viewfromaloft

PST: LA/LA Media Notes

 

Cheech


A catch-up of media responses to Pacific Standard Time: LA/LA begins with Cheech Marin contemplating the power of Latino/a/x art. AdAge posts about "Lost in Art" that has Marin "act out, in surreal and often hilarious ways, a different aspect of what you'll find in the art exhibit: like harmony, affirmation, reflection, eternal love, awareness and dialogue."

A mid-run preview of PST: LA/LA came in from NBCNews and recants a common theme: the current political climate has made this far-flung series of exhibitions more relevant than when it was initiated.

“It’s been so gratifying to see that art history has expanded to be more inclusive of Latin America and other cultures that were previously considered to be marginal or irrelevant,” said Patricia Phelps de Cisneros, a Venezuelan-born art collector and philanthropist who focuses on Latin American modernist and contemporary art from South America. Her collection of Brazilian and Argentinian Concrete and Neo-Concrete artists is one of the exhibits.

“We’re in very troubling times which only gives us more energy to explore the many ways in which our American histories, North and South of the border, are united and in continuous dialogue,” Cisneros told NBC News.

Carolina A. Miranda looked at Donald Duck, star of “How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney:

One scholar has even theorized that Donald Duck may have been inspired by indigenous Latin American culture to begin with. Disney did not have an official comment on the matter, but as the story goes, an artist who worked for Diego Rivera gave a lecture on Mexican art to a group of employees at Disney Studios in the early 1930s. Among the visuals, there may have been an image of a pre-Columbian duck vessel from Colima. Made hundreds of years before the birth of Christ, it resembles a wide-eyed duck wearing what appears to be a small beanie.

“Disney appropriates and the people appropriate Disney,” says [co-curator Rubén] Ortiz-Torres. “It’s a constant dispute.”

Sharon Mizota's review of “Video Art in Latin America” at LAXART in LAT says there is a stink in the air:

That sickly sweet aroma, edged with the tang of decay, comes from “Musa paradisiaca,” a large installation by Colombian artist José Alejandro Restrepo. (The title is the Latin name for a type of edible banana.) Quietly dominating the central gallery is a hanging garden of banana tree stems, each one studded with many, many bunches of bananas. The fruits are in various stages of decay, but most are little more than shriveled black nubs. In the large, darkened gallery, the stems are a haunting presence, like chunks of meat hung up to cure, or more disturbing, hanging bodies. 

Steve Appleford for LAT: 'In life and on canvas, the 'tragic explosions' and L.A. dreamscapes of artist Carlos Almaraz'

The paintings typically use striking splashes of color to create scenes of dream imagery both tranquil and hard-boiled, from seductive landscapes of the bridge at Echo Park Lake to a modern-day shootout by the beach between cops and vatos locos gangsters. In 1983's "Suburban Nightmare," Almaraz shows a home burning on a perfect field of green, as small human figures quietly watch helplessly from the street.

The show collects many of his famous car crash paintings, which imagine explosive disasters on the highway — one driving catastrophe after another in abstract eruptions of fire and motion. Hanging nearby are erotic drawings never before exhibited, documenting the artist exploring his bisexuality, as naked lovers and demons intermingle.

Early Previews: In “A Head-Spinning, Hope-Inspiring Showcase of Art," NYT's Holland Cutter wrote:

I guess there’s a God. During one of the meanest passages in American national politics within living memory, we’re getting a huge, historically corrective, morale-raising cultural event, one that lasts four months and hits on many of the major social topics of the day: racism, sexism, aggressive nationalism. True, the hugeness of the thing is a problem, and the contents are uneven. But it’s a gift, worth a trip to puzzle over and savor.

Also during opening week, Matt Stromberg wrote in  the LAT:

Argentine-born Liliana Porter, whose work is featured in no fewer than three PST: LA/LA shows, embodies this sense of complicated identity. Her grandparents were from Russia and Romania, and though she was born in Buenos Aires, she moved to New York in 1964 (“I arrived with the Beatles,” she joked to The Times afterward), where she has lived ever since.

“We are really a mixture of cultures and experiences,” she said. “It would be wonderful to be able to be all that at the same time, without having to have a category that negates the rest that we are.”

From [Economist]:

But the most important long-term outcome may turn out to be a shift in perspective. A small show at the Craft & Folk Art Museum shows the Mexican-American border not as a wall but as a place of imagination and possibility, and the artists who inhabit it as makers of “cross-border art”: artists like Raquel Bessudo, who makes polyester jewellery based on the route followed by the deadly immigrant train, La Bestia, or Ana Serrano with her village “Cartonlandia” and Ronald Rael, who playfully reimagines the border wall as a cycling track, a xylophone or a place to hang a seesaw. No longer the home only of snapping mastiffs and armed guards, Donald Trump’s wall could become an inspiration to creativity, proof of a common humanity.

KCET, who are media partners for PST: LA/LA, have several observations, including G. James Daichendt on Ken Gonzales-Day's “Surface Tension” at the Skirball; Self Help Graphics and the Birth of Modern Day Día de los Muertos by Jordan Riefe; and '¡Murales Rebeldes! Bares the Plight of L.A.'s Murals' by Cynthia Rebolledo. For LA Weekly Carribean Fragoza went long form. On behalf of Inland California, I have a preview at LAObserved.

 

LAT's architect critic Christopher Hawthrone for Architect Magazine:


While the idea that Los Angeles has no history is a crude caricature—one not infrequently sketched out by people who wish their own cities had a little more going on in the present day—it would certainly be fair to say that L.A. hasn’t always tended especially well to its past. We have ignored the work of certain artists and architects and destroyed the work of others. We have whitewashed important figures and communities in a figurative sense and important murals in a literal one. We have fostered a culture, relentlessly fixated on churning progress and expansion, that produces what the writer Norman Klein has called “collective forgetting.” Paraphrasing Italo Calvino, Klein describes Los Angeles as “a city incapable of holding a memory, or a shape, rather like a bad battery unable to hold a charge.”

 

Jori Finkel used PST: LA/LA as a chance to investigate why the X in Latinx.

“We’re seeing the terms become a lot more common, especially with young people,” Joan Weinstein, deputy director of the Getty Foundation, acknowledged. “But we really wanted to reach a wide audience with a wide range of ages, so we thought we needed language recognized by everyone.”

Among those adopting the new language is Bill Kelley Jr., the lead curator of a P.S.T. exhibition at the Otis College of Art and Design featuring artist-activists. He said the word Latinx has a “political charge.”

“The word is a proposal to change the machismo in the culture and the language,” he said.

For her part, Macarena Gómez-Barris used Chicanx repeatedly in her catalog essay on the photographer Laura Aguilar, a key artist in a West Hollywood exhibition about the area’s pre-AIDS “queer” art scene. “Her gender does not fall within ‘Chicano’ and the people she studies with her camera are butches and femmes and gender-nonconforming,” said Ms. Gómez-Barris, the head of social sciences and cultural studies at Pratt Institute in New York.

She calls the “x” of Latinx and Chicanx (pronounced Latinex and Chicanex) a “queering” of the gendering of nouns and adjectives natural to the Spanish language, which also turns Latinas into Latinos the moment one man enters the group. “The x marks a kind of political resistance and provocation,” she said.

 

Thinking about the art begin with "Home—So Different, So Appealing" at LACMA, which had an early run in the series:

If “Home” is a harbinger of what to expect for the rest of the series, it has set the bar high.Few museum exhibitions synthesize currents in contemporary Latin American art. And the ones that do often center on questions of identity — be it ethnic or regional — or around a particular artistic movement, such as abstraction. “Home” explodes that idea.

[LAT]

As for the heavy focus on domesticity and its intersections into feminism, psychology and politics, says Noriega, “Work in 1950 marked a shift in art – there was new acceptance for collage, found art, photography.” Using the materials of home, many artists began a critique of dominant domestic consumption, which, [co-curator Chon] Noriega adds, goes hand in hand with economic development patterns and urbanism.

[KCET]

“Home” is a type of contemporary show that dates to 1993 and the game-changing Whitney Biennial of that year, in New York: an aggressive celebration of multiculturalism and identity politics in work that was long on installational spectacle and short on traditional mediums. At the time, I deprecated the event for politicizing aesthetics. Now I see that it had to happen, for urgent social reasons, and that it energized a then pepless art world. The Los Angeles artist Daniel Joseph Martinez was a chief provocateur in the Biennial, producing buttons, which were handed out to visitors, that read “I can’t imagine ever wanting to be white.” (Incendiary then, the jape seems fairly mild in today’s crossfire of sulfurous political incitements.)

[New Yorker]

viewfromaloft on November 01, 2017 at 08:52 AM in PSTLALA, Public Art | Permalink | Comments (0)

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VFAL Candid: One

Chon Noriega, Harry Gamboa Jr, Gabriela Rosales and Ramiro Gomez at The Getty, captured by María Margarita López.

 

viewfromaloft on October 30, 2017 at 10:37 AM in Photography, PSTLALA | Permalink | Comments (0)

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Concrete Art at The Getty

 

Castro_

 

Willys de Castro (Brazil, 1926–88), "Objeto ativo" (cubo vermelho/branco), 1962/
From the Colección Patricia Phelps de Cisneros. Photo: J. Paul Getty Museum.

By Jian Huang

One of the exhibitions currently featured as part of the Getty Center’s Pacific Standard Time: LA/LA initiative is, “Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros.”  This show explores an undefinable fluidity in form and space between artists and poets during the mid-century Concrete Art movement in Argentina and Brazil. Borrowing from a philosophical inquiry on objectivity, poets like Augusto de Campos pushed the boundaries of letters into three-dimensional form while artists like Hermelindo Fiaminghi expanded the depth of space on a flat painting. Creativity begets more creativity for this group of artists as their impulses blur the line between paintings, sculptures, philosophy, poems, music, and even dance.

During this period, artists in Latin America found geometric expressions as a way to rebel against how repressive regimes appropriated figurative art for propagandistic use. Geometry was free of political connotations; that freedom was itself a political stance.

At a corresponding panel titled, “The ‘Concrete’ in Poetry and Art,” curators Nancy Perloff and Zanna Gilbert, along with guest author Rachel Price, echoed the idea of interdisciplinary influence as essential during this movement.  Referencing the exhibit’s cover art, Willys de Castro’s “Objeto ativo” (1958), innovation happens when artists dare to go beyond their limitations.

The form goes beyond its expectations, as seen and heard in “Concrete Poetry: Words and Sounds in Graphic Space”, an exhibition held at the Getty Center over the summer prior to the launch of PST: LA/LA.  In this show, words were reintroduced as art objects. Stating them out loud, with phonetics intact, offers the idea that words were also sound art.

Revisiting Latino art as  movements out of the Americas is a rich history that exhibitions from PST: LA/LA demand we consider. Through these exhibitions like "Making Art Concrete" we can’t help but realize that Latino art played a vital role in contemporary art with many sources mixing ideas and expressions.

Once PST: LA/LA is over the new question will be, “Will this inquiry continue?” Let us hope it does.

 

 

"Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros" / Getty Center / Through February 11, 2018 / This exhibition is part of the initiative Pacific Standard Time: LA/LA. [view]

 

Jian Huang is writer and a 2016 PEN Emerging Voice recipient. Raised in South LA, Jian graduated from the University of Southern California with a degree in Art History and Communication and been involved with arts organizations, including LA County Arts Commission’s Civic Art Program, LA County Museum of Art, and Inner-City Arts. Jian served as past Chair for the Public Art Coalition of Southern California and Senior Editor for Angel’s Flight Literary West.

 

viewfromaloft on October 26, 2017 at 11:33 PM | Permalink | Comments (0)

Tags: PSTLALA

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SOUTH OF THE BORDER: North of the 10

Oscar

Oscar Magallanes

By María Margarita López

Dreamers were front and center on the October 21 opening night of "South of the Border" at The Loft At Liz’s, a participating gallery with Pacific Standard Time: LA/LA. Immigration and its aftermath were explored through the eyes of artists representing Los Angeles and Latin America, and the commentary was biting and uncompromising. Works spanned time, space and attitude, ranging from rage to reflection.

Co-curated by Isabel Rojas-Williams and the gallery’s own Liz Gordon, each of the ten featured artists, as well as additional works by Dreamers, pulled from deeply personal experiences.

Los Angeles-based Oscar Magallanes’ United Farm Workers-inspired series, originally created to be displayed during a Cesar Chavez Foundation gala, speaks to the immigrant work experience in the United States, as well as the struggle of what it means to be an American and speak for freedom. Dreamer Adrián Gonzalez Morales’ “Fuck Your Borders” is a photo triptych of images of his family seen through wire mesh at San Diego/Tijuana’s Friendship Park. The exhibit also includes a regal point of view in Mayan-inspired preColumbian paintings by Ecuadorian artist Maja.

Argentine artist Marisa Caichiolo wove herself into her work by using her own hair to embroider silver serving items in her piece, “How Else Can I Serve You?” It is a severe commentary on immigrant exploitation.

Representing El Salvador and the experience of native peoples, Votan’s paintings, “Prelude to the American Dream” juxtapose the same young woman in two forms. In one image she is proud and confident in the rich colors of her native Mayan dress; in the other her radiance is dimmed while wearing an awkward maid’s uniform. The work magnifies what the artist feels: “It is unfortunate…my people give up so much to receive so little.”

It is not just the large institutions participating in the PST:LA/LA initiative that have sweeping statements. The participating galleries have reached for artists with much to say.

"South of the Border" runs through December 4.

 

Loftatliz 2
Adrián Gonzalez Morales

 

 

Marisa_
 
ARTIST: Marisa Caichiolo. WORK: "How Else Can I Serve You?" SAYS THE ARTIST: “It’s expressing how I feel about the abuse [of domestic workers] sometimes in households. [They] use them almost like slavery because they are immigrants or they have no papers. I decided to really combine the metal with the organic with almost my DNA. I used [my hair] like embroidery in the format I always use, on the silver plates; the sliver hardware people use to serve other people, but how do those people feel? How are they treated and mistreated and abused?” REPRESENTS: Argentina/US

Andres

ARTIST: Andres Montoya. WORK: “Reflection” SAYS THE ARTIST: “I am a total immigrant. My art speaks... to the current political situation of so many of us and hopefully we can overcome it.” WORK: “Reflection” “A poetic way of looking at the moment when you realize you’re losing someone...and you don’t know - the uncertainty of what’s going to happen to them... and your life is about to change. Which is what happens to all immigrants. When you leave your home town your life changes forever. “ REPRESENTS: Honduras.

Adrian

ARTIST: Adrián Gonzalez Morales
WORK: Fuck (Part 1 of Fuck Your Borders triptych)
“My mom and dad were deported in 2008. A couple of years ago was the first time I was able to see them when I was able to get Deferred Action. [In my work] I refer to very beautiful moments at an ugly location because you’re creating these memories of time you’re spending with family or friends but it’s the location. You can feel the tension with border patrol checking up on you. It’s hard to see the person on the other side. You’re talking through the fence. What I’m displaying is the same idea. I’m obscuring the artwork through the wire meshing I was able to put in front so you get a small taste of what it’s like to be able to try to admire something.”

"Deportaron a mis padres en el 2008. La primera vez que pude verlos fue hace dos años cuando recibí la Acción Diferida. [En esta obra] me refiero a los bellos momentos vividos en un local feo porque creas bellas memorias de tiempo con tu familia o amistades, pero es el local. Sientes la tensión con la migra que te vigila. Es difícil mirar a la persona al otro lado. Platicas a través de la cerca. Muestro esa misma idea. Oscuro le arte vía el alambre. Lo puse en frente para simular lo que se siente al tratar de admirar algo."
REPRESENTA: US/Mexico

Cristi copy

ARTIST: Pablo Cristi
WORK: Ain’t No Future in Yo Frontin (part of a body of work in eRACE series)
“It’s a specific line from this rap song that was done in the late ‘80s by a rapper called MC Breed. There was a specific line in the song that had to do with painting the white house black. The whole lyric was about taking the power back to the people. This was specifically from an Afro-centric perspective which is very empowering for the Black community, but at the time a lot of the Hip Hop songs and the more militant Afro-centric rappers were helping give me language to shape my own identity problems and to be able to sort of wrap language and ideas around the conflict that I was feeling as a Latin American. I am Latin-American, I am Chicano, I am Chilean-American, I am a Californio, I am Los Angeleno, I am American. I exist in a liminal space. This is being American.”
REPRESENTING: Liminal Space


OBRA: No Hay Futuro En Tu Fachada (parte del cuerpo de trabajo en la serie eRACE)
“Es una línea especifica de una canción de rap que salió en los años 80 por un rapero llamado MC Breed. Una línea de la canción tenía que ver con pintar la casa blanca negra. La lírica tenia que ver con regresarle el poder al pueblo. Esto fue específicamente de una perspectiva afro-céntrica, la cual empodera a la comunidad negra. En ese tiempo muchas canciones de hip hop y los raperos militantes, afro-céntricos ayudaron a darme el idioma para expresar mis propios problemas de identidad y lograr formar palabras e ideas al conflicto que sentía al ser latinoamericano. Soy latinoamericano. Soy chicano. Soy chileno americano. Soy californio. Soy los angelíno. Soy americano. Existo en un espacio liminal. Esto es ser americano.
REPRESENTA: Espacio Liminal.

Track more artist profiles by María at mmlcavada

 

 

 

Also at Loft At Liz’s:

PANEL DISCUSSION: "Dreamers: An Immigrant Generation’s Fight for Their American Dream", featuring author Ellen Truax and Dreamers Yunen Bonaparte and Adrián Gonzalez. Wednesday, November 8. 7 - 9 p.m.

JOHAN MIRANDA ALIENATED Standup Comedy Special. Friday, November 17. 7 - 9 p.m.

 

viewfromaloft on October 25, 2017 at 10:05 PM in PSTLALA | Permalink | Comments (0)

Tags: ChicanoArt, PST:LALA

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Hello Again

Thebroad_

 

Hello. How have you all been?

The adventure begins again, at least for the run of Pacific Standard Time: LA/LA.

70 venues across the Southland are now surveying sound, light, abstraction, murals, design, photography, activism, print-making, performance art, film, along with Pre-Hispanic and Colonial art, an initiative led by the Getty. One goal is to redefine Latin art borders, from a Los Angeles perspective, through exhibitions and scholarship.

With help from viewfromaloft veterans, María Margarita López and Helen Ly, plus new contributor Jian Huang, we will share our experience as art-goers, note what others are reporting and reviewing, plus share of some of the ideas and thoughts from essays produced for the exhibitions.

Welcome back to viewfromaloft.

 

Pictured: Carlos Cruz-Diez's "Couleur Additive" on Grand Avenue, in front of The Broad Museum.

Photo: Ed Fuentes

viewfromaloft on October 25, 2017 at 01:03 PM | Permalink | Comments (0)

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Anniversary Notes for VFaL.

TaggedMural

Arts District mural by Fin Dac, Christina Angelina, and Gianni Arone of DTOR, which was recently tagged. Taken July 4, 2015. Photo: Helen Ly / vfal

 

viewfromaloft started July 4, 2006 to explore downtown Los Angeles culture at-large and be an Arts District source on artists, public art, murals and Chicano Art  . . . as a non-arts writer.

That certainly has changed.

Ideas thought up for use here were soon posted at blogdowntown, then KCET, then academic paper. Now time is spent surveying the Las Vegas art scene with PaintThisDesert.

So it's been quiet here and stayed that way.  In the last few years, others have helped.  María Margarita López is still on the downtown adjacent beat going to gallery openings and keeping an eye out for stories, while carving out her own career as a filmmaker and producer. Helen Ly continues photographing downtown art and has been archiving six years of photos, which falls in her wheelhouse since she’s now a Master of Library and Information Science grad student with a focus on archival studies. I must also add that Ly’s 2014 review on David Au's “Eat With Me,” screened at the Los Angeles Film Festival last year, landed vfal on IMDB.

Along with experimental filming, I still keep up my graphic design practice, along with ongoing story hunting for stories for KCET. In late August I will also start chasing an MFA in Fine Art at UNLV that will look at how journalism is a way to gather content for art in public space. That will bring me out to LA more often. Anything posted here will likely be reading and research findings interesting to me, sometimes information on downtown Los Angeles, or random things María and Helen find. For now no promises.

 

MFA_space

iPhone snap of UNLV MFA Studio space. July 4, 2015.

 

viewfromaloft on July 04, 2015 at 01:15 PM in Arts District | Permalink | Comments (0)

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A Slice of Summer Art Sightings

By María Margarita López

Yes. The 4th of July Block Party at Grand Park is an option for the weekend. There's also a plethora of artistic destinations nearby. Here are some art events worth seeing-- and these are free.

CALIFORNIA AFRICAN AMERICAN MUSEUM

600 State Dr, Los Angeles, CA 90037

 

 

Mark Steven Greenfield "Dale" (1975)

 

"Lookin’ Back In Front Of Me: Selected Works of Mark Steven Greenfield 1974-2014"

Extended through July 5, 2015

 

At CAAM, the 40-year retrospective of Greenfield’s work winds down. It's the last weekend to travel through a universe that began as the Cosmos series, which fed Greenfield's Afrofuturistic works, which in turn fed his Crensahw’s Consciousness series and so on. His pieces provoke deeper scrutiny of gang culture, spirituality and family history. Many of his works including Doo Dahz, and particularly the Blackatcha series with its minstrel eye charts, force us to look stereotypes in the face. This exhibit closes over July 4th holiday weekend.

 

 

Section from "Flash Tag"

 

"Flash Tag"

Through August 2, 2015

During your visit to CAAM, four other exhibits beckon including "Flash Tag." In March the museum invited inter-generational teams of well-respected graffiti artists, divided them into four groups and gave them a week to create mural masterpieces. They used brushes as opposed to aerosol paint cans while CAAM patrons watched. Those completed pieces are now on display.

 

PLAZA DE LA RAZA

The Chicano Collection - La Colección Chicana

Through July 11, 2015

Ten years ago at Plaza de La Raza, Cheech Marin released a limited edition portfolio, a series of works from his own “The Chicano Collection.” The 115 archival fine art print sets included 26 giclées by the late master printmaker, Richard S. Duardo of Modern Multiples, and original linocut-print portraits of the artists by Artemio Rodriguez of La Mano Press. The collection went on a national tour that continues today, as produced by Melissa Richardson Banks, and helped Chicano Art be recognized as a school of American art. You can see the prints, which now grace the collections of major institutions from the DeYoung Museum in San Francisco to the Smithsonian Institution in Washington D.C., back home where it all began.

 

 

VINCENT PRICE ART MUSEUM

Tatewari

Hoy Space: Joel Garcia “Tatewari”

Through August 1, 2015

Tatewari means “transformed by fire” and refers to the transformation this L.A. based artist underwent after he was shot. With time to reflect during his recovery, Joel “rage.one” Garcia learned graphic design. This exhibition shows much more emerged from that gunfire. He melds the old and the new; the native and the urban; the ritual and the radical. His art is informed being raised in the Maravilla projects, the repatriation of his grandmother to Mexico in the late 1920s, and his native Lakota and Huichol roots. “It’s kind of like you get the two nations that are most spiritually connected and then you’re thrown into the neighborhood,” Garcia said at a recent walk-through with the artist.  He also wondered how to mix native practices with fine art printmaking, and came up with using cactus sap from nopales as a base for pigment. He experimented for two years in his kitchen until he found a formula that was stable enough to use for fine art prints. It used in several of these pieces.

 

Nao Bustamante: Soldadera

Through August 1, 2015

Soldadera

If the Soldaderas, female soldiers, had been outfitted with more protective clothing, would they have better survived the violence of the Mexican Revolution?  Artist Nao Bustamante uses “speculative reenactment” to explore that very question in “Soldadera,” her West Coast debut solo show at the Vincent Price Art Museum. Historical photos and objects help flesh out the period’s attitudes toward women, and the centerpiece of the show is undoubtedly the collection of Kevlar® 2945 dresses created specifically for this exhibition. The exhibition also contains a major cinematic element, a film called “Soldadera” that imagines the section of Sergei Eisenstein’s unfinished film “!Que Viva México!”, which would have told the story of the Mexican Revolution from the point of view of female soldiers who fought and worked alongside the men. Not a single frame of film was ever shot. Bustamante even includes small elements of the last surviving soldier of the revolution, the 127 year-old Leandra Becerra Lumbreras, who just passed away in March. Essays on the exhibition are posted at KCET.

The admission to these exhibits is free. Check the websites for hours and parking charges that may apply.

viewfromaloft on July 03, 2015 at 11:37 PM | Permalink | Comments (0)

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Trailer: Tales of the American

Tales of the American (Extended Teaser) from Pamela Wilson on Vimeo.

ALMOST SHOWTIME: Seemayer Studios releases a trailer for "Tales of the American," the documentary filled with interviews with long time Downtowners . . . The doc is in final stages of production and could be considered a follow up to Stephen Seemayer and Pamela Wilson's previous doc "Young Turks." That one can be streamed online. Details at youngturksmovie.com.

viewfromaloft on June 14, 2015 at 12:54 AM | Permalink | Comments (0)

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Kent Twitchell to Revive "Ed Ruscha Moument"

Kent_A

Muralist Kent Twitchell in downtown Los Angeles Arts District June 11, 2015. Photo: Helen Ly / viewfromaloft

BACK TO THE WALL: Kent Twitchell points to the Arts District wall that will be home to an updated "Ed Ruscha Moument." In 2006, Twitchell's original 70-foot-tall masterpiece was painted out when the Hill Street building was being renovated. The new version is planned for be 30-feet high, but Ruscha gaze won’t lose impact. “It’s not just about the size, but the scale,” Twitchell once said in an interview. The new "Ed Ruscha Moument" is sponsored by the All City Mural Endeavor, a project spearheaded by LADADSpace and supported by a grant from Council District 14.

- EF

ADD: " Kent Twitchell to revive famed 'Ed Ruscha Monument' mural downtown"  [LAT]

 

MuralMovershakers

Mural mover and shakers in Joel Bloom Square. Photo by Helen Ly / viewfromaloft.

 

 

 

 

viewfromaloft on June 11, 2015 at 10:43 PM | Permalink | Comments (0)

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Brett Reichman at CB1 Gallery in November

Reichman
Brett Reichman Courtesy CB1 Gallery

NOVEMBER PLANS:CB1 Gallery posts a 2009 gouache and watercolor painting by Brett Reichman now on exhibition. "We're excited to announce that we'll be doing a solo show of new work" in November and December in an exhibition titled "Better Living Through Design." . . . Through July 18:  Edith Beaucage "Chill Bivouac Rhymes"   / Jennifer Wynne Reeves  "A Bolt of Soul: Grooved Foreheads and Dog Teeth" /  Jaime Scholnick  "Gaza: Mowing the Lawn" . . . CB1 Gallery carries on at 1932 S. Santa Fe Ave. Downtown LA.

-EF

viewfromaloft on June 11, 2015 at 09:23 PM in Arts District | Permalink | Comments (0)

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