title: Climate change adaptation

text: Migration events are multi-causal, with the environment being just a factor amongst many. Many discussions around migration are based on projections, while relatively few use current migration data. Migration related to sudden events like hurricanes, heavy rains, floods, and landslides is often short-distance, involuntary, and temporary. Slow-impact events, such as droughts and slowly rising temperatures, have more mixed effects. People may lose the means to migrate, leading to a net decrease in migration. The migration that does take place is seen as voluntary and economically motivated.


title: Climate change adaptation

text: Focusing on climate change as the issue may frame the debate around migration in terms of projections, causing the research to be speculative. Migration as tool for climate change adaptation is projected to be a more pressing issue in the decade to come. In Africa, specifically, migrant social networks can help to build social capital to increase the social resilience in the communities of origin and trigger innovations across regions by the transfer of knowledge, technology, remittances and other resources.


title: Climate change adaptation

text: In Africa, Mozambique and Zimbabwe are clear examples of adaptation strategies because they have implemented relocation policies that have reduced the exposure of populations and migrants to disaster. Tools can be put in place that limit forced displacement after a disaster; promote employment programs, even if only temporary, for internally displaced people or establish funding plans to ensure their security; to minimize the vulnerability of populations from risk areas. This can limit the displacement caused by environmental shocks and better channel the positive spillovers (money transfers, experiences, etc.) from the migration to the origin countries/communities.


title: Climate change adaptation

text: Relocation from the effects of climate change has been brought to light more and more over the years from the constant increasing effects of climate change in the world. Coastal homes in the U.S. are in danger from climate change, this is leading residents to relocate to areas that are less affected. Flooding in coastal areas and drought have been the main reasons for relocation.


title: Climate change adaptation

text: Assisted migration is the act of moving plants or animals to a different habitat. The destination habitat may or may not have once previously held the species; the only requirement is the destination habitat must provide the bioclimatic requirements to support the species. The goal of assisted migration is to remove the species from a threatening environment and give them a chance to survive and reproduce in an environment that does not pose an existential threat to the species.


title: Climate change adaptation

text: In recent years, assisted migration has been presented as a potential solution to the climate change crisis that has changed environments faster than natural selection can adapt to. While assisted migration has the potential to allow species that have poor natural dispersal abilities to avoid extinction, it has also sparked intense debate over the possibility of the introduction of invasive species and diseases into previously healthy ecosystems. Despite these debates, scientists and land managers have already begun the process of assisted migration for certain species.


title: Climate change adaptation

text: In the North American context, assisted migration is most often discussed in the context of the relocalization of the continent's forests. In the late 2000s and early 2010s, the Canadian provinces of Alberta and British Columbia modified their tree reseeding guidelines to account for the northward movement of forest's optimal ranges. British Columbia even gave the green light for the relocation of a single species, the Western Larch, 1000 km northward.


title: Climate change adaptation

text: The economic costs of adaptation to climate change will depend in large part on how much the climate changes: higher levels of warming lead to considerably higher costs. Globally, adaptation is likely to cost billions of dollars annually for the next several decades. Adaptation costs are estimated at "15 to 411 billion USD yr−1 for climate change impacts out to 2030, with the majority of estimates being well above 100 billion." Because these costs are considerably higher than the finance available, there is an 'adaptation gap', which is especially pressing in developing countries. This gap is widening and forms a major barrier to adaptation.


title: Climate change adaptation

text: An extensive research literature assesses options for responses to global warming. Much of this literature addresses the potential economic costs associated with different strategies, and studies generally focus on adaptation in developing countries or within a sector. This means that for many specific adaptation options in specific contexts, it is clear that the investment will be lower than the avoided damages, but global estimates have considerable uncertainty. The Asian Development Bank has a series of studies on the Economics of Climate Change in the Asia-Pacific region. These studies provide cost analysis of both adaptation and mitigation measures. The WEAP (Water Evaluation And Planning system) assists water resources researchers and planners in assessing impacts of and adaptations to climate change. The United Nations Development Programme's Climate Change Adaptation Portal includes studies on climate change adaptation in Africa, Europe and Central Asia, and Asia and the Pacific.


title: Climate change adaptation

text: In addition to the direct costs associated with spending on adaptation and mitigation there is also research indicating the cost associated with diverting resources away from productive sources towards these adaptation purposes. Such a diversion is termed the adaptive investment effect (AIE) and evidence suggests that the impact of investment on economic growth is reduced by around 30% in areas which invest heavily in adaptive technologies.


title: Climate change adaptation

text: As of 2007 there was still a lack of comprehensive, global cost and benefit estimates for adaptation. Studies were noted that provided cost estimates of adaptation at regional level, e.g., for sea-level rise. A number of adaptation measures were identified as having high benefit-cost ratios.


title: Climate change adaptation

text: The United Nations Framework Convention on Climate Change, under Article 11, incorporates a financial mechanism to developing country parties to support them with adaptation. Until 2009, three funds existed under the UNFCCC financial mechanism. The Special Climate Change Fund (SCCF) and the Least Developed Countries Fund (LDCF) are administered by the Global Environmental Facility. The Adaptation Fund was established a result of negotiations during COP15 and COP16 and is administered by its own Secretariat. Initially, when the Kyoto Protocol was in operation, the Adaptation Fund was financed by a 2% levy on the Clean Development Mechanism (CDM).


title: Climate change adaptation

text: At the 2009 Copenhagen Summit, nations committed to the goal of sending $100 billion per year to developing countries for climate change mitigation and adaptation by 2020. The Green Climate Fund was created in 2010 as one of the channels for mobilizing this climate finance. At the 2015 Paris conference, it was clarified that the $100 billion per year should involve a balanced split between mitigation and adaptation. , the promised $100 billion per year had not been fully delivered, and most developing country finance was still targeted towards mitigation, with adaptation only receiving a 21% share of the public finance provided in 2020.


title: Climate change adaptation

text: A key and defining feature of international adaptation finance is its premise on the concept of additionality. This reflects the linkages between adaptation finance and other levels of development aid. Many developed countries already provide international aid assistance to developing countries to address challenges such as poverty, malnutrition, food insecurity, availability of drinking water, indebtedness, illiteracy, unemployment, local resource conflicts, and lower technological development. Climate change threatens to exacerbate or stall progress on fixing some of these pre-existing problems, and creates new problems. To avoid existing aid being redirected, additionality refers to the extra costs of adaptation.


title: Climate change adaptation

text: A criticism of additionality is that it encourages business as usual that does not account for the future risks of climate change. Some advocates have thus proposed integrating climate change adaptation into poverty reduction programs.


title: Climate change adaptation

text: From 2010 to 2020, Denmark increased its global warming adaptation aid 33%, from 0.09% of GDP to 0.12% of GDP, but not by additionality. Instead, the aid was subtracted from other foreign assistance funds. "Politiken" wrote: "Climate assistance is taken from the poorest."


title: Climate change adaptation

text: Climate change vulnerability is defined as the "propensity or predisposition to be adversely affected" by climate change. It can apply to humans but also to natural systems (ecosystems). Human and ecosystem vulnerability are interdependent. Climate change vulnerability encompasses "a variety of concepts and elements, including sensitivity or susceptibility to harm and lack of capacity to cope and adapt". Vulnerability is a component of climate risk.


title: Climate change adaptation

text: Autonomous adaptation are adaptations that are reactive to climatic stimuli, and are done as a matter of course without the intervention of a public agency. Planned adaptation can be reactive or anticipatory, i.e., undertaken before impacts are apparent. Some studies suggest that human systems have considerable capacity to adapt autonomously. Others point to constraints on autonomous adaptation, such as limited information and access to resources Relying on autonomous adaptation to climate change can result in substantial ecological, social, and economic costs. In their view, these costs could largely be avoided with planned adaptation.


title: Climate change adaptation

text: Developing countries tend to be more vulnerable to climate change than developed countries. Based on then-current development trends (in 2001), it was predicted that few developing countries would have the capacity to efficiently adapt to climate change.


title: Climate change adaptation

text: Partly this was attributed to their low adaptive capacity and the high costs of adaptation in proportion to their GDP.


title: Climate change adaptation

text: Adaptation can occur in anticipation of change (anticipatory adaptation), or be a response to those changes (reactive adaptation). For example, artificial snow-making in the European Alps responds to current climate trends, whereas construction of the Confederation Bridge in Canada at a higher elevation takes into account the effect of future sea-level rise on ship clearance under the bridge.


title: Climate change adaptation

text: Additionally, effective adaptive policy can be difficult to implement because policymakers are rewarded more for enacting short-term change, rather than long-term planning. Since the impacts of climate change are generally not seen in the short term, policymakers have less incentive to act. Furthermore, climate change is occurring on a global scale, which requires a global framework for adapting to and combating climate change. The vast majority of climate change adaptation and mitigation policies are being implemented on a more local scale because different regions must adapt differently and because national and global policies are often more challenging to enact.


title: Climate change adaptation

text: Much adaptation takes place in relation to short-term climate variability, however this may cause maladaptation to longer-term climatic trends. For example, the expansion of irrigation in Egypt into the Western Sinai desert after a period of higher river flows is a maladaptation when viewed in relation to the longer term projections of drying in the region. Adaptations at one scale can also create externalities at another by reducing the adaptive capacity of other actors. This is often the case when broad assessments of the costs and benefits of adaptation are examined at smaller scales and it is possible to see that whilst the adaptation may benefit some actors, it has a negative effect on others. Development interventions to increase adaptive capacity have tended not to result in increased agency for local people. This should play a more prominent part in future intervention planning because agency is a central factor in all other aspects of adaptive capacity.


title: Climate change adaptation

text: People have always adapted to climatic changes and some community coping strategies already exist, for example changing sowing times or adopting new water-saving techniques. Traditional knowledge and coping strategies must be maintained and strengthened, otherwise adaptive capacity may be weakened as local knowledge of the environment is lost. Strengthening these local techniques and building upon them also makes it more likely that adaptation strategies will be adopted, as it creates more community ownership and involvement in the process. In many cases this will not be enough to adapt to new conditions which are outside the range of those previously experienced, and new techniques will be needed. The incremental adaptations which have been implemented become insufficient as the vulnerabilities and risks of climate change increase, this causes a need for transformational adaptations which are much larger and costlier. Current development efforts are increasingly focusing on community-based climate change adaptation, seeking to enhance local knowledge, participation and ownership of adaptation strategies.


title: Climate change adaptation

text: Climate change adaptation is a much more complex investment area than mitigation, mainly because of the lack of a well-defined income stream or business case with an attractive return on investment on projects. There are several rather specific challenges for private investment:


title: Climate change adaptation

text: However, there is considerable innovation in this area, increasing the potential for private sector finance to play a larger role in closing the adaptation finance gap. Economists state that climate adaptation initiatives should be an urgent priority for business investment.


title: Climate change adaptation

text: A 2020 United Nations report found that while 72% of countries had a high level adaptation instrument – such as a plan, policy or strategy – relatively few had progressed to the tangible implementation of projects. At least not to the point where the climate risk their populations are exposed to had been significantly reduced.


title: Climate change adaptation

text: A survey of 812 global cities found that while 93% reported they are at risk from climate change, 43% did not have an adaptation plan in 2021, and 41% of cities had not carried out a climate risk and vulnerability assessment.


title: Climate change adaptation

text: Sustainable Development Goal 13, which was set in 2015, aims to strengthen countries' resilience and adaptive capacities to climate-related issues. This adjustment includes many areas such as infrastructure, agriculture and education. The Paris Agreement includes several provisions for adaptation. It seeks to promote the idea of global responsibility, improve communication via the adaptation component of the Nationally Determined Contributions, and includes an agreement that developed countries should provide some financial support and technology transfer to promote adaptation in more vulnerable countries.


title: Climate change adaptation

text: The United Nations estimates for Africa, considering population growth, yearly funding of $1.3 trillion would be needed to achieve the Sustainable Development Goals in Africa. The International Monetary Fund also estimates that $50 billion may be needed only to cover the expenses of climate adaptation.


title: Todd Sucherman

text: Todd Sucherman (born May 2, 1969) is an American drummer, who is best known for having been a member of Styx since March 1995.


title: Todd Sucherman

text: Sucherman grew up in a musical family and followed in his father's footsteps by playing the drums. His father, Arnold J. Sucherman, was a doctor by day and a drummer by night, playing in the house band at the famed Chez Paree in Chicago. His mother, Jo (Seiwert) Sucherman, was an actress in the 1950s and 1960s.


title: Todd Sucherman

text: Sucherman started playing drums when he was two years old. When he was six, he had his first paying gig with his brothers under the name "The Sucherman Brothers". The band consisted of Paul on keyboards, Joel on bass, and Todd on drums.


title: Todd Sucherman

text: Sucherman attended Niles West High School, and then the Berklee College of Music from September 1987 to May 1988.


title: Todd Sucherman

text: In 1988, Sucherman returned to Chicago and quickly established himself as a noted session musician. As an in-demand player for live and session work, Sucherman recorded with Styx in March 1995 when they decided to re-record "Lady", now titled "Lady '95", for their 1995 "Greatest Hits" album, though he was uncredited. In February 1996 when it came time for the Return to Paradise tour and drummer John Panozzo was unable to perform, Styx asked Sucherman to join them for the tour. After John Panozzo's death on July 16, 1996, Sucherman became a full-time member, appearing on the 1997 live album, "Return to Paradise".


title: Todd Sucherman

text: In addition to Styx, he has played with such artists as Brian Wilson, Peter Cetera, Brian Culbertson, The Falling Wallendas, Steve Cole, and Spinal Tap, among others. Sucherman also plays with the band of fellow Styx member Lawrence Gowan.


title: Todd Sucherman

text: In September 2008, Sucherman was a featured artist in the prestigious Modern Drummer Festival. He also appeared on the cover of the October 2008 issue of Modern Drummer magazine, and in 2009 Modern Drummer Magazine voted him number one Rock Drummer in the World. In 2020, "Modern Drummer" readers voted him number one Live drummer. In 2021, "Music Radar" nominated Sucherman for Best Rock drummer. On September 12, 2020, he contributed a solo drum composition and performance entitled "13 for NP” to the twentieth annual edition of the Modern Drummer festival, which paid tribute to Rush drummer and lyricist Neil Peart, who had died earlier in the year.


title: Todd Sucherman

text: On May 2, 2020, Sucherman released his 1st solo album "Last Flight Home". The album includes a cover of the song "Kindling" by Elbow. There are official music videos for the songs "Last Flight Home", "Ad Lib Everything", "The Damage", and "Kindling". All videos are available on Sucherman's YouTube channel, as well as the video of "Sacred Book Of Favorite Days" from the Last Flight Home Drumless Play Along Package.


title: Todd Sucherman

text: The gear he currently endorses are Pearl drums, percussion and hardware, Remo Drumheads, Sabian cymbals, Pro-Mark drumsticks, and Audix microphones.


title: Todd Sucherman

text: On November 30, 2013, he announced via Instagram that he and his wife, singer Taylor Mills, were expecting a baby. Sucherman currently resides in Austin, Texas.


title: Outward

text: Outward is an open world fantasy role-playing video game developed by Quebecois studio Nine Dots and published by Deep Silver. The game can be played in multiplayer both online and locally through split-screen. The game focuses on survival as well as the concept of the player being a commoner rather than a hero, and features several survival game aspects. It released for Microsoft Windows, PlayStation 4, and Xbox One in March 2019, Google Stadia in November 2020, and for PlayStation 5 and Xbox Series X/S alongside the launch of "Outward: Definitive Edition" in May 2022.


title: Outward

text: On top of more traditional gameplay of action role-playing games, "Outward" includes several survival aspects, such as having to carefully watch one's warmth, hunger, fatigue and thirst. It's also possible for the player character to suffer from such conditions as a cold, a disease or indigestion. Losing all of one's health in battle can lead to a variety of consequences, including being imprisoned by enemies or being brought back to safety by an NPC. The game has an auto-save system, meaning the player is unable to manually save and return to earlier saves upon death or other such setbacks. While the game has a magic system, spells were specifically designed to be challenging to obtain. Similarly, skills and stat increases must all be earned by completing quests for NPCs or paying experts to receive training. Quests have multiple outcomes, and success or failure can permanently affect the game world and how the story progresses, such as a character being convinced to stay in a faction, or an important city being permanently destroyed if the player fails to kill certain characters.


title: Outward

text: The game starts with the player character, an inhabitant of the city of Cierzo, getting shipwrecked off the coast of their home city. They had previously inherited a debt called a Blood Price from their ancestors, a debt that must be periodically paid. A Blood Price affects all members of a given family, and the voyage was meant to pay it off. Now penniless, and despite having barely survived the deadly wreck, they are given only five days by the desperate townsfolk to pay off this debt and retain the family holdings. Once this debt has been paid, or the players home has been seized, the player is given multiple ways to react to their unfair situation and the true story begins. They can free themselves of their bloodline by joining the Holy Mission of Elatt, enter a new spotless bloodline by helping the Blue Chamber Collective, or free themselves of the entire system through the Heroic Kingdom of Levant. These three factions are trapped in a stalemate; the Blue Chamber wants to uphold the current status quo, the Kingdom of Levant wants to overthrow the unfair Blood Price system and let people live for themselves, and the Holy Mission similarly rejects the bloodline and social systems upheld by the Blue Chamber but only because it hinders the forming of a unified front against the common enemy of mankind, an otherworldly force called the Scourge. After the player joins a faction, the stalemate starts to crack and global events begin to progress. The main part of the story consists of three parallel storylines, one for each of these factions, all of which are perspectives of the bigger story. Main quests have time limits, though these are typically several months.


title: Outward

text: Nine Dots set out to design a game that was intentionally ambitious for a small studio as they wanted to prove that it was not necessary to use what they deemed as unhealthy habits making games. Specifically noting that the team never used Crunch


title: Outward

text: The ability to play the game in split screen came about because CEO Guillaume Boucher-Vidal loved playing games that way with his family and bemoaned the fact that he couldn't play RPGs such as or Oblivion that way. Boucher-Vidal noted that implementing such a feature was " extremely difficult" and that the team had to make "heavy sacrifices to make it work", noting that "Making it happen in our game made us understand why it was so rare nowadays". The team also noted that the relatively low budget prevented the game from having elaborate cutscenes or lip synching because of this he described marketing difficult.


title: Outward

text: The first downloadable content for "Outward", "The Soroboreans", was released on 16 June 2020 for PC and 7 July 2020 for PS4 and Xbox. The Soroboreans adds a new region called the Antique Plateau, a fourth major quest-line path, new dungeons, bosses, enchantments and more.


title: Outward

text: The second DLC "The Three Brothers" came out on 15 December 2020 for PC, and 18 May 2021 for consoles. It adds a new end-game region called Caldera, and end-game quest line, bosses, and more.


title: 2022 Colombian parliamentary election

text: Of the 166 members of the House of Representatives, 162 were elected by proportional representation from 33 multi-member constituencies based on the departments, with seats allocated using the largest remainder method. Two members were elected by the Afro-Colombian community, one by Indigenous community, and one by Colombian expatriates. The 102 Senators were elected by two methods; 100 from a single nationwide constituency by proportional representation (with seats allocated using the largest remainder) and two from a two-seat constituency for Indigenous Colombians.


title: 2022 Colombian parliamentary election

text: Commons, the political successor of the former rebel group FARC, were guaranteed five seats in the House and five in the Senate as part of the Colombian peace process. For the first time, 16 seats in the House, as agreed to during the negotiations in Havana and ratified by an act of legislation on 25 August 2021, were reserved for victims of the Colombian conflict. Citizens from 167 municipalities affected by the conflict were eligible for voting in the special victims constituency.


title: 2022 Colombian parliamentary election

text: Following the electoral triumph of Gustavo Petro in the 2022 Colombian presidential election, Petro's coalition Historic Pact allied with the Liberal Party. The Liberal leader, César Gaviria, assured that the alliance would "allow the president-elect to overcome a political hurdle", which would provide the Historic Pact with less difficulty in advancing their agenda. The Conservative Party expressed no interest in being an opposition bloc with the party caucus ultimately voting to support the Historic Pact. The decision caused tension within the party as many opposed the move and led to party leader Omar Yepes' resignation. The Party of the U also declared they would not serve as an opposition bloc and contemplated whether to join the government or remain neutral. Meanwhile, the party of outgoing president Iván Duque, the Democratic Center, said they would be in the opposition. The Party of the U announced on 19 July that it would join the governing coalition.


title: Iyer

text: Iyers (also spelt as Ayyar, Aiyar, Ayer, or Aiyer) are an ethnoreligious community of Tamil-speaking Hindu Brahmins. Most Iyers are followers of the "Advaita" philosophy propounded by Adi Shankara and adhere to the Smarta tradition. This is in contrast to the Iyengar community, who are adherents of Sri Vaishnavism. The Iyers and the Iyengars are together referred to as Tamil Brahmins. The majority of Iyers reside in Tamil Nadu, India.


title: Iyer

text: Iyers are further divided into various denominations based on traditional and regional differences. Like all Brahmins, they are also classified based on their gotra, or patrilineal descent, and the Veda that they follow. They fall under the Pancha Dravida Brahmana classification of Brahmins in India.


title: Iyer

text: Apart from the prevalent practice of using the title "Iyer" as surname, Iyers also commonly use other surnames, such as Sāstri or Bhattar.


title: Iyer

text: Iyer (, ) has several meanings in Tamil and other Dravidian languages, often referring to a respectable person. The "Dravidian Etymological Dictionary" lists various meanings for the term such as "father, sage, priest, teacher, brahman, superior person, master, king" with cognates such as "tamayan" meaning "elder brother" and simply "ai" "lord, master, husband, king, guru, priest, teacher, father". Linguistic sources often derive the words Ayya, Ayira/Ayyira as Prakrit versions of the Sanskrit word "Aryā" which means 'noble'.


title: Iyer

text: In ancient times, Iyers were also called "Anthanar" or "Pārppān", though the usage of the word "Pārppān" is considered derogatory in modern times. Until recent times, Kerala Iyers were called "Pattars". Like the term "pārppān", the word "Pattar" too is considered derogatory.


title: Iyer

text: Today, Iyers live all over South India, but an overwhelming majority of Iyers continue to thrive in Tamil Nadu. Tamil Brahmins form an estimated less than 3 per cent of the state's total population and are distributed all over the state. However, accurate statistics on the population of the Iyer community are unavailable.


title: Iyer

text: Iyers are also found in fairly appreciable number in Western and Southern districts of Tamil Nadu. Iyers of the far south are called Tirunelveli Iyers and speak the Tirunelveli Brahmin dialect.


title: Iyer

text: Over the last few centuries, many Iyers have migrated and settled in parts of Karnataka. During the rule of the Mysore Maharajahs, many Iyers from the then Madras province migrated to Mysore. The Ashtagrama Iyers are also a prominent group of Iyers in Karnataka.


title: Iyer

text: Iyers have also been resident of the princely state of Travancore from ancient times. The Venad state (present Kanyakumari district) and the southern parts of Kerala was part of the Pandyan kingdom known as Then Pandi Nadu. There were also many Iyers in Venad which later on grew to be the Travancore state. The old capital of Travancore was Padmanabhapuram which is at present in Kanyakumari district. There has also been a continuous inflow from Tirunelveli and Ramnad districts of Tamil Nadu which are contiguous to the erstwhile princely state of Travancore. Many parts of the present Tirunelveli district were even part of the old Travancore state. These Iyers are known today as Trivandrum Iyers. Some of these people migrated to Cochin and later to Palakkad and Kozhikode districts. There were also migrations from Tanjore district of Tamil Nadu to Palakkad. Their descendants are known today as Palakkad Iyers. These Iyers are collectively now called as "Kerala Iyers". In Coimbatore, there are many such Iyers due to its proximity to Kerala. According to the Buddhist scripture Mahavamsa, the presence of Brahmins have been recorded in Sri Lanka as early as 500BC when the first migrations from the Indian mainland supposedly took place. Currently, Brahmins are an important constituent of the Sri Lankan Tamil minority. Tamil Brahmins are believed to have played a historic role in the formation of the Jaffna Kingdom.


title: Iyer

text: Apart from South India, Iyers have also migrated to and settled in places in North India. There are significantly large Iyer communities in Mumbai, and Delhi. These migrations, which commenced during the British rule, were often undertaken in search of better prospects and contributed to the prosperity of the community.


title: Iyer

text: In recent times Iyers have also migrated in significant numbers to the United Kingdom, Europe and the United States in search of better fortune.


title: Iyer

text: Iyers have many sub-sects among them, such as Vadama, Brahacharnam or Brahatcharanam, Vāthima, Sholiyar or Chozhiar, Ashtasahasram, Mukkāni, Gurukkal, Kāniyālar and Prathamasāki. Each sub-sect is further subdivided according to the village or region of origin.


title: Iyer

text: Iyers, like all other Brahmins, trace their paternal ancestry to one of the eight "rishis" or sages. Accordingly, they are classified into eight "gotras" based on the rishi they have descended from. A maiden in the family belongs to gotra of her father, but upon marriage takes the gotra of her husband.


title: Iyer

text: The Vedas are further sub-divided into "shakhas" or "branches" and followers of each Veda are further sub-divided based on the shakha they adhere to. However, only a few of the shakhas are extant, the vast majority of them having disappeared. The different Vedas and the corresponding shakhas that exist today in Tamil Nadu are:


title: Iyer

text: Iyer rituals comprise rites as described in Hindu scriptures such as Apastamba Sutra attributed to the Hindu sage Apastamba. The most important rites are the "Shodasa Samaskāras" or the 16 duties. Although many of the rites and rituals followed in antiquity are no longer practised, some have been retained.


title: Iyer

text: Iyers are initiated into rituals at the time of birth. In ancient times, rituals used to be performed when the baby was being separated from mother's umbilical cord. This ceremony is known as "Jātakarma". However, this practice is no longer observed. At birth, a horoscope is made for the child based on the position of the stars. The child is then given a ritual name. On the child's birthday, a ritual is performed to ensure longevity. This ritual is known as "Ayushya Homam". This ceremony is held on the child's birthday reckoned as per the Tamil calendar based on the position of the "nakshatras" or stars and not the Gregorian calendar. The child's first birthday is the most important and is the time when the baby is formally initiated by piercing the ears of the boy or girl. From that day onwards a girl is expected to wear earrings.


title: Iyer

text: A second initiation (for the male child in particular) follows when the child crosses the age of seven. This is the "Upanayana" ceremony during which a Brahmana is said to be reborn. A three-piece cotton thread is installed around the torso of the child encompassing the whole length of his body from the left shoulder to the right hip. The Upanayana ceremony of initiation is solely performed for the members of the "dvija" or twice-born castes, generally when the individual is between 7 and 16 years of age. In ancient times, the Upanayana was often considered as the ritual which marked the commencement of a boy's education, which in those days consisted mostly of the study of the Vedas. However, with the Brahmins taking to other vocations than priesthood, this initiation has become more of a symbolic ritual. The neophyte was expected to perform the "Sandhya Vandanam" on a regular basis and utter a prescribed set of prayers, three times a day: dawn, mid-day, and dusk. The most sacred and prominent of the prescribed set of prayers is the Gayatri Mantra, which is as sacred to the Hindus as the Six Kalimas to the Muslims and Ahunwar to the Zoroastrians. Once a year, Iyers change their sacred thread. This ritual is exclusive to South Indian Brahmins and the day is commemorated in Tamil Nadu as "Āvani Avittam".


title: Iyer

text: Other important ceremonies for Iyers include the rites for the deceased. All Iyers are cremated according to Vedic rites, usually within a day of the individual's death. The death rites include a 13-day ceremony, and regular "Tarpanam" (performed every month thereafter, on Amavasya day, or New Moon Day), for the ancestors. There is also a yearly "shrārddha", that must be performed. These rituals are expected to be performed only by male descendants of the deceased. Married men who perform this ritual must be accompanied by their wives. The women are symbolically important in the ritual to give a "consent" to all the proceedings in it.


title: Iyer

text: Iyers celebrate almost all Hindu festivals like Deepavali, Navratri, Pongal, Vinayaka Chathurthi, Janmaashtami, Tamil New Year, Sivarathri and Karthika Deepam.


title: Iyer

text: However, the most important festival which is exclusive to Brahmins of South India is the "Āvani Avittam" festival.


title: Iyer

text: A typical Iyer wedding consists of "Sumangali Prārthanai" (Hindu prayers for prosperous married life), "Nāndi" (homage to ancestors), "Nischayadhārtham" (Engagement) and "Mangalyadharanam" (tying the knot). The main events of an Iyer marriage include "Vratam" (fasting), "Kasi Yatra" (pilgrimage to Kasi), "Oonjal" (Swing), "Kanyadanam" (placing the bride in the groom's care), "Mangalyadharanam", "Pānigrahanam" and "Saptapathi" (or "seven steps" - the final and most important stage wherein the bride takes seven steps supported by the groom's palms thereby finalizing their union). This is usually followed by "Nalangu", which is a casual and informal event.


title: Iyer

text: Iyers generally lead orthodox lives and adhere steadfastly to their customs and traditions. Iyers follow the Grihya Sutras of Apastamba and Baudhayana. The society is patriarchal but not feudal.


title: Iyer

text: Iyers are generally vegetarian. Some abjure onion and garlic on the grounds that they activate certain base senses. Cow milk and milk products were approved. They were required to avoid alcohol and tobacco.


title: Iyer

text: Iyers follow elaborate purification rituals, both of self and the house. Men are forbidden from performing their "sixteen duties" while women are forbidden from cooking food without having a purificatory bath in the morning. Food is to be consumed only after making an offering to the deities.


title: Iyer

text: The bathing was considered sufficiently purifying only if it conformed to the rules of "madi". The word "madi" is used by Tamil Brahmins to indicate that a person is bodily pure. In order to practice madi, the Brahmin had to wear only clothes which had been recently washed and dried, and the clothes should remain untouched by any person who was not "madi". Only after taking bath in cold water, and after wearing such clothes, would the person be in a state of "madi".


title: Iyer

text: This practice of "madi" is followed by Iyers even in modern times, before participating in any kind of religious ceremony.


title: Iyer

text: Iyer men traditionally wear "veshtis" or "dhotis" which cover them from waist to foot. These are made of cotton and sometimes silk. "Veshtis" are worn in different styles. Those worn in typical brahminical style are known as "panchakacham" (from the sanskrit terms "pancha" and "gajam" meaning "five yards" as the length of the "panchakacham" is five yards in contrast to the "veshtis" used in daily life which are four or eight cubits long). They sometimes wrap their shoulders with a single piece of cloth known as "angavastram" (body-garment). In earlier times, Iyer men who performed austerities also draped their waist or chests with deer skin or grass.


title: Iyer

text: For centuries, Iyers have taken a keen interest in preserving the arts and sciences. They undertook the responsibility of preserving the Natya Shastra, a monumental work on Bharatanatyam, the classical dance form of Tamil Nadu. During the early 20th century, dance was usually regarded as a degenerate art associated with devadasis. Rukmini Devi Arundale, however, revived the dying art of Sadir into the more "respectable" art form of Bharatanatyam, thereby breaking social and caste taboos about Brahmins taking part in the study and practice of dance. However many have claimed that, rather than becoming more open to other communities, the practice of Bharatanatyam was then restricted specifically to the middle and upper classes of Tamil society.


title: Iyer

text: However, compared to dance, the contribution of Iyers in field of music has been considerably noteworthy.


title: Iyer

text: The main diet of Iyers is composed of vegetarian food, mostly rice which is the staple diet for millions of South Indians. Vegetarian side dishes are frequently made in Iyer households apart from compulsory additions as rasam, sambar, etc. Home-made ghee is a staple addition to the diet, and traditional meals do not begin until ghee is poured over a heap of rice and lentils. The cuisine eschews the extent of spices and heat traditionally found in south Indian cuisine. Iyers are mostly known for their love for curd. Other South Indian delicacies such as dosas, idli, etc. are also relished by Iyers. Coffee amongst beverages and curd amongst food items form an indispensable part of the Iyer food menu.


title: Iyer

text: In ancient times, Iyers, along with Iyengars and other Tamil Brahmins, lived in exclusive Brahmin quarters of their village known as an "agrahāram". Shiva and Vishnu temples were usually situated at the ends of an "agrahāram". In most cases, there would also be a fast-flowing stream or river nearby.


title: Iyer

text: A typical "agrahāram" consisted of a temple and a street adjacent to it. The houses on either side of the street were exclusively peopled by Brahmins who followed a joint family system. All the houses were identical in design and architecture though not in size.


title: Iyer

text: With the arrival of the British and commencement of the Industrial Revolution, Iyers started moving to cities for their sustenance. Starting from the late 19th century, the "agrahārams" were gradually discarded as more and more Iyers moved to towns and cities to take up lucrative jobs in the provincial and judicial administration.


title: Iyer

text: However, there are still some agrahārams left where traditional Iyers continue to reside. In an Iyer residence, people wash their feet first with water on entering the house.


title: Iyer

text: Tamil is the mother tongue of most Iyers residing in India and elsewhere. However, Iyers speak a distinct dialect of Tamil unique to their community. This dialect of Tamil is known as Brāhmik or Brahmin Tamil. Brahmin Tamil is highly Sanskritized and has often invited ridicule from Tamil purists due to its extensive usage of the Sanskrit vocabulary. While Brahmin Tamil used to be the lingua franca for inter-caste communication between different Tamil communities during pre-independence times, it has been gradually discarded by Brahmin themselves in favour of regional dialects.


title: Iyer

text: In addition to their earlier occupations, Iyers today have diversified into a variety of fields. Three of India's Nobel laureates, Sir C. V. Raman, Subrahmanyan Chandrasekhar and Venkatraman Ramakrishnan hail from the community.


title: Iyer

text: Since ancient times, Iyers, as members of the privileged priestly class, exercised a near-complete domination over educational, religious and literary institutions in the Tamil country. Their domination continued throughout the British Raj as they used their knowledge of the English language and education to dominate politics, administration, the courts and intelligentsia. Upon India's independence in 1947, they tried to consolidate their hold on the administrative and judicial machinery. Such a situation led to resentment from the other castes in Tamil Nadu, the result of this atmosphere was a "non-Brahmin" movement and the formation of the Justice Party. Periyar, who took over as Justice Party President in the 1940s, changed its name to Dravida Kazhagam, and formulated the view that Tamil Brahmins were Aryans as opposed to non-Brahmin Tamils who were Dravidian. The ensuing anti-Brahminism and the rising unpopularity of the Rajaji Government left an indelible mark on the Tamil Brahmin community ending their political aspirations. In the 1960s the Dravida Munnetra Kazhagam (roughly translated as "Organisation for Progress of Dravidians") and its subgroups gained political ground on this platform forming state ministries, thereby wrenching control from the Indian National Congress, in which Iyers at that time were holding important party positions. Today, apart from a few exceptions, Iyers have virtually disappeared from the political arena.


title: Iyer

text: In 2006, the Tamil Nadu government took the decision to appoint non-Brahmin priests in Hindu temples in order to curb Brahmin ecclesiastical domination. This created a huge controversy. Violence broke out in March 2008 when a non-Brahmin "oduvar" or reciter of Tamil idylls, empowered by the Government of Tamil Nadu, tried to make his way into the "sanctum sanctorum" of the Nataraja temple at Chidambaram.


title: Iyer

text: The legacy of Iyers have often been marred by accusations of racism and counter-racism against them by non-Brahmins and vice versa.


title: Iyer

text: Grievances and instances of discrimination by Brahmins are believed to be the main factors which fuelled the Dravidian Movement. With the dawn of the 20th century, and the rapid penetration of western education and western ideas, there was a rise in consciousness amongst the lower castes who felt that rights which were legitimately theirs were being denied to them. This led the non-Brahmins to agitate and form the Justice Party in 1916, which later became the Dravidar Kazhagam. The Justice Party banked on vehement anti-Hindu and anti-Brahmin propaganda to ease Brahmins out of their privileged positions. Gradually, the non-Brahmin replaced the Brahmin in every sphere and destroyed the monopoly over education and the administrative services which the Brahmin had previously held.


title: Iyer

text: The concept of "Brahmin atrocities" is refuted by some Tamil Brahmin historians. They argue that allegations of casteism against Tamil Brahmins have been exaggerated and that even prior to the rise of the Dravida Kazhagam, a significant section of Tamil Brahmin society was liberal and anti-casteist. They cite the example of the Temple Entry Proclamation passed by the princely state of Travancore which gave people of all castes the right to enter Hindu temples in the princely state was due to the efforts of the Dewan of Travancore, Sir C. P. Ramaswamy Iyer who was an Iyer.


title: Iyer

text: Dalit leader and founder of political party Pudiya Tamizhagam, Dr.Krishnasamy admits that the Anti-Brahmin Movement had not succeeded up to the expectations and that there continues to be as much discrimination of Dalits as had been before.


title: Iyer

text: Iyers have been called Sanskritists who entertained a distorted and contemptuous attitude towards Tamil language, culture and civilization. The Dravidologist Kamil Zvelebil says that the Brahmin was chosen as a scapegoat to answer for the decline of Tamil civilization and culture in the medieval and post-medieval periods. Agathiar, usually identified with the legendary Vedic sage Agastya is credited with compiling the first rules of grammar of the Tamil language. Moreover, individuals like U. V. Swaminatha Iyer and Subramanya Bharathi have made invaluable contributions to the Dravidian Movement. Parithimar Kalaignar was the first to campaign for the recognition of Tamil as a classical language.


title: Iyer

text: Brahmins are mentioned for the first time in the works of Sangam poets. During the post sangam era, Brahmin saints have been frequently praised for their efforts in combating Buddhism. In modern times, when Iyers and Iyengars control a significant percentage of the print and visual media, there has been significant coverage of Brahmins and Brahmin culture in magazines and periodicals and a number of Brahmin characters in novels, TV serials and films.


title: Iyer

text: The writings and speeches of Iyothee Thass, Maraimalai Adigal, Periyar, Bharatidasan, C. N. Annadurai and the leaders of Justice Party in the early 20th century and of the Dravidar Kazhagam in more modern times constitute much of modern anti-Brahmin rhetoric.


title: Iyer

text: Starting from the 1940s onwards, Annadurai and the Dravida Munnetra Kazhagam have been using films and the mass media for the propagation of their political ideology. Most of the films made, including the 1952-blockbuster "Parasakthi", are anti-Brahminical in character.


title: Iyer

text: Some of the early members of the community to gain prominence were sages and religious scholars like Agatthiar, Tholkappiyar (Tirunadumakini), Parimelalhagar and Naccinarkiniyar. Prior to the 19th century, almost all prominent members of this community hailed from religious or literary spheres. Tyagaraja, Syama Sastri and Muthuswamy Dīkshitar, who constitute the "Trinity of Carnatic music" were probably the first verified historical personages from the community, as the accounts or biographies of those who lived earlier appear semi-legendary in character. Most of the "Dewans" of the princely state of Travancore during the 19th century were Tamil Brahmins (Iyers and Iyengars).


title: Romeo + Juliet (soundtrack)

text: William Shakespeare's Romeo + Juliet: Music from the Motion Picture is the soundtrack to the 1996 film of the same name. The soundtrack contained two separate releases: the first containing popular music from the film and the second containing the score to the film composed by Nellee Hooper, Craig Armstrong and Marius de Vries.


title: Romeo + Juliet (soundtrack)

text: The first soundtrack album to accompany the film was released on the Capitol Records label. It features songs by a number of artists including Garbage, Butthole Surfers and Radiohead (their song "Exit Music (For a Film)", which appears over the end credits, was not included on the soundtrack however, but appeared a year later on Radiohead's album "OK Computer").


title: Romeo + Juliet (soundtrack)

text: The soundtrack was a popular and solid seller, reaching No. 2 on the "Billboard" 200 albums chart and went triple-platinum sales in the U.S. It was especially successful in Australia, where it was the second-highest selling album in 1997, going five times Platinum in sales. A number of hit singles also resulted from the soundtrack, including "Lovefool" by The Cardigans, the love theme "Kissing You" by Des'ree, and a cover of "Young Hearts Run Free" by Kym Mazelle. Quindon Tarver's choral rendition of Rozalla's "Everybody's Free (To Feel Good)" was later used in Luhrmann's "Everybody's Free (To Wear Sunscreen)" single.


title: Romeo + Juliet (soundtrack)

text: The soundtrack was later followed by a sequel, William Shakespeare's Romeo + Juliet: Music from the Motion Picture, Volume 2, which featured the film's orchestral score, dialog from the film, and songs not featured on the previous album.


title: Romeo + Juliet (soundtrack)

text: The score to "Romeo + Juliet" was composed by British music producer Nellee Hooper, Scottish composer Craig Armstrong, and English music composer and producer Marius de Vries. It was arranged, orchestrated, and conducted by Craig Armstrong using the London Session Orchestra and The Metro Voices.


title: Romeo + Juliet (soundtrack)

text: The score fuses bombastic choral sequences produced by The Metro Voices as well as flamboyant orchestral pieces by the London Session Orchestra. It also contains Hooper's favorite trip hop sequences, especially seen in the track "Introduction to Romeo". Some high-beat techno tunes were fused with the chorus and orchestra in the track "Escape from Mantua".


title: Romeo + Juliet (soundtrack)

text: Dialogue from the film was also inserted into several of the tracks. Justin Warfield of One Inch Punch as well the Butthole Surfers and Mundy also contribute vocals to the score. A cover of Prince's "When Doves Cry" by Quindon Tarver features on the album; it became a hit for him in Australia in 1997.


title: Romeo + Juliet (soundtrack)

text: Craig Armstrong's "Film Works 1995–2005" solo disc work contained several of these tracks. The score won BAFTA Award for Best Film Music for best film score in 1997. Composer Nellee Hooper was also awarded BAFTA's Anthony Asquith Award for Music for his composition of the score in 1998.


title: Los Angeles County Museum of Art

text: The Los Angeles County Museum of Art (LACMA) is an art museum located on Wilshire Boulevard in the Miracle Mile vicinity of Los Angeles. LACMA is on Museum Row, adjacent to the La Brea Tar Pits (George C. Page Museum).


title: Los Angeles County Museum of Art

text: LACMA was founded in 1961, splitting from the Los Angeles Museum of History, Science and Art. Four years later, it moved to the Wilshire Boulevard complex designed by William Pereira. The museum's wealth and collections grew in the 1980s, and it added several buildings beginning in that decade and continuing in subsequent decades. In 2020, four buildings on the campus were demolished to make way for a reconstructed facility designed by Peter Zumthor. His design drew strong community opposition and was lambasted by architectural critics and museum curators, who objected to its reduced gallery space, poor design, and exorbitant costs.


title: Los Angeles County Museum of Art

text: LACMA is the largest art museum in the western United States. It attracts nearly a million visitors annually. It holds more than 150,000 works spanning the history of art from ancient times to the present. In addition to art exhibits, the museum features film and concert series.


title: Los Angeles County Museum of Art

text: The Los Angeles County Museum of Art was established as a museum in 1961. Prior to this, LACMA was part of the Los Angeles Museum of History, Science and Art, founded in 1910 in Exposition Park near the University of Southern California. Howard F. Ahmanson, Sr., Anna Bing Arnold and Bart Lytton were the first principal patrons of the museum. Ahmanson made the lead donation of $2 million, convincing the museum board that sufficient funds could be raised to establish the new museum. In 1965 the museum moved to a new Wilshire Boulevard complex as an independent, art-focused institution, the largest new museum to be built in the United States after the National Gallery of Art.


title: Los Angeles County Museum of Art

text: The museum, built in a style similar to Lincoln Center and the Los Angeles Music Center, consisted of three buildings: the Ahmanson Building, the Bing Center, and the Lytton Gallery (renamed the Frances and Armand Hammer Building in 1968). The board selected LA architect William Pereira over the directors' recommendation of Ludwig Mies van der Rohe for the buildings. According to a 1965 "Los Angeles Times" story, the total cost of the three buildings was $11.5 million. Construction began in 1963, and was undertaken by the Del E. Webb Corporation. Construction was completed in early 1965. At the time, the Los Angeles Music Center and LACMA were concurrent large civic projects which vied for attention and donors in Los Angeles. When the museum opened, the buildings were surrounded by reflecting pools, but they were filled in and covered over when tar from the adjacent La Brea Tar Pits began seeping in.


title: Los Angeles County Museum of Art

text: Money poured into LACMA during the boom years of the 1980s, a reportedly $209 million in private donations during director Earl Powell's tenure. To house its growing collections of modern and contemporary art and to provide more space for exhibitions, the museum hired the architectural firm of Hardy Holzman Pfeiffer Associates to design its $35.3-million, 115,000-square-foot Robert O. Anderson Building for 20th-century art, which opened in 1986 (renamed the Art of the Americas Building in 2007). In the far-reaching expansion, museum-goers henceforth entered through the new partially roofed central court, nearly an acre of space bounded by the museum's four buildings.


title: Los Angeles County Museum of Art

text: The museum's Pavilion for Japanese Art, designed by maverick architect Bruce Goff, opened in 1988, as did the B. Gerald Cantor Sculpture Garden of Rodin bronzes.


title: Los Angeles County Museum of Art

text: In 1999, the Hancock Park Improvement Project was complete, and the LACMA-adjacent park (designed by landscape architect Laurie Olin) was inaugurated with a free public celebration. The $10-million renovation replaced dead trees and bare earth with picnic facilities, walkways, viewing sites for the La Brea tar pits and a 150-seat red granite amphitheater designed by artist Jackie Ferrara.


title: Los Angeles County Museum of Art

text: Also in 1994, LACMA purchased the adjacent former May Company department store building, an impressive example of streamline moderne architecture designed by Albert C. Martin Sr. LACMA West increased the museum's size by 30 percent when the building opened in 1998.


title: Los Angeles County Museum of Art

text: In 2004 LACMA's Board of Trustees unanimously approved a plan for LACMA's transformation by architect Rem Koolhaas, who had proposed razing all the current buildings and constructing an entirely new single, tent-topped structure, estimated to cost $200 million to $300 million. Kohlhaas edged out French architect Jean Nouvel, who would have added a major building while renovating the older facilities. The list of candidates had previously narrowed to five in May 2001: Koolhaas, Nouvel, Steven Holl, Daniel Libeskind and Thom Mayne.


title: Los Angeles County Museum of Art

text: However, the project soon stalled after the museum failed to secure funding. In 2004 LACMA's Board of Trustees unanimously approved plans to transform the museum, led by architect Renzo Piano. The planned transformation consisted of three phases.


title: Los Angeles County Museum of Art

text: Phase I started in 2004 and was completed in February 2008. The renovations required demolishing the parking structure on Ogden Avenue and with it LACMA-commissioned graffiti art by street artists Margaret Kilgallen and Barry McGee. The entry pavilion is a key point in architect Renzo Piano's plan to unify LACMA's sprawling, often confusing layout of buildings. The BP Grand Entrance and the adjacent Broad Contemporary Art Museum (BCAM) comprise the $191 million (originally $150 million) first phase of the three-part expansion and renovation campaign. BCAM is named for Eli and Edy Broad, who gave $60 million to LACMA's campaign; Eli Broad also serves on LACMA's board of directors. BCAM opened on February 16, 2008, adding of exhibition space to the museum. In 2010 the Lynda and Stewart Resnick Exhibition Pavilion opened to the public, providing the largest purpose-built, naturally lit, open-plan museum space in the world.


title: Los Angeles County Museum of Art

text: The second phase was intended to turn the May building into new offices and galleries, designed by SPF Architects. As proposed, it would have had flexible gallery space, education space, administrative offices, a new restaurant, a gift shop and a bookstore, as well as study centers for the museum's departments of costume and textiles, photography and prints and drawings, and a roof sculpture garden with two works by James Turrell. However, construction of this phase was halted in November 2010. Phase two and three were never completed.


title: Los Angeles County Museum of Art

text: In October 2011, LACMA entered into an agreement with the Academy of Motion Picture Arts and Sciences under which the Academy will establish its Academy Museum of Motion Pictures, in the May building. The redesign and additions are designed by Renzo Piano as well. Construction of the renovated building is ongoing and the Academy Museum is set to open by 2021. The Grand opening was delayed by COVID-19.


title: Los Angeles County Museum of Art

text: In 2010 LACMA partnered with the City of Los Angeles Cultural Affairs Department in an effort to ensure the preservation of the Watts Towers, offering its staff, expertise, and fundraising assistance. As of 2018, LACMA is working with Los Angeles County to develop a site at the Earvin "Magic" Johnson Park, which is close to Watts Towers.


title: Los Angeles County Museum of Art

text: In 2018, LACMA secured a 35-year lease on an 80,000-square-foot, city-owned former Metro maintenance and storage yard from 1911 in the South Los Angeles Wetlands Park area.


title: Los Angeles County Museum of Art

text: Specifics about the third phase, which initially was to involve renovations to older buildings, long remained undisclosed. In November 2009, plans were made public that LACMA's director Michael Govan was working with Swiss architect and Pritzker Prize laureate Peter Zumthor on plans for rebuilding the eastern section of the campus, the Perreira Buildings between the two new Renzo Piano buildings and the tar pits. Architecture firm Skidmore, Owings & Merrill collaborated with Zumthor on the building's design. With an estimated cost of $650 million, Zumthor's first proposal called for a horizontal building along Wilshire Boulevard. It would have been wrapped in glass on all sides and its main galleries lifted one floor into the air. The wide roof would have been covered with solar panels. In a later concession to concerns raised by its neighbor, the Page Museum, LACMA had Zumthor alter the shape of his proposed building to stretch across Wilshire Boulevard and away from the La Brea Tar Pits.


title: Los Angeles County Museum of Art

text: In June 2014, the Los Angeles County Board of Supervisors approved $5 million for LACMA to continue its proposed plans to tear down the structures on the east end of its campus for a single museum building. Later that year, they approved in concept a plan that would provide public financing and $125 million toward the $600-million project.


title: Los Angeles County Museum of Art

text: On April 8, 2019, the Zumthor-designed building was approved by the Los Angeles County Board of Supervisors. The final approved building designed was scaled back from the original to , with gallery space shrinking from to . The new proposal also dropped the black form aesthetics, reducing it to a one-level, aboveground, glass-enclosed, sand-colored concrete building, to save costs. The design still calls for an arm above Wilshire Boulevard.


title: Los Angeles County Museum of Art

text: Other than necessary mechanical systems and bathrooms, the building's entire second story will be devoted to gallery space. Arranged in four broad clusters around the building, each one of the twenty-six core galleries is designed in the form of a square or a rectangle at various scales. Other services, among them the museum's education department, shop and three restaurants, will be at ground level, as will a 300-seat theater in the section of the building on the southern side of Wilshire Boulevard.


title: Los Angeles County Museum of Art

text: The total cost was estimated to be at $650 million, with LA county providing $125 million in funds and the rest raised by fundraising. LACMA raised $560 million by 2019 and $700 million by 2022. The re-designed final building was criticized by some local architects, including the "Los Angeles Times" editorial architect Christopher Knight, calling the plans "half baked". Antonio Pacheco called the plans an "affront to L.A.’s architectural and cultural heritage." Especially criticized was the plan's reduction in gallery space. The plans raised significant controversy from Angelenos as well, prompting a "Save LACMA" campaign. Los Angeles City owns air rights above Wilshire, so the city council must give approval to the project, since part of the structure goes over the street.


title: Los Angeles County Museum of Art

text: Demolition of the Pereira buildings began in April 2020. The demolition was completed in October of that same year. By 2021, construction slowed with the discovery of on-site fossil finds. In the meantime, the Zumthor building opening has been pushed back to 2024.


title: Los Angeles County Museum of Art

text: In 1971, curator Maurice Tuchman's revolutionary "Art and Technology" exhibit opened at LACMA after its debut at the 1970 World Exposition in Osaka, Japan. The museum staged its first exhibition by contemporary black artists later that year, featuring Charles Wilbert White, Timothy Washington and David Hammons, then little known. The museum's best-attended show ever was "Treasures of Tutankhamun", which drew 1.2 million during four months in 1978. The 2005 "Tutankhamun and the Golden Age of the Pharaohs" drew 937,613 during its 137-day run. A show of Vincent van Gogh masterpieces from the artist's eponymous Amsterdam museum is the third most successful show, and a 1984 exhibition of French Impressionist works is fourth. In 1994, "Picasso and the Weeping Women: The Years of Marie-Therese Walter and Dora Maar" opened to rave reviews and large crowds, drawing more than 153,000 visitors.


title: Los Angeles County Museum of Art

text: Since the arrival of current director Michael Govan, about 80% of just over 100 featured temporary exhibitions have been of Modern or contemporary art while the permanent exhibitions feature work dating from antiquity, including pre-Columbian, Assyrian and Egyptian art through contemporary art.


title: Los Angeles County Museum of Art

text: More recent exhibits, focusing on popular culture and entertainment, have also been well-received, both by critics and patrons. Exhibits devoted to the works of movie-directors Tim Burton and Stanley Kubrick drew especially positive reactions and responses.


title: Los Angeles County Museum of Art

text: LACMA's more than 120,000 objects are divided among its numerous departments by region, media, and time period and are spread amongst the various museum buildings.


title: Los Angeles County Museum of Art

text: The Modern Art collection is displayed in the Ahmanson Building, which was renovated in 2008 to have a new entrance featuring a large staircase, conceived as a gathering place similar to Rome's Spanish Steps. Filling the atrium at the base of the staircase is Tony Smith's massive sculpture "Smoke" (1967). The plaza level galleries also house African art and a gallery highlighting the Robert Gore Rifkind Center for German Expressionist Studies.


title: Los Angeles County Museum of Art

text: The modern collection on the plaza level displays works from 1900 to the 1970s, largely populated by the Janice and Henri Lazarof Collection. In December 2007, Janice and Henri Lazarof gave LACMA 130 mostly modernist works estimated to be worth more than $100 million. The collection includes 20 works by Picasso, watercolors and paintings by Paul Klee and Wassily Kandinsky and a considerable number of sculptures by Alberto Giacometti, Constantin Brâncuși, Henry Moore, Willem de Kooning, Joan Miró, Louise Nevelson, Archipenko, and Arp.


title: Los Angeles County Museum of Art

text: The Contemporary Art collection is displayed in the Broad Contemporary Art Museum (BCAM), opened on February 16, 2008. BCAM's inaugural exhibition featured 176 works by 28 artists of postwar Modern art from the late 1950s to the present. All but 30 of the works initially displayed came from the collection of Eli and Edythe Broad (pronounced "brode"). Long-time trustee Robert Halff had already donated 53 works of contemporary art in 1994. Components of that gift included Joan Miró, Jasper Johns, Sam Francis, Frank Stella, Lari Pittman, Chris Burden, Richard Serra, John Chamberlain, Matthew Barney, and Jeff Koons. It also provided LACMA with its first drawings by Claes Oldenburg and Cy Twombly.


title: Los Angeles County Museum of Art

text: "Back Seat Dodge ’38" (1964), by Edward Kienholz, is a sculpture portraying a couple engaged in sexual activity in the back seat of a truncated 1938 Dodge automobile chassis. The piece won Kienholz instant celebrity in 1966 when the Los Angeles County Board of Supervisors tried to ban the sculpture as pornographic and threatened to withhold financing from LACMA if it included the work in a Kienholz retrospective. A compromise was reached under which the sculpture's car door would remain closed and guarded, to be opened only on the request of a museum patron who was over 18, and only if no children were present in the gallery. The uproar led to more than 200 people lining up to see the work the day the show opened. Ever since, "Back Seat Dodge ’38" has drawn crowds.


title: Los Angeles County Museum of Art

text: The Art of the Americas Building has American, Latin American, and pre-Columbian collections displayed on the second floor and temporary exhibition space on the first floor. Formerly known as the Anderson Building, the Art of the Americas Building comprises galleries for art from North, Central, and South America.


title: Los Angeles County Museum of Art

text: LACMA's Latin American Art galleries reopened in July 2008 after several years renovation. The Latin American collection includes pre-Columbian, Spanish Colonial, Modern, and contemporary works. Many recent additions to the collection were financed by sales of works from an 1,800 piece holding of 20th century Mexican art compiled by dealer-collectors Bernard and Edith Lewin and given to the museum in 1997.


title: Los Angeles County Museum of Art

text: The pre-Columbian galleries were redesigned by Jorge Pardo, a Los Angeles artist who works in sculpture, design, and architecture. Pardo's display cases are built from thick, stacked sheets of medium-density fiberboard (MDF), with spacing of equal thickness in between the 70-plus layers. The laser-cut organic forms undulate and swell out from the walls, sharply contrasting to the rectangular display cases found in most art museums.


title: Los Angeles County Museum of Art

text: The museum's pre-Columbian collection began in the 1980s with the first installment of a 570-piece gift from Southern California collector Constance McCormick Fearing and the purchase of about 200 pieces from L.A. businessman Proctor Stafford. The holdings recently jumped from about 1,800 to 2,500 objects with a gift of Colombian ceramics from Camilla Chandler Frost, a LACMA trustee and the sister of Otis Chandler, former "Los Angeles Times" publisher, and Stephen and Claudia Muñoz-Kramer of Atlanta, whose family built the collection. A sizable portion of LACMA's pre-Columbian collection was excavated from burial chambers in Colima, Nayarit and other regions around Jalisco in modern-day Mexico. LACMA boasts one of the largest collections of Latin American art due to the generous donation of more than 2,000 works of art by Bernard Lewin and his wife Edith Lewin in 1996. In 2007 the museum signed an agreement with the Fundación Cisneros for a loan of 25 colonial-style works, later extended until 2017.


title: Los Angeles County Museum of Art

text: The Spanish Colonial collection includes work from 17th and 18th century Mexican artists Miguel Cabrera, José de Ibarra, José de Páez, and Nicolás Rodriguez Juárez. The collection has galleries for Diego Rivera and Rufino Tamayo. The Latin American contemporary gallery highlights works Francis Alÿs.


title: Los Angeles County Museum of Art

text: The Hammer Building houses the Chinese and Korean collections. The Korean art collection began with the donation of a group of Korean ceramics in 1966 by Bak Jeonghui, then president of the Republic of Korea, after a visit to the museum. LACMA today claims to have the most comprehensive holding outside of Korea and Japan. The Pavilion for Japanese Art displays the Shin'enkan collection donated by Joe D. Price. In 1999 LACMA trustee Eric Lidow and his wife, Leza, donated 75 ancient Chinese works valued at a total of $3.5 million, including important bronze objects and prime examples of Buddhist sculpture.


title: Los Angeles County Museum of Art

text: LACMA also has a rich collection of relics from India, mostly consisting of sculptures of Jain Tirthankaras, Buddha and Hindu deities. Many Paintings from India are also present in the LACMA.


title: Los Angeles County Museum of Art

text: The second floor of the Ahmanson Building has Greek and Roman Art galleries. A large portion of the museum's ancient Greek and Roman art collection was donated by William Randolph Hearst, the publishing magnate, in the late 1940s and early 1950s.


title: Los Angeles County Museum of Art

text: The museum's Islamic galleries include over 1700 works from ceramics and inlaid metalwork to enameled glass, carved stone and wood, and arts of the book from manuscript illumination to Islamic calligraphy. The collection is especially strong in Persian and Turkish glazed pottery and tiles, glass, and arts of the book. The collection began in earnest in 1973 when the Nasli M. Heeramaneck Collection was gifted to the museum by philanthropist Joan Palevsky.


title: Los Angeles County Museum of Art

text: In 1990 Max Palevsky gave 32 pieces of Arts and Crafts furniture to LACMA; three years later, he added an additional 42 pieces to his gift. In 2000, he donated $2 million to LACMA for Arts and Crafts works. He supplied about a third of the 300 objects displayed in a 2004–05 LACMA exhibit, "The Arts and Crafts Movement in Europe and America: 1880–1920" and in 2009, the museum presented "The Arts and Crafts Movement: Masterworks From the Max Palevsky and Jodie Evans Collection". With a single acquisition in 2009, LACMA became a major center for the study and display of 18th- and 19th-century European clothing when it bought the holdings of dealers Martin Kamer of London and Wolfgang Ruf of Beckenried, Switzerland—about 250 outfits and 300 accessories created between 1700 and 1915, including men's three-piece suits, women's dresses, children's garb, and a vast array of shoes, hats, purses, shawls, fans, and undergarments.


title: Los Angeles County Museum of Art

text: Los Angeles sculptor Robert Graham created the towering, bronze "Retrospective Column" (1981, cast in 1986) for the entrance of the Art of the Americas Building. A new contemporary sculpture garden was opened directly east of the museum's Wilshire Boulevard entrance in 1991, including large-scale outdoor sculptures by Alice Aycock, Ellsworth Kelly, Henry Moore, and others. The centerpiece of the garden is Alexander Calder's three-piece mobile "Hello Girls", commissioned by a women's museum-support group for the museum's opening in 1965. Situated in a curving reflecting pool, the mobile has brightly colored paddles that are moved by jets of water.


title: Los Angeles County Museum of Art

text: The Ahmanson Building's atrium was remodeled to hold Tony Smith's "Smoke", which had not been displayed since its original 1967 presentation at Washington, D.C.'s Corcoran Gallery of Art. The massive black painted aluminum artwork is made up of 43 piers and is long, wide, and high. The newly fabricated work was initially on loan from the artist's estate, but in 2010, after several months of intense fundraising efforts, "the museum acquired the work for an undisclosed amount reported to exceed $3 million and [with an insurance valuation of] 'over $5 million. The purchase was "made possible by The Belldegrun Family's gift to LACMA in honor of Rebecka Belldegrun's birthday", per the museum.


title: Los Angeles County Museum of Art

text: Eli and Edythe Broad contributed $10 million to fund the purchase of Richard Serra's "Band" sculpture, on display on the first floor of BCAM when the building opened.


title: Los Angeles County Museum of Art

text: Surrounding the BCAM building and LACMA's courtyard is a 100 palm tree garden, designed by artist Robert Irwin and landscape architect Paul Comstock. Some of the 30 varieties of palms are in the ground, but most are in large wooden boxes above ground. Directly in front of the new entrance to LACMA on Wilshire Boulevard, where Ogden Drive once bisected the 20-acre campus between Wilshire Boulevard and 6th Street, is Chris Burden's "Urban Light" (2008), an orderly, multi-tiered installation of 202 antique cast-iron street lights from various cities in and around the Los Angeles area. The street lights are functional, turn on in the evening, and are powered by solar panels on the roof of the BP Grand Entrance.


title: Los Angeles County Museum of Art

text: Originally Jeff Koons' "Tulips" (1995–2004) sculpture was inside the Grand Entrance building and Charles Ray's "Fire Truck" (1993) was outside in the courtyard, both lent by the Broad Art Foundation. Both sculptures were removed after being on display for 3 months due to unexpected damage from patrons and wear.


title: Los Angeles County Museum of Art

text: On February 2, 2007, Michael Govan, with Koons, revealed plans for a -tall Koons sculpture featuring an operational 1940s locomotive suspended from a crane. The sculpture would be located at the entrance on Wilshire Boulevard, between the Ahmanson Building and the Broad Contemporary Art Museum. By 2011, after "the fundraising climate soured and Koons’ California fabricator, Carlson & Co, went out of business after completing a $2.3-million feasibility study" and a $25 million estimated cost, Govan said "We don't have a final method of construction, and I don't have a final fundraising plan." Koons said they are now working with the German fabricator Arnold, outside of Frankfurt, to do an additional engineering study, and Govan says he has committed to spending half a million dollars for that study. The museum has "J.B. Turner Engine" (1986), a small Koons piece which was shown in the 2006–2007 "Magritte and Contemporary Art: The Treachery of Images" exhibition.


title: Los Angeles County Museum of Art

text: "Levitated Mass" by artist Michael Heizer is the latest project at LACMA. On December 8, 2011, this 340-ton boulder, wide and in height, was ready to leave its quarry in Riverside County, after months of postponements. It sits atop the 456-foot-long trench which allows people to walk under and around the massive rock. The move started on February 28, 2012, and completed on March 10, 2012. The art piece was opened on June 24, 2012, by Heizer, Los Angeles County Supervisor Zev Yaroslavsky, and Los Angeles City Mayor Antonio Villaraigosa.


title: Los Angeles County Museum of Art

text: The Wallis Annenberg Photography Department was launched in 1984 with a grant from the Ralph M. Parsons Foundation. It has holdings of more than fifteen thousand works that span the period from the medium's invention in 1839 to the present. Photography also is integrated into other departments. Although LACMA's photo collection encompasses the entire field, it has many gaps and is far smaller than that of the J. Paul Getty Museum. In 1992 Audrey and Sydney Irmas donated their entire photography collection, creating what is now the Los Angeles County Museum of Art's Audrey and Sydney Irmas Collection of Artists' Self-Portraits, a large and highly specialized selection spanning 150 years. The couple donated the collection two years before a major exhibition of the collection was mounted at LACMA; the display included photos of and by artistic photographers ranging from chemist Alphonse Poitevin in 1853 to Robert Mapplethorpe in 1988. Among other self-portraits in the collection were those of Andy Warhol, Lee Friedlander, and Edward Steichen. Audrey Irmas continues to buy for the collection, but now all the additions are gifts to LACMA. In 2008 LACMA announced that the Annenberg Foundation was making a $23 million gift for the acquisition of the Marjorie and Leonard Vernon collection of 19th- and 20th-century photographs. Among the 3,500 master prints are works by Steichen, Edward Weston, Ansel Adams, Eugène Atget, Imogen Cunningham, Catherine Opie, Cindy Sherman, Barbara Kruger, Ave Pildas and Man Ray. The gift also provided an endowment and capital to help build storage facilities for the museum's photographic holdings, leading to its photography department being renamed the Wallis Annenberg Department of Photography. In 2011 LACMA and the J. Paul Getty Trust jointly acquired Robert Mapplethorpe’s art and archival material, including more than 2,000 works by the artist.


title: Los Angeles County Museum of Art

text: LACMA's film program was founded by Phil Chamberlin in the late 1960s. In 2009 LACMA announced plans to cancel its 41-year-old film series, citing declining attendance and funding. The decision drew widespread criticism from cinephiles, including film director Martin Scorsese, who wrote an open protest letter that was published in the "Los Angeles Times". In response, the museum expanded its movie offerings and partnered with Film Independent to launch a new series. In 2011 LACMA and the Academy of Motion Picture Arts and Sciences announced partnership plans to open a movie museum within three years in the former May Co. building.


title: Los Angeles County Museum of Art

text: In 2014, LACMA received a $500 million donation of art from businessman Jerry Perenchio. The 47-piece collection contains works by Paul Cézanne, Edgar Degas, René Magritte, Édouard Manet, Claude Monet, and Pablo Picasso. LACMA executive director Michael Govan said it was the biggest gift in the museum's history, and "The Washington Post" called it "conceivably one of the greatest art gifts ever, to any museum". Perenchio's donation, which becomes effective upon his death, occurs only if the museum completes construction of the new building designed by Peter Zumthor.


title: Los Angeles County Museum of Art

text: The $54 million Resnick Pavillon was made possible by a $45 million gift from the philanthropists for whom it is named. On March 6, 2007, BP announced a $25 million donation to name the entry pavilion under construction as part of LACMA's renovation campaign the "BP Grand Entrance". The $25 million gift matches Walt Disney Co.'s 1997 gift for Disney Hall as the biggest corporate donation to the arts in Southern California. Previously, in 2006, LACMA had announced that the new entrance would be called the "Lynda and Stewart Resnick Grand Entrance Pavilion", in honor of their $25 million gift.


title: Los Angeles County Museum of Art

text: On January 8, 2008, Eli Broad revealed plans to retain permanent control of his roughly 2,000 works of modern and contemporary art in the independent Broad Art Foundation, which loans works to museums, rather than giving the art away. Broad, as recently as a year prior, had said that he planned to give most of his holdings to one or several museums, one of which was assumed to be LACMA. However, LACMA remains the "preferred" museum to receive works from the Foundation.


title: Los Angeles County Museum of Art

text: Broad, previously vice chairman of LACMA's board of directors, financed the $56-million Broad Contemporary Art Museum (BCAM) building at LACMA; he also provided an additional $10 million to buy two works of art to be displayed in it. BCAM displayed 220 pieces borrowed from Broad and his Broad Art Foundation when it opened in February 2008. In 2001 LACMA was criticized for hosting a major exhibition of Broad's collection without having secured a promised gift of the works, an act that is prohibited at many prominent art institutions because it can increase the market value of the collection.


title: Los Angeles County Museum of Art

text: In 2002 the Annenberg Foundation gave the museum $10 million to establish a special endowment fund to support exhibitions, art acquisitions and educational programs at the discretion of its director. In recognition of the gift, LACMA named its leadership position the Wallis Annenberg directorship. In 2001 Wallis Annenberg endowed a curatorial fellowship program with a $1-million gift. In 1991, the foundation contributed $10 million to LACMA's endowment and in 1999 it donated $100,000 to provide arts education training for Los Angeles elementary school teachers.


title: Los Angeles County Museum of Art

text: In 2001 the museum lost out on the modern art collection of Nathan and Marian Smooke, a former museum trustee and industrial real-estate developer whose heirs sold much of his collection at auction rather than donating it.


title: Los Angeles County Museum of Art

text: In 1996 the museum suffered yet another serious blow when the Gilbert Collection of Italian mosaics and other decorative objects, promised as an eventual bequest, and parts of which had been on display for decades, was withdrawn. The would-be donor claimed that the Museum had reneged on a written agreement to provide more exhibit space for it. The collection is considered one of the finest in the world of its kind. Moreover, unlike the Hammer and Simon collections, it did not remain in the Los Angeles area but was removed to the United Kingdom.


title: Los Angeles County Museum of Art

text: Armand Hammer was a LACMA board member for nearly seventeen years, beginning in 1968, and during this time continued to announce the museum would inherit his whole collection. Hammer's collection included works from Van Gogh, John Singer Sargent, Thomas Eakins, Gustave Moreau, Edgar Degas, and Paul Cézanne. When LACMA was offered a collection of works by Honoré Daumier, Hammer bought the works on the promise that he would give them to the museum. To LACMA's surprise, Hammer instead founded the Hammer Museum, built adjacent to Occidental's headquarters in Los Angeles.


title: Los Angeles County Museum of Art

text: Between 1972 and 2020, the Ahmanson Foundation spent about $130 million to finance the museum's acquisitions of 99 artworks, including masterpieces like "Magdalene with the Smoking Flame" by Georges de La Tour, others by Rembrandt, Watteau and Bernini, and a suite of 42 French oil sketches. The donations were not made with any contractual stipulations that the works remain on view. In 2020, the foundation suspended the acquisition program.


title: Los Angeles County Museum of Art

text: In the early 1970s Norton Simon, the chairman of Norton Simon, Inc., which owned Avis Car Rental, Hunt's Foods, Max Factor Cosmetics, Canada Dry Corp., and McCall's Publishing, among other interests, agreed to take the financial responsibility of the troubled Pasadena Museum of Art. Norton Simon Museum He subsequently donated his extensive collection to the new entity, now the Norton Simon Museum of Art. He had earlier made some indication of donating the work to LACMA.


title: Los Angeles County Museum of Art

text: From 1946 to his death in 1951, William Randolph Hearst was LACMA's largest benefactor. He remains the largest donor to the museum in number of objects. His donations formed the museum's collection of Greek and Roman antiquities, medieval and early Renaissance sculptures, and much of the collection of European decorative arts.


title: Los Angeles County Museum of Art

text: Over the course of the LACMA's history, ten art councils—each supporting a specific area of the collection—have acquired or helped acquire nearly 5,000 works of art for the museum. The art councils comprise groups of art enthusiasts and professionals who pay a minimum of $400 a year in dues and organize projects to raise money for a favorite department. Founded in 1952, the Art Museum Council is LACMA's first volunteer support council and supports the whole of the museum's endeavors. The Modern and Contemporary Art Council, founded in 1961, is the longest-running support group for contemporary art at any museum in the country. In 1980, the museum's then active Black Historical Advisory Group, led by former trustee Robert Wilson, drove the museum to acquire Extended Forms (1975) by one of America's foremost sculptors Richard Hunt. In 1986 the Annual Collectors Committee weekends were started and have raised a total of $16 million for the purchase of 157 works, valued at $75 million. The Photographic Arts Council, founded in 2001, is the youngest of ten 10 support groups, offering its members visits to artists' studios and private collections, curator-led tours of exhibitions and lectures about the care and conservation of photographs.


title: Los Angeles County Museum of Art

text: Each year a distinguished group of donors contributes directly to the enrichment of LACMA's permanent collection through participation in the Collectors Committee, creating a fund to spend on art through purchasing tickets ranging between $15,000 and $60,000 for the event. Once a year, the Collectors Committee members meet at the museum to hear acquisition proposals from the various curators. Each curator has roughly five minutes to plead their case to the patrons, who vote later that day at a black-tie gala event at the museum on which artworks should become the next acquisitions for the permanent collection. The 2012 gala raised more than $2.8 million. Since its inception in 1986, the event has brought some 170 works of art into the museum's collection.


title: Los Angeles County Museum of Art

text: Inaugurated in 2011, the annual Art + Film Gala dinner features entertainment by international artists and is designed to help the museum shore up support from Hollywood leaders. Gala prices range from $5,000 for an individual gold ticket to $100,000 for a platinum table. The 2022 gala raised more than $5.1 million for the museum's operations and collections, up from approximately $4.5 million in 2018, $4.1 million in 2013 and just under $3 million in 2011.


title: Los Angeles County Museum of Art

text: Gala honorees have included Helen Pashgian and Park Chan-wook in 2022; Betye Saar and Alfonso Cuaron in 2019; Catherine Opie and Guillermo del Toro in 2018; Mark Bradford and George Lucas in 2017; Kathryn Bigelow and Robert Irwin in 2016; Alejandro González Iñárritu and James Turrell in 2015; Barbara Kruger and Quentin Tarantino in 2014; Martin Scorsese and David Hockney in 2013; the late Stanley Kubrick and Ed Ruscha in 2012; and Clint Eastwood and John Baldessari in 2011.


title: Los Angeles County Museum of Art

text: Along with other museums that have consigned works to auction in the past, LACMA has been sharply criticized for pruning its art holdings. In 2005, on the occasion of the expansion, reorganization and reinstallation of its collection in 2007, LACMA auctioned 43 works at Sotheby's. The works sold included paintings by Amedeo Modigliani, Camille Pissarro and Max Beckmann, sculptures by Alberto Giacometti and Henry Moore, and works on paper by Pablo Picasso, Henri Matisse and Edgar Degas. The biggest sale of works by the museum since the early 1980s, it was expected to fetch $10.4 million to $15.4 million; it eventually resulted in a total of $13 million. Among the most valuable was a Modigliani portrait of the Spanish landscape painter Manuel Humbert, which sold for $4.9 million.


title: Los Angeles County Museum of Art

text: In 1966 Maurice Tuchman, then curator of modern art at the Los Angeles County Museum of Art, introduced the Art and Technology (A&T) program. Within the program, artists like Robert Irwin and James Turrell were placed, for example, at the Garrett Corporation, to conduct research into perception. The program yielded an exhibition that ran at LACMA and traveled to Expo '70 in Osaka, Japan. It also contributed to the development of the Light and Space movement.


title: Los Angeles County Museum of Art

text: Andrea Rich won praise for doubling the museum's endowment, to more than $100 million, and for increasing attendance and pursuing programs and acquisitions that might appeal to the varied segments of the city's diverse population, like Islamic, Latin American and Korean art. Rich resigned in part because of disputes with Eli Broad, including one over hiring a curator for the new Broad contemporary art center. In 2008, LACMA made a formal offer to merge with MOCA and to help that museum raise new money from donors.


title: Los Angeles County Museum of Art

text: Per the Los Angeles County Code and various operating agreements, Museum Associates, a nonprofit public benefit corporation organized under the laws of the state of California, manages, operates, and maintains the Los Angeles County Museum of Art. In 2011, LACMA reported net assets (basically, a total of all the resources it has on its books, except the value of the art) of $300 million. That year, the museum's endowment grew from $99.6 million to $106.8 million. By issuing $383 million in tax-free construction bonds, the museum paid for its ongoing expansion and renovation, which has yielded the new Broad Contemporary Art Museum and the Resnick Exhibition Pavilion as well as other improvements. The Los Angeles County provides around $29 million a year, covering more than a third of the museum's operating expenses.


title: Los Angeles County Museum of Art

text: LACMA typically raises around $40 million from donations and membership dues, which are accounted for as gifts, paying for almost half of LACMA's average expenses of about $92 million.


title: Los Angeles County Museum of Art

text: Although attendance has grown in recent years, it still remained at 914,356 visitors in 2010. In 2011, around 1.2 million visitors went to LACMA, making it the first time the museum broke the one million mark. In 2015, attendance reached 1.6 million.


title: Los Angeles County Museum of Art

text: In 1996, LACMA's board of trustees decided that the traditional dual role of director as chief administrator/artistic director should be split, and appointed Andrea Rich as president and chief executive officer of the museum, while Graham W. J. Beal ran its artistic programs. As part of a 2005 restructuring, the president position was again made the second-ranking job in the institution.


title: Los Angeles County Museum of Art

text: LACMA provides a home to the director. From that purpose, it has owned a Hancock Park property since 2006. In 2020, Museum Associates acquired a house on a lot in Mid-Wilshire for $2.2 million.


title: Los Angeles County Museum of Art

text: LACMA is governed by a board of trustees which sets policy and determines the museum's strategic direction. Board membership is one of the few concrete ways to measure philanthropy in the museum world. LACMA costs $100,000 to join; each board member commits to donating or raising at least another $100,000 a year for the nonprofit museum. The museum currently has over 50 active board members; 30 of them have joined since 2006, including Barbra Streisand, songwriter Carole Bayer Sager, collector Dasha Zhukova, TV journalist Willow Bay, producer Brian Grazer, Sony Pictures Entertainment chairman Michael Lynton, and TV presenter Ryan Seacrest. Since 2015, the board has been co-chaired by Elaine Wynn and Tony Ressler.


title: Los Angeles County Museum of Art

text: Notably, Tom Gores stepped down from his post as a board trustee in 2020, after advocacy groups Worth Rises and Color of Change had called for his removal over his investment in Securus Technologies.


title: Sekou Doumbouya

text: Sekou Oumar Doumbouya (born 23 December 2000) is a French professional basketball player for the Delaware Blue Coats of the NBA G League. He plays both the small forward and power forward positions.


title: Sekou Doumbouya

text: Born in Conakry, Guinea, Doumbouya grew up in Paris, France and began his career with local club CJF Les Aubrais when he was 13. In the following year, he attended INSEP and played for amateur team Centre Fédéral. His professional career started in 2016, when he joined Poitiers Basket 86 in the second-tier league of France, remaining with the team for two seasons. In 2018, Doumbouya moved to the first division by signing with Limoges CSP. After one season, he was selected by the Pistons with the fifteenth pick in the 2019 NBA draft. In his rookie season, he was the youngest active player in the NBA.


title: Sekou Doumbouya

text: Doumbouya is a member of the youth sections of the French national team. He helped France win the gold medal at the 2016 FIBA Europe Under-18 Championship, finishing as his team's leading scorer.


title: Sekou Doumbouya

text: Doumbouya was born in Conakry, Guinea. As a one-year-old, he moved to France with his mother M'Mah Marie, three siblings, and one cousin, settling in a small apartment in Fleury-les-Aubrais. His father, who was unable to receive a visa, remained in Guinea as a member of its military. In the absence of his father, Sekou became a leader for the rest of his family, often advising his siblings. Doumbouya grew up playing football as a striker but was eventually hindered by his extraordinary height. At age 12, he began playing pick-up basketball after a friend introduced him to the sport. At that age, he was discovered by local basketball coach Benoist Burguet, who helped start his basketball career and later became his trainer. By age 13, when Doumbouya stood , he was playing youth basketball with his local club CJF Les Aubrais, the basketball sports section of Collège Condorcet.


title: Sekou Doumbouya

text: At age 14, Doumbouya moved to the renowned French sports institute INSEP in Paris and joined its affiliated club Centre Fédéral de Basket-ball, a member of the Nationale Masculine 1 (NM1), the amateur third-tier division of French basketball. He made his 2015–16 season debut on 26 September 2015, recording 12 points, five rebounds, and three steals against Aurore de Vitré. In turn, Doumbouya became the first player born in the 2000s to play in the top three French leagues. On 8 March 2016, he scored a season-high 23 points in a loss to Vendée Challans. Doumbouya finished the season averaging 10.6 points, 3.3 rebounds, 1.2 assists, and 1.4 steals per game. In May, he represented INSEP at the under-18 2015–16 Adidas Next Generation Tournament, averaging 14 points, 3.7 rebounds, and three assists while being one of the youngest players at the event at age 16. After the season, he was dismissed from INSEP for disciplinary reasons.


title: Sekou Doumbouya

text: On 26 August 2016, at age 15, Doumbouya signed his first professional contract with Poitiers Basket 86 of the LNB Pro B, the second-tier French league. At the time, he revealed his hopes to play in the National Basketball Association (NBA) within the following three years. In the season, Doumbouya saw regular playing time despite his lack of experience, being coached by Ruddy Nelhomme and playing alongside veterans like . While with Poitiers, he attended private school to work towards his diploma, and tried to model the focus he saw in former NBA player Michael Jordan with the help of a sports psychologist. On 17 September 2016, Doumbouya made his professional debut, playing 13 minutes in an LNB Pro B Leaders Cup victory over Boulazac. In his first Pro B season game on 14 October 2016, he scored two points in six minutes off the bench against Étoile Charleville-Mézières. He scored double figures for the first time on 20 January 2017, in an 81–63 loss to Fos Provence, posting a team-high 16 points on 7-of-11 shooting. In his next game, a defeat to Lille Métropole, Doumbouya scored a season-high 21 points and nine rebounds, shooting 3-of-3 from the three-point line. He finished the season averaging 6.8 points, 3.3 rebounds, and 0.8 assists in 16.9 minutes per game.


title: Sekou Doumbouya

text: Doumbouya, on 29 June 2017, signed a three-year contract extension with Poitiers. On 29 September, he notched a double-double of 15 points and 12 rebounds in a 76–71 win over Hermine Nantes at the LNB Pro B Leaders Cup. Doumbouya debuted in the 2017–18 Pro B season against Denain Voltaire on 13 October 2017, recording seven points and four rebounds in 16 minutes. On 22 December, he scored a season-best 19 points and eight rebounds in a loss to Saint-Chamond. Doumbouya eclipsed that mark on 2 February 2018, in a career-high 26-point effort against UJAP Quimper 29. In 28 games, he averaged 8.5 points, 4.1 rebounds, and one assist in 23.2 minutes per game, en route to earning Pro B Best Young Player honors.