Entertainment
At Contact in the Desert, 'Coachella for UFOs,' a once-fringe topic takes the main stage
Timothy Humphrey isn’t sure what exactly happened the night the visitor arrived.
“I saw something in the sky, and then an individual on the ground who spoke to me,” Humphrey, a Temecula resident, recalled as he walked through the Saturday afternoon crowds at the Contact in the Desert UFO convention in Indian Wells. He described the entity — a possible extraterrestrial? — as a “blonde-haired, blue eyed dude” dressed in all white. “I wasn’t on psychedelics or anything,” Humphrey laughed, but the encounter left him shaken.
“I had trouble sleeping after, but I wasn’t harmed,” Humphrey said. “I took it as an experience where the line blurred between reality and spiritual woo-woo stuff.”
Humphrey’s mind-bending night was the kind of thing many would keep private, or to the deepest trenches of UFO Reddit. But last weekend, two thousand fellow seekers gathered at the Renaissance Esmeralda resort to try to make sense of their similar encounters and beliefs.
They had much to discuss. The topic of UFOs has gone from fringe to urgently mainstream in just a few years. The highest reaches of the government, military, media and entertainment have taken serious interest in the phenomenon.
Hardcore Ufologists rightly feel vindicated, but that’s old news at Contact the Desert, which celebrated its tenth anniversary this year. There, a fascination with Ufology melded with esoteric spirituality, government conspiracy, alt-celebrity culture and a bit of self-awareness about how loopy this can all get.
Believers at the five-day convention between May 30 to June 3 nurtured a subculture that’s now passing laws and opening minds. But such belief can also self-reinforce to strange places. The worldviews on display at Contact the Desert are ascendant. They show where Americans are looking for meaning — or solace — in terrestrially fraught times.
“It was a wonderful experience being here,” Humphrey said. “It was fellowship with a lot of like minds. It makes you wonder what else is out there I don’t know about?”
“They tried so hard to wipe us out, but here we are,” said professed UFO experiencer Whitley Strieber, left, with Travis Walton, Linda Moulton Howe, and Paul Hynek at Contact in the Desert convention in Indian Wells.
(David Vassalli / For The Times)
From at least the early 20th century era of rocket scientist Jack Parsons, and the shared roots of Pasadena’s Jet Propulsion Laboratory, Scientology and the occult group Ordo Templi Orientis, the hard science of space exploration has mingled with more esoteric ideas in Southern California.
Now, UFOs are a common topic in government. The most recent national defense authorization act compelled the National Archives to gather documents about “unidentified anomalous phenomena, technologies of unknown origin and nonhuman intelligence,” and this year yielded the first All-domain Anomaly Resolution Office report. U.S. Senate Majority leader Chuck Schumer and others drafted legislation to declassify information about Unidentified Aerial Phenomena (UAP, the current term for UFOs). Rep. Tim Burchett formed a bipartisan UAP caucus. There’s been sworn testimony from a U.S. intelligence officer alleging the government may have alien craft and bodies. Harvard astrophysicist Avi Loeb wrote bestsellers arguing we may have found evidence pointing to extraterrestrial life.
A decade ago, after the pop-culture success of “The X-Files” but before the latest wave of mainstream and government attention, Ron Janix helped found Contact in the Desert as a home for all of it.
The audience was there — according to a 2021 Pew Research Center poll, two-thirds of Americans believe that extraterrestrial life exists, and more than half believe that military-reported sightings are evidence of alien life.
Entranced by the James Webb space telescope photographs? Think the CIA is lying about the power of psychic remote viewing? See something weird out in Joshua Tree? You’d find fellow travelers at Contact.
“The audience definitely runs the full gamut, from people with a general curiosity to diehards who claim experiences with aliens,” Janix said. “But there’s no question that since the New York Times story in 2017 and the release of UAP videos from the Pentagon, there’s been a lot more exposure of our community in the mainstream. We try to have fun with it — there’s lots of new people at the event and we want them to know it’s just something to ponder.”
“It is kind of like a Coachella for UFO’s,” laughed Dan Harary, the co-founder of the Hollywood Disclosure Alliance, a group that connects experts and “experiencers” at Contact with the film industry. A boom in documentaries such as J.J. Abrams’ sober Showtime series “UFO” and James Fox’s cult hit “The Phenomenon” proved the topic is compelling beyond red-eyed History Channel marathons.
“There are thousands of fascinating stories for producers here. It’s not just like that Twilight Zone episode ‘To Serve Man’,” Harary said. “We’ve got a guy who is a multimillionaire businessman who said he’s met with the Pleiadians ever since he was 5, and hey, I believe him.”
Felicia LuQue is ready to encounter the unknown at the Contact in the Desert convention in Indian Wells, California.
(David Vassalli / For The Times)
Ufology, like Protestantism, is a big-tent religion, and “A lot of this overlaps,” Janix said. “The ways things blend here is through the idea of nonhuman intelligence, whether it’s a nuts-and-bolts spacecraft to someone talking to ghost to a DMT or ayahuasca experience to talking to artificial intelligence.”
As the topic of UAP and extraterrestrial life became a live-wire issue in Congress and the Department of Defense, with figures including the late Sen. Harry Reid acknowledging programs such as the Advanced Aerospace Threat Identification Program, the question of UAP took on new seriousness in the halls of power.
“I think the audience feels a degree of vindication,” said Nick Pope, a UAP researcher and former civil servant in the U.K.’s Ministry of Defense, who presented at Contact. “People that went to these events used to get ribbed by their families, now those families say ‘I saw the congressional hearing on that, I heard about UFO provisions in the defense bill.’ These people were ridiculed and now they can hold their heads up high. ”
This being SoCal, that included Thomas Jane, the actor and star of “Hung” and “The Punisher,” who said he was “coming out of the UFO closet” with a lecture at Contact.
“Actors do lots of crazy stuff, but I hope I can help destigmatize the phenomenon,” he said. “I had an experience I couldn’t explain, and there are a lot of people in my position where you wouldn’t feel okay to talk about it before those congressional hearings blew the door wide open. We have to be culturally ready to absorb that we’re not alone. What will this tell us about the nature of reality, physics, evolution?”
On Saturday, crowds wandered through two floors of the Esmeralda, a swanky resort between Palm Springs and the Coachella festival grounds. The audience ranged from witchy Highland Park Gen Z’ers to Nevada desert libertarian Boomers. From morning to night, they strolled between talks that ranged from the grounded (an interview with Harvard’s Loeb touching on his recent book “Interstellar”) to the starstruck (a “Legends: The Pioneers Who Paved The Way” panel with George Noory, of the long running news-of-the-weird conspiracy show “Coast To Coast AM,” and physicist and former CIA parapsychologist Russell Targ). The hosts of the popular true-crime and occult comedy show “Last Podcast on the Left” drew howls and groans when they smashed deep-cut UFO-sighting videos into (pixelated) clips of hardcore alien-themed porn.
Dave Magown, from Las Vegas, was at his first Contact, and felt heartened by everyone’s curiosity. His partner was an experiencer, he said, and he wanted to learn more to support her. “The people here are so open minded, it’s what’s missing in the world today,” he said. “They have the ability to see more than the average Joe. I plan to come every year, I’m gonna be more educated next time.”
“The people here are so open-minded, it’s what’s missing in the world today,” said Dave Magown about Contact In The Desert. “They have the ability to see more than the average Joe.”
(David Vassalli / For The Times)
Regulars walked through the halls of crystal skulls and clairvoyant booths with the renewed vigor of being proved right, at least on some of it.
“I usually speak or sell these energy devices at these, it’s my favorite event of the year,” said Apolla Asteria, an esoteric YouTuber. “We’ve witnessed changes in the field of disclosure in the few years, with the UAP task force and the Pentagon reports. We’re getting the vibe that this is being taken seriously.”
Other Contact in the Desert veterans, such as L.A. musician Helena Reznor, are eager to move past staid government reports. “I think people are getting bored of the whole alien thing, we pretty much know there’s something else coming into our reality,” Reznor said. “It’s time to start looking more into portal activity and all of the different, strange intelligences that seem to be interacting with us.”
Shannon McNamara and Xander Gilbert traveled in from Denver for the convention. Gilbert had just left “a talk about Egypt where they said they were beaming people into space when they die and that’s why the Pharaohs are in pyramids,” he laughed. “Everything’s a fun story, even when its wacky.”
McNamara, a podcaster who covers celebrities and conspiracy theory culture, said she knew when to draw the line between silly and dangerous beliefs. “I go as deep as I can before they mention Jewish people and then I’m out,” she said. “Ever since 2020, conspiracy topics have popped off because people don’t trust the media, they don’t trust politicians, they don’t trust schools. All these systems have broken down, so people are like ‘Maybe I trust this author on Amazon with an e-book that resonates.’”
“And they want a community where like-minded weirdness resonates,” Gilbert added.
That was the conflict at this year’s Contact in the Desert. It is no longer just a fringe event where someone like Travis Walton, the mustachioed professed abductee portrayed in “Fire In the Sky,” is mobbed like Harry Styles. Its topics are no longer taboo in the mainstream.
Should its culture shift to more scientific inquiry, or towards fan service for its most devoted? Does an event like this have an obligation to police its far edges, or to cultivate them?
“If the government has classified information, they won’t release it. Why wait for the government to tell us what lies outside the solar system?” asked Harvard astrophysicist Avi Loeb before the Contact in the Desert convention in Indian Wells.
(David Vassalli / For The Times)
For Loeb, the director of Harvard’s Institute for Theory and Computation at the Harvard-Smithsonian Center for Astrophysics, who delivered a Zoom talk at Contact on Saturday, serious researchers into this field should expect healthy criticism.
“People invent virtual realities. AI has hallucinations. We live in a world where you don’t get feedback if you don’t speak with other people,” said Loeb in a phone call before the festival. “That’s become part of politics and polarization now, and it’s also part of science. That’s unfortunate, because science gives you the privilege of taking risks, making mistakes and learning.”
Loeb’s scientific credibility and Harvard perch made him a potent — if controversial — figure. His captivating 2021 book “Extraterrestrial” posited that Oumuamua, the first known interstellar object to enter our solar system, had evidence of being extraterrestrial technology. The book galvanized the field, became a bestseller and made him UFO-scene famous.
“The beauty of science is that there is one reality we share and can measure it with instruments,” Loeb said. “If the government has classified information, they won’t release it. Why wait for the government to tell us what lies outside the solar system?”
There are risks navigating a scene like Contact. Recently, Loeb caught blowback for appearing via Zoom before a Mexican congressional hearing about UAP where, later, a Ufologist presented “alien mummies” that were likely made of human and animal bones (“It was embarrassing,” Loeb said). Benjamin Fernando, a Johns Hopkins seismologist, recently said that seismic signals from a meteor crash Loeb was investigating were more likely due to a car backfiring.
“What a ridiculous statement,” Loeb laughed when asked about Fernando’s critique. “An eagle has crows on its back pecking at its neck. My goal is to rise to the level where the crows fall off.
“Copernicus’ book was banned for hundreds of years, but his ideas prevailed because people realized they were true,” he continued. “It’s a subject of great interest. Put some limits on this, but let’s explore it!”
“We’re so close to the finish line of disclosure,” UFO lobbyist Stephen Bassett said. “That’s what makes this the most extraordinary activist movement.”
(David Vassalli / For The Times)
For all the avant-garde amateur physics and brain-smoothing New Age thought at Contact, there was also real feeling that the world was being proven more complex and fantastical by the week.
If you couldn’t quite follow esoteric journalist Linda Moulton Howe’s thoughts about how pure bismuth could help negate gravity, you could appreciate the vim of Stephen Bassett, a UAP disclosure lobbyist with the Paradigm Research Group, racking up legislative wins.
“We’re so close to the finish line of disclosure,” Bassett said. “Until now it was as if you were arguing to end the embargo on Cuba, and the government’s position was ‘There’s no such thing as Cuba. Those photos are fake.’ That’s what makes this the most extraordinary activist movement.”
“The US government officially acknowledged that UFOs were real. Up until that point, everyone was struggling constantly to get their friends and neighbors to believe they weren’t crazy,” said Daniel Sheehan, an attorney who founded New Paradigm Institute, a UAP-focused policy group, after a colorful career of other activist litigation. After the dissolution of last year’s UAP Disclosure Act, he’s now lobbying Congress to establish an independent board that would gather and declassify information and protect whistleblowers.
“There’s a shift in consciousness here when people get together. Now they can talk to friends and neighbors about news reports,” Sheehan said. “There was this underworld club where they were oppressed in common. Now that’s been lifted, and they realize they’re going to have to do more work.”
The final goals of the movement — definitive proof and acknowledgment from government of the existence of extraterrestrial life — remain tantalizingly beyond the veil.
One hot topic at Contact was the whistleblower David Grusch, a former intelligence official and U.S. Air Force officer who set the UFO podcast world aflame with Congressional testimony that the government could be hiding recovered alien craft and bodies. (NASA administrator Bill Nelson, when asked about Grusch in a 2023 press conference, said “NASA is open and transparent in our data. He said he had a friend that knew where a warehouse was that had a UFO locked up. He also said he had another friend that said he had parts of an alien. Whatever he said, where’s the evidence?”)
There was no faster way to get sour looks at Contact than citing March’s AARO report, a paper from the Defense Department’s newly established All-domain Anomaly Resolution Office. The department said “AARO has found no verifiable evidence that any UAP sighting has represented extraterrestrial activity. AARO has found no verifiable evidence that the U.S. government or private industry has ever had access to extraterrestrial technology. AARO has found no indications that any information was illegally or inappropriately withheld from Congress.”
Rocky Angel looks to the skies at the Contact in the Desert convention in Indian Wells.
(David Vassalli / For The Times)
“I was so optimistic about AARO, but it was so dismissive,” Janix said. “It just felt like what the government did with Project Blue Book and the Condon Report. If this is all that AARO is, we need to go somewhere else.”
The government’s openness to the topic has Ufologists worried that a fragile consensus might end up in the culture-war morass — or pernicious conspiracies.
“The cynic in me says everything is political,” Pope said. “If Joe Biden said ‘We have proof of alien life,’ his opponents would say ‘Here comes the next COVID.’ We have rare bipartisanship around this issue, and we risk unraveling into conspiracy and deep hatreds. There is a conspiratorial wing that can breed extremism.”
As the lectures at Contact wound down into a boozy dance party with a live rock band, the crowd of Ufologists had wine-fueled disagreements: Did David Grusch have the evidence to back up his claims? Can the government be trusted to disclose what it knows?
One thing they were certain of, however, is that they were winning.
Late in the day, Whitley Strieber, the “Communion” author and legendary professed experiencer, opened the Legends of Ufology panel to thunderous applause.
“They tried so hard to wipe us out,” Strieber said, voice shaking with conviction. “And here we are.”
Entertainment
How a mural of Altadena became a symbol of resilience for one small store, through fire and flood
Every time Adriana Molina drives up Lake Avenue to her retro-style women’s clothing shop Sidecca in Altadena, she sees the new outdoor mural she commissioned for the store by muralist and illustrator Annie Bolding. It gives her hope.
“I’m here to stay, and this mural solidified my decision to reopen my business,” said Molina on a recent winter day, sitting next to Bolding inside the boutique. “I grew up in Altadena. The community has motivated me this whole time, and I want them to drive by this mural and smile.”
“ALTADENA.” The word — in big white letters, set against layers of blue — appears toward the top of the mural, on the store’s brick wall facing Lake. Above are the San Gabriel Mountains, painted a deep brown, California poppies and Mariposa Street and Lake Avenue street signs. Below are green grass, a monarch butterfly and Altadena’s Christmas Tree Lane. A bright blue house is on a multicolored striped path in the middle of the mural. Next to it, on a hiking trail, a sign says, “Welcome Home Altadena… With Love, Sidecca.”
For Molina and Bolding, the mural is a personal ode to the Eaton fire-ravaged community — art as a message of optimism and healing.
A car passes by the new Altadena mural on the side of Sidecca apparel shop, which commissioned the piece after fire and floods devastated the community.
(Genaro Molina / Los Angeles Times)
When the fire tore through Altadena in January 2025, Sidecca and a few other stores on the north side of Mariposa Street’s bustling Mariposa Junction survived, while the other half-block of businesses burned to the ground. The fire leveled Bolding’s parents’ house off Lake and the home of one of Molina’s close relatives.
Molina staged pop-ups and sold merchandise online during months of remediation, and officially reopened Sidecca’s doors in November as part of Mariposa Junction’s larger comeback. Then the store suffered another blow: flooding and damage during rainstorms in late December. While Molina prepped to temporarily close her store yet again for renovations, Bolding began work on the mural. She started painting on the one-year anniversary of the fire and finished eight days later.
“On the day I started it, it was so cold and windy, and I was scared being up on the ladder,” said Bolding. “But getting to talk to community members while I was painting was very special. People were excited and honking as they drove by. That night, I drove up to the lot where my parents’ place was, and I stood there and all the feelings flooded back.”
The mural’s origin story is that of two creative women bound by strength and a desire to give back.
Molina, who has worked in the fashion industry for more than 30 years, opened Sidecca’s Altadena spot in 2023, after closing its longtime Pasadena location. Voted Pasadena’s best women’s clothing store five times by Pasadena Weekly, Sidecca sells fun vintage-inspired merchandise and clothes, from ‘50s style dresses to snazzy magnets, tote bags and sunglasses. A big rainbow zips across the top of one of the store’s walls.
A display in Sidecca in 2023, two years before the Eaton fire devastated Altadena.
(Alejandro R. Jimenez)
“A few months after Sidecca opened in Altadena, my mom walked in and saw how colorful it was, and said, ‘This reminds me of my daughter,’ ” Bolding said. “With zero hesitation, my mom said to Adriana, ‘Here’s her Instagram. This is my daughter’s stuff.’ ”
Bolding, who goes by Disco Day Designs, calls herself “a joyful creator who loves to intentionally transform spaces.” Known for the bright murals she creates for brands and shops, Bolding gained attention on social media for a trash bin she painted with palm trees and stripes. She brought it to the 2024 Coachella Valley Music and Arts Festival as part of a contest organized by the festival’s sustainability partner, Global Inheritance.
“I fixated on the trash can,” said Molina. “I looked at Annie’s murals and was like, ‘Oh, she has to do something in here for us.’ ”
“Game recognizes game,” added Bolding, smiling.
Molina wanted to rebrand Sidecca with a new logo, bags and art, and connected with Bolding about that and a possible mural inside the store. “I wanted ‘Sidecca’ painted across a wall as an acronym that stands for style, individuality, diversity, expression, community, culture and art,” she said. “That’s who we are.”
Then came Jan. 7, 2025.
The store was closed all day for a holiday lunch. Then the winds picked up and the flames roared. Molina, who lives with her husband and two children on the Altadena-Pasadena, evacuated with her family to Long Beach and came back days later. She knew the store was OK because she’d seen it — intact — on the news.
“As soon as we could come up to the shop, we went,” Molina said. “There were ashes all over.”
Bolding and her husband were in Palm Springs fixing up an AirBnb they cohost when Bolding got a call from her mom about the fire in Altadena. She urged her mom, dad and younger brother to evacuate. After they did, their home burned down. Her parents now live in a Pasadena apartment.
When Molina started selling Altadena-themed merch on Sidecca’s website, Bolding donated three designs, including one with lively retro daisies. In July, she wrote an email to Molina reviving the idea of a mural, but outside versus inside, as an ode to Altadena.
“It felt like anything I could do to bring joy, let’s go,” said Molina. “And I really wanted a little house in there, and for it to say, ‘Welcome home.’ ”
The mural would be Bolding’s first public piece of art on a main street.
“Lake always felt like the road going home,” she said. “That rainbow road in the mural, leading to the mountains, is so symbolic. Very ‘Wizard of Oz.’ The mountains, their silhouette, have always felt majestic, safe, and why it was so heartbreaking anytime to see them burn. To me, they feel like mother.”
Muralist Annie Bolding stands in front of her new Altadena mural on the side of the Sidecca apparel shop. The work is Bolding’s first piece of public art on a main street.
(Genaro Molina / Los Angeles Times)
Bolding’s joyful daisies decorated the Sidecca tote bag given to customers at November’s reopening, just before December’s intense rainstorms. Water gushed through Sidecca’s ceiling. Molina and her employee Manisa Ianakiev were overwhelmed.
“We were like, ‘Is this really happening?’ ” said Molina. “Then people started bringing tools and towels. It was an example of community.”
Bolding planned to start painting the mural Jan. 4, during the Altadena Forever Run, but rain swept through. After Molina’s landlord installed a plywood base, Bolding started on the mural several days later.
Since then, the shop’s ceiling has been replaced, and Molina is working on trying to replace the floor — while continuing to stage pop-ups and sell merchandise online — before fully reopening the bricks-and-mortar boutique this spring.
“People say, ‘Every time I go into your store, I just get happy. I’m in a better mood,’ ” said Molina. “I get that all the time. And what Annie has done, this mural, is beautiful. It makes me happy.”
Movie Reviews
‘Hoppers’ review: Who can argue with hilarious talking animals?
Just when you think Pixar’s petting-zoo cute new movie “Hoppers” is flagrantly ripping off James Cameron, the characters come clean.
movie review
HOPPERS
Running time: 105 minutes. Rated PG (action/peril, some scary images and mild language). In theaters March 6.
“You guys, this is like ‘Avatar’!,” squeals 19-year-old Mabel (Piper Curda), the studio’s rare college-age heroine.
Shoots back her nutty professor, Dr. Fairfax (Kathy Kajimy): “This is nothing like ‘Avatar!’”
Sorry, Doc, it definitely is. And that’s fine. Placing the smart sci-fi story atop an animated family film feels right for Pixar, which has long fused the technological, the fantastical and the natural into a warm signature blend. Also, come on, “Avatar” is “Dances With Wolves” via “E.T.”
What separates “Hoppers” from the pack of recent Pix flix, which have been wholesome as a church bake sale, is its comic irreverence.
Director Daniel Chong’s original movie is terribly funny, and often in an unfamiliar, warped way for the cerebral and mushy studio. For example, I’ve never witnessed so many speaking characters be killed off in a Pixar movie — and laughed heartily at their offings to boot.
What’s the parallel to Pandora? Mabel, a budding environmental activist, has stumbled on a secret laboratory where her kooky teachers can beam their minds into realistic robot animals in order to study them. They call the devices “hoppers.”
Bold and fiery Mabel — PETA, but palatable — sees an opportunity.
The mayor of Beaverton, Jerry (Jon Hamm), plans to destroy her beloved local pond that’s teeming with wildlife to build an expressway. And the only thing stopping the egomaniacal pol — a more upbeat version of President Business from “The Lego Movie” — is the water’s critters, who have all mysteriously disappeared.
So, Mabel avatars into beaver-bot, and sets off in search of the lost creatures to discover why they’ve left.
From there, the movie written by Jesse Andrews (“Luca”) toys with “Toy Story.” Here’s what mischief fuzzy mammals, birds, reptiles and insects get up to when humans aren’t snooping around. Dance aerobics, it turns out.
Per the usual, “Hoppers” goes deep inside their intricate society. The beasts have a formal political system of antagonistic “Game of Thrones”-like royal houses. The most menacing are the Insect Queen (Meryl Streep — I’d call her a chameleon, but she’s playing a bug), a staunch monarch butterfly and her conniving caterpillar kid (Dave Franco). They’re scheming for power.
Perfectly content with his station is Mabel’s new best furry friend King George (Bobby Moynihan), a gullible beaver who ascended to the throne unexpectedly. He happily enforces “pond rules,” such as, “When you gotta eat, eat.”
That means predators have free rein to nosh on prey, and everybody’s cool with it. Because of bone-dry deliveries, like exhausted office drones, the four-legged cast members are hilarious as they go about their Animal Planet activities.
No surprise — talking lizards, sharks, bears, geese and frogs are the real stars here. They far outshine Mabel, even when she dons beaver attire. Much like a 19-year-old in a job interview, she doesn’t leave much of an impression.
Yes, the teen has a heartfelt motivation: The embattled pond was her late grandma’s favorite place. Mabel promised her that she’d protect it.
But in personality she doesn’t rank as one of Pixar’s most engaging leads, perhaps because she’s past voting age. Mabel is nestled in a nebulous phase between teenage rebellion and adulthood that’s pretty blasé, even if a touch of tension comes from her hiding her Homo sapien identity from her new diminutive pals. When animated, kids make better adventurers, plain and simple.
“Hoppers” continues Pixar’s run of humble, charming originals (“Luca,” “Elio”) in between billion-dollar-grossing, idea-starved sequels (“Inside Out 2,” probably “Toy Story 5”). The Disney-owned studio’s days of irrepressible innovation and unmatched imagination are well behind it. No one’s awed by anything anymore. “Coco,” almost 10 years ago, was their last new property to wow on the scale of peak Pixar.
Look, the new movie is likable and has a brain, heart and ample laughs. That’s more than I can say for most family fare. “A Minecraft Movie” made me wanna hop right out of the theater.
Entertainment
Ulysses Jenkins, Los Angeles artist and pioneer of Black experimental video, dies at 79
Ulysses Jenkins, the pioneering Los Angeles-born video artist whose avant-garde compositions embodied Black experimentalism, has died. He was 79.
Jenkins’ death was confirmed by his alma mater Otis College, where he studied under renowned painter and printmaker Charles White in the late 1970s and returned as an instructor years later. The Los Angeles art and design school shared a statement from the Charles White Archive, which said, “Jenkins had a profound impact on contemporary art and media practices.”
“A trailblazing figure in Black experimental video, he was widely recognized for works that used image, sound, and cultural iconography to examine representation, race, gender, ritual, history, and power,” the statement said.
A self-proclaimed “griot,” Jenkins throughout his decades-spanning career maintained an art practice grounded in the tradition of those West African oral historians who came before him. Through archival documentaries like “The Nomadics” and surrealist murals like “1848: Bandaide,” he leveraged alternative media to challenge Eurocentric representations of Black Americans in popular culture.
He was both an artist and a storyteller who sought to “reassert the history and the culture,” he told The Times in 2022. That year, the Hammer Museum presented Jenkins’ first major retrospective, “Ulysses Jenkins: Without Your Interpretation.”
“Early video art was about the problems with the media that we are still having today: the notions of truth,” Jenkins said. “To that extent, early video art was a construct that was anti-media … a critical analysis of the media that we were viewing every night.”
Born in 1946 to Los Angeles transplants from the South, Jenkins was ambivalent about the city, which offered his parents some refuge from the blatant systemic racism they encountered in their hometowns, but housed an entertainment industry that had long perpetuated anti-Black sentiment.
“What Hollywood represents, especially in my work, is the classic plantation mentality,” Jenkins told The Times in 1986. “Although people aren’t necessarily enslaved by it, people enslave themselves to it because they’re told how fantastic it is to help manifest these illusions for a corporate sponsor.”
Jenkins, who participated in a group of artists committed to spontaneous action called Studio Z, was naturally drawn to video art over Hollywood filmmaking. “I can address any issue and I don’t have to wait for [the studios’] big OK. I thought this was a land of freedom, and video allows me that freedom and opportunity that I can create for myself and at least feel that part of being an American,” he said.
Jenkins went on to deconstruct Hollywood’s vision of the Black diaspora in experimental video compositions including “Mass of Images,” which incorporates clips from D.W. Griffith’s notoriously racist “The Birth of a Nation,” and “Two-Tone Transfer,” which depicts, in Jenkins’ words, a “dreamscape in which the dreamer awakens to a visitation of three minstrels who tell the story of the development of African American stereotypes in the American entertainment industry.”
Jenkins’ legacy is not only artistic but institutional, with the luminary having held teaching appointments at UCSD and UCI, where he co-founded the digital filmmaking minor with fellow Southern California-based artists Bruce Yonemoto and Bryan Jackson.
As artist and educator Suzanne Lacy penned in her social media tribute to Jenkins, which showed him speaking to students at REDCAT in L.A., “he has been an important part of our histories here in Southern California as video and performance artists evolved their practices.”
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