Latest news with #LACMA
Qatar Tribune
21-05-2025
- Entertainment
- Qatar Tribune
QM chairperson opens expo on cultural role of food in Islamic world
QNA Doha Chairperson of the Board of Trustees of Qatar Museums HE Sheikha Al Mayassa bint Hamad Al Thani inaugurated the exhibition 'A Seat at the Table: Food & Feasting in the Islamic World' at the Museum of Islamic Art (MIA). The exhibition is exploring the cultural role of food across the Islamic world and within Muslim traditions. The compelling exhibition is organised by MIA in collaboration with the Los Angeles County Museum of Art (LACMA) and will be on view till November 8, 2025. It is curated by Senior Curator of Decorative Arts & Design at Lusail Museum Dr Tara Desjardins and Curatorial Affairs Researcher at Museum of Islamic Art Teslim Sanni. This exhibition is also a legacy project of the Years of Culture initiative, a programme of collaborations between Qatar and partner countries that seeks to nurture mutual respect and understanding by building long-term cultural, social and economic ties. Director of Museum of Islamic Art Shaika Nasser Al Nassr said, 'Food has always been a powerful expression of culture, identity, and hospitality across the Islamic world. With A Seat at the Table, MIA is proud to present an exhibition that not only celebrates the beauty of culinary traditions but also invites reflection on how this food continues to shape the present. This collaboration with LACMA, inspired by their seminal Dining with the Sultan: The Fine Art of Feasting exhibition, has allowed us to build a uniquely local perspective, weaving together the historical and the contemporary to tell a story that is deeply resonant and richly layered.' Featuring artworks and objects from the collections of MIA, Qatar National Library, Mathaf: Arab Museum of Modern Art, Lusail Museum and Qatar Museums' General Collections, the exhibition highlights the central role dining plays in Islamic cultures. The exhibition also delves into the evolving culinary traditions of the Islamic world, revealing both the distinctions and common threads that have shaped its rich gastronomic heritage over time. Al Nassr said that the exhibition is presented in five main sections that reflect the diversity of culinary traditions in Islamic societies and highlight the richness of this cultural heritage throughout the ages. Al Nassr explained that the exhibition offers an immersive experience, beginning with the 'Breaking Bread' section, which focuses on the concepts of continuity, change, and the spirit of community through representing the tannur, a traditional oven used by different cultures from around the world to bake various types of bread, including Arabic bread, Iranian flatbread, and Yemeni Lahoh bread. She added that the 'Food and Faith' section explores Islamic customs related to food, displaying manuscripts and artifacts bearing Quranic verses. It also highlights Islamic occasions associated with food, namely Eid Al-Fitr and Eid Al-Adha. Moreover, the 'Itinerant Ingredients' section explores the history of global exchanges that arose as a result of the spice trade and the transfer of food ingredients along ancient trade routes, all the way to Qatar. It also showcases the intertwined historical relationship between food and medicine in Islamic civilisations. Al Nassr added that the 'Dining with the Sultan' section offers a glimpse into the traditions of banquets in the courts of kings, where royal banquets were a symbol of wealth and influence, the grander the occasion, the more elaborate the dishes. Attending these lavish banquets required the wearing of fine clothing and the use of luxurious utensils, along with entertainment shows that added to the palace atmosphere. The final section, 'Contemporary Cuisine: We Are What We Eat,' exhibits modern food habits through three key themes: agriculture as a tool for nation-building and a way to shape identity; the growth of fast-food and food-truck cultures; and farm-to-table practices that emphasise a return to 'slow food' and sustainability in food production and consumption.
Forbes
16-05-2025
- Entertainment
- Forbes
Billie Eilish's Albums Are Flying High — All Of Them
All three of Billie Eilish's albums appear on at least four U.K. charts this week, with Hit Me Hard ... More and Soft returning to the top 10 on multiple rankings. LOS ANGELES, CALIFORNIA - NOVEMBER 04: Billie Eilish, wearing Gucci, attends the 2023 LACMA Art+Film Gala, Presented By Gucci at Los Angeles County Museum of Art on November 04, 2023 in Los Angeles, California. (Photo byfor LACMA) Billie Eilish's albums typically perform well simultaneously, and it's a rare week when all three of her full-lengths don't appear not only on the main list of the most-consumed projects in the United Kingdom, but also among the most-streamed and bestselling. She's only released three complete projects in her career, but even years after their debuts, they all remain hugely successful. This week, When We All Fall Asleep, Where Do We Go?, Happier Than Ever and Hit Me Hard and Soft each appear on at least four tallies apiece in the U.K. In each instance, they're growing by leaps and bounds — some surging dozens of spots from one frame to the next. This period has turned out to be a very lucrative one for the singer-songwriter, as interest in her catalog is apparently up significantly from just a few days ago. Unsurprisingly, Hit Me Hard and Soft, Eilish's latest full-length, is her top performer. The title returns to the top 10 on both the Official Albums and the Official Albums Streaming charts. It also lifts at least 20 spaces on two purchase-only rankings. Hit Me Hard and Soft is the only one of Eilish's collections to currently appear on five rosters in the U.K., as the set also manages to reenter the Official Vinyl Albums Chart at No. 29. The album is performing so well largely based off of the continued popularity of the single 'Birds of a Feather,' which remains a top 40 smash on two of the three tallies where it makes a home. Eilish's successes rank from newest to oldest this week, with Happier Than Ever, her sophomore effort, serving as her second-best-performing studio LP. While it doesn't break into the top 10, Happier Than Ever does grow by the greatest number of spaces on at least one roster. The hit-packed set jumps almost 40 spots on both the Official Albums Sales and Official Physical Albums charts. It also grows by a huge number of spaces on both the main consumption ranking and the streaming-only list. When We All Fall Asleep, Where Do We Go? introduced Eilish to a massive worldwide audience half a decade ago, and it's still a chart win, which is a major accomplishment for a years-old pop/rock set. After sitting in the third-to-last position on the Official Albums Sales and Official Physical Albums charts last week, the debut full-length rockets more than 30 spots on the list of the top-selling releases on any physical format and grows by more than 25 on the general Official Albums Sales tally. At the same time, it celebrates 250 weeks on the Official Albums chart and five full years as one of the most-streamed sets in the country.
Yahoo
14-05-2025
- Entertainment
- Yahoo
Letters to the Editor: 'Trump will never be able to truly destroy art that he does not like'
To the editor: Kudos to columnist Patt Morrison for her timely reminder that art censorship has long been a tool of authoritarian government (''Degenerate' or 'woke,' Paris museum exhibit shows what happens to art in the crosshairs of politics,' May 7). During the American culture wars in 1991, LACMA curator Stephanie Barron organized the first major exhibition about Nazi art policy, ''Degenerate Art': The Fate of the Avant-Garde in Nazi Germany.' Today, several intimate theaters are presenting anti-authoritarian plays in Los Angeles as part of Reflections on Art and Democracy. These local artists can afford to be bold because most of them don't receive federal funding. Keep resisting, Los Angeles artists! Tom Jacobson, Los Angeles .. To the editor: Thank you, Morrison, for comparing President Trump's "improper ideology" art obsession to Adolf Hitler's "degenerate' art obsession. Isn't the purpose of art to reflect humanity? Isn't the purpose of art to encourage dialogue? Isn't the purpose of art to share our creative endeavors? Hitler could not destroy art that he did not like. Trump will never be able to truly destroy art that he does not like. Susan Kogan, Rancho Mission Viejo This story originally appeared in Los Angeles Times.
Los Angeles Times
14-05-2025
- Entertainment
- Los Angeles Times
Letters to the Editor: ‘Trump will never be able to truly destroy art that he does not like'
To the editor: Kudos to columnist Patt Morrison for her timely reminder that art censorship has long been a tool of authoritarian government (''Degenerate' or 'woke,' Paris museum exhibit shows what happens to art in the crosshairs of politics,' May 7). During the American culture wars in 1991, LACMA curator Stephanie Barron organized the first major exhibition about Nazi art policy, ''Degenerate Art': The Fate of the Avant-Garde in Nazi Germany.' Today, several intimate theaters are presenting anti-authoritarian plays in Los Angeles as part of Reflections on Art and Democracy. These local artists can afford to be bold because most of them don't receive federal funding. Keep resisting, Los Angeles artists! Tom Jacobson, Los Angeles .. To the editor: Thank you, Morrison, for comparing President Trump's 'improper ideology' art obsession to Adolf Hitler's 'degenerate' art obsession. Isn't the purpose of art to reflect humanity? Isn't the purpose of art to encourage dialogue? Isn't the purpose of art to share our creative endeavors? Hitler could not destroy art that he did not like. Trump will never be able to truly destroy art that he does not like. Susan Kogan, Rancho Mission Viejo
Time Out
08-05-2025
- Entertainment
- Time Out
The Getty's free sunset concert series is back for the summer
Summer is so close we can smell it, and that means all of our favorite outdoor events are making their comebacks. Jazz at LACMA is back in action, Cinespia and Barnsdall Park's Friday Night Wine Tastings have already been announced, and now add to that list the Getty Center 's popular Off the 405 series. The museum's annual concert series announced its lineup on Wednesday, and it includes four evenings of eclectic programming. The best part: Tickets—like admission to the Getty Center—are free, though you'll want to try to secure a reservation ahead of time; tickets tend to open up about two to three weeks before each show. The locally beloved Off the 405 series has been drawing crowds to the Getty's courtyard since 2009 (besides taking a couple years off during the pandemic). With past headliners including Moses Sumney, Allah-Las, Chicano Batman and Shannon and the Clams, each year the series' curated lineup spans a range of genres and regularly showcases some of the most exciting up-and-comers in the independent music scene. Each performance starts at 7:30pm and will be preceded by a DJ set at 6pm. Listening to free live music while watching the sun set over the L.A. skyline in one of the city's most beautiful venues—what could be better? And now for the lineup: First up on May 31 is SML. No, they're not an outlet for songs from Saturday Night Live, but rather an L.A.-based quintet of musicians who've worked with the likes of Phoebe Bridgers, Leon Bridges and Perfume Genius. The band, who recently played a sold-out show at the Lodge Room, blends jazz, Afrobeat, kosmische (electronic Krautrock) and ambient influences. Jeff Parker and Scottie McNiece will DJ before the performance. Tickets are available starting today, May 8. As of the time of writing, there's no show scheduled in June, but on July 12, Nashville-based singer, songwriter and guitarist Madi Diaz will take the stage. Diaz, who's collaborated with Harry Styles and Kacey Musgraves and toured with Angel Olsen and Waxahatchee, is also a recent Grammy nominee for best folk album. Tickets are available starting Thursday, June 26. Two weeks later on July 26 is Empress Of, the musical project of Honduran-American L.A.-based singer-songwriter Lorely Rodriguez. Her bold, bilingual music blends electronic, R&B and dream pop. Tickets are available starting Thursday, July 3. And last but not least, L.A.-based composer, singer and songwriter Emile Mosseri will perform on August 23. You've likely heard Mosseri's work before—he composed the scores for films including The Last Black Man in San Francisco and Minari, which earned him an Oscar nomination. His songwriting shows a more personal side of the artist, and his live performances combine both sides of his repertoire. Tickets are available starting Thursday, July 31. Note that even though tickets are free, they're still required and will serve as your museum reservation. Oh, and as always, you'll still have to pay for parking (normally $25, it's $15 after 3pm and only $10 if you show up after 6pm). If a show is sold-out, walk-ups will be admitted day-of if any spots end up being available, if you want to try your luck. Either way, we recommend arriving early to check out the galleries and gardens before the show and making a day of it.
