Space

Gray skies didn’t prevent L.A.’s arts community from getting fancy in support of the Hammer Museum’s annual Gala in the Garden. Adorned in fur coats, colorful sunglasses and patterned ties, artists and celebrities including Owen Wilson, Rufus Wainwright, Lauren Halsey and Catherine Opie joined to celebrate gala honorees Betye Saar and television writer and producer Darren Star.

The event highlighted how the Westwood-based museum inspires creatives and harnesses community for the city’s artists. Under pink and yellow lights, guests enjoyed cocktails while admiring the museum’s galleries. Guests, including Los Angles County Museum of Art Director and Chief Executive Michael Govan and the Hammer’s Director Emerita Ann Philbin, reunited with old friends and colleagues, making the event feel like a family affair.

All were unified in their admiration of the night’s guests of honor.

At 99, Saar is among L.A.’s most esteemed and accomplished living artists. Her career has spanned more than seven decades, with an early focus on rejecting white feminism and reclaiming the Black female body. Civil rights activist Angela Davis traced the start of the Black women’s movement to the creation of Saar’s 1972 assemblage piece, “The Liberation of Aunt Jemima.”

During onstage comments at the gala, Getty Research Institute presidential scholar Sandra Jackson-Dumont discussed the massive impact Saar has had on the art world.

“It measures in the artist who found their voice because you insisted that your voice mattered. It’s in the institutions that shifted because you demanded that they see us,” Jackson-Dumont said while introducing Saar to the stage. “You take what the world cast aside and breathe spirit into it, insisting that the overlooked can speak, that the discarded can testify, that the everyday can dream.”

The event also served as an early celebration for Saar’s 100th birthday in July, with Jackson-Dumont calling her birthday “100 years of vision. 100 years of courage.”

“[It’s] not 100 years of working, of making art, but 100 years of living with eyes wide open, heart attuned, spirit unbound, we stand in awe,” Jackson-Dumont said.

Saar took to the stage amid a resounding standing ovation, and when she spoke, the crowd’s gaze remained intently on her. While Saar kept her remarks short, she talked about the importance of art in everyday life.

“So many people do not realize how important art is, how it affects everything we do. Even bad things, because you can take art and make it good,” Saar said. “I want to thank you for coming to this event because by you being here, it encourages a lot of other people who are not here to love art and to use art and to know how important art is in this foreign life.”

Netflix co-Chief Executive Ted Sarandos introduced Star, who created groundbreaking series including “Beverly Hills, 90210,” “Sex and the City,” “Younger” and “Emily in Paris,” which defined pop culture references for generations of television viewers.

Sarandos called it a “privilege” to work with Star, explaining that his work has an “enduring staying power” and that “there has never been a storyline that is too bats— crazy for Darren.”

“Darren is simply one of the most talented showrunners of his generation, with his finger on the pulse of pop culture for more than three decades,” Sarandos said. “He influences the clothes we wear, the way we cut our hair, the music we listen to and the dreams we dream.”

Star, who has long served on the Hammer’s board of directors, celebrated his honor by explaining what he loves about the museum, including its Alice Waters’ restaurant Lulu, and the environment the space provides for Los Angeles creatives.

“The Hammer creates a wonderful community. We come together because we all love art, love Los Angeles and love this museum,” Star said. “I’m grateful to be part of this family and the city’s extraordinary artistic life.”

The gala was the second under the leadership of Hammer Museum Director Zoë Ryan, who succeeded longtime director Ann Philbin in January 2025. Former Los Angeles City Council President Joel Wachs called Ryan a “true scholar, open-minded, unflappable.”

“I believe she is exactly the kind of strong leader this institution needs in these really difficult, complicated and turbulent times,” Wachs said during his opening remarks. “And if anyone can be counted upon, I believe it’s her that will vigorously defend against the grave dangers and vicious attacks on freedom of expression that both museums and universities currently face.”

During her speech Ryan said the Hammer is “cherished” by the Los Angeles community, and that she intends to keep providing a space for creatives in the city.

“At the heart of the Hammer is a deep commitment to giving space to artists, bold and experimental ideas, and supporting audiences as a catalyst for change through dialogue and exchange — all much needed in this country right now.”

Lying horizontal on the pad, the SpaceX Falcon Heavy rocket is being prepared to launch the ViaSat-3 F3 Satellite from Launch Complex 39A at the Kennedy Space Center, Florida on Sunday. ViaSat-3 will be the third latest generation VisSat satellite to be lifted to a geosynchronous orbit. Photo by Joe Marino/UPI | License Photo

April 27 (UPI) — SpaceX‘s first Falcon Heavy rocket in 18 months was called off due to unfavorable weather Monday at NASA’s Kennedy Space Center in Florida.

The rocket, which was meant to carry a ViaSat-3 F3 communications satellite into orbit, was scheduled to launch during an 85-minute window beginning at 10:21 a.m. EDT.

SpaceX announced on social media that the launch would be rescheduled.

“Standing down from today’s Falcon Heavy launch of the @viasat-3 F3 mission due to unfavorable weather,” the company said on X. “Vehicle and payload remain healthy. A new target date will be shared once confirmed.”

The 45th Weather Squadron earlier said that Monday’s launch window had about a 70% chance of favorable weather conditions.

The Falcon Heavy, which last launched in October 2024, uses three modified versions of the SpaceX Falcon 9 rocket’s first stage, with an upper stage contained in the central booster. The Falcon Heavy features 5.1 million pounds of thrust at liftoff, making it the second most powerful rocket in current use, after NASA’s Space Launch System moon rocket, which boasts 8.8 million pounds of thrust.

The 6.6-ton ViaSat-3 F3 satellite will head to geostationary orbit 22,236 miles over the surface of the Earth. It will provide broadband coverage to ViaSat’s commercial, defense and consumer customers in the Asia-Pacific region.

The Falcon Heavy rocket made its first flight in 2018, and has since launched for 10 missions, including carrying previous ViaSat-3 satellites into orbit.

Dave Abrahamian, ViaSat’s vice president of satellite systems, said the newest satellite is expected to be ready for use faster than the most recent ViaSat-3 satellite, which was carried into orbit by United Launch Alliance’s Atlas 5 rocket.

“Falcon Heavy is a more powerful vehicle than Atlas 5 was, so they can put us in a more favorable transfer orbit for the electric propulsion,” Abrahamian told Spaceflight Now.

It’s not only easy to get lost in the Los Angeles County Museum of Art’s new David Geffen Galleries, it’s inevitable, intentional — and one of the best things about the place.

The museum has deconstructed the traditional, boxy narrative of art history and rendered the story itself a matter of curves and continuities. Art in the collection is freed from its departmental silos and put into conversation across genre lines, place and time.

The museum has physically invalidated the binaries of center and periphery, major and minor arts. In a startling and largely gratifying way, LACMA has done what the poet Audre Lorde, alluding to a different but not unrelated aspect of patriarchal dominance, deemed impossible: used the master’s tools to dismantle the master’s house.

The change goes far beyond a remodel. It’s a reinvention, a recalibration, a revisionist fever dream.

The vision conceived by museum director and Chief Executive Michael Govan and architect Peter Zumthor is not perfect, and brings with it a modest set of frustrations, but as a whole, the installation registers as ravishing and bracingly fresh. It thrusts us midstream into the ageless, ceaseless flow of makers worldwide reckoning with life, earth and being.

It prompts us, as we bob about, to reflect on our own proclivities and preconceptions, our patterns of reception and perception.

It compels us to recognize that what matters is not just what we see in the museum but how we see, what pulls us close and why, what private histories we bring to the occasion, what expectations, what tools.

Over two visits to the new building, getting my physical bearings mattered less and less as I surrendered to the generative sensations of not knowing. The museum has produced a dense guidebook to the new galleries, whose title, “Wander,” doubles as invitation and imperative. Even at 430 pages, the book is only minimally useful as an orientation device. For help with that internal navigation, Rebecca Solnit’s moving 2005 book, “A Field Guide to Getting Lost,” proved a better compass.

Solnit, citing the cultural critic Walter Benjamin, writes, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” She goes on to recall how roaming freely as a child was key to developing self-reliance, which feels apt to the LACMA strategy. We are put in charge of making our own way, through tapestries and tea sets, past ancient jug and contemporary sphinx, without heavy-handed authoritative direction.

The history of art reads here as one long, free verse poem-in-progress, gorgeous and absorbing. Even so, many of the most memorable moments come in the form of cogent micro-essays, smartly curated ensembles of work bearing a legible, lucid premise. Some of these are contained within four (rectilinear) walls; some occupy less demarcated spaces. “Tonal Variations: Photography and Music,” for instance, gathers images by Paul Caponigro, William Eggleston, Lisette Model and others. These artists were also serious pianists, attuned, no matter which instrument they were using, to the qualities of rhythm, pattern and progression.

In a section headed “The Global Appeal of Blue-and-White Ceramics,” a long display case houses a timeline articulated sculpturally. The sequence advances from a 9th century bowl made in Iraq to a 13th century vessel from China, a 14th century example from Thailand, another from 15th century Syria, up to work by a 20th century German artist who transformed a functional vessel into personal adornment by cutting a string of beads out of the planar surface of the bowl.

On the wall facing this display is a huge vitrine containing an 18th century Talavera jar from Mexico, paired with a 2025/26 color photograph by Brooklyn-based Stephanie H. Shih. In the still-life composition, a cheeky visual lesson on the collision and convergence of cultures, the jar holds flowers, cactus and edible Mexican treats influenced by Chinese and Filipino flavors.

Shih is one of a handful of artists commissioned to create new work using the museum’s collection as muse. L.A.-based Lauren Halsey is another. Her formidable, untitled 2026 sphinx regally commands its space among ancient Egyptian and Roman sculpture, a marvel of the cross-temporal and cross-spatial, spiked with specific references to Black self-determination.

Setting recent works among older ones is an effective element of LACMA’s overall plan to shed outworn hierarchies. It recasts every piece of art by every artist throughout the single-story space as equally relevant. The seamless integration of old and new feels stealthy, and a touch subversive, a doubling-down on the museum’s approach to time as nonlinear, sinuous and delightfully slippery.

That said, a few words readily available would help connect the dots without undermining the provocation. Text — where and how it appears, or doesn’t — is my only major complaint about the installation of the new galleries.

Text panels announce, in one or two paragraphs, the themes of each given section: “Images of the Divine in South Asia”; “The Evolution of Abstract Painting in Modern Korea”; “Textile Conversations: Africa and Black America.” Individual object labels are kept minimal, containing only basic identification about each work, no commentary. When asked about this decision during my first walkthrough, Govan replied that more time reading means less time looking — “and we have the internet.” Every thematic text panel has a QR code that links to the Bloomberg Connects app, an aggregate guide to museums and other cultural sites that offers selected, augmented entries.

Determining how much didactic information is insightful and sufficient, and how much constitutes excessive artsplaining, is a delicate, ongoing challenge for museums. Where LACMA landed on this contested plain strikes me as unfortunate and counterproductive.

A few lines of explanation or context on a wall label can add perspective for even the most informed visitor, and provides crucial support to those with less foundational exposure and access to art.

You can take or leave text on a wall without breaking your stride, but text accessed via QR code is another matter. (Never mind that connectivity is spotty inside a sprawling concrete shell, and several times when I tried to get information from the app, I couldn’t.) Encouraging us to shift our gaze from the wall to our devices — to assume that accursed downward tilt of the neck when splendors abound before our eyes — is simply detrimental. It breaks the spell of being fruitfully lost in the present, and retethers us to the digital distractions that dominate our days.

Shouldn’t the imaginative minds that created this space, this opportunity to revel in direct sensual experience, want us to keep our attention where our bodies are? Why this fallback to current convention, when the rest of the experience is about radical reinvention? This feels like a missed opportunity. I’m hoping a more experimental, exploratory approach to providing information, context and interpretation, in keeping with the rest of the enterprise, might yet come.

Does the new structure serve the art? Mostly, very well.

The lighting is varied, treated as another texture in the space, palpable and rich. There’s a generous amount of natural sunlight, but some spots are noticeably dim. Some gallery walls are glazed in deep hues (reddish and eggplant), and the intensity of the color is jarring at first. But neutral, white-box viewing spaces (with even, predictable lighting) can be found elsewhere on LACMA’s campus and pretty much anywhere art is shown. Here, the very irregularity of the interior environment, including the concrete surfaces — richer and more textured than I expected — heightened my alertness. And keener senses tend to make for more consequential experiences.

In deciding how to organize roughly 2,000 works of art across 110,000 square feet of exhibition space, LACMA devised a conceptual schema that isn’t apparent in the galleries themselves. The “Wander” guide maps out the division of the space into four regions correlating to bodies of water: the Indian, Atlantic and Pacific oceans, and the Mediterranean Sea. While the zones and their boundaries aren’t indicated by obvious signage, and I caught one laughable categorization (Ansel Adams’ photographs of the Pacific shoreline landing in the Atlantic section), this schema at least doesn’t get in the way.

And what does work about the propositional structure is its comprehensive realignment. It moves to retire art historical frameworks of the past, dependent on borders between places and times.

Throughout this installation, we are repeatedly reminded of the impact of trade and migration, the fluid movement of resources and belief systems. We’re reminded of porousness and simultaneity, and that all art histories are, in the end, propositional structures.

Here’s a new one, the Geffen Galleries say. Try it out. You might get lost. Indeed, you will get lost. And what wonders await you in the uncertainty and mystery.

The FAA has grounded Blue Origin’s New Glenn rocket because although its launch was successful, one of the engines on its second stage did not fire properly when it got to space, which resulted in the spacecraft releasing a communications satellite in too low of an orbit to be useful. Photo by Joe Marino/UPI | License Photo

April 20 (UPI) — The Federal Aviation Administration grounded Blue Origin‘s New Glenn rocket after it botched the release of a satellite following its successful launch two hours earlier.

The third launch of New Glenn and second landing of its reusable booster stage “Never Tell Me The Odds” on a drone ship in the Atlantic Ocean was a success in those terms, but the spacecraft delivered AST SpaceMobile’s BlueBird 7 satellite to an orbit too low for it to operate properly.

Blue Origin said Monday that it is leading an investigation into one of New Glenn’s engines producing insufficient thrust to reach the mission’s target orbit.

“While we were pleased with the nominal booster recovery, we clearly didn’t deliver the mission our customer wanted, and our team expects,” Blue Origin CEO Dave Limp said in a post on X.

The FAA, NASA, the National Transportation Safety Board and the U.S. Space Force also have been monitoring the situation and will require Blue Origin to complete its investigation and report on the engine anomaly, the Orlando Sentinel reported.

“A return to flight is based on the FAA determining that any system, process or procedure related to the mishap does not affect public safety,” the FAA said in explaining why it grounded the rocket.

The New Glenn-3 rocket launched around 7:30 a.m. EDT on Sunday morning, nailing the flight and landing portion of its mission, and successfully released the BlueBird 7 satellite once it reached orbit.

Because one of the two BE-3U engines that power New Glenn’s upper stage didn’t produce sufficient thrust on its second engine burn, which is meant to boost the spacecraft to its target orbit above Earth, it never got there.

Although the satellite was released and powered on properly, the off-nominal orbit — which was too low for it to be useful — AST said it would be jettisoned.

BlueBird 7 is one of 45 satellites that AST SpaceMobile hopes to get in orbit by the end of 2026 as part of a satellite-based cellular network designed to operate with standard smartphones.

The satellite would have been the companies eighth to reach orbit, and it’s share price Feller by more than 6% on Monday, The BBC reported.

Limp said Blue Origin is analyzing data as it conducts the investigation and is “in steady communication with the team at AST SpaceMobile.”

“We appreciate their partnership, and we’re looking forward to many flights together,” Limp said.

April 19 (UPI) — Blue Origin successfully launched its New Glenn rocket and landed its booster stage, but it delivered a communications satellite into an orbit too low to be useful.

New Glenn-3, the third launch of the company’s rocket, cleared the tower just before 7:30 a.m. EDT on Sunday morning and roughly six minutes later its first stage touched down on the “Jacklyn” drone ship in the Atlantic Ocean.

The fully reusable booster, called “Never Tell Me The Odds,” was making its second landing as the mission hit its second stage engine cutoff, entered orbit and released AST SpaceMobile’s BlueBird 7 satellite successfully.

The release was successful and the satellite powered up properly, but had been placed into “an off-nominal orbit,” Blue Origin said in a post on X.

“During the New Glenn 3 mission, BlueBird 7 was placed into a lower than planned orbit by the upper stage of the launch vehicle,” AST said in a press release.

“While the satellite separated from the launch vehicle and powered on, the altitude is too low to sustain operations with its on-board thruster technology and will de-orbited,” the company said. “The cost of the satellite is expected to be recovered under the company’s insurance policy.”

AST’s BlueBird 7 satellite is part of a space-based cellular broadband network the company is building that will be accessible using normal smartphones.

The satellite would have been the eighth the company has put in orbit for the network, has satellites number through 32 in production and expects BlueBird 8, BlueBird 9 and BlueBird 10 to be completed in the next month.

AST said that it plans to continue launching satellites roughly every other month for the rest 2026 using “multiple launch providers,” with a goal of 45 satellites in orbit by the end of the year.

Blue Origin, in addition to launching satellites for commercial and government entities, is also building a prototype MK1 “Endurance” lander as a test vehicle in an uncrewed moon landing later this year, Space.com reported.

The prototype is a test run for its MK2 lunar lander that will be used in NASA’s Artemis program to explore the moon and establish a permanent human presence there.

April 17 (UPI) — Nearly one-third of the United States — the northern-most third of the country — could be among areas the National Oceanic and Atmospheric Administration said could see the aurora borealis in the sky.

The northern lights are expected to be most visible, for the second night in a row, across 18 states that fall within the expected viewline this evening, USA Today and Space.com reported.

The solar winds hitting Earth at up to 430 miles per second will cause geomagnetic storms that could be visible as far south in the United States as Illinois and Oregon, according to predictions.

NOAA can most closely forecast the aurora borealis within 30 to 90 minutes of the storm’s location and intensity, but offers maps on its website to help people who would like to see it.

“Aurora can often be observed somewhere on Earth from just after sunset or just before sunrise,” NOAA said in its forecast notes.

The northern lights are an indicator of geomagnetic conditions, NOAA said, and awareness of them matter for a number of essential human technologies, including HF radio communication, GPS satellite navigation and, sometimes, ground-induced currents that affect electric transmission.

The states that are most likely to see the aurora are Alaska, Idaho, Iowa, Illinois, Maine, Michigan, Minnesota, Montana, Nebraska, New Hampshire, New York, North Dakota, Oregon, South Dakota, Vermont, Washington, Wisconsin and Wyoming.

“For many people, the aurora is a beautiful nighttime phenomenon that is worth traveling to arctic regions just to observe,” NOAA said, noting the rarity that it could be visible as far south as it has been forecast.

“It is the only way for most people to actually experience space weather,” the agency said.