Mariella Rudi

It's a new spin on a nearly century-long L.A. tradition of domestic galleries that rely on word-of-mouth, neighborly trust and consummate hosts.

Something of a cult figure in the flash-fiction community, Blackburn writes stories that orbit the themes of youth and friendship, family and duty, sex and care, faith and memory, and that are often set in Southern California dreamlands.

By its own definition, slime is hard to grasp.

I was 17 but power dressing as a ball-busting Reagan-era businesswoman in high-waisted pleated trousers and penny loafers.

At Ikea Burbank, the mega-chain’s largest in the nation, an underground crew is at work on a new scheme for the prefab utopia: artist’s haven.

Two decades and a college degree later, I’m afraid to say, “Scary Movie 3” still kills me.

The author would die two days after publishing his first and last novel. He was 29. It’s usually the first thing that’s revealed.

A 14-year-old Tobey McIntosh built Crenshaw Skate Club, a niche but burgeoning fashion brand underpinned by a homegrown, grassroots mission: to represent and empower inner-city skaters.

The reading was more of a house show in more of an uncovered garage. Nitrous-filled balloons and chaos-theory fashion dotted the buoyant crowd, who treated the writers as rock stars, and the literary event turned out more of a parenthesis than the main point, which was to party.

On teen bluster and the indie sleazy Vice book that shook us all in 2008.

Daniel Sachon has just had the last 10 years of his life stolen.

His photos look like they’ve been plucked straight out of a late-90s music video – poppy West Coast scenes blasted with direct, on-camera flash – borrowing the era’s bright and overexposed style to reflect his own gigawatt energy.

It’s Trashy Lingerie, the bawdy boutique that’s defined a Los Angeles aesthetic with its tailor-made lingerie and costumes and, in doing so, has seized a fierce trade loyalty.

Vibes shifted, indie sleazed its way back, and social media entered its photo dump era by way of digital cameras and 35mm scans that seemed to represent a nostalgic longing for messy fun, uninhibited by smartphones or viral loads.

The self-taught artist, who is currently the toast of the Los Angeles art scene, breaks down the mirrored walls of her multimedia maze exhibition at the Palm Springs Art Museum.