Conservator Rosa Lowinger reflects on her time working at LACMA in the 1980s in an excerpt from her new memoir, Dwell Time.
The exhibition Women Defining Women at LACMA suffers from poorly defined parameters and a weak understanding of its own premise.
If there is an object you have ever desired in your life, rest assured that someone in the advertising industry made money convincing you of exactly that.
The performance marked 40 days since the Zahedan Massacre, when Iranian security forces opened fire into a crowd and killed almost 100 people.
Activists chained themselves to the cast-iron lampposts of Chris Burden’s outdoor sculpture installation “Urban Light” (2008) and covered themselves in fake blood.
Drawing from a wide range of personal influences, McQueen deconstructed myths and facts and refashioned them into his desired story.
The joint gift features photographs by a mix of well-known and emerging artists, including Yto Barrada and Eva Koťátková.
The gift from the Reiter Family includes 82 ceramic pieces made by the Pueblo peoples of the Southwest.
Alex Prager’s “Farewell, Work Holiday Parties” at LACMA captures the awkwardness that ensues when a room full of intoxicated, mostly white people get together during the holidays.
The New Bauhaus traces the artist’s journey from joining the Bauhaus in Weimar, Germany to founding the New Bauhaus in Chicago.
Last month, a letter signed by over 100 artists, including Andrea Fraser and EJ Hill, demanded Gores’s removal from the board, accusing his company of price gouging.
The exhibition gathers a whopping 800 artworks and focuses on the deep influence of music on the popular Japanese artist.