Artist Lita Albuquerque walks through the Malibu home she and her husband, writer Carey Peck, moved into just weeks ago. White walls and broad windows keep the mountains and ocean in view, while a blue door opens onto an entryway capped by a 24-karat gold-leaf dome. Below, a circle of polished black granite set within green marble mirrors the dome — a reference to Albuquerque’s 1989 public artwork, “Site, Memory, Reflection,” and to the architecture of her Tunisian childhood

In a small, untitled charcoal drawing from 1978, Lita Albuquerque envisions a hallucinatory desert landscape: A solitary mountain emerges from the horizon of an arid plain, bisected by a looming corridor of ultramarine pigment.

Pioneering Land Art and Light & Space artist Lita Albuquerque, known for her work in the 1960s and ’70s, presents Turbulence, featuring a boulder coated in ultramarine blue atop decomposed granite. The piece reflects on the fleeting connection between humanity and nature, with blue serving as a link between earth and cosmos, transforming light into matter.

In keeping with Frieze Los Angeles’s deep fascination with its sprawling metropolitan host, this year’s edition of Frieze Projects offers an insider’s glimpse at the city’s cultural topography.

On the festive occasion of The Getty’s Pacific Standard Time (PST) project: “Art and Science Collide,” ever-inspired artist Lita Albuquerque debuts her fourth presentation with Michael Kohn Gallery.

A matriarch of the Land Art movement that is closely associated with the American Southwest, Lita Albuquerque has engaged with the surface of Earth from the South Pole to Saudi Arabia, Peru to Paris.

Lita Albuquerque’s fourth exhibition at the Michael Kohn Gallery utilizes white color pigments to honor the experience of light-reflecting materials in nature, like salt and snow.

For a few months in the spring of 2020, Isabelle Albuquerque tried to live like a deer. She spent time here at Griffith Park around dusk, watching as the animals emerged. She ate with them and like them, adopting their diet of only raw vegetables, fruits and nuts, including a lot of grass.

The evening of November 7, 2018, Lita Albuquerque had plans to see a performance of Philip Glass’s “Satyagraha” at the L.A. Opera with her husband, Carey Peck. He offered to make a night of it with a downtown staycation. “We never do that,” Albuquerque says. “At first, I said, ‘Oh, no, I’m too busy.’ But then I thought, ‘I’m being a real ass.’ ”

A new site-specific artwork by Lita Albuquerque, “Red Earth,” greets visitors at The Huntington Library, Art Museum, and Botanical Gardens as garden areas reopen after a closure of more than three months as a result of the COVID-19 pandemic. Originally scheduled to go on view in March, the temporary installation centers around a boulder capped with bright red pigment placed among towering bamboo in a grove of the Japanese Garden.

Buddhist teacher and author Stephen Batchelor and artist Lita Albuquerque discuss their views on life, death, and the concept of impermanence with KCRW host Jonathan Bastian. This interview has been abbreviated and edited for clarity.

Desert X, a land art exhibition, first launched in 2017 in the Coachella Valley. It appeared again in 2019. Then its director, Neville Wakefield, announced a new location for 2020: Al Ula, a magnificent desert-scape and UNESCO World Heritage site in Saudi Arabia.

Seated atop a big anamorphous rock in AlUla, an ancient oasis in the Medina region of Saudi Arabia, is an electric blue sculpture of a woman seated in the meditative yogic position called “lotus.” Her legs are crossed while her hands extend out with her palms open on either knee. Her eyes are closed as she connects with the silence and nature that surrounds her.