Uncover six exhibitions we think you should see in London before spring, from Japanese Art History à la Takashi Murakami to tech-tinged dreamscapes.
By Sophie Heatley | 16 Jan 2025
With Christmas behind us and New Year resolutions underway (kind of), I can’t quite believe we’re already halfway through January 2025. Torn between being thrilled that the hardest month of the year is almost over and somewhat shook at how quickly it’s gone, I’m distracting myself with the fortification of my arts and culture diet. Now definitely feels like a good time to sit back, have a coffee, and plan a few exhibition visits. Here are six we think you should check out in the next few months.
Installation view, Japanese Art History à la Takashi Murakami, Gagosian, Grosvenor Hill, London | Photo: Prudence Cuming Associates Ltd
Gagosian London presents new works by Takashi Murakami, reinterpreting iconic Japanese art through his signature lens. Blending tradition and modernity, Murakami explores Japan’s cultural evolution post-Edo period, pairing mythical guardians of Kyoto with contemporary landscapes. Using AI, sketches, and past works, Murakami reimagines historical motifs with vibrant inventiveness. Highlights include his take on the Four Symbols and re-workings of Matabei’s Rakuchū-Rakugai-zu and the Rinpa school. Also for the diary: the artist will be in conversation with Hans Ulrich Obrist on December 11 at the Royal Academy.
Pace presents Neena, aan uthii—Acaye Kerunen’s vibrant UK solo debut. Translating to See me, I am here in Alur, this exhibition showcases sculptures, sound installations, and performance inspired by Ugandan communities and ecological knowledge. Based in Kampala, Kerunen combines visual art, performance, and activism in climate-conscious creations. Her vivid tapestries use natural dyes from roots, flowers, and grasses, blending rich hues like indigos, tangerines, and fuchsias that reflect Uganda’s diverse landscapes. I wouldn’t want to miss this immersive celebration of embodied knowledge and environmental artistry.
Lawrence Perry’s psychologically charged, witty paintings bring universal fables into sharp, contemporary focus. Blending sumptuous textures with uncanny worlds, his work explores themes of desire, violence, and image saturation. Ambitious and visceral, the show crowns Perry’s unique and arresting style, an aesthetic that fuses Renaissance opulence with 70s Californian excess.
Following acclaimed shows at Nottingham Contemporary and Dundee Contemporary Arts, GRIMM Gallery presents Borrowed Air, Martínez Garay’s third UK solo exhibition. Exploring “moments of rupture” where European modernity collides with Andean cosmo-visions, her works in printmaking, etching, and painting give voice to historically underrepresented perspectives. Pieces like Intrusos en sus tierras (2024) challenge official histories, using school textbook aesthetics and a striking brown-white chromatic motif to confront colonial narratives with political and emotional depth.
Showcasing a selection of new paintings across three different series: SYNACLIPS, FRONTRACKS SYNACLIPS SPE and CORTEXOPHIS, Jana Schroder: M. I. G. H. T. explores the Metamorphosis in Generative Human Thinking (M.I.G.H.T.), an acronym devised by the artist to evoke ambiguity and doubt. Immersed in a tech-tinged dreamscape, Schröder explores the clash between digital floods of information and our analogue minds, reflecting how constant connectivity is reshaping our perception and attention– and not necessarily for the better. Biomorphic shapes undulate in vivid pinks, greens, yellows, and blues, like neural networks suspended in water—a mesmerising look at our evolving relationship with technology.
I couldn’t not include Jonathan McCree’s Through The Wrong End Of A Telescope. A playful, improvisational journey, McCree’s third solo show with the gallery features a constellation of cardboard, cast aluminium, folded metal sculptures, paintings, and drawings in a fluid exploration of lived experience and non-linearity. Each piece invites viewers into a dynamic game of perception, challenging them to carve their own unique path through its emergent relationships.
If you know me at all or follow me anywhere, you know that I have strong guiding principles which I live by. None stronger than leading with love. Radical love is my north star, not that I am perfect, but I try and frame everything and respond to everything with that lens. This makes it easy for me to choose where my vote goes. As Jen Hatmaker writes, “We head into the voting booth with one of two mindsets: fear or love.” There is no perfect candidate, but I choose the ones who will fight for all the people and not just their own self-interest; who will protect women’s rights, marriage equality, voting rights, our earth. I hate politics, but it can’t be ignored. Art is my way of expressing hope for the future. If you are like-minded and inspired by these handmade prints, I am selling them in my Etsy shop. All proceeds will be donated to support these and other Democratic candidates.
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1. First rule of typographical prints: you are creating a mirror image. This means, all letters and words are backwards. So check your spelling! (*I’ve made this mistake too many times, including this time.*)
2. I designed the typography on my computer. However you design yours, the next step is to use a pencil to make a thick, heavy outline of each letter.
3. Turn the paper over and trace the letters onto the foam, hopefully leaving a clear enough outline for cutting.
4. Cut your letters using good, sharp scissors. If they are really small, you might have to use an X-acto knife. You will definitely need one to cut out the inside of the letters.
5. I measured and use pencil marks on the cardboard before sticking down the letters. The sticky-back foam makes it easy to peel-and-stick.
6. Cut down your paper. I tore mine using a heavy ruler. You can use cardstock that is already the correct size and skip this step. Just make sure your paper is bigger than your “printing plate.”
7. Roll out the ink with the brayers. I added a little white just to brighten the color. I added a dash of purple and a dash of orange to the bright yellow just to both mute and warm the hue. You want a sticky sound when rolling. Not too much ink. In fact this was too much ink when I first started. I had to wipe some off. You don’t need much, just cover the roller completely and evenly.
8. Roll the ink onto the foam. This part is tricky since I used three colors. Using one color is much easier. You might want to protect the cardboard around the raised foam that you are inking with a piece of flat paper. The roller can/probably will roll some ink onto the cardboard and that can/probably will transfer to the paper. In my opinion, it’s ok because that is the nature of printmaking, especially in this very rudimentary way. But if you are selling them or just don’t want those smudges, take the extra step in protecting the cardboard.
9. Lay your paper on top. I drew pencil marks to outline where the paper should go, which is kind of a must. Press down for a while, gently rubbing the back of the paper and feeling the letters underneath. Then slowly pull your print. The first few prints were bad, and usually are. The ink was too goopy. I started getting good prints around the 3rd or 4th run. I had to cut the ink way down.
10. After I finished all the good paper, I used cut-up old maps to print on. I love the way these look. Unfortunately, if you look closely, I messed up this entire first batch. I did not follow my rule of double/triple checking the backwards spelling, and I transposed two letters in PEOPLE. The bad news is that I used all the map paper and couldn’t use any for my second run after I fixed the letters. The good news is now we have another inside family joke. Not a day goes by that we don’t say “For the Poeple” to each other (we pronounce that like Edgar Allen Poe-ple).
Here is a short reel on Instagram on the making of these prints. I only have 18 available in my Etsy shop!
xo Bar
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Do you like collagraph printmaking? Here are some more ideas:
Brief Bio:
I’m a designer and illustrator from Istanbul, creating work that lives somewhere between nature and abstraction. I’m drawn to simple shapes, soft rhythms, and the emotional weight they can quietly carry.
Artist Statement:
These works are inspired by organic life — plants, fungi, growth patterns — reinterpreted through a minimalist and playful lens. I try to capture a sense of quiet energy and balance in each piece.
Featured in The Sound of Form exhibition, Anysia Nefissi gives form to the formless. Through a subtle interplay of colour and shape, her works vibrate with sensory poetry. Each canvas becomes a passageway, an invitation to feel the echo of emotions, memories and spaces buried within us.
By Cécile Martet | 10 Feb 2025
How would you define your approach to colour and form in your work?
Colour and form have their own language, which I use to convey messages through my work. Abstraction, through colour and form, can transcend the limits of the physical by making the invisible visible. Each work is a transition from a formless sensation to matter. Colour and form allow me to question the senses and emotions. I then use this knowledge as the key to better understand the invisible world and the Self.
For you, can a shape or colour ‘resonate’ like a sound? If so, how does this translate into your work?
Synaesthesia is a perceptual phenomenon that combines several senses. For example, seeing colours when you hear music. Each sense is triggered by another, creating cross-sensory perceptions. My approach to the senses is not just visual, but kaleidoscopic. In my work, this translates into a practice that encourages sensory experimentation through abstraction. Forms are revealed in a play of movements and gestures that show up creatively through transparencies and dissolutions of paint as well as blurs and accumulations.
Anysia Nefissi, Pillowtalk (2023, acrylic on canvas, 54 x 44 cm)
How do rhythm and vibration play a role in the composition of your work?
Rhythm and vibration play an important role in the composition of my work. They encourage introspection and sensory experimentation. It’s a play between full and empty, silence and noise, vibration and mobility. This hybrid composition allows me to create sensory spaces where these dualities can be experimented with. For example, in my work The White Noise, the rhythm is suggested by the accumulation of transparencies.
Anysia Nefissi, The White Noise (2023, acrylic on canvas, 38 x 29 cm)
How do you choose your colour palettes? Are they linked to specific emotions or ideas?
My colour palettes are linked to psychology and Goethe’s colour theory. There’s also a lot of intuition in my work. I associate colours with emotions that are themselves linked to specific ideas. For example, in my work Thud, which is an abstract representation of a thud, I chose to work in a range of blues, going almost as far as black. This palette is linked to my idea of a thud and nothingness.
Anysia Nefissi, Thud (2024, acrylic on canvas, 79 x 61 cm)
To what extent does the theme of the exhibition ‘The Sound of Form’ echo your own artistic approach?
The viewer projects their dreams, fantasies, fears or oblivion into my work.The trace, the form of the invisible emerges and now we have to decode it. I explore the form of the invisible and the non-palpable through three aspects: the organic, myth, and sensory memory.
Do you think that silence can amplify the visual impact of a work?How does this influence your work?
Silence can amplify the visual impact of a work in the sense that it creates a mental space and an immersion in the work. Silence and absence allow the viewer to engage with the work in a physical way. Silence is necessary for the echo of the work to resonate.
Do you have a creative routine? For example, do you always create in peace and quiet, with background music, or does this vary according to the theme of your work?
My creative routine varies and depends on the theme of my work. It depends on whether I’m in the middle of research, experimentation or the creation phase. On the whole, I like to alternate moments of calm with music, like James Blake’s Say What You Will or Snoh Aalegra’s I Want You Around. I also sometimes listen to podcasts like Talk Art or Avec philosophie. Sound has a huge influence on my work.
Do you seek to create a sensation of movement in your work, or on the contrary, a calming effect?
Yes, I do try to create a sense of movement in my work through abstraction. Although my works project a calming effect, it is through form and colour that movement takes place.This impression of movement is only possible if you look deep ‘inside’ the work.
If your work could ‘emit’ a sound or a rhythm, what would it sound like?
If my works could emit a sound, they would have different tonalities depending on the theme I wanted to give them, alternating with silence. I like the idea of white noise, which contains all the audible frequencies equally distributed in terms of intensity. Each frequency has the same energy.
What do you hope viewers will feel or remember when they see your work in this exhibition?
I’d like viewers to be able to explore the world of sensations I propose by questioning their own perception and experiencing the power of colour and form through their own sensory memory.
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Happy 2025! My last post about printing my hopeful Kamala prints has been staring at me every time I come back here. I am going to have to create 7 new posts in order to not see it anymore on my homepage, so that’s what I will do! I still love the prints, I love her, I’m so sad we don’t have a woman president, but it is too heartbreaking to see that post right now. I am moving on to rainbows and yarn and soft and cozy and happy. I rediscovered tube knitting and made some looms (is that what we call them?) from toilet paper rolls. It is so zen and relaxing, I think I might keep going and wrap a tree or create an installation. Must. Make. Art.
When I first started making these tube-knitted pieces I didn’t know what to do with them. I made a necklace for my mom for her 85th birthday which she loves because it’s easy to pull over her head, and it keeps her neck warm! I kept making long knitted pieces, trying out different ombre yarns, and just putting them in a basket. Then I went on a trip to Davis, CA to see my youngest at school and went to their famous farmer’s market. I found a woman who made wool yarn from the sheep in her backyard! I bought a rainbow skein and knew exactly what I was going to make with it (scroll down to see all the yarns in this heavenly stall).
[ I am a participant in affiliate programs designed to provide a means for bloggers to earn small fees at no cost to you by linking to Amazon.com and affiliated sites. ]
Materials needed for Tube Knitting with TP Roll Looms:
~ Toilet paper rolls or cut-down paper towel rolls
~ Yarns in any color, but for this post I mostly show the rainbow yarn (here is Fiber Confections FB page and Instagram, I’m not sure how else she sells her wool)
How to make the Tube Knitting Loom:
~ Glue the beads or small buttons to the tops of each popsicle stick
~ Glue each popsicle stick on the inside of the TP roll, leaving about 3/4 inch showing
Here is a photo from the Davis CA farmer’s market stall with all the yarns from the owner’s own sheep! Fair warning: The way this skein is wound – not in a ball but in a big loop – created a huge tangled mess. I have never worked with yarn that was packaged in this way, so I’m not sure what to do to prevent the tangled mess in the future, but my guess is I should have hung the yarn up instead of laying it on a table and been more careful when pulling. If anyone has any tips let me know!
How to Knit on a TP Roll Loom:
1. To begin, hold the end of the yarn against the side of the TP roll and then bring the yarn around the back of the first popsicle stick.
2. Wrap it around the front, then go over to the next stick and do the same thing, going behind the stick then wrap around the front.
3. Continue until you get back to the first stick.
4. When you get back to the beginning, now the yarn goes straight across the front of the first stick above the first loop.
5. Use the skewer to lift the bottom loop over the top yarn. This is where the beads/buttons come in handy because it helps the top thread stay in place as you lift the bottom one over the top.
6. After you lift the bottom yarn over the top, move the loose yarn over one and do the same: above the loop, lift the bottom over the top.
7. When you’ve made it all the way around once, push the start thread through the middle so it’s dangling down the inside of the tube and pull on it to tighten the knitting. You can pull it tight every time you go around in the beginning. Eventually when it’s coming out the end and long enough you don’t have to keep pulling to tighten.
Continue knitting in this way until you get the length you want.
8. To finish the piece, cut the yarn leaving about 8-10 inches.
9. Thread the loose yarn underneath the next loop, then lift that loop off the popsicle stick.
10. Then thread the loose yarn again underneath the next loop and lift it off, continuing until you have threaded and lifted off all 5 loops.
11. Pull the piece out of the tube. I like to thread the loose yarn back through that last loop one more time and tie it off.
Each piece is about 12 inches long.
12. Tie the two ends together to make a circle. You may have to do some double knotting before trimming the ends.
I decided to use the bracelets as napkin rings for the Thanksgiving table.
I made some name labels with brown paper bags and this tag-shaped paper punch. The letter stamp set is really old, like from high school (30 years ago!) and I haven’t been able to find anything like this, but you can use any letter set, or just hand write if you have good handwriting.
Here are some outtakes from Thanksgiving! I taught some people how to tube knit, and everyone had a different way to wear their rainbow yarns. My sister-in-law sent me a photo of her cat, Octavia, wearing it as a collar. She said it’s Octavia’s favorite.
xx, Bar
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Did you like this post? Here are more posts using yarn:
William Sergeant Kendall, art interlude, 1907, oil on canvas, American Art Museum at the Smithsonian
Art therapy emerges as a powerful healing technique that goes beyond traditional medical treatments. More than a simple creative outlet, it represents a profound journey of emotional and physical restoration. Individuals facing challenging life transitions discover unexpected solace through brushstrokes, sculptural forms, and creative expression. The human capacity to transform pain into beauty finds its most eloquent manifestation in artistic healing practices that have existed for centuries.
Art becomes a process of internal reconstruction, allowing individuals to externalize complex emotions, rebuild physical capabilities, and reclaim personal narratives. In this article, let us understand the power of healing through art as a therapy.
The Healing Power of Creative Expression
When words fail to capture trauma’s impact, art creates space for emotional processing. Art therapy helps individuals on the path of recovery externalize the feelings that might otherwise remain buried.
Studies from the American Congress of Rehabilitation Medicine show that creating art reduces cortisol levels. Additionally, viewing a beautiful painting can increase blood flow to the part of the brain associated with pleasure by up to 10%. This stress reduction contributes significantly to overall healing and pain management.
The physical act of creating art engages different neural pathways than those typically used in standard rehabilitation exercises. Painting, drawing, and sculpting involve fine motor control that helps rebuild dexterity after injuries. A 2025 study was published by Taylor and Francis on stroke patients who participated in museum-based art therapy. The intervention resulted in a decrease in depression scores going from 6.6 to 4.2.
Art creation offers a sense of control when physical limitations feel overwhelming. Somatopia states that engaging with color, texture, and form through scribbling provides sensory stimulation that can break through post-traumatic numbness.
Transformed Through Tragedy: Artists Who Found Their Voice After Injury
Frida’s book displayed in her museum in Mexico City.
Frida Kahlo’s artistic career blossomed following a devastating bus accident that left her with lifelong pain. Her intimate self-portraits exploring suffering and resilience continue to inspire countless injury survivors.
Kahlo once wrote, “I paint myself because I am often alone and I am the subject I know best.”
Contemporary artist Chuck Close reinvented his approach after becoming partially paralyzed from a spinal artery collapse. Unable to create his photorealistic portraits using previous methods, Close developed a grid technique that accommodated his physical limitations. His adaptation demonstrates how creative problem-solving can overcome seemingly insurmountable obstacles. Many lesser-known artists have similar stories of finding their creative voice while healing.
The Science Behind Art’s Healing Effects
Scottish National Gallery, painting close-up showing the Sphinx. Traditional paintings display beautiful color harmonies that you can be inspired by to use in your art projects.
Neurological research confirms what many survivors intuitively discover through artistic practice. Brain imaging studies show increased activity in regions associated with pleasure, focus, and emotional regulation during creative activities.
As per a study by Wiley, 70% of people on the planet are estimated to face at least one traumatic event throughout their lifetime. Furthermore, post-traumatic stress disorder will affect about 1 in 11 persons globally. Interventions based on the visual arts can improve positive non-PTSD symptoms including post-trauma and quality of life.
In contrast to talk-only therapies, art therapy may foster curiosity, playfulness, and creativity. This helps individuals share traumatic experiences and results in a reduction in PTSD-specific symptoms such as avoidance.
As per Kids First, color psychology plays a role in emotional healing during art therapy sessions. There are different techniques of utilizing color in art therapy, they include:
Color Journaling: Individuals gain insights into emotional states and identify patterns in their moods and feelings over time.
Color Mapping: Allows individuals to visualize their emotional landscape, promoting greater self-awareness and understanding.
Color Meditation: Helps individuals focus their minds, reduce stress, and enhance emotional resilience, making it a powerful tool within art therapy.
White crane, a closeup of a Japanese temple decoration.
Legal Considerations During Creative Recovery
The journey of healing through artistic expression often coincides with navigating complex legal matters. In instances such as personal injury, victims may often find themselves dealing with insurance claims and compensation issues.
In such situations, a personal injury attorney can manage these legal complexities while survivors dedicate their energy to therapeutic pursuits like art. Many who benefit from creative rehabilitation need to document their full recovery journey. This documentation helps establish the comprehensive impact of injuries beyond immediate medical expenses. Art therapy sessions, supplies, and related expenses may factor into recovery costs worth considering in legal contexts.
According to TorHoerman Law, the financial compensation sought by the injured is referred to as “damages.” They are mainly of two kinds: economic and non-economic. They involve lost wages, permanent disability, emotional distress, loss of property, medical bills, pain and suffering, etc.
The holistic approach to healing often requires professional guidance on multiple fronts. Just as art therapists provide specialized support for emotional and physical recovery, legal professionals handle paperwork and negotiations. This division of labor allows those healing to maintain focus on the creative processes that contribute to their well-being. For those incorporating art into their recovery journey, keeping detailed records of how creative practice affects their healing can prove valuable.
These records may demonstrate improvements in motor skills, emotional well-being, and overall quality of life, all factors that comprehensive case evaluations should consider.
Incorporating Art Into Your Recovery Journey
The process matters more than the product when using art therapeutically. Many participants worry about artistic quality, missing the fundamental benefit of expression itself. Recovery-focused art prioritizes emotional release and physical engagement over aesthetic outcomes. There are even methods that do not require any kind of artistic intervention if you are concerned about the outcomes of your artistic quality.
Known as the color visualization meditation, it is one of the simplest yet effective mindful methods. As per New Perspectives, all you have to do is pick two colors; one being the healing and the other being the releasing. Now, close your eyes and imagine the air you breathe in as the healing color, and the air leaving as the release color.
This technique combines mindfulness with creative visualization, requiring no artistic skill yet offering immediate comfort. Through creative expression, individuals discover new pathways to wholeness that complement traditional medical approaches.
Frequently Asked Questions (FAQs)
1. Why is community involvement important in art therapy?
Participating in group art therapy sessions fosters connection and reduces isolation during recovery. Whether through collaborative murals or poetry workshops, creative communities offer support, motivation, and shared experiences that help individuals heal emotionally and socially.
2. How can injury-related stress impact creative recovery?
Coping with physical pain and legal complexities can be overwhelming, making creative outlets essential. Many find that while recovering, seeking guidance from a personal injury attorney helps ease financial and legal stress. This allows them to focus on artistic healing without added burdens.
3. What forms of art therapy are most effective for personal recovery?
Different creative outlets work for different individuals. Music therapy calms anxiety, painting provides emotional release, and movement-based art like dance enhances physical rehabilitation. Experimenting with various forms helps people discover the best therapeutic approach for their healing journey. Beginning a creative practice during recovery doesn’t require artistic talent or experience. Many rehabilitation centers now offer art therapy programs led by certified professionals. These structured sessions provide guidance tailored to specific injuries and rehabilitation goals.
For those recovering at home, simple supplies like colored pencils and sketchbooks offer accessible starting points. Online communities provide support for beginners exploring art during recovery. Many websites connect injury survivors with resources and virtual workshops designed for various physical abilities.
From playful domestic scenes to captivating mirror fantasies, the art world is alive with boundary-pushing creators inviting us into their imaginative realms. This article highlights six exceptional women whose work promises to leave a lasting impression. From Brazil to Iran, these artists explore everything from the beauty of daily life to profound philosophical themes, each offering a distinct perspective.
Brazilian artist Aline Gaiad creates playful and personal domestic scenes, drawing inspiration from everyday life. Delicate curtains, eclectic wallpapers, and whimsical figures populate Gaiad’s quirky, dollhouse-like abodes, transforming ordinary spaces into richly imaginative, smile-inducing worlds.
Left: Chapter 7 (acrylic on raw canvas, 2024) by Aline Gaiad | Right: Aline Gaiad in her studio
Working in a distinctly figurative style, Yana Medow’s playful and humorous works express the plasticity and beauty of the human form while evoking off-beat situations with a jocular tone. Yana’s work has been exhibited across four continents and she regularly holds solo shows in Spain, France, and the UK.
Photographer Xidong Luo specialises in mirror fantasy, a combination of self-portrait and still life. Her work aims to express transient feminine beauty, the pain women carry, and the profound connectedness between women and nature. Her work is deeply rooted in Taoism and the philosophy that “Heaven and earth coexist with me, and all things and I are one”, implying the interconnections and interdependency between all things in the universe.
Apollinaria Manko, a talented Belarusian graphic designer, painter, and draftsperson, wields oils with the precision of an illustrator, crafting vibrant compositions that captivate and command attention. Through her art, a harmonious blend of simplicity and geometry, Manko explores themes of self-discovery and the complexities of human connection, offering a fresh perspective on the everyday and inviting viewers to see the world in a new light.
Apollinaria Manko surrounded by her signature colourful works in her studio
Camille Royer, trained in Paris at ESAA Duperré, the Sorbonne, and ENSAAMA Olivier de Serres, co-founded the Mâ Nouvelle Orfèvrerie workshop in Bordeaux in 2018. Her work, centred around metal, blends tactile sculpture with ceramics, glass, leather, and paper. Through techniques like hammering and patina, she explores the feminine body as a political and philosophical space.
Iranian artist Sanam Sayeh Afkan creates captivating worlds of illusion and dreams, where elements seemingly complement each other but never offer a clear meaning. With bold colours and sharp lines, her work invites viewers to embark on a journey of interpretation, leaving the outcome open to them. Drawing from art history and contemporary literature, Sayeh Afkan weaves deceptive, multi-dimensional narratives that immerse the viewer in seductive, timeless spaces. The banner artwork in this article is A Little Dreamlike Tale (Lilinaz and the Rabbits) (oil on canvas, 2022) by Sayeh Afkan.
A selection of 6×6 (analog square format) images from photographer Wouter Van de Voorde’s 2023 book, Nucleo, published by Area Books. The title is a reference to the nuclear family, and the images chronicle Van de Voorde’s own family over the course of a decade. Many of the photos were captured in the Australian bush, reinforcing the theme of isolation—a family surviving on their own—which echoes throughout the work.
Wouter van de Voorde is a Belgian-born photographer based in Canberra, Australia whose work “centers on the subtle resonances between personal narratives and cultural contexts, informed by his own migration from Belgium to Australia.”
Chris Burden’s Metropolis II is an intense kinetic sculpture, modeled…
Perhaps the most dominant art form of the last 100 years, film has an important…
Tuesday Matinees
Enjoy concerts featuring leading international and local ensembles in programs o…
Art & Music,Jazz at LACMA,Latin Sounds
LACMA offers in-person art classes for kids, teens, and adults, offering the cha…
Random International’s Rain Room (2012) is an immersive environment of…
Rain Room
Artist Robert Irwin’s work in the last five decades has investigated perception…
Barbara Kruger’s Untitled (Shafted) features her distinctive use of advertising…
Band (2006) may qualify as Richard Serra’s magnum opus, representing the fullest…
LACMA’s Modern Art collection features primarily European and American art from…
LACMA’s Acquisitions Group and Art Council members share a deep affinity for the…
Art Councils,Acquisition Groups,Art of the Middle East: CONTEMPORARY,Asian Art Council,Costume Council,Decorative Arts and Design Council,LENS: Photography Council,Modern and Contemporary Art Council,Prints and Drawings Council
Welcome to the employment page of the Los Angeles County Museum of Art. To see a…
Jobs,Careers,Internships,Volunteer
Join museum educators, artists, curators, and experts for artist talks, virtual…
Create+Collaborate
In Golden Hour, over 70 artists and three photography collectives offer an aesth…
Established in 1967, the Conservation Center at LACMA supports the museum’s comm…
