In my home in Downtown LA, I see artists and activists continuing to rise up.

After devastating fires blazed through the region, residents are holding on to the intricate glazed tiles that survived — small but meaningful remnants of their homes.

Dozens signed an open letter criticizing the project for failing to involve unhoused people and for seeking to “cover up … sites of trauma and loss.”

Performers say they received a $1,000 flat rate for a week of work including rehearsals and performances in 80-degree weather.

Police thwarted efforts to build a new Gaza Solidarity Encampment on the campus earlier in the week.

Amid a rise in waste dumping, artist Ethan Primason gives discarded items new lives, working intuitively until he finds their new form.

As black luxury SUVs dropped off guests, faculty demanded the resignation of UCLA Chancellor Gene Block, a member of the Hammer’s board of directors.

Amid aggressive escalations at UCLA and arrests at USC, protesters are invoking the artistic legacy of radical activism.

It's said you can't rush a Dallas collector through a sale, and it's the Southern style to wait for a preview to end before closing.

Revel Hall was a meditation on empty, dilapidated properties in a city plagued by a housing crisis.

More than 1,000 organizers, artists, and film workers gathered to protest what they see as Hollywood's silence and complicity with the Israeli government.

Alice Könitz conducts art experiments with mycelium in the middle of the Mojave Desert.

Organizers pointed to Frieze partner Deutsche Bank's financial ties to Israel and urged fairgoers to speak up.

Car culture, desert scenes, palm tree iconography, and a Burner-ish aesthetics reign supreme at this less-glossy fair.

Dignity Plus, staged in an Altadena funeral home, addressed themes of mortality and memory while making use of improbable spaces for art.

Open-source, printable, and designed for guerilla distribution, Ash Lukashevsky’s flyers are “a small way of insisting on Palestinians’ humanity."

"The Bronx Comes to Los Angeles" presents Ahearn’s and Torres’s works side by side, and it is ultimately Torres’s sculptures that stand out.

The personal essays in this luminous anthology, published by Which Witch LA, pair the interiors of the sanitarium's rooms with the inner lives of women.

The email, which the union cites as an example of Kimberli Meyer's "problematic management," discusses how the museum should address visitors to an exhibition on police violence.

After artists featured in a Chimento Contemporary exhibition engaged with protesters outside, their show was pressured to shut down.