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This exhibition showcases works by Asian diasporic artists that explore the process of unmaking and remaking the self. Focusing on art as a site of radical reimagination, the exhibition presents a cross-generational conversation about the liberatory possibilities inherent in the continuous, messy, and sometimes contradictory process of forming social identity.

Due to Overwhelming Demand: CongoSonic Exhibition Extended!

The 17th Annual African American Composers’ Series: CongoSonic — Bantu Beats Across the Americas

The rhythms still resonate—and now, they’ll play on even longer. We’re thrilled to announce that the current exhibition at the William Grant Still Arts Center has been extended beyond June 14 to August 1 due to overwhelming public response!

CongoSonic: Bantu Beats Across the Americas isn’t just an exhibition—it’s a cultural movement. Featuring immersive displays, rare musical artifacts, and videos from the Congo, this year’s series traces the powerful journey of Bantu-rooted rhythms across the Atlantic. From Congolese rumba to hip-hop, jazz, cumbia, salsa, and beyond, discover how sounds born of resilience and migration continue to shape the global music scene.

Presented in partnership with Friends of the Congo and Basandja Coalition, CongoSonic dives deep into both the legacy and the present-day reality of the Congo. While you explore vibrant sonic traditions, you’ll also gain critical insight into the ongoing humanitarian crisis affecting the region today.

Haven’t visited yet? Now’s your chance. Already came through? Come again—there’s always more to hear, see, and feel.

More film screenings and programs coming soon.

Free admission | William Grant Still Arts Center

Now extended – Closing August 1

After June 14, we will move to a Monday-Friday 12-5pm schedule for viewing due to summer programs.

Don’t miss the sound of a movement that continues to shape continents.

Screening Thursdays | 7:00 p.m.

The Rumba Kings, April 10, 2025
Neptune Frost, May 1, 2025
When We Were Kings, June 5, 2025

Questions? Please contact WGSAC at (323) 734-1165 or wgsarts@lacity.org.

Stockholm-based artist Lap-See Lam presents “Tales of the Altersea” (2023), an immersive video installation inspired by the ruins of a dragon-shaped ship visible from her art school studio. The ship, which sailed from Shanghai to Gothenburg in 1990 intending to serve Chinese cuisine to European patrons, was eventually abandoned. Lam’s work explores themes of loss, memory, and resilience, utilizing the vessel’s history as a narrative foundation.

This exhibition showcases experimental works of modern and contemporary calligraphic art, highlighting innovations in the art form. The exhibition explores the evolution of pictographs, the relationship between content and form, the development of new scripts, and the abstraction of the written word. It is accompanied by a scholarly exhibition catalogue.

In 2019, Lawson answered more than 1,000 questions in his Story File so that future generations can continue conversing with him to learn about his legacy. What would you like to ask Lawson?

Tuesday, Wednesday, Friday, Saturday, Sunday, 11:00 a.m. – 5:00 p.m.,
Thursday, 12:00 noon – 8:00 p.m.
Adults – $16, Seniors and Youth – $9, Members and Children under 5 – Free

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.