Lifestyle
Looking for L.A.'s art cool kids? They're hosting exhibits in laundry rooms and garages
For some Los Angeles galleries, home is where the art is — or it’s in the laundry room, also known as Quarters Gallery, inside Nina Muccia’s two-bedroom Los Feliz duplex. The 32-square-foot space marked its first anniversary in March with a group show, “Hoarders,” of 50-plus works on clothespins, the breaker box and shelves usually reserved for dryer sheets and Tide Pods. At the next exhibit in June, artist Sam Dybeck diffused Fabuloso from a vintage fabric steamer and installed work inside the stacked washer and dryer.
“There are obvious built-in themes and parameters for artists to respond to,” Muccia said of Quarters, its name a sly nod to both coin-operated laundry and the gallery’s quarterly schedule. Exhibits, usually advertised on Instagram, typically last one weekend since she shares the unit with a roommate who, at one opening, was visibly annoyed while wearing a robe and stomping through the party in a huff with her hamper. “A performance piece, of course,” Muccia said of her actor roomie.
Quarters, an unassuming hidden art gallery housed within a laundry room in Nina Muccia’s home in Los Feliz.
(Wally Skalij / Los Angeles Times)
Quarters belongs to a new guard experimenting in the L.A. art scene by bringing exhibits in-house. Residences range from a Tudor mansion and a chateau-esque apartment to a five-car garage and a backyard cabin modeled after the Unabomber’s hideout. They’re a new spin on a nearly century-long L.A. tradition of domestic galleries that rely on word-of-mouth, neighborly trust and consummate hosts.
“When you have these residential spaces, a lot of times it’s because you want to keep the concept high and rents low,” said Danny Bowman, who started his gallery, Bozo Mag, in the revamped garage behind his rented Highland Park house. Openings tend to spill out into the patio or the emptied pool. “Instead of coming for 20 minutes, they stay for three hours,” he said.
“The Weight, the Wait,” an oil on canvas by artist Molly Bounds, is part of the “Nouveau Bozeaux” exhibit at Bozo Mag.
(Mel Melcon / Los Angeles Times)
The emptied pool outside of Danny Bowman’s garage-turned-art gallery at his Highland home.
(Mel Melcon / Los Angeles Times)
High rents and the pandemic were an unexpected boon to the city’s DIY art and literary scene — from roguish takeovers at IKEA to guerrilla readings in parking lots — meshing cultural events that fall somewhere between a kegger and a 21st century salon. Angelenos in the art industry have been a sort of anchor to it all, with a new school intersecting the Venn diagram of curators and patrons, artist-run commercial spaces and art-fair cool kids. Residential galleries also are defined by what they’re not: design showrooms, permanent exhibits, private collections or endowed artist shrines. Still, they’re hard to track — either because they pop up like Whac-a-Mole or remain underground for practical reasons.
Like most residential projects today, Sea View Gallery “takes its appointment system pretty seriously,” said founder Sara Lee Hantman, treating its corner of the Mt. Washington hilltop “as something sacred.” Luckily the street is an artists’ enclave, with some opening their homes for Hantman’s dinner receptions — one in January served gumbo family-style two doors down at a local artist’s Midcentury Modern house. “So much business can be done in these types of spaces without the feeling of business being done,” she said.
It also helps that the house structure itself is a talking point. In the late ’90s, L.A. artist Jorge Pardo got MOCA to help fund his “social sculpture” on Sea View Avenue as an off-site exhibition that became the artist’s home studio. Spatial restrictions notwithstanding, “Pardo designed the space to not have any 90-degree angles,” said Hantman, who leases from the artist’s family month-to-month.
In L.A., where most residences are zoned “single family,” home-based businesses like these technically have a limit on visitors (one per hour) and operating hours (8 a.m. to 8 p.m.). “It’s a decidedly gray area in terms of zoning,” said Sam Parker on his namesake gallery in a rented five-bedroom Storybook home in Los Feliz. Since 2017, Parker’s openings have posed a parking dilemma for his neighbors on the winding hillside. “There comes a very real anxiety with how long we can we keep this up and get away with this until it’s a larger problem,” Parker said.
A fig vine grows around a side entrance to Bozo Mag. (Mel Melcon / Los Angeles Times)
The entrance to art gallery the Bunker, located on the grounds of Danny First’s home in Los Angeles. (Mel Melcon / Los Angeles Times)
Danny First, with his dog Diego, a 3-year-old Mexican hairless, stands next to his other art gallery, the Cabin L.A., on the grounds of his home in Los Angeles. In the background is a painting titled “Dressage,” an acrylic on canvas by artist Nick Modrzewski that is part of the current exhibition, “Modern Handshake,” running through March 31.
(Mel Melcon / Los Angeles Times)
His house’s domestic routine has changed too, to include his wife and 2-year-old son. (“He knows what not to touch,” Parker said.) In a bid for more legitimacy in the art world, Parker is trading the next-door model for foot traffic and will move the gallery to a storefront at 6700 Melrose Ave. in Hancock Park later this year. “First and foremost, we’re in service to our artists who are ready to have a more public-facing gallery,” he said.
The concept of the domestic museum in L.A. began at the 1920s home of voracious art collectors Louise and Walter Arensberg, according to Mark Nelson, who co-authored “Hollywood Arensberg: Avant-Garde Collecting in Midcentury L.A.” The Arensbergs kept an open-door policy for artists and art lovers to bask in nearly 1,000 works from pre-Columbian objects and Modern artists like Henri Matisse, Pablo Picasso, Salvador Dalí and their favorite, Marcel Duchamp. “Even the bathroom had several Paul Klees hanging from the towel rack,” Nelson said.
Their jam-packed Hollywood home at 7065 Hillside Ave. influenced artist-dealer William Copley and his short-lived but seminal Copley Galleries. For the last four years, Nelson has been rebuilding in his Beverly Hills bungalow Copley’s Surrealist gallery, which ran from 1948 to 1949. “There were probably as many or more Max Ernst paintings shoved into this domestic bungalow than there were in his entire Metropolitan Museum of Art retrospective,” Nelson estimated.
After the Arensbergs died in the 1950s, their art dealer who lived next door, Earl Stendahl, bought the property and opened the third iteration of his gallery that started inside the Ambassador Hotel. Ron Dammann, Stendahl’s grandson, and his wife, April, moved in around 1970 to help continue the business and raise their two kids.
“There were toddler birthday parties downstairs with all the breakable pre-Colombian art,” April Dammann remembered. “They played pin the tail on the donkey, and one missed dart could cost us $10,000.” In 2017, the Dammanns closed the gallery that had been operating in some capacity since 1921 and moved out of the historic Arensberg-Stendahl Home — complete with a sunroom by Richard Neutra and a carport by John Lautner.
Be it sprawl or architecture, light or climate, L.A. plays a lead role in hosting experimental spaces beyond the white-cube model. These DIY concepts, from pools to the L.A. River, are “crucial to the art scene in Los Angeles” that began in the 1970s, said Christine Messineo, director of Frieze L.A. and Frieze New York. The influx of moneyed and blue-chip galleries over the last decade has the city competing with top art hubs like New York, Berlin and London.
Art on display at Jay Ezra Nayssan’s home in Santa Monica, where an exhibition preview party/dinner for Frieze L.A. was held in 2022. (Jason Armond / Los Angeles Times)
Art lovers view select art pieces at an exhibition preview party/dinner for Frieze L.A. held in Jay Ezra Nayssan’s Santa Monica home in 2022.
(Jason Armond / Los Angeles Times)
In response, or perhaps opposition, to the gallery boom, curator Jay Ezra Nayssan started Del Vaz Projects out of his West L.A. apartment in 2014. “Everybody eats, everybody drinks, everybody’s invited,” said Nayssan, who now runs Del Vaz as a nonprofit in his Santa Monica home with his partner, Max Goldstein. “We don’t operate in this realm of exclusivity and scarcity, which is inherent in the commercial art world today.”
Joseph Geagan, a painter from the New York and Berlin art worlds, doesn’t think his buzzy penthouse gallery in Koreatown’s landmark Gaylord Apartments would have worked elsewhere. “There’s still a Wild West element for experimentation here,” he said of his “spooky, ‘Shining’-esque” building, which turns 100 this year. It’s a mythos that Geagan didn’t bother competing with; the apartment building and gallery share the same name. (Exhibit spectators usually end up at the HMS Bounty dive bar downstairs after a show.) He’s run Gaylord Apartments since 2021 with his boyfriend, John Tuite, in their living room with glittering views of Koreatown — windows framing the Hollywood sign and Griffith Observatory are in the next room. It’s more a social spot than a moneymaker, and Geagan makes a habit of showing early or midcareer artist friends from outside of L.A., making shipments and travel the bulk of the expenses. “And rent, of course,” he said.
The lower barrier for entry inspired Harley Wertheimer to open Castle Gallery in his dining room two years ago. He’s since quit his gig as vice president of A&R at Columbia Records and expanded the showroom into an empty unit downstairs, where weekend morning receptions come with a latte cart and bagels in the courtyard. Named for its historic 1920s chateau-esque building, Castle is a treasure box of prewar charm: lattice windows, crown molding, wainscoting, Art Deco tile.
Wertheimer views residential and commercial galleries like the so-called California double — surfing in the ocean and snowboarding in the mountains on the same day — one just as fun (and valid) as the other. Democratizing the business doesn’t have to mean watering it down, and art sold in a home isn’t mere decoration. “There’s definitely a desire from me and my peers to be treated as any other gallery,” he said.
Lifestyle
The 2025 Vibe Scooch
In the 1998 World War II film “Saving Private Ryan,” Tom Hanks played Captain John H. Miller, a citizen-soldier willing to die for his country. In real life, Mr. Hanks spent years championing veterans and raising money for their families. So it was no surprise when West Point announced it would honor him with the Sylvanus Thayer Award, which goes each year to someone embodying the school’s credo, “Duty, Honor, Country.”
Months after the announcement, the award ceremony was canceled. Mr. Hanks, a Democrat who had backed Kamala Harris, has remained silent on the matter. On Truth Social, President Trump did not hold back: “We don’t need destructive, WOKE recipients getting our cherished American awards!!!”
Lifestyle
How to have the best Sunday in L.A., according to Keiko Agena
Keiko Agena likes to create moments of coziness — not just on Sundays, but whenever she possibly can.
“Oh, there’s my rice cooker,” she says when she hears the sound in her Arts District home. “We’re making steel-cut oatmeal in the rice cooker, which by the way, is a game changer. I used to have to baby it and watch it, but now I can just put it in there and forget it.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
The 52-year-old actor, who played music-loving bestie Lane Kim in the beloved series “Gilmore Girls,” delights in specific comforts like a bowl of warm oats, talking about Enneagram numbers and watching cooking competitions with her husband, Shin Kawasaki.
“It sounds so simple, but I look forward so much to spending time on the couch,” Agena says with a laugh.
It is time that she’s intentional about protecting, especially amid her kaleidoscope of projects. Over the last couple of years, Agena starred in Lloyd Suh’s moving play “The Chinese Lady” in Atlanta, acted in Netflix’s “The Residence,” showcased her artwork in her first feature exhibit, “Hep Tones” (some of her ink and pencil drawings are still for sale), and performed regularly on the L.A. improv circuit. And her work endures with “Gilmore Girls,” which turns 25 this year. Agena narrated the audiobook for “Meet Me at Luke’s,” a guide that draws life lessons from the series, and is featured in the upcoming “Gilmore Girls” documentary “Drink Coffee, Talk Fast.”
She shares with us her perfect Sunday in L.A., which begins before sunrise.
5 a.m.: Morning solitude
I like to be up early-early, like 5 a.m. I like that feeling of everything being quiet. I’ll go into the other room and do Duolingo on my phone. I am a little addicted to social media, so the Duolingo is not just to learn Japanese, but also to keep me from scrolling. Like, if I’m going to do something on my phone, this is better for me. I think my streak is 146. Shin is Japanese, from Toyama. So I’ve been meaning to learn Japanese for a while. For him and his mom.
Then I’ll do [the writing practice] Morning Pages. I don’t know when I learned about Julia Cameron’s book [“The Artist’s Way”] — probably around 2000. I know a lot of people do it handwritten, but I’m a little paranoid about people, like, finding it after I die. So if I have it on my computer and it’s password protected, I can be really honest.
Then a lot of times, I’ll go back to bed. Shin, as a musician, works at night, and so he wakes up a lot later. So I’ll fall back asleep and wake up with him.
9 a.m.: Gimme that bread
I don’t do coffee anymore because it’s a little too tough for my system, but I’ll walk with Shin to Eightfold Coffee in the Arts District. It’s tiny but very chill. Then we’re going to Bliss Bakery inside the Little Tokyo Market Place. We get these tapioca bread balls. If you make any kind of sandwich that you would normally make, but use that bread instead, it ups the game. It’s life-changing. The Little Tokyo Market Place is not fancy or anything, but it has everything that you would want. There’s Korean food. They have a little sushi place in there. You can get premade Korean banchan and hot food in their hot food section. They also have a really good nuts section. It’s just one big table with all these nuts, just piles and piles.
10 a.m.: Nature without leaving the city
We’ll go to Los Angeles State Historic Park near Chinatown. I like that place just because it’s very accessible. Like, they have accessible bathrooms and I’m always checking out whether a place has good bathrooms. We call it Flat Park because it’s a great walk. Like, you’re not really out in nature, but there’s a lot of greenery. You can take your shoes off and at least touch grass for a second.
11:30 a.m.: Lunch and TV cooking shows
One of my favorite salad-sandwich combos is at Cafe Dulce in Little Tokyo. A Korean cheesesteak and a kale salad. That’s always like a — bang, bang — good combo. So we might go there or Aloha Cafe, though it’s not fully open on Sundays. But I love it because I grew up in Hawaii. They have this great Chinese chicken salad and spam musubi and other Hawaiian food that is so good.
We’ll bring home food and watch something. Cooking competition shows are my cream of the crop. My favorite right now is “Tournament of Champions” because it’s blind tasting. To me, that’s the best way to do it. “The Great British Bake Off” is Shin’s favorite. He loves the nature and the accents as much as the actual cooking. He just loves the vibe, the slow pace of the whole thing.
I’m such a TV girl. I love spending time on the couch and eating a meal and watching something that’s appetizing with my favorite person in the world. I’m lucky because I get to do that a lot.
2 p.m.: Browse the aisles
I’ll go to this bookstore called Hennessey + Ingalls. I love art and architecture and design, but you can’t always buy these massive books. But you can go into this bookstore and look at them and it’s always chill.
If I have time, I’ll walk around art supply stores. Artist & Craftsman Supply is a good one. I’ll look at pens, pencils, stickers, tape, washi tape, different kinds of paper, charcoals. In my art, I try to find things that aren’t meant for that particular purpose, like little things in a hardware store that I’ll use it in a different way.
5 p.m.: Downtown L.A. in its glory
We really love to walk the Sixth Street Bridge. It’s architecturally beautiful and they’re building a huge park over there, so we’ll walk around and check it out, like, ‘Which trees are they planting? Can you see?’ We sort of dream about how it’s coming together. But the other beautiful thing about that walk is that if you go at sunset and you walk back toward downtown, it’s just gorgeous. Los Angeles doesn’t have the most majestic skyline, but it’s so picturesque in that moment.
6:30 p.m.: Cornbread and Enneagrams
I’ll head to the Park’s Finest in Echo Park. It’s Filipino barbecue. It’s just so savory and rich and a special hang. Their cornbread is really good. Oh, and the coconut beef, but I’m trying to eat less beef. They have a hot link medley. Oh my gosh, just looking at this menu right now, my mouth is watering. OK, I’ll stop.
One of my favorite things to do is ask friends about their Enneagram number. So the idea of sitting with friends over a good meal and asking them a bunch of personal questions about their childhood and what motivates them and what their parents were like and what their greatest fear is and then figure out what their Enneagram number is? That is a top-tier activity for me.
9 p.m.: Rally for improv
Because I get up so early, if 9 o’clock, I’m ready to go to sleep. But I am obsessed with improv, so on my ideal day, there’d be a show to do. There’s this place called World’s Greatest Improv School in Los Feliz. It’s tiny and they just opened a few years ago, but the vibe there is spectacular.
Then there’s another place where my heart is so invested in now called Outside In Theatre in Highland Park. Tamlyn Tomita and Daniel Blinkoff created it together and not only is the space gorgeous — I mean, they built it from scratch — they have interesting programming there all the time. They’re so supportive of communities that are not seen in mainstream art spaces. It’s my favorite place. Sometimes I’ll find myself in their lobby till 12 o’clock at night. The kind of people I like to hang around are the people that hang out in that space.
11 p.m.: Turn on the ASMR and shut down
I am firmly an ASMR girl and I have been for years. I have to find something to watch that will slow my brain down. Then it’s pretty consistent. I don’t last very long once I turn something on. My eyelids get heavy and it chills me out.
Lifestyle
Cheddar bay biscuits, cheap margs and memories: Readers share their nostalgia for chain restaurants
Affordable, familiar and reassuring are the features that make American chain restaurants a near-ubiquitous presence throughout the country; it is almost as if they are baked into our roadside culture.
Despite well-documented financial struggles, a tough economy and shifting diet trends, these restaurants withstand time.
This series explores why these places have such strong staying power and how they stay afloat at a time of rapid change.
Read our first three pieces in this series, including how these restaurants leverage nostalgia to attract diners, how they attempt to keep costs affordable, and how social media has changed the advertising game – and become a vital key to restaurants’ success.
America’s chain restaurants are not the most glamorous places to eat. And yet, as we’ve reported, they hold a special place in many Americans’ hearts.
We asked readers what comes to mind when they think of restaurants like Olive Garden, Applebee’s or Texas Roadhouse — and you shared plenty of stories.
Not all of the respondees waxed poetic about the merit of these restaurants. David Horton, 62, from New York, for example, said: “The food is mostly frozen and only has flavor from the incredible amounts of sodium they use.”
But overwhelmingly, responses described vivid childhood memories shared in booths looking excitedly over laminated menus and the type of adolescent rites of passage that seem right at home in the parking lot of a suburban chain restaurant.
There’s a science behind why these sorts of memories have such a hold on us.

The feeling of nostalgia is linked closely to food and smell, and these restaurant chains are often where core memories – like graduation celebrations or first dates – are made.
Chelsea Reid is an associate professor at the College of Charleston who studies nostalgia. And she’s no more immune to nostalgic feelings than anyone else even though she has a better understanding of the chemistry behind the feeling.
“Even just saying Red Lobster, I can kind of picture the table and the things that we would do and the things we’d order, and my mom getting extra biscuits to take home,” she said.
A Red Lobster restaurant is seen in Fairview Heights, Ill., in 2005.
James A. Finley/AP
hide caption
toggle caption
James A. Finley/AP
Her nearest Red Lobster closed down, but a local farmers’ market sells a scone reminiscent of Red Lobster’s famed Cheddar Bay Biscuits – a scent she says immediately transports her back to those childhood family outings to the seafood chain.
“I can see my mom wrapping these up in a napkin and putting them in her purse for when we would be like, ‘hey, we’re hungry,’ and she pulls out a purse biscuit.”
Full disclosure: Your intrepid reporters are not without sentimentality. Before launching this project, when it was just a kernel of an idea, we talked frequently about the role these restaurants played in our own lives.
Jaclyn: I distinctly remember cramming into a booth at my local Chili’s in my hometown, Cromwell, Ct., for most birthday dinners until the age of 13 or so.
I’d be surrounded by my mom, dad and brother, and I got to pick whatever I wanted. Except I always chose the same thing: Chicken crispers with a side of fries, topping the night off with the molten lava chocolate cake we’d share as a family.
I can picture it so clearly, down to the booth we’d sit in. Now, my family is spread out. But my love for Chili’s runs deep, and I still get warm and fuzzy when I think about it.
These days, I’m in my 30s, and I need to worry about my health and getting in 10,000 steps a day. So, no, I don’t regularly go to Chili’s now.
But when I do? Those chicken crispers I had as a kid are still on the menu, and yes, I’m likely to order them today (even if on my adult tastebuds, the salt content quickly turns my mouth into the Sahara Desert).
And it’s not to celebrate my birthday. It’s because one of my best friends is telling me she’s getting a divorce over cheap, and sugary, margaritas.
Alana: When the pandemic struck in 2020 and much of the country went into lockdown, there I was mostly alone in my one bedroom apartment, staring at the walls.
After what seemed like a lifetime, I was finally able to expand my tiny COVID bubble.
One of my first “dining out” experiences during that time was in the parking lot of the Hyattsville, Md., Olive Garden where my friend and I sat in absolute glee to be reunited – not just with one another, but also the chain’s staple soup (zuppa toscana for me, please), salad and breadsticks (you can have all the breadsticks if I can have your share of the salad tomatoes).
Since then, that friend and many others have moved away – too far to meet up for a sit-down over a (mostly) hot meal at a reasonably priced restaurant in a city not famed for being cheap.
I recently revisited the Hyattsville Olive Garden for this story. And even though my life is now different, my friends have moved away, and the world has shifted, there it was, exactly the same.
And I liked it.
Many readers said that these restaurants were the type of place a family who could rarely afford to eat outside a home could treat themselves on rare occasions.
Like Julie Philip, 51, from Dunlap, Ill., who wrote: “Growing up in the 70’s and 80’s, Red Lobster was an Easter tradition. We would dress up, go to church, then drive close to an hour to Red Lobster.”

She continued, “It was one of only a few days a year that we could afford to eat at a ‘fancy restaurant.’ I remember my parents remarking that they had to spend $35 for our family of four. I no longer consider Red Lobster a ‘fancy restaurant,’ but as an adult, my family and I often still eat there at Easter. I remind my kids that we are keeping up a family tradition and I tell them stories of my childhood while eating.”
The original Applebee’s restaurant was called T.J. Applebee’s Rx for Edibles & Elixirs and it opened in Decatur, Ga., in 1980.
Applebee’s
hide caption
toggle caption
Applebee’s
For Sarah Duggan, an Applebee’s parking lot evokes a key memory from young adulthood.
Duggan, 32, from North Tonawanda, N.Y., wrote that every time she sees an Applebee’s, she remembers the time her friend, in an act of teenage rebellion, got her belly button pierced in the parking lot of a Long Island Applebee’s — inside the trunk of the piercer’s “salvage-title PT Cruiser.”
Duggan held the flashlight.
She wrote, “I can’t picture those sorts of college kid shenanigans happening in the parking lot of a regular Long Island diner or other independent restaurant, but it seems right that it was at Applebee’s.”
She continued, “It makes me think about how nobody, from riotous camp counselors to your spouse’s grandparents, looks or feels out of place at a chain restaurant.”

-
Iowa5 days agoAddy Brown motivated to step up in Audi Crooks’ absence vs. UNI
-
Iowa6 days agoHow much snow did Iowa get? See Iowa’s latest snowfall totals
-
Maine3 days agoElementary-aged student killed in school bus crash in southern Maine
-
Maryland5 days agoFrigid temperatures to start the week in Maryland
-
Technology1 week agoThe Game Awards are losing their luster
-
South Dakota6 days agoNature: Snow in South Dakota
-
Nebraska1 week agoNebraska lands commitment from DL Jayden Travers adding to early Top 5 recruiting class
-
New Mexico3 days agoFamily clarifies why they believe missing New Mexico man is dead