African American Heritage Month

Mark Bradford’s 150 Portrait Tone, a mural-size composition that contains elements of both abstraction and realism, is based on an idea for a work that the artist conceived after the fatal shooting of Philando Castile by a police officer in Saint Paul, Minnesota, in July 2016. Castile, a nutrition services supervisor at an elementary school, was shot after being pulled over in his car—an incident that was livestreamed on Facebook by Castile’s girlfriend, Diamond Reynolds, who was sitting in the passenger seat next to him.

The painting features excerpts of Reynolds’s dialogue from the video. The title, 150 Portrait Tone, refers to the name and color code of the pink acrylic used throughout the painting. Like the now-obsolete “flesh” crayon in the Crayola 64 box (renamed “peach” in 1962), the color “portrait tone” carries inherent assumptions about who, exactly, is being depicted. In the context of Bradford’s painting, the title presents a sobering commentary on power and representation.

Gil Scott-Heron Bluesology is a theatrical reinterpretation celebrating the legacy of Gil Scott-Heron, covering his influential work from 1970 to 2010. The production features skilled spoken word artists who breathe new life into his powerful and enduring words. Adding a personal touch to this tribute, his daughter, Gia Scott-Heron, shares stories and memories, providing a unique authenticity that distinguishes this production from others. It’s a chance to experience the spirit of Gil Scott-Heron’s work in a vibrant and moving performance. Don’t miss out—The Revolution will be live!

Michael Jackson’s fashion sense has always been iconic. Our display of original artifacts on loan from the Michael Jackson estate showcases memorable pieces, including beaded jackets Jackson wore during the Jacksons’ 1984 Victory tour. Also featured is our original short film about making Jackson’s Thriller music video.

Sundays & Mondays, Wednesdays – Fridays 11:00 noon – 5:00 p.m.
Saturdays: 10:00 a.m. – 6:00 p.m.

Explore 30 years of music history, from blues, folk, and rock ‘n’ roll to hip-hop and alternative music, through the lens of photographer Jay Blakesberg. Featuring more than 150 photographs shot on film between 1978 and 2008, Retro Blakesberg captures three decades of pivotal moments in music history. The dynamic exhibit showcases multiple genres and iconic musicians, ranging from Snoop Dogg, B-40, and Bob Dylan to PJ Harvey, Pearl Jam, and the Grateful Dead.

Imagining Black Diasporas: 21st-Century Art and Poetics fi nds aesthetic connections among 60 artists working in Africa, Europe, and the Americas. The exhibition and its catalog are among the first to examine nearly a quarter century of production by Black artists. The project debuts new acquisitions for LACMA and expands the Pan-African exhibition canon, historically focused on the Black Atlantic, by showcasing artists working along the Pacific Rim.

Luther Vandross: Artistry and Elegance celebrates the extraordinary life and legacy of Luther Vandross, an eight-time Grammy winner, revered songwriter, arranger, producer, performer, and one of the most gifted vocalists in music history. The exhibit offers an intimate glimpse into Vandross’ creative process and showcases his ornate stage wardrobe, exclusive performance footage from his popular tours, and a never-before-heard recording of him in the studio.

Mark Bradford’s 150 Portrait Tone, a mural-size composition that contains elements of both abstraction and realism, is based on an idea for a work that the artist conceived after the fatal shooting of Philando Castile by a police officer in Saint Paul, Minnesota, in July 2016. Castile, a nutrition services supervisor at an elementary school, was shot after being pulled over in his car—an incident that was livestreamed on Facebook by Castile’s girlfriend, Diamond Reynolds, who was sitting in the passenger seat next to him.

The painting features excerpts of Reynolds’s dialogue from the video. The title, 150 Portrait Tone, refers to the name and color code of the pink acrylic used throughout the painting. Like the now-obsolete “flesh” crayon in the Crayola 64 box (renamed “peach” in 1962), the color “portrait tone” carries inherent assumptions about who, exactly, is being depicted. In the context of Bradford’s painting, the title presents a sobering commentary on power and representation.

The Boyz N the Hood gallery explores the movie’s groundbreaking depiction of Black life in South Central Los Angeles and its lasting impact on popular culture. It spotlights the cast and crew–including Cuba Gooding, Jr., Ice Cube, Morris Chestnut, Laurence Fishburne, Nia Long, and Angela Bassett–showing the pivotal role the film played not only in their careers but also for a new generation of Black talent in Hollywood.

This public event brings three historians of slavery together—one focused on the importance of slavery to colonial empires, one focused on captive experiences and health in the slave trade, and one focused on the introduction of African maritime culture into the Americas—to wrestle with the question: What actually happened in 1619?

The Intra-American Slave Trade Database is a resource for the study of the African diaspora in the Americas. Launched online in 2018, it documents more than 27,000 voyages that trafficked enslaved Africans and African-descended people from one part of the Americas to another from 1550 to 1860. This database strengthens research throughout the University of California system on the history and impact of the slave trade and slavery in the Americas by connecting scholarship on the Atlantic and Pacific Worlds.