david geffen galleries

Los Angeles County Museum of Art management on Wednesday declined to voluntarily recognize the union its employees announced they were forming last week. This means LACMA United cannot move forward with collective bargaining efforts until it is formalized by a National Labor Relations Board election. Complicating matters further, NLRB activities — including elections — are on hold amid the federal government shutdown.

The disconnect between staff — a clear majority of whom signed union authorization cards — and management comes at a significant moment in the museum’s history as LACMA works tirelessly to open its $720-million David Geffen Galleries. The new home for its encyclopedic permanent collection, designed by Pritzker Prize-winning architect Peter Zumthor, contains 110,000 square feet of gallery space and is scheduled to open to the public in April after more than a decade of planning, fundraising and building.

In a news release, the union noted that organizing efforts — in the works for more than two years — have taken on added urgency as workloads have increased in the face of opening the new building.

“Staff across departments — many performing demanding physical labor — are stretched thin as deadlines accelerate,” LACMA United wrote. “Without adequate protections, this pace is unsustainable and has already contributed to burnout and turnover among dedicated employees who deserve better from an institution they’ve helped build.”

The union’s organizing committee added in a statement, “We are disappointed that LACMA leadership has chosen to delay rather than embrace the democratic will of its workers. While the museum reimagines itself as a more collaborative, less hierarchical institution in its new David Geffen Galleries, it has declined to extend that same vision to its relationship with the very people who bring LACMA’s mission to life every day.”

“LACMA’s leadership has great respect for our team and for everyone’s right to make their own choice on this important issue,” Michael Govan, the museum’s director and chief executive, said in an email. “No matter the outcome, my commitment to our employees — to listen, to support them, and to continue building a strong and respectful workplace — remains unchanged.”

Management’s decision stands counter to those made by other cultural institutions across the city, including the Museum of Contemporary Art, the Academy Museum and the Natural History Museum, all of which voluntarily recognized their unions over the last six years.

LACMA United represents more than 300 workers from across all departments, including curators, educators, art installers, conservators, registrars, visitor services staff, facilities workers, researchers and designers. The union is asking for improved wages, benefits and working conditions in what has proved to be a challenging climate for museum workers across the county.

The union did not demonstrate at last week’s celebrity-packed LACMA Art + Film Gala, which was co-hosted by Leonardo DiCaprio and fashion designer Eva Chow, and raised more than $6.5 million in support of the museum and its programs.

The concrete walls of the David Geffen Galleries were still bare Thursday evening. The landscaping outside was still settling in, and pockets of construction were still visible. But the minute the music poured out of the upstairs entryway, it finally hit: The new LACMA was actually here.

After five years of construction, so much debate about its scale, design and ambitions, the Los Angeles County Museum of Art held its first event Thursday night inside the Peter Zumthor-designed building. A sprawling, immersive concert by composer and SoCal jazz hero Kamasi Washington called for multiple bands, each with about a dozen musicians, to play site-specific arrangements throughout the empty galleries before art has been installed. A woodwind ensemble overlooked Park La Brea through floor-to-ceiling glass; a choir stacked harmonies that floated over the span of the structure as it crossed Wilshire Boulevard.

Hundreds of VIPs and members of the media took it all in. The project has its skeptics, including how the museum’s permanent collection will function in it. But for now, museum members could slink about the echoing halls of L.A.’s newest landmark and ponder the possibilities.

Guests at the sneak peek inside the new building Thursday cross a glass-lined expanse that crosses over Wilshire Boulevard.

LACMA Director Michael Govan addresses members of the media assembled for the first public peek inside the empty building, which still needs to complete some construction details and install the art before opening, targeted for April 2026.

The design of the museum has morphed over the years, from a dark, curvaceous amoeba-like form that echoed the nearby La Brea Tar Pits to a design that retains the curves up top but shifts to rectilinear glass on the galleries level below.

The preview event Thursday featured musicians staged throughout the building.

Preview events give museum members a chance to view Zumthor’s design before art is installed. One of the lingering questions is how the concrete walls will fare given the museum’s new plan to shift from permanent collection displays to ever-rotating exhibitions — and all the rehanging of artworks that will be required.

The setting sun casts long shadows from visitors looking out toward the rooftop of Renzo Piano’s Resnick Pavilion and, off in the distance on the left, the Academy Museum of Motion Pictures’ domed terrace.

Artist Tony Smith’s installation “Smoke” has a new home outside the David Geffen Galleries. The museum recently announced the addition of a forthcoming Jeff Koons’ sculpture, “Split-Rocker.”

When the new building opens in April 2026, LACMA has said, the ticketing process will be handled at kiosks on the ground level.

Inside another one of the galleries. Some of the architecture-circle speculation about the building has centered on the finish of the building’s concrete, inside and out.

The view from the David Geffen Galleries as it crosses Wilshire Boulevard.

Times art critic Christopher Knight, who won a Pulitzer Prize for his early analysis of the LACMA building plan, and Times music critic Mark Swed attended the preview concert event Thursday. Check back for their first impressions of the new space.

“The general public was admitted to new Los Angeles County Museum of Art for the first time on Friday night — not to look at art but to listen to music,” wrote Times music critic Albert Goldberg in 1965. Exactly 70 years and three months later, history repeated itself.

Thursday night was the first time the public was allowed into LACMA’s David Geffen Galleries. The occasion was a massive sonic event led by jazz saxophonist Kamasi Washington. More than a hundred musicians spread out in nine groups along 900-foot serpentine route of Peter Zumthor’s new building, still empty of art.

The celebration, which drew arts and civic leaders for the first of three preview nights, was far grander than the concert on March 26,1965, that opened LACMA’s Leo S. Bing Theatre the night before the doors opened to the museum’s original galleries. That occasion, a program by the legendary Monday Evening Concerts in which Pierre Boulez conducted the premiere of his “Éclat,” helped symbolize an exuberant L.A. coming of age, with the Music Center having opened three months earlier.

Monday Evening Concerts had been a true L.A. event drawing local musical celebrities including Igor Stravinsky and showing off L.A.’s exceptional musicians. The mandolinist in “Éclat,” for instance, was Sol Babitz, the father of the late, quintessential L.A. writer Eve Babitz. Boulez, an explosive composer, eventually turned the 10-minute “‘Éclat,’ for 15 instruments” into a 25-minute orchestral masterpiece, “Éclat/Multiples,” and left unfinished sketches behind to extend that to a full hour.

Kamasi Washington performing Thursday night.

(Allen J. Schaben / Los Angeles Times)

Washington turned out to be the ideal radical expansionist to follow in Boulez’s footsteps for the new LACMA, with a resplendent enlargement of his 2018 half-hour EP, “Harmony of Difference.” The short tracks — “Desire,” “Knowledge,” “Perspective,” “Humility,” “Integrity” and “Truth” — employ nearly three dozen musicians in bursts of effusive wonder.

For LACMA, Washington tripled the number of musicians and the length. What some critics thought were bursts of bluster, however enthralling, became outright splendor. Introducing the program, LACMA Director Michael Govan called it an event that has never happened before and may never happen again. I got little sense of what this building will be like as a museum with art on the walls, but it’s a great space for thinking big musically and, in the process, for finding hope in an L.A. this year beset by fires and fear-inducing troops on our streets.

Washington is one of our rare musicians who thrives on excess. He has long been encouraged to aim toward concision, especially in his longer numbers, in which his untiring improvisations can become exhausting in their many climaxes. But that misses the point. I’ve never heard him play anything, short or long, that couldn’t have been three times longer. His vision is vast, and he needs space.

In the David Geffen Galleries, he got it. The nine ensembles included a large mixed band that he headed, along with ensembles of strings, brass, woodwinds and choruses. Each played unique arrangements of the songs, not quite synchronized, but if you ambled the long walkways, you heard the material in different contexts as though this were sonic surrealism.

A crowd gathers to watch Washington on Thursday.

(Allen J. Schaben / Los Angeles Times)

Acoustically, the Geffen is a weird combination. The large glass windows and angled concrete walls reflect sound in very different ways. Dozens of spaces vary in shape, size and acoustical properties. During a media tour earlier in the day, I found less echo than might be expected, though each space had its own peculiarities.

Washington’s ensembles were all carefully amplified and sounded surprisingly liquid, which made walking a delight as the sounds of different ensembles came in and out of focus. A chorus’ effusiveness gradually morphed into an ecstatic Washington saxophone solo down the way that then became a woodwind choir that had an organ-like quality. The whole building felt alive.

There was also the visual element. The concert took place at sunset, the light through the large windows ever changing, the “Harmony of Difference” becoming the differences of the bubbling tar pits nearby or the street life on Wilshire or LACMA’s Pavilion for Japanese Art, which looks lovely from the new galleries.

Govan’s vision is of a place where art of all kinds from all over comes together, turning the galleries into a promenade of discovery.

LACMA Director Michael Govan addressing the crowd Thursday night before Kamasi Washington performs.

(Allen J. Schaben / Los Angeles Times)

Musically, this falls more in line with John Cage’s “Musicircus,” in which any number of musical ensembles perform at chance-derived times as a carnival of musical difference — something for which the Geffen Galleries is all but tailor-made. Nevertheless, Washington brilliantly demonstrated the new building’s potential for dance, opera, even theater.

The museum may not have made performance a priority in recent years, but Washington also reminded us that the premiere of Boulez’ “Éclat” put music in LACMA’s DNA. Seven decades on, Zumthor, whether he intended it or not, now challenges LACMA to become LACMAP: Los Angeles County Museum of Art and Performance.