Roger Black

Her.2016

“This is just an illusion”: Christina Quarles on “Now We’re There (And We’ Only Just Begun)”

Step into the World of Impressionism at a Ballet-Inspired Figure Drawing Workshop

Everything You Need to Know About LACMA’s New David Geffen Galleries

50 Works 50 Weeks: Stephanie Shih’s “梅國 (Still life with chamoy and Dirty T Tamarindo)”

50 Works 50 Weeks: Lauren Halsey Commissions

New Acquisition: Alejandro Otero’s “Tablón 32”

50 Works 50 Weeks: Henri Matisse’s “La Gerbe”

50 Works 50 Weeks: Francis Bacon’s “Three Studies of Lucian Freud”

50 Works 50 Weeks: Sarah Rosalena’s “Threading the Infinite: Omnidirectional Terrain”

Cupid and Psyche: Art History's Original Third-Act Break-Up

50 Works 50 Weeks: Giorgio Ghisi’s “Cupid and Psyche”

50 Works 50 Weeks: Lisa Reihana’s “Dancing Bride”

50 Works 50 Weeks: Our Lady of Guadalupe

50 Works 50 Weeks: Lavinia Fontana’s “The Holy Family with Saint Catherine of Alexandria”

Exhibitions to See in 2026

Looking Back at 2025 at LACMA

Diffuse Control by Beeple Iteration: Blurred Edges

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

Remembrance of Things Future: A Conversation with Yatreda's Kiya Tadele on Responding to LACMA’s Collection

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

Yet, the Ocean Still Grieves: Composer Yasna Yamaoka Vismale on “Stray Dog Hydrophobia”

In Memoriam: Jackie Ferrara (1929–2025)

Costume Inspiration for a Plant-Powered Halloween

50 Works 50 Weeks: The Hope Athena