Sean Landers

Really1994

Catherine Opie Takes Our Photo

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

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

Join a Day of Free Family Fun at LACMA’s David Geffen Galleries

Andell Family Sundays: Slow Walking and Observing

LACMA Invites Los Angeles Icon Erewhon to Inaugurate New Café

In Memoriam: Melvin Edwards (1937–2026)

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

All things can be true: Tavares Strachan and Diana Nawi in Conversation

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

Transforming a Masterpiece of Impressionism into Something You Can Hold in Your Hands

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

Installing “Octavia’s Gaze” with Todd Gray

“The thing becoming itself”: Fabián Cereijido and Francesco Siqueiros on Portraiture

“I wanted to be a digital witness”: Daniel Canogar on “Wayward”

“What does it take to feel autonomy these days?”: Lauren Lee McCarthy on “Auto”

More Tickets to Kamasi Washington Live at LACMA's David Geffen Galleries Are Now Available

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

Before You Now: Kalli Arte Collective

“The internet is not an archive”: Casey Kauffmann’s It’s Over Bitch

Curating Evading Capture: Black Women in Cinema

Ed Ruscha’s Los Angeles County Museum of Art on Fire

Some Very Demure, Very Mindful Ladies from Art History