Edward Ruscha

Question1989

“Most movies don’t take 10,000 years to make”: Jonathon Keats on “Deep Time Cinematography”

Currents of Memory: The Oceanic Worlds of “Stray Dog Hydrophobia”

Remembrance of Things Future: A Conversation with Yatreda's Kiya Tadele on Her Practice and the Blockchain

Installing “Octavia’s Gaze” with Todd Gray

Artists Represent Themselves: Paul Mpagi Sepuya on “Daylight Studio (0X5A0161)”

“We are all we’ve got”: Nancy Baker Cahill on “Substrate”

A Bold New Genre: Manuel de Arellano's Precursors of Casta Painting

“The texture of technology”: Q&A with Artist April Greiman

Erick Calderon’s Chromie Squiggle 9,999

American Artist: The Monophobic Response

Rubén Ortiz Torres's Dead Heads Envisions a New Kind of Monument

Remedial Repairs for a Punctured Painting of Buddha Seokgamoni

Summoning the Ancestors: The Relational Science of Sarah Rosalena’s Decolonizing Aesthetics

Water, Whales, and Material Sustainability: A Deep Dive into Shinnecock Artist Courtney M. Leonard’s Practice

Community Care Through Museum Programs for Older Adults

Ruben Ochoa's ¡Vendedores, Presente! at the LA County Fair

Discover the Music of the Computer Age with the Coded Exhibition Soundtrack

New Acquisition: Theaster Gates’s “Vessel #12”

Introducing METAVASARELY and An Empty Room, A Two-Part Digital Work by Casey Reas

Reexamining the Grotesque: Selections from the Robert Gore Rifkind Collection

Conversing in Clay: Ceramics from the LACMA Collection

This Week at LACMA

Have Exhibition, Will Travel: Packing Costumes for “Lee Alexander McQueen: Mind, Mythos, Muse”

A Rare Sculpture of “The Pilgrim of Quito”