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The recipients of LACMA's 2023 Art + Technology Lab engage emerging technology to address social and environmental matters.

The most comprehensive presentation of Barbara Kruger’s work in a generation, Thinking of You. I Mean Me. I Mean You at LACMA combined photography, sculpture, graphic design, architecture, and audio-visual installations created over the course of four decades. The exhibition extended beyond LACMA’s galleries, featuring outdoor murals along Wilshire Boulevard, audio soundscapes throughout LACMA’s campus, and actions across the city.

In 2015, Hyundai Motor partnered with the Los Angeles County Museum of Art (LACMA) for a ten-year partnership, under the umbrella of The Hyundai Project at LACMA. The partnership—the longest and largest programmatic commitment in LACMA's history—encompasses acquisitions, exhibitions, and publications, with a focus on two important fields: Art + Technology and the Korean Art Scholarship Initiative.

Diana Thater: The Sympathetic Imagination—presented as part of The Hyundai Project: Art + Technology at LACMA—brought together 22 of Thater’s works from the early 1990s through 2015. The artist’s first comprehensive museum exhibition in the United States, The Sympathetic Imagination explored the subjectivity of animals and the complex relationships humans have constructed with nature, among other themes.

Samantha Culp traces the origins of a singular program—and hints at what's to come.

Artlab Editorial presents three episodes centered around Art + Technology at LACMA, one of the museum’s unique programs that was revitalized through a long-term partnership between Hyundai Motor and LACMA, beginning in 2015.

This film Gala Porras-Kim: Expansive Data Fields, features the LACMA Art + Technology Lab project Expansive Data Fields by Gala Porras-Kim. This project with encyclopedic museums is an exploration of the institutions cataloguing systems and how the way objects are registered affects how we understand cultural heritage. Porras-Kim interrogates the layers of interpretation imposed on these objects, examining the linguistic, material, and contextual information used to classify them. By rethinking the relationship between cultural objects and the institutions that preserve them, the project highlights the potential for alternative narratives and more inclusive ways of understanding cultural heritage. This aligns with Porras-Kim’s broader practice, utilizing museum archive research to inform her drawings, sculptures, and installations, for example the Chichén Itzá project depicting votive offerings originally found in the Sacred Cenote. Many of her projects attempt to challenge the politics of preservation, revealing gaps and erasures in institutional records and colonial legacies. undefined Gala Porras-Kim is a recipient of the 2023 LACMA Art + Technology Lab grant. Inspired by the spirit of LACMA’s original Art and Technology program (1967–71), which paired artists with technology companies in Southern California, the LACMA Art + Technology Lab supports artist experiments with emerging technology. The LACMA Art + Technology Lab is presented by Hyundai Motor. undefined Gala Porras-Kim (b. 1984, Bogotá)  makes work about the social and political contexts that influence how intangible things, such as sounds, language and history, have been framed through the fields of linguistics, history and conservation. It considers the way institutions shape inherited codes and forms and conversely, how objects can shape the contexts in which they are placed. Porras-Kim lives and works in Los Angeles and London. She received an MFA from CalArts and an MA in Latin American Studies from UCLA.  She was a Fellow at the Radcliffe Institute for Advanced Study at Harvard University (2019), the artist-in-residence at the Getty Research Institute (2020-22), and currently a fellow at Museo delle Civiltà in Rome.

From Pasadena to the Mojave Desert, follow Dr. Ayana Jamieson as she uncovers the blurred boundaries between fiction and lived experience within the works of American Artist and author Octavia E. Butler.

This film American Artist: Earthseed, features The Monophobic Response by American Artist, showcasing the exploration of technology, society, and speculative futures. Rooted in the legacies of Octavia E. Butler, an American science fiction writer, and African-diasporic communities in California, American Artist's work critically engages with technology, science fiction, and their lineage within America’s Second Great Migration. Their LACMA Art + Technology Lab project The Monophobic Response reimagines the 1936 GALCIT Rocket Motor Test through Butler's Earthseed community while their 2022 exhibition Shaper of God at RedCat draws from Butler’s life in Los Angeles to explore cycles of history and dystopian futures. Artist’s 2024 exhibition, The Monophobic Response, at LACMA coincides with this film, presenting original footage from the Mojave Desert, where the artist staged a rocket engine test fire, weaving together speculative fiction and real-world political concerns. undefined American Artist is a recipient of the 2021 LACMA Art + Technology Lab grant. Inspired by the spirit of LACMA's original Art and Technology program (1967–71), which paired artists with technology companies in Southern California, the LACMA Art + Technology Lab supports artist experiments with emerging technology. The LACMA Art + Technology Lab is presented by Hyundai Motor. undefined American Artist makes thought experiments that mine the history of technology, race, and knowledge production, beginning with their legal name change in 2013. Their artwork primarily takes the form of sculpture, software, and video. Artist is a recipient of the 2024 New York Artadia Award and a Trellis Art Fund grantee. They are a former resident of Smack Mellon, Red Bull Arts Detroit, Abrons Art Center, Recess, EYEBEAM, Pioneer Works, and the Whitney Museum Independent Study Program. They have exhibited at the Solomon R. Guggenheim Museum, Whitney Museum of American Art, The Museum of Modern Art, the Studio Museum in Harlem, the Museum of Contemporary Art Chicago, Kunsthalle Basel, Switzerland, and Nam June Paik Art Center, Seoul. Their work has been featured in The New York Times, Cultured, Artforum, and Art in America. Artist is a former co-director of the School for Poetic Computation and a faculty at Yale University.

Take an intimate look at Sarah Roselena’s groundbreaking practice with close collaborator and curator Mika Yoshitake and uncover how the artist merges Indigenous craft techniques with pioneering technology to challenge colonial narratives and address climate justice.

This film Sarah Rosalena: In All Directions, features Exit Points and Standard Candle by Sarah Rosalena. Rosalena’s practice is rooted in her lineage of women weavers who used a variety of looms and Indigenous technologies such as beaded looms, manual hand looms, and the digital Jacquard loom. Her LACMA Art + Technology Lab project Exit Points intertwines machine learning, coded language, and the loom to challenge technological norms through a feminist and anti-colonial lens. In her subsequent exhibition Standard Candle, woven textiles are informed by astronomical images reflecting the labor of women “computers,” highlighting their crucial role in shaping Western scientific knowledge and space imaging. With support from the LACMA Art + Technology Lab, Rosalena collaborated with NASA's Jet Propulsion Laboratory to conduct her research. undefined Sarah Rosalena is a recipient of the 2019 LACMA Art + Technology Lab grant. Inspired by the spirit of LACMA's original Art and Technology program (1967–71), which paired artists with technology companies in Southern California, the LACMA Art + Technology Lab supports artist experiments with emerging technology. The LACMA Art + Technology Lab is presented by Hyundai Motor. undefined Sarah Rosalena is a Los Angeles-based interdisciplinary artist working between traditional handicraft traditions and emerging technology. Throughout her career, Rosalena has built a reputation for breaking boundaries through her hybrid forms rooted in indigenous cosmologies, re-interpreted through digital tools and her hand. Her experimental practice reconsiders craft in the context of art history and technology and suggests new possibilities as we attempt to define ourselves to innovation and computation. Born from multi-generations of women weavers, she works from her digital Jacquard loom to her mother’s bead loom, mixing hand-dyed natural colors, including cochineal and indigo, with a synthetic, pixelated palette to produce her unbordered textiles. Programming her 3D ceramic printer to imitate coil pot techniques, she fabricates “anti-vessels” that mimic the patterns of weaving and basketry. Working with image software, she creates beadwork–pixel per bead–whose surface mimics the computer screen. undefined Rosalena is the recipient of the Creative Capital Award, the LACMA Art + Tech Lab Grant, the Artadia Award, the Steve Wilson Award from Leonardo, the International Society for Art, Sciences, and Technology, and the Carolyn Glasoe Bailey Art Prize. She has had solo exhibitions with LACMA, the Columbus Museum of Art, the Museum of Contemporary Art Santa Barbara, Clockshop, and Blum & Poe Gallery. Her work is in the permanent collection at LACMA, the Columbus Museum of Art, and the Raclin Murphy Museum of Art.

A sequence of six events exploring and examining the vast potentials of art-technology convergence.

A retrospective exploring the subjectivity of animals and the complex relationships humans have constructed with nature.

Barbara Kruger's Thinking of You. I Mean Me. I Mean You, the most comprehensive presentation of the artist's work in a generation.

The first North American exhibition to survey a full range of artworks that produce the illusion of 3D, Double Vision addressed the nature of perception, the allure of illusionism, and our relationship to accompanying technologies and apparatuses.

Jonathan Keats explored how technology wearables might fundamentally alter people's sense of self.

I.R. Bach's I Want to Know tracked the trajectories and patterns of flashing lights he observed in the volcanic field south of Mexico City.

Kirsten Mosher’s 1:1 scale sculpture modeled after a wave in the Indian Ocean on the opposite side of the Earth from LACMA, where the exhibition was on view, developed with support from LACMA’s Art + Technology Lab.

A sound installation in LACMA's Pritzker Parking Garage elevators which combined recordings of the artist’s heartbeat and digital media alerts.

Tavares Strachan's nanosatellite shed light on the neglected history of Robert Henry Lawrence Jr., the first African American astronaut selected for any national space program.

An exhibition exploring the profound impact of technological change on human consciousness and society.

Presented at the Los Angeles County Museum of Art (LACMA) from September 11, 2022 to February 20, 2023, The Space Between: The Modern in Korean Art explored the development of modern art in Korea driven by artists’ encounters with, and reinterpretations of, the foreign influences that came along to shape it. Covering the years 1897 to 1965, the exhibition spanned the arc of European-influenced art via Japan in the Korean Empire (1897–1910) and colonial period (1910–45), explored American influences absorbed and experimented with during and after the Korean War (1950–53), and provided a glimpse into the beginning of the contemporary. The first exhibition of its kind in the West, The Space Between featured over 130 artworks by 88 artists that reflect the incorporation of foreign-introduced new media, including oils, photography, and sculpture.Curated by Dr. Virginia Moon, associate curator of Korean Art, The Space Between is the second in a series of exhibitions as part of The Hyundai Project: Korean Art Scholarship Initiative, a global exploration of traditional and contemporary Korean art through research, publications, and exhibitions. Curated by Dr. Virginia Moon, associate curator of Korean Art, The Space Between is the second in a series of exhibitions as part of The Hyundai Project: Korean Art Scholarship Initiative, a global exploration of traditional and contemporary Korean art through research, publications, and exhibitions.

In 2015, LACMA’s Art + Technology Lab awarded Jonathon Keats a grant to explore how wearable technology could enhance, diminish, or alter the identity of the wearer. The artist worked with Lab advisor John Suh and his team from Hyundai Motor Company to extend his ideas about wearables into the automotive realm. Titled “Roadable Synapse”, the project’s first iteration underwent more than two years of research and development before it was realized in the summer of 2017.

The 2023 LACMA Art + Technology Lab grant recipients apply art to technology, experimenting with new ways to address climate, obstacles, and ethics.

When we encounter art and ideas, our thoughts and understandings of the world change direction. Artlab Editors reflect on these refractions, and how art reveals the malleability of perception.

Exploring the role of calligraphy in different strata of Korean society, and the lives and legacies of individual (and social groups of) writers.

A survey of the progression of Korean modern art due to, and in spite of, foreign influence.

Featuring a group of photographs by Hu Chongxian with inscriptions by Zhang Daqian, a master of traditional Chinese painting who designed and built a garden in Taipei which he named "Abode of Illusions"

The inaugural exhibition from the much-anticipated debut of a forged partnership between LACMA and Yuz Museum Shanghai, In Production: Art and the Studio System focused on how the site of the studio, both in visual arts and in cinematic production, has radically shifted in the last 20 years.

Alejandro G. Iñárritu’s conceptual virtual reality installation for LACMA, which explored the human condition of immigrants and refugees.

Random International's Rain Room exhibition at LACMA, an immersive sound and light installation that allowed visitors to walk through a continuous downpour without getting wet.