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VIEW Summer/FALL 2012 VIEW Summer/FALL 2012 < AbOve: JOhn Valadez, Car Show, 2001, OiL Three muSeumS; One incredibLe exhibiTiOn. geT Your grub On at L oading dOck alt.PicTureShOwS ceLebrateS its 10-yeAr On cAnvas 76 x 96¼ in. CollecTiOn OF The dOn’T miss Behold, AmericA!, P. 3 LuncheS, P. 6 Anniversary, P. 11 muSeum OF ConTemPOrAry ArT SAn diegO, muSeum Purchase wiTh Fund S PrOvided by ciTy heights native take S mcASd TnT iS bAck! Live LOcAL wiTh uS On An AnOnymOuS dOnOr. © JOhn Valadez. dOwntown by storm, P. 4 August 9, P. 6 exhibiTiOnS LA JOLLA Santa ana CondItIon: John ValadEz > On view BEhold, amErICa!: art of thE UnItEd States ThrOugh 9/2/12 > LA JOLLA from ThrEE San Diego MuseumS > 9/16/12 ThrOugh John valadez is widely considered the most significant artist 2/10/13 > LA JOLLA to have developed a realist pictorial language recording Behold, America! is a dynamic collaboration between three the chicano experience in Los Angeles during the 1970s, of San diego’s most important art institutions: the museum ‘80s, and ‘90s. his work has come to define the iconog- of contemporary Art San diego, The San diego museum of raphy of chicano identity of the period, situating it within Art, and the Timken museum of Art. The exhibition is an unri- the changing dynamics of the city rather than nostalgically valled opportunity to see these three collections united for attempting to reconstruct a mythical and distant past. his the first time.b y bringing together the finest American works style is derived from street photography as he records the from these institutions, this exhibition offers the public an life of his community and of other inhabitants of downtown opportunity to witness the sweeping changes in art created Los Angeles. yet, his interest in the documentary photo- in the united States across three centuries. The show pres- graphic tradition is also closely related to the use of this ents a rich array of paintings, sculpture, and photography, genre by experimental L.A. artists who, since the 1960s when most of which have not been together before. moreover, by portable cameras became ubiquitous, have directed their presenting works ranging from the colonial period to the lenses toward artistic ends. present, Behold, America! provides viewers with a visual valadez turned the ordinary snapshot into a source for testament to the history of the united States. his portrayal of a large, diverse cast of urban inhabitants The exhibition is grouped into three main sections, drawn from his everyday life. born in Los Angeles in 1951, Frontiers, Figures, and Forms, with each venue showing works valadez began as a muralist, presenting themes of invisible from all three collections. borders and histories binding together Spanish, mexican, and Frontiers, opening on September 16 at the museum of American culture. valadez’s intense and colorful artworks contemporary Art San diego, celebrates landscape: the rich express the chicano experience in a contemporary repre- natural beauty of the united States, its vibrant urban spaces, sentational style infused with elements of magical realism. its legendary westward settlement, and the breathtakingly his virtuoso pastel drawings present intense contrasts: the beautiful california landscape. it includes works by revered formal and narrative interpretations resemble unlikely photo- American landscape painters such as Asher b. durand and graphs that offer social commentary on everyday urban life. Albert bierstadt as well as American interpretations of distant Santa Ana condition: John Valadez is the first survey exhi- places: italian views by george inness and Thomas moran. bition of this important mexican-American artist and muralist, mid-century modernists John Sloan and marsden hartley who has had profound influence on the chicano art move- anticipate the changing concept of frontier by contemporary ment in the united States. This exhibition spans 35 years of artists Jenny holzer and Alfredo Jaar. valadez’s photographs, paintings, pastels, and other works on Figures, opening november 10 at The San diego museum paper. Santa Ana condition: John Valadez presents, for the of Art, examines the human form, most notably presented by first time, the development ofv aladez’s studio works: from his some of the most significant artists in the history of American early use of documentary and street photography to the influ- art: John Singleton copley, eastman Johnson, Thomas eakins, ence of european baroque and rococo painting and sculpture, mary cassatt, cindy Sherman, and John currin. and finally, to his more recent amalgamation of photography- The Forms section, opening november 10 at the Timken based imagery with a spatial and temporal structure pointing museum of Art, examines more inanimate objects, including towards Surrealism. The exhibition explores the specific works that range from early nineteenth-century still-lifes to documentary implications of valadez’s paintings, pastels, and more avant-garde interpretations. This section includes still- alSo on View drawings of the late 1970s and early 1980s, and their later lifes of meat by raphaelle Peale and a magnolia blossom by evolution into cityscapes imbued with his desire to depict the martin Johnson heade; abstractions by prominent American SElectEd WorkS on PaPEr > LA JOLLA nitty-gritty of urban life in L.A. and its ethnic underclass. modernists georgia O’keeffe, Arthur dove, and Stuart davis This presentation of works on paper from the museum’s Pastels and paintings from the 1990s and 2000s are also are major strengths of the exhibition; and pure formal sculp- permanent collection features drawings, photographs, and included in the exhibition. These works, which depart from his tures by Sol Le witt and martin Puryear are likewise included. prints—many of which have rarely been on view. included earlier strict adherence to deadpan representation towards This section reveals changing attitudes to form and represent in the selection are two prints by california artist richard a more baroque compositional structure, are marked by a a pioneering approach by American artists in their attention diebenkorn (1922–1993) as well as works by John divola, Sam need to push the boundaries of structure and style. memory, to color, shape, and line. Francis, Joe goode, and richard misrach. desire, intuition, and humor blend in these masterfully In addition to seeing several exquisite works by major accomplished works on canvas and paper, which are thrust by artists, Behold, America! viewers will address how our own SElectEd WorkS from thE PErmanEnt CollectIon their very excess into a territory that materializes a personal perception of our American culture has changed. The works > LA JOLLA iconography beyond the limits of cultural identity. in his later in the exhibition reflect how we as Americans have under- The works on view in the meyer gallery in La Jolla represent works, valadez aims to make familiar the unfamiliar—whether stood ourselves over time, our national priorities and how we the range of holdings from the museum’s permanent collec- dreams and fantasies, or the cultural identity of others. have transformed over the course of three centuries. tion. highlights include charles garabedian’s dr. Jekyll and Santa Ana condition: John Valadez is organized by Behold, America! Art of the United States from Three mr. hyde (1970), claes Oldenburg’s Alphabet/Good humor the museum of contemporary Art San diego. Support for San diego museums is a collaborative exhibition organized (1975), and kenneth Price’s Yang (2000). the exhibition is made possible by the national endowment by the museum of contemporary Art San diego, The San for the Arts, the mandel weiss charitable Trust, the LLww diego museum of Art, and the Timken museum of Art. Lead Foundation and the county of San diego community support for the show is provided by a generous grant from enhancement Fund. Additional funding is provided by the the Qualcomm Foundation. Further major funding has been cochrane exhibition Fund. related programs are supported received from The henry Luce Foundation, and Jake and Todd by grants from The James irvine Foundation Arts innovation Figi. institutional funding for all three museums is supplied by Fund. institutional support for mcASd is provided, in part, by the city of San diego commission for Arts and culture. the city of San diego commission for Arts and culture. < ThiS PAge: kenneTh Price, YAnG, 2000, AcryLic On Fired cerAmic. muSeum Purchase, inTernatiOnAL And ConTemPOrAry Collec- torS FundS. / chArLeS GarAbediAn, dr. JeckYll And mr. hYde, 1970. Watercolor On paper, 19¾ x 29½ in. CollecTiOn muSeum OF ConTemPOrAry ArT SAn diegO, giFT OF hAnSen, JAcObson, TeLLer, hObermAn, newmAn, Warren And richmAn, LLP. ©1970 chArLe S GarAbediAn. < OpposiTe: SergiO de LA TOrre, ThinkinG ABoUT expAnSion, digital PhotogrAPh On LiTe paper, mOunTed On PLexi And metal, 2003. CollecTiOn OF muSeum OF ConTemPOrAry ArT SAn diegO. muSeum Purchase, LOuiSe r. And RoberT S. hArPer Fund. ThiS wOrk wiLL be Featured in The FronTierS SecTiOn OF Behold, AmericA! 2 3 exhibiTiOnS dOwnTOwn ISaaC JUlIEn: tEn thoUSand Waves > On VIEW ThrOugh 12/1/12 > dOwnTOwn, JAcObS buiLding british artist isaac Julien is equally acclaimed for his arresting films and his vibrant gallery installations. with rich imagery that soars between the cold northwest coast of england, the buzzing rush hour of Shanghai, and the lush landscape of bamboo forest and stony mountains, Ten Thousand waves rep- resents a dynamic form of filmic storytelling as the multiple tales unfold across nine screens. Filmed in the dramatic land- scape of the guangxi province, the celebrated Shanghai Film Studios, and various contemporary sites around Shanghai, Ten Thousand waves combines fact, fiction, and film essay genres against a background of chinese history, legend, and landscape to create a meditation on global human migrations. The original inspiration for Ten Thousand waves was the morecambe bay tragedy of 2004, in which 23 chinese cockle-pickers died in the rising tide.
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