Ramiro Gomez Cut-Outs Ramiro Gomez Cut-Outs

Total Page:16

File Type:pdf, Size:1020Kb

Ramiro Gomez Cut-Outs Ramiro Gomez Cut-Outs RAMIRO GOMEZ CUT-OUTS RAMIRO GOMEZ CUT-OUTS Charlie James Gallery is delighted to present Cut-Outs – a room-sized installation of cardboard cut-outs by Ramiro Gomez. Created as a culmination to his October 2014 residency at the University of Michigan Institute for the Humanities, Ramiro Gomez has created an immersive installation of cardboard settings and figures. Gomez’s life-sized cardboard figures make visible the “invisible,” the predominantly Hispanic workforce of affluent areas of Los Angeles. His subjects are the nannies, gardeners, housekeepers: the people behind our images of luxury. This work has previously shown at the University of Michigan Institute for the Humanities and Mana Contemporary Chicago, as part of the Chicago Humanities Festival 2015. Ramiro Gomez was born to immigrant parents in the Inland Empire region of Southern California, east of Los Angeles. After leaving the California Institute of the Arts, Gomez worked as a live-in nanny with a Beverly Hills family, where he keenly observed the relationships between heads of households and their staff. Gomez found the dynamic between family and staff to be paradoxical – at once intimate, trusting and close, but also prone to abrupt dissolution for various reasons. His experiences there are the impetus for his work. Ramiro Gomez was born in 1986 in San Bernardino, CA. His work is in the collections of the MCASD, OCMA, Crocker Art Museum, and Fundacion Televisa. In 2013 Gomez had a solo exhibition @ the UCLA Chicano Studies Research Center, and was an artist-in-residence at the CSUF Grand Central Art Center in Santa Ana, CA. He has given lectures at Stanford University, UCLA and UC Santa Barbara. The City of West Hollywood, CA awarded Gomez with a residency in 2013, where he installed a mural in West Hollywood Park – a project titled The Caretakers, which remains on view. His work has been covered in the New York Times, The Atlantic, Washington Post, NPR, the Los Angeles Times, and CNN. Gomez lives and works in West Hollywood, CA. Ramiro Gomez will have his second full-scale solo show with the gallery in April 2016, in conjunction with the release of a monograph by Lawrence Weschler with Abrams Books. RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Cut-outs, installation at CJG, Dec. 2015 RAMIRO GOMEZ CUT-OUTS Ramiro Gomez (b. 1986, U.S.) 2013 Aqua Art Miami, Charlie James Gallery, Aqua West Hollywood, CA. Hotel, FL 2013 Art San Diego, Charlie James Gallery, Balboa Park, SD Solo Exhibitions 2013 T.J. Martell Foundation Artworks for the Cure 2015 Cut-Outs, University of Michigan Institute for Barker Hangar, CA the Humanities, Ann Arbor, MI 2013 AFL-CIO National Convention, CA 2014 Domestic Scenes, Charlie James Gallery 2013 Divested Interest, CSUF Grand Central Los Angeles, CA Art Center, CA 2013 Luxury, Interrupted, UCLA Chicano Studies 2012 Meet Me At Metro, East LA Civic Center, CA Research Center, CA 2012 Install: WEHO, West Hollywood Library, CA 2012 Rose Gardens, Pehrspace, CA 2012 L.A. Road Concert: Mulholland Dr., CA 2012 Global Cardboard Challenge, Imagination Foundation, CA Group Exhibitions 2011 L.A. Road Concert: Sunset Blvd., CA 2015 Ha Ha! Business! Luis de Jesus Gallery, Los 2011 Group show, Bang Gallery. CA Angeles, CA 2015 Paris Photo Los Angeles, Charlie James Gallery, Paramount Studios, Los Angeles, CA Bibliography 2015 Zona Maco, Charlie James Gallery, Mexico City Lawrence Weschler, “Ramiro Gomez’s Domestic Mexico Disturbances”, New York Times, August 15, 2015 2014 PULSE Miami Beach, Charlie James Gallery, Miami, FL Daina Beth Solomon “Ramiro Gomez: An Artist helping 2014 EXPO CHGO, Charlie James Gallery, Chicago, IL Angelenos appreciate the people who work for us” L.A. 2014 ArtMRKT San Francisco, Charlie James Gallery, Weekly, May 14th, 2014 (also available online) Fort Mason Center, CA 2014 Recent Acquisitions, Cornell Fine Arts Museum Lyle Zimskind “Framed: Ramiro Gomez maintains a at Rollins College, FL different image of Contemporary Art” L.A. Magazine, May 2014 L.A. Weekly presents: Artopia, Grand Central 2nd, 2014 (online) Market Los Angeles, CA 2014 Museum of Latin American Art presents: Leah Ollman “Review: Rendering the invisible visible” Distant Parallels, The Collaborative, CA Los Angeles Times, January 16th, 2014 (also available 2014 Secrets & Lies, Museum of Contemporary Art online) San Diego, CA 2014 Dallas Art Fair, Charlie James Gallery, Anuradha Vikram “Ramiro Gomez: Domestic Scenes at Fashion Industry Gallery, TX Charlie James Gallery” Dailyserving, February 4th, 2014 2014 (in)Visible & (dis)Embodied, District of (online) Columbia Arts Center, Washington D.C. 2014 Prospect 2014, Museum of Contemporary Art San Chuong-Đài Võ “Review: Ramiro Gomez, Domestic Scenes Diego, CA at Charlie James Gallery” Artvoices, March 2014 (also available online) RAMIRO GOMEZ CUT-OUTS Congregation Kol Ami, CA Kinsey Lane Sullivan “Striking images reveal what it 2013 Guest Lecturer, AFL-CIO National Convention, really takes to live a life of luxury” Policymic, January Los Angeles Convention Center, CA 3rd, 2014 (online) 2013 Guest Lecturer, UCLA 2013 Guest Lecturer. Stanford University Hrag Vartanian “The people behind your images of luxury” 2013 Guest Lecturer, “Aqui se respira lucha” UC San Hyperallergic, December 18th, 2013 (online) Diego 2012 Guest Lecturer, Race Matters Series David Montgomery “Protest artist’s cardboard cutouts draw “Quiet is the new loud” UC Santa Barbara attention to immigration issue” 2012 Guest Lecturer. “Sing the real” UC Santa The Washington Post, February 14th, 2013 (also available Barbara online) Residencies Brian De Los Santos ”Artist works to keep Immigrants in 2013 City of West Hollywood Park the picture” NPR, February 14th, 2013 (online) 2013 Artist-in-residence CSUF Grand Central Art Center, CA Esmeralda Bermudez “Artist pays homage to L.A.’s unseen workers” Los Angeles Times, cover, Mural June 4th 2012 (also available online) 2013 The Caretakers/Los Cuidadores City of West Hollywood Park, CA Sarah Goodyear “An L.A. Artist makes Immigrant workers impossible to ignore” The Atlantic Cities, Awards July 12th, 2012 (online) 2014 L.A. Weekly People 2014 2013 25 Artists to Watch, Artvoices Magazine Natalie Brunell “Artist colors Hollywood Hills with 2013 100 Green Leaders in Art, Poder Magazine figures of overlooked Immigrant workers” CNN July 7th, 2012 (online) Selected Collections 2014 Museum of Latin American Art, Long Beach Andrea Long-Chavez “ Public Artist affirms the ‘Human 2014 Museum of Contemporary Art San Diego Statement’ of Hollywood Hills gardeners, housekeepers” 2014 Cornell Fine Arts Museum at Rollins College The Huffington Post February 29th, 2012 (online) Teaching 2014 Guest Lecturer UCLA 2014 Guest Lecturer Art & Social Justice, ).'82/+0'3+9-'22+8?.
Recommended publications
  • Painter Shizu Saldamando Puts a Face to L.A.'S Latinx Art and Punk Scenes
    Painter Shizu Saldamando puts a face to L.A.'s Latinx art and punk scenes Artist Shizu Saldamando at Oxy Arts in Highland Park, where a show of her portraits is on view.(Carolyn Cole / Los Angeles Times) By CAROLINA A. MIRANDASTAFF WRITER FEB. 18, 2020 8 AM To be in a gallery filled with portraits by Shizu Saldamando is to stand by her side at a rowdy concert or to observe the casual encounters among her circle of friends. There are laughs and kisses and surges of sweaty bodies as they rush a stage. There is the smoking of https://www.latimes.com/entertainment-arts/story/2020-02-18/painter-shizu-saldamando-latinx-art-punk-scenes cigarettes and moments marinated in booze. There are the intimate choreographies of longtime friendships: embraces, exchanged whispers, passing glances. For more than two decades, the Los Angeles painter has captured the people in her midst. In her 20s and 30s, it was the flamboyant poets and punks she hung out with in the city’s underground music scenes. Now, at 41, and the mother of a 3-year-old son, her portraits have calmed, frequently focusing on her circle of artist friends. “I was doing a show once and [the organizers] told me they were interested in my youth subculture paintings,” says Saldamando. “I had to explain that I wasn’t trying to be about youth subculture. It was just my life. Now I’ve gravitated to more professional artists. It’s still personal, about who my friends are and who I admire.” “Rafa, El Unico,” 2013, a portrait of L.A.
    [Show full text]
  • RAMIRO GOMEZ Happy Hills
    RAMIRO GOMEZ Happy Hills ).'82/+0'3+9-'22+8? RAMIRO GOMEZ Happy Hills Ramiro Gomez was born on June 24th, 1986 in San Bernardino, CA. His parents immigrated from Mexico and established themselves in the Inland Empire region east of Los Angeles.In 2009, Ramiro moved to West Hollywood and took a job as a live-in nanny for an affluent family. While on duty, he observed the many Latino workers who would arrive daily to assist in the household maintenance. Growing up as a member of a working class Hispanic family, Ramiro sympathized with their work and began a series of observational drawings that would later form the body of work he titled “Happy Hills”. This body of work, the artist explains, is a “…documentation of the predominantly Hispanic workforce who work tirelessly behind the scenes to maintain the beautiful imagery of these affluent areas.” Through the help of social media, Gomez’s paintings and street installations in Beverly Hills began to garner attention. The immigrant experience is the exclusive focus of Ramiro and he continues to expand his work in a public manner. His practice honors the contributions of the many individuals who work diligently on a daily basis to provide a better life for themselves and their families. RAMIRO GOMEZ Happy Hills No Splash 58” x 41” Acrylic on panel RAMIRO GOMEZ Happy Hills A 1930’s dining room table, oh, and Erlina cleaning Olympia et Janus et Cie 11 x 8½ inches 11 x 8½ inches Acrylic on magazine Acrylic on magazine RAMIRO GOMEZ Happy Hills Beatriz on a Break Alejandra 11 x 8½ inches 11 x 8½
    [Show full text]
  • Ramiro Gomez Here, for a Moment
    RAMIRO GOMEZ HERE, FOR A MOMENT ).'82/+0'3+9-'22+8? RAMIRO GOMEZ HERE, FOR A MOMENT Charlie James Gallery is delighted to present Here, For a Moment, the fourth solo exhibition with the gallery by Los Angeles-based artist Ramiro Gomez, opening Saturday, November 16th and running through January 4th, 2020. In this forthcoming show Gomez is responding as always to his lived environment, but also to the tenor of the times and the weight of contemporary American disharmony. Processing recent years of deteriorating political climate, witnessing purges of working people based on immigration status, and experiencing episodes of personal loss have combined to yield a body of work grounded in ephemerality, which manifests in the show’s chosen narratives and use of materials. Gomez continues to use his photography practice as source images for his paintings, capturing scenes of working life in and around Los Angeles. Inspired as always by service workers, laborers, and discarded materials from the streets of LA, Gomez works across a wide range of media from cardboard to distressed canvas, trash bags, garden hose, found tarps and immersive mixed media installation. The show is an homage to the people who keep working amidst the increasing pressures of contemporary American life, though not explicitly an act of veneration. The show seeks to inhabit the lives of its subjects, particularly their moments of respite, reflection, and fantasy. Ramiro Gomez was born in 1986 in San Bernardino, California to undocumented Mexican immigrant parents who have since become US citizens. His work has been exhibited at LACMA, the Smithsonian National Portrait Gallery, the Denver Art Museum, the MFA Houston, the Blanton Museum of Art, and many other institutions.
    [Show full text]
  • JAY LYNN GOMEZ B
    JAY LYNN GOMEZ b. 1986, San Bernardino, CA Lives and works in Brooklyn, NY SOLO EXHIBITIONS 2019 Here, For A Moment, Charlie James Gallery, Los Angeles, CA 2018 In NYC, P·P·O·W, New York, NY 2017 In West Hollywood, Getty PST-related Solo Show, West Hollywood Public Library, West Hollywood, CA 2016 On Melrose, Charlie James Gallery, Los Angeles, CA 2015 Cut-Outs, Charlie James Gallery, Los Angeles, CA Cut-Outs, University of Michigan, Ann Arbor, MI 2014 Domestic Scenes, Charlie James Gallery, Los Angeles, CA 2013 Luxury, Interrupted, UCLA Chicano Studies Research Center, CA 2012 Rose Gardens, Pehrspace, Los Angeles, CA SELECT GROUP EXHIBITIONS 2021 - LXS ANGELINS -, Galeria Javier Lopez & Fer Frances, Madrid, Spain 2021 L.A. Billboard Project, The Billboard Creative, Los Angeles, CA Parallels & Peripheries: Practice + Presence, New York Academy of Art, New York, NY A Very Anxious Feeling: Voices of Unrest in the American Experience; 20 Years of the Beth Rudin DeWoody Collection, Taubman Museum of Art, Roanoke, VA ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now, Smithsonian American Art Museum, Washington D.C. 2020 Alien vs. Citizen, MCA Chicago, Chicago, IL 2020 Vision, Southampton Arts Center, Southampton, NY 2019 Sorry for the Mess, University of Nevada, Las Vegas, NV With a Little Help from my Friends, Charlie James Gallery, Los Angeles, CA Tell Me a Story and I’ll Sing You a Song, Curated by Bianca Moran, Charlie James Gallery, Los Angeles, CA 2017 Sweat of Their Brow, National Portrait Gallery, Washington D.C. Home - So Different, So Appealing, Museum of Fine Arts, Houston, TX We Hold These Truths, No Longer Empty, Washington D.C.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Invisible Hands: Eleven Million a Graduate Project Submitted in Partial Fulfillment Of
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Invisible Hands: Eleven Million A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Arts in Art, Visual Arts By Hedy V. Torres Cardenas May 2018 The graduate project of Hedy V. Torres Cardenas is approved: _______________________________ ________________ Forcum, Tim M.F.A Date _______________________________ _______________ Ontiveros, Mario Ph.D. Date _______________________________ ______________ Fields, Samantha M.F.A, Chair Date California State University, Northridge ii Dedication Thank God for giving me the determination and strength in pursuing a better life far from home. I want to dedicate my accomplishments in obtaining a Master Degree in Art to my father, mother, four siblings, my grandparents, volunteers who participated in my art research, Invisible Hands: Eleven Million, friends and family whom are undocumented immigrants in the United States, my mentors, and every person who has motivated and challenged me during this odyssey. iii Table of Contents Signature Page ii Dedication iii List of Figures v Abstract vi Introduction 1 Project Description 4 Form/Process/Technique 6 Research Analysis/ Historical Contextualization 8 The Red Wall 17 Conclusion 23 Bibliography 25 Appendices: Interviews 27 iv List of Figures 1.1 Being Sick is Not an Option 10 1.2 “Sometimes, I feel that everything is against me” 12 1.3 “I feel very blessed to live in America” 14 1.4 One Of 15 1.5 Eleven Million Video 16 1.6 Erasing the Border, Fernandez, Ana Teresa 2013 19 1.7 Credit: Lubesky, Emmanuel (LACMA). 20 1.8 No Splash, Gomez, Ramiro, 2014 21 1.9 Credit: Francis Peters, John / NYT via Redux (Schwartz).
    [Show full text]
  • RAMIRO GOMEZ Portfolio
    RAMIRO GOMEZ Portfolio ).'82/+0'3+9-'22+8? RAMIRO GOMEZ Biography Ramiro Gomez was born in 1986 in San Bernardino, California to undocumented Mexican immigrant parents who have since become US citizens. He briefly attended the California Institute for the Arts before leaving to take work as a live-in nanny with a West Hollywood family, an experience that did much to inform his subsequent artistic practice. In 2013 Gomez had his first solo exhibition at the UCLA Chicano Studies Research Center, and was also awarded with a residency to install a mural in West Hollywood Park, a project titled The Caretakers, which remains on view. In 2014 Gomez had his solo gallery debut at Charlie James Gallery in Los Angeles, and went on to show widely across North America. In 2015 Gomez exhibited at the University of Michigan Institute for the Humanities, the Chicago Humanities Festival, and again at Charlie James Gallery. Gomez’s work has been covered in the New York Times Magazine, the Washington Post, NPR, the Los Angeles Times, Hyperallergic, Huffington Post, and CNN. In the spring of 2016, Gomez had his third show at the Charlie James Gallery in conjunction with the publication of a monograph on his work by Lawrence Weschler (Abrams). Gomez lives and works in West Hollywood, California. RAMIRO GOMEZ On Melrose April - June 2016 RAMIRO GOMEZ On Melrose Paul Smith Store, Los Angeles Acrylic on canvas 72 x 72 inches 2015 RAMIRO GOMEZ On Melrose Fred Segal Store, Los Angeles Acrylic on canvas 72 x 72 inches 2016 RAMIRO GOMEZ On Melrose The Broad Acrylic
    [Show full text]
  • Shane Lutzk (American, B
    Shane Lutzk (American, b. 1992) Large Black and White Vessel, 2019 Stoneware Collection Nerman Museum of Contemporary Art, 2019.13 Acquired with funds provided by the Barton P. and Mary D. Cohen Art Acquisition Endowment of the JCCC Foundation Shane Lutzk develops his monumental ceramic vessels by integrating the precision and structural components found in diverse architecture. While traveling abroad, he was greatly influenced by the historical buildings in Kecskemet, Hungary. His sculptures create a spatial connection with the viewer in large works like Blue Dripped Vessel because of the undulating forms and anthropomorphic scale. In addition to the towering symmetrical sculptures that demonstrate the artist's wheel throwing capabilities, Lutzk builds wall installations and free-standing amorphous sculpture, and these smaller objects are also wheel thrown at first - they are created with cross sections of thrown clay. Whether they retain the wheel's geometry or they take on an elastic undulatin g character through manipulation, Lutzk's clay works convey a personal message: at the age of nine, Lutzk was diagnosed with juvenile diabetes, and much of his work depicts his struggle with this disease. He wants to bring both the ramifications and the positive outcomes that come from diabetes to the public's attention. In this work, the blue concentric circles signify the international symbol for diabetes awareness. Lutzk earned his MFA at Arizona State University in 2017 and his BFA in ceramics at the Kansas City Art Institute in 2014. Kent Monkman (Canadian First Nations, Cree, b. 1965) Sepia Study for The Deposition, 2014 Watercolor and gouache on paper Collection Nerman Museum of Contemporary Art, 2017 Kent Monkman’s glamorous, gender-fluid alter-ego, Miss Chief Eagle Testickle, appears in much of his work, including in this study for his painting The Deposition.
    [Show full text]
  • The Art Show February 27 – March 1, 2020 Booth C9 2016, Gomez Was
    ADAA: The Art Show February 27 – March 1, 2020 Booth C9 On View (The Kanders’ Home), 2020, acrylic on paper, 10 ⅞ x 16 ¾ inches P·P·O·W is pleased to present a one-person booth of new sculptures and works on paper by Ramiro Gomez. Born in 1986 in San Bernardino, California to undocumented Mexican immigrants who have since become US citizens, Gomez briefly attended the California Institute for the Arts before leaving to work as a live-in nanny with a West Hollywood family. Informed by his childhood and subsequent time working in the Hollywood Hills, Gomez has since garnered critical acclaim for his work addressing issues of immigration and class division. In his ongoing Magazine Series, Gomez renders the “invisible” visible, inserting representations of labor forces which build and maintain the pools, gardens, and mansions of America’s wealthiest classes onto the pages of glossy lifestyle magazines such as Galerie, Town and Country, Design within Reach, and Architectural Digest. Introduced to these periodicals during his time as a nanny, Gomez recalls, “The magazines looked like the very environments I was working in and I started feeling an interesting reaction to them. It was looking at these environments minus all the people I was working with. It was an erasure of us. So it became very clear what to add. It was this simple act. It was just inspired by saying, ‘I’m here. We exist.’” Developing this series further, Gomez turns his eye toward not only representations of labor but representations of internal fantasies, dreams, and expressions of the self.
    [Show full text]
  • Printing the Revolution Exhibition Wall Text (English) | Smithsonian American Art Museum
    During the 1960s and 1970s, Mexican Americans adopted the name “Chicano” as a sign of their new political and cultural identity. Inspired by the labor activism of César Chávez, Dolores Huerta, and the United Farm Workers, Chicanos exposed racism, fought for equal rights, asserted their unique cultural identity, and challenged their invisibility in American society. Printmakers active during these formative years of the Chicano civil rights movement, or El Movimiento, played a pivotal role in projecting this revolutionary new way of being Mexican American in the United States. This exhibition explores how Chicano artists and their cross-cultural collaborators initiated an enduring, influential, and innovative graphic arts movement attuned to social justice and cultural expression. The term “graphics” captures a wide range of artistic practices. While screenprinting remains prevalent, the artists on view also produce installations and public interventions; several embrace computer graphics and augmented reality (AR). Whether print or digital, each method offers ease of duplication and distribution, key characteristics that allow artists to directly engage people near and far. Using these expansive approaches and projecting defiance, these artists delve into domestic and global politics and history, feminism, immigrant and LGBTQ+ rights, and other topics. They have also consistently used their art to debate the shifting meanings of Chicano, most recently demonstrated by the rising use of Chicanx, a gender-neutral and nonbinary alternative to Chicano. ¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now Page 1 of 44 Smithsonian American Art Museum | 12/16/2020 – RM ¡Printing the Revolution! features about one-fifth of the Smithsonian American Art Museum’s extensive collection of Chicanx graphics, the largest museum collection of its kind on the East Coast.
    [Show full text]
  • ).'82/+ 0'3+9 -'22+8?
    RAMIRO GOMEZ Portfolio ).'82/+0'3+9-'22+8? RAMIRO GOMEZ Biography Ramiro Gomez was born in 1986 in San Bernardino, California to undocumented Mexican immigrant parents who have since become US citizens. He briefly attended the California Institute for the Arts before leaving to take work as a live-in nanny with a West Hollywood family, an experience that did much to inform his subsequent artistic practice. Gomez’s work is known for addressing issues of immigration and making visible the “invisible” labor forces that keep the pools, homes, and gardens of Los Angeles in such pristine condition. In 2013 Gomez had his first solo exhibition at the UCLA Chicano Studies Research Center, and was also awarded with a residency to install a mural in West Hollywood Park, a project titled The Caretakers, which remains on view. In 2014 Gomez had his solo gallery debut at Charlie James Gallery in Los Angeles, and went on to show widely across North America. In 2015 Gomez exhibited at the University of Michigan Institute for the Humanities, the Chicago Humanities Festival, and again at Charlie James Gallery. In the spring of 2016, Gomez had his third show “On Melrose” at the Charlie James Gallery in conjunction with the publication of a monograph on his work by Lawrence Weschler (Abrams), titled “Domestic Scenes: The Art of Ramiro Gomez”. Gomez participated in the 2017 Whitney Biennial as part of Raf Esparza’s “Figure Ground: Beyond the White Field” installation. His work was also included in three of the Getty’s Pacific Standard Time: LA/LA exhibitions - “Home—So Different, So Appealing” at the Los Angeles County Museum of Art (LACMA), a joint show, “In West Hollywood” at the West Hollywood Library with his partner, David Feldman, and the Chapman University exhibition “My Barrio: Emigdio Vasquez and Chicana/o Identity in Orange County”.
    [Show full text]
  • LATINIDADES: Art, Music, & Performance
    Prof. Cary Cordova Spring 2021 AMS 370 / #31600 Class Schedule: AMS 370 Tues/Thurs, 2 p.m.-3:30 p.m. LATINIDADES: ONLINE Art, Music, & Performance How have Latinas/Latinos/Latinxs turned to art as a form of creative expression? And how have they used art to demand social change? This class will contextualize and analyze diverse forms of Latina/o/x artistic expression, including visual art, music, dance, theatre, and film, or what this class will call, “Latinidades.” Moving from the mid-twentieth century into the twenty-first century, students will study these diverse constructions of Latinidad alongside the politics of community organizing amongst various communities, and in conversation with the histories of Chicana/o/x, Puerto Rican, Dominican, and Salvadoran populations. Topics will include representations of citizenship and immigration; borders and surveillance; community formation, displacement, and segregation; access to and content of education; and the construction and criteria of art history. Students also will engage with how citizenship, nation, race, gender, sexuality, class, and ability have complicated these artistic representations. As students develop an understanding of the range and diversity of artistic expressions (graphics, cartoons, paintings, murals, photographs, films, installations, performance art, dances, songs, poems, plays, and comedy), they also will develop an understanding of the complexity of Latino communities, and the coalitions and conflicts bridging and dividing larger social movements. Course Objectives:
    [Show full text]
  • 1 Chicano Studies Research Center Annual Report 2012-13 Submitted
    Chicano Studies Research Center Annual Report 2012-13 Submitted by Director Chon A. Noriega 1 TABLE OF CONTENTS Director’s Message………………………………….3 Development Report…………………………..........5 Administration, Staff, Faculty, and Associates……..7 Academic and Community Relations……………...13 Library and Archive……………………………….20 Press……………………………………………….28 Research…………………………………………...39 Facilities…………………………………………...54 Appendices………………………………………..56 2 I. DIRECTOR’S MESSAGE The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research as part of the overall mission of the university. It is one of four ethnic studies centers that are now part of the Institute of American Cultures (IAC), which reports to the UCLA Office of the Chancellor. The CSRC is also a co-founder of the Inter- University Program for Latino Research (IUPLR, est. 1983), a consortium of Latino research centers that now includes twenty-five institutions in the United States. The CSRC houses a library and special collections archive, an academic press, externally-funded research projects, community-based partnerships, competitive grant and fellowship programs, and several gift funds. The CSRC also maintains strategic research partnerships with UCLA professional schools, departments and research centers. Since the 1970s the CSRC has held six positions for faculty that are appointed in academic departments—appointments that expand the center’s research capacity as well as the curriculum in Chicana/o studies across UCLA. Highlights for 2012-13 • The CSRC continued to play a crucial role in establishing and maintaining intra-campus partnerships to pursue projects dealing with access to health care, media research, archival projects and clinical and translational research. To do so, the CSRC secured formal collaborations with the Schools of Medicine, Dentistry, Public Health, GSEIS, Public Affairs, and other campus entities, including the UCLA-wide Clinical and Translational Sciences Institute (CTSI).
    [Show full text]