I re-evaluated all of the choices I had made in my life, including the decision to become an artist.

Tyler was put on death row at age 17 after a trial that was later deemed "unconstitutional" and "unfair."

The desert is not for the faint of heart, but my residency at Joshua Tree helped me get back in touch with what I want from my art practice.

For the Haitian artist, both art and life are a mixture of joy and pain, of rituals and healing, and a celebration of nuance and interconnectivity.

As Yet and Still to Come points to the precariousness of time and the selectiveness of archives.

UCLA's MFA students come across as decidedly extroverted in their interests, looking out into their communities for inspiration, rather than solely within.

Carl Craig’s immersive installation is a testimony to our need to dance, mourn, and rejoice together.

Max Hooper Schneider’s Falling Angels at François Ghebaly evokes both ecological destruction and resurrection, decay and regeneration.

Humorous rug sculptures, Wabi Sabi-inspired ceramics, and nods to ChatGPT stood out in the MFA and BFA exhibitions.

The interdisciplinary and experimental nature of the ArtCenter College of Design’s graduate art program was on full display at its MFA Open Studios.

With an eye for unearthing cultural hypocrisy and advocating for exploited people, Álvarez Muñoz responds to social injustice in her colorful art.

The beauty of the natural world coupled with the tragedy of racial oppression led to Foad Satterfield’s painting series inspired by Albert Woodfox’s incarceration.

Using grand scale, lush color, and time-intensive labor, Hayley Barker creates artwork that magnifies the sublime in that which is often overlooked.

Nathalie Djurberg and Hans Berg’s exhibition A Pancake Moon made me reflect on my experience of freezing my eggs.

While never quite at the forefront of The Permian Recordings, a sense of doom and crisis permeates the space, even if only by geological reference.

The works, and worlds, on display in Hancock's exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.

Salonen’s paintings point to a location in which reality is slippery, ill-defined — a dream or place of play.

Daisuke Fukunaga depicts Japanese workers as tired but happy. Are they, really?

Anthropomorphized frog, insect, and bird figures bob in the background, dancing at the same spring ball.

Jonny Negron captures the disappointment and delights of Dionysian narcissism.

The Lodge has a cheeky interpretation of Christmas cheer.

Artist Catherine Opie, in her first year as the chair of the UCLA Department of Art, told Hyperallergic that the faculty heavily considers how the artists will play off each other.

Bridget Mullen draws a line between the act of birth and the act of making art.

Lauren Satlowski’s paintings reflect the angst and solitude of the present moment, while thankfully leaving out any mention of face masks.

Reclaiming the infamous insult hurled at Hillary Clinton by Donald Trump, this show celebrates women’s contributions to art.

Linda Stark lends serious attention to the heart symbol, which, like most symbols associated with women and femininity, is easily dismissed and oft-overlooked.

In 1979, Frankenthaler traveled to the West Coast and was introduced to the gallery and studio Mixografia, where she would eventually produce a series of serene and exuberant prints.

“A lot of people have been turning to art, needing space to process,” says the artist Edgar Fabián Frías, who, along with Hayley Barker, Julie Weitz, and Patrisse Cullors, has been discussing their art as spiritual practice.

When We Are Here / Here We Are opened in mid-May, the street landscape of Los Angeles looked decidedly different.

More easily lost to trash bins than the annals of history, these posters form the basis for a book cataloguing student work at CalArts over the last 40 years.

The survey, which serves to “identify and map the needs of local artists,” is the first of its kind in a city whose artist population continues to rapidly expand.

Karl Haendel’s large drawings of artists’ dominant hands are an unexpected portrait of the Los Angeles art scene.

Artists in Paris, Mexico City, and Los Angeles began sending small gifts through the mail. The exchange grew into The Box Project, which gathers the work of 76 women artists working in three collectives.

Former employees of the Marciano Art Foundation gathered at Rodeo Drive's Guess storefront to distribute flyers about their unionization attempt. Union members staged simultaneous actions in solidarity on the East Coast.

Usually prepped to dole out exhibition information to museum art-goers, last night the workers had a 400-dollar a plate dinner to protest and pedestrians to inform.

The new Vidiots will continue as a video rental store and also has plans to restore the Eagle Theatre to its original role as an independent cinema house.

In Against Our Will, Vivien Green Fryd makes a convincing case for the need to examine artworks through the lens of sexual trauma, a violent reality that unfortunately spans across gender, ethnicity, race, and time.

Suzan Pitt’s Joy Street is strikingly unpretentious and emotionally frank — refreshing in an art world that is often emotionally detached and intellectually cool.

Through its gathering of alternative spaces and roving exhibitions, Other Places Art Fair offers insight into how artists adapt to new conditions, whether it be by flat file, pool, or truck.

At the inaugural Felix Art Fair in Los Angeles, visitors can weave in and out of the poolside rooms with relative ease, though expect the usual hustle-and-bustle feel of art commerce in action.

The objects in Lazaros's Astral Oracles correspond to a spell cast by the artist, who is himself a spiritual practitioner.

Esther Pearl Watson's personal paintings depict the life and adventures of a family rich in dreams but perpetually strapped for cash.

A kind security guard monitors the entrance to the influencer-only social media shrine, which has drawn plenty of outrage.

The level of dedication required to see all nine films in her solo exhibition feels both deserved and important, since her films have largely been critically and commercially overlooked.

The incident on Saturday was not the first time Dalton Warehouse has been a target.

An exhibition meditates on blue's various connotations and how it manifests in politics.

Nick Flessa lays bare the possessions of his mother for the world to see, as they become both an index of her life story and her son’s grief.

Friedrich Kunath's latest exhibition is fragrant with nostalgia, melancholy, and whimsy.

References to artists and writers that were once prolific members of public life but later chose to vanish from public view are planted throughout Claire Tabouret's show.

Sam Durant’s exhibition Build Therefore Your Own World at Blum & Poe examines and creates points of connection between the transcendentalists and African Americans.