Entertainment
Why Alanis Morissette believes she could write the celebrity survival handbook the industry needs
If you are not prepared for it, fame can be downright deadly. Alanis Morissette knows that better than anyone. Thirty years ago, she released her third studio album, “Jagged Little Pill,” which won five Grammys, including album of the year and best rock album, and went on to sell 33 million copies.
So, Morissette has a complicated relationship with fame. Now, she will be examining that and many other dimensions of her incredible three-decade career in a new Vegas residency at Caesars Palace that begins Wednesday and runs until Nov. 2.
As Morissette explained in a wide-ranging talk with The Times, the Vegas show will be much more than a concert. The show will take on a narrative feel that will showcase her humor, improv, wellness and all the other traits that have defined her over the years.
I love that you paired with Carly Simon on the song “Coming Around Again” because I see such a kinship based on you two over generations. There is so much in common between “You’re So Vain” and “You Oughta Know.” Not the least of which is I am sure you are both beyond over being asked, “Who is the song really about?”
Right, because what people don’t understand, and I can’t speak for Carly, but there’s a difference between revenge and revenge fantasy. I’m all about the revenge fantasy and punching pillows and gyrating and sweating and losing your s— in art. And Lord knows I’m unmeasured in other areas day-to-day, too, so it’s not like I’m some paragon of containment, but yeah, just the revenge thing, there’s a lot of schoolyard stuff going on. That’s all I’ll say for the moment.
Obviously, this is 30 years of “Jagged Little Pill.” I remember seeing Bruce Springsteen in ’88, when he did “Born to Run” acoustic. Every night when he introduced it, he would say, “I was thinking about how much that song was me, and how much I don’t want it to be me.” And I thought that was so interesting because, of course, there are songs you want to be you. So, what songs did you want to be you?
Yeah, there are so many songs that I would write about potential. So, I’d be in a relationship, and I would be writing about what I wanted to the point where whomever I may have been dating at the time, if I shared the song with them, sometimes they would say, “Who’s this about? This can’t possibly be about me.” I’m like, “Well, you know what? You’re onto something there. This is about what I wish we could be.” I think about also a song, because I’m working on the Vegas show, so we’re integrating so much. And I think the song “Not the Doctor” is probably one of the ones that I realized the naivety of having written, like, your issues just get away from me. Having been married now for 15 years, I realized that your partner’s challenges, you take each other on — all of it. So, there’s a little bit of knowledge now that makes “Not the Doctor” funny to sing.
And then “Incomplete” is a song that is a manifestation, as you just described, that I would be good. It’s like a prayer manifestation. There’s a song, “Knees of My Bees,” that I wrote about what I wished. In praise of the vulnerable man, it was what I wished. So yes, there’s some composites being made where I take seven people whom I had a similar pattern repeat, and I just lop them all into one song as one person and unify the communication; there’s no holds barred.
Has there been talk about extending the show? It does sound like you are putting a crazy amount of work into a show that right now lasts little more than a week.
For a long time — and a lot of journalists have said, “Yeah, right,” when I say this — but my energy doesn’t go into outcome. Whether the show is seen three times or 300,000 times, that’s not up to me in this moment. I’m creating stories and sharing parts of myself that I have hidden for the ’90s imperative of staying in your lane or it’s career suicide. So, I’m still unlearning that, which is the reductiveness of the ’90s, where you have to stay one thing. Then, well, what is one supposed to do if they have multiple talents or multiple intelligences dying to be expressed? We’re going to contain that so that we can keep the ’90s credo going. So, over the years, it’s just been, can I bring these other aspects of self into the whole expression of me through academia, through movement, through channeling, through live shows, through interviews right now? There are so many ways to express, and the ’90s really did say, “You do it one or two ways; you step out of that and your career is over.” Thank God that messaging is softened.
How have you seen culture and values change over your career?
It used to be “I want to be a millionaire,” and now everyone wants to be a billionaire. It used to be “I want to look 21 forever,” now it’s “I want to look 14 forever.” And then it used to be “I want to have fame as a means to an end for activism.” Now it’s just “I want fame as an end,” so it’s an interesting value system snapshot right now. And so many of us are flying in the face of it, so I’m not really worried about that. But the value system has gotten smaller almost, as though fame in and of itself is going to correct our attachment wounds. It doesn’t work, and I’m constantly raising my hand going, I thought fame would result in this profound sense of community that I’d be amongst my people and we’d be petting each other’s heads by the fire. That was not the case.
I think for anyone who comes out the other side of fame, there has to be a tremendous sense of gratitude that you survive it.
That’s a big piece of this Vegas show without me nailing it on the head or belaboring the point. It’s like, “How are some of us still here?”
How do you express that in the show? And it is interesting given your passion for wellness and mental health, it is in Vegas. Which has never been known for either.
Yeah, Vegas has been known for addiction and gambling, acting out, sexual acting out. What is Vegas known for? “What happens in Vegas stays in Vegas.” It’s been known for that, but I believe that there’s a whole seismic shift going on. I have never underestimated people who come to my shows. Even in workshops, people are like, “Alanis, it’s too much.” And my thought is, “No, it’s not.” People can close their eyes, they can walk out, they can shut the radio off, they can take a break in the cafeteria. Part of why I love that it’s Vegas is that there’s this ceilinglessness in terms of no holds barred again, like I want to wear a boa. You want to do a backflip. Apparently, we’re doing a backflip. What has happened over the years is that again, it was this one-lane push, stay in your lane. And while this was all happening, there were all these other archetypal imperatives getting at me, like what about dancing? What about comedy? What about article writing? What about keynote speaking? What about workshop leading? What about channeling? There are all these other forms of expression that I live for. So, in some ways, I was cultivating them maybe privately. That’s just who I am. And I integrated it into every lyric.
Sinéad [O’Connor] said this perfectly, I don’t know word for word what she said, but the essence was you love the art, but you hate the artist. She said something about, “I appreciate that my audience wants everyone to hear more angry emotions from me through my songs, but then I have to be angry. And no one takes that into consideration.” I was like, “Yeah, because we’re used in the best way possible.” Artists are used as a screen upon which people identify themselves or people find who they are by hating and loving and trolling and attacking and it’s all projection, everything’s f— projection. So yeah, I just think people who are in the public eye have an experience inside of a social construct that is so violently unusual. And there’s no empathy afforded to them for that, other than maybe from people like you and me.
“There are all these other forms of expression that I live for,” says Alanis Morissette. “So, in some ways, I was cultivating them maybe privately. That’s just who I am. And I integrated it into every lyric.”
(Shervin Lainez)
How did you learn to deal with it? Unfortunately for Sinéad, she never was able to handle the fact that people were so hateful toward her, even though it had nothing to do with her.
I know, and basically that is the lack of handbook that is egregious, because so many people who were in the public eye are now physically gone. So much of it is their temperament, and I used to do talks at the neurobiology conferences at UCLA, and I would bring up the idea of temperament needing to be taken into consideration, whether it’s around suicidality or anything. Most artists are highly sensitive empaths. That is a version of neurodivergence over excitability, high-achieving, profound subtle awareness and attunement. All of these qualities that make the sweetest artists. And yet that temperament in a world that is doing what you just described Sinéad receiving, which is projecting hate, hate, hate, hate, hate. There’s no handbook on how to go, “Hey, we’re going to do shadow work here. We’re going to talk about rejection. We’re going to talk about if anyone’s saying anything that brings something up for you, bring it into therapy. Look at that part. Look at what they’re saying.” Also, always from me, look at the opposite. If you’re being invited to look at the part of you that is an a—. Always also look at the part of you that is deeply, deeply kind. For me, that’s the wholeness journey.
Being older, what have you learned about how to deal with all this?
I really do believe, Steve, that I could write a f— handbook now. I feel like if you and I got together, I could write the handbook, and we just hand it out to all the new celebs.
Do you now feel a responsibility to be able to pass your wisdom on to the new generation like Billie Eilish and Olivia Rodrigo?
I feel great passion about it. I happen to be someone who is hilariously conscientious and intensely empathic. I’m always blown away by them, and then I see people like Olivia and I just think, “Oh, everything’s going to be okay. We’re all going to be okay if Olivia exists; we’re good.” [laughs]
What happened to your book?
What’s interesting is I did two years worth of narrative storytelling that we recorded. Initially it was for a memoir, or some version of what was being asked for was a memoir. That’s kind of a hard “no” for me because we’re using all the pieces that feel relevant to this particular story. The reason I didn’t want to do the memoir is ’cause there’s no way to articulate a life. There’s way to articulate snapshots. There’s a way to articulate chapters, maybe. But there’s no way to articulate, like, this is my sentimental life story. It’s not possible. So that’s why songs are so great. It’s like four minutes of a moment. Let’s just keep writing these moments and capturing these moments and that’s what Vegas is for me: a moment.
One of the things I’ve talked about with artists that they love so much about Vegas residency is you get to mix it up night to night. But it sounds like you’re going to have a show, so are you going to be incorporating different stuff or is it going to be more of a narrative story?
Both. For me as an actor, I’ve always enjoyed improv. I love it when there’s a general sense of structure for something, but then go off within it. This is the way I’ve always been, both sides of the brain. I want some structure and predictability and some version of a set list, which we already have. But then within some of the interstitial stuff and the scenes and the comedy and the physicality and the movement, yeah, it’s a movable feast. We’ll see what happens. I am completely out of my wheelhouse publicly, not privately, because I was in improv teams since I was 14. And I think comedy is one of the best forms of activism art, I really do, maybe even above music. So, we’re integrating all these forms of art. And I’m not thinking about any outcome. It’s really amazing to write a record, write a song, write an email, frankly, with no agenda. The agenda is just “let’s express ourselves.” And that’s plenty.
Do you feel like you’re having more fun now at this point in your career than any other point?
I have the most fun with collaborating. So, I can’t say this is any more fun, but I can say that there’s more people. So, in the past, it’s been me alone writing or me and my bestie writing or me and Glen [Ballard] writing. So, in some ways it was insulated, isolated and with the musical and with Vegas, let’s multiply those collaborators by at least five. What I’ve said a few times, and I still stand by it, is that for me, the happiest place is in this communal “can’t swing a dirty sock without hitting a master” kind of environment, and it is truly six plus six is a thousand for us.
Do you feel like, as you’re getting older, people are embracing you more?
Yeah, I make more sense. There was a period of time where I didn’t make any sense and perhaps there wasn’t that much resonance. And then 25, 30 years later, I feel like I’m starting to make sense to the world in a way that I didn’t expect to happen. I just always thought, “Oh, I’ll be on that smallest part of the bell-shaped curve forever and I’ll probably be kind of lonely there. And that’s just what it is in this lifetime.” But here I am 30 years later and I’m starting to get a sense that what I’ve been talking about this whole time is resonant for people. And I can’t tell you how healing that is for me.
Netflix shares dipped Monday after Paramount announced a hostile takeover bid, fueling worries on Wall Street that the streaming giant may not be able to pull off its audacious acquisition.
Netflix stock closed down nearly 3.5% to $96.79 a share after Paramount moved to take its case directly to Warner Bros. Discovery shareholders, offering $30 a share in a deal valued at $78 billion for the whole company. Last week, Netflix said it reached an agreement with WBD to buy its film and TV studios, Burbank lot, HBO and HBO Max for $27.75 a share, a $72-billion offer. Netflix would also take on more than $10 billion in Warner Bros. debt, for a deal value of $82.7 billion.
On Monday, analyst Jeffrey Wlodarczak, CEO of Pivotal Research Group, downgraded his rating on Netflix stock from buy to hold, citing concerns that Paramount’s bid could increase the price Netflix could pay for the WBD assets. Regulatory issues may also change the terms of the deal, such as Netflix giving up HBO to a rival, Wlodarczak said. “The question is, what modifications might they have to make?” he said.
Wlodarczak also questioned Netflix’s engagement levels with customers, which is key to retaining subscribers on the platform. He said that “this very expensive deal” highlights Netflix’s concern that short-form entertainment on platforms like TikTok and YouTube are attracting younger consumers.
YouTube — once known as a place for amateur user-generated videos — has become an entertainment powerhouse, encapsulating the largest percentage of streaming on U.S. TVs, according to Nielsen. In October, YouTube represented 12.9% of U.S. TV viewing time, compared to Netflix’s 8%.
Netflix said its customer engagement “remains healthy,” noting in a shareholder letter in October that it grew its engagement in the U.S. and U.K. by 15% and 22%, from the fourth quarter of 2022 to the third quarter of 2025, citing data from Nielsen and Barb, which tracks viewership.
Equity research publisher MoffettNathanson analysts said questions have been building about Netflix’s engagement growth, adding that even though Netflix’s share of total TV time started to grow in the second half of the year, “YouTube’s share gains have overshadowed most of the other streaming platforms.”
“There’s issues with Netflix engagement, sort of flatlining,” Wlodarczak said. “You get a lot better content, it should help with your engagement. … Is this a signal they’re really starting to get worried about engagement, and they’re out doing this deal because younger people are just spending increasing amounts of time not sitting there watching hour-long shows?”
Netflix declined to comment on Wlodarczak’s report.
On Friday in a call with investors, Netflix executives emphasized that their business is healthy and growing. They pointed out how sci-fi hit show “Stranger Things” was very popular with younger audiences, as well as series like the drama “Outer Banks” and movies including “KPop Demon Hunters.”
“We had record engagement previous quarter,” said Co-Chief Executive Ted Sarandos on the Friday call. “We’re happy with our outlook for the ongoing organic growth and engagement … Our core fundamentals are strong. This gives us a very unique opportunity to accelerate an already very successful model.”
Whether the deal will go through remains an open question, as Netflix would not make the acquisition until 12 to 18 months from now, after Warner Bros. Discovery separates its company, spinning off its cable channels into a new publicly traded company.
Wedbush Securities analysts, who have an outperform rating on the stock, said in a note on Monday that they are skeptical that the deal will pass regulatory scrutiny.
“Ultimately, we think the DOJ will reject a deal without concessions on pricing and industry standards,” the analysts wrote.
On Monday, Netflix executives said they were confident the deal would go through. Co-Chief Executive Greg Peters pointed out that Netflix still represents a smaller share of U.S. TV viewing in the U.S. compared to YouTube, even if it were to combine with Warner Bros. Discover, citing Nielsen data.
“We think there’s a strong fundamental case here for why regulators should approve this deal,” he said at a UBS conference.
Wlodarczak said he believes there are benefits to Netflix acquiring the Warner Bros. Discovery assets. The Los Gatos, Calif., streamer would gain access to characters including Batman and Harry Potter.
It also prevents rivals like Paramount from getting bigger.
“They’re starting to get large enough to build a credible threat to Netflix,” Wlodarczak said. “So by buying this thing … it’s going to be really difficult to get as large and have as much scale as Netflix.”
Times staff writer Meg James contributed to this report.
You’d think it would be easy to parody beloved period British dramas because they have so many guilty pleasure repeated tropes: huge historic houses, romances within and between upper classes and their servants, swooningly fabulous clothes, luscious meals, fabulous furnishings, and dialogue that sounds witty even when it isn’t because it is delivered in heavenly aristocratic accents with exquisite, RADA-trained diction. But the secret to the really great parody is truly loving whatever it is you’re making fun of. Thus, on a scale from the top (by Grabthar’s hammer, that would be “Galaxy Quest”) to the sloppy (I love you, Wayanses, but noticing something is not the same as being funny about it), “Fackham Hall” comes in around the middle.
Its watchability comes from the very elements it is trying to undermine: the fairy-tale setting of a huge country house, antique furniture, and beautiful people wearing gorgeous period clothes, speaking in accents ranging from elegant upper-class to cute commoner. Most of its jokes are based less on observing what makes these works so popular than on what is silliest or most outrageous. But what’s funny in the writers’ room does not always work on screen. An example of the tone is the title, the name of the characters’ residence, which a character says aloud to make sure we know it sounds like a crude insult to everyone involved.
The story is set in 1931, or, to put it in context, after the end of “Downton Abbey” and around the third of the ensuing films. We are informed, in case you have no exposure of any kind to this genre, in which case, why are you even watching this, that “England was a nation divided by class.” The country is suffering through a depression, but the Davenport family, who have occupied their ancestral home for 400 years, have no such concerns. (The 2,500-acre estate of Knowsley Hall, also featured in “Peaky Blinders,” plays the part of the ancestral home.)
“The sheer grandeur of Fackham Hall was a testament to splendor and an enduring family legacy,” we are told by a narrator whose identity we will not discover until the end. “They led a decadent life and barely had to lift a finger.” Indeed, Lord Davenport (Damian Lewis) is sipping a cocktail from a glass held to his lips by a servant. He and Lady Davenport (Katherine Waterston) are congratulating themselves on the upcoming wedding of their daughter, Poppy (Emma Laird), to the presumptive heir to the property, Archibald (Tom Felton). “I’m just delighted she’s finally found the right cousin,” Lord Davenport smiles. As anyone who knows this genre understands, only males can inherit the land. Since the Davenports’ four sons, John, Paul, George, and Ringo, all died, this marriage is the only way they will be able to stay in their home. Thus, the motto on the family crest is “Incestuous ad Infinitum.”
The Davenports’ other daughter, considered too old and independent-minded at 23 to be likely to find a husband, is Rose (Thomasin McKenzie). She will soon meet a plucky orphan lad and kind-hearted pickpocket named Eric Noone (as in “no one”), played by Ben Radcliffe, handsome and charming enough to play the lead in any period romantic drama, and wisely calibrates his performance as though he is doing just that.
Noone is sent to deliver a message to Fackham Hall just as Poppy and Archibald are about to get married, except they don’t, because Poppy makes a dramatic race from the church to the arms of her low-born beloved. This puts the pressure on Rose to take over as Archibald’s fiancée and save the family home.
This is one of those “throw everything at the screen and by the time you realize that one wasn’t funny, four more will have come at you” movies. These include running jokes, anachronisms, sight gags, potty humor (in one case, chamber pot-y humor), slapstick, an extended dick joke, an extended “who’s on first”-type joke involving a character named Watt, sight gags, and verbal misunderstandings, e.g., “You fought [in WWI] with my father.” “No, we were on the same side.” And a tailor shop called “Tailor Swift.”
One element of this film that works well is that the actors understand the assignment, no winking at the audience, except for British comedian/presenter and co-writer of the screenplay, Jimmy Carr, playing a vicar who cannot help running the liturgy texts together to make them sound dirty. The score by Oli Julian and the costumes by Rosalind Ebbutt are also perfectly suitable for the kinds of movies this one spoofs. It’s just the jokes that, like British cocktails, are to American taste lukewarm.
There was no shortage of engrossing art with which to engage in Southern California museums during the past year, although the considerable majority of it had been made only within the past 50 years or so. Art’s global history before the Second World War continues to play a decided second fiddle to contemporary art in special exhibitions.
Our picks for this year’s best in arts and entertainment.
The chief exception: the Getty, where its Brentwood anchor and Pacific Palisades outpost accounted for three of the 10 most engrossing museum exhibitions in 2025, all 10 presented here in order of their opening dates. (Four are still on view.)
Art museums across the country continue to struggle in attendance and fundraising after the double-whammy of the lengthy COVID-19 pandemic shut-down followed by culture war attacks from the Trump administration. That may help explain the unusually lengthy, seven-to-14 month duration of half of these shows.
Gustave Caillebotte, “Floor Scrapers,” 1875, oil on canvas.
(Musée d’Orsay / Patrice Schmidt
)
Gustave Caillebotte: Painting Men. Getty Center
An emphasis on men’s daily lives is very unusual in French Impressionist art. Women are more prominent as subject matter in scores of paintings by marquee names like Monet, Cassatt and Degas. But homosocial life in late-19th century Paris was the fascinating focus of this show, the first Los Angeles museum survey of Gustave Caillebotte’s paintings in 30 years.
A view into a dance gallery is framed by Guadalupe Rosales’ “Concourse/C3” installation.
(Christopher Knight / Los Angeles Times)
Guadalupe Rosales – Tzahualli: Mi Memoria en Tu Reflejo. Palm Springs Art Museum
Vibrant Chicano youth subcultures of 1990s Los Angeles, during the fraught era of Rodney King and the AIDS epidemic, are embedded in the art of one of its enthusiastic participants. Guadalupe Rosales layers her archival work onto pleasure and freedom today, as was seen in this vibrant exhibition, offering a welcome balm during another period of outsized social distress.
Don Bachardy, “Christopher Isherwood,” June 20, 1979; acrylic on paper.
(Don Bachardy Paper / Huntington Library)
Don Bachardy: A Life in Portraits. The Huntington
The nearly 70-year retrospective of portrait drawings in pencil and paint by Los Angeles artist Don Bachardy revealed the works to be like performances: Both artist and sitter participated in putting on a pictorial show. The extended visual encounter between two people, its intimacy inescapable, culminates in the two “actors” autographing their performed picture.
“Probably Shakyamuni, the Historical Buddha,” China, Tang Dynasty, circa 700-800; marble.
(Christopher Knight / Los Angeles Times)
Realms of the Dharma: Buddhist Art Across Asia. LACMA. Through July 12
“Realms of the Dharma” isn’t exactly an exhibition. Instead, it’s a temporary, 14-month installation of Buddhist sculptures, paintings and drawings from the museum’s impressive permanent collection, plus a few additions. It’s worth noting here, though, because almost all of its marvelous pieces were in storage (or traveling) for more than seven years, during the lengthy tear-down of a prior LACMA building and construction of a new one, and much of it will disappear again when the installation closes next summer.
Noah Davis, “40 Acres and a Unicorn,” 2007, acrylic and gouache on canvas.
(Anna Arca)
Noah Davis. UCLA Hammer Museum
A tight survey of 50 works, all made by Noah Davis in the brief span between 2007 and the L.A.-based artist’s untimely death in 2015 at just 32, told a poignant story of rapid artistic growth brutally interrupted. Davis was a painter’s painter, a deeply thoughtful and idiosyncratic Black voice heard by other artists and aficionados, even while still in invigorating development.
Weegee (Arthur Fellig), “The Gay Deceiver, 1939/1950, gelatin silver print. Getty Museum
(Getty Museum)
Queer Lens: A History of Photography. Getty Center
Assembling some 270 photographs from the 19th and 20th centuries, “Queer Lens” looked at work produced after the 1869 invention of the binaries of “heterosexual and homosexual,” just a short generation after the 1839 invention of the camera. Transformations in the expression of gender and sexuality by scores of artists as well-known as Berenice Abbott, Anthony Friedkin, Robert Mapplethorpe, Man Ray and Edmund Teske were tracked along with more than a dozen unknowns.
“Sealstone With a Battle Scene (The Pylos Combat Agate),” Minoan, 1630-1440 BC; banded agate, gold and bronze.
(Jeff Vanderpool)
The Kingdom of Pylos: Warrior-Princes of Ancient Greece. Getty Villa. Through Jan. 12
The star of this look into the ancient, not widely known Mycenaean kingdom of Pylos was a tiny agate, barely 1.3 inches wide, making its public debut outside Europe. The exquisitely carved stone, unearthed by archaeologists in 2017, shows two lean but muscled warriors going at it over the sprawled body of a dead comrade. Perhaps made in Crete, the idealized naturalism of a battle scene rendered in shallow three-dimensional space threw a stylistic monkey-wrench into our established understanding of Greek culture 3,500 years ago.
Ken Gonzales-Day digitally erased Illinois Black lynching victim Charlie Mitchell from an 1897 postcard to focus instead on the perpetrators.
(USC Fisher Museum of Art)
Ken Gonzales-Day: History’s “Nevermade.” USC Fisher Museum of Art. Through March 14
The ways in which identities of race, gender and class are erased in a society dominated by straight white patriarchy animates the first mid-career survey of Los Angeles–based artist Ken Gonzales-Day. The riveting centerpiece is his extensive meditation on the American mass-hysteria embodied by the horrific practice of lynching, in which Gonzales-Day employed digital techniques to erase the brutalized victims (and the ropes) in grisly photographs of the murders. Focus shifts the viewer’s gaze toward the perpetrators — an urgent and timely transference, given the shredding of civil society underway today.
Kara Walker deconstructed a monument to Confederate Gen. Stonewall Jackson for “Unmanned Drone,” as seen at the Brick gallery as part of “Monuments.”
(Etienne Laurent / For The Times)
Monuments. The Geffen Contemporary at MOCA and the Brick. Through May 3
The nearly two-year delay in opening “Monuments,” an exhibition of toppled Confederate and Jim Crow statues that pairs cautionary art history with thoughtful and poetic retorts by a variety of artists, turned out to give the much anticipated undertaking an especially potent punch. As the Trump Administration restores a white supremacist sheen to “Lost Cause” mythology by renaming military installations after Civil War traitors and returning sculptures and paintings of them to prior perches, from which they had been removed, this sober and incisive analysis of what’s at stake is nothing less than crucial.
Peak moment: As a metaphor of white supremacy, Kara Walker’s transformation of the ancient “man on a horse” motif into a monstrous headless horseman — a Euro-American corpse that tortures the living and refuses to die — resonates loudly.
Installation view of sculptures and a painting by Robert Therrien at the Broad.
(Joshua White / Broad museum)
Robert Therrien: This Is a Story. The Broad. Through April 5
The late Los Angeles-based artist Robert Therrien (1947-2019) had a distinctive, even quirky capacity for teasing out a conceptual space between ordinary domestic objects and their mysterious personal meanings. In 120 paintings, drawings, photographs and especially sculptures, this Therrien exhibition offers objects hovering somewhere between immediately recognizable and perplexingly alien, wryly funny and spiritually profound.
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