Carolina A. Miranda is a Los Angeles Times columnist focused on art and design, who also makes regular forays into other areas of culture, including performance, books and digital life. In her years at The Times, she has covered the ways in which communities are rethinking the nature of monuments, how architecture is shifting to accommodate a denser Los Angeles, the significance of political graphics in the post-Roe world and how narco-culture has permeated TV and the internet. She was a winner of the 2017 Rabkin Prize in Visual Arts Journalism and the 2021 Sigma Delta Chi Award presented by the Society of Professional Journalists.
Latest From This Author
Frida Kahlo’s story has been told and retold, but there are still pieces left to divulge, as evidenced in the new Prime Video documentary ‘Frida.’
March 16, 2024
Thanks to Elizabeth Alexander, the Mellon has committed $500 million to preserve, relocate and generate discussion about monuments — and it’s changing the nature of monuments.
March 14, 2024
‘Barbie’ and ‘Poor Things’ use architecture to conjure fantastical worlds. In ‘The Zone of Interest,’ it channels the banality of evil.
March 9, 2024
Architecture criticism is not dead yet. The New York Review of Architecture turns its eye to L.A. — from cemetery design to the rising Lucas Museum.
March 2, 2024
The actor-comedian’s first feature film, ‘Problemista,’ draws inspiration from his own byzantine immigration experience as well as surrealist paintings.
Feb. 28, 2024
Ed Templeton’s photos from his time as a pro skateboarder also record poignant moments of friendship, love and loneliness — not to mention broken bones.
Feb. 17, 2024
L.A. artist Joey Terrill’s vibrant canvases, on view at Marc Selwyn Fine Art, chronicle intimate moments of queer Chicano life: heartbreak and love and life with HIV.
Feb. 14, 2024
Decaying high-rises in L.A. — as well as Pyongyang and Caracas — represent the limitations of technology and grand building schemes.
Feb. 10, 2024
At a time in which women’s bodily autonomy is constricted, the ‘cool auntie’ offers a model of glamorous independence — and a counter to the ‘tradwife.’
Feb. 6, 2024
Architect William Pereira’s 1973 Times Mirror building in downtown L.A. makes a special appearance in Netflix’s ‘Griselda’ as a signifier of cocaine excess.
Feb. 3, 2024