Featured Events in Los Angeles in September, 2024 (January Updated)

Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples. The works in this exhibition are on special loan from the British Museum, London.

explores the rise of Futurism in contemporary Indigenous art as a means of enduring colonial trauma, creating alternative futures, and advocating for Indigenous technologies in a more inclusive present and sustainable future. Over fifty artworks are on display, some interspersed throughout the museum, creating unexpected encounters and dialogues between contemporary Indigenous creations and historic Autry works. Artists such as Andy Everson, Ryan Singer, and Neil Ambrose Smith wittily upend pop-culture icons by Indigenizing sci-fi characters and storylines; Wendy Red Star places Indigenous people in surreal spacescapes wearing fantastical regalia; Virgil Ortiz brings his own space odyssey, to life in a new, site-specific installation. By intermingling science fiction, self-determination, and Indigenous technologies across a diverse array of Native cultures, envisions sovereign futures while countering historical myths and the ongoing impact of colonization, including environmental degradation and toxic stereotypes.

A Traveler’s Guide to Mettlach: Villeroy and Boch showcases everyday life in the 1800s Mettlach, Germany. Scenes of everyday life in Mettlach have been documented and celebrated by Villeroy and Boch, a ceramic production company founded in 1836 when Jean François Boch and Nicolas Villeroy merged their ceramic businesses into what is now known as Villeroy and Boch. The workers of the Mettlach factory came from diverse backgrounds, including art studios, archives, and museums. The varied backgrounds of the factory workers contributed to the artistic achievements of the Villeroy and Boch company. The Mettlach collection reflects German cultural experiences, societal interpretations, and mythology. This exhibition shows scenes of love and relationships as well as larger themes of fantasy, offering an all-encompassing snapshot of the myriad facets of human life within Mettlach. A Traveler’s Guide to Mettlach, on view in the Robert and Colette Wilson Gallery through June 2025, presents concepts of life, laughter, relationships, and the day-to-day existence of the German people.

This site-specific work explores the fragility of the Earth’s ecosystem, as well as the destruction of the forest and its potential for regeneration. The sculpture celebrates the beauty of wood in its natural state and emphasizes its potential as a reusable and renewable resource.

This site-specific work explores the fragility of the Earth’s ecosystem, as well as the destruction of the forest and its potential for regeneration. The sculpture celebrates the beauty of wood in its natural state and emphasizes its potential as a reusable and renewable resource.

Mesoamerican artists held a cosmic responsibility: as they adorned the surfaces of buildings, clay vessels, textiles, bark-paper pages, and sculptures with color, they (quite literally) made the world. The power of color emerged from the materiality of its pigments, the skilled hands that crafted it, and the communities whose knowledge imbued it with meaning. Color mapped the very order of the cosmos, of time and space. By engineering and deploying color, artists wielded the power of cosmic creation in their hands. We Live in Painting: The Nature of Color in Mesoamerican Art explores the science, art, and cosmology of color in Mesoamerica. Histories of colonialism and industrialization in the “color-averse” West have minimized the deep significance of color in the Indigenous Americas. This exhibition follows two interconnected lines of inquiry—technical and material analyses, and Indigenous conceptions of art and image—to reach the full richness of color at the core of Mesoamerican worldviews.

For several decades, artist Cai Guo-Qiang has used gunpowder and pyrotechnics to create drawings, paintings, and explosion events. The exhibitionCai Guo-Qiang:A Material Odysseywill fill the first floor galleries at the USC Pacific Asia Museum. Based on years of research by the Getty Conservation Institute and the Getty Research Institute,A Material Odysseywill explore the nature and properties of gunpowder and chronicle its use by the artist. This explosive material, invented in China over 1,100 years ago, has come to define Cai’s work. Its unpredictable nature dictates his artistic process and determines the outcome. Through gunpowder, the artist invites uncontrollable forces to participate in the creation of his work. With an abundance of artworks and scientific displays, the exhibition will narrate the lifelong love story of Cai Guo-Qiang with gunpowder. Programs accompanyingA Material Odysseywill include videos illustrating the making of fireworks, the process of creating gunpowder paintings, interactive displays, and a variety of film screenings and conversations.

Since 2014, Ronan Donovan, a National Geographic Explorer and photographer, has examined the relationship between wild wolves and humans in order to better understand the animals, our shared history, and what drives the persistent human-wolf conflict. This moving exhibition features Ronan Donovan’s striking images and videos of wild wolves in the Greater Yellowstone Ecosystem and Ellesmere Island in the high Canadian Arctic. “Wolves: Photography by Ronan Donovan”, created by National Geographic Society and the National Museum of Wildlife Art, highlights the contrast between wolves that live in perceived competition with humans, in the Yellowstone area, and wolves that live without human intervention, in the Canadian Arctic. As wolves in North America are increasingly under threat due to recent extreme wolf-control laws, and humans continue to impinge on the land and food sources that these animals need to survive, Donovan’s compelling photographs inspire a better understanding of these often misunderstood animals. This exhibition is presented in partnership with the National Geographic Society and the National Museum of Wildlife Art, and supported through the patronship of Jacques Marie Mage.

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A Traveler’s Guide to Mettlach: Villeroy and Boch showcases everyday life in the 1800s Mettlach, Germany. Scenes of everyday life in Mettlach have been documented and celebrated by Villeroy and Boch, a ceramic production company founded in 1836 when Jean François Boch and Nicolas Villeroy merged their ceramic businesses into what is now known as Villeroy and Boch. The workers of the Mettlach factory came from diverse backgrounds, including art studios, archives, and museums. The varied backgrounds of the factory workers contributed to the artistic achievements of the Villeroy and Boch company. The Mettlach collection reflects German cultural experiences, societal interpretations, and mythology. This exhibition shows scenes of love and relationships as well as larger themes of fantasy, offering an all-encompassing snapshot of the myriad facets of human life within Mettlach. A Traveler’s Guide to Mettlach, on view in the Robert and Colette Wilson Gallery through June 2025, presents concepts of life, laughter, relationships, and the day-to-day existence of the German people.

This sprawling exhibit explores the profound impact and influence that hip-hop music and culture has had on the United States and the world since it burst forth in the Bronx 50 years ago. The Mixtape Exhibit delves deep into the sounds, scenes and history of hip-hop music, dance, graffiti, fashion, business, and activism. On view are rarely displayed artifacts from Tupac Shakur, Notorious B.I.G., MC Lyte, Lil Wayne, Slick Rick, Egyptian Lover, Eminem, and many others, and visitors can make their own hip-hop music with five unique interactives. The exhibit was curated by a team of four co-curators who bring a deep knowledge of hip-hop, academic rigor and creativity to the project: Felicia Angeja Viator, associate professor of history, San Francisco State University, author of To Live And Defy In LA: How Gangsta Rap Changed America, and one of the first women DJs in the Bay Area hip-hop scene; Adam Bradley, professor of English and founding director of the Laboratory for Race and Popular Culture (the RAP Lab) at UCLA, and co-editor of The Anthology of Rap; Jason King, dean, USC Thornton School of Music and former chair of the Clive Davis Institute of Recorded Music at NYU; and Dan Charnas, associate arts professor, NYU Clive Davis Institute of Music, and author of Dilla Time: The Life And Afterlife Of The Hip-Hop Producer Who Reinvented Rhythm. The co-curators worked in conjunction with GRAMMY Museum Chief Curator and VP of Curatorial Affairs Jasen Emmons as well as a 20-member Advisory Board.

Nov. 11, 2023–Nov. 30, 2027 | Renowned American artist Betye Saar’s large-scale work “Drifting Toward Twilight”—commissioned by The Huntington—is a site-specific installation that features a 17-foot-long vintage wooden canoe and found objects, including birdcages, antlers, and natural materials harvested by Saar from The Huntington’s grounds.

Nov. 11, 2023–Nov. 30, 2027 | Renowned American artist Betye Saar’s large-scale work “Drifting Toward Twilight”—commissioned by The Huntington—is a site-specific installation that features a 17-foot-long vintage wooden canoe and found objects, including birdcages, antlers, and natural materials harvested by Saar from The Huntington’s grounds.

This site-specific work explores the fragility of the Earth’s ecosystem, as well as the destruction of the forest and its potential for regeneration. The sculpture celebrates the beauty of wood in its natural state and emphasizes its potential as a reusable and renewable resource. California-based Japanese American artist Mineo Mizuno’s site-specific sculpture, titled Homage to Nature, is crafted from fallen timber gathered in the forests of the Sierra Nevada, where the artist lives and works. Views of the San Gabriel Mountains in the background will frame the work. The sculpture explores the fragility of the Earth’s ecosystem, as well as the destruction of the forest and its potential for regeneration. Homage to Nature celebrates the beauty of wood in its natural state and emphasizes its potential as a reusable and renewable resource. Using yakisugi (shou sugi), a traditional Japanese method of wood preservation known in the West as burnt timber cladding, the charred surfaces of the reclaimed timber in the sculpture speak not only to fire’s destructive power but also to its ability to reinvigorate the land. As a companion and response to the sculpture, a “fire landscape” will be planted near the sculpture to mimic new growth that occurs naturally after a fire. This new sculpture marks the culmination of a series of installations by the artist designed to reflect on The Huntington’s collections and link the gardens and art galleries. Homage to Nature will be unveiled on May 25, 2024, and will remain on view for five years.

Helen Pashgian’s Untitled (Lens) challenges human perception. The feelings evoked by this meditative sculpture and light installation could be likened to those inspired by medieval sacred spaces that, like Pashgian’s work, use light to take the viewer utterly beyond the outside world, energizing and focusing the mind, and creating transformative experiences.

This immersive exhibition tells the story of a unique mid-20th-century collaboration between artists and engineers. It explores the beginnings of the organization Experiments in Art and Technology, or E.A.T., as well as two of its most pivotal projects: 9 Evenings: Theatre and Engineering and the iconic Pepsi-Cola Pavilion at the 1970 World Exposition in Osaka, Japan, both of which pursued groundbreaking integrations of theater, dance, technology, and interactive, multimedia art.

Spectrum 14 is a calibrated array of prisms that cast a dazzling display of luminous color across the Museum’s rotunda. Bands of spectral light traverse the space in relation to the sun, which follow a slightly different arc through the sky every day. Over time, Ross’s work changes in response to Earth’s rotational orbit, connecting us to the premodern experience of astronomical observation and calculation that defined cycles of days, seasons, and rituals. This project was commissioned for PST ART as part of the exhibition Lumen: The Art and Science of Light. This is the second “Rotunda Commission,” a series of art installations inspired by the Getty Museum’s collection, architecture, and site.

The spectacular French microscope from Getty’s collection is a unique testament to scientific advances and Rococo design in the Age of Enlightenment. It allowed science enthusiasts to immerse themselves in the recently discovered world of the microscopically small. New study and conservation present the cultural and historical context of this magnificent object and reveal its technical complexity in a display which includes its lavish tooled-leather case and specimen slides of natural curiosities.

This immersive exhibition tells the story of a unique mid-20th-century collaboration between artists and engineers. It explores the beginnings of the organization Experiments in Art and Technology, or E.A.T., as well as two of its most pivotal projects: 9 Evenings: Theatre and Engineering and the iconic Pepsi-Cola Pavilion at the 1970 World Exposition in Osaka, Japan, both of which pursued groundbreaking integrations of theater, dance, technology, and interactive, multimedia art.

Spectrum 14 is a calibrated array of prisms that cast a dazzling display of luminous color across the Museum’s rotunda. Bands of spectral light traverse the space in relation to the sun, which follow a slightly different arc through the sky every day. Over time, Ross’s work changes in response to Earth’s rotational orbit, connecting us to the premodern experience of astronomical observation and calculation that defined cycles of days, seasons, and rituals. This project was commissioned for PST ART as part of the exhibition Lumen: The Art and Science of Light. This is the second “Rotunda Commission,” a series of art installations inspired by the Getty Museum’s collection, architecture, and site.

Spectrum 14 is a calibrated array of prisms that cast a dazzling display of luminous color across the Museum’s rotunda. Bands of spectral light traverse the space in relation to the sun, which follow a slightly different arc through the sky every day. Over time, Ross’s work changes in response to Earth’s rotational orbit, connecting us to the premodern experience of astronomical observation and calculation that defined cycles of days, seasons, and rituals. This project was commissioned for PST ART as part of the exhibition Lumen: The Art and Science of Light. This is the second “Rotunda Commission,” a series of art installations inspired by the Getty Museum’s collection, architecture, and site.

In conjunction with Getty’s PST ART: Art & Science Collide, Roberts Projects presents Betye Saar’s monumental altar assemblage, Mojotech. Created in 1987 during the artist’s residency at Massachusetts Institute of Technology (MIT), this installation-based work is a testament to the fusion of contemporary technology and the mystique of ancient spirituality.

In September 2024, Icelandic-Danish artist Olafur Eliasson (b. 1967, Copenhagen; lives and works in Berlin) presents a new site-specific installation made for The Geffen Contemporary at MOCA. In line with Eliasson’s career-long exploration of light and color, geometry, and environmental awareness, the installation playfully engages with material and immaterial qualities of the museum’s architecture. A series of large-scale optical devices designed specifically for MOCA Geffen will respond to the building itself, as well as to the everchanging atmosphere of Los Angeles. Visitors will encounter a dazzling range of sensory experiences that harness the laws of geometric optics to address feelings and concepts of embodiment, perception, and participation.

In September 2024, Icelandic-Danish artist Olafur Eliasson (b. 1967, Copenhagen; lives and works in Berlin) presents a new site-specific installation made for The Geffen Contemporary at MOCA. In line with Eliasson’s career-long exploration of light and color, geometry, and environmental awareness, the installation playfully engages with material and immaterial qualities of the museum’s architecture. A series of large-scale optical devices designed specifically for MOCA Geffen will respond to the building itself, as well as to the everchanging atmosphere of Los Angeles. Visitors will encounter a dazzling range of sensory experiences that harness the laws of geometric optics to address feelings and concepts of embodiment, perception, and participation.

The Natural History Museum’s historic diorama halls are the largest exhibitions at the museum, showcasing over 75 incredibly detailed habitats ranging from arctic tundra to tropical rainforest. To celebrate the 100th anniversary of the dioramas, NHM is restoring and reopening a diorama hall that has been closed for decades. There, visitors will experience immersive new installations — by artists RFX1 (Jason Chang), Joel Fernando and Yesenia Prieto (working as a three-artist team), as well as Saul Becker and Lauren Schoth — that call attention to dioramas as a unique combination of art and science and explore biodiversity, ecology, conservation, colonialism, and changing museum display techniques. NHM maintains an active diorama program where staff continue to update and build dioramas, keeping this art form alive. Visitors can examine these illusions of wilderness through a series of displays, engaging programs, and a new book that sheds light on the previously untold history of NHM’s dioramas.

Southern California’s iconic art event, PST ART, returns in September 2024 with over 800 artists, 70 exhibits, and 1 amazing theme:Art Meets Science. This “collision” will explore the intersection of art and science, past and present, with organizations presenting exhibits on topics such as ancient cosmology, Indigenous science fiction, environmental justice, and artificial intelligence.

In September 2024, Icelandic-Danish artist Olafur Eliasson (b. 1967, Copenhagen; lives and works in Berlin) presents a new site-specific installation made for The Geffen Contemporary at MOCA. In line with Eliasson’s career-long exploration of light and color, geometry, and environmental awareness, the installation playfully engages with material and immaterial qualities of the museum’s architecture. A series of large-scale optical devices designed specifically for MOCA Geffen will respond to the building itself, as well as to the everchanging atmosphere of Los Angeles. Visitors will encounter a dazzling range of sensory experiences that harness the laws of geometric optics to address feelings and concepts of embodiment, perception, and participation.

Electric light emerged as an artistic medium in the mid-20th century, as artists engaged with new technology, mass media and industrial materials. The exhibition Plugged In: Art and Electric Light illuminates these themes through 11 works produced between 1964 and 1970, all drawn from the Museum’s collections. This focused group includes Andy Warhol’s controversial White Painting (1964), its nude female torso subversively activated by ultraviolet light; Dan Flavin’s stark fluorescent installations made from commercial materials; and Allen Ruppersberg’s Location Piece (1968), an “environmental sculpture” that envelops the viewer in unnerving ambient light.

Electric light emerged as an artistic medium in the mid-20th century, as artists engaged with new technology, mass media and industrial materials. The exhibition Plugged In: Art and Electric Light illuminates these themes through 11 works produced between 1964 and 1970, all drawn from the Museum’s collections. This focused group includes Andy Warhol’s controversial White Painting (1964), its nude female torso subversively activated by ultraviolet light; Dan Flavin’s stark fluorescent installations made from commercial materials; and Allen Ruppersberg’s Location Piece (1968), an “environmental sculpture” that envelops the viewer in unnerving ambient light.

Electric light emerged as an artistic medium in the mid-20th century, as artists engaged with new technology, mass media and industrial materials. The exhibition Plugged In: Art and Electric Light illuminates these themes through 11 works produced between 1964 and 1970, all drawn from the Museum’s collections. This focused group includes Andy Warhol’s controversial White Painting (1964), its nude female torso subversively activated by ultraviolet light; Dan Flavin’s stark fluorescent installations made from commercial materials; and Allen Ruppersberg’s Location Piece (1968), an “environmental sculpture” that envelops the viewer in unnerving ambient light.