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Big cats, little cats, weird cats collide at this purrfect L.A. experience

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Big cats, little cats, weird cats collide at this purrfect L.A. experience

Since 2014, a recurring art show dedicated to cats has captured common feline actions (commandeering a pet parent’s lap, unflinchingly staring down an onlooker, shredding upholstered furniture and sweetly nuzzling) and just as many fantastical ones.

The Cat Art Show returns this week to celebrate a milestone. Starting Friday, the “Cat Art Show: The Tenth Anniversary” event will bring works from about 50 artists to Wallis Annenberg PetSpace in Playa Vista. From oil paintings to sculptures and tile mosaics, cats in all of their glory will have the run of the walls for three days. Also, for the first time, there will be a live pet adoption running concurrently with the show — paws and whiskers upstairs, cat-inspired art downstairs.

For the record:

4:42 p.m. Jan. 16, 2024A previous version of this story described L.A. artist Rabi’s multimedia artwork as photographic.

During the last decade, this group exhibition has become a must-see for gallery hoppers who have flocked to view the works of such boldface art-world names as Mark Ryden, Tracey Emin and Jill Greenberg. Likewise, cat lovers have often lined up at the art event, donning all manner of cat-covered paraphernalia to show their devotion to the animals of the hour. The Cat Art Show delivers just the right amount of camp but holds enough cool-kid appeal (think graphic artists Yusuke Hanai and Eric Haze) to attract those who don’t consider themselves furball fans.

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“It’s grown to be a bit of everything — a lot more big collectors but a lot more of the general population too,” said Susan Michals, the Cat Art Show’s founder and head curator.

‘Miss Pitch and Furl,’ by Annie Montgomerie, and ‘Une Chat,’ by Léo Forest. (Annie Montgomerie; Léo Forest)

Creating an event that celebrates Michals’ two great loves was a no-brainer. She’s had cat companions her whole life, and she grew up with gallerist parents and has covered visual art extensively as a freelance journalist.

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“I wanted to do a show that focused on emerging and established artists,” Michals said, “so I needed some great names to give validity … that this was a serious art show.”

To start, she approached artists she’d interviewed professionally or knew personally. The prompt she gave them was: “Cats as muse.” Shepard Fairey was among the first artists tapped for the inaugural show along with Gary Baseman and Tim Biskup.

Multimedia artist Britt Ehringer was another Angeleno who Michals approached back in 2014 and he eagerly agreed, enticed by the opportunity to raise funds for different animal charities. (Proceeds from the art sales benefit animal charities; this year’s is Wallis Annenberg PetSpace’s Extraordinary Care Fund.) Each year since, he’s submitted pieces that pair pop culture figures such as Scarface, Frida Kahlo and Tupac Shakur with clusters of cats.

“My other work’s not so pop art-y, so this is my space to play,” Ehringer said, speaking of his cat-related contributions.

‘Kobe Entering the Kingdom of Kittens,’ by Britt Ehringer.

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(Britt Ehringer)

This year’s entry, “Kobe Entering the Kingdom of Kittens,” depicts Kobe Bryant soaring through the heavens as a coterie of cuties gaze at him (though, of course, a few appear aloof). The Lakers legend is joined by one of the artist’s two cats, Tofu, seen floating in the piece’s upper right-hand corner.

“There’s lots of different subcultures in the art world. I like how [the show] mashes up all those subcultures,” Ehringer said, noting that, over the years, the Cat Art Show has enabled him to establish friendships with artists he wouldn’t have otherwise met.

“Almost all of the art that I got in the first year was domestic. It’s definitely become more global in scope,” said Michals.

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The 2024 collection of art is expected to include a comically disfigured painting by Vienna-based artist Eva Beresin, motion-filled sketches by Parisian Léo Forest, work by Korean Australian graphic artist YeahYeahChloe, and from the U.K., Annie Montgomerie’s handcrafted vintage toy-style kitties dressed in darling play clothes made from upcycled fabrics.

“News of the Cat Art Show has traveled around the world and was known to me here in Scotland,” said collage artist Lola Dupre, who’s based outside of Glasgow and is participating for the second time. “These shows include some of the greatest artists making work today, so it is an honor and privilege to include my work.”

‘Squits,’ by Lola Dupre.

(Lola Dupre)

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Feline portraiture is a common part of her distortion-heavy cut-paper practice, and she frequently takes inspiration from her own companion, Charlie. This year’s entry, “Squits,” was inspired by a specimen she encountered while visiting a cat colony in Granada, Spain.

“Since I was young, I have known many cats, each one an individual,” Dupre said. “Their independence, energy and wildness I find fascinating.”

What makes the Cat Art Show compelling is that each artist views the muse in their own personal way, from impish to serene. Whatever way an attendee feels about cats, they’re likely to see that emotion reflected in various forms including glass sculpture, wooden figurine or porcelain candy dish.

“They are evil but they’re also awesome. And people have held that contradiction about cats since the dawn of time,” said L.A. street artist Rabi whose “Good Luck” artwork will be featured in the Cat Art Show. “People have thought cats were their gods and then demons and devils.”

L.A. street artist Rabi’s artwork, ‘Good Luck,’ was inspired by the duality and contradictions surrounding cats. ‘People have thought cats were their gods and then demons and devils,’ Rabi says. In one photo, his black cat, Sea Beast, looks at a mirrored section of Rabi’s artwork. (Rabi)

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Drawn to exploring the concepts of duality and contradiction, he feels that cats are the perfect case study. His artwork for the show — two multimedia triptychs — combines images of broken mirrors, black cats and the number 13. “I loved the idea of challenging these bad luck archetypes and then calling it good luck,” he said.

Rabi tipped his hat to Michals for capturing and amplifying the dopamine rush a person gets from watching, and re-watching, the perfect cat video on social media.

“I think Susan does a really good job of bringing that culture to a tangible environment where we can all see things in real time, in real life, together,” he said.

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In addition to showing all the ways in which cats are “an art form in themselves,” Michals aims for the Cat Art Show to dash stereotypes about what it means to fancy cats.

“What I saw with the first show was that the people that came did not fit the model of the hoarder, spinster, crazy cat lady,” she said. “I saw that audience and I was like, ‘These people are severely underrepresented and underserved as consumers and art appreciators.’

“Really, part of what these shows are about is to showcase my audience and say: ‘Look at these people. They love their animals and they love art,’” she said. “They do not represent the negative connotations associated at all.”

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

Millie Bobby Brown in the final season of Stranger Things.

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After five seasons and almost ten years, the saga of Netflix’s Stranger Things has reached its end. In a two-hour finale, we found out what happened to our heroes (including Millie Bobby Brown and Finn Wolfhard) when they set out to battle the forces of evil. The final season had new faces and new revelations, along with moments of friendship and conflict among the folks we’ve known and loved since the night Will Byers (Noah Schnapp) first disappeared. But did it stick the landing?

To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.

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JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026

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JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026

JasonMartin
Adin Ross Disrespecting Doechii …
Will Not Be Tolerated!!!

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

A firefighter works as homes burn during the Eaton fire in the Altadena area of Los Angeles County, Calif., on Jan. 7, 2025.

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Josh Edelson/AFP via Getty Images

On New Year’s Eve 2024, journalist Jacob Soboroff was sitting around a campfire with a friend when he made an offhand comment that would come back to haunt him: The last thing he wanted to do in the new year, Soboroff said, was cover a story that would require donning a fire-safe yellow suit.

Just one week later, Soboroff was dressed in the yellow suit, reporting live from a street corner in Los Angeles as fire tore through the Pacific Palisades, the community where he was raised.

“This was a place that I could navigate with my eyes closed,” Soboroff says of the neighborhood. “Every hallmark of my childhood I was watching carbonize in front of me. … There were firefighters there and first responders and other journalists there, but it was an extremely lonely, isolating experience to be standing there as everything I knew burned down around me in real time.”

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In his new book, Firestorm: The Great Los Angeles Fires and America’s New Age of Disaster, Soboroff offers a minute-by-minute account of the catastrophe, told through the voices of firefighters, evacuees, scientists and political leaders. He says covering the wildfires was the most important assignment he’s ever undertaken.

“The experience of doing this is something that I don’t wish on anybody, but in a way I wish everybody could experience,” he says. “It’s given me insane reverence for our colleagues in the local news community here, who, I think, definitionally were exercising a public service in the street-level journalism that they were doing and are still doing. … It was actually beautiful to watch because they are as much a first responder on a frontline as anybody else.”

Interview highlights

Firestorm, by Ben Soboroff

On the experience of reporting from the fires

You’re choking with the smoke. And I almost feel guilty describing it from my vantage point because the firefighters would say things to me like: “My eyeballs were burning. We were laying flat on our stomach in the middle of the concrete street because it was so hot, it was the only way that we could open the hoses full bore and try to save anything that we could.” …

I could feel the heat on the back of my neck as we stood in front of these houses that I remember as the houses that cars and people would line up in front of for the annual Fourth of July parade or the road race that we would run through town. Trees were on fire behind us — we were at risk of structures falling at any given minute. It was pretty surreal because this is a place I had spent so much time as a child and going back to as an adult. … I had no choice but to just open my mouth and say what I saw to the millions of people that were watching us around the country.

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On undocumented immigrants being central to rebuilding the city

These types of massive both humanitarian and natural disasters give us X-ray vision for a time into sort of the fissures that are underneath the surface in our society. And Los Angeles, in addition to being one of the most unequal cities between the rich and the poor, has more undocumented people than virtually any other city in the United States of America. Governor Newsom knew that with the policies of the incoming administration, some of the very people that would be responsible for the cleanup and the rebuilding of Los Angeles may end up in the crosshairs of national immigration policy. And I think that that was an understatement. …

Pablo Alvarado in the National Day Laborer Organizing Network said to me that often the first people into a disaster — the second responders after the first — are the day laborers. They went to Florida after Hurricane Andrew, to New Orleans after Katrina, and they’d be ready to go in Los Angeles. And I went out and I cleaned up Altadena and Pasadena with some of them in real time.

And only months later did this wide-scale immigration enforcement campaign begin … on the streets of LA as sort of the Petri dish, the guinea pig for expanding this across the country. And it’s not an exaggeration to say that the parking lots of Home Depots, where workers [were] looking to get involved in the rebuilding of Los Angeles, has been ground zero for that enforcement campaign.

On efforts to rebuild

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The pace is slow and it’s sort of a hopscotch of development. And I think for people who do come back, for people who can afford to come back, it’s going to be a long road ahead. You’re going to have half the houses on your street under construction for years to come. And for people that do inhabit those homes, it’s going to an isolating experience. But there’s an effort underway to rebuild. …

There’s also a lot of for-sale signs. And that’s the sad reality of this, is that there are people who, whether it’s that they can’t afford to come back … or that they just can’t stomach it, I think, sadly, a lot people are not going to be returning to their homes.

On what the Palisades and Altadena look like today

They both look like very big construction sites in a way. There are still some facades, some ruins of the more historic buildings in the Palisades. … But mostly it’s just empty lots. And in Altadena, the same thing. If you drive by the hardware store, the outside is still there. But it’s a patchwork of empty lots. Homes now under construction. And lots and lots of workers. … There are still a handful of people who are living in both the Palisades and in Altadena, but for the most part, these are communities where you’ve got workers going in during the day and coming out at night. …

We have designed this community to be one that’s in the crosshairs of a fire just like the one we experienced and that we will certainly, certainly experience again, because nobody’s packing it up and leaving Los Angeles. People may not return to their communities after they’ve lost their homes, but the ship has sailed on living in the wildland urban interface in the second largest city in the country.

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On seeing this story, personally, as his “most important assignment”

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

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Jason Frank Rothenberg/HarperCollins

I don’t think I realized at the time how badly I needed the connections that I made in the wake of the fire, both with the people who have lost homes and the firefighters, first responders who were out there, but also honestly with my own family, my immediate family, my wife and my kids, my mom and my dad and my siblings and myself. I think that this was a really hard year in LA, and I think in the wake of the fire, I was experiencing some level of despair as well. Then the ICE raids happened here and sort of turned our city upside down. And this book for me was just this amazing cathartic blessing of an opportunity to find community with people I don’t think I ever would have otherwise spent time with, and to reconnect with people who I hadn’t seen or heard from in forever.

Anna Bauman and Nico Wisler produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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