UNIVERSITY of CALIFORNIA Santa Barbara El Barrio Lindo: Chicana/O

Total Page:16

File Type:pdf, Size:1020Kb

UNIVERSITY of CALIFORNIA Santa Barbara El Barrio Lindo: Chicana/O UNIVERSITY OF CALIFORNIA Santa Barbara El Barrio Lindo: Chicana/o and Latinx Social Space in Postindustrial Los Angeles A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology by Jonathan Daniel Gomez Committee in charge: Professor George Lipsitz, Chair Professor Jon Cruz Professor Gaye Theresa Johnson January 2018 ! This dissertation of Jonathan Daniel Gomez is approved. ____________________________________________ Jon Cruz ____________________________________________ Gaye Theresa Johnson ____________________________________________ George Lipsitz, Committee Chair September 2017 El Barrio Lindo: Chicana/o and Latinx Social Space in Postindustrial Los Angeles Copyright © 2018 by Jonathan D. Gomez ! iii! Dedication This project is dedicated to every social justice seeker that has carved out spaces for us to congregate, organize, and mobilize for freedom. This is for my first teachers. For my Big Dad, David R. Carrillo, who began working full days as a farmworker after the third grade, who proudly worked the ten-inch mill at Bethlehem Steel in Los Angeles, California for thirty years, who sat me on his lap to tell me stories about what it was like to be a pachuco in East Los Angeles in the early 1940s, who always did so much to ensure that we never had to miss a meal. For my Big Mom, Lydia Carrillo, who was pushed out of school after the fourth grade because she did not have shoes, who smiled whenever she reminisced about being a pachuca in East Los Angeles, who invited neighbors less fortunate than us into our home to share a meal, who showered me with love, and who made sure that we always stood together. This is for my Nina, Sandra Carrillo, a tough Chicana with a rebel spirit and a lot of guts, who gives me nothing but cariño and honest advice. For uncle Bob (RIP), who use to remind me to be who I needed to be and to never be ashamed of what that was. For my aunty Viv, who always gives me blessings and does not let me leave any visit without letting me know that she loves me. For my nino Frank (RIP), who was a joker, an artist, and a giant presence in my life. For my Nini and uncle Bert, who opened their home to me when it was needed most, and who continue to be my biggest fans. For my cousins Greg and Dave, two brothers who shared their room with me and always informed everyone on the schoolyard that I was their baby cousin. For my primas hermanas, Lil and Steph, who always root for me, show me big love, and always save a seat for me at the table. For my primo hermano Frank G. Anaya II, who taught me how to stand tall, stand strong, and who always reminds me that the barrio is in the heart. This is for my big brother, Henry D. Gomez, who took me for rides on the rear pegs of his bicycle down Hammel Street hill, who taught me how to put my nose under a pop fly to get the out, and who took me to his math classes at USC to “see what college is like” when I was only a boy. For my sister-in-law Danielle, who stands tall no matter what. For my nephew Jacob, who is a mighty force of light and love in my life. For my god son Adam, whose entrance into this world changed the direction of my life for the better, and who makes me proud to be his nino. This is for my Sissy, Kimberly D. Gomez, who watched over me on the school playground, who never let me go without anything I needed, and who continues to meet me beyond half ways. Most of all, though, this is for my marvelous mother, Diane J. Gomez. When life seemed uncertain her strength and persistence to make sure we had what we needed made me feel safe and sound. Through thick and thin, she always showed up, and continues to. She has taught me so much about taking hold of opportunities, caring for others, and giving thanks for each day and night. We do not choose who we are born to, but I thank the heavens that I was born to her. She is the best. I have a village behind me. I am so thankful for the love and support I have received coming up, and that I continue to receive. I come from a sturdy stock of barrio people who give it their all and then some. My first teachers have given me so much. I am blessed. ¡Gracias! ! iv! Acknowledgements The dissertation before you is the product of a collective effort. But there are people who have really had my back and rolled with me. Ana Maria Gallegos holds it down, showing me by example that an engaged educator means listening and learning from those that we are assigned to teach. She reminds me to keep poetry and art at the center of daily life. She asks what she can do to help, and always follows through. Her love, through thick and thin, up- close and far away, in waking life as in dreams, is marvelous like the music of Brenton Woods- I share this triumph with her! Our dear gata Dolores kept me company as I wrote at all hours of the day. Jorge Ramirez and Ismael Illescas shared heart, voice, food, and drink with me, encouraged me to keep going, and invited me to take part in important conversations about the Black Radical Tradition. These friends have helped me to stand tall through the good and bad of this process. I am proud to say that together we continue to figure out how to walk with “modest audacity.” These life forces have blessed me with more than they know. Jordan T. Camp helped me develop my undergraduate senior thesis into a writing sample for the graduate school application. He was selfless in the amount of time he gave to me to sharpen my ideas and questions. To this day, he continues to inspire me with his scholarship and vision. Bridget Harr helped me to make it through the early rounds of graduate school at UCSB. Sociology cohort buddies and comrades in the struggle, I am so grateful for her kindness, big heart and brains. Tomas Carrasco helped me to delve into the poetics of life each time he invited me to the stage. Steven Osuna and Daniel Olmos welcomed me to Santa Barbara, and made sure to include me in their circle of critical reading and friendship. Denise Segura and Victor Rios were wonderful first year mentors in the sociology department. They always showed great support throughout the entire process. Jon Cruz, Gaye T. Johnson, and George Lipsitz formed my committee dream team. No question was ever too small or too big for them to tend to. I am thankful for all their mentorship and guidance. Howard Winant has been a wonderful teacher. He has always kept his door open to me. I am grateful for the lessons I learned from him as his Teaching Assistant and as his Research Assistant at the UCSB Center for New Racial Studies. Avery Gordon took the time to sit with me to think through questions and search for answers. Kum-Kum Bhavnani, Maria Charles, Reginald Daniel, Simonetta Falasca-Zamponi, Geoffrey Raymond, Bill Robinson, and France Windance-Twine contributed toward making my experience pleasant and memorable. Sharon Applegate is an amazing Graduate Program Advisor! On many occasions, she invited me to sit and talk with her about my progress. If I needed something, she tried her best to make it happen. Thank you! Lisa Blanco, Madhu Khemani, Vera Reyes, Kim Summerfield always made me feel welcome and a part of a team. The UCSB, Center for Black Studies Research was my base throughout most of my time in graduate school. I was invited here by the late Professor Clyde Woods. Professor Woods took me under his wing. From him, I was provided a lot of love, critique, and responsibility. To this day, I give big thanks to Professor Woods for inviting me into his world of rigorous scholarship and love. Following his passing, Professor Diane Fujino became the Director of the Center. With her, I have been able to do wonderful things. I do not have the words to thank her for everything she has done for me and everything she has included me in. Together, we co- facilitate the Transformative Pedagogy Project. In this endeavor, we have created a space where students, professors, community members, and visiting artists and activists come together to envision the world we want to live in. In addition to all of this, she invited Ana and ! v! I into her home and the world she shares with her amazing husband Matef Harmachis, and lovely children, Kano and Seku. I am very thankful for this dynamic mentorship. A special thank you goes out to Mahsheed Ayoub and Rosa Pinter, two Business Officers who hold it down in more ways than one! Thank you for your kindness and support! Early on the Department of Black Studies became a space for me to think and act seriously as a scholar. Professor Woods took on a group of sociology graduate students as his students, and made us sharper for it. Gaye T. Johnson showed me that work in the classroom and in the community, go together. Reading her scholarship as an undergraduate empowered me. Following a visit to her classroom, I remember thinking, “wow, I want to have that kind of impact on the students in my classes,” and then I hit the library to get started.
Recommended publications
  • UNIVERSITY of CALIFORNIA Los Angeles Archives
    UNIVERSITY OF CALIFORNIA Los Angeles Archives, Models, and Methods for Critical Approaches to Identities: Representing Race and Ethnicity in the Digital Humanities A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Information Studies by David J. Kim 2015 © Copyright by David J. Kim 2015 ABSTRACT OF THE DISSERTATION Archives, Models, and Methods for Critical Approaches to Identities: Representing Race and Ethnicity in the Digital Humanities By David J. Kim Doctor of Philosophy in Information Studies University of California, Los Angeles, 2015 Professor Johanna R. Drucker, Chair This dissertation addresses the cultural politics of representation in digital archives of various histories of racial and ethnic minorities in the U.S. It critiques the discourse of realism in both digital and archival representations of knowledge about minoritarian identities through case studies that explore the possibilities and the limitations of digital tools and platforms for the minoritarian critique of the archive as the all-encompassing site of knowledge. The first case study presents a digital 3D model of an East Los Angeles public housing complex famous for its numerous murals painted during the Chicana/o movement of the 1970s. Informed by the theorizations of identity formations as spatial practices, the 3D model functions as an immersive digital archive that documents the dialectics of the barrio as represented by the murals. The second case study reimagines the archive of Edward S. Curtis’s The North American Indian (1907- 1930), an influential yet controversial ethnographical work on the Native Americans in ii! ! the early twentieth century. It critiques the essentialism of this extensive work of photographic documentation by exploring the multi-modality and non-linearity of Scalar, a content management system developed by digital humanists, and through experimental network visualizations that expose the racial logic and the socio-cultural context of The North American Indian.
    [Show full text]
  • DIGITAL ART, CHICANA FEMINISM, and MEXICAN ICONOGRAPHY: a Visual Narrative by Alma Lopez in Naples, Italy
    DIGITAL ART, CHICANA FEMINISM, AND MEXICAN ICONOGRAPHY: A Visual Narrative by Alma Lopez in Naples, Italy María Herrera-Sobek, Guisela M. Latorre, and Alma Lopez While in the 1970s Chicana/o art was largely defined by the prevalence of silkscreen posters and murals, the 1990s and early 2000s saw the emergence of digital art among Chicana/o artists. Los Angeles-based artist Alma Lopez has been at the forefront of this revolution. Her visually compelling, computer-aided montages have tackled deeply contested issues such as immigration, racism, religion, colonization, and queer identity, to cite just a few. In spite of being a talented painter and printmaker, with a BA and an MFA in art studio from the University of California, Santa Barbara (UCSB), and University of California, Irvine (UCI), respectively, Lopez has gained most of her visibility from her digital media work. Scholars such as Luz Calvo and Reina Alejandra Prado Saldívar have identified Lopez’s art as a Chicana feminist visual discourse that thrives on the flexibility and dynamism of digital expression.1 This technology allows the artist seamlessly to combine preexisting imagery with her own original artwork and photography. Lopez belongs to a generation of Chicana/o artists—including such luminaries as Judy Baca, Patricia Rodriguez, and John Leaños, among others—who have begun using computer technology as their preferred medium for creative expression. By doing so, they are entering territory such as the realm of science and technology that has traditionally excluded their presence as artists of color. These artists are also employing strategies that echo those deployed by other disenfranchised groups in the Americas, 68 CHICANA/LATINA STUDIES 6:2 SPRinG 2007 6.2.indb 68 4/23/07 8:21:56 AM DIGital art such as the Zapatistas in Chiapas, who initially transmitted their political communiqués over the Internet.
    [Show full text]
  • Flash: David Weldzius Slid Past My Passenger-Side Window
    eucalyptus tree, a painting of Che Guevara-cum-Uncle Sam I decided early on that I would photograph sections of Flash: David Weldzius slid past my passenger-side window. Index finger pointed out each mural in black and white. These sections would be November 21, 2015–March 5, 2016 toward the street, the beret-clad revolutionary proclaims: “We enlarged to their original size, approximately 30” x 38 ½”. are NOT A minority!!” I wondered what this place was. Because my film plane is always parallel to the mural’s Agnes Varda’s Mur murs (1981), a documentary film that surface, I am limited by my own physical height and the looks at Los Angeles mural art, provided some clarity and vertical extension of my tripod. As a direct consequence, led to further discoveries. I located Willie Herrón’s mural my photographs are frequently captured from my own “The Wall that Cracked Open” (1972) on my iPhone and eye level—the very surfaces that often evince tagging, drove to its location behind a beauty salon in City Terrace wear, and corrective painting. The first mural that I to take a look. I was intrigued by the application of paint, photographed was Willie Herrón and Gronk’s “Black and the corrosion of the surface, the Sharpie and spray-paint White Mural” (1973), completed several months after tags playfully interspersed with Herrón’s own markings, “The Wall that Cracked Open.” Encapsulating the police and the artist’s nod to trompe l’oeil. Most importantly, I was violence that followed the Chicano Moratorium march of intrigued by how the mural seemed to frame, manage, and 1970 in a barrage of fragmentary reportage, “Black and imagine the dissemination of its own history.
    [Show full text]
  • John Valadez Interviewed by Karen Mary Davalos on November 19 and 21, and December 3, 7, and 12, 2007
    CSRC ORAL HISTORIES SERIES NO. 10, DECEMBER 2013 JOHN VALADEZ INTERVIEWED BY KAREN MARY DAVALOS ON NOVEMBER 19 AND 21, AND DECEMBER 3, 7, AND 12, 2007 John Valadez is a painter and muralist. A graduate of East Los Angeles College and California State University, Long Beach, he is the recipient of many grants, commissions, and awards, including those from the Joan Mitchell Foundation, the California Arts Commission, and the Fondation d’Art de la Napoule, France. His work has appeared in exhibitions nationwide and is in the permanent collection of major museums; among them are National Museum of American Art at the Smithsonian, Bass Museum of Art in Miami Beach, Museum of Contemporary Art San Diego, Mexican Museum in Chicago, and Los Angeles County Museum of Art. Valadez lives and works in Los Angeles. Karen Mary Davalos is chair and professor of Chicana/o studies at Loyola Marymount University in Los Angeles. Her research interests encompass representational practices, including art exhibition and collection; vernacular performance; spirituality; feminist scholarship and epistemologies; and oral history. Among her publications are Yolanda M. López (UCLA Chicano Studies Research Center Press, 2008); “The Mexican Museum of San Francisco: A Brief History with an Interpretive Analysis,” in The Mexican Museum of San Francisco Papers, 1971–2006 (UCLA Chicano Studies Research Center Press, 2010); and Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora (University of New Mexico Press, 2001). This interview was conducted as part of the L.A. Xicano project. Preferred citation: John Valadez, interview with Karen Mary Davalos, November 19 and 21, and December 3, 7, and 12, 2007, Los Angeles, California.
    [Show full text]
  • 4+»/7"314%"(4,3«*/Tfqufncfs #&&#   .#4/ #(/&""  #0
    UÓTLB UÓ§BSBOEJOO IFJMTB MFJLIÞT QJTUMBS NBUVS TUKÚSOVTQÈ BMMUBGB§ 5¶4," -F§VSPHMBLL ."563 ,BSUÚGMVSPHNFJSBNF§ %0//","3&/)6/%"//" 5IFPEØSB&MÓTBCFU4NÈSBEØUUJS 4,"1"/%*7*//6"-,* x-FJLIÞTNB§VSJOO"HOBS+ØO 4+»/7"314%"(4,3«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Ó¢FTTVCMB§J FUUBIFMTU .JOOJTCØLNF§NJOOJOHVN )FJUUPHLBMU 5Ó§BSBOEJ«STUÓ§BTLJQUJ #SFOOTMB)FOSJLT#BMEWJOT#KÚSOTTPOBS ,WFOGÏMBHJ§(BSQVS 6OJDFGB§FSHBNBOB§HFGB )WB§ÈUUVB§HFSBÓWJLVOOJ (SFJOBSPHWJ§UÚM "HOBS+ØO4LBQBOEJWJOOVBMLJ %POOB,BSBOIVOEBOOB 4BNTLJQUJWJ§TUKÞQCÚSOGMØLOBSJ )BOOIÞO ,BSUÚGMVSPHNFJSBNF§ 5ÓTLB/ÞFS¢B§TWBSU ,SJTUÓO&WBØSIBMMTEØUUJSFMVSVQQ
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Police Brutality And
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Police Brutality and Communities of Color A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Public Administration in Public Sector Management and Leadership By Edith Jacqueline Gonzalez August 2019 i The thesis of Edith Jacqueline Gonzalez is approved: _________________________________________ ______________ Dr. Sarmistha Majumdar Date _________________________________________ ______________ Dr. Boris Ricks Date _________________________________________ ______________ Dr. Henrik Minassians, Chair Date California State University, Northridge ii Dedication Above all I would like to thank God almighty for giving me the strength and determination to complete this Master’s program. I am grateful to everyone who believed in me and encouraged my journey to higher education. I would like to dedicate this research project to my mother, who crossed borders so that that I could be here. Mom, thank you for making the biggest sacrifice—leaving your family, leaving your country, leaving everything you knew to provide me with the opportunities you never had. I am the product of your sacrifices, hard work, and love. Thank you for being the shining example of what I wanted to be, for every hug, every prayer, word of encouragement, and act of love. All that I am or hope to be, I owe to you. To my younger siblings, Stephanie and Genesis, whom without knowing it inspired me to pursue higher education. If I can do it, you can do it too. For every first generation student
    [Show full text]
  • Úhjo Tfn Tuø§V Vqq Þs
    UÓTLB UÓ§BSBOEJOO IFJMTB CÚSO IÚOOVO QJTUMBS NBUVS TUKÚSOVTQÈ )&33"5¶4,"/ x)OFQQUBSQFZTVS 7*½-%6/*0("'5"/'3* x#SZHHKVTUFNOJOHWJ§TNÈCÈUBIÚGO 4OBSGBSB ."563 x(BNBMEBHT EKÚGMBUFSUB FOHJOTUB§BMÓNZOE '03."45&-163/"3 "-."0(&%%" x,PNOBSUJMB§WFSB ÈHÞTU 4+»/7"314%"(4,3«*/ '**!-2-2'"&/D/0&D.+#< #'%#-.D#$0'. 0E+! $!.<' #,%!,/2E)1. F(1,% 7 > ; 4 @A 4 A = 4 : =B9 4 B9 4 B B9:> ?CA99 ?= :?:B=: 9 9 % # , - ) % " # " * % " -% . # & # $ " ' % & "& # $ ! + % ( Ó¢FTTVCMB§J FUUBIFMTU ¶HSOOJMBVUV )FJUUPHLBMU #SFOOTMB#FSHMJOEBS)ÊTMFS »MâTBOMFHTUFNOJOHPHFJOMHHMF§J (BZQSJEF (SFJOBSPHWJ§UÚM &LLFSUNBSLNJ§PGIÈMFJUU "MNB%SÚGOPH&EEBÅSS )JONÚSHVBOEMJU'PSNB 'BMMFHVTUSÈLBSOJSÓ3FZLKBWÓL 7J§ÚMEVOJ§PHBGUBOGSJ§ #SZHHKVTUFNOJOHWJ§TNÈCÈUBIÚGO4OBSGBSB )BOOIÞO (BNBMEBHTEKÚGMBUFSUB /ÚSEBMFHBUÚGG)OFQQUBSIFSSBQFZTVS ,SJTUÓO&WBØSIBMMTEØUUJSFMVSVQQ 'KÚSÈLMØJOV .F§MÚHVNTLBMMBOECZHHKB )VHB§B§CBSOBIFSCFSHJOV +ØIBOOBTFHJSLZOKBTÚHVS 4UKÚSOVTQÈ 6QQSVOJIMVUBOOB#JOEJ§ ,BSMNFOOHMÓNBWJ§G§JOHBS¢VOHMZOEJ )SFZGJOHÓTLVHFHOCFJO¢ZOOJOHV ¶IWFSKVCMB§J ,SPTTHÈUB 4KØOWBSQOTUVWJLV 4VEPLV oÈHÞTUOS Á5(«'6'²-"(oQSFOUNJ§MBS "6(-Å4*/("3 6.#305oQSFOUNJ§MBS 3*545+»3"34UFJOVOO4UFGÈOTEØUUJS ÈCN +ØO-BVGEBMKPOM!GSFUUBCMBEJEJT "SOØS#PHBTPOPH-JOEB4UFGÈOTEØUUJS TUFJOVOO!GSFUUBCMBEJEJT 4ÚMVTUKØSJ ØSHVOOVS0EETEØUUJS (V§Oâ.BHOÞTEØUUJSHVEOZNBHH!JT 13&/57*//4-"¶TBGPMEBSQSFOUTNJ§KBFIG .BSLB§TGVMMUSÞJ '034¶6.:/%)"3* UIPSHVOOVS!GSFUUBCMBEJEJT (SÏUB,BSFO(SÏUBSTEØUUJSHSFUBLBSFO!GSFUUJT
    [Show full text]
  • College Gets $1.6M Grant for Additions
    NYC page 2-4 Niagara News Orientation page 35 September 28, 2001 FREE VOLUME 32 ISSUE 1 Niagara News is produced by the Journalism-Print students at Niagara College, Welland Campus College gets $1.6M grant for additions By RYAN SUTHERLAND Performance Indicator test scores Staff Writer helped the college receive such a Niagara College received a $1.6- large amount of funding from the million grant from the Ontario gov- government, says Niagara College ernment to build a new Learning President Dan Patterson. Resource Centre (LRC) and cafete- Hudak says, “This funding is ria at the Welland campus. integral to our ability to give the The renovations to the library in quality services and facilities our the Simcoe building began in late students expect and deserve. Many April. campuses are not large enough and Niagara is “trying to meet stated are in need of renovation for com- student needs to have a cafeteria fortable learning facilities.” and LRC in the main building of “I applaud the government, and Niagara College (Welland cam- Mr. Maves and Mr. Hudak in par- pus),” says Steve Hudson, vice- ticular, for responding positively to president of corporate services. the college’s needs,” says Patterson, The original focus of Niagara in a press release issued by Maves. was to construct a new building on Along with the $1.6 million, campus, but it wasn’t within the there was a $116,276 grant to financial reach of the college, says upgrade apprenticeship-training Hudson. facilities at the college. MPP Tim Hudak, Ontario’s min- “In today’s economy, highly ister of tourism, culture and recre- skilled workers are vital to contin- ation, and Niagara Falls MPP Bart ued economic growth,” says Hudak, Maves presented the provincial in a press release issued by Maves.
    [Show full text]
  • Harry Anstey Avid / Premiere / Color Editor /AFX (Offline and Online)
    Harry Anstey Avid / Premiere / Color Editor /AFX (Offline and Online) Profile Harry is a very well established, popular and hugely experienced Offline and Online Editor. He has experience across a range of genres and is renowned for his reputation within music programming and promos. He is capable of taking on board anything from directing music composition to prepping for and coordinating high-end post to building graphics in the edit suite with limited budget and resources. He is not only a creative cutter but he knows the kit inside out and also trains others on it. Over his years as an editor he has built up a great rapport with his clients and is a calming influence in an often very stressful and busy environment! Long Form Credits “Back to the…” 1 x 60min. A guided tour of all things Channel 4 in a celebration of four decades of iconic TV shows, from live autopsies and award-winning documentaries to anarchic live shows and ground-breaking comedy. North One for Channel 4 “Secrets of Your Takeaway” 1 x 60min. Lexis Conran goes behind the scenes of our favourite takeaway restaurants and shows viewers DIY hacks in how to recreate their most popular dishes at home. North One for Channel 5 “Dolly Parton: 50 years at the Opry” A special 50th Anniversary concert celebrating the Queen of Country music. Man Alive Entertainment for NBC / BBC 2 “Generations: Bhangra” 1 x 30min. 6-part mini-doc series looking at different dance forms across the world, in this case Bhangra in the UK Midlands, and examining the significance of the genre from the perspective of different generations.
    [Show full text]
  • Melvin Van Peebles & Artists on the Cusp
    2.0 MELVIN VAN PEEBLES & ARTISTS ON THE CUSP Curated by Lisa D. Hayes, ESQ. & Souleo Enterprises, LLC EXHIBITION DESCRIPTION On September 19, 2013 the showcase series, eMerge 2.0 launched its second annual celebration of some of today’s most exciting and evolving contemporary visual artists. Creations from early-career art makers, produced by reimagining such everyday objects as thumbtacks, clothing buttons and vinyl records, were displayed alongside the items from the revered “master of artistic reinvention,” Melvin Van Peebles. As the exhibition’s anchor, Van Peebles made his visual art debut with Ex-Voto Monochrome (A Ghetto Mother’s Prayer), (2006), a mixed media meditation exploring the intersection between violence, economic disenfranchisement, womanhood and faith. Noteworthy pieces from Van Peebles’ private collection were also on display, including two rarely seen paintings by George Helton, deceased husband of Isabel Taylor Helton, designer of Van Peebles’ Manhattan apartment. Glass artist, Joseph Cavalieri’s And Then There’s Maude, (2013) celebrates the iconic 1970s TV character, Maude Findlay (played by Bea Arthur), a middle-aged, politically liberal woman liv- ing in suburbia. Cavalieri employs a meticulous ancient process that involves cutting glass from a paper pattern, kiln-firing enamel onto the colored glass at 1250 degrees Fahrenheit and adding modern elements of collage, silk screening and LED lights. JaSon E. Auguste also gleans inspiration from pop culture with, iAncientModernTuneIn, (2013), a large-scale sculpture made entirely out of vinyl records. Auguste seeks to celebrate the power of music as a spiritual force moving us with rhythm and beat, sound and power and delivering messages and purpose.
    [Show full text]
  • Cultural Resources Assessment for the Lincoln Heights Jail Los Angeles, California
    CULTURAL RESOURCES ASSESSMENT FOR THE LINCOLN HEIGHTS JAIL LOS ANGELES, CALIFORNIA Prepared for: City of Los Angeles Bureau of Engineering Environmental Management Group 1149 S. Broadway, Suite 600 Los Angeles, California 90015-2213 Prepared by: AECOM 401 West A Street, Suite 1200 San Diego, California 92101 Authors: Jeremy Hollins, M.A. Monica Mello, M.A. Linda Kry, B.A. September 2016 TABLE OF CONTENTS Section Page EXECUTIVE SUMMARY ...........................................................................................................1 CHAPTER 1 INTRODUCTION .................................................................................................1 Report Organization ............................................................................................................ 1 Project Description.............................................................................................................. 1 Project Location .................................................................................................................. 2 Regulatory Setting .............................................................................................................. 2 State Regulations ....................................................................................................... 2 Local Regulations ...................................................................................................... 7 CHAPTER 2 PROJECT SETTING..........................................................................................11
    [Show full text]
  • Chapter 1: Architectural and Social Background
    HAIGHT-ASHBURY AND ITS CONTRIBUTION TO THE COUNTERCULTURE MOVEMENT A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Historic Preservation and Planning by Ethan James Potter August 2020 i © 2020 Ethan James Potter i ABSTRACT The City of San Francisco, specifically the Haight-Ashbury neighborhood, was the epicenter of the American Counterculture Movement in the mid to late sixties. The social, cultural, and political impact of this movement is vast and widely known. This thesis provides a themed historical narrative of the Haight-Ashbury, specifically about its role in the Counterculture Movement. There are three major themes that explore the history of both the Counterculture Movement and Haight-Ashbury. Significant planning and preservation efforts for Haight-Ashbury, since the sixties, are also surveyed. Subjects such as intangible culture, history, city planning, and architecture are examined as they pertain to Haight-Ashbury and the Counterculture Movement. ii BIOGRAPHICAL SKETCH Ethan Potter is, above all, passionate for history. He grew up in Sammamish Washington, playing baseball and football. He studied history, English, and anthropology at Washington State University graduating with a Bachelor of Arts in History. He then worked in education as a tutor and a docent. Ethan decided to pursue a degree in Historic Preservation for its ability to educate the public about history. Ethan was inspired to pursue history after reading Carl L. Becker’s 1930 speech, “Every Man A Historian,” which demonstrates how historical research is conducted by nearly everyone, every day.
    [Show full text]