In the wake of the death of Mahsa Amini, and amid ongoing protests in Iran, new 'Women, Life, Freedom' murals and artworks are popping up around L.A.
â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â â [Los Angeles Times]
[Essential Arts] [Click to view images]Cecil Balmond's âFreedom: A Shared Dreamâ on Santa Monica Boulevard. The sculpture honors Mahsa Amini and has become a focal point for the "Women, Life, Freedom" movement in support of Iranian women and human rights. (Vafa Khatami/ Farhang Foundation) Hi, Iâm arts writer Deborah Vankin, filling in for Carolina Miranda this week. A 5-year-old public sculpture, honoring a Persian emperor of 2,600 years ago, is now tragically timely. The 2017 sculpture, âFreedom: A Shared Dream,â sits on Santa Monica Boulevard in Century City, featuring gold and silver concentric cylinders made of stainless steel. It shimmers in the sunlight and glows, with LED lights, at night. Itâs by British artist [Cecil Balmond]( and was commissioned by the L.A. nonprofit [Farhang Foundation]( which promotes Iranian art and culture. The work now serves as a focal point for the âWomen, Life, Freedomâ movement supporting Iranian women and human rights. Artists and others are tying scarves and ribbons to the work, multicolored slips of fabric that billow and whip in the wind protesting the September death of 22-year-old, Kurdish Iranian [Mahsa Amini](. Sheâd been arrested by Iranâs so-called morality police for not wearing her hijab, an Islamic headscarf, properly and died in detention. In the wake of [mounting protests]( in Iran, sparked by Aminiâs death, and reports of [human rights abuses]( in the country, the Century City sculpture now also stands in solidarity with demonstrators there. Authorities in Iran have cracked down on protesters, and there have been reports of physical and sexual abuse of detainees. (This recent [CNN piece]( about a [âfull-fledged human rights crisisâ]( in Iran is painful to read.) [The âFreedom: A Shared Dream" sculpture.]
A detail of Cecil Balmondâs sculpture, âFreedom: A Shared Dream.â The work gives voice to demonstrators in Iran, fighting for their basic human rights. (Photo: Vafa Khatami; from Farhang Foundation) âThe declaration of human rights is a precious jewel for humanity,â [Balmond told me]( when I interviewed him in 2016, âand I conceived the sculpture as such, a golden treasure [being the inner gold cylinder] buried within the surface silver, the appearance of our lives.â With international Human Rights Day coming up on Dec. 10 â and the protests in Iran still going on â the âWomen, Life, Freedomâ rallying cry is louder than ever. Artists and activists handcuffed themselves to Chris Burdenâs âUrban Lightâ installation at LACMA last month for a demonstration marking 40 days since the [Zahedan massacre]( in southeastern Iran and drawing attention to Aminiâs death. Additional âWomen, Life, Freedomâ artworks are now popping up around Los Angeles. The [Farhang Foundation]( launched a billboard campaign in the Westwood area in early October featuring the âFreedomâ sculpture â the two images will be up through the end of the year. The organization is now putting up new murals around the city. One, designed by Iranian American Washington D.C.-based artist, Rashin Kheiriyeh, appears on the side of an office building in Santa Monica. The mural, at 3325 Pico Blvd., was originally unveiled in July 2021 before Aminiâs death; but it spoke to freedom for women in Iran. Itâs since been updated. It depicts a woman with flowing hair made of Persian calligraphy. A line from a Persian poem reads: ârestless tresses in the breeze.â âWomen, Life, Freedomâ appears in English and Persian. [A mural by Rashin Kheiryeh in Santa Monica. ]
A mural by Rashin Kheiriyeh on the side of an office building in Santa Monica. (From Farhang Foundation ) Another Farhang Foundation mural is in-development, planned to appear on the side of a downtown L.A. office building that currently features a Shepard Fairey mural. The image for the 1031 S. Grand Ave. mural is still being worked out. It will either be by Kheiriyeh or Iranian American L.A.-based Farzad Kohan. The mural is meant to be a permanent work and will feature the âWomen, Life, Freedomâ hashtag. Elsewhere around the city, artists are putting up their own murals. The exterior of a shoe store on Melrose Avenue, in the Fairfax District, now features a nearly 30-foot-tall mural of Amini, clad in black and eyes cast downward with the colors of the Iranian flag flowing through her hair. Silhouettes embedded in her clothing depict Iranian women tossing off their veils and setting them on fire. At the bottom, in Persian script, it reads: âDeath to the dictatorship.â The 7753 Melrose Ave. mural is by Iranian American L.A.-based artist Cloe Hakakian and L.A. muralist Todd Goodman. It was unveiled in early October and was paid for by the artists, with some community donations. [A Melrose Ave. mural Cloe Hakakian and Todd Goodman.]
A Melrose Ave. mural by Cloe Hakakian and Todd Goodman. (Photo: Impermanent Art) Hakakian has since started a not-for-profit initiative, [Murals for Freedom]( which connects artists and wall owners internationally to create awareness around the âWomen, Life, Freedomâ movement. âIâm Iranian American before anything else, I feel my roots deeply,â she told me. âAnd I just wanted to be the voice for the voiceless.â Iranian American L.A.-based [rapper]( Shaheen Samadi, an emerging artist, wrote a song supporting the âWomen, Life, Freedomâ movement in collaboration with L.A. musician [Dr. Symph]( (a.k.a. Dr. Mansour Zakhor). He performed it in front of a new Tarzana mural, by Iranian American [L.A.-based artist]( Keyvan Shovir. It depicts Amini without a headscarf along with 16-year-old Iranian protestor, Nika Shakarami, who went missing on Sept. 20 and has since been [declared dead](. In the mural, at 19449 Ventura Blvd., Shakarami is holding a microphone. The music video appears on [Samadiâs social media](. âHow do we help from thousands of miles away,â Samadi wrote [on his Instagram]( post featuring the video. âHow do we help defend our people from torture, bullets, from twisted people using religion to cause pain and suffering in our beautiful motherland?â âIâm a practitioner of this art-form that we call rap music,â he added. âThis is my weapon, this is the sword Iâve spent the last 12-13 years sharpening.â Meanwhile, Roshi Rahnamaâs West Hollywood gallery [Advocartsy]( featuring Iranian contemporary art, debuted a solo exhibition called âMohammad Barrangi: Dreamscapeâ on Sept. 22, just days after Aminiâs death. âWe were in a haze of morning,â Rahnama told me. âWe werenât able to engage in any festive activities or in the mood to celebrate the exhibition.â After it closed on Nov. 5, and because the gallery had canceled its annual Holiday Hang community celebration while mourning Amini, Rahnama scrambled to put together a new show called âInspired By Woman, Life, Freedom.â It features relevant reverse transfer works from âDreamscapeâ as well as new mixed media works by Iranian American San Francisco-based artist Ali Dadgar. She asked artists whoâd previously shown at the gallery to ship back work to be exhibited. Artists who contributed âreturning worksâ included Iranian American San Francisco-based Shadi Yousefian and Iranian Canadian Toronto-based Simin Keramati. âInspired Byâ will be up through Dec. 30. ["Guardians of Eden"(2021).]
A reverse transfer on canvas, âGuardians of Eden"(2021), by Mohammad Barrangi at Advocartsy. (Mohammad Barrangi) âI was trying to do something responsible with our gallery,â she says. âAnd this was the most effective way we could create a dialogue that would bring more attention to this important movement and revolution in Iran. Our language is art. It was a call to action and I stepped into it.â This is by no means a comprehensive list â previous âWomen, Life, Freedomâ billboards have come down and new murals will undoubtedly go up, for however long they last. But even the ephemerality is powerful, says Farhang executive director, Alireza Ardekani. âWhatâs happening in Iran, the people who are out in the streets fighting for their freedom, they appreciate and get energized knowing that other people around the world are supporting their cause, hearing their voice â they are not silenced,â he says. âAnd art is the most powerful way to do that.â And hereâs what else is happening across the L.A. artscape ... Visual art The taboo-busting, 73-year-old Alexis Smith stopped making art about six years ago due to illness, but a [major exhibition]( at the Museum of Contemporary Art San Diego underscores what Times art critic Christopher Knight calls her âpivotal importance.â The show of 51 works, he says, is âa marvelous, long-overdue retrospective of the Los Angeles artistâs exceptional career.â Knight also reviews [a survey]( of 27 paintings from the last 21 years by Honolulu-born, Los Angeles-based painter Rebecca Morris at the Institute of Contemporary Art, Los Angeles. â In a period when figurative painting with distinct social narratives has been dominant,â he writes, âwhile facile abstract painting abounds, a fine survey of Morrisâ savvy, often unexpected abstractions is especially disarming.â [Alexis Smith, "Red Carpet," 2001, mixed media]
Alexis Smith, âRed Carpet,â 2001, mixed media (Philipp Scholz Rittermann) Itâs been 20 years since William Kentridge has had a major exhibition in L.A. Leah Ollman has an interview with the South African artist on the occasion of his Broad exhibition, âWilliam Kentridge: In Praise of Shadows.â To Kentridge newbies, Ollman says, [the exhibition]( â which features about 130 works dating from 1975 to 2020 â is âa feast of an introduction.â An exhibition at the Skirball Cultural Center, âFabric of a Nation: American Quilt Storiesâ â which debuted at the Museum of Fine Arts, Boston last year â aims to answer a fundamental question through the lens of [42 works on view]( writes Leigh-Ann Jackson: âWhat is the story of America and what parts of it can be told through quilts?â Frieze Los Angeles is back â or it will be, in February 2023, bigger than ever at the Santa Monica Airport. Hereâs [my report,]( with details about the art fairâs next iteration in L.A. [The Hammer Museumâs new corner entrance. ]
A rendering of the Hammer Museumâs new corner entrance at Wilshire and Westwood. It debuts in March 2023. (From Michael Maltzan Architecture ) And if you havenât been to the Hammer Museum recently, you may not recognize the place. Itâs nearing the end of a two-decade expansion and renovation that will be unveiled, once and for all, in March. Hereâs [my interview]( with museum director Ann Philbin about the museumâs transformation and what we can expect to see there. ADVERTISEMENT
On and off the stage On the occasion of Tom Stoppardâs âstunning new play on Broadway,â âLeopoldstadtâ â about a Jewish family in Vienna during the Holocaust â Times theater critic Charles McNulty [interviews]( author and San Francisco American Conservatory Theater former artistic director, Carey Perloff. Her âPinter and Stoppard: a Directorâs Viewâ explores the two English playwrightsâ Jewish identities. âInfusing her personal knowledge of the artists with her practical experience of staging their work,â [he writes]( âPerloff sheds light on what makes âLeopoldstadtâ distinctive yet wholly integrated into Stoppardâs oeuvre.â Margaret Gray has [the story]( on âClydeâsâ at the Center Theatre Groupâs Mark Taper Forum. Lynn Nottageâs 2021 Tony-nominated dark comedy is set at a truck stop sandwich shop. âThe greasy spoonâs sandwiches are unexpectedly delicious,â Gray writes, âbut as a workplace, itâs not healthy; in fact its toxicity is operatic in scope.â [The West Coast premiere of "Clyde's" at Center Theatre Group / Mark Taper Forum. ]
Nedra Snipes, Reza Salazar (center) and Garrett Young in the West Coast premiere of âClydeâsâ at Center Theatre Group / Mark Taper Forum (Craig Schwartz/All Uses © 2022 Craig Schwartz) Is laughter the best medicine? Comedian Alex Hooper would say so. Arts writer Jessica Gelt [interviews]( Hooper, who recently was diagnosed with Stage 3 Hodgkinâs lymphoma â a topic he plumbs for comedic material. Heâs performing around L.A. while undergoing chemo. âWith preternatural positivity and boundless amounts of love for his fellow comedians, his family and his audience,â Gelt writes, âHooper has managed to turn cancer into a punchline and inspire his fans to appreciate life in the process.â [A black and white image of three people performing in a theater production]
Diana Ross, center, as Dorothy, Michael Jackson, right, as Scarecrow, and Nipsey Russell as the Tin Man during filming of the musical âThe Wizâ in New York on Oct. 4, 1977. (Uncredited / Associated Press) And, finally .... A new adaptation of the Tony Award-winning musical, [âThe Wiz,â]( will return to Broadway in 2024, entertainment reporter Nardine Saad [reports](. But first, there will be a national tour that debuts in Baltimore next year. Classical notes Did the L.A. Operaâs âTosca,â a revived production by British director John Caird, move the needle in terms of the art formâs evolution? Maybe not, says Times classical music critic Mark Swed. But it was impressively sung; the crowd was impressively dressed; and Angel Blue, one of the productionâs stars, was an impressive draw. âWhat struck me Saturday night was the sheer pleasure the audience took in being in an opera house for an opera,â [Swed writes]( âin being in a world that felt, for three hours, like a welcome refuge from the ordinary.â [Florence Price.]
Florence Price (1888-1953) was the first Black American woman to have her music played by a major orchestra. (University of Arkansas Libraries Special Collections) The late, trailblazing composer Florence Price was the first Black American woman to have her music performed by a major orchestra. Her work has found new appreciation in the last two years. The Los Angeles Philharmonic performed Priceâs Third Symphony in Nov. as part of its Rock My Soul Festival â it was a performance âconducted with a vivid, clear-eyed edge by Jeri Lynne Johnson,â Swed says. âIt is a score of great beauty, considerable grace and rapt expression,â [Swed writes](. âIts substance comes from the use of spirituals and African American dance in a symphonic manner, modeled after Dvorákâs example in his âNew Worldâ Symphony. Not to be moved by the score and its composer, who rose above the racism and misogyny in classical music, requires a cold heart.â ADVERTISEMENT
Just dance On the occasion of L.A.âs Banjee Ball celebrating its ninth anniversary, arts reporter Steven Vargas takes a look at ballroom culture as its inching into popular culture. âWhat started underground has gone mainstream,â Vargas writes, âso where does that leave events like the [Banjee Ball]( one of Los Angelesâ largest ballroom events?â [Isla Ebony and Enyce Smith pose for a portrait at Studio A Neuehouse Hollywood. ]
Voguers Isla Ebony, front, and Enyce Smith pose at Studio A Neuehouse Hollywood. They were part of a Banjee Ball, where ballroom and mainstream culture intersect. (Dania Maxwell / Los Angeles Times)
Design time Features writer Lisa Boone has [the story]( behind a 700-square-foot ADU, whose exterior was âcustom-milledâ to match its main house, a century-old Craftsman in Culver City. [A Craftsman home in Culver City ]
A century-old Craftsman in Culver City is used as a blueprint for a new, modern ADU. (Christina House / Los Angeles Times)
Books McNulty takes a look at two new books, both âbrazenly entertaining works of theatrical biography.â The first is [âShy:]( The Alarmingly Outspoken Memoirs of Mary Rodgers,â which was co-written with New York Times chief theater critic Jesse Green. The second is a series of interviews: [âFinale:]( Late Conversations With Stephen Sondheimâ by New Yorker writer D.T. Max. âThe crackle of these books,â McNulty writes, âhas everything to do with the zingy forthrightness of their title characters.â Meanwhile, Martin Wolk has an interview with âLittle Fires Everywhereâ author Celeste Ng about her new novel, âOur Missing Hearts.â Ng joins the [L.A. Times Book Club]( on Dec. 8, at 6p.m. for a conversation with Times columnist Patt Morrison. Sign up [here.]( Essential happenings ... âTis the season. Good thing Matt Cooper has a [âsupersize listâ]( of live holiday entertainment throughout Southern California. Itâs got something for everyone, including the Los Angeles Balletâs âThe Nutcracker,â South Coast Repâs âA Christmas Carolâ and Zombie Joeâs âCabaret Macabre Christmasâ â and more. Cooperâs trusty weekly list of other events includes the national tour of the musical âAnnie,â at the Dolby Theatre; drag artist Alaska at the Regent in downtown L.A.; and the New Hollywood String Quartet at the South Pasadena Public Library. [A slideshow features a miser and a ghost, a burlesque dancer with an elf on her shoulder, ballerinas and female mariachis]
South Coast Repâs âA Christmas Carol,â Zombie Joeâs âCabaret Macabre Christmas,â Los Angeles Balletâs âThe Nutcrackerâ and Mariachi Reyna De Los Angeles make our list of holiday shows to see this month. (Jenny Graham/SCR; Cailey Christ and Laura Van Yck; Reed Hutchinson; Hoy) Vargas has been busy too. His most recent [events roundup]( includes âVictor Estrada: Purple Mexicanâ at ArtCenter College of Design in Pasadena. The work in the exhibition of drawings, paintings and sculpture combines, as Vargas says, â1980s Los Angeles, the South Bay punk rock scene and Chicano art, music and politics.â Another event highlight: the bluegrassy variety show, âWatkins Family Hour Christmasâ â hosted by Grammy-winning brother-and-sister duo Sean and Sara Watkins â at the Soraya in Northridge. Want Vargasâ full list of where to go and what to do delivered to your in-box each week? [Sign up]( for his newsletter, L.A. Goes Out. This weekâs also includes a list of art-walks along top Metro lines for a car-free art outing. Moves Longtime American Ballet Theatre Artistic Director, Kevin McKenzie, is retiring after 30 years. But first: the holidays. McKenzie wonât step down until after the run of âThe Nutcracker,â Dec. 9 to 16, at the [Segerstrom Center for the Arts](. McKenzie started New Yorkâs ABT Jacqueline Kennedy Onassis School in 2004, as well as the schoolâs subsequent National Training Curriculum. Throughout his career heâs steered ballet luminaries such as Ãngel Corella, Paloma Herrera and Ethan Stiefel to Gillian Murphy, Stella Abrera, Misty Copeland, David Hallberg and Herman Cornejo. And speaking of âThe Nutcracker,â ABTâs James Whiteside was injured last year, onstage, during a performance of the holiday classic. Heâs made a speedier-than-expected recovery and will be returning to perform in this yearâs âNutcrackerâ production, the ABTâs seventh at Segerstrom. Whiteside is also the author of the 2021 memoir, [âCenter Center: A Funny, Sexy, Sad Almost-Memoir of a Boy in Ballet,â]( essays that address his childhood, his coming out and being a man in ballet. Passages
[Christine McVie. ]
Christine McVie, of Fleetwood Mac, rehearses with band mate Lindsey Buckingham at Sony Studios in Culver City in May 2017. (Luis Sinco / Los Angeles Times ) RIP [Songbird](. Singer, songwriter and keyboardist Christine McVie, of Fleetwood Mac, [passed away]( after âa short illness,â her family said. She was 79. McVie brought us the hits âDonât Stop,â âSongbirdâ and âYou Make Loving Fun,â among others. âOnstage, her steady presence behind the keyboard,â [writes]( Times pop music critic Mikael Wood, âprovided a crucial counterweight to the more dramatic figures cut by [Lindsey] Buckingham and [Stevie] Nicks, whose rocky romantic relationship powered the bandâs darkly glamorous legend.â [George Lois.]
George Lois poses next to his artwork at the New York Museum of Modern Art in April, 2008. (Bebeto Matthews / Associated Press) Artist, designer and advertising man George Lois, who brought us catchphrases and brand names such as âI Want My MTVâ and âLean Cuisine,â [passed away]( at 91 at his home in Manhattan. He was, the AP reports, âamong a wave of advertisers who launched the âCreative Revolutionâ that jolted Madison Avenue and the world beyond in the late 1950s and â60s. He was boastful and provocative, willing and able to offend and was a master of finding just the right image or words to capture a moment or create a demand.â And last but not least ... Hereâs McVie, [in her own words]( discussing being a woman in rock ânâroll, the touring life and her early days as an art student. âIâve learned to be humble,â she says. âI donât think moneyâs gone to my head. I donât think being a starâs gone to my head, either. In blunt terms, I am a star, you know? But to say those words doesnât really ring true to my emotions.â ADVERTISEMENT
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