Styleguide
Director of Learning & Engagement
A Senior Staff position, ICA LA’s Director of Learning & Engagement (DLE) leads all education and public programs activities at the museum. An essential role in providing a range of opportunities for public engagement with ICA LA’s exhibitions, Artist-in-Residence program, and civic, educational, and community building topics; creating a welcoming environment; advancing community outreach; and furthering meaningful partnerships, the DLE oversees the conceptualization, production, and documentation of all public programs and special projects.
Recognized for its bold curatorial vision that illuminates untold stories and emerging voices in contemporary art, ICA LA’s curatorial program showcases artists, both local and international and of different generations, who expand the social, political, and formal dimensions of contemporary art. ICA LA’s Learning & Engagement (L&E) program is equally distinguished, and the museum seeks to remove hierarchy between the Curatorial and L&E Departments, the staff of which partner closely in the development of programs.
Raven Sanchez is a multidisciplinary artist from Los Angeles exploring memory and place through painting, sculpture, and process-based works. Sanchez’s art practice focuses on domestic labor and ancestral memory as it is held in the body and in materials. Incorporating elements such as charcoal, sand, rocks, iron, plants, and dried organic matter, she uses the process of rubbing as a way to activate and deepen her examination of fragmentation, loss, abstraction, and vignettes of family. Sanchez studied Sociology and Latin American Studies at the University of San Francisco and has pursued art-making outside of institutional frameworks through artist-run and community spaces in Los Angeles and San Francisco. Sanchez currently lives and works in Los Angeles.
Jamillah James is Manilow Senior Curator at the Museum of Contemporary Art Chicago. She was co-curator (with Margot Norton) of Soft Water Hard Stone, the 2021 New Museum Triennial at the New Museum, New York. From 2016-2022, James was Curator then Senior Curator at the Institute of Contemporary Art, Los Angeles (ICA LA); and has held curatorial positions at the Hammer Museum, Los Angeles; the Studio Museum in Harlem and Queens Museum, New York, in addition to producing exhibitions and programs at various alternative and artist-run spaces throughout the US and Canada.
Recent and forthcoming exhibitions for MCA Chicago include the North America debut of Yoko Ono: Music of the Mind, organized by Tate, London; the 60-artist survey The Living End: Painting and Other Technologies 1970-2020; Faith Ringgold: American People, organized by the New Museum, New York; Enter the Mirror (2022); and From the Center: Looking at Lucy Lippard (2026). For ICA LA James curated _Rebe …
Museum 11 AM–6 PM
No Wrong Holes: Thirty Years of Nayland Blake
Heavily inspired by feminist and queer liberation movements, and subcultures ranging from punk to kink, Blake’s multidisciplinary practice considers the complexities of representation, particularly racial and gender identity; play and eroticism; and the subjective experience of desire, loss, and power. The artist’s sustained meditation on “passing” and duality as a queer, biracial (African American and white) person is grounded in post-minimalist and conceptual approaches made personal through an idiosyncratic array of materials (such as leather, medical equipment, and food) and the tropes of fairy tales and fantasy. Particular focus in the exhibition was paid to work produced while Blake lived on the West Coast, first in the greater Los Angeles area as a graduate student at CalArts, followed by a decade in San Francisco—years bookended by the advancement of the HIV/AIDS epidemic in the 1980s and the “culture wars” of the 1990s.
Getty’s PST ART Releases Largest-Ever Dataset on Climate Impact of Exhibition-Making
Los Angeles Food Banks
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Penelope Eull and fellow delegates Zarina and Kaylee holding the Politics are for the Youth flag before opening session at the 2023 Model Legislature and Court Conference.
Penelope signs the constitution created by the Constitutional Convention program area in February 2023. She created and debated the proposal, “All individuals shall have equal access to public services and equal employment pay regardless of disability,” which became an amendment on The Constitution.
Penelope and fellow delegate Nicole in front of the California State Capitol in Sacramento for the 2023 Model Legislature and Court Conference.
Penelope and fellow delegates Ellaina, Taeyi, and Noah after the last Constitutional Convention session on February 13, 2023. Each delegate from the program area signed The Constitution.
On November 18, 2025, Getty announced a new report on its inaugural PST ART Climate Impact Program, with baseline measurements about carbon emissions, material waste, and more from 40 exhibitions tied to the latest edition of the nation’s largest art event, PST ART. The project creates the most expansive dataset on the carbon impact of exhibition-making and will inform the next edition of PST ART in 2030. It also jump-started greener exhibition practices among participating institutions, with many completing their first-ever climate impact report and taking concrete steps to reduce their carbon footprint.
Art museums have the highest average energy consumption of all cultural institutions in the United States, and the activities and materials connected to planning and mounting exhibitions are prime targets for reducing emissions and waste. While museums recognize data tracking is essential in order to take action, there has been little standardization for measuring the climate impact of exhibition practices. The region-wide collaboration created by PST ART offered a strong network to unify data reporting.
“Organizations of all sizes were eager to participate—from larger museums to university art galleries—and PST ART gave us all the chance to learn together and tackle these issues as a community,” said Joan Weinstein, director of the Getty Foundation. “You can’t reduce your carbon footprint if you don’t measure it, so data collection was a crucial first step. We were heartened to see how many partners across the region took this opportunity to try alternative methods and materials and commit to new eco-friendly exhibition practices right away.”