Entertainment
In rare initiative, Hammer Museum, LACMA and MOCA to share collection gifted by Jarl and Pamela Mohn
Collaboration among L.A.’s top art institutions reached new heights Monday as the Hammer Museum, the Los Angeles County Museum of Art and the Museum of Contemporary Art announced the joint ownership and management of a collection of 260 works of art gifted by philanthropists Jarl and Pamela Mohn.
The collection — consisting entirely of works by L.A.-based artists — has been accumulated by the Mohns over the last two decades and is being called the Mohn Art Collective: Hammer, LACMA, MOCA, or MAC3. The gift is accompanied by a $15-million to $20-million endowment for future acquisitions and is designed for annual growth. It also covers expenses incurred for storage and care of the art.
“I don’t want it to be a burden,” Jarl Mohn told The Times about his decision to pair MAC3 with an endowment. “I want this to be a really joyful experience and not a heavy lift for the institutions.”
Mohn said the endowment is larger than “all the things I’ve supported at all the art institutions in L.A., in the aggregate over the last 20 years.”
Mohn added that he wasn’t sure of the market value of the MAC3 collection, which was in the process of being appraised. He expected to know within the next four months.
The Hammer is augmenting the MAC3 collection with 80 works it has collected over the 12 years it has been staging its “Made in L.A.” biennials. An additional 16 pieces have been added to the collection from “Made in L.A. 2023” by curators from all three museums — for a total of 356 paintings, sculptures and mixed media works.
Mohn recounted walking through the Hammer at the end of last year’s “Made in L.A.” with its director, Ann Philbin, along with LACMA and MOCA Directors Michael Govan and Johanna Burton, respectively, and their chief curators.
“And then we sat in a conference room, we had lunch, we talked for three hours and we voted,” Mohn said.
“Untitled” (1971) by Luchita Hurtado is one of the paintings gifted by philanthropists Jarl and Pamela Mohn to the Hammer, LACMA and MOCA.
( From the Estate of Luchita Hurtado and Hauser & Wirth)
Curators from each museum will jointly decide what to acquire each year going forward — with the sole stipulations being that the works be by L.A. artists and that every other year, acquisitions will be culled from future “Made in L.A.” biennials. Each institution will have access to the full collection for display, and arrangements will be made for the collection to be lent to museums globally — with financial aid offered to small institutions without the means to support such a program.
The MAC3 collection currently includes work by Lauren Halsey, rafa esparza, Aria Dean, Karon Davis, Martine Syms, Mark Grotjahn, Silke Otto-Knapp, Rodney McMillian, Analia Saban, Cauleen Smith, Luchita Hurtado and Kandis Williams. One of MAC3’s goals is to entice other collectors to donate additional works, creating an ongoing commitment to L.A. artists and the city’s art ecosystem.
Mohn said this collection has been decades in the making.
“I decided to build a collection around emerging L.A. artists because we’re all lucky that we live in a place like this where there’s something happening,” he said. “It’s like being in New York when the Abstract Expressionist movement was happening or in Paris around the turn of the century with the advent of Cubism.”
The idea for MAC3 fell into place over the last 18 months, Mohn said. He considers L.A.’s art scene to be remarkably harmonious, and he noted that all three museum directors quickly supported the idea. He doesn’t foresee a scenario in which the museums find themselves competing for the collection but rather envisions a future where all three institutions feature a few pieces in various shows according to theme. Govan, for example, has requested access to a particular piece intended to occupy a prime spot when the new David Geffen Galleries open at LACMA.
“I said, ‘Great, we’ll put it in the collection, but it’ll be for everybody,’” Mohn said of Govan’s request. “‘But this is something you wanted first, so you got first dibs on it,’ but [the museums] have been so collaborative and so cooperative, working with each other … it really is exactly as I had envisioned it would go.”
MAC3 is in line with the collaborative ethos espoused by major L.A. institutions, which have long worked together on citywide art festivals and projects, including the Getty’s massive “PST Art,” which opens next month with dozens of exhibits and programs scheduled for museums and public spaces across Southern California. Govan also has talked often about his goal of implementing a “strategic plan of regional partnerships” with museums throughout the area in order to better showcase LACMA’s vast collection.
The Mohns have a history of boosting local art and artists. They have provided significant financial support for “Made in L.A.” since its 2012 inauguration. They also support three awards given to L.A. artists — the Mohn Award, the Career Achievement Award and the Public Recognition Award. They have contributed financially to institutions such as the Institute of Contemporary Art, Los Angeles; the Brick; and Los Angeles Nomadic Division.
Entertainment
Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
Channel 1
3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo
Channel 2
3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus
Sirius XM Music Row Happy Hour
1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo
Sirius XM Y’Allternative
5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber
Movie Reviews
Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows
Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
Entertainment
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.
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.
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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