AWOUNDED man lying upon a hospital bed.
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AS KORI NEWKIRK stands amid his very mixed-media retrospective at the Pasadena Museum of California Art, it’s not easy, he confesses, to explain what it all means.
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DRESSED T-shirt and baseball cap casual and sitting papel picado-adjacent in a red vinyl booth at Mexico City, the Los Feliz culinary institution, Jeff Lewis – multimillion-dollar real estate investor, obsessive-compulsive freak, frequenter of pet psychics and shamanistic healers as well as star of Bravo’s cult favorite reality series “Flipping Out,” tried to stay focused.
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SINCE opening on Broadway in 1990, Stephen Sondheim and John Weidman’s “Assassins” has intrigued audiences with its murderous musical travelogue through American history and song styles, including show tunes, barbershop quartets, the death of Abraham Lincoln, spirituals, two attempts on Gerald Ford’s life, soft rock, John Hinckley, folk – and a controversial take on our national character.
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Two white people walk into a bar, a badly lit Culver City saloon called the Backstage whose interior design could be summed up as one pool table, a no-frills photo booth and some scattered neon.
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TALKING WITH John Malpede, co-curator of a new show at Chinatown’s Box Gallery, about the complex contours of life on skid row, you might start to wonder: Is the work meant to be more educational or aesthetic?
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TWO OF Cuba’s artistic exports – 20th century Modernist Wifredo Lam and emerging artist Carlos Luna – have landed side by side at Long Beach’s Museum of Latin American Art, in shows offering two variations on the theme of Cuban identity.
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It’s hard to say when exactly “Psychedelic Healing Visions: A Celebration of Lavender Diamond’s Film ‘Imagine Our Love’ ” got started Tuesday night at the Silent Movie Theatre.
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ORIGINALLY THE residence of Southern Pacific Railroad heir Henry
E. Huntington and his second wife, Arabella, the Huntington Art Gallery, that most genteel Beaux-Arts structure with a Mediterranean twist, first rose up on the Pasadena landscape in 1911.
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IT’S A scene that’s nail-bitingly familiar to post-Katrina America: a family trapped atop their roof as a frenzied storm rages all around.
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