel that once served as the region’s primary water source. His nonprofit organization Friends of the Los Angeles River (FoLAR) began as a one-off performance art piece in 1985. Scholars in urban planning and geography have addressed FoLAR as a case study for grassroots environmentalism, but little attention has been paid to the interplay between poetry and politics in MacAdams’s work. Given that MacAdams described FoLAR as a “forty-year artwork to bring

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10

Russell, Maureen. "The Art, Music, and Recreation Department, Los Angeles Public Library, Los Angeles, California." Music Reference Services Quarterly 21, no. 1 (2018): 24–32. http://dx.doi.org/10.1080/10588167.2017.1378078.

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11

Latorre, Guisela. ":Bot�nica Los Angeles: Latino Popular Religious Art in the City of Angeles." Museum Anthropology 30, no. 1 (2007): 57–60. http://dx.doi.org/10.1525/mua.2007.30.1.57.

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12

Bowlt, John E., and Elizabeth Durst. "“The Art of Concealing Imperfection”." Experiment 20, no. 1 (2014): 118–45. http://dx.doi.org/10.1163/2211730x-12341261.

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The focus of the essay is on Léon Bakst’s activities in the usa, especially in Los Angeles in 1924, when he lectured at the University of Southern California and at the Biltmore Hotel. The essay also touches on Bakst’s interest in Hollywood and cinema as the “new” medium and on his popularity as a dress and textile designer.

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13

Valencia, Joseph Daniel. "Queer Nightlife and Contemporary Art Networks: A Study of Artists at the Bar." Arts 13, no. 2 (2024): 72. http://dx.doi.org/10.3390/arts13020072.

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This article positions queer nightlife as a central vehicle in the lives and practices of queer Latinx artists working in Los Angeles over the past decade. It highlights how queer nightlife has provided a generative space for art making and community building in LA and considers how the usage of queer nightlife as a frame of study ruptures existing art historical and curatorial methodologies relative to Latinx art. I closely analyze works by artists rafa esparza, Sebastian Hernandez, and Gabriela Ruiz drawn from the gay bars and streets of downtown and East Los Angeles to underscore the radica

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Knotter, Mirjam. "From Angel to the Shekhina: The Influence of Kabbalah on the Late Work of R. B. Kitaj." IMAGES 13, no. 1 (2020): 21–46. http://dx.doi.org/10.1163/18718000-12340139.

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Abstract After a lifelong career as a central figure in the London art scene, the American-Jewish artist R. B. Kitaj (1932–2007) left England in 1997 for Los Angeles to be “in exile,” as he named it, following a series of tragic events that he believed had caused the sudden death of his beloved wife and muse, artist Sandra Fisher (1947–1994). In Los Angeles, he continued the mission he had assigned himself long before: to create a meaningful, new Jewish art. For Kitaj, Jewish art was a “Diasporist” art—that is, a modernist, universal art whose core lies in the experience of the artist living a

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Hise, Greg, and William Deverell. "'The art political' and Los Angeles park planning." Planning Perspectives 16, no. 4 (2001): 329–31. http://dx.doi.org/10.1080/02665430110066857.

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16

Botar, Oliver A. I. "Forgács, Éva. 2016. Hungarian Art: Confrontation and Revival in the Modern Movement. Los Angeles: DopppelHouse Press." Hungarian Cultural Studies 10 (September 6, 2017): 194–97. http://dx.doi.org/10.5195/ahea.2017.301.

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17

Callens, Johan. "Staging the Televised (Nation)." Theatre Research International 28, no. 1 (2003): 61–78. http://dx.doi.org/10.1017/s0307883303000154.

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The performative uses which Mark Ravenhill's Faust (Faust Is Dead) (1997) and Anna Deavere Smith's Twilight: Los Angeles, 1992 (1993), no matter how different, have made of the televised 1992 Los Angeles riots, underwrite Hal Foster's thesis that the 1990s have been confronted with a ‘return of the real’ in art and theory, through the insistence upon a renewed grounding in actual bodies and social sites, after the 1970s paradigm of art-as-text (Foucault) and the 1980s' art-as-simulacrum (Baudrillard). As such, Ravenhill's play and Smith's docudrama permit a commentary on the terrorist attacks

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18

Vanderpool, Jennifer. "Growing a Social Art Practice." Latin American and Latinx Visual Culture 6, no. 3 (2024): 3–19. http://dx.doi.org/10.1525/lavc.2024.6.3.3.

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This article discusses the development of my post-studio, community-specific, site-responsive, socially engaged art practice as a method of creative research intersecting working-class, performance, and Latin American studies perspectives to discuss floriculture laborers and their work in Bogotá, Colombia, and Cayambe and Quito, Ecuador. I address my creative process as a Los Angeles–based artist laborer, facing the challenges of creating working-class transnational exhibition narratives and exploring the coproduction of community engagement exhibitions.

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Smith, Terry, and Saloni Mathur. "Contemporary Art: World Currents in Transition Beyond Globalization." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 163–73. http://dx.doi.org/10.5195/contemp.2014.112.

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An edited transcript of a colloquium between Terry Smith, Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, and Saloni Mathur, Associate Professor of the History of Art, University of California, Los Angeles, held at the Department of the History of Art and Architecture, University of Pittsburgh, on October 17, 2012.

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20

Katz-Fishman, Walda. "A People's Theater on Skid Row." Monthly Review 68, no. 9 (2017): 58. http://dx.doi.org/10.14452/mr-068-09-2017-02_7.

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In Acting Like It Matters, James McEnteer gives a compassionate account of John Malpede&mdash;actor, activist, and co-creator of the political theatre troupe the Los Angeles Poverty Department (LAPD)&mdash;and of the Skid Row community that is the organization's heart and soul. The story of Malpede and the LAPD is one of life as art and art as life, and its protagonists are the dehumanized homeless citizens of Los Angeles and their compatriots in cities across the United States and the world, who represent a growing part of today's global working class pushed out of the formal economy.

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21

Gómez González, Marisa. "Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art." Ge-conservacion 5 (December 22, 2013): 149–50. http://dx.doi.org/10.37558/gec.v5i0.202.

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Scientific Research on Ancient Asian Metallurgy. Proceedings of the Fifth Forbes Symposium at the Freer Gallery of Art Editado por P. Jett, B. McCarty and J. G. Douglas Publicado por Archetype Publications Ltd. and Freer Gallery of Art, Smithsonian Institution. London, Los Angeles, 2012. 268 páginas, 297x210mm. ISBN. 9781904982722

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22

Fischer, Michael J., Maren L. Outwater, Lihung Luke Cheng, Dike N. Ahanotu, and Robert Calix. "Innovative Framework for Modeling Freight Transportation in Los Angeles County, California." Transportation Research Record: Journal of the Transportation Research Board 1906, no. 1 (2005): 105–12. http://dx.doi.org/10.1177/0361198105190600113.

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Freight transportation is a critical element of the transportation system and the economy of Los Angeles County, California. Freight transportation links the large consumer market, major manufacturing industry sector, and international trade network of Los Angeles to the rest of the United States and the world. As the agency responsible for transportation planning and programming in Los Angeles County, the Los Angeles County Metropolitan Transportation Authority needs comprehensive tools for understanding the demands of the freight transportation sector and the effects of transportation invest

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23

Reitan, Meredith Drake. "Beauty Controlled." Journal of Planning History 13, no. 4 (2013): 296–321. http://dx.doi.org/10.1177/1538513213508078.

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In the first two decades of the twentieth century, more than twenty plans were prepared for the Los Angeles Civic Center. With their monumental architectural style, broad boulevards and landscaped public plazas, these proposals draw heavily from planning’s early City Beautiful roots and challenge the idea that Los Angeles had only a “brief infatuation” with the movement. This article considers a number of these proposals, paying particular attention to two schemes that bookend the local movement: the 1907 plan prepared by Charles Mulford Robinson for the Municipal Art Commission and the plan p

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24

Molotch, Harvey. "Art in Economy: How Aesthetics and Design Build Los Angeles." Competition & Change 1, no. 2 (1995): 145–85. http://dx.doi.org/10.1177/102452949500100203.

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I trace the way art and play, inclusive of painting, sculpture, and popular expression of all sorts, operates as a potent force in regional economic development. A key linkage between art, on the one hand, and economy on the other, is design. Using the Los Angeles area as case in point, I show how design, and the art on which it rests, propels various industries – toys, film, fast-food, furniture, cars – to build the regional economy.

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25

Weber, Raimund J., and Ruth Mellinkoff. "Rezension von: Mellinkoff, Ruth, Outcasts." Württembergisch Franken 79 (August 15, 2023): 530–31. http://dx.doi.org/10.53458/wfr.v79i.7331.

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Ruth Mellinkoff, Outcasts. Signs of Otherness in Northern European art of the Late Middle Ages, 2 Bände (California Studies in the History of Art, begr. von Walter Horn, hrsg. von James Marrow, Bd. 32), Berkeley, Los Angeles, Oxford (University of California Press) 1993. LVIIL 3605. (Textband), 11, ohne Seitenzählung (Bildband).

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26

Riley, Shirley, Mindy Newborn, Yoko Takasumi, and Jane Walter. "Art Captures the Impact of the Los Angeles Crisis." Art Therapy 9, no. 3 (1992): 139–44. http://dx.doi.org/10.1080/07421656.1992.10758951.

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Greenstein, M. A. "Lotusland revisited: Re‐membering India in Los Angeles art*." South Asia: Journal of South Asian Studies 21, no. 1 (1998): 263–73. http://dx.doi.org/10.1080/00856409808723336.

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28

Lee, Hyojung. "The Space Between: The Modern in Korean Art, Los Angeles County Museum of Art, Los Angeles, September 11, 2022 – February 19, 2023." Korean Journal of Art History 316 (December 31, 2022): 174–76. http://dx.doi.org/10.31065/kjah.316.202212.008.

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29

Bolognini, Maurizio. "Globalization, art and the art system." Ekistics and The New Habitat 73, no. 436-441 (2006): 191–95. http://dx.doi.org/10.53910/26531313-e200673436-441115.

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The author's research interests are: art, technology and democracy. On this latter subject he has published several essays and a book entitled Democrazia elettronica (Carocci, Rome, 2001). As an artist he has worked with digital technologies since the 1980s. One of his best-known works is Computer sigillati (Sealed Computers, 1992): more than 200 machines which are programmed to produce flows of random images and then left to work indefinitely, usually without monitors. His works have been exhibited widely in Europe and the USA. He has put on shows, presentations and performances in Paris, New

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Daichendt, G. James. "A short reflection on Olympic art." Visual Inquiry 11, no. 1 (2022): 63–65. http://dx.doi.org/10.1386/vi_00071_1.

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Olympic art has been just as central to the modern games as sport itself. Originally intended to be a competition, art in the Olympics has shifted purposes through the years and eventually became a tool for interpretation, celebration and communication about the sport and the unique cultural contexts in which they are held. A number of modern and contemporary notables have contributed artwork in the twentieth century and one of the most notable examples was modern artist Robert Rauschenberg’s (1925–2008) poster for the 1984 Olympics held in Los Angeles, CA, entitled ‘Star in Motion’.

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31

Mount, Andre. "Grasp the Weapon of Culture! Radical Avant-Gardes and the Los Angeles Free Press." Journal of Musicology 32, no. 1 (2015): 115–52. http://dx.doi.org/10.1525/jm.2015.32.1.115.

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In the 17 June 1966 issue of the Los Angeles Free Press, members of a group calling themselves the Los Angeles Hippodrome advertised an upcoming event: an “Homage to Arnold Schoenberg.” The ad seems to suggest nothing out of the ordinary: a recital of the composer’s complete piano works along with a slideshow of his visual art and the playing of a recorded lecture. The facing page, however, paints a very different picture. There, the Free Press reproduced a series of manifestos written by the event’s organizers. The manifestos range in content from lengthy ruminations on the death of art to a

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32

Jones, Amelia. "Ethnic Envy and Other Aggressions in the Contemporary “Global” Art Complex." Nka Journal of Contemporary African Art 2021, no. 48 (2021): 96–110. http://dx.doi.org/10.1215/10757163-8971328.

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This article looks at Okui Enwezor’s theory of countering the art world’s “Westernisms” and his actualization of this theory in his organization of Documenta11 to mount an argument against the universalizing and Eurocentric conception of “global” art. It offers two examples of recent hybrid art/curatorial work in Los Angeles—the 2019 David Hammons show at Hauser and Wirth and the Crenshaw Dairy Mart’s arts activism—to argue for an extension of Enwezor’s model via activist and aesthetic interventions into specific sites and art spaces.

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JOHNSON, JAKE. "The Music Room: Betty Freeman's Musical Soirées." Twentieth-Century Music 14, no. 3 (2017): 391–409. http://dx.doi.org/10.1017/s1478572217000330.

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AbstractFor over ten years, Los Angeles arts patron Betty Freeman (1921–2009) welcomed composers, performers, scholars, patrons, and invited guests into her home for a series of monthly musicales that were known as ‘Salotto’. In this article, I analyse Freeman's musicales within a sociological framework of gender and what Randall Collins calls ‘interaction rituals’. I contextualize these events, which took place in a space in her Beverly Hills home known as the Music Room, within a broader history of salon culture in Los Angeles in the twentieth century – a history that shaped the city's relat

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Loukaitou-Sideris, Anastasia, and Carl Grodach. "Displaying and Celebrating the "Other": A Study of the Mission, Scope, and Roles of Ethnic Museums in Los Angeles." Public Historian 26, no. 4 (2004): 49–71. http://dx.doi.org/10.1525/tph.2004.26.4.49.

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In the last thirty years, ethnic museums have mushroomed in American cities. Although this is certainly a national phenomenon, it has been particularly evident in Los Angeles. In this paper we examine the genesis and evolution of these emerging institutions. We survey the mission, scope, and role of ethnic museums in Los Angeles, and we contrast them with the stated mission and scope of "mainstream" museums in the city. We further present case studies of three Los Angeles ethnic museums. The museums vary considerably in the ways they perceive their role in the community, the city, and the nati

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Earhart, Nick. "The Layers of the Land: Urban Space and the Urban Environment in Judy Baca's The Great Wall of Los Angeles." American Quarterly 77, no. 1 (2025): 25–50. https://doi.org/10.1353/aq.2025.a953018.

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Abstract: Judy Baca's The Great Wall of Los Angeles is a massively scaled muralistic retelling of the history of California from the perspective of marginalized groups, located on a concrete tributary of the Los Angeles River. Here, I argue that this landmark of Chicana muralism bridges understandings of "urban space" and the "urban environment," offering a space to reassess the environmentalisms (plural) of the 1970s and anticipating the concerns of the contemporary environmental justice movement, which emerged in the United States in the 1980s. I consider Baca's position within the Chicana/o

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36

Rowland, Cameron. "D37." October 168 (May 2019): 110–47. http://dx.doi.org/10.1162/octo_a_00352.

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Artist Cameron Rowland presents texts written as part of the exhibition D37 at the Museum of Contemporary Art, Los Angeles, from October 14, 2018, to March 11, 2019. The accompanying images document the works included in the exhibition.

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37

Moure, Nancy. "The Struggle for a Los Angeles Art Museum, 1890-1940." Southern California Quarterly 74, no. 3 (1992): 247–75. http://dx.doi.org/10.2307/41171631.

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Kim, Sojin. "Curiously Familiar: Art and Curio Stores in Los Angeles' Chinatown." Western Folklore 58, no. 2 (1999): 131. http://dx.doi.org/10.2307/1500163.

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39

Allan, Ken D. "Ed Ruscha, Pop Art, and Spectatorship in 1960s Los Angeles." Art Bulletin 92, no. 3 (2010): 231–49. http://dx.doi.org/10.1080/00043079.2010.10786129.

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40

Taylor, Johanna K. "Los Angeles is Latin America: Art, driving and the city." Journal of Urban Cultural Studies 5, no. 1 (2018): 81–90. http://dx.doi.org/10.1386/jucs.5.1.81_1.

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Jacques, G. "Now Dig This! Art and Black Los Angeles, 1960-1980." Nka Journal of Contemporary African Art 2013, no. 32 (2013): 138–41. http://dx.doi.org/10.1215/10757163-2142359.

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Montenegro, Arón. "Muralism, Graffiti, and Gentrification in Los Angeles: Nuances of a Radical Imagination." Visual Arts Research 51, no. 1 (2025): 78–91. https://doi.org/10.5406/21518009.51.1.09.

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Abstract Graffiti and murals are primary visual art practices that expand public art as research and bring forth a radical imagination challenging the authority of social institutions. This article provides a more nuanced analysis on the history and practices of graffiti and muralism in Los Angeles. As a form of community-based arts research, this brief survey of public art pieces outlines the trajectory of a contemporary socially engaged art form. The rich collaborative practices among graffiti artists and muralists continue to face challenges amidst the process of gentrification. The co-opta

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Fraser, Alison. "Urban Prophets: Creating Graffiti as a Means of Negotiating the Constructs of Urban Public Spaces." Stream: Interdisciplinary Journal of Communication 7, no. 2 (2016): 32–42. http://dx.doi.org/10.21810/strm.v7i2.128.

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For this examination, graffiti and neo-graffiti have been compared to public art in order to reveal the ideological constructions of urban public spaces. How does graffiti interact with the construction of urban public spaces? How is graffiti similar to and different from public art? Which of these art forms better represents the public and city living? By comparing public art to (neo)graffiti in Toronto, Ontario and Los Angeles, California, the gendered, racialized, and class-based exclusions present in R. Florida's (2002) creative cities framework as theorized by authors such as N. Smith (19

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Blanché, Ulrich. "Early Street Stencil Pioniers in the US 1969-85." Street Art & Urban Creativity 6, no. 1 (2020): 88–95. https://doi.org/10.25765/sauc.v6i1.333.

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Independent from New York Style writing graffiti Chaz Bojórquez invented the visual signature tag in Los Angeles in 1969. Like John Fekner in New York from 1976 onwards he created rather road art than street art, stencils for car drivers in the urban outskirts. Fekner mixed conceptual art and activist art in his few word poetry warning sign stencils on car wrecks and industrial ruins. Like Bojórguez also David Wojnarowicz and Alex Vallauri used visual signature stencil tags in early 1980ies New York. Both, Vallauri and Wojnoarowicz, also used smaller stencils in a modular way to create larger

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Jolayemi, Oluwadamilola, Laura M. Bogart, Erik D. Storholm, et al. "Perspectives on preparing for long-acting injectable treatment for HIV among consumer, clinical and nonclinical stakeholders: A qualitative study exploring the anticipated challenges and opportunities for implementation in Los Angeles County." PLOS ONE 17, no. 2 (2022): e0262926. http://dx.doi.org/10.1371/journal.pone.0262926.

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Long-acting injectable (LAI) antiretroviral therapy (ART) is a novel HIV treatment option for people with HIV. The first LAI ART regimen for HIV treatment received regulatory approval in the United States in January 2021. In February 2020, we collected qualitative data from 18 consumers and 23 clinical and non-clinical stakeholders to catalog anticipated individual-consumer, healthcare system, and structural levels barriers and facilitators to LAI ART implementation in Los Angeles County, California. Thematic analysis was guided by the CFIR implementation science model. CFIR constructs of inte

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Cleveland, Rory. "Project Spotlight: Freedman Award winner cornerstone of art district." PCI Journal 70, no. 1 (2025): 21. https://doi.org/10.15554/pcij70.1-ps1.

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The Crow Museum of Asian Art is the inaugural build¬ing of the Edith and Peter O’Donnell Jr. Athenaeum, a 12-acre arts and performance complex on the campus of the University of Texas at Dallas. The 68,000 ft2 (6300 m2) structure, which is the Crow Museum’s second location, was a design-assist project bringing together design architect Morphosis, based in Los Angeles, Calif.; general contractor The Beck Group, of Dallas, Tex.; and PCI producer member GATE Precast, based in Hillsboro, Tex.

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Stern, Arden. "Awazu Kiyoshi, Graphic Design: Summoning the Outdated, at Los Angeles County Museum of Art, Los Angeles, California, USA." Design and Culture 9, no. 2 (2017): 246–49. http://dx.doi.org/10.1080/17547075.2017.1315222.

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Deng, Weiling, Sara Velas, Ruby Carlson, and Jonathan Banfill. "The Feral Garden Of The More-Than-Panorama Museum." Museological Review, no. 27 (January 22, 2025): 136–55. https://doi.org/10.29311/mr.vi27.4890.

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This essay relates the story of a panorama museum’s care and response to Los Angeles’ multi-layered urban development and surplus materials from its most understudied space :the back garden. Connected to the rear of LA’s Union Theatre, which houses the nineteenth-century Euro-American style Velaslavasay Panorama (VP), is a garden of thick, entangled plants, with stone paths snaking beneath string lights. As the visitor traverses the ‘jungle’, she glimpses architecture like the Pavilion of the Verdant Dream with a wooden door and ornamental lattices, and the green hexagonal Arulent Gazebo with

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Kofod-Hansen, Elisabeth, Anne Lise Rabben, Irmeli Isomäki, Elín Guðjónsdóttir, and Maud Roberts. "Valediction: the Nordic contribution to the Bibliography of the history of art." Art Libraries Journal 36, no. 3 (2011): 34–39. http://dx.doi.org/10.1017/s0307472200017041.

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From the 1970s onwards Danish contributions were sent to the international art bibliography published by the Getty Research Institute in Los Angeles. Broader Nordic co-operation began when the Bibliography of the history of art (later the International bibliography of art) was established in 1990. Throughout the next two decades, art libraries in each of the five countries selected key material whose records were then submitted for publication. This collaboration came to an end in 2009 when the Getty announced that it could no longer continue to support the IBA on its own, although it would in

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McMahon, Marci R. "Self-Fashioning through Glamour and Punk in East Los Angeles." Aztlán: A Journal of Chicano Studies 36, no. 2 (2011): 21–49. http://dx.doi.org/10.1525/azt.2011.36.2.21.

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Patssi Valdez, one of the most influential yet understudied female artists of the Chicana/o movement, was the only original and long-term female member of the 1970s art collective Asco. Through the visual discourses of pachuca glamour and punk, Valdez negotiated and exploited the gendered ideologies that visually put her at the center of the group. She used self-fashioning, or the intersection of dress with bodily performance, to respond to gendered ideologies of domesticity and a racialized public/private sphere that she confronted as a working-class Chicana in the 1960s and 1970s. Members of

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