Costa Mesa, orangecoastcollege.edu. The conversations between these artists point to the complex history along the US and Mexico border. 600 State Dr., Exposition Park, caamuseum.org. This exhibition brings together more than 250 objects, primarily drawn from the Getty’s collections, that look at the school’s founding principles, which are rooted in spiritual expression and the development of a curriculum that touched all forms of artistic practice. pin. Eric Beltz, “The Sun, The Moon and Stars, and the Void,” at Kopeikin. Additional closures of California businesses and activities will be based on projections of regional intensive care unit capacity. “The Allure of Matter: Material Art From China,” at the Los Angeles County Museum of Art. This broad survey brings together a wide sample of European, English and American wallpapers dating back to the late 18th century — including loaned samples from Zuber & Cie in France, the oldest extant manufacturer of wallpaper in the world. It is the mannerist object on Instagram. Mely Barragán is an artist working on the Mexico-US border. Through April 5. Exactly a century ago, Henry and Arabella Huntington signed the trust document that established the Huntington Library in San Marino. Calafia: Manifesting the Terrestrial Paradise, Visions of California That Don’t Begin or End at the Border Wall, Looking at California and Mexico From Indigenous Perspectives. This workshop invites participants to imagine the impacts of colonization and examine how colonialism works to break and divide indigenous communities. “Full Moon Over the Ocean,” by Eric Beltz, at Kopeikin in Culver City. These are inspired by tales from the northern region of Tohoku, such as the story of Namahage, a deity that frightens misbehaving children, or Shishi-Odori, a dance in which participants mimic beasts as part of beckoning a good harvest. Situations that are kind of weird (a nude couple sucking on lemons) and backdrops that are slightly oversaturated (patterned wallpaper straight out of the ’70s) — those are some of the settings for Krifka’s stylized figures. Through Jan. 26. Theaster Gates, “Line Drawing for Shirt and Cloak,” at Regen Projects. y Baja California, MX. Director and co-curator of the MexiCali Biennial Ed Gomez will also give insight into the concept of Calafia. The move follows other lawsuits against Netflix related to executive poaching. Audio equipment for Invasorix courtesy of JD Audio Visual. Photojournalist Richard Cross was only 33 years old when his car struck a landmine in Honduras and both he and a fellow journalist — Dial Torgerson, then Mexico bureau chief of the Los Angeles Times — were instantly killed. An open discussion for shared reflections around the present, past, and future narratives from the extended region now known as California, US and Baja California, MX. When J. Paul Getty built a museum on his Malibu property in the late 1960s, he chose to model it after the Villa dei Papiri in southern Italy, the luxurious Roman estate from AD 79 uncovered in 1750. More than a year ago. It also marks a new series of collaborations between the Mistake Room and art spaces in that country. (Ruby Osorio / Kleefeld Contemporary Art Museum). Moffat Takadiwa, “Son of the Soil,” at Nicodim. Now that collection, which includes more than 70 paintings and an extensive archive of related material, is on view at the Hilbert — the most expansive display of the collection since the 1950s. “The Archival Impulse: 40 Years at LACE,” at Los Angeles Contemporary Exhibitions. Through Oct. 19. Fonseca was known for his depictions of Coyote, a canine trickster who materializes in all manner of very human settings. The PS5 and Xbox Series X just ushered in a new game era. Collages with a retro feel incorporate bits of found imagery, drawing, needlepoint and drawing. Through Nov. 3. Making games more accessible is the next technological leap. In 2018 Pitzer College Art Galleries published her artist photo book and she was an Artist-in-Residence at Bemis Center for Contemporary Arts. Bergamot Station, 2525 Michigan Ave., Bldg. Calafia: Manifesting the Terrestrial Paradise, MexiCali Biennial, Armory Center for the Arts, Pasadena, Oct 6, 2019 - Jan 12, 2020 Tunnel Below / Skyjacking Above: Deconstructing the Border, nGbK, Berlin, August 26 - October 1, 2017 PROJECT 51: Incendiary Traces, Pomona College Art Museum, Pomona, January 17 - May 14, 2017 This legendary version of California serves as a point of departure to examine the region and its peoples as a collective territory, criss-crossed and scarred by political, psychological, and geological borders. clock. 4700 Western Heritage Way, Griffith Park, Los Angeles, TheAutry.org. Este evento cuenta con el apoyo de Caltech como parte del Programa de Cultura Visual. This includes a new installation by Durazo, consisting of a Lamassu, the winged Assyrian deity (a symbol of power and protection), which will anchor a structure that will serve as a site of performance and lectures and other public events. 10.27.18 Terremoto. The late artist was born in Indianapolis but settled in Los Angeles in the ‘60s, near the port of San Pedro. Reflections on Calafia from Indigenous Perspectives // Reflexiones Sobre Calafia desde la Perspectiva IndígenaSunday, January 12, 2020 // Domingo, 12 de enero de 202011 am to 1 pm // 11 am a 1 pmAn open discussion for shared reflections around the present, past, and future narratives from the extended region now known as California, US and Baja California, MX. In 2016 she was an Artist-in-Residence at Arts Initiative Tokyo. ‘Dear Santa’ takes an inside look. As the title implies, the show also examines the fraught nature of mothering. Through Oct. 19. Through Oct. 26. B-3, Santa Monica, craigkrullgallery.com. You’ll also be showcasing the MexiCali Biennial’s “Calafia Manifesting the Terrestrial Paradise” upcoming border interventions and exhibitions in collaboration with the Armory Center for the Arts. “The Foundation of the Museum,” at the Museum of Contemporary Art. The MexiCali Biennial is a bi-national arts organization that explores the area of the California/Mexico border as a site for aesthetic production. ; Courtesy of the artist. “No Wrong Holes: Thirty Years of Nayland Blake” at the Institute of Contemporary Art, Los Angeles. The museum, still in its temporary space in an old furniture showroom near South Coast Plaza (do visit — this is a great space), has a whole new rack of installations by six artists working on the Pacific Rim, all of which are inspired by the environment and the natural world. Her process is inspired, in part, by the rhythmic aspect of music, including jazz and punk. Juan Bastardo, Haters Are Gonna Hate, the Pacific Coast Ungodly Giver in the Gold Rush... (2018); Mixed media sculpture, 48 x 96 x 11 in. Opens Saturday and runs through Nov. 3. This event is supported by Caltech as part of the Visual Culture Program. Through Oct. 19. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org. The new pieces encompass a wide variety of media, including painting, installation and artist books. Through Dec. 8. Through Dec. 21. “The Light Touch,” at Vielmetter Los Angeles. The Biennial itself was founded in 2006 by artists Ed Gomez and Luis G. Hernandez, designed as a way to critique regional biennials worldwide. (Blake uses gender-neutral pronouns.) Invited speakers are Ian Philbaum, Program Director of Innovation Law Lab and Lilian Serrano, Coordinator of Alianza Communitaria and Research Coordinator for the National Latino Research Center, California State San Marcos. The roots of greatness, strength, power, fertility, beauty and riches, all still persist in the land of California. In the 1960s, before she was known as the artist of high-profile feminist works such as “The Dinner Party,” Chicago was producing painting and sculpture in a much more minimal vein. 2276 E. 16th St., downtown Los Angeles, nightgallery.ca. Through Oct. 19. Sandy Rodriguez, Gold Sickness, Calafia and U.S. Judy Chicago, “Los Angeles,” at Jeffrey Deitch. Mely Barragán, Cyclical Warriors (2018); Laser cut on painted plywood, rotating motor; Courtesy the artist. “Bauhaus Beginnings,” at the Getty Research Institute. 1301 Cesar Chavez Ave., Monterey Park, vincentpriceartmuseum.org. “B.A.T. Opening Reception: MexiCali Biennial Calafia: Manifesting the Terrestrial Paradise. South Coast Plaza Village, 1661 W. Sunflower Ave., Santa Ana, ocmaexpand.org. El taller ofrece indicaciones para imaginar la que sucedió después de 1492. Umar Rashid (Frohawk Two Feathers), “The World You Know is a Fiction…” at the Vincent Price Art Museum. Through Jan. 5. Through Jan. 5. Ernesto Neto, “Children of the Earth,” at Tanya Bonakdar Gallery. His new series is inspired by native California palms from Palm Canyon near Palm Springs. Through Jan. 5. Armory Center for the Arts istemporarily closed to the public. A project by Martin Durazo at the Grand Central Art Center is inspired by the Lamassu of Assyrian history. Analia Saban, “Dry Clean Only,” at Mixografia. The piece nods to histories of racial objectification and key works related to those issues — including Ben Jonson’s 1605 play, “The Masque of Blaqueness,” and Ralph Ellison’s 1952 novel, “Invisible Man.” Through Nov. 3. Employing only graphite pencil and Bristol paper, Beltz produces elaborate patterned drawings that also dwell on the cosmic. Lenz Geerk, “Mixed blessings,” and Celeste Rapone, “Future Amateur,” at Roberts Projects. 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