Art for Sale Page 2

The first of many major new museums and expansions in Los Angeles will be the $835m addition to the Los Angeles County Museum of Art, designed bythe starchitect Peter Zumthor and welcoming visitors this spring
Photo: Iwan Baan
If museum construction is any measure to go by, the next few years are shaping up to be a boom time for the Los Angeles arts and culture scene. It all kicks off this spring, when the Los Angeles County Museum of Art (Lacma) opens its $835m, Peter Zumthor-designed expansion to the public. Refik Anadol’s Dataland—a temple to art created with artificial intelligence—is also due to open in the spring, inside Frank Gehry’s $1bn Grand LA mixed-use development downtown. Star Wars creator George Lucas will finally unveil his $1bn Lucas Museum of Narrative Art in an alien whale-like building by the architect Ma Yansong in Exposition Park in September. And The Broad is busy building a $100m (so far) extension by Diller Scofidio + Renfro, scheduled to open by 2028—in time for the Summer Olympics in Los Angeles.
Meanwhile, The Huntington in San Marino has announced plans to expand its library and conservation spaces, breaking ground on its $126.6m project this spring, and is also building a $40m village to house visiting scholars on its campus. Add to that another Gehry-designed $335m performing arts centre for the Colburn School, to be completed by 2027, and the city’s cultural infrastructure is swiftly evolving. But what does all this expansion and activity mean for Los Angeles’s art community—including its artists, collectors, gallerists and curators?
“Los Angeles has gone from being provincial to international in a very short time,” says the multidisciplinary artist Diana Thater, who has lived and worked in the city for decades and is the chair of the art department at Pasadena’s ArtCenter College of Design. “It was still a small and very close community up until about 2010. After that, it really exploded in terms of the number of artists moving here, and I think it’s because life in New York has become untenable for real artists.”
Thater adds that this shift to the West Coast has long been driven by the region’s many art schools, including the ArtCenter, California Institute of the Arts, Otis College of Art and Design and the art department at the University of California, Los Angeles. (The city’s art schools have so far weathered the economic storms facing higher education better than those in the Bay Area, such as the San Francisco Art Institute, which has closed, and the California College of Arts, which will close in 2027.) Like the generations before them who came to Los Angeles for school and stayed there for the community, this new crop of artists “backed the right horse”, Thater says, because the city’s cultural reputation is poised to gain wider recognition now with major projects like the Lacma expansion—for which Thater has been commissioned to create a new public video work—and the Olympics. “There are a lot of eyes on LA,” she says.
The alien whale-like Lucas Museum of Narrative Art is due to open in September, 13 years after the project was first announced
© 2025 JAKS Productions. Photo by Sand Hill Media/Eric Furie. All rights reserved.

The new Lacma building, in particular, has drawn international attention for more than a decade—not all of it positive. Soon after the Swiss architect Peter Zumthor unveiled his design for a long-discussed expansion to house Lacma’s permanent collection, critics pointed out that the new amorphic structure, raised above street level and straddling Wilshire Boulevard, would provide less gallery space than the original 1965 museum buildings designed by William Pereira. (The former Los Angeles Times art critic Christopher Knight christened Lacma the “incredible shrinking museum”.) Lacma has said that the addition of the Broad Contemporary Art Museum and the Lynda and Stewart Resnick Exhibition Pavilion (elements of an earlier, ultimately scrapped three-phase expansion plan by the architect Renzo Piano) brings up the total gallery space.
A preview of what are now officially called the David Geffen Galleries—before the art was installed—was held for museum members and the press in June 2025, and early reactions have been mixed. The veteran Los Angeles architecture critic Christopher Hawthorne described the expansion as “bold and compromised in nearly equal measure: a sort of hamstrung Gesamtkunstwerk”.
One area where the building seems to have succeeded is in connecting more directly to its neighbours. These include the Academy Museum of Motion Pictures (housed in a former department store that Lacma bought in the 1990s and once considered for its own expansion plans), Lacma’s quirky Pavilion for Japanese Art and the La Brea Tar Pits and Museum—which are undergoing their own $240m renovation ahead of the Olympics.
A rendering of the village that The Huntington is building for its visiting scholars
VTBS Architects
But the true test will be how well the new Lacma building functions as a space to display the museum’s encyclopaedic collection—to be installed thematically—and how Angelenos will be served by the new museum, which has educational spaces and a theatre on its plaza-level. Major works of public art will be installed across the campus to join Chris Burden’s ultra-popular Urban Light (2008), Michael Heizer’s Levitated Mass (2012) and other long-time favourites like Tony Smith’s Smoke (1967/2005), Alexander Calder’s Three Quintains (Hello Girls) (1964) and a garden of sculptures by Auguste Rodin. Among the new additions will be Jeff Koons’s living floral sculpture Split-Rocker (2000)—which the artist started planting in September—a 12-ft-tall interactive UFO by Shio Kusaka and Mariana Castillo Deball’s carved-and-scraped floor designs for the concrete plaza.
The art dealer Peter Goulds, who recently decided to rethink the model for his gallery LA Louver after 50 years and donate its archives to The Huntington, sees the new Lacma building as the “first step” in a long journey the relatively young museum must take in serving its community. He hopes the long-term plan that Lacma’s director, Michael Govan, originally promoted of developing satellite outposts of the collection across the city will eventually be realised. “In the end, either Michael or his successor will hopefully pick up the mantle of the broader reach of Lacma being a city-wide museum,” Goulds says.
Goulds adds that the key to success is to think on the scale of decades rather than just the immediate future, pointing to projects like the Watts Towers, preserved from demolition through a concerted 70-year effort, and the Colburn School, whose long-term future was secured through a generous endowment (estimated at around $500m today) given in 1985 by its main benefactor, the late Richard D. Colburn. “A lot of these initiatives transcend the lifetimes of their founders,” Goulds says.
An illustration of the La Brea Tar Pits and Museum, currently undergoing renovation
Render: WEISS/MANFREDI; Courtesy of Natural History Museums of Los Angeles County
Some of the city’s other museum projects, such as the Lucas Museum, Dataland and The Broad expansion are being eyed more dubiously. “Two of them are vanity projects, and I don’t care,” Thater says bluntly.
“We have no clear idea what the Lucas Museum really is about, except self-aggrandisement,” says Goulds, echoing concerns many people have about what the term “narrative art” entails and whether there will be a unifying curatorial approach to the museum’s displays. Questions have only increased since the museum either laid off or lost a large chunk of its curatorial and educational staff­—including its former director and chief executive, Sandra Jackson-Dumont, and chief curator Pilar Tompkins Rivas—leaving Lucas himself to oversee content direction for his museum.
Others, like the philanthropist Nicolas Berggruen, who is building a new headquarters for his Berggruen Institute in the Santa Monica Mountains—designed by the architects Herzog & de Meuron and funded by a $500m endowment—see all the additions to the city’s cultural scene as clear signs of its dynamism. “Los Angeles is lucky to have an enormous pool of artists and talent,” Berggruen says. “With the new Lacma and the Lucas Museum, it will continue to grow as a cultural centre, allowing not only the creation of objects but their display and broad interaction with the public. This increases Los Angeles’s appeal as a cultural magnet.”
Any way you look at it, the city’s cultural calendar will be busy for the foreseeable future, and this could position Los Angeles as an even more important arts hub. “There’s so much going on here,” Goulds says. “This is the equivalent of how New York was a bridge to Europe at the turn of the 19th century. Los Angeles is the bridge to the Southern Hemisphere and to Asia.”
Billionaire art collector, businessman and philanthropist founded the museum that bears his name and helped shore up Disney Concert Hall, Lacma and MOCA
From the idyllic Slovenian countryside to the heart of Los Angeles, here are ten of the biggest new and expanded museums opening this year
The Getty-led PST: Art x Science x LA is due to be held in 2024

source

“Please restrain from drinking too much as you have been warned from your staff,” Omar fired back after Mace’s snappy post following the U.S.-Israel attack on Iran over the weekend.
U.S. Reps. Ilhan Omar, D-Minn., and Nancy Mace, R-S.C., traded very personal jabs online amid rising political and international tensions over the U.S.-Israel joint strikes in Iran that left four U.S. troops dead, and countless American tourists and contractors stranded in the Middle East.
The ugly online spat began when Mace, a conservative provocateur of sorts, called out Omar and Rep. Rashida Tlaib, who are both Muslim.
On Saturday, Mace posted a news story confirming Iran’s Supreme Leader Ali Khamenei was killed by the U.S. strikes, using the moment to take a jab at Omar and Tlaib, who have been critical of the U.S. and Israel’s military operations in the region.
“My heart goes out to Ilhan Omar and Rashida Tlaib tonight. Sending them thoughts and prayers,” wrote Mace.
Omar, an outspoken progressive lawmaker who has been a frequent target of President Donald Trump and the far-right, fired back at Mace by calling out her alleged problem with drinking.
“I hope you aren’t drunk and took your staff’s advice, Rashida and I don’t know this man and feel confident he didn’t care about us. Please restrain from drinking too much as you have been warned from your staff and stay off social media when you are drunk,” Congresswoman Omar shot back. “I pray in his holy month you find peace and respect for your self.”
Mace also called out Omar after the Somali-born congresswoman criticized the Trump administration for attacking Iran, a Muslim country, during Ramadan, a holy month of prayer and fasting for Muslims worldwide.
“Iraq was attacked by the US during Ramadan, and it’s sickening to know that the US is again going to attack Iran during Ramadan. The US apparently loves to strike Muslim countries during Ramadan and I am convinced it isn’t what these countries have done to violate international law but about who they worship,” Omar wrote on X.
During an interview with Newsmax, Rep. Mace mocked Omar’s remarks, saying, “I don’t give a damn if it’s Ramadan. I don’t care if Muslims are fasting right now. This was the right time with the right intel, the right president to go in and do this, and he’ll have his chance, or his secretaries, to explain this to Congress.”
Mace added, “Where was she when Jews were slaughtered? Over 1,000 Jews were slaughtered in Israel by Hamas, by Palestinians, on a Jewish holiday. I don’t remember her complaining about that.”
Then the South Carolina congresswoman referred to a personal attack she made against Omar online–repeating a rumor that Omar married her brother years ago (which Omar categorically denied)—saying, “She has no room to attack anyone on any issue, quite frankly.”
Mace, who has frequently sparred with Black and brown women in Congress, including Reps. Jasmine Crockett and Alexandria Ocasio-Cortez, added, “I’m ready to denaturalize her and deport her to Somalia.”
Reps. Omar and Tlaib have been among the most vocal Democrats against Israel and the U.S. for the ongoing military operations in the Middle East, most notably in Gaza, where more than 70,000 Palestinians have been killed. Following the U.S.-Israel strikes in Iran, at least 165 civilians were killed, most notably children at a girls’ school.
“The Trump Administration and Israeli regime’s illegal war of aggression on Iran has already killed dozens of children, and more horrific death and destruction will come,” Tlaib wrote on X. “These acts of war threaten to ignite a catastrophic regional war that will make no one safer while unleashing unconscionable suffering.”
More About:Politics
Weekly New Episodes
Stream Now

source

The outcome of the March 3 primary will determine which Democrat will advance against the Republican nominee and the future of leadership in a traditionally red state that has not elected a Democrat since 1988.
The contentious Texas U.S. Senate primary between U.S. Congresswoman Jasmine Crockett and State Rep. James Talarico will soon come to an end as Election Day nears on Tuesday.
The outcome of the March 3 primary will determine which Democrat will advance against the Republican nominee and the future of leadership in a traditionally red state that has not elected a Democrat since 1988. The potential to make history is also on the line, as Crockett would become the first Black woman to be the party’s nominee and could be the first African American elected to the U.S. Senate in Texas if victorious in the November general election.
While all eyes will be on the race between Crockett and Talarico, many Democrats are eager to see the contest come to an end. The messy primary has politically battered the two contestants and divided voters. In early February, Talarico was accused of calling former U.S. Senate candidate Colin Allred a “mediocre Black man” (a claim he denied); and since Crockett entered the race in December 2025, she has commanded massive media attention and stymied what many saw as Talarico’s great momentum. As a result, Crockett has faced what she and her supporters say is subtle and not-so-subtle racial and gender bias.
“Don’t waste your money sending to Jasmine Crockett. Do not do it,” said comedian Matt Rogers on “Las Culturistas” podcast, to the displeasure of supporters of Crockett. “She’s not going to win a Senate seat in Texas, you guys.” Rogers and his co-host, Bowen Yang, quickly apologized for dumping on Crockett’s campaign after receiving public backlash and accusations of perpetuating racist and sexist stereotypes on a Black female candidate.
“We need a fighter. And I was so ready to vote for Jasmine Crockett, because I love her, but I voted for Talarico because we need somebody who can win,” said Sonya Bernhardt, a white Houston voter who cast her early ballot. Bernhardt explained that she loved Crockett’s fiery style as a politician and her ability to go toe-to-toe with Republicans, particularly in committee hearings on Capitol Hill. She told CNN, “That was one of the most difficult votes I’ve ever voted in my entire life.”
In a previous interview with theGrio, Crockett said questions of her electability and whether she can win a statewide race is frustrating and rooted in misogynoir.
“We know that the most loyal voting bloc, when it comes to Democrats, no matter what part of the country you look at, is actually Black women. And it is all good for us to labor…we allow this party to continue to say, yes, yes, yes, we need Black women, go ahead and pull up [but] we’re not even going to focus on sending our dollars to you,” said Crockett, who raised less money than Talarico and led a nontraditional campaign focused on digital and grassroots outreach that has included meeting potential voters in Texas nightclubs.
The former civil rights attorney and public defender added, “No one is looking at the credentials. Like, holler at me and say that you have an issue as relates to my credentials.”
It’s hard not to see the primary race between Crockett and Talarico without a racial lens when you consider polling shows that most white voters (57%) lean toward Talarico while an ovewhelming majority Black voters (80%) back Crockett. Talarico also commands a majority support from Hispanic voters at 59%.
Crockett has made clear her strategy to victory is to turn out record numbers of Black and Hispanic voters who do not traditionally vote in Texas. The Lone Star State has one of the lowest voter turnouts in the country. According to a poll from HIT Strategies, 700,000 registered Black Texans did not vote in the 2024 election. There are approximately 4 million Black people living in Texas. In total, 1.7 million Black and Brown voters in the Lone State sat out the election that handed Donald Trump the presidency for a second time.
Crockett explained that more women than men, 57% or more, are expected to vote in Texas’s primary on March 3. By the general election on Nov. 3, more women are also expected to vote than men, she claimed.
“Frankly, I think with a strong woman at the top, we may be able to run that number up even more,” the U.S. Senate candidate told theGrio.
Early voting shows 1.3 million Texans have already cast their ballots in the Democratic primary and is on track to break a record set by Barack Obama and Hillary Clinton set in the 2008 presidential primary contest.
Unlike Talarico, Crockett has faced tough criticisms online for some of her past statements and policy positions, including her vote in favor of funding military aid for Israel’s deadly military campaign in Gaza and use of the term “slave mentality” when discussing Hispanic voters who supported President Trump’s aggressive immigration policies.
Clarifying her “slave mentality” remark, Crockett told CNN, “I don’t believe that the people that voted for Trump believe in what they’re actually getting…What Trump said is that he was going to kick out the bad guys. And that’s what I was talking about.”
She explained, “But at the same time, I knew what Trump meant because Trump had a record. Trump had a record of locking up kids and putting them in cages. So I knew what Trump meant. And so that’s why it wasn’t making sense to me.”
Crockett added, “Some of those people may have voted for Trump. I don’t know. But they agree that what he’s doing now is wrong. And it’s about right versus wrong and not right versus left and he sold them a bag of goods and I knew that that’s what he was selling because I knew his record.”

More About:Politics
Weekly New Episodes
Stream Now

source

The Wayans Brothers and Regina Hall are back with “Scary Movie 6,” parodying hit horror films like “Sinners,” “Get Out” and more.
After years of speculations and rumors, the “Scary Movie” franchise is back and offering a first look at its highly anticipated “Scary Movie 6.” Reuniting the original castmates Marlon Wayans, Shawn Wayans, Regina Hall, and Anna Faris, the trailer also includes surprise appearances from stars like Kai Cenat and Kim Wayans. 
Like its predecessors, “Scary Movie 6” parodies hit horror films like “Ma,” “Sinners,” “Smile,” “M3GAN,” “Scream,” “The Terrifier,” and “Get Out.” Pushing the bounds of comedy, just as they did 25 years ago, Marlon says this film is more than just a reboot. 
“This movie is multi-generational. It’s a conversation comedically that is needed, that needs to be had from our generation down to Gen Alpha. It’s all inclusive,” he told Entertainment Weekly. “What we’re trying to do is bring back laughter. This is about bringing back comedy the way it used to be. And I think the only way to do it is you have to cancel the cancel culture.”
“We’re gonna do what we always do. We’re gonna make fun of everybody because we’re equal opportunity offenders,” he continued. “We have a recipe, we have a formula that you can’t mimic or copy. It’s how we grew up, and it’s how we see the world. It’s the household we were raised in with the sense of humor that we all were governed with, that we inherited from our mother. We like to be fearless. Yet still do things with kid gloves to let people laugh at themselves.”
Scary Movie 6 arrives in theaters June 12.
More About:Entertainment
Weekly New Episodes
Stream Now

source

Copyright © 2026 Interactive One, LLC. All Rights Reserved.
Gamers quickly pounced on the image featuring Ryan Hurst in full costume as our favorite deity-slaying dad, Kratos, and Callum Vinson as Atreus.
There are two sets of people who are hard to please: comic book nerds and gamers. Amazon shared a first-look photo of its upcoming God of War series, and it’s not getting the reaction the streaming service hoped for.
The reactions are pouring in after Amazon dropped the first photo of live-action Kratos and his son, Atreus, from its upcoming God of War series that will be based on the 2018 video game.
Gamers quickly pounced on the image featuring Ryan Hurst in full costume as our favorite deity-slaying dad, Kratos, and Callum Vinson as Atreus.
We care about your data. See our privacy policy.
The reveal should have been a big moment for the streaming service, but it turned into a roast fest, with social media dunking on the photo, and some even saying it looks like it was made with AI.
“Not to be the standard Twitter negative Nancy, but something about this looks off, right?” one user on X (formerly Twitter) said. “Like I’m not being negative for no reason? I can’t even pinpoint what looks wrong.”
Another user added more context, pointing out the fact that the game already looked realistic, so getting actual actors to play the characters won’t live up to expectations.
“the thing about adapting videogames that already look insanely realistic into live action media is that a part of them is inevitably gonna look like an snl skit,” the person wrote.
Some feel that Amazon missed their chance by actually casting Triple H in the role of Kratos.
Another social media user wrote, “Ngl this took a second for me to absorb. First looks can always feel a bit iffy but maybe I’m just so used to video game Kratos and Atreus.”
This latest fallout comes after the revelation that Game of Thrones actress Sophie Turner will play Lara Croft in Amazon’s upcoming Tomb Raider series, which also caused a big social media snafu.
Honestly, we think people are doing the most; it’s just a photo, and we are sure all the Hollywood magic hasn’t even been applied yet to give Hurst and Vinson that God of War look we all know and love.
Look at the bright side, at least it’s not Joe Budden.
You can see more reactions below.
Gamers React To First Look Photo From Amazon’s ‘God of War’ Series, “This Ain’t It” was originally published on hiphopwired.com

Rest In Power: Notable Black Folks Who We’ve Lost In 2026
9 Famous Lesbian Women Who Were Married To Men
The 30 Hottest Black Men In Hollywood
The 30 Most Beautiful Black Women In Hollywood
We care about your data. See our privacy policy.

source

Driver Tyler Reddick took the checkered flag in Austin on Sunday as he became the first driver in NASCAR Cup Series history to win the first three races of the season.
Michael Jordan‘s 23XI racing team is having the most charmed start to a NASCAR season, ever.
Jordan, who co-owns the team with Denny Hamlin, saw driver Tyler Reddick ease past the checkered flag at the NASCAR Cup Series DuraMAX Texas Grand Prix in Austin, Texas, on Sunday. In the process, Reddick became the first driver to win the first three Cup Series races of the season.
Reddick’s win comes two weeks after his historic Daytona 500 win, which gave Jordan his first win in NASCAR’s biggest race and made him the second Black owner of a NASCAR team to win the race, joining fellow North Carolina Tar Heel Brad Daughtery.
“It’s one race, but it was so important,” Reddick said in victory lane. “It’s so fitting to get three in a row and make history.”
Jordan echoed his sentiments. Already gearing up for next week’s race in Phoenix, the NBA Hall of Famer said was “proud” of the 23XI team, giving most of the credit to fellow co-owner Hamlin.
“I just put up the money,” Jordan said. “Denny’s done an incredible job building this team.”
During the week, Reddick was reminded of Jordan liking things in threes. The basketball legend won his NBA titles in a pair of three-peats, the first from 1991 to 1993 and the second from 1996 to 1998.
Winning in Austin, Atlanta ,and Daytona was seemingly buoyed by another victory for 23XI Racing. Before the season began, NASCAR settled with the team after an eight-day trial that helped propel NASCAR into the future by having its various teams operate like franchises do in the other big leagues like the NFL, NBA and NHL.
“Like two competitors, obviously we tried to get as much done in each other’s favor,” Jordan said during a December press conference. “I’ve said this from Day 1: the only way this sport is going to grow is we have to find some synergy between the two entities. I think we’ve gotten to that point, unfortunately it took 16 months to get here, but I think level heads have gotten us to this point where we can actually work together and grow this sport. I am very proud about that and I think Jim [France] feels the same.”
More About:Sports
Weekly New Episodes
Stream Now

source

The apology comes one week after the BAFTAs, in which the n-word was shouted at the ‘Sinners’ actors, prompting an extended dialogue about why it wasn’t edited out of the broadcast.
A week after Michael B. Jordan and Delroy Lindo were onstage at the BAFTAs when John Davidson, who has Tourette’s Syndrome, yelled the n-word in their direction, show host Alan Cumming is issuing an apology for the incident.
In a carousel post on Instagram on Monday (Mar. 2), Cumming, who also hosts the popular reality competition show “The Traitors,” addressed what occurred on stage, in the audience and why both the British Academy of Film and Television Arts’ and the BBC failed all parties involved.
“It’s now a week since I hosted the BAFTAs,”  Cumming began. “What should have been an evening celebrating creativity as well as diversity and inclusion turned into a trauma triggering s—show.”
Davidson attended the show representing the film “I Swear,” which is based on his life and experiences with the condition, which causes him to have involuntary verbal and physical tics. While Cumming addressed Davidson’s language at the show, he delved deeper online.
“I’m so sorry for all the pain Black people have felt at hearing that word echoed round the world,” he wrote. “I’m so sorry the Tourette[‘]s community has been reminded of the lack of understanding and tolerance that abounds regarding their condition.”
He added, “The only possible good that could come of this is a reminder that words matter, that rushing to judgment about things of which we are not fully cognisant is folly, that all trauma must be recognised and honoured. We were all let down by decisions made to both broadcast slurs and censor free speech. Congratulations to all the artists whose work was overshadowed by the night’s events.”
A post shared by Alan Cumming (@alancummingreally)
Davidson himself issued an apology on Sunday (Mar. 1), apologizing for any “pain” and “misunderstanding” Tourette’s might create.
“I’ve been waiting all week until the dust settles after the weekend at the BAFTAs in London,” he wrote on Facebook. “I would like to thank each and every one of you who have shown love, support and solidarity towards myself and the rest of the Tourette’s Community.
“Your kind words and support have got me through a very difficult week,” Davidson continued. “Whilst I will never apolog[ise] for having Tourette syndrome, i will apologise for any pain, upset and misunderstanding that it may create. This past week has been tough, and has reminded me that what I do raising awareness for such a misunderstood condition, there is still a long way to go and I will keep on keeping on until this is achieved.
During the NAACP Image Awards on Saturday (Feb. 28), Jordan and Lindo received a standing ovation from attendees as several people, from host Deon Cole to Regina Hall and Quinta Brunson gave them their flowers.
In his first public comments on the incident, Lindo told the audience at the Pasadena Civic Auditorium that it was an “honor” to be among “our people.”
“I’d just like to officially say, I appreciate, we appreciate all the support and love we have been shown in the aftermath of what happened last weekend. It means a lot to us,” Lindo said.
More About:Entertainment
Weekly New Episodes
Stream Now

source

Luke Kornet criticized the Atlanta Hawks for their “Magic City Night” partnership, urging the team to cancel the event.
To many people, last week’s announcement that the Atlanta Hawks were teaming up with Magic City was either surprising or seen as satire.
But apparently, some NBA players had neither reaction and actually took offense to the partnership, with the only one brave enough to speak out being Luke Kornet.
The San Antonio Spurs center, fresh off a beating from the New York Knicks, wrote a post on Medium explaining why he can’t get behind the Hawks’ “Magic City Night” and asks them to cancel it.
We care about your data. See our privacy policy.
“The NBA should desire to protect and esteem women, many of whom work diligently every day to make this the best basketball league in the world,” Kornet writes. “We should promote an atmosphere that is protective and respectful of the daughters, wives, sisters, mothers, and partners that we know and love.”
He says the event reflects “poorly” on the NBA community, and makes them seem “complicit in the potential objectification and mistreatment of women in our society.”
“Regardless of how a woman finds her way into the adult entertainment industry, many in this space experience abuse, harassment, and violence to which they should never be subjected,” Kornet continues.
He asks the league and fans to hold the Hawks to a “higher standard of what they find worthy of promoting.”
Plus, he’s not alone in his protest.
“I and others throughout the league were surprised by and object to the Hawks’ decision,” he reveals.
Celebrating strip club culture doesn’t create a great environment “where fans of all ages can safely come and enjoy the game of basketball” and “celebrate the history and culture of communities in good conscience.”
His disagreement stems from last week, when the Hawks announced that on March 16, they’d be partnering with the local legendary gentleman’s club, Magic City. The festivities would include a special live taping of its Hawks AF podcast, discussing STARZ’s 2025 docuseries Magic City: An American Fantasy, which was produced by Hawks’ principal owner, Jami Gertz.
Along for the ride are TI, D.C. Young Fly, DJ Esco, and even the Magic City Kitchen, which will be serving wings.
Kornet’s idea to cancel the celebration is unpopular, so he’s getting called out on social media. See the reactions below.
Spurs’ Luke Kornet Asks Hawks To Cancel “Magic City Night” & Gets Roasted Instead was originally published on cassiuslife.com

Rest In Power: Notable Black Folks Who We’ve Lost In 2026
9 Famous Lesbian Women Who Were Married To Men
The 30 Hottest Black Men In Hollywood
The 30 Most Beautiful Black Women In Hollywood
We care about your data. See our privacy policy.
An Urban One Brand
Copyright © 2026 Interactive One, LLC. All Rights Reserved.

source

March 2, 2026
When Coleman said “she felt a type of way,” the young mayor said it’s understandable and looked right in the camera to say “that’s why I’m here to apologize.”
New York City Mayor Zohran Mamdani is attempting to right a wrong by admitting he failed to include Black Americans during a previous comment made about the Big Apple being a “city built by immigrants,” The Grio reported. 
During a sit-down with podcaster and historian Latoya Coleman, Mamdani admitted to being guilty of excluding Black Americans during his 2025 mayoral election speech where he described NYC as a “city built by immigrants.” As a wrap-up to the 100th Black History Month, Coleman asked how people can include enslaved people and indigenous people who have built the foundation of America in New York City as well. 
The mayor jumped right in by saying he has been guilty of it and gave some insight on how to correct it. “I think the first thing is, if we’re being honest, we have to tell the full story. And when we tell a sweeping generalization like that, we lose sight of the fact that Black New Yorkers helped to build New York City,” he said. 
When Coleman said “she felt a type of way,” the young mayor said it’s understandable and looked right in the camera to say “that’s why I’m here to apologize.” “Because you learn from it. And I think as much as we want to and we should support immigrant New Yorkers and their incredible place in the city, doing so doesn’t necessitate that we overlook contributions of Black New Yorkers,” he said. 
“We can tell the full story.” 
A post shared by Latoya Coleman | Historian + Podcaster (@toyafromharlem)

The narrative of Black immigrants being overlooked has floated throughout social media as U.S. Immigration and Customs Enforcement (ICE) agents have been terrorizing American cities, resulting in protests and deaths of several U.S. citizens. During the 2026 Grammy Awards, Nigerian-American country singer Shaboozey received massive backlash for stating that “immigrants built this country, literally” during his acceptance speech.  
Since his historic win as the city’s first Muslim and youngest mayor at just 34-years-old, Mamdani has made positive strides but seemingly rubbed some Black residents the wrong way with certain policies. Particularly when it comes to the housing market, residents feel like they may be driven out of the communities they built after the mayor threatened to hike property taxes as a way of targeting the wealthy. 
As a 2023 article from the New York Times highlighted “the city’s Black population has declined by nearly 200,000 people in the past two decades,” president of the NAACP New York State Conference, L. Joy Williams, surveyed Black residents, showcasing that homeownership is a priority. 
After Mamdani declared war on bad landlords, Williams celebrated the effort but said supporting first-time homebuyers should be a high priority. “Our members want policies that turn renters into owners to close the racial wealth gap,” she said, according to NY Mag. 
“It is clear from the lack of conversation and engagement that there doesn’t seem to be a lot of focus and attention on the needs of Black New Yorkers in the city.”
RELATED CONTENT: ‘Out of His Goddamn Mind:’ Black NYC Homeowners Blast Zohran Mamdani Over Property Tax Hike Proposal

© 2026 Black Enterprise. All Rights Reserved.

source

As expected, Black Hollywood turned out for a night of Black excellence, reflected in style and purpose.
Black Hollywood is outside and looking good. The 57th Annual NAACP Image Awards are happening now, and the red carpet is serving look after look. Our favorite stars, influencers, and celebrities are stepping onto the ice blue carpet and reminding us exactly why this night matters.

We’re seeing style we love: corseted bodices that show off curves, exaggerated draping that adds an elegant flair, and dramatic trains that command attention. Bold colors and prints are making their rounds, alongside sophisticated black gowns that prove you can never go wrong with a classic.
Supermodel and Sunflower entrepreneur Eva Marcille looks stunning in a silver one-shoulder sequined gown. Kyla Pratt kept it elegant in a sleeveless black velvet gown with a full ball skirt. And also wearing black, singer Tyla rocked a slinky satin number.

We care about your data. See our privacy policy.
For the men, it’s all about bringing the swag in interesting suits. Abbott Elementary star Tyler James Williams elevated his black tuxedo with an exaggerated red rose boutonniere, adding just the right amount of drama. Host Terrence J opted for a gold suit jacket instead of the traditional black. And some celeb attendees ditched tuxedos and suits altogether, rocking streetwear sets, relaxed-fit pants, polos, and everything in between.

This year’s theme, “We See You,” speaks directly to visibility – especially in the current political climate. And if there’s one place that screams visibility, it is the red carpet, honey. Fashion at the Image Awards has always been something we look forward to. Black people love to put it on – and be seen when they do.
The 57th Annual NAACP Image Awards return tonight (February 28), airing at 8 PM ET, with comedian Deon Cole hosting. Colman Domingo will receive the President’s Award. Viola Davis will take home the Chairman’s Award, and hip-hop trailblazers Salt-N-Pepa will be inducted into the Hall of Fame. The presenter lineup includes Ryan Coogler, Regina Hall, Halle Bailey, Regé-Jean Page, Sterling K. Brown, and more — meaning the red carpet is guaranteed to be just as star-studded as the stage.
Scroll through the gallery below for the standout celebrity looks from the 57th Annual NAACP Image Awards red carpet.
Issa Rae – aka Ms. Rooting for Everybody Black – debuted a new bob hairstyle on the NAACP red carpet. Just call the LA girlie “Bobiana.” She paired the cropped style with a black tube gown with satin ruching and fabric drama.
Quinta Brunson’s look screams fall in the middle of winter. The Abbott Elementary creator dazzles on the carpet in a sleeveless gown with a slight sweetheart neckline, adorned with tan, red, brown, and cream designs that look like the leaves of fall. The gown is from Gabriela Hearst.

Chloe Bailey is a true fashion girl, wearing a designer piece fresh off the runway. The singer is slaying in a black, sheer, sculpted dress with 3-D detailing from Christian Siriano’s Fall-Winter 2026 collection.

Halle stuns in Stephanie Rolland. The Disney Princess turned heads in a deep brown gown with bold white abstract detailing down the front. The exaggerated sculptural neckline framed her face beautifully and added high-fashion energy to the carpet.
Panels of black with touches of light pink make this gown sophisticated and timeless. Coupled With Kerry’s long, voluminous curls, we are definitely getting Olivia Pope vibes from this polished look.
Teyana Taylor is taking it. The Golden Globe winner looks sophisticated and stunning in this black sculpted gown with corset details and a structured, yet voluminous skirt.
Ms. Keke is a vision in white. The multihyphenate star is rocking a stunning white dress with crystal details, feathers, and a dramatic train. For hair and makeup, she chose her short pixie cut with light brown highlights and a deep lip color.
Viola Davis stepped onto the ice blue carpet in a rich cranberry one-shoulder gown that hugged every curve. The draped detailing and flowing train gave the look movement and drama without overpowering her presence. She also debuted a sleek blunt bob with bangs, adding to the growing list of Black celebs embracing the cut and proving the bob takeover is very real.
Regé-Jean Page kept it sharp in a tailored black suit featuring textured, embellished lapels. The open black shirt underneath added a relaxed, modern edge to the classic silhouette. Clean, confident, and effortless — this is how you do understated drama.
Sterling K. Brown opted for a black velvet jacket layered over a crisp white shirt, giving timeless elegance with a soft finish. The velvet texture added richness while the streamlined tailoring kept it modern. A subtle brooch detail and sleek footwear sealed the look.
Chase Infiniti loves to take risks on the red carpet with a touch of refinement and luxury. For the NAACP, she is rocking a cream and red dress with a cream feather top and dramatic red glove accents.

Colman Domingo lit up the carpet in a rich marigold suit layered over a matching turtleneck. The monochrome moment felt bold, polished, and completely intentional. Paired with statement shoes and effortless confidence, he once again proved that color is his lane.
David Banner made a statement in a grape-colored double-breasted suit. The standout detail? A dramatic black cape draped over one shoulder, fastened with a brooch for added flair.
Salt N Pepa chose to wear looks that showed off their personalities in black and white. Salt is all about her black suit, while Pepa rocks a fashion-forward black blazer with a white button-down. DJ Spindarella chose a white top with a deep V-neckline and faux leather accents.
Red Carpet Rundown: Black Excellence Takes Over The Ice Blue Carpet At The 2026 NAACP Awards was originally published on hellobeautiful.com

Rest In Power: Notable Black Folks Who We’ve Lost In 2026
9 Famous Lesbian Women Who Were Married To Men
The 30 Hottest Black Men In Hollywood
26 Black Inventions That Quietly Run the World
We care about your data. See our privacy policy.
An Urban One Brand
Copyright © 2026 Interactive One, LLC. All Rights Reserved.

source

Veronica Ryan with her work Along a Spectrum (2021) installed at Spike Island, Bristol Courtesy of Alison Jacques and Paula Cooper Gallery, New York, photo: Lisa Whitin
In this podcast, based on The Art Newspaper’s regular interview series, our host Ben Luke talks to artists in-depth. He asks the questions you’ve always wanted to: who are the artists, historical and contemporary, they most admire? Which are the museums they return to? What are the books, music and other media that most inspire them? And what is art for, anyway?
Veronica Ryan was born in 1956 in Plymouth on the Caribbean island of Montserrat and came to the UK as an infant. She now lives between London and New York. She explores personal, collective and historical memory through a range of sculptural materials and processes.
Veronica Ryan’s Sweet Dreams are Made of These (2022) Wakefield Permanent Art Collection (The Hepworth Wakefield) © Veronica Ryan, image courtesy of Alison Jacques and Paula Cooper Gallery, New York, photo: Michael Brzezinksi
Her installations and individual sculptures combine a wealth of things and techniques, often all at once, from found objects to time-honoured sculptural materials like bronze and marble; and from carving to casting and crocheting. Colour plays a vital role in her work, in the varied hues of textiles or plaster. And she creates forms as diverse as seeds and fruits, mats and nets, pillows and blankets and architectural structures.
Veronica Ryan’s Disavowal (She Follows You Around) (2002) © Veronica Ryan, courtesy of Paula Cooper Gallery, New York and Alison Jacques Gallery, London, photo: Steven Probert
Through arresting and often multilayered arrangements, she evokes the minutiae of everyday experience (often with a profoundly personal meaning), makes reference to resonant historical events and their legacies, and addresses major human themes and rites of passage.
Veronica Ryan’s Along a Spectrum (2021) on view at Spike Island, Bristol Courtesy Spike Island, Bristol, photo: Max MacClure
She reflects on the meanings embedded in her materials, her relationship with psychoanalysis and unconscious processes, and her distinctive approach to displaying her work. She discusses the early influence of her mother’s textiles, her visits to the British Museum and her epiphanic encounter with the work of Eva Hesse and Louise Bourgeois. She reflects on the importance of the poetry of Maya Angelou and chamber music and reggae, and she answers our usual questions, including the ultimate: what is art for?

Veronica Ryan: Multiple Conversations, Whitechapel Gallery, London, 1 April – 14 June 2026
This podcast is sponsored by Bloomberg Connects, the arts and culture platform. Bloomberg Connects offers access to a vast range of international cultural organisations through a single click, with new guides being added regularly. They include several museums in which Veronica Ryan has had solo exhibitions, from the Whitechapel Gallery in London, where her exhibition Multiple Conversations opens in April 2026, to the Wexner Center for the Arts in Columbus, Ohio, US, to The Hepworth Wakefield in the UK. Explore Bloomberg Connects and you will find that the guide to The Hepworth features extensive content relating to the gallery’s collection and exhibitions. For instance, you can hear about the Hepworth Plasters, a unique collection of Barbara Hepworth’s plaster and aluminium prototypes. These were made by the artist as a first stage in the process of casting works in bronze or other materials. In the exhibitions section, you can read about the gallery’s recent acquisition of Hepworth’s Sculpture with Colour (Oval Form) Pale Blue and Red from 1943. And in the features on past exhibitions, you can watch Veronica Ryan discussing her commission for the gallery in 2021, Magnolia: Magnoliaceae.
An in-depth interview with the artist on his cultural experiences and greatest influences, from Marcel Duchamp to Ben Okri
An in-depth interview with the artist on her cultural experiences and greatest influences, from Maxine Kumin to Henry Moore
An in-depth interview with the artist on his cultural experiences and greatest influences, from Adrian Piper to The Legend of Zelda video game
An in-depth interview with the artist on her cultural experiences and greatest influences, from Henri Matisse to W.G. Sebald

source

Altadena on 7 January 2026, the anniversary of the Eaton fire Photo: Ted Soqui/SIPA, courtesy Sipa USA/Alamy Live News
A year can stretch far too long for artists who have lost not only their homes but their studios and even their archives. In 2025, The Art Newspaper interviewed four Los Angeles-based artists who lost one or a combination of those vital armatures in the devastating fires in January of that year. Kelly Akashi, Christina Quarles and Adam Ross had homes and studios in Altadena, an area in the foothills of the San Gabriel Mountains that was heavily impacted by the Eaton fire. And Kathryn Andrews lived in the Pacific Palisades and lost her home in the Palisades fire. All four artists returned to work quickly, proving both their resilience and resourcefulness, but the fires and their aftermath continue to affect their lives and work.
Akashi had lost both her house and studio in the Eaton fire. She rebounded quickly because she had to—she had an upcoming show at Lisson Gallery, originally scheduled to open in late January 2025. She managed to salvage work from the ashes of her studio and make enough new art to open her show on 20 February—just in time to overlap with Frieze Los Angeles. Some of her recovered bronze and glass pieces had signs of fire damage, but she came to see these as an integral part of the work. Next month, Akashi will participate in the Whitney Biennial in New York, for which she says she is making “a glass and mortar re-creation of my chimney”.
Determined to keep working, she has had to make art “in many different places” this past year, including “in the basement of my new rental; a studio donated by the Institute of Contemporary Art, Los Angeles; extra space the foundry I worked with gave me; and recently, my new studio in San Gabriel”.
Like many artists, Akashi says she was severely underinsured and that it will take another six months to a year to sort out when and how she might rebuild. Of course, finances are a major consideration. “Homeowners’ insurance was very fast, but my business-income insurance has been a nightmare,” she says. “My art insurance has still not provided anything either.” Indeed, a major hurdle for many Los Angeles artists has been getting properly compensated for the works damaged or destroyed by smoke, fire and ash.
Kelly Akashi’s Monument (2025) was on view as part of her Lisson Gallery show last year © Kelly Akashi, courtesy Lisson
Ross lost 5,000 of his own works, almost his entire archive. “The main thing I lost were drawings, because I never sold a lot of them,” he says. “People always wanted paintings.” He managed to save 11 paintings in an admittedly foolish run back to his studio as flames engulfed the building. “We went back once, got the paintings out, watched the studio and the house burn to the ground, got away,” Ross says. There were a total of five buildings on the lot, and Ross was able to save two of them by hosing them down. Today, one of the buildings is a rental. Ross uses the other as his new studio. “It was nice to get what I had been working on for the past two years out,” he says of his mad dash into the flames.
Ross and his wife, the artist Caitlin Ross—who lost all her work in the fire—have found a temporary living space in downtown Pasadena. Fortunately, their rent is covered by insurance, but that will run out in about eight months. They would like to move back to Altadena and even had complete plans drawn up for a prefabricated house, but their case has been complicated. Ross says that he and Caitlin are “trapped in limbo, which is very stressful”. He adds that they are also “engaged in a massive lawsuit” with the local utility company Southern California Edison (SCE)—as are many others, since there is evidence that the Eaton fire may have been caused by SCA’s malfunctioning power lines. (SCE is now offering to settle with affected residents who forego their right to further claims.)
Adam Ross’s Living in a Science fictional World (After the fire, #1) (2025), a graphite drawing in a small series he made shortly after the Eaton fire Courtesy the artist
Meanwhile, Quarles has been busily preparing for her next show—her first with Hauser & Wirth, which was postponed last year. The artist’s works in The Ground Glows Black (until 3 May) reflect her experience with the fire. “My work has greatly shifted in the past year,” she says. “There are still elements that are consistent—figuration, pattern and architectural interventions within the frame—but there’s a greater density to the environment that the figures are in.” Together with her paintings, Quarles’s show includes a new series of charcoal drawings. “After the fire, I was compelled to work with charcoal, with its obvious material correlation to fire,” she says.
Even before the Eaton fire, Quarles had already suffered a home fire the year prior. “So with the Eaton fire, we lost the house we were building,” she says. “We lost what remained of the house that had the previous house fire, and then we lost the Airbnb we were staying in. But my studio did survive the Eaton fire. I was working in it that day.” In the rush to leave, one window was left open. “That night, everything got so hot that all my paintings became tacky,” she says. “A fine layer of ash and debris came in and fixed like a spray across all the canvases. All the paintings that were in there had to be meticulously restored.”
Last year, the Federal Emergency Management Agency stepped in to clean up about 6 in. of the soil, but Quarles wonders if that was enough, especially since there was no cleaning outside the property line. Like most who might rebuild, she will consider more fire-resistant construction materials when the time comes; there are already new building codes in place. “We’re doing things differently the second round, not rushing to return to normal,” she says. “We did a big push to find a stable, temporary living situation while we figure out what’s the best move. We’ve also been doing construction projects since 2019 with the studio, so we need a little breather.”
Christina Quarles’s Tomb (Is My World Not Fallin’ Down?) (2025) Photo: Fredrik Nilsen; © Christina Quarles, courtesy the artist, Hauser & Wirth and Pilar Corrias, London
Andrews, after losing her home in the Palisades fire, has moved to another rental on the West Side. “I stayed with several different friends in several places before I settled where I am now,” she says. “It took some time to resettle. I’m in West Los Angeles, not terribly far from where I lived previously.” Fortunately, she had a studio downtown, which was not affected by the fires.
In an effort to help other artists and art workers, early last year Andrews teamed up with fellow artist Andrea Bowers, the gallery directors Olivia Gauthier and Julia V. Hendrickson and the dealer Ariel Pittman to found the nonprofit Grief and Hope. To date, the organisation has raised $1.74m, distributed to almost 300 people who lost homes, studios or workspaces in the January 2025 fires.
While most of the funds went to artists, the money also helped art workers like studio assistants, art handlers and educators. “That inclusion was very important for us to consider,” Andrews says, “because so often art workers aren’t recognised. They’re often underpaid, and they’re often struggling.”
Some lost everything, others are in limbo waiting to go home and most have found support in the art community
A range of art-world relief funds are trying to provide immediate aid
From the latest additions to Judith Baca’s “Great Wall of Los Angeles” at Jeffrey Deitch and “Monuments” at Moca and the Brick, to the Julia Stoschek Foundation’s epic pop-up show of video art and medieval creation stories at the Getty
The artist’s first solo exhibition with Hauser & Wirth in Los Angeles features works she made after her community in Altadena was devastated by the Eaton fire in January of last year

source

Copyright © 2026 Interactive One, LLC. All Rights Reserved.
During his State of the Union address on Tuesday, Trump said he would lower health care prices, but the newly proposed plans would do the opposite.
President Donald Trump and the GOP have long railed against the Affordable Care Act (ACA) without providing any meaningful solutions of their own. Last year, Republicans in Congress allowed pandemic-era ACA subsidies to expire, which greatly increased the price of health insurance for millions of Americans. The Department of Health and Human Services seems to have come up with a bold, new solution: cheaper plans that provide worse insurance. 
According to the New York Times, the plans would appear to be cheaper on paper by lowering monthly premiums. The catch is that it would put users of those plans on the hook for thousands of dollars in medical expenses before the plans kick in. The Trump administration has few options to lower ACA costs without congressional approval. 
Dr. Mehmet Oz, the administrator of the Centers for Medicare and Medicaid Services, which oversees the ACA, has spoken favorably of the proposed plans. “The goal is simple: lower costs, more choice, and exchanges that work as intended,” he said.
From the New York Times:
We care about your data. See our privacy policy.
Dr. Oz’s new proposal would allow one kind of health plan to raise the annual deductible to more than $15,000 for an individual and $31,000 for a family; those are much higher than current Obamacare plans. The individual deductible would be eight times the average for someone with job-based insurance.
Many policy experts expressed doubt that the administration’s proposal would reduce the high cost of health care. “Nobody wants that product,” said Amitabh Chandra, a Harvard health economist who has studied high-deductible plans. “It’s going to be a really cheap product that nobody wants.”
The proposal involves a type of plan known as a catastrophic or skinny policies. While they may be appropriate for someone who is young and healthy, a sudden emergency room visit or unexpected hospital stay could cost thousands of dollars in unforeseen bills. People with chronic medical conditions also might have to pay for much — if not all — of their care out of their own pockets.
Dr. Joseph R. Betancourt, president of the Commonwealth Fund, which finances health care research, told the Times that the proposed plans may only exacerbate the issue of unaffordable health insurance. “There’s no doubt that we have an affordability crisis,” he said. “As we move forward to shifting more of the burden to patients, there’s a chance to really exacerbate the crisis.”
One of the key arguments made by the Trump administration is that offering plans that don’t come with a set network of doctors or hospitals allows consumers to find hospitals and doctors that align with their budgets. Yet that argument reveals that the Trump administration isn’t considering one key issue: time.
People have families to take care of, and it’s becoming increasingly common for them to work multiple jobs to keep up with the rising cost of living. It was already a headache trying to research the ACA plans I could afford without subsidies. Now you’re asking people to not only research the plans but also the doctors, hospitals, and prescriptions they can use with the plans, with no guarantee that the insurance will be accepted by any of the doctors in their area. 
As one of the millions who had to go from a silver to a bronze plan due to the expiring subsidies, I can tell you firsthand that they provide little more than the bare minimum. Offering plans that provide even less just sounds like an attempt to take people’s money and offer little in return. 
“We’re normalizing hardship, and we’re normalizing catastrophe,” Katherine Hempstead, a senior policy adviser for the Robert Wood Johnson Foundation, told the Times. She added that the new rule “is not trying to make something comparable to employer coverage,” she said.
The way both Trump and congressional Republicans have handled the ACA can only be described as disastrous. As a result of the ACA subsidies expiring, millions of Americans chose to go without insurance this year because they could not afford it. Instead of meaningfully addressing those costs, the Republican solution is to ask those people to pay for insurance that effectively gives them nothing. 
Somehow, this is worse than doing nothing at all. 
SEE ALSO:
Senate Republicans Unveil Mediocre Health Care Bill
ACA Open Enrollment Reveals Increase In Monthly Premiums

New ACA Plans Trump Pitched Could Increase Deductibles By $31K was originally published on newsone.com

Rest In Power: Notable Black Folks Who We’ve Lost In 2026
9 Famous Lesbian Women Who Were Married To Men
The 30 Hottest Black Men In Hollywood
26 Black Inventions That Quietly Run the World
We care about your data. See our privacy policy.

source

Harlesden High Street is showing works by Paul Flores at Post-Fair, held in an old post office. The fair’s space is “elegant, open and navigable”, says dealer Ace Ehrlich Courtesy Harlesden High Street
Only three days long and with a limited roster of 31 galleries—including PPOW, White Columns, Tomio Koyama Gallery and Untitled Love, an art bookstore—Post-Fair enjoyed strong opening days in its sophomore year. Notable guests included the artist Paul McCarthy, Mike D of the Beastie Boys, curatorial staff from the Museum of Contemporary Art Los Angeles, the collectors Beth Rudin DeWoody and Maja Hoffmann and the writer and translator Ann Goldstein.
“We’re still the new kids on the block,” says the gallerist Chris Sharp, who organises the fair and works with a small team of three employees. “But it feels like we’re more on the map, more anticipated this year.” This year at Post-Fair, his gallery is showing small works by Edgar Ramirez, who won the Frieze Impact Prize in 2023.
On Friday afternoon (27 February), a gentle hum filled the space as visitors wandered from stand to stand. The gallerist Cole Solinger, founder of the San Francisco- and Los Angeles-based House of Seiko, noted that the flow of visitors increases in the afternoon as Frieze crowds move west from the Santa Monica airport.
The House of Seiko stand at Post-Fair features the trompe l’oeil sculptures and paintings of John Hodgkinson, which were inspired by a stay at a ranch for feral horses in Lompoc, California. Hodgkinson’s diminutive sculptures of fence slats encased in metal sit propped against the open windows.
“We chose this fair for its broad array of amazing positions and practices represented,” says Ace Ehrlich, who co-directs the Los Angeles-based gallery Ehrlich Steinberg with Tabitha Steinberg. The team sold around half of its presentation of moss-agate and sterling-silver sculptures by Joel Otterson, a local artist and former faculty member in the ceramics department at University of California, Los Angeles. “We’ve been very lucky to introduce his work to a new and younger audience,” Ehrlich says.
The fair features an open floor plan and minimal architectural intervention in its home inside an old post office, which participants say puts collectors and visitors at ease.
“I feel that Post-Fair is a little bit more curated. It’s a good lineup and good-quality galleries,” says Jonny Tanna, who co-directs the London-based gallery Harlesden High Street with Sophie Barrett-Pouleau. Their gallery’s stand features the work of Antonio Lechuga, a Dallas-based artist who works with Mexican textiles, and Paul Flores, who works with archival family photos and graphics pulled from Mexican culture in Los Angeles (where he is based).
“We have a great relationship with Chris Sharp. There’s a sense of camaraderie and friendship here,” Barrett-Pouleau says. The fair gives gallerists carte blanche, resulting in high-trust relationships that benefit both gallerists and organisers.
“I really applaud the organisers, Sharp and his team, for not subdividing every stand, stuffing the space with a million galleries, making it a circus,” Ehrlich says. “We chose this fair because when collectors find us here, they’re already in a great mood because they’re in a space that’s elegant, open and navigable.”
The fair’s seventh edition gathers the local community of dealers and artists, along with dozens of international galleries, while fostering a convivial atmosphere
Local galleries that stayed nimble during recent socioeconomic headwinds have emerged from the market downturn
A buoyant, young crowd gathered for the fair’s inaugural edition in Echo Park
The fair returns with a stacked list of participants, both new and familiar faces

source

The couple, who’ve kept the love going strong as they navigate Hollywood, starred opposite one another for the first time during the final season of ‘Bel-Air.’
Adrian Holmes and Caroline Chikezie have made it a habit to showcase their love and affection. On the red carpet at the 57th NAACP Image Awards, they couldn’t help but put on a little PDA while reflecting on their careers.
“I’m happy that I’m here with my beautiful wife and that we get to celebrate this together and that she got to be on the show this season,” Holmes told Mariel Turner of theGrio. Chikezie portrayed Dominique Warren, the leader of Geoffrey’s (Jimmy Akingbola) former London gang, and it marked the first time she and Holmes had ever shared a scene together.
Chikezie added that it was one of the best days of her career being opposite her husband on set.
“I just felt so supported,” she said. “‘I’d do my scene and I’d look over and he would be there and I’d go and get a quick hug, you know, and I grab and grab his bum, you know, we don’t have to worry about HR, lots of grabbing of the butt.”
The veteran actors have kept their marriage stronger than ever as they navigated roles on successful shows. Holmes starred as Phillip Banks for four seasons of “Bel Air” while Chikezie portrayed noted gangster Noma in “Power Book II: Ghost.”
While both champion “respect” as one of the main sticking points for keeping the love going strong, Holmes said staying in the moment has been a blessing.
“It’s like just finding the joy every day and celebrating and just having fun and and and choosing each other, you know, every day,” Holmes said. “It’s being present and understanding how lucky and blessed you are to have each other because it’s not easy in this world right now, you know it’s a dark, crazy time we’re in and so the fact that we have each other to support each other and it’s a blessing and we’re stronger together.”
To close out Black History Month, the pair touted two names as inspirations to them in Hollywood. For Chikezie, it’s Ryan Coogler, who is inspiring her to even step behind the camera. For Holmes, the answer was an easy one.
“Michael Jackson,” he said. “He’s my North Star.”
More About:Lifestyle Television
Weekly New Episodes
Stream Now

source