Carolina A. Miranda
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Carolina A. Miranda is a former Los Angeles Times columnist who focused on art and design, with regular forays into other areas of culture, including performance, books and digital life. In her years at The Times, she covered the ways in which communities are rethinking the nature of monuments, how architecture is shifting to accommodate a denser Los Angeles, the significance of political graphics in the post-Roe world and how narco-culture has permeated TV and the internet. She was a winner of the 2017 Rabkin Prize in Visual Arts Journalism and the 2021 Sigma Delta Chi Award presented by the Society of Professional Journalists.
Latest From This Author
In 2022, the Riverside Art Museum opened the doors to the Cheech Marin Center for Chicano Art & Culture, which showcases pieces from Marin’s collection.
Few are the corners of L.A. that don’t bear the imprint of Studio-MLA, the landscape architecture firm founded by the energetic Mia Lehrer three decades ago.
Architect Frederick Fisher has worked on cultural projects that include the Getty Villa, the Huntington and MoMA PS1. Now his studio is helping refresh the Natural History Museum.
In 10 years at The Times, I have gotten to immerse myself in a vibrant artistic community that belies every trope about a culture-less L.A.
Frida Kahlo’s story has been told and retold, but there are still pieces left to divulge, as evidenced in the new Prime Video documentary ‘Frida.’
Thanks to Elizabeth Alexander, the Mellon has committed $500 million to preserve, relocate and generate discussion about monuments — and it’s changing the nature of monuments.
‘Barbie’ and ‘Poor Things’ use architecture to conjure fantastical worlds. In ‘The Zone of Interest,’ it channels the banality of evil.
Architecture criticism is not dead yet. The New York Review of Architecture turns its eye to L.A. — from cemetery design to the rising Lucas Museum.
The actor-comedian’s first feature film, ‘Problemista,’ draws inspiration from his own byzantine immigration experience as well as surrealist paintings.
Ed Templeton’s photos from his time as a pro skateboarder also record poignant moments of friendship, love and loneliness — not to mention broken bones.