Tweet Tweet
2025-11-13 17:30 - 21:00, 2025-11-14 17:30 - 21:00, 2025-11-15 17:30 - 21:00 (Asia/Kolkata) | Hudson Mainstage Theatre, 6539 Santa Monica Blvd., Hollywood, California
Life is upended for 32-year-old PhD candidate Mark after a chance meeting with a stranger. Relationships with Ellen, his long-suffering fiancée, and friends are tested when Mark starts developing feelings outside the realm of what’s considered “normal.” But perhaps it’s all beyond his control. “Tweet Tweet” is a psychological comedy about what we think we can control and what we don’t know we can’t.

Erasure: Black Arts LA
2025-11-13 18:00 - 19:00 | Vincent Price Art Museum, 1301 Avenida Cesar Chavez, Monterey Park, Los Angeles, CA, 91754, United States
VPAM presents an evening exploring Black erasure and creative resistance through language, image, and live presentation, inviting audiences to engage with histories both remembered and obscured.
After a light reception and after-hours gallery access, guests will be invited to participate in a hands-on poetry activity using pages from the Act On It! exhibition catalog, facilitated by poet and artist Rebecca Gonzales. Guided by creative prompts and surrounded by the exhibition’s artwork, participants will create erasure poems, a literary form in which words are selectively removed from an existing text to reveal a new piece of writing. The resulting poems will be digitized and archived as part of VPAM’s evolving record of community reflection and response.
Later in the evening, acclaimed cultural critic and writer Ernest Hardy will present a multimedia lecture investigating the many dimensions of Black erasure (collective, historical, structural, and cultural) through an incisive mix of film clips, literature, music, and social media. Rooted in the legacy of the Black Arts West movement and drawing from Hardy’s collaborative archival project The Black Book, the presentation will trace cultural erasure and resilience, while proposing pathways toward reimagined futures.

Jesse McCartney
2025-11-13 19:00 - 23:30 | Hollywood Palladium, 6215 Sunset Blvd, Hollywood, California
Building on his start in the boy band Dream Street, Jesse McCartney transitioned into a highly successful solo musical career in the mid-2000s, establishing himself first as a teen pop sensation with the platinum-selling 2004 debut album, Beautiful Soul. As his career progressed, he demonstrated significant musical evolution, moving away from pure pop toward a more sophisticated R&B and dance-pop sound with his third album, Departure (2008), which featured his biggest hit, the smooth, infectious single “Leavin’.” Beyond his own vocal performances, McCartney is also an accomplished songwriter whose credibility extends to mainstream pop, most famously co-writing the globally chart-topping ballad “Bleeding Love” for Leona Lewis, ensuring his continued influence in both performing and crafting popular music.

Flux Screenings: Fall 2025
2025-11-13 19:30 - 21:00 | Hammer Museum, 10899 Wilshire Blvd, Los Angeles, CA, 90024, United States
The Flux Screening Series brings the creative community together for a night of outstanding short films and music videos, featuring wildly inventive filmmaker presentations and performances. Our fall program travels through the sights and sounds of international cities. We are proud to present the world premiere of Kyiv from electronic music artist Apashe, featuring Alina Pash. Filmed on 35mm in the capital during the ongoing war, the video showcases an extraordinary lineup of Ukrainian artists and marks the latest collaboration between Montreal-based director Adrian Villagomez and Apashe. Fresh from its premiere at the Toronto Film Festival, Hannah Cheesman joins us to present Marriaginalia, a surreal story of married life told across a single day in three parts. With Hundred Acres, Flux alum Daren Rabinovitch of Encyclopedia Pictura and Noname take us on a magical bike ride through an urban alley, pursued by a mysterious, cat-like figure. Gilly Barnes’s lyrical documentary The Theory of Spice—narrated by Jon Batiste and Rizo—journeys through India, Sri Lanka, and Guatemala, exploring the unique histories of cardamom, cinnamon, and ginger. Viktor Horvath, LA-based founding member of the Hungarian collective Kinopravda, presents PRESSO, shot in Budapest for his countryman Dzsúdló. This fall saw the release of one of the year’s most remarkable music videos, Rosalía’s Berghain. The track features Björk, Yves Tumor, and the London Symphony Orchestra, uniting three singular sonic worlds. Directed by Nicolás Méndez of CANADA and filmed entirely in Warsaw, the epic video captures Rosalía performing with the orchestra in a powerful visual meditation on sound that is distinctly human. The lineup spans comedy, dance, drama, animation, and music videos for Jianbo, La Lá, Uzi Freyja, Xinobi and more. Special guests include Gilly Barnes, Hannah Cheesman, Viktor Horvath, and some surprises, followed by a courtyard after-party with DJ Maddy Maia.

Moulin Rouge! The Musical
2025-11-13 19:30 - 22:30, 2025-11-14 20:00 - 23:00, 2025-11-15 14:00 - 17:00, 2025-11-15 20:00 - 23:00, 2025-11-16 13:00 - 16:00

Moulin Rouge! The Musical
2025-11-13 19:30 - 23:30, 2025-11-14 20:00 - 23:30, 2025-11-15 14:00 - 17:00, 2025-11-15 20:00 - 23:30, 2025-11-16 13:00 - 17:00 | Hollywood Pantages Theatre, 6233 Hollywood Blvd. Wayne McWorter (213)365-3500, Hollywood, CA, 90028.0
The spectacular Moulin Rouge! The Musical plunges the audience into the vibrant, hedonistic underworld of the famous Montmartre nightclub in 1899 Paris, setting the stage for a tragic, yet dazzling love story built on the bohemian ideals of Truth, Beauty, Freedom, and Love.

Olga de Amaral
2025-11-14 18:00 - 20:00 | Lisson Gallery, 1037 N. Sycamore Ave., Los Angeles, CA, 90038, United States
From my earliest days to my most recent pieces, I have always been inhabited by color, yet I am still looking for its mysterious soul. – Olga de Amaral Lisson Gallery Los Angeles is honored to present a focused survey of works by renowned Colombian artist Olga de Amaral, marking her first solo exhibition in the city in almost a decade. Spanning from the early 1970s through 2018, the exhibition traces key developments in Amaral’s influential, six-decade career and her singular practice that dissolves the boundaries between weaving, painting, and sculpture. Through landmark works of varying scale and format, the show offers a rare opportunity to engage deeply with Amaral’s unique visual and material language, interlacing linen, wool, horsehair, Japanese paper, acrylic, and precious metals into luminous, sculptural forms that shimmer with historical, spiritual, and environmental resonance. The works on view bear witness to the determined plurality of Amaral’s art since the 1970s. Materials including horsehair, Japanese paper, and gold and palladium leaf combine to produce a fluid, emotional and aesthetic register, one that fluctuates between the epic and the intimate, the material and the spiritual. In two distinct works, created nearly forty years apart, Amaral has suspended a woven structure from the ceiling. Eslabón familiar (1973) consists of a rope-like length of horsehair that loops with Baroque intricacy around a larger loop-shaped armature. By contrast with the internal dynamism of this early work, Nudo 19 (turquesa) (2014) takes the form of a slender column of turquoise-dyed linen threads, stiffened with gesso and tied in a single knot towards the top. The object appears both airborne and earthbound, magnifying a simple gesture at the core of all weaving to a grand scale. Throughout the exhibition, twin elements of ornate complexity and disciplined simplicity can be seen to alternate and combine. A rare and monumental work from Amaral’s acclaimed Alquimia series, Alquimia 41 (díptico), will be featured prominently on the west wall of the gallery. Created in 1987, this diptych is one of the largest examples from Amaral’s most extensive body of work through which she has explored the transformative nature of alchemy. Infused with the luminosity of gold leaf, the work reflects both the sacred materiality of pre-Columbian traditions and the Japanese philosophy of kintsugi. Such ritualistic associations become more concrete in Memento 9 (2016), in which tightly-layered strips of linen form a grid, overlaid with gold leaf. Also on view is work from the Soles series, which relate closely to her Estelas (1996–2018), a larger body of gold leaf works. As the title Soles (Suns) suggests, Amaral’s use of gold emphasizes the luminosity of the material. Her deft manipulation of the surface, built up with many layers of gesso, lends a solid, sculptural weight to these works, which nonetheless maintain a sense of movement and ephemerality evocative of the natural world. The grid structure reappears in two works from the Nébulas series (2014–19), where segments of Japanese paper, saturated in deep greens and blues, are overlaid with geometric or radial motifs. A related interplay of structure and light is evident in Agua azul (2018), where vertical strips of painted paper are folded over linen threads and suspended away from the wall, allowing light to pass through and produce a shimmer reminiscent of cascading water. This dualism between solidity and transparency, the earth and the sky, can also be traced back to early monumental works like Paisaje de calicanto (1983), in which light is integral to the woven form. However, unlike the artworks such as the Nébulas, which reference the cosmos in their palette and construction, Paisaje de calicanto’s rich colors are rooted in the artist’s native Colombian landscape. Amaral’s studies at Cranbrook Academy of Art in Michigan in the mid-1950s proved to be a transformative experience for the artist, introducing her to weaving and thus providing a technical outlet for a fascination that had begun in childhood: “I learned about the loom, which I saw as another way of working and constructing things,” she has explained. “I became interested in fiber, in thread, because weaving allowed for invention.” Upon returning to Colombia, she began to make handwoven textiles, and from the late 1960s she increasingly aligned her creations with ‘fine art’ genres, initiating a dismantling of the boundary between craft and art that would come to define her output. The current exhibition follows upon institutional displays that have confirmed Amaral’s position within an expanded history of art. These include ‘Woven Histories’, which opened at LACMA in 2023 and subsequently travelled to three other venues, including the National Gallery of Art, Washington D.C., and a large-scale retrospective that travelled from the Fondation Cartier pour l’art contemporain, Paris (2024) to ICA Miami (2025).

Jersey Poets: Bruce Springsteen & Patti Smith
2025-11-14 19:00 - 21:00 | Musichead Gallery, 7420 W Sunset Blvd, Los Angeles, CA, 90046, United States
Musichead Gallery is proud to present Jersey Poets, a group exhibition of photographs celebrating Bruce Springsteen and Patti Smith, two visionary artists who emerged from New Jersey to redefine the relationship between music, language, and image. Featuring work by Adrian Boot, Allan Tannenbaum, Bob Gruen, Danny Clinch, David Gahr, David Rose, Frank Stefanko, Lynn Goldsmith, Neil Zlozower, Norman Seeff, Steve Rapport, and Terry O’Neill, the exhibition brings together portraits and performance photographs that explore how both artists transformed rock and roll into a form of storytelling, spiritual reflection, and personal expression. While Springsteen and Smith share geographic and generational roots, their creative trajectories reveal distinct approaches to truth and transcendence. Springsteen’s narratives of working-class perseverance echo the rhythms of small-town America, while Smith’s poetic and avant-garde sensibility gave voice to the intellectual and emotional edges of punk. On view are photographs that trace their parallel journeys, capturing moments of performance, collaboration, and persona that illuminate the dynamic balance between realism and symbolism, individuality and community, sound and vision. The exhibition coincides with the release of Bruce Springsteen’s biopic Deliver Us From Nowhere, the publication of Patti Smith’s memoir Bread of Angels, and her performance at Walt Disney Concert Hall. Both artists also mark the 50th anniversaries of their debut albums Greetings from Asbury Park, N.J. and Horses. Through these photographs, Jersey Poets invites viewers to reflect on how two singular voices continue to influence the cultural and visual language of modern music. We invite you to experience Jersey Poets, where music and photography meet to tell the stories of Bruce Springsteen and Patti Smith, their roots, their visions, and their enduring impact on culture.

Joshua AM Ross / Caleb Engstrom: Ode To Sunflower
2025-11-14 19:00 - 22:00 | Wonzimer Gallery, 341 S Avenue 17, Los Angeles, CA, 90031, United States
Drawings by Joshua AM Ross Furniture Designs by Caleb Engstrom Wönzimer is pleased to announce Ode to Sunflower, a two-person exhibition featuring new works by Joshua AM Ross and Caleb Engstrom. Ode to Sunflower explores themes of perception, the body, and material intimacy through drawings and furniture. The exhibition features 14 colored pencil drawings by Joshua AM Ross alongside 14 new furniture pieces by Caleb Engstrom. Joshua AM Ross’s work draws a parallel between the life cycle of the sunflower and the human body. His series of drawings portrays figures in motion, capturing moments of interaction and connection. These works ask questions about seeing, being, and becoming, examining how bodies engage with one another through both touch and non-touch. Caleb Engstrom presents the newest chapter of his DRY KISS series. The works include aluminum chairs and the debut of a dining table, as well as an upholstered lounge chair in wide-wale corduroy. Guided by the mantra “don’t repeat yourself, keep it simple, stupid,” Engstrom explores how we inhabit objects, and how touch transforms into memory. Together, Ross and Engstrom’s investigations into the architecture of experience and the intimacy of materials find shared ground, creating a dialogue between their works.

MOTHER TONGUE: On Power
2025-11-14 19:00 - 22:00 | Friday Gallery, 767 S Alameda St, Los Angeles, CA, 90021, United States
Mother Tongue asks: “What does it mean to speak the language of power?” In this moment, more than ever, words matter. Words seduce. Words distort. Words unite. Words intoxicate. Power knows this well, with language as its chosen lover. Friday Gallery’s fall season brings together diaspora and indigenous artists exploring the language and symbols of power, from the literal to the metaphoric and mythic. Mother Tongue presents works by Caroline Monnet, Raymundo T. Reynoso, Cryptik, Salomón Huerta, and Behnaz Farahi. Weaving perspectives from Anishinaabe, Mexican, South Korean, and Iranian heritages, the pieces tell a larger story of how language and power have always danced together across time, culture, and community. The show will be paired with a living library: 100 Books of Resistance chosen by 100 cultural thinkers and curated by linguist scholar Eva Barbarossa. The Mother Tongue library and popup bookstore will bring together diverse views on power and language: from the conversations of plants, to the secret lexicon of an extinct female-only language. It will span cultures, eras, and genres: from protest poetry to con artists, from political philosophy to comic books. Your mother tongue is the first language you learned to speak. By understanding the language of power and making it our native tongue, we can hold it, bend it, and channel it as our own. Mother Tongue is a love letter to the thinkers, writers, and artists who’ve given us the language of courage when we needed it most.

LA Creeps: Mirror Mirror - A collaborative exhibition between Liz Walsh & Kim Weller
2025-11-14 19:00 - 23:00 | LAST Projects Gallery, 206 S Ave 20, Los Angeles, CA, 90031, United States
Mirror, Mirror, opening November 14th at Last Projects, is a multimedia exhibition made by L.A. Creeps: a collaboration between artists Liz Walsh and Kim Weller. The two have been working together (as L.A. Creeps) since 2016, and have exhibited at Last Projects, M.A.R.S. and Post. The group’s initial projects involved installing site specific multimedia works in locations around Los Angeles such as Hollywood Forever Cemetery, parking garages, lawns, and under freeways. Improvisation and sometimes danger shadowed these actions; the artists quickly set up their work and documented it to evade authority figures. Random passerbys could experience art that entwined punk, humor, and pop with subtle social and political commentaries. Walsch and Weller met in San Francisco at the California College of the Arts, and then reconnected in Los Angeles. The two enjoyed each other’s work and wanted to collaborate. Walsch’s inspiration comes from plant life and living in Los Angeles. She focuses on the relationships between technology, entropy, and the natural world. Weller, on the other hand, mixes sparkly semi-precious materials with repulsive materials to explore celebrity tabloid culture, camp, and morbidity. Mirror, Mirror allows L.A. Creeps the opportunity to display their artwork in a more permanent setting, and it gives them more time to play with the work. It includes art that Weller and Walsh have been working on individually, which mirrors how their collaboration operates. Weller explains, in relation to the site specific work, “Another cool thing about CREEPS is that we never discuss what the other person is making beforehand. When we arrive at the site, we pull everything out of the car and look at each other’s work and then we install. It’s really exhilarating and one of my favorite parts of this project. That is the surprise for me every time.”

quinnie - The Paper Doll Tour
2025-11-14 20:00 - 23:30
quinnie, is an American indie-folk and bedroom pop singer-songwriter from New Jersey who has quickly become known for her deeply intimate and vulnerable music. After years of independently releasing demos, she achieved viral success in 2022 with her song “touch tank,” which led to the release of her critically praised debut album, flounder, in 2023. Her music is often noted for its soft, dreamy production, candid lyrics that explore the emotional journey of early adulthood and womanhood, and an honesty that fans find highly relatable. With the recent release of her sophomore album, paper doll (2025), quinnie continues to carve out a unique space in the Gen Z indie scene, blending influences from classic folk artists like Joni Mitchell with a contemporary, ambient-inspired sonic palette.

Herb Alpert & The Tijuana Brass & Other Delights
2025-11-14 20:00 - 23:30, 2025-11-15 20:00 - 23:30 | Dolby Theatre, 6801 Hollywood Blvd., Hollywood, California, 90028.0
After reforming his iconic Tijuana Brass for the first time in over 40 years, legendary musician, artist, record label executive, and philanthropist Herb Alpert will close out his once-in-a-lifetime Herb Alpert & The Tijuana Brass & Other Delights tour with a blowout homecoming show at the Dolby Theater in Los Angeles on November 15th.
With an all-new lineup of Bill Cantos (piano & marimba), Kerry Marx (guitars), Ray Brinker (drums), Kris Bergh (trumpet), Ryan Dragon (trombone), and Hussain Jiffry (bass), Herb Alpert & The Tijuana Brass & Other Delights commemorates the 60th anniversary of his historic album Whipped Cream & Other Delights performing hits like “The Lonely Bull,” “Spanish Flea,” “Tasteof Honey”, “This Guy’s In Love With You” and another delight, “Rise.”

Secret Asian Man presents: Three Voices Patricia Fernández | Beatriz Cortez: 4 Meters | Dala Nasser: Innocents at Home
2025-11-15 11:00 - 17:00 | Commonwealth and Council, 3006 W 7th St #220, Los Angeles, CA, 90005, United States
Patricia Fernández (b. 1980, Burgos; lives and works in Los Angeles) received an MFA from California Institute of the Arts (2010) and a BFA from University of California, Los Angeles (2002). Selected solo exhibitions have been held at Commonwealth and Council, Los Angeles (2024, 2021, 2018); Commonwealth and Council, Mexico City (2023); Whistle, Seoul (2021); Los Angeles Contemporary Archive (2021, 2016); Holiday Forever, Jackson Hole (2020); Todd Madigan Gallery, Bakersfield (2018); Museo de Arte Burgos (2015); 18th Street Arts Center, Santa Monica (2014); and LAXART (2014). Selected group exhibitions have been held at Los Angeles Municipal Art Gallery (2023, 2017); Armory Center for the Arts, Pasadena (2022); Los Angeles County Museum of Art (2020); Angels Gate Cultural Center, San Pedro (2019); Tina Kim Gallery, New York (2018); Obra, Malmö (2017); and Hammer Museum, Los Angeles (2012). Fernández is a recipient of Otis College of Art and Design Faculty Development Grant (2025, 2021), Joan Mitchell Foundation Painters and Sculptors Grant (2019), Pollock-Krasner Foundation Grant (2017-18), Speranza Foundation Lincoln City Fellowship (2015), France-Los Angeles Exchange Grant (2012), and California Community Foundation Fellowship for Visual Artists (2011). Fernández has participated in residencies at Sandness, Norway (2024), Forest Island, Mammoth Lakes (2018); Récollets, Paris (2016); D-Flat, Mexico City (2016); Headlands Center for the Arts, Marin (2015); 18th Street Arts Center, Santa Monica (2014); and Fondazione Antonio Ratti, Como (2013).
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An nochipa tlaltikpak:
san achika ya nikan.
Tel ka chalchiuitl no xamani,
no teokuitloatl in tlapani,
No ketsali posteki.
An nochipa tlaltikpak:
san achika ye nikan.
—Netzahualcoyotl
Everything is in a process of transformation: flowing, moving, changing, and falling apart. In 4 Meters, Beatriz Cortez regards the sinking of the Palacio de Bellas Artes in Mexico City as a metaphor for impermanence. The surrounding Lake Texcoco aids this transformation, resisting the cultural occupation of the Palacio—the ultimate symbol of modernity—and measuring time by the increasing depth of the spoils of colonialism it drowns. Like a cenote, the lake swallows offerings, enabling the survival of the Indigenous cultures and spirituality of the ancient urban center that once occupied this site. Evoking the words of the poet ruler of Texcoco, Netzahualcoyotl, Cortez reminds us that everything crumbles: “Not forever on Earth: only fleetingly here. Even if made of jade it breaks, even if made of precious metal it cracks, even if made of quetzal feathers it tears. Not forever on Earth: only fleetingly here.”
Beatriz Cortez (b. 1970, San Salvador; lives and works in Los Angeles and Davis) received an MFA from California Institute of the Arts (2015) and a PhD in Latin American Literature from Arizona State University (1999). Cortez is faculty at University of California, Davis. Selected solo and two-person exhibitions have been held at Americas Society, New York (2025); Storm King Art Center, New Windsor (2023); Williams College Museum of Art, Williamstown (2023); Pitzer College Art Galleries, Claremont (2022); Institute of Contemporary Art, San Diego (2021). Selected group exhibitions have been held at Los Angeles County Museum of Art (2025); Boston Public Art Triennial (2025); Kemper Museum of Art, St. Louis (2025); Montalvo Arts Center, Saratoga (2024); 60th Venice Biennale (2024); Tufts University Art Galleries, Medford (2022); Michigan State University Broad Art Museum, East Lansing (2021); Museo de Arte Contemporáneo, Panama (2021); Wattis Institute for Contemporary Arts, San Francisco (2020). Cortez is a recipient of Latinx Arts Fellowship, Mellon Foundation (2023), New School Vera List Center Borderlands Fellowship (2022–24), and Artadia Los Angeles Award (2020). Cortez has participated in residencies at Ucross Foundation (2025); The Arctic Circle (2023); and Atelier Calder, Saché (2022).
Cortez’s work is in the collections of El Paso Museum of Art; Ford Foundation, New York; Getty Research Institute, Los Angeles; Institute of Contemporary Art, San Diego; Lawrence University, Appleton; Los Angeles County Museum of Art; Michigan State University Broad Art Museum, East Lansing; Mohn Art Collective: Hammer, LACMA, MOCA (MAC3); Museo Comunitario Kaqjay, Patzicía; and Museo de la Imagen y la Palabra, San Salvador.
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Dala Nasser (b. 1990, Tyre; lives and works in Beirut and London) received an MFA from Yale University (2021) and a BFA from University College London (2016). Selected solo exhibitions have been held at Kunsthalle Basel (2025); Renaissance Society, Chicago (2023); Kölnischer Kunstverein, Cologne (2022); and V.O Curations, London (2022). Selected group exhibitions have been held at Aichi Triennale, Nagoya (2025); Aïshti Foundation, Beirut (2025); Accelerator, Stockholm (2025); Wellcome Collection, London (2025); Espoo Museum of Art, Helsinki (2025); Whitney Museum of American Art, New York (2024); Diriyah Contemporary Art Biennale, Riiyadh (2024); 15th Sharjah Biennial (2023); 58th Carnegie International, Pittsburgh (2022); and Beirut Art Center (2019). Nassar is a recipient of Isola Sicilia Prize (2022) and 32nd Salon D’Automne Emerging Artist Prize (2017). Nassar has participated in residencies at V.O Curations, London (2021); Gapado AIR, Jeju Island (2019); and Ashkal Alwan, Beirut (2017).

Sarah Ann Weber: I Know Her | Group Show: After Each Night We Are Emptier
2025-11-15 18:00 - 20:00 | Anat Ebgi | Mid-Wilshire, 6150 Wilshire Blvd, Los Angeles, CA, 90048, United States
Across I Know Her, Sarah Ann Weber locates apertures where the maternal, environmental, and imaginative converge, accumulating dualities that form an ecology of unruliness and resilience. The exhibition’s title gestures to multiple recognitions—the child, the mother, the landscape, the artist herself—each glimpsed, inhabiting a space of flux and perpetual renewal.

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Anat Ebgi is pleased to announce After Each Night We Are Emptier, including works by: Eve Biddle, Veronica Fernandez, Simon Haas, Hayv Kahraman, Ragen Moss, Veronika Pausova, Mary Ann Unger.

Driftwork
2025-11-15 18:00 - 21:00 | Southern Guild, 747 N Western Ave, Los Angeles, CA, 90029, United States
Southern Guild is pleased to present ‘Driftwork’, curated by Essence Harden, opening in Los Angeles on 13 November (until 24 January, 2026) and featuring work by 11 African and diasporic artists.

The Olllam
2025-11-15 19:00 - 23:30 | Troubadour, 9081 Santa Monica Blvd., Hollywood, California
The Olllam is a fascinating and highly original instrumental trio, often described as a Transatlantic Celtic Post-Rock supergroup, known for their unique fusion of traditional Irish music with modern, complex rhythms and production. The core members include master uilleann piper John McSherry from Belfast, and Michigan-based multi-instrumentalist Tyler Duncan and master drummer Michael Shimmin. Their sound seamlessly blends the melodic grandeur of Irish pipes and whistles with intricate, often psychedelic post-rock and jazz-influenced rhythms, creating epic, trance-like compositions that critics have compared to finding a middle ground between Radiohead and a classic Irish folk band like Planxty. Named after the ancient Irish term for a “master musician,” the group gained widespread acclaim for their 2012 self-titled debut and their long-awaited 2022 follow-up, elllegy, with their musical reputation further boosted by the involvement of bassist Joe Dart and other members of the famed funk band Vulfpeck in their recordings and live shows.

SmartLess Live with Jason Bateman, Sean Hayes, & Will Arnett
2025-11-15 19:30 - 23:30 | Greek Theatre, 2700 North Vermont Ave., Los Angeles, California, 90027.0
The live show captures the spontaneous and humorous dynamic of the podcast, where one of the three hosts—Jason Bateman, Sean Hayes, or Will Arnett—surprises the other two and the audience with a mystery celebrity guest.

Alteronce Gumby: Walk on the Moon
2025-11-16 15:00 - 18:00 | Jeffrey Deitch | Orange, 925 N Orange Drive, Los Angeles, CA, 90038, United States
Jeffrey Deitch is pleased to present Walk on the Moon, an exhibition of new work by Alteronce Gumby, the artist’s first solo presentation with the gallery. Structured around four separate yet intertwined movements that incorporate each facet of Gumby’s ever-evolving practice—from painting, to sculpture, to installation and sound—Walk on the Moon presents the latest discoveries and innovations from his sustained research into and exploration of the material properties of color and how they shape human perception.
A pillar of Gumby’s work and primary vehicle for his experimentation with color has been a form of abstract painting entirely his own, one that incorporates mirrors and acrylics, colored glass and a vast array of gemstones, from agate to quartz, lapis to malachite. In a suite of six new square ‘tonal’ paintings, Gumby organizes his palette around a single color unique to each one, resulting in intensely concentrated expressions of a given hue or tonality.
Placed throughout each composition are ‘organites’ that Gumby creates using gemstones, conductive metals and resin. Channeling the energetic properties of color into each organite, Gumby deploys them as magnifiers of that very energy. Though the shifting and shimmering surfaces of each painting change according to the available light in a given environment, several remain anchored by the presence of sacred geometry—the square, pyramid and circle—hovering within their compositions. Along with the inclusion of our mirrored reflection, these fundamental forms open up portals for the imagination.
Gumby’s expansive command of abstraction is further revealed by an eclectic group of paintings that accompany the tonal works. In three ‘Black-body’ paintings, Gumby manipulates and forms resin into strips of prismatic color that evoke the full spectrum of primary color that refracts through light. Four ‘falling rainbow’ paintings made of monochromatic resin with gemstones suspended within are affixed with naturally and synthetic dyed silks that flow down from the picture plane and pool onto the gallery floor, allowing Gumby to explore the transition of color from the material to the immaterial.
In Color in Nature (2025) Gumby joins together five colored resin squares, with the palette and corresponding gemstone within each made to express both the idea and experience of the photographic image embedded within. Completing this movement is one of the largest shaped paintings Gumby has made yet, Dancing in the Milky Way (2025), that staggers two horizontal panels together, one atop the other—their radiant surfaces evoking the cosmos itself.
Continuing his investigation into the different ways color can be felt, seen or understood, Gumby has created new monolithic resin sculptures that reference the same color palette as the tonal paintings. Alternating between density and translucency, between opacity and luminosity, these hulking yet ethereal objects capture the way color is transfigured by passing through material. Each sculpture presents a concentrated expression of red, blue, green, yellow or violet and contains gemstones suspended within them.
The final movement of Walk on the Moon and one that synthesizes the preceding forays into color, material, experience and time, is an installation that harnesses the natural light that pours into the gallery via its skylights. Taking naturally and synthetic dyed silks and affixing them to the skylights to create what Gumby calls ‘light wells,’ these sculptural iterations of the ‘falling rainbow’ paintings reconsider the very materiality of color and its atmospheric or environmental quality. This room will also function as an experimental space where invited artists working with sound will stage one-day performances, offering their own vision of what color is and how it can be experienced. The fundamentally interdisciplinary nature of the installation demonstrates the boundlessness of Gumby’s practice as he endeavors to understand color as both an earthly fact and abstract idea.
Alteronce Gumby was born in Harrisburg, Pennsylvania and now resides in New York City. He received his BFA from Hunter College in 2013 and his MFA in Painting & Printmaking from Yale School of Art in 2016. He was a resident artist at the Rauschenberg Foundation in Captiva Island, Florida, in 2019. In 2017, he completed a residency as the Harriet Hale Woolley scholar at the Fondation des Etats-Unis in Paris. Solo exhibitions include Walk on the Moon, Jeffrey Deitch, Los Angeles (2025); If Herr Street Could Talk, Susquehanna Art Museum, Harrison, PA (2025); Prince of the Far Rainbow, Nicola Vassell Gallery, New York (2024); Dark Matter, Allentown Art Museum, Allentown, PA (2022); Cross Colours, Bode Projects, Berlin (2021); Alteronce Gumby: My Favorite Color is a Rainbow, Parrasch Heijnen Gallery, Los Angeles (2020) and Black(ness) is Beautiful, the Foundation des Etats-Unis, Paris (2017). Group exhibitions include The Abstract Future, Jeffrey Deitch, Los Angeles (2025); Social Abstraction, Gagosian, Los Angeles (2024); Alteronce Gumby | Charles Ross, Parrasch Heijnen gallery, Los Angeles (2024); The 100 years, Gagosian x Deitch Exhibition, Miami (2022) and For Freedoms, Pizzuti Collection of the Columbus Museum of Art, Columbus OH (2018). The artist’s work is held in the collections of the Los Angeles County Museum of Art, The Studio Museum in Harlem, Columbus Museum of Art, Solomon R. Guggenheim Museum, Williams College Museum of Art, Allentown Art Museum, and Memphis Brooks Museum of Art.
