Contemporary Art

Learn foundational drawing techniques such as: perspective, shading, proportion, and observational drawing in this free weekly virtual drawing class with teaching artist Riley Strom!

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.

Delve into the rich cultural history of our communities as we explore the significance of the Black, Brown, & Beige exhibition. Connect with fellow artists, enthusiasts, and celebrate the talent on display. Join us as part of our ongoing tribute to the 102 years of the Watts Towers’ rich history.

An in-depth installation of Jean-Michel Basquiat, features all 13 works by the artist in the Broad collection, including three works on view for the first time at The Broad: Santo 2, Deaf, and Wicker.

Tuesday & Wednesday & Friday – 11:00 a.m. – 5:00 p.m.
Thursday – 11:00 a.m. – 8:00 p.m.
Saturday & Sundays – 10:00 a.m. – 6:00 p.m.

Vamba Bility is a multidisciplinary artist whose work echoes the experience of the African diaspora. Having journeyed from Côte d’Ivoire to Guinea to the United States, Bility perceives this contested way of living as a blur, albeit one that is deeply intimate. In his hands, this blurred sensibility becomes a fluid movement that draws on various material histories. He expresses the reverberating motions of his existence by leaning on and weaving together mediums and materials such as painting, textiles, found objects, and sound. A cracked calabash gets sewn together. A torn canvas gets stitched as a salve. A painting is propped up by a brick or two. All of this is a form of mark-making that structures the landscape of diaspora as a material residue of atmosphere, of feeling, of process. Bility threads this through a shared poiesis—a bringing forth, a revelation—that sketches out an architecture of what it means to be.