Things to do in Los Angeles this Sunday
Weekend, where have you gone? Before it’s time to head back to work, take a day to relax on the beach or picnic in a park… and maybe sneak in one more boozy brunch. Make the most of your Sunday with these great things to do in L.A.
Time Out loves
White Bark Workwear Bagel Pop-Up at Yarrow
Before White Bark Workwear's Charlie Pennes became one of L.A.'s go-to apron makers, he thought he might become a baker. All-natural fibers and work orders began to pile up, though, and gave way to a full-time career—and bagel dreams took second place to his growing enterprise. Fortunately for us, Pennes occasionally still dons aprons and gets back into the kitchen himself, and on Sunday, you can catch a rare taste of his skills at a bagel pop-up in Yarrow. Find bagels in a handful of flavors (we're partial to his everything variety), plus a lox option, and others straightforward and slathered with cream cheese or jam, and there's even a collab for Royce Burke's all-vegetarian café: the Beyond Meat breakfast sandwich, piling breakfast "sausage," melted cheese, scrambled eggs and Truff's truffled hot sauce onto a Pennes bagel. The fun begins at 10am and runs until product sells out.
Red Bull Music Festival Los Angeles
Though the much-loved 30 Days in L.A. series has left the city, the Red Bull Music Festival is back again—and boy does it promise an unforgettable lineup. Robyn, Trina, CupcakKe and others are all slated to partake in a month of concerts, conversations and installations spread across the city. Other highlights include a skate and film fest with Illegal Civilization, a showcase of the music from Red Dead Redemption 2 and a screening of Selena with Edward James Olmos and Jacob Vargas.
Ai Weiwei: Life Cycle
The acclaimed Chinese artist kicks off a flurry of activity in L.A. with this takeover of the Marciano’s massive theater gallery, including Ai’s floor-covering “Sunflower Seeds,” which features millions of porcelain seeds, as well as the similar but smaller “Spouts,” a pile of thousands of Song dynasty teapot spouts. “Life Cycle” also marks the premiere of its namesake work, a nearly 60-foot inflatable raft made entirely from bamboo. Inspired by the European refugee crisis, the work employs traditional kite-making techniques to create its passengers, which are often pulled from the signs of the Chinese zodiac—such figures also factor into the astounding mythological mobiles and creatures that surround the black box space.
Marc Maron
The irreverent ranter Maron, who has hosted programs on Air America, performed his own one-man shows and written a book, is one of the reasons for the recent alt-comedy (and podcast) boom. These days, he’s swapping time between the stand-up stage and his WTF podcast with comedy luminaries.
‘Notorious RBG: The Life and Times of Ruth Bader Ginsburg’
When the Supreme Court struck down key sections of the Voting Rights Act, then law student Shana Knizhnik was outraged. But in the blistering dissenting opinion of Justice Ruth Bader Ginsburg, Khizhnik found hope and the possibility for a better day. And so, the Notorious R.B.G. was born—a cheeky, DGAF interpretation of the justice on Tumblr that would a few years later inspire a biography from Knizhnik and journalist Irin Carmon. But beyond that crown-wearing caricature is the story of a woman with a tireless and tenacious approach to social change, as Skirball curator Cate Thurston puts it. Through letters, recordings, outfits and photo ops, the exhibition balances that irreverence with an easy-to-understand primer on Ginsburg’s ongoing legal career, as well as a very personal portrait of her life. “The Notorious RBG” positions Ginsburg not as a feminist, but as a tireless advocate for the rule of law, fairness and equality who’s pressed against discrimination at every turn, in both her personal life and her law career. Hands-on installations encourage visitors to not just play dress-up, but to imagine themselves in her role: You’ll listen to Supreme Court recordings, step into a recreation of Ginsburg’s childhood Brooklyn bedroom and be able to throw on a robe and a collar to pose behind a facsimile of the Supreme Court bench. The exhibition—which will later tour to Philadelphia, San Francisco and Skokie, Illinois, with two more locations to be announced—comes at a tim
“Annie Leibovitz: The Early Years, 1970-1983”
When you set foot inside Hauser & Wirth’s north gallery, you’re greeted with a wall-filling timeline of the 1970s that’s comically meticulous in its detail. But once you round the corner of the wall, it’s clear why: Annie Leibovitz was there for seemingly all of it. The artist dug through her archives to handpick this early-career collection of works that meant the most to her, arranged chronologically and thematically in the Arts District gallery. “I lived with my camera, I never went home,” said Leibovitz during an exhibition walkthrough, and the photos prove it. Her Rolling Stone cover photos from the ’70s are indelible parts of pop culture history, and those instantly recognizable shots are certainly on display (think David Cassidy nude, a fiery Patti Smith, and a naked John Lennon embracing Yoko Ono shot hours before he was murdered). But the most remarkable parts of this early-career retrospective are the moments in between, all captured with fly-on-the-wall candor (“No one paid me any bit of attention because I was a woman,” she says). Candid shots of Jerry Garcia and Dennis Hopper occupy the same space as behind-the-scenes photos of an always-smoking Hunter S. Thompson, with whom Leibovitz worked extensively. There’s Richard Nixon’s fall, Jerry Brown’s rise and the surge of cults. And then there’s her documentation of a 1975 Rolling Stones tour, with no drug-addled details spared. (“It took me a while to get off the tour,” remarked Leibovitz about the experience).
“3D: Double Vision”
See how three-dimensional technology has transcended View-Masters and 19th-century stereoscopes and worked its way into cutting-edge digital art.
“Rauschenberg: The 1/4 Mile”
See Robert Rauschenberg’s magnum opus, a nearly quarter-mile display of 190 painted panels, on display at LACMA. The piece was completed over the span of 17 years and signified the distance between his studio and home on Capitiva Island in Florida. LACMA’s exhibition marks the first time that all of the panels have been displayed together, and it’s easy to see why: the piece takes practically every surface of the museum’s third-floor gallery. A self-contained retrospective of sorts, the installation is displayed chronologically, but there’s no wrong way to navigate it. Fans of Rauschenberg will find something familiar in its mix of paint, photographs, mass media images, textiles, paint, cardboard boxes and found objects like chairs and traffic lights.
Popular
Red Bull Music Festival Los Angeles
Though the much-loved 30 Days in L.A. series has left the city, the Red Bull Music Festival is back again—and boy does it promise an unforgettable lineup. Robyn, Trina, CupcakKe and others are all slated to partake in a month of concerts, conversations and installations spread across the city. Other highlights include a skate and film fest with Illegal Civilization, a showcase of the music from Red Dead Redemption 2 and a screening of Selena with Edward James Olmos and Jacob Vargas.
Marc Maron
The irreverent ranter Maron, who has hosted programs on Air America, performed his own one-man shows and written a book, is one of the reasons for the recent alt-comedy (and podcast) boom. These days, he’s swapping time between the stand-up stage and his WTF podcast with comedy luminaries.
Witness Uganda: A Documentary Musical
Intolerance drives a New Yorker to volunteer in a small African village, where AIDS and corruption are the new roadblocks. Written by Matt Gould and Griffin Matthews. Matthews directs.
A Gentleman's Guide to Love & Murder
The hilarious tale follows a distant heir, who maneuvers himself ever closer to the inheritance, and the sundry characters (played by one man) standing in his way. Peggy Hickey directs and choreographs.
The Secret Garden
An embittered 10-year-old blossoms when she learns to love the plants, animals and other children in a safe, walled garden. Music by Lucy Simon, book and lyrics by Marsha Norman.
Free
Ai Weiwei: Life Cycle
The acclaimed Chinese artist kicks off a flurry of activity in L.A. with this takeover of the Marciano’s massive theater gallery, including Ai’s floor-covering “Sunflower Seeds,” which features millions of porcelain seeds, as well as the similar but smaller “Spouts,” a pile of thousands of Song dynasty teapot spouts. “Life Cycle” also marks the premiere of its namesake work, a nearly 60-foot inflatable raft made entirely from bamboo. Inspired by the European refugee crisis, the work employs traditional kite-making techniques to create its passengers, which are often pulled from the signs of the Chinese zodiac—such figures also factor into the astounding mythological mobiles and creatures that surround the black box space.
Afro-Latinx Festival
Dance to salsa music, munch on Peruvian anticuchos and watch a capoeira roda at this celebration of the cultural diversity of the Americas and the African influence in Latin America.
“Annie Leibovitz: The Early Years, 1970-1983”
When you set foot inside Hauser & Wirth’s north gallery, you’re greeted with a wall-filling timeline of the 1970s that’s comically meticulous in its detail. But once you round the corner of the wall, it’s clear why: Annie Leibovitz was there for seemingly all of it. The artist dug through her archives to handpick this early-career collection of works that meant the most to her, arranged chronologically and thematically in the Arts District gallery. “I lived with my camera, I never went home,” said Leibovitz during an exhibition walkthrough, and the photos prove it. Her Rolling Stone cover photos from the ’70s are indelible parts of pop culture history, and those instantly recognizable shots are certainly on display (think David Cassidy nude, a fiery Patti Smith, and a naked John Lennon embracing Yoko Ono shot hours before he was murdered). But the most remarkable parts of this early-career retrospective are the moments in between, all captured with fly-on-the-wall candor (“No one paid me any bit of attention because I was a woman,” she says). Candid shots of Jerry Garcia and Dennis Hopper occupy the same space as behind-the-scenes photos of an always-smoking Hunter S. Thompson, with whom Leibovitz worked extensively. There’s Richard Nixon’s fall, Jerry Brown’s rise and the surge of cults. And then there’s her documentation of a 1975 Rolling Stones tour, with no drug-addled details spared. (“It took me a while to get off the tour,” remarked Leibovitz about the experience).
Telestron
“Immersive installations” are a dime a dozen in Los Angeles lately, but a pair of polyhedron-twirling robot arms that bathe a raw space in haunting light patterns? Well, we’ve never seen anything remotely like that before. Telestron, a futuristic light show from design firm and technology studio VT Pro Design and director GMUNK, will come to ROW DTLA this winter for a monthlong run. The installation is entirely free to visit and is open Wednesday through Friday from 4 to 10pm and Saturday and Sunday from 11am to 10pm. VT Pro Design describes Telestron as—deep breath—a light and shadow installation, inspired by an ancient Greek ritual, that recreates the Earth’s rotation from day to night and draws upon the movement of the sun, the change of seasons and climate change. Translation: A pair of robot arms project light patterns onto each other and all surfaces of the room during a seven-minute show. TELESTRON from VTProDesign on Vimeo.
“Valley Girl Redefined”
Forget about uptalk and tired clichés: 11:11 A Creative Collective is curating a group exhibition of the women shaping what it means to be a “Valley girl.” Artists at this Brand Library & Art Center show include Rachel Apthorp, Judy Baca, Hilary Baker, Lynn Coleman, Gioj DeMarco, Kathi Flood and others, plus a pop-up newstand by the San Fernando Valley Zine Fest. Swing by on January 26, from 6 to 9pm, for an opening reception that includes an opening ceremony by the Cihuatl Women’s Group, a pop-up shop from 11:11 ACC and VLY GIRL, free beer from 818 Brewing and their Valley Girl Blonde, music by DJ Lobo and more.
Movies
The Martian
Handling the elements of his signature style with a flair he hasn't shown since Gladiator (2000), Ridley Scott returns to mainstream mastery with The Martian, a space misadventure turned survivor’s tale. Similarities to Apollo 13 and the more recent Gravity will be obvious to anyone who’s ever rocketed into zero-g thrills, but that’s not to say that Scott—who does well by Andy Weir’s science-heavy 2011 novel (smartly streamlined by scripter Drew Goddard)—doesn't bring his own spin. A scary storm on Mars swarms the Ares 3 crew in a blizzard of frozen dust reminiscent of the inhospitable planet from Alien (1979). After an emergency evacuation strands Matt Damon's presumed-dead astronaut Mark Watney on his own, his initial wandering of the vacant “hab” outpost plays like any number of Scott's moody sci-fi classics, from Blade Runner to Prometheus. But differently, The Martian has spunk in store: “I’m not going to die here,” Watney says in his video diary, and we actually hear a heavy-metal power chord as this chatterbox of a botanist gets to work manufacturing water from hydrogen, creating a greenhouse-enclosed potato farm (fertilized by the disappeared crew’s waste packets) and cooking up a way to contact Mission Control. Bringing optimism, nerd-itude and a touch of crazy to his character's solo ordeal—at one point, scraggly Watney calls himself a “space pirate”—Damon is the key to the movie’s exuberance. This is his Cast Away and it’s hard to imagine another star commanding t
Alien
After 30 years, the “Boo!” and gross-out moments are permanently cemented in the cultural psyche—from the face-hugger’s leap out of the translucent egg to John Hurt’s dinner-table stomach burst. So what’s left to discover about Ridley Scott’s great deep-space horror show? Mainly it’s the sense of pace and craft that the once-promising director would soon trade in, post–Blade Runner, for empty, pretense-laden spectacle. When Scott introduces us to the crew and corridors of the interplanetary mining ship Nostromo, he emphasizes silence and languor, the better to immerse us in the cavernous physical and mental playground that the alien (designed by Oscar-winning Swiss surrealist H.R. Giger) will use to its merciless advantage. It’s the creature’s instinctual murder spree that makes the immediate impression, but that would be nothing without the simmering tensions among the human counterparts. At times, Alien plays like an upstairs-downstairs comedy of manners, complete with disenchanted, proletarian grunts (Harry Dean Stanton and Yaphet Kotto’s union-men mechanics) and effete, eye-rolling snobs (Ian Holm’s above-it-all science officer) trading class-specific aspersions. What it all comes down to, of course, is Sigourney Weaver in her underwear facing off with a drooling, phallus-shaped nightmare made flesh. The dissertations practically write themselves.
Cold War
If you’ve ever been stuck hundreds of miles from the love of your life, wondering if it’s really worth all the heartache and phone-checking, Pawel Pawlikowski has made the movie for you. With this monochrome love story spanning two decades and four countries in post-WWII Europe, the Polish filmmaker has conjured a dazzling, universal odyssey through the human heart and all its strange compulsions. It could be the most achingly romantic film you’ll see this year, or just a really painful reminder of the one that got away. Beginning in 1949, twentysomething singer Zula (Joanna Kulig) and middle-aged pianist Wiktor (Tomasz Kot) meet in the least auspicious of settings—an austere Polish musical academy that could easily double as a prison. Wiktor is tasked with assembling a troupe of folk musicians to extol the greatness of the motherland, but he’s had his fill of songs about agricultural reform and the global proletariat. Zula’s defiant spirit catches his eye, they fall for each other and he promises her a new life on the other side of the Iron Curtain. But when he defects to Paris, she surprises him by staying behind, setting in motion a 20-year love affair that plays out like a swinging ’60s version of Doctor Zhivago. Chemistry is not in short supply between the two. There’s an age gap—that hoary old bugbear—but Pawlikowski semi-subverts it by making Wiktor the more lovelorn of the couple. They meet and part on Parisian boulevards, in smoky jazz clubs and at concerts in Yugo
Roma
With his white-knuckle sci-fi thriller Gravity, Mexican auteur Alfonso Cuarón extracted an intimate character study from the vastness of outer space. Now he goes in reverse: In his deeply personal b&w marvel Roma, Cuarón—a director of erotic road-trips (Y Tu Mamá También), dystopian thrillers (Children of Men) and The Prisoner of Azkaban, the finest entry in the Harry Potter series—unhurriedly observes the smallest parts first, before expanding to gradually reveal the social and political canvas of 1970s Mexico City, where he grew up in a middle-class neighborhood called Roma. A sober and autobiographical elegy about his childhood and the women who raised him (one hardworking live-in maid in particular), Roma coalesces out of episodic recollections, digitally filmed with a crisp, grain-free appearance for unsentimental visual conviction. The domestic helper at the heart of the story is the gentle-natured Cleo (exceptionally talented newcomer Yalitza Aparicio), who works for the affectionate but occasionally livid Sofia (Marina de Tavira, terrific and understated) and the rest of her family. Through transfixing long takes that capture the monotony of Cleo’s chores, Cuarón dotingly honors Cleo’s unsung rituals (just as Chantal Akerman did in her 1975 feminist classic Jeanne Dielman, 23 Commerce Quay, 1080 Brussels): cleaning, looking after Sofia’s lively four children whom she loves like her own, interacting with her best friend and co-worker Adela (Nancy García García), going
Black Panther
For all their global dominance, everybody wants these superhero movies to be better: funnier, smarter, more inclusive, more super. A huge step in the right direction, Black Panther is that dream come true. Proudly African—even if its Africa comes in the form of the fictional country of Wakanda, a powerhouse of secret technologies—Marvel’s latest is, from top to bottom, a conscious reversal of racial paradigms. Handsomely mounted by Creed director Ryan Coogler and starring an enviable slate of black actors that makes cameoing comics godhead Stan Lee almost seem lost, the film is provocative and satisfying in ways that are long overdue, like its ornate, culturally dense production design and the deeper subtexts of honor, compassion and destiny. Wakanda’s young king, T’Challa (a dignified Chadwick Boseman, well-seasoned after playing onscreen versions of James Brown, Jackie Robinson and Thurgood Marshall), recognizes that the world outside his peaceful realm is a divisive place. Still, even as his own armor-clad excursions as Black Panther set up an internal tension between isolationism and responsibility (yes, this is the rare blockbuster with something on its mind), tensions within Wakanda—fomented by exile-turned-rebel Erik Killmonger (Michael B. Jordan, on fire)—threaten to bring him down. In their script, Coogler and Joe Robert Cole take inspiration from the Black Panther’s 50-year history on the page, including a dazzling current run by author Ta-Nehisi Coates, and the fi
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