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Broad museum hit with discrimination and sexual harassment lawsuit

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Broad museum hit with discrimination and sexual harassment lawsuit

The former human resources director of the Broad is suing the Los Angeles museum and its former chief operating officer, accusing them of discrimination, retaliation and sexual harassment.

In the lawsuit filed Thursday in Los Angeles County Superior Court, former HR director Darron Rezell Walker accuses former COO Alysa Gerlach of pressuring him to fire a white employee, Rick Mitchell, 65, based on personal animus — as well as his age and race. Walker alleges in his suit that Gerlach said she did not want “an old white man” in any director-level position and that Mitchell was a “misogynist” who “makes people uncomfortable.”

After Walker interviewed staff and determined that Mitchell should not be terminated, Gerlach not only fired Mitchell but also fired Walker in retaliation, the lawsuit says. Walker also accuses Gerlach in the suit of creating a hostile work environment by asking inappropriate questions about Walker’s sex life and sharing personal information about her own intimate relationships.

Neither the Broad nor Gerlach responded to requests for comment on Friday.

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Walker was employed at the Broad for less than two months, and his quick dismissal last April has “devastated” his reputation, says his attorney, Michelle Iarusso.

“This was a very high-profile position for him,” Iarusso says, adding that Walker had connections in the worlds of art and fashion that intersected with his job at the Broad. “He was very excited to get this position, and he let everybody know. So when he was summarily terminated after a very short time, it was a bomb. It was like they obliterated his career.”

In his lawsuit, Walker alleges that Gerlach was “trying to find a way to fire” Mitchell, who served as the Broad’s director of facilities. Walker diplomatically tried to challenge Gerlach’s comments about Mitchell’s age and race, the lawsuit says. “Gerlach thought that because both of them were persons of color, Walker being African American and Defendant Gerlach being Latina, that her comments were an acceptable form of commiseration shared between people of color,” the suit says.

According to the lawsuit, Mitchell had raised questions in a meeting about whether the physical limitations of his staff members, including women and a person with a disability, would prevent them from moving staging equipment used in museum events. Some staff members perceived the comments as discriminatory, the suit says. But over several weeks, Walker conducted interviews with Mitchell’s co-workers and subordinates, who “painted a clear picture of Mitchell being revered as a supportive and well-respected manager,” the suit says. “In particular, women under his supervision expressed appreciation for his fairness and leadership. Not one person corroborated any claims of discriminatory or misogynistic behavior.”

Gerlach was not pleased with the results of Walker’s investigation, the lawsuit alleges, and moved forward with plans to terminate Mitchell. As the HR director, Walker worried that the action would be “exposing the museum to significant legal and reputational risks, all occurring on Walker’s watch, to somehow be unfairly attributed to him.”

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As she moved forward with her plan, the lawsuit alleges, Gerlach forbade Mitchell from talking with her superior, Broad founding director Joanne Heyler, unless Gerlach was present.

When Walker submitted his report rejecting Gerlach’s accusations against Mitchell, the lawsuit says, Walker faced “immediate and escalating hostility.”

Eleven days after Mitchell was fired, Gerlach fired Walker on speakerphone while other staff members were present in Walker’s office, the lawsuit says, causing “substantial humiliation and embarrassment.”

The lawsuit accuses the Broad of failing to take “reasonable steps to prevent retaliation and wrongful termination against Walker who opposed discrimination in the workplace.” It also alleges a hostile work environment created by Gerlach, whom Walker accuses of asking about romantic and sexual partners.

Walker, who is gay, alleges that Gerlach “frequently expressed curiosity about topics related to gay sexual activity.”

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Gerlach’s LinkedIn profile indicates she left the Broad in September. Neither she nor the museum could be reached for comment on the circumstances of her departure.

Entertainment

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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