Science
A new LACMA exhibit uses art and science to unlock hidden histories
Tavares Strachan loves to blur the lines that separate art, science and historical reckoning — as well as past, present and future.
A native of Nassau, Bahamas, he once carved out a 4.5-ton block of ice in the Alaskan Arctic, had it FedEx’ed to the island nation and displayed it in a solar-powered freezer — an extreme commentary on climate change, displacement and interconnectedness.
Strachan became the first Bahamian to visit the North Pole to understand the harsh conditions that in 1909 greeted Matthew Henson — the Black explorer who accompanied Cmdr. Robert Peary on polar expeditions and was likely the first human to ever stand on top of the world. His feat went unacknowledged for years because he was Black.
This piece from Tavares Strachan’s “Inner Elder” series depicts a crowned Nina Simone as the Queen of Sheba.
(Allen J. Schaben / Los Angeles Times)
In another project, Strachan honored America’s first Black astronaut, Robert Henry Lawrence Jr. He died in a plane crash while training a test pilot in 1968 before he could take part in any space mission. So Strachan sent a replica of an artwork inspired by Lawrence into orbit on a SpaceX rocket.
Now a collection of Strachan’s work is on view at the Los Angeles County Museum of Art for his first museum show in the city, titled “The Day Tomorrow Began.”
The multisensory exhibition showcases Strachan’s ability to translate his lifelong passion for scientific inquiry and boundary-pushing adventures into pieces that make you question everything you thought you understood about human progress — all while forcing you to see how Black achievements so easily get written out of the history books.
“The pieces of this particular exhibition that I think may hit people are when they start making connections on their own — the synapses start to fire,” the 45-year-old artist said during a recent tour of his show. “You start to tie in, for example, the relationships between this polar explorer Matthew Henson and Robert Henry Lawrence. And then you start to think about the earlier explorers who left the African continent and this pioneering spirit that is a part of what it means to be African that is oftentimes not articulated or discussed.”
On view until March 29, “The Day Tomorrow Begins” is both whimsical and serious. There is a lot to take in: illustrations and diagrams, displays of traditional African hairstyles, mohair collages made jointly with South African weavers, commemorative ceramics, a field of rice grass whose strawlike scent is meant to pique olfactory memories.
A glassmaker, Strachan covers a wall with two neon signs that spell out quotes by James Baldwin, whose words appear upright, and Mark Twain, whose words appear upside down — in a nod both to the wonders of chemistry and the power of the pen to dissect issues of identity.
In another soaring room, dramatic bronze sculptures flip the script on the triumphs of Western civilization — placing the focus on the oppressed.
One piece depicts the moon, its surface pockmarked by craters. Resting on its north pole is a bust of Henson. Protruding from the moon’s south pole is an upside down bust of Peary.
Fitting for an artist who once put himself through the physical rigors of cosmonaut training, the show feels like a dialogue between opposing forces — boundlessness and constraint, presence and absence.
Strachan, who lives in New York, said his fascination with science and its hidden histories started while growing up as a curious and “very stubborn” kid in Nassau.
He was about 12 when his family bought the first set of encyclopedias that he can remember. But something was off: few entries featured notable figures who looked like him.
Tavares Strachan’s show at LACMA includes a room of whimsical ceramic sculptures from his “Inner Elder” series that are positioned in a field of fragrant rice grass.
(Allen J. Schaben / Los Angeles Times)
“I think this was my first peek into social science,” Strachan said. “Obviously, you can’t collect all of this material without making decisions — you’re deciding what’s seen and what’s unseen. It started to get me going on these questions of visibility and invisibility.”
Strachan started to ponder his place in the ecosystem — and the universe beyond.
Tired of wearing the clothes that his seamstress mother made for him, Strachan raised money for shopping by working on a fishing boat, spending weeks at a time at sea.
At night, far from shore, more stars flickered than he’d ever noticed, and he was awestruck by the way phosphorescent creatures set the waves aglow.
Strachan learned to navigate by tracking the movements of celestial bodies and hunt fish by reading the currents, building on the ancient knowledge his elders handed down.
Up until then, his 700-island archipelago had felt like the center of the world. Now his curiosity was a universe of possibilities.
But while his mind raced across the heavens, Strachan couldn’t stop thinking about the voids that made written accounts of pioneering feats and extraordinary voyages on Earth seem incomplete.
Charles Darwin is a household name, but how many people know that the world’s most famous naturalist learned taxidermy from John Edmonstone, a formerly enslaved Black Briton who owned a bird-stuffing shop in Edinburgh, Scotland?
Strachan was in his 20s when he stumbled upon Henson’s achievement.
“Science — that’s the place where knowledge is produced, and meaning,” exhibition curator Diana Nawi said. “How do we know what we know? I think that’s fundamentally what [Strachan]’s asking.”
Nawi said Strachan’s projects resist the “calcification of history,” which she describes as the process in which a dominant group reinforces narratives that glorify themselves while ignoring or actively erasing the contributions of others.
“Histories are tools of power,” Nawi said. “How do you take that power for different people and different ideas, but also, how do you undo the singular concept of that power?”
In Tavares Strachan’s LACMA show, stories of racial uplift and groundbreaking achievements take center stage. This illuminated piece uses glass, argon and electrodes to evoke the spirit of America’s first Black astronaut, Robert Henry Lawrence Jr., who died in a plane crash before he could take part in a space mission.
(Allen J. Schaben / Los Angeles Times)
“In 2020 … it was the toppling of monuments, for instance,” Nawi said, referring to the decommissioning of statues that celebrate the Confederacy in the wake of George Floyd’s murder.
“History is ripe for the retelling and the retaking,” Nawi said.
That sentiment has many meanings in the current moment.
Some of those removed monuments have been transformed into new artworks that will be on view in the show “Monuments,” at MOCA Geffen and the Brick from Oct. 23 to May 3. At the same time, the Trump administration has attacked public displays of factual but less-flattering aspects of U.S. history as too “woke.”
Strachan’s work also suggests there is power in acts of poetic justice.
Inside one darkened room in the show, a life-size, glass “portrait” of the astronaut Lawrence appears to be levitating as if free from gravitational forces. His frame is lit from within, head-to-toe, by argon trapped in electrified tubes shaped to resemble the human circulatory system, making his soul visible.
America’s first Black astronaut never got to transcend Earth’s atmosphere.
Tavares Strachan poses with his installation “Six Thousand Years,” which is made up of 2,000 panels from his “Encyclopedia of Invisibility.” The leather-bound tome contains 17,000 entries that the artist wrote to bring attention to little-known facts and Black trailblazers.
(Allen J. Schaben / Los Angeles Times)
By fashioning this portrait of Lawrence to capture his spirit, and by shooting a satellite honoring Lawrence into orbit, Strachan wanted to metaphorically help him achieve that goal.
“For me it’s important to ensure that when someone has done something incredible, that the level of storytelling is aligned with the nature of the act, hence the audacity of putting an object into space and trying to get his energy back into the cosmos,” Strachan said.
“But also, it’s about having a 10-year-old walk in and be just amazed by the technical feat of creating this glass object.”
Science
Video: NASA Announces Artemis III Crew
new video loaded: NASA Announces Artemis III Crew
transcript
transcript
NASA Announces Artemis III Crew
NASA announced the crew of Artemis III mission, which will fly to low-Earth orbit to test rendezvous and docking maneuvers with one or two lunar landers.
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“I am excited to welcome you as the next crew in the Artemis journey to successfully return to the moon — this time to stay.” “I’m honored by the role that I’ve been given. I’m also very humbled by the task in front of us. But first and foremost, I’m grateful.” “So with that, the Artemis II crew, comrade, hands you the baton. You got the controls.” “As you know, we had a significant anomaly at our Launch Complex 36A on May 28. We’ve redoubled our efforts and are moving forward.”
By Alisa Shodiyev Kaff
June 9, 2026
Science
Santa Monica Mountains’ last steelhead trout survived the Palisades fire — and even had babies
Scientists feared the Santa Monica Mountains’ last remaining steelhead trout were dead, smothered by debris flows unleashed by the Palisades fire.
But the endangered fish surprised them: A team of biologists recently spotted 30 of the rare trout — and 21 babies — in Topanga Creek.
“There was a lot of happy dancing in the creek,” said Rosi Dagit, principal conservation biologist for the Resource Conservation District of the Santa Monica Mountains, which works with public and private landowners to conserve natural resources.
That’s because the steelhead here are endangered, at both the state and federal levels. Once, they swam in most streams of the Santa Monicas, but their numbers plummeted amid overfishing and coastal development. Increasingly frequent wildfire has further stressed their habitat. Topanga Creek, a biodiversity hot spot, is home to their last known population in the mountains that stretch from the Hollywood Hills to Point Mugu in Ventura County.
The trout that were spotted, including this one, are part of a distinct Southern California population that’s listed as endangered at the state and federal levels.
(RCDSMM Stream Team)
The California Department of Fish and Wildlife spearheaded a complex mission to rescue trout threatened by the Palisades fire that sparked in January 2025.
Time was of the essence. The fire hadn’t yet been fully contained. But rain was on the way, which would sweep massive amounts of sediment from the denuded hillsides into the water. Fish are often killed this way.
Crews stunned the fish with electricity, scooped them up in buckets, trucked them to a hatchery and ultimately moved them to Arroyo Hondo Creek in Santa Barbara County.
Within days, Topanga Creek was choked with mud. Some assumed the fish left behind were goners.
But in March, the conservation district’s team found four. The following month, when water conditions were clearer, they saw more.
“These fish continue to amaze me,” said Kyle Evans, environmental program manager for the state Department of Fish and Wildlife, who had seen the damage to the creek. “I had seen populations get wiped out in similar situations. So when I heard, I was thrilled.”
Evans surmises the fish that survived were in an area of the creek where less charred material and sediment were swept in.
“These fish likely hunkered down, were hiding under some rocks or places to try to get away from the main concentration of flow,” he said. “And luckily they weren’t buried.”
The ones that were spotted were fairly small, around 6 to 14 inches. Rainbow trout and steelhead trout are the same species, but with different lifestyles. If the fish remain in freshwater, they’ll be considered rainbows. However, they can migrate to the ocean and become steelhead, where they typically grow larger before returning to their natal waters to spawn.
Topanga Creek hasn’t fully recovered from the damage it sustained, but scientists say it’s looking better. Surveys last year were “so depressing,” Dagit said, with very few animals, and stretches that were essentially transformed into flat roads from all the sediment buildup. Some of the riparian canopy burned right down to the creek.
Then came 32 inches of rain over the last nine months, scouring out and moving sediment, creating deeper pools. Dagit said they recently found newt egg masses for the first time in years, as well as a few adult newts and many frogs. Plants that provide cover are starting to recover.
She provided photos comparing certain pools last year and this year, some dramatically transformed. In September 2025, the Shrine Pool could have been an overgrown hiking trail. This April, it was filled with shallow water.
The Shrine Pool in September 2025, left, and the same location in April 2026, right, with RCDSMM’s Isaac Yelchin donning a wetsuit.
(RCDSMM Stream Team)
Topanga Creek is home to another endangered fish, the small but hardy northern tidewater goby, often described as cute. Not long before the trout operation, Dagit led a rescue of hundreds of these fish too. Many were repatriated to the lagoon at the mouth of the creek in a moving ceremony last June.
There’s still the matter of what to do with the trout that were moved to Santa Barbara County last year. Evans would like to bring them home to the Santa Monicas at some point, but isn’t sure if it will happen. On one hand, they could bolster the small, genetically isolated surviving population. On the other, they might inadvertently bring in a disease or bacteria. There is some time to decide. Evans estimates the creek still needs to recover for two to three more years.
For now, the fish are functioning fine in their adopted creek. Experts worried the trauma wrought by the move would disrupt their spawning process, but they had babies that spring. This year, they spawned again.
Science
Pacifica pier cracks, another coastal casualty as seas continue to rise
The Pacifica Municipal Pier was shut down and taped off Thursday after city workers noticed cracks running through the landmark structure and concrete chunks falling into the ocean.
It’s just one of many coastal California structures that have recently crumbled under pressure from a rising and relentless ocean.
Officials from the small, beach city south of San Francisco said the pier was closed due to “cracking, separation, and displacement of the concrete walkway and structural elements.”
It will stay closed while structural engineers asses its safety.
Photos taken by city employees show a wide crack that runs from top to bottom and across the structure as well. Other photos show a large horizontal crack under the foundation of a small restaurant on the pier, the Chit Chat Cafe.
The cafe was also shut down.
This is not the first time the 53-year-old pier has shown signs of stress. In 2021, part of it was shut down after handrails along the edge collapsed. And in 2023, after a series of storms pummeled the Central California coast, damaging parts of the pier, the structure was partially closed for more than year.
Those same storms caused extensive damage in Aptos and Capitola, 70 miles south, where piers and waterfront infrastructure were swept away or damaged.
In 2024, a 150- to 180- foot section of the Santa Cruz wharf was ripped off by powerful waves.
At least 10 of the state’s dozens of coastal public piers were closed for part or all of 2024 due to structural damage sustained in winter storms since 2022. At least five others have longer-term upgrades planned to address structural issues.
“These things are costly to maintain,” said Zach Plopper, senior environmental director at Surfrider. “They are a part of our California coastal culture in many ways, but we’re going to need to reckon with, one, the state that they’re in, and two, the continuous and worsening threats they’re going to experience,”
He said most of the piers were constructed in the early 1900s, and they weren’t built to withstand decades of rough seas, storms and rising sea level.
“With this incoming El Niño, which is forecasted to be significant, and this marine heat wave we’re in the midst of, we’re kind of in uncharted waters as far as what this winter could bring in terms of storms and swells to the California coast, and we’re likely going to see a lot more damage,” he said. “Not just piers, but roads and other coastal infrastructure up and down the state.”
There was no storm in Pacifica earlier this week, so no single event could be blamed for the destruction.
However, a 2025 report from an outside engineering firm, GHD, found that several sections of the pier were in “poor” or “serious” condition, and they recommended closure before anticipated storms or events that could “subject the piles to high winds, swells and large waves.”
The firm found several areas of the pier where concrete was missing and rebar was exposed and corroding.
“The pier has continued to experience high winds and large waves in a harsh marine environment,” the engineers wrote in the report, noting that continuous exposure to seawater or marine spray was “detrimental” to the structure.
A 2023 city report estimated it would cost $19 million to repair.
That same year, a state law was enacted to require local governments along the California coast to plan for sea level rise in the coming decades.
Sea level has risen some 8 inches, on average, along the coast in the past 150 years, Plopper said, and researchers anticipate another foot in the next 25 years.
“We’re going to see profound shifts on our coastline, none that we have ever experienced before, and building static structures on the coast just doesn’t work all that well,” he said. “We’re going to have to make some really hard decisions.”
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