Robert Brasier is an artist and educator who has been Director of Education and Public Programs at the Palm Springs Art Museum for a decade. Tonight, he begins our new series, Art Talk, with the Palm Springs Art Museum in the Clubhouse at Ace Hotel & Swim Club. The series is comprised of inquiries into the personal, cultural and political implications of art by one who knows.

Tonight, Robert elucidates the enormous role of the photograph in how we perceive each other at People in Photography: Personality, Memory and Identity — exploring the social and cultural impact of the image from Hollywood movie stars of the 30s and 40s to ordinary people, political figures and rock stars.

This series is free and open to all — come by if you’re in the neighborhood. See the schedule through the rest of the year on our calendar.

Our gallery show of instant analog photography on Ace Hotel x Impossible Project Film “24 Hours at Ace” migrated from Ace Hotel New York to The Impossible Project Space Tokyo.

The exhibit features works by friends of Ace Hotel and The Impossible Project including Andie Acosta, Chloe Aftel, Elijah Wood, Adam Goldberg, Nicole Held, Araks Yeramyan, Jeremy Kost, Anne Bowerman, Michael Nevin, Steve Olson, Dave Ortiz, Devon Turnbull, Pat Sansone and work captured by influencers in Japan curated by The Impossible Project Space Tokyo. 

If you’re lucky enough to be in the hood, it’s up until July 20. If you’re not, you can pick up some keepsake tees on our shop.

Photos by Akisome

King’s Highway, Ace Hotel & Swim Club, by James Moes.

Brad Elterman’s Ace x Impossible slides from Desert Gold 2012. We also had a little contest both weekends for a stay at Ace and some other gifts from yours truly — stay tuned for those shots from the field.

The Pittsburgh Photo Fair is the first PGH’s first photography art fair in recorded history, and it runs this weekend, April 21-22, at the former East Liberty YMCA ballroom. See more information about open hours, exhibitors and directions here.

Brad Elterman joined us Artist in Residence for the first weekend of Desert Gold, fanning the flames of his several decades of party photography and bottling up a few drops of what makes this time of year so special to us.

Stay tuned for more on Nicholas Haggard, our resident photographer for DG Part Deux. You can also see the full schedule and get a room — we’ve got some very talented friends lined up every evening through the week.

Photographer Henry Diltz has chronicled four decades of rock and roll history since his early days with the Modern Folk Quartet, using his rapport with the musicians that shaped modern music to capture candid, intimate portraits that affirm the humanity of the subjects including Joni Mitchell, Crosby, Stills & Nash, The Doors and Richard Pryor. His work is featured in the Ray-Ban Legendary Visions gallery in the yurts during Desert Gold: Roadside Attraction at Ace Hotel & Swim Club through Sunday, and next week as well, alongside the work of Storm Thorgerson and Barney Bubbles.

See the full line-up for Desert Gold and get a room.

Smoking in bed, sexual inhibition, canned meats and a planetary eclipse of bellbottoms and zippered skinny jeans — these comprise some of telling marks the 1970s left on our collective psyches. Brad Elterman saw all that and more — at the blushing age of 17, he started capturing the likenesses of Tinseltown’s most influential legends including Bob Dylan, Joan Jett, The Beatles, Jane Fonda, John Travolta and Peter Frampton.

We’re very happy that Brad will be our first Artist in Residence during the first weekend of Desert Gold: Roadside Attraction at Ace Hotel & Swim Club, resurrecting his Beverly Hills party shot skills poolside and late night in the Amigo Room and Commune. We’ll be posting his shots mid-week so you might just see yourself on this page very soon. See the full schedule here and catch some of the last remaining rooms here.

Photographer Doug Rickard, the son of a retired preacher, traveled each and every alleyway and business loop in America through Google Street View for two solid years to collect these unintentional stills — a selection of 80 from over 15,000 — each with a mix of apathy and empathy Rickard describes as “the inverse of the American Dream.” His work bears witness to invisiblized strati, a fading visual American poetry, and inch after inch of the American hinterlands, paradoxically cocooned by progress, as seen by nine-dimensional mounted cameras on Google vans endlessly traversing the nation.

The most moving thing, perhaps, about Rickard’s lens is its pained acknowledgement that not one stone remains unturned, and the age of adventure has closed — hopefully, and quite wholly, to be replaced by something beyond the physical.