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From ‘Monuments’ at MOCA to ‘Robert Therrien: This Is a Story’ to ‘The Kingdom of Pylos,’ there was no shortage of captivating art at Southern California museums in 2025.
Los Angeles’ ascension coincided with the 46-year career of art critic Christopher Knight. In his final column for The Times, he cites three important factors in that rise.
Form propels content in Robert Therrien’s retrospective at the Broad. ‘This Is a Story,’ filled with enlarged plates and tables, cheeky chapels and flowing beards, has a charismatic presence.
For more than 30 years after opening, the Huntington held the best art collection in the L.A. suburbs. With new additions, the museum continues to build its impressive collection of masterpieces.
Auditors have questioned the accounting practices at the Palm Springs Art Museum. Areas of concern include problems with reporting of endowment spending, improper recording of the market value of donated and deaccessioned art, and faulty recording of admissions revenues.
After an internal candidate was appointed to be director of the Palm Springs Art Museum, the search committee’s leader, upset over the selection process, resigned from the museum’s board.
Juxtaposing Jim Crow-era Confederate monuments and recent art, “Monuments” challenges white supremacy.
Museum shows of recent acquisitions are fine. LACMA trying to make ‘Grounded’ into a theme show isn’t.
As the shredding of civil society accelerates, Ken Gonzales-Day’s art flips our common understanding of identity.
‘The Kingdom of Pylos: Warrior-Princes of Ancient Greece’ at the Getty Villa gives the first look outside Europe at the ancient Greek Griffin Warrior, whose grave held offerings of incomparable artistry.
