A reputed gang member suspected of fatally shooting a Compton youth minister in Venice last June has been charged with his murder, along with a third accomplice, the District Attorney’s Office announced.
Deputy District Attorney Teresa Magno with the Hardcore Gang Division said Hopeton Parsley, 23, was charged Wednesday with being the shooter in the murder of Oscar Duncan on June 4, 2012.
Parsley, who was arrested Thursday by LAPD officers, is scheduled to be arraigned today at Los Angeles Superior Court, Airport Division, in Department 144. Prosecutors will ask his bail be set at $2 million.
Parsley, a reputed Playboy Gangster Crip, was among a group of men who allegedly drove up to Oscar Duncan and his girlfriend, who were standing on a Venice street. Authorities say the assailants shouted a gang name before Parsley allegedly fired a single shot, striking the 23-year-old Duncan in the head. Duncan, who was not a gang member, was involved in gang intervention in addition to being a youth minister. Continue reading →
Along Highway 101 between Los Angeles and the Bay Area, cast metal bells spaced one or two miles apart mark what is supposedly a historic route through California: El Camino Real. Variously translated as “the royal road,” or, more freely, “the king’s highway,” El Camino Real was indeed among the state’s first long-distance, paved highways. But the road’s claim to a more ancient distinction is less certain. The message implied by the presence of the mission bells — that motorists’ tires trace the same path as the missionaries’ sandals — is largely a myth imagined by regional boosters and early automotive tourists.
L&M Arts will host an opening reception for “Inter + Vista”, an exhibition of new work by artist Jonathan Wateridge, on Thursday, January 17th, from 6-8pm.
This will be the first exhibition in Los Angeles for the London based Wateridge, and feature his formal, densely structured paintings in one gallery building and his more organic, lyrical canvases in the other.
Continuing his practice of building life-sized sets as maquettes for his work, for this exhibition Wateridge explores the microcosmic details of these scenes. His new works focus on the slight, even banal, gestures that, when removed from a narrative context, provide visual insight into our collective aesthetic. In Boy on Wall (2012), the curvilinear flesh of the boy peering over a wall clashes with the austere, brutalist architecture of the man-made structure he climbs. Together, they form a cohesive palette of oft-conflicting tendencies in modern painting- realism and formalism- challenging their categorical separation and arguing that a bridge between the two can be found within the medium. Continue reading →