Featured Events in Los Angeles in May 2024 (May Updated)

Experience the ultimate VIP treatment at the highly anticipated 2024 U.S. Women's Open Championship. This prestigious event will take place at the renowned Lancaster Country Club in Lancaster, PA. Located at 1466 New Holland Pike, this picturesque venue is the perfect backdrop for this thrilling golf tournament. From May 28th to June 2nd, witness the world's top female golfers compete for glory in this exhilarating championship. Immerse yourself in the electrifying atmosphere as these athletes showcase their skills and compete for the coveted title. What's more, admission to this extraordinary sporting event is absolutely free. Don't miss this incredible opportunity to witness golfing history unfold before your eyes. Mark your calendars and make your way to Lancaster for an unforgettable week of intense competition and exceptional talent. Join us at the 2024 U.S. Women's Open Championship and be a part of this unparalleled VIP experience. Witness the triumphs, the defeats, and the unrivaled passion that defines this championship. Prepare to be captivated by the skill, grace, and determination of these incredible athletes. Don't miss your chance to be a part of golfing history.

Lowriding: Studying Music and the Arts at the University is a thought-provoking event in Los Angeles that aims to address the issue of underrepresentation of students of color in music and arts schools at the university level. The event features a panel discussion with esteemed individuals such as Dean Eileen Strempel and other notable panelists who will delve into the reasons behind this disparity. In addition to the panel, attendees can enjoy a Chicanx art exhibit, a showcase of lowrider cars, and delicious offerings from Chano’s Taco Truck. The event will also treat guests to live music from East L.A. by the Gregorio Esparza Band, with poetry recitations by Luis Rodriguez. This event, scheduled for May 29, 2024, at the Ensemble Room: Evelyn & Mo Ostin Music Center, is supported by The UCLA Herb Alpert School of Music Office of Equity, Diversity, and Inclusion. Admission is free, making it accessible to all who are interested in this crucial discussion on diversity in music and the arts at the university level.

Get ready for an adrenaline-pumping sports extravaganza at Dynamite & Rampage, set to take place at The Forum in Inglewood on May 29, 2024. This highly anticipated event will showcase the best of the best in the world of sports, promising a night of fierce competition and jaw-dropping performances. Located at 3900 W Manchester Blvd, Inglewood, CA 90305, USA, The Forum provides the perfect backdrop for this epic showdown. Spectators can expect to witness top athletes from across the globe battling it out for glory in a series of thrilling matchups. With its prime location and state-of-the-art facilities, The Forum is sure to deliver an unforgettable experience for all sports fans. Mark your calendars and don't miss out on the action at Dynamite & Rampage - it's going to be one for the books!

Experience the pinnacle of sketch comedy at Maude Night: Best of Tracksuit, Live and LIVESTREAMED! Witness the finest performances from UCB's standout teams, including Trainwreck, Loveseat, Wishbone, Lasers, and Toast. Featuring top writers and performers, such as Max Hawksford, Rami Essa, Jake Delaney, Robert King, Ben Cumings, and Zack Colonna, among many others, this event promises an evening of unparalleled entertainment. Tickets for this exclusive showcase are priced at $10 and can be purchased in advance or for $15 on the day of the show. Livestream ticket holders will receive a link 24 hours before the event, with access available for 7 days post-show. Please note that all sales are final, and the show will promptly begin at the scheduled time. For an unforgettable night of comedy, head to the Upright Citizens Brigade Theatre at 5919 Franklin Avenue, Los Angeles, CA 90028, on May 29, 2024. Don't miss this opportunity to indulge in the best of Tracksuit and more!

Experience a delightful morning of classical music at the Mozart in May Concert in Mount Claremont. Immerse yourself in the enchanting sounds of W.A. Mozart performed by a talented orchestra led by Ryan Lee, with a special solo by violinist Helena O'Sullivan. The intimate setting of the Mount Claremont Community Centre's Banksia Room creates a vibrant and resonant atmosphere for this chamber music event, allowing you to appreciate the music as it was meant to be heard. Join us on May 30, 2024, for a magical morning filled with beautiful string music. Don't miss this opportunity to enjoy the timeless compositions of Mozart in a live performance. Invite your friends and family to share in this musical delight. Indulge in a delicious intermission featuring French pastries, homemade sandwiches, and other treats, along with tea and coffee. Admission is free for this unforgettable concert presented by NSA Music. Mark your calendars for a day to remember at the Mozart in May Concert in Mount Claremont.

Welcome to the US Women's Open Day 1 at the prestigious Lancaster Country Club in Lancaster, Pennsylvania. The event is set to take place on May 30, 2024, at 1466 New Holland Pike. Spectators can expect a thrilling day of competitive golf as the best female players from around the world showcase their skills on this renowned course. The Lancaster Country Club provides a picturesque backdrop for this exciting tournament, offering both players and fans a unique and unforgettable experience. With top-notch facilities and a challenging course layout, this event promises to be a true test of skill and determination for all participants. So mark your calendars and get ready to witness some world-class golfing action at the US Women's Open Day 1.

Join Isabel Allende at An Evening with Isabel Allende, where she will discuss her latest children's book, "Perla The Mighty Dog." The event will take place at Glorya Kaufman Performing Arts Center at Vista Del Mar in Los Angeles on May 30, 2024. In this heartwarming tale, Perla, a mighty dog, empowers her human brother to confront a bully using his superpowers. Isabel Allende, a renowned Chilean novelist, feminist, and philanthropist, will share insights into her prolific literary career, philanthropic endeavors, and the inspiration behind her first children's book. With over 25 books translated into 43 languages and 77 million copies sold worldwide, Allende is celebrated as one of the most influential authors of our time. Through Perla, The Mighty Dog!, Allende showcases her storytelling prowess with the help of illustrator Sandy Rodriguez. Tickets for the event are priced at $35 for General Admission, which includes a copy of the book, and $55 for two General Admission tickets with one book. The virtual version of the event will be available on June 6, 2024, at 6pm PT/9pm ET for five days. Attendees can also request an ASL interpreter and enjoy free parking at the venue.

The US Women's Open Day 2 is set to take place at the prestigious Lancaster Country Club in Lancaster on May 31, 2024. This event promises to showcase the top female golfers in the world as they compete for glory on the challenging course. Spectators can expect an exciting day filled with impressive drives, precise putts, and fierce competition. The venue, located at 1466 New Holland Pike, Lancaster, PA 17601, USA, offers a picturesque backdrop for this thrilling event. Whether you're a dedicated fan of the sport or just looking for a fun day out, the US Women's Open Day 2 is sure to deliver an unforgettable experience. So mark your calendars and make sure not to miss this fantastic opportunity to witness some of the best athletes in women's golf in action.

Experience an evening of laughter and reflection at the Odyssey Theatre Ensemble in Los Angeles with "NOT NOT TOGETHER." This event, taking place on May 31st and June 1st, features an array of original scenes that delve into the intricacies of human relationships through the lens of comedy. Written by talented individuals such as Alex Beh, Kelci Fuller, and Richard Gretsky, and brought to life by a skilled cast including Gaby Natasha Duval and Nathan Madden, this production promises to be a compelling exploration of human connection. The ticket price is $15, which includes a complimentary glass of wine or sparkling water. Don't miss this opportunity to witness the work of these creatives as they present a captivating evening of entertainment.

By the late nineteenth century, the federal government’s efforts to fully assimilate Native Americans had proved unsuccessful. Growing concerns over the welfare of Native communities led to the establishment of twenty-five federal off-reservation boarding schools for Native American children, where students could be formally educated and “civilized” through a strict program of academics, vocational training, and Christian teachings, far away from their families and tribal communities.

1301PE is pleased to present its sixth solo exhibition with internationally revered Thai artist Rirkrit Tiravanija entitled “NO MORE REALITY (FOR PP)”. In August 2020, Tiravanija collected American newspapers that are still published daily. This is the starting point for “NO MORE REALITY” which references Philippe Parreno’s seminal 1991-93 series of work. Focusing on this phrase in large painted text which forms an expansive floor to ceiling installation, while upstairs Tiravanija refines it to a single text per the front and back page of the newspaper. The phrase continually renews itself through Tiravanija’s work and finds new relevancy each time it is exhibited–it purposefully welcomes its reinterpretation and renewal. The phrase “NO MORE REALITY,” which invites a certain interpretation, pushes back on the viewer’s preconceived notions commenting not on the news itself but of the interpretation of the news. The varied newspapers come from different towns with different ideas, politics and beliefs which in turn is reflected by what is valued and displayed by the local news. “Everywhere, we feel the shift of power under our feet; how can we not address it, even with our tongues in our cheeks!” -Rirkrit Tiravanija For more than thirty years, Tiravanija’s work has had resounding effects on the entire field of contemporary art. Participation, both active and passive, has been a primary element of his artistic practice, which in a way that is unique to Tiravanija dissolves the onlooker and object dichotomy.

This sprawling exhibit explores the profound impact and influence that hip-hop music and culture has had on the United States and the world since it burst forth in the Bronx 50 years ago. The Mixtape Exhibit delves deep into the sounds, scenes and history of hip-hop music, dance, graffiti, fashion, business, and activism. On view are rarely displayed artifacts from Tupac Shakur, Notorious B.I.G., MC Lyte, Lil Wayne, Slick Rick, Egyptian Lover, Eminem, and many others, and visitors can make their own hip-hop music with five unique interactives. The exhibit was curated by a team of four co-curators who bring a deep knowledge of hip-hop, academic rigor and creativity to the project: Felicia Angeja Viator, associate professor of history, San Francisco State University, author of To Live And Defy In LA: How Gangsta Rap Changed America, and one of the first women DJs in the Bay Area hip-hop scene; Adam Bradley, professor of English and founding director of the Laboratory for Race and Popular Culture (the RAP Lab) at UCLA, and co-editor of The Anthology of Rap; Jason King, dean, USC Thornton School of Music and former chair of the Clive Davis Institute of Recorded Music at NYU; and Dan Charnas, associate arts professor, NYU Clive Davis Institute of Music, and author of Dilla Time: The Life And Afterlife Of The Hip-Hop Producer Who Reinvented Rhythm. The co-curators worked in conjunction with GRAMMY Museum Chief Curator and VP of Curatorial Affairs Jasen Emmons as well as a 20-member Advisory Board.

This exhibition examines the ways painting manuals published in the 17th and 18th centuries used innovative printing methods to introduce the techniques, history, and appreciation of painting to widening audiences in early modern China. Gain insight into early art education in China through painting manuals originally published in the 17th and 18th centuries. “Paintings in Print: Studying Art in China” examines the ways these manuals used innovative printing methods to introduce the techniques, history, and appreciation of painting to widening audiences in early modern China. In the 16th century, Chinese publishers began creating educational art manuals that were filled with colorful prints of paintings and texts on the history and methods of brush arts. The manuals were unprecedented because they taught aspiring painters and collectors from the growing merchant class how to create and appreciate literati art—a combination of painting, calligraphy, and poetry long practiced by elite scholars. Drawing from The Huntington’s collection, “Paintings in Print” will focus on two books: The Mustard Seed Garden Manual of Painting and the Ten Bamboo Studio Collection of Calligraphy and Painting. The books will be displayed together, in their entirety, for the first time in the United States. The texts will be presented in their original form as well as digitized to allow visitors to explore the materials more closely. The books will be complemented with paintings—including recent donations from the Berman Foundation—that exemplify how artists studied manuals like these to learn the basics of their art.

For the first time in her practice, Judy Baca transforms a museum into a studio. She and artists from the Social and Public Art Resource Center expand into the 21st century, painting two sections of the mural at LACMA. LACMA’s exhibition presents murals from the 1960s depicting the Chicano Movement, Watts Renaissance, and archival materials that have never been exhibited, revealing Baca’s process and innovations to muralism. Baca conceived (1975) as a monument to the people of California, featuring moments from prehistoric times to the 1950s. She collaborated with 400 youth and community members to design and paint the mural on the walls of the L.A. River to tell history from the perspective of those erased from it. After the artists complete the paintings at LACMA, they will add them to , creating a mile of visual history.

The American Museum of Ceramic Art is proud to present REVEAL: Recent Acquisitions, showcasing a remarkable variety of ceramics that AMOCA has recently acquired for its permanent collection. AMOCA’s permanent collection encompasses 13,000+ ceramic objects that date from Pre-Columbian to contemporary times. The collection has been acquired through the generosity of many individuals who wish to share their gifts with the public. Within the scope of this exhibition, AMOCA will showcase a range of previously unseen works from artists such as Clayton Bailey, Mette Maya, Ron Nagle, David Furman, and many more. This diverse grouping of forms, styles, and techniques highlights a range of art movements in the ceramic community.

Featuring more than 100 remarkable works from Nigeria, Benin, Brazil, Cuba, and the United States, this exhibition highlights pan-Yoruba theological principles as expressed through a variety of art forms including sculpture, beadwork, and ritual costume design. Juxtaposing material representations of West African Òrìṣàs (divinities) with those of diasporic Afro-Brazilian Orixás and Afro-Cuban Orichas, the exhibition will illustrate key conceptual and aesthetic continuities across the Yoruba Atlantic as well as regional innovations. Artist and abolitionist Patrisse Cullors will contribute a live performance and an installation titled Free Us, a multimedia work that unveils the resilience of these pan-Atlantic Yoruba divinities.

Aparicio’s materially inventive practice is informed by the Salvadoran communities in Los Angeles in which he was raised, decolonialist discourse, and an approach to ecological justice as a form of social justice. The foundation of Aparicio’s practice is “total material non-neutrality,” which the artist initially realized through his Caucho (Rubber) series (2016–ongoing). MOCA Focus: Eddie Rodolfo Aparicio showcases a range of Caucho works, in which Aparicio casts the trunks of Los Angeles trees, frequently the ficus, slated for removal in rubber—the internal fluids of the Castilla elastica, a species native to El Salvador. The resulting impressions are textured with residual bark, exhaust particles, and graffiti marks. The casts couple with collages of found clothing and ephemera from the Pico-Union, Highland Park, and Westlake neighborhoods of Los Angeles, and are embellished with painted references to the presence and expression of the Central American diaspora in popular culture and the built environment. In this body of work, Aparicio invokes rubber’s history as a vital pre-Hispanic Indigenous technology and its status as a material of imperialist trade, giving shape to immigrant communities’ connections to land and place. At the core of Aparicio’s practice is a commitment to the cultural and scientific knowledge of often marginalized and even vilified Central American immigrant communities, making MOCA’s location in downtown Los Angeles, the heart of the Salvadoran diaspora, particularly resonant.

MOCA’s presentation of Paul Pfeiffer: Prologue to the Story of the Birth of Freedom will be accompanied by a full-color monographic catalogue, co-published by the museum and MACK Books, with new scholarship and critical readings of the artist’s work that will offer a much-needed overview of Pfeiffer’s impact and influence to date. The catalogue will be available February 2024 and will include documentation of Pfeiffer’s installation at the Geffen at MOCA.

explores how the media spectacle in which we live had origins in World War I and the burgeoning mediascape of posters, photography, cinema, illustrated newspapers, and ephemera that made it the first global media war. How did the media and artists imagine a war encompassing the entire world? Combatants included forces from Australia, Canada, Asia, the Middle East, and Africa, as well as racially and ethnically diverse American and Indigenous peoples including Māori, First Peoples, and Choctaw “code talkers.” will consider how the media mobilized the masses, imagined the battlefield, facilitated the global war, and contained the aftermath. With some 200 objects by artists, war photographers, and filmmakers as well as soldiers from across several continents, will explore the intermingling of mass media and the artistic imagination.

is the first exhibition in North America to explore the groundbreaking shifts made by a generation of artists in the decades following the Korean War (1950–53). Spanning the 1960s and ’70s, the exhibition offers unprecedented insight into a moment in which artists took a stance against what they saw as a limiting approach to artistic medium, and instead embraced innovative—and often provocative—artistic processes, founded on ideals of experimentation, a clear breaking with the past, and a critical, self-reflective lens. Featuring nearly eighty works, contains some of South Korea’s earliest and most emblematic explorations into assemblage, installation, happenings, and conceptual artmaking, as well as works that contain the use of industrial material and new technologies. Together they capture a pioneering and lesser-known moment in Korea’s cultural history, one in which artistic will and the pursuit of experimentation were transformed into tools for grappling with a newly formed republic, contending with its authoritarian regime, rapid industrialization, and an influx of foreign culture.

This exhibition surveys over five hundred years of intaglio prints drawn from the extensive collections of the UCLA Grunwald Center for the Graphic Arts at the Hammer Museum. The intaglio medium comprises engravings, etchings, drypoint, aquatint, and mezzotint, all of which involve the use of a copper or zinc plate which is incised, inked, and printed. These materials and techniques have remained more or less the same since the fifteenth century, with artists employing similar methods to convey a wide range of subjects and styles, from the intricate religious and mythological scenes of the 1500s to the formal experimentation of the 21st century. includes more than eighty prints, organized chronologically, with important examples of Renaissance engraving by Albrecht Dürer and Giorgio Ghisi; major etchings of the Dutch baroque period by Rembrandt van Rijn; nineteenth- and twentieth-century prints by Stanley William Hayter, Ernst Ludwig Kirchner, Käthe Kollwitz, and Pablo Picasso; and contemporary etchings by Mark Bradford, Vija Celmins, Nicole Eisenman, Toba Khedoori, and Martin Puryear.

The act of coming together to partake of a meal is a practice shared by all cultures. Food defines us—we are what we eat. Dining with the Sultan is the first exhibition to present Islamic art in the context of its associated culinary traditions. It will include some 250 works of art related to the sourcing, preparation, serving, and consumption of food, from 30 public and private collections in the U.S., Europe, and the Middle East—objects of undisputed quality and appeal, viewed through the universal lens of fine dining. The exhibition will stimulate not only the eyes but also the appetite, reminding visitors of the communal pleasure of food—both its taste and its presentation. It will provide much-needed information on the enormous class of luxury objects that may be broadly defined as tableware and demonstrate how gustatory discernment was a fundamental activity at the great Islamic courts.

Vamba Bility is a multidisciplinary artist whose work echoes the diasporic experience. Bility perceives the intimacy of this contested space of diaspora as a blur. In his hands, this blurred sensibility becomes a fluid movement that draws on various material histories. He expresses the reverberating motions of his existence by leaning on and weaving together mediums and materials like painting, textiles, found objects, and sound. A cracked calabash gets sewn together. A torn canvas gets stitched as a salve. A painting is propped up by a brick or two. All of this is a form of mark making that structures the landscape of diaspora as a material residue of atmosphere, of feeling, of process. Bility threads this through a shared poesis—a bringing forth, a revelation—that sketches out an architecture of what it means to be. At the Hammer Museum, Bility presents an array of objects, staging an aesthetic encounter that breathes life into these self-referential sketches of diasporic living. Yet a question persists for audiences: what is unfolding in this space, in this moment? He structures the exhibition after the bustling bazaar—a dynamic space teeming with systems of exchange that produce, use, and reuse commercial materials like spools of yarn, bags of kola nuts, planks of wood, metal chains, and swaths of canvas. The resulting sculptures and paintings engage in a dialogue with the material concerns of several avant-garde practices of the 1960s and 1970s, including the Italian arte povera movement and the West African sensibilities and strategies of Vohou-Vohou and récupération. To varying degrees, these ways of object making intentionally flatten the distinctions between local, imported, industrial, and natural materials, while also expanding the perceptual and sensual dimensions of experience beyond simply vision. The horizontal ethic embedded in Bility’s mark-making process informs how we grapple with painting traditions, sculptural forms, and the cathedral-like architecture of the Hammer’s Vault Gallery. Consider the calabash gourds roughly cemented onto the gallery walls, decisively rounding out and echoing the curvature of the semicircular apse. Notice the carbon char, a residue of burnt wood, offering tangible evidence of a painterly act. Observe how the softly muted, scumbled oil washes distract from and draw attention to the gashes on the canvas. These probing layers of depth and texture, while partially serendipitous, function as a commentary on disobeying the disciplines of painting and sculpture in pursuit of a syntax of diasporic movement. Bility initiates this process of renaming through fragments that fall in and out of thought, form, materiality, and tradition. How does one pick up these pieces?

The American Museum of Ceramic Art (AMOCA) is delighted to announce Fahrenheit 2024, the revival of our juried exhibition. Launched in 2018, Fahrenheit 2018 received an overwhelming response and showcased over 80 artists’ best ceramic creations juried by Patti Warashina. This year, AMOCA aims to feature the talents of artists contributing to the contemporary ceramic arts community. We are honored that Kathy King, Director of the Ceramics Program at Harvard University, is the esteemed juror for this year’s exhibition. Artists whose works are selected through the jurying process will be celebrated at the opening reception. This exhibition will provide an invaluable platform for showcasing a diverse range of work and fostering recognition within the ceramics community. Juror Kathy King is an active studio artist in the Boston area and an Instructor and Director of Education at the Ceramics Program – Office for the Arts at Harvard in Allston, MA. She has taught at Massachusetts College of Art in Boston, Rhode Island School of Design in Providence, RI, and University of Massachusetts in Dartmouth, MA, and was an Associate Professor at Georgia State University in Atlanta, Georgia, until 2007. Her undergraduate work included the School of the Museum of Fine Arts in Boston, MA, and she received her BA in Studio Art with a major in Ceramics from Connecticut College, New London, CT, in 1990. She received her MFA from the University of Florida in Gainesville, FL, in 1998. She has given workshops and lectures at over seventy-five colleges, schools, and art centers throughout the USA. The National Council on Education for the Ceramic Arts featured King as an Emerging Artist in 1999, a Demonstrating Artist in 2002, a co-juror with Mark Burns for the 2012 National Student Juried Show, and a lecturer and panelist. The Boston Foundation, Boston, MA, recently awarded her a Brother Thomas Fellowship. Her work can also be found in numerous publications and periodicals, including Ceramics: Art and Perception, Studio Potter, Clay Times, Art Papers, and Ceramics Monthly. Learn more on King’s website.

The assembly of these images represents the entirety of Cennetoglu’s visual archive amassed between June 10, 2006—in the year before her daughter was born—and March 21, 2018, when the work was first exhibited. The 2006 date also marks the initiation of the artist’s ongoing work with The List, a collaboration with the Dutch organization UNITED for Intercultural Action, which records the names of refugees, asylum seekers, and migrants who have died attempting to enter Europe since 1993. In their totality, the images record the social history of the recent past through the lens of the artist’s experience of the world.

Blood has both fascinated and repelled generations of artists and viewers. Medieval manuscripts testify to a rich visual culture surrounding blood: devotional, medical, genealogical, and as evidence of violence. In examining the meanings of medieval blood, this exhibition extends to intersecting contemporary conversations—artists have used the potent visual connotations of blood to explore issues of feminism, HIV/AIDs, and the science of DNA. Medieval and modern approaches to the representation of blood offer instances of both connection and rupture across time.

Minga’s work draws attention to environmental degradation caused by textile waste, while Maria’s aims to highlight awareness of multicultural identities to empower those who step out of so-called societal norms. Both artists recycle fabrics, transforming them into unique forms of expression—their destination rerouted from the landfill to museums, galleries, or collector’s homes.

A hybrid array of material approaches reflect personal and gendered perspectives on the history of the community and its visual expressions. The works on view inform a Sikh understanding of “home,” as told through the eyes of Sikh and non-Sikh artists. Their narratives find inspiration in holy scriptures, legacies of persecution and protest, and the entwined forces of home and longing at play throughout the Sikh community’s struggle for existence.

Through the use of Persian script in painting, geometric patterning, and installation, the artists maintain a solid relationship to the Persian language as a visual and symbolic component to longing for a homeland and unity beyond borders. Throughout, political upheavals affect the diaspora and notions of identity. Despite their efforts, assimilation is never complete; all these artists remain foreigners worldwide. However, what they bring into this new state of alienation might ultimately describe a different kind of cosmopolitanism—precisely because it belongs nowhere, it is at home everywhere. The text in these works is not necessarily there to be read. It is instead there to be seen. In many ways, the audience’s inability to read these letters captures the in-between state that is the artists’ daily reality. In Persian culture’s relationship to the written language, written words are often conflated with the senses and are not purely a matter of intellect.

The exhibition celebrates the work of an intergenerational group of thirteen leading artists in the Asian American community whose contributions to culture are multiple, ranging from their distinctive visual arts production to their commitment to pedagogy to their dedication to research, activism, and community engagement. Featured artists include Patty Chang, Young Chung, Vishal Jugdeo, Simon Leung, Michelle Lopez, Yong Soon Min, Na Mira, Amanda Ross-Ho, Miljohn Ruperto, Dean Sameshima, Anna Sew Hoy, Amy Yao, and Bruce Yonemoto.