Lifestyle
Mickalene Thomas makes art that 'gives Black women their flowers'
Mickalene Thomas’ 2015 work “Afro Goddess Looking Forward.” Rhinestones, acrylic, and oil on wood panel
Mickalene Thomas/The Barnes Foundation
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Mickalene Thomas/The Barnes Foundation
In Mickalene Thomas’ art work, Black women are front and center. Her subjects are often at leisure, resting on couches and chairs, sometimes nude, and frequently accentuated by rhinestones and rich colorful patterns.
“I would describe my art as radically shifting notions of beauty by claiming space,” she says. “We’ve been supportive characters for far too long and … my art gives Black women their flowers and lets them know that they are the leading role.”
The scale of Thomas’ paintings, often made of unconventional materials like glitter, sequins, and yarn, makes them feel larger than life, with the eyes of her subjects gazing directly at the viewer. Each piece begins as a collage.
“I love the instant, tangible way having my hands at it, as if I’m sculpting with the paper, allows me the immediacy of the process,” she says. “My scissors are sort of a way of drawing.”
Thomas often recasts scenes from 19th-century French paintings, centering Black sensuality and power. She says her ultimate goal is to celebrate the “sisterhood” that exists between Black women, and which she grew up experiencing.
Mickalene Thomas describes her work as “radically shifting notions of beauty by claiming space.”
Arturo Holmes/Getty Images
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Arturo Holmes/Getty Images
“The trials and tribulations of my own life as a child did not negate the fact that there was a lot to love and care and family and support and comfort, even when there was struggle,” she says. “So that’s what I bring forth in my work.”
Thomas’ latest exhibition, “All About Love,” is midway through an international tour with stops in Los Angeles, Philadelphia (The Barnes Foundation, through Jan. 12, 2025), London and France. The Barnes exhibition features 50 paintings, collages, and photography spanning over two decades, inspired by the women in her life, including her mother, who died in 2012.
Interview highlights
Thomas’ 2010 “Le Déjeuner sur l’herbe: Les trois femmes noires” reinterprets Manet’s 1863 painting. Rhinestones, acrylic and enamel on wood panel.
Mickalene Thomas /Jean Pierre and Rachel Lehman Collection/The Barnes Foundation
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Mickalene Thomas /Jean Pierre and Rachel Lehman Collection/The Barnes Foundation
On her 2010 reinterpretation of Manet’s “Le Déjeuner sur l’herbe”
I decided to reinterpret or reclaim this space [by depicting] … three powerful women who are fully clothed, seated and not at a picnic, just lounging and giving each other their flowers.
On finding a home in art
I think that art has saved my life, for sure. Growing up, going to after school programs at the Newark Museum, it was, for me, this safe haven, this comfort, this refuge. I loved going there after school. I loved doing all the craft projects, the papier-mâché, exploring different ways of making self-portraits or building houses with popsicle sticks and all those things. … It was just an outlet, a way of expressing myself, but also a place to go after school until my mother got off work.
On using inexpensive craft supplies
When I was in Pratt, I couldn’t afford oil paint. I would rummage, often through the recycled stretcher bins, and gather my materials from that. And all I could afford was craft materials because they were cheaper than oil paint, like felt and different fabrics, glitter. … So I gravitated towards those materials because they were accessible and affordable for me. But what they did was open up a way of expressing myself. … There was a struggle of completing some assignments because some you had to use oil paint or some you had to use the traditional materials. … Sometimes people [would] throw away tubes of paint because they think it’s [finished] and [I’d] just cut it open, [and] there’s still paint in there.
[Now] I love using the high-end material and still the acrylic. I use both. But now I mix them up. And so you can’t tell what’s high or low, but that’s just part of life sometimes, right? You can wear H&M with a Prada jacket and still look fabulous. … Sometimes things that are so simplistic and that cost nothing are so much more rewarding.
On her late mother’s support of her work
She got to see it, experience it, celebrate it. She was celebrated for it. She was admired and adored. She loved the fact that she was a part of my art. She loved coming to the openings. She loved coming to my friends’ openings. She loved supporting my community. So whether it was my opening or one of my artist friends’, she would show up. And so I love that about her. She was a great advocate. She’s always been an advocate for the arts. She always supported that. When I decided I wanted to be an artist, she never looked at it as, “Why you want to go and do that?” Some of those things were in my head, but she never vocalized that. She was supportive.
Ann Marie Baldonado and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.
Lifestyle
‘Wait Wait’ for December 13, 2025: With Not My Job guest Lucy Dacus
Lucy Dacus performs at Spotlight: Lucy Dacus at GRAMMY Museum L.A. Live on October 08, 2025 in Los Angeles, California. (Photo by Rebecca Sapp/Getty Images for The Recording Academy)
Rebecca Sapp/Getty Images
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Rebecca Sapp/Getty Images
This week’s show was recorded in Chicago with host Peter Sagal, guest judge and scorekeeper Alzo Slade, Not My Job guest Lucy Dacus and panelists Adam Burke, Helen Hong, and Tom Bodett. Click the audio link above to hear the whole show.
Who’s Alzo This Time
Mega Media Merger; Cars, They’re Just Like Us; The Swag Gap
Panel Questions
An Hourly Marriage
Bluff The Listener
Our panelists tell three stories about a new TV show making headlines, only one of which is true.
Not My Job: Lucy Dacus answers our questions about boy geniuses
Singer-songwriter Lucy Dacus, one third of the supergroup boygenius, plays our game called, “boygenius, meet Boy Geniuses” Three questions about child prodigies.
Panel Questions
Bedroom Rules; Japan Solves its Bear Problem
Limericks
Alzo Slade reads three news-related limericks: NHL Superlatives; Terrible Mouthwash; The Most Holy and Most Stylish
Lightning Fill In The Blank
All the news we couldn’t fit anywhere else
Predictions
Our panelists predict what will be the next big merger in the news.
Lifestyle
L.A. Affairs: I had casually known her for 5 years. Was I finally ready to make a move?
In Fairfax, nestled on Beverly Boulevard near Pan Pacific Park, I ran a modest yet beloved pan-Asian restaurant called Buddha’s Belly. More than a place to eat, it was a gathering spot where our team and loyal regulars created an atmosphere of warmth and community. Every day, we exchanged stories about our guests, the generous, the quirky and the kind souls whose smiles lit up our little corner of L.A.
For five years, one regular stood out. The Buddha’s Belly team referred to her as “Aloha.” She had a familiar and beautiful face and she adored our shao bing finger sandwiches and pad Thai. During those five years, all I ever said to her was: “How’s your pad Thai?,” “Nice to see you” and “Thanks for coming in!” Her friendly smile and presence were the highlights of our routine interactions.
Then one hectic afternoon changed everything. Rushing to a meeting and about to leap into my car, I caught a glimpse of Lynda sitting at Table 64, smiling at me through our bamboo-lined patio (a.k.a. “bamboo forest”). I went over to say a quick hi.
“How’s your pad Thai?” I asked, and then I was off.
A couple blocks from the restaurant, I was struck by the feeling that our brief encounter was different this time. There was a spark — a look in her eye. So I did something out of character: I called the manager on duty and asked him to go to Table 64, Seat 3, and ask for her number.
The next day, I found a business card on my desk with Lynda’s cell number. It was on! That small gesture signaled the start of something extraordinary.
Eager to seize the moment, I called and invited her out for a date that same weekend. However, it was her birthday month, and that meant her calendar was booked solid for the next three to four weekends. Not wanting to let time slip away, I proposed an unconventional plan: to join me and an octogenarian friend at our annual opening night at the Hollywood Bowl. Little did I know this would turn out to be equal parts amazing and mortifying. My friend was so excited — she had no filter.
Shortly after picking up our dinner at Joan’s on Third, my friend started asking Lynda questions, first light questions like “Where are you from?” and “What do you do?” Then once seated at the Bowl, her questions continued. But now they were more pointed questions: “Have you ever been married?” and “Do you have kids?”
Amazingly, Lynda didn’t flinch, and her honesty, unfiltered yet graceful, was refreshing and alluring. She had been through life’s fires and knew that when it’s a fit, it should not be based on any false pretense. Although I did manage to get a few questions in that evening, I still chuckle at the memory of myself, sitting back, legs extended with a note pad in hand taking notes!
After dropping her off, she didn’t know if she would hear from me, as she didn’t know anything about me. But I didn’t wait three days to contact Lynda. I called her the next day to make plans to see her again. With it still being her birthday month, I asked her to join me that night for a surf film at the Ford with my best buddy. She said yes, and there we were on another chaperoned date.
By our third date, we were finally alone. We ventured to an underground gem affectionately dubbed the “Blade Runner” restaurant. Hidden on Pico Boulevard behind no obvious sign and characterized by hood-free mesquite grills and stacked wine crates, the place exuded a secret charm. Sharing a bottle of wine with the owner, our conversation deepened, and the electricity between Lynda and me became undeniable.
Our story took another turn when I was opening a new bar named Copa d’Oro (or Cup of Gold) in Santa Monica that was similar to a bar down the street called Bar Copa. The owner of Bar Copa invited me to discuss whether the concept was going to be too like his own. While we waited in the packed room, I instinctively put my hand around the small of Lynda’s back to steady us from the ebb and flow of the crowd of people around us. The intensity of our closeness and the energy between us was palpable, and we soon found ourselves at a quieter bar called Schatzi on Main where we had our first kiss.
Our courtship continued, and it would be defined by ease and grace. There were no mind games or calculations. One of us would ask whether the other was free, and it was an easy yes. Our desire was to be together.
I fondly remember being at a Fatburger not far from where Lynda lived, and I phoned her to ask if she wanted to sit with me as I scarfed down a Double Kingburger with chili and egg (yum!), and she said yes. By the time she arrived, I was halfway through eating the sandwich. But I was practicing a new way of eating a sloppy burger that my brother taught me. Why bother to continuously wipe your mouth when you’re only going to mess it up with the next bite? To save time and energy, wipe your mouth once at the end.
I was practicing this new technique with a smear of sauce on my face, and it didn’t faze her one bit. I could only imagine what her internal monologue was!
After six months of effortless companionship, I asked Lynda to move in, and a year later, while at Zephyr’s Bench, a serene and cherished hiking spot in the Santa Monica Mountains behind Bel-Air, I asked her to marry me.
Now, more than 17 years later, with two beautiful boys and our pandemic dog in tow, I can say I found my own aloha right here in the vibrant chaos of Los Angeles.
The author lives in Santa Monica with his wife and two children. They go to the Hollywood Bowl every chance they can. He’s also aspiring to make it into the Guinness World Records book.
L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.
Lifestyle
‘The Mask’ and ‘Pulp Fiction’ actor Peter Greene dies at 60
Actor Peter Greene at a press conference in New York City in 2010.
Bryan Bedder/Getty Images
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Bryan Bedder/Getty Images
Actor Peter Greene, known for playing villains in movies including Pulp Fiction and The Mask, has died. Greene was found dead in his apartment in New York City on Friday, his manager and friend, Gregg Edwards, told NPR. The cause of death was not immediately provided. He was 60 years old.
The tall, angular character actor’s most famous bad guy roles were in slapstick and gritty comedies. He brought a hammy quality to his turn as Dorian Tyrell, Jim Carrey’s nemesis in the 1994 superhero movie The Mask, and, that same year, played a ruthless security guard with evil elan in the gangster movie Pulp Fiction.
“Peter was one of the most brilliant character actors on the planet,” Edwards said.
He went on to work steadily, earning dozens of credits in movies and on TV, such as the features Judgment Night, Blue Streak and Training Day, a 2001 episode of Law & Order, and, in 2023, an episode of The Continental, the John Wick prequel series.
At the time of his death, the actor was planning to co-narrate the in-progress documentary From the American People: The Withdrawal of USAID, alongside Jason Alexander and Kathleen Turner. “He was passionate about this project,” Edwards said.
Greene was also scheduled to begin shooting Mickey Rourke’s upcoming thriller Mascots next year.
Rourke posted a close-up portrait of Greene on his Instagram account Friday night accompanied by a prayer emoji, but no words. NPR has reached out to the actor’s representatives for further comment.
Peter Greene was born in New Jersey in 1965. He started pursuing acting in his 20s, and landed his first film role in Laws of Gravity alongside Edie Falco in 1992.
The actor battled drug addiction through much of his adult life. But according to Edwards, Greene had been sober for at least a couple of years.
Edwards added that Greene had a tendency to fall for conspiracy theories. “He had interesting opinions and we differed a lot on many things,” said Edwards. “But he was loyal to a fault and was like a brother to me.”
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