#sam-flores

#sam-flores

"It's an amalgamation of the Chicago neighborhood aesthetic with a Bulls fan, quite literally. It's kind of on the nose, but that's how I juxtapose the elements of my work, with the structure of a home and then a figure who is around or in the home."

Gutter Swan's Loryn Barbeau and Steve Egelman will be joined by Elizabeth Hall and Eric Wind for a live performance at The Lost Church.

Frida Kahlo, during her 1933 trip to New York, created a colorful haven in her hotel room by covering the walls with prints by José Guadalupe Posada, which depicted sensational news and political imagery.

Nisha, who looked to be about 15 years old, drew a parol - a star-shaped lantern displayed during Christmas - and a Bahay kubo - a traditional Filipino-style house - with a small pencil, as she sat at a table of the Bayanihan Community Center in SoMa.

Homeowner Richard Segovia said the decision to remove Chavez's image came quickly. Segovia, who described himself as a longtime advocate for women and a supporter of young artists, said he contacted the muralist he works with immediately after a New York Times investigation detailed the allegations. UFW cofounder Dolores Huerta claims to be a survivor of Chavez's alleged abuse.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

Featuring over 1,800 pieces of cannabis packaging spanning three decades and three continents, 'Get to the Bag' is the world's first mylar art show, now in its third year.

See all snaps here. To contribute, send in a headline and a snap to info@missionlocal.com.

We were supposed to be Frieze's special guests. And we feel like we're being censored, racially profiled and discriminated against. Having worked with the fair for five years, she says she will not continue beyond this weekend.

We're just a week away from Frieze LA, when East Coast dealers and local artists alike descend upon the Santa Monica Airport, but this isn't Renée Reizman's first rodeo. Since the critic and artist moved to the area almost 15 years ago, she's witnessed blue-chip New York galleries set up shop and sideline the irreverent, DIY spaces that shape the local art scene. Without these spaces, Reizman writes, she would not have discovered what art can be outside of the white cube.

Artist Ayelet Gal-On does not just paint; she builds, layering oil, acrylic and plaster on canvas. Gal-On's signature subjects for "Taken by the Wind, Swept by the Light," her upcoming solo exhibition at Gallery 9 in Los Altos, are white dresses that appear to hang on a line, defying the stillness of the canvas. "I love the process of playing with color," says the artist.

What's extraordinarily powerful about his practice is that he mixes modernist abstraction language with Indigenous patterning,

This is the site of the Florida state historical marker commemorating Arthur Lee McDuffie, a Black insurance broker and former US Marine whose 1979 beating death at the hands of Miami police ignited one of the most consequential uprisings in the city's history. A plaque unveiled in February 2024 at the site of his attack finally acknowledged the violence that fractured McDuffie's skull and the community-wide outrage that followed.

These paintings reveal the layers of history that undergird modern Los Angeles. Yaanga Lies Under the 101 imagines the city's earliest Tongva inhabitants as they made their home on the land that, in the modern day, runs beneath the Hollywood Freeway. Campos's process mimics this archaeological layering: each canvas begins with a screenprinted underlayer that is then painted over in acrylic, and then once again layered with screenprinted details.