The Feminine Sublime

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Last Friday I went to the Pasadena Museum of California Art to take in a show called The Feminine Sublime. It features works by five artists, and it explores different ways of perceiving landscapes and experiencing the environment. Up until the 20th century, men dominated painting, and they often viewed the natural world as something that needed to be tamed or transcended. These women have a different perspective, and are looking for different ways to engage with the environment.

The only artist whose work I was familiar with is Constance Mallinson. Her piece offered a panorama of the refuse that our culture produces. A vast, multi-colored mound made up of the stuff that we use and discard on a daily basis stretches out beneath a threatening, grey sky.

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Still Life in Landscape

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Still Life in Landscape (detail)

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Still Life in Landscape (detail)

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Still Life in Landscape (detail)

The name of this painting by Yvette Gellis is Oil, Earth, Fire, Wind and Water. The title says plenty.  The image is beautiful and violent. Harsh strokes of grey and black cut across the peaceful blues and reds that seem to float in the background.

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Oil, Earth, Fire, Wind and Water

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Oil, Earth, Fire, Wind and Water (detail)

Looking at Marie Thiebeault‘s web site I found out she lived near the Port of LA, which is probably the most heavily contaminated area in the city. She talks about “witnessing […] the continual growth and rebuilding of this industrial expanse” and references “radar dishes, abandoned spy stations, and relics of WWII”. In her view, “… landscape can best mirror our culture’s complex relationship with nature, as well as contain and unfold the expanse of one’s imagination.”

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Exposure

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Exposure (detail)

I like posting about art because it gives me a break from writing about all the awful stuff that’s going on in this city, but when it comes to photographing art, I have to admit I don’t have the equipment or the skill to do it properly. I’m bringing that up here because these images don’t begin to do justice to Virginia Katz‘ work. The surface of this piece is dense and complicated, and it has the effect of pulling you through the surface into something dark and mysterious.

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Land – Into the Abyss

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Land – Into the Abyss (detail)

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Land – Into the Abyss (detail)

The two pieces by Marion Estes are seductive and disturbing. The bright colors and vivid patterns immediately drew me in, but both paintings depict the catastrophic damage we’re doing to the environment. Looking at them was an unnerving experience. I was both fascinated and afraid.

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The Great Defrost

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The Great Defrost (detail)

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Burchfield’s Plea

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Burchfield’s Plea (detail)

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Burchfield’s Plea (detail)

My one complaint about the show? It was too small. I felt like it should have been three or four times larger. These are all gifted painters and they all have a lot to say.

The Feminine Sublime will be on view through June 3. You should go.

Pasadena Museum of California Art

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Long Beach Museum of Art

LBMA Gallery

Yesterday I took the train down to Long Beach, and since I was in the neighborhood, I decided to stop in at the Long Beach Museum of Art (LBMA). It was well worth the trip.

After getting off the train I could’ve taken a bus, but I ended up just walking down Ocean Blvd. and checking out the neighborhood. I haven’t been to Long Beach for years, so I wanted to take in the sights. While there’s lots of new construction going on downtown, Ocean Blvd. offers a panorama of the city’s history. I saw low-rise apartment buildings from the post WWII era, grandiose structures that go back to the 20s, and a few homes that I imagine were among the first to be built to be built in the area. I didn’t realize the LBMA has been around since 1950. It’s been located in the historic Elizabeth Milbank Anderson House since 1957.

LBMA Mus Ext

There were two shows on view. Most of the gallery space was devoted to works by Young-Il Ahn. His early canvasses were vaguely figurative, but over the course of his career he’s moved to total abstraction. Some of the most recent works were large horizontal paintings that seemed almost monochromatic.

LBMA Ptng Red Wide

I say “almost” because on looking closer you see how subtly he uses color. While the canvas is largely filled with countless small, precise strokes of red, you can find traces of other hues bleeding through.

LBMA Ptng Red Close

Ahn is obsessed with water. Here’s an early painting called Harbor Mist, which is almost representational.

LBMA Ptng Harbor Mist

His later paintings are also inspired by water, but the end result is less pictorial than poetic.

LBMA Ptng Mag

Here’s a closer look.

LBMA Ptng Mag Close

There was also a small show of sculpture by Ann Weber. Something about her work grabbed me right away. She takes discarded cardboard and weaves it into suggestive forms. Like these.

LBMA Sclp Vert

Weber’s work is worth spending some time with. You can see that the finished product is the result of painstaking process.

LBMA Sclp Vert Close

I loved this one, titled Moon over San Pedro.

LBMA Sclp MoSP

The Ahn show was over this weekend. Weber’s sculptures will be on view til February 4. To learn more about the museum, follow the link below.

Long Beach Museum of Art

LBMA Hall

Going Gray in LA

Going Gray in LA

Today I was down at the Central Library and stumbled across a very cool show about growing old in Los Angeles. Journalist Ruxandra Guidi and photographer Bear Guerra spent time with seniors living in four communities along Broadway: Lincoln Heights, Chinatown, Downtown and South LA. The show is called Going Gray in LA: Stories of Aging Along Broadway, and it documents a side of the city that most of us pay little attention to. The images the media presents of LA are generally focussed on the young and beautiful. Senior citizens, unless they’re rich and famous, are usually ignored.

You can see the show like I did, in two small galleries on the first floor of the Central Library.

Going Gray in LA at Los Angeles Central Library

If you do make the trip Downtown, you can pick up a free print version of the material, with text in English, Spanish, Japanese and Chinese.

You also have the option of viewing the images and stories on KCRW’s web site.

Going Gray in LA at KCRW

Either way, you should check it out. The images are beautiful and the stories open a window on a world most of us don’t pay enough attention to.

Downtown Artists Fight Eviction

AE 01 Coming Soon

Artists are being forced out of the Arts District. This isn’t news. It’s been happening for years. The news is that now the artists are fighting back.

On Saturday, November 4, two groups of artists facing eviction organized a parade to bring attention to the rampant displacement that threatens their community. Earlier this year the residents at 800 Traction were told by the new owners of the building that they’d have to leave. Also this year, the people behind the Artists’ Loft Museum Los Angeles (ALMLA) were hit with a steep rent increase that seems intended to force them out. So the two groups have gotten together to let the world know that they’re not going quietly.  On Saturday, November 4 they staged a parade through Downtown.

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The parade started in Little Tokyo.

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Took a right on Alameda.

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Then the protesters headed down Alameda toward Fourth.

The parade started in Little Tokyo, cut down Alameda to Fourth, then wended its way along Seaton, Fifth and Hewitt, finally winding up at 800 Traction. It was an interesting walk. Protesters waved signs and displayed artwork. Two giant skeleton figures towered over the crowd. A few cars honked to show their support.

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A momentary pause on Alameda.

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Marching along Seaton.

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And then up Merrick.

We passed in front of the building that holds ALMLA, which is actually a brand new enterprise. Michael Parker and Alyse Emdur have lived in this space, along with other artists, for 16 years. Parker says that in just the last 6 years their rent has risen by 200%. The latest increase is beyond what they can pay, and Parker believes it was designed to force them out. So the artists at 454 Seaton decided to create ALMLA, which they hope will draw attention to their situation, and to the larger wave of displacement that’s sweeping across Los Angeles. Just before the museum’s opening, the landlord went to court to shut the event down. Fortunately he failed.

I used to hang out in this area back in the 80s and 90s. It’s depressing to see some of the changes that have taken place. While most of the buildings remain, with the onslaught of gentrification many of them now house chic boutiques and pricey restaurants. Anonymous LLCs have bought up a lot of the real estate, and investors seem bent on turning this part of Downtown into something very close to a suburban mall.

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Shop in the Arts District.

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Eat in the Arts District.

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Gentrify the Arts District.

Like I said, we ended up back at 800 Traction. A number of the artists who live in this building have been here for decades. Some were among the first wave of artists to move to the area back when it was more or less a decaying industrial ghost town. And most of the current residents at 800 Traction are part of the Japanese-American community, which is crucial to this story. This community has hung on in spite of successive waves of forced displacement going back to WWII. In the early part of the 20th century, Little Tokyo stretched far beyond its current boundaries. There were numerous Japanese-owned businesses and Japanese cultural institutions in the area between Alameda and the LA River. The first assault was the internment of Japanese-Americans after Peal Harbor. Since then City Hall has carved out one piece after another. And now these artists, after years of working within the community, are threatened with eviction.

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A performance featuring two of the Downtown elite enjoying a round of golf.

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They seemed to agree that gentrification wasn’t happening fast enough.

Hanging out with the other party guests, I felt like the room was filled with a kind of giddy energy, but there was also an undercurrent of tension. I spoke with Nancy Uyemura and Jaimee Itagaki, and they gave me the latest news about 800 Traction. The building’s new owners, DLJ Real Estate Capital Partners, had hired a property management firm, Pearson, that seemed intent on sabotaging the gathering. Pearson had called the cops before the party, apparently believing they could shut it down, but it went on as planned. They also sent security guards to keep an eye on the tenants and guests. Harrassment in situations like this is commonplace, and Pearson is doing their best to make things uncomfortable. Uyemura said that the tenants at 800 Traction were told in May that they had to leave, and they were supposed to be out by August. Recently they received an unlawful detainer notice. Their hearing date is in December.

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Protesters gathered at 800 Traction after the parade.

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I hope the security guards enjoyed the party.

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Artists sketched their take on what’s happening Downtown.

The attempt to evict the artists at 800 Traction is bad enough, but there’s another layer to this story that makes it even more disturbing. DLJ has decided to go through the process of designating the building a Historic-Cultural Landmark, which will enable them to get significant tax breaks for renovating the structure. They hired GPA Consulting to do the research for the nomination. GPA’s report talks at length about the building’s architect and Beaux Arts revival style and the food processing industry. They even mention Al’s Bar and LACE. But somehow they completely avoid any mention of the Japanese-American community that thrived in the neighborhood for decades. They also neglect to mention that the current residents have deep ties to the current Japanese-American community, and that some of them were among the first artists to move to the neighborhood back in the 80s.

In other words, GPA’s report completely whitewashes the community’s history. At the Cultural Heritage Commission (CHC) hearing where the nomination was considered, some attendees pointed this out, among them Dorothy Wong, herself a preservation consultant. Wong was baffled by the fact that the report didn’t refer to Little Tokyo once, and made no mention at all of the Japanese-American artists who had lived and worked at 800 Traction for decades. To their credit, the CHC agreed that the report was incomplete and chose to defer their decision until further work was done.

This may seem like a small victory, but it goes to the heart of what’s happening in Downtown. Ruthless investors are kicking artists and others out of the area so they can turn it into a sanitized, upscale urban destination. The Mayor and the City Council are doing everything they can to help make that happen. The people who have lived and worked in the area for much of their lives, the people who built communities and kept them going through tough times, are being told to leave. And while City Hall makes a great show of preserving historic structures, they’re destroying the communities that gave those structures life.

It’s hard to say whether the artists at 800 Traction and ALMLA will win this battle. They’re a determined group, and they seem committed to fighting til the bitter end. But LA has become increasingly hostile to artists, and the Mayor’s vision for Downtown is all about handing the area over to developers.

What have real estate investors put into this community? Money. What do they want out of it? More money.

What have the artists put into this community? Their lives. And what do they want? To continue working with and for the community, as they’ve been doing for years.

Find out more by following these links.

800 Traction

ALMLA

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Visualizing Language: Oaxaca in LA

Oax 01 Head

We may think of images and language as two separate things, but they’re not. They’re bound together in a million complicated ways, and it’s impossible to pull them apart. In a city like Los Angeles, we’re constantly surrounded by a swirl of words mutating into images (think the Hollywood sign, or a street artist spraypainting their name in neon colors) and images with easily recognizable meanings (a green cross, or a peace symbol).

In Visualizing Language: Oaxaca in LA, a series of murals on display at the Central Library, the artist collective Tlacolulokos takes on the endlessly complex relationship between words and images, and at the same time they explore the equally complex cultural landscape of indigenous people who have migrated to Los Angeles.

Oax 05 Crowd

This newly written visual history is meant to be a response to earlier versions of history, specifically the series of murals by Dean Cornwell that decorates the Central Library’s rotunda. Cornwell’s images tell the story that the City’s leadership wanted to hear back in 1933, the discovery of the New World, the spread of Christianity, the march of Civilization. Of course, the indigenous people represented in those murals were generally down on their knees, waiting for salvation.

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One of the murals painted by Dean Cornwell for the Library in 1933

There’s no point in me trying to write about these murals, because they speak so eloquently themselves. I’ll let the images do the talking. Just a word about the way they’re organized. The murals are conceived as three sets of diptychs, and the title for each set is given in Zapotec, the language of the indigenous people of Oaxaca.

Gal rabenee ladxuu/For the Pride of Your Hometown

Ra galumbanuu xhten guccran nii/The Way of the Elders

Ne guitenala’dxinu ca binni ma cusia’ndanu/And in Memory of the Forgotten

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Gal rabenee ladxuu/For the Pride of Your Hometown

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Gal rabenee ladxuu/For the Pride of Your Hometown (detail)

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Gal rabenee ladxuu/For the Pride of Your Hometown

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Ra galumbanuu xhten guccran nii/The Way of the Elders

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Ra galumbanuu xhten guccran nii/The Way of the Elders (detail)

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Ra galumbanuu xhten guccran nii/The Way of the Elders

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Ne guitenala’dxinu ca binni ma cusia’ndanu/And in Memory of the Forgotten

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Ne guitenala’dxinu ca binni ma cusia’ndanu/And in Memory of the Forgotten

The exhibition, a joint effort by the Library Foundation of Los Angeles and the Los Angeles Public Library, is part of Pacific Standard Time. Of course, these photos don’t do the murals justice. Really you should just head on down to the Central Library and see them for yourselves.

Visualizing Language: Oaxaca in LA

 

Commemorating Japanese Internment by Evicting Little Tokyo Artists

Little Tokyo Artists

It’s been 75 years since the US Government issued an order to intern all residents of Japanese descent. DLJ Real Estate Capital Partners is going to commemorate that event in a special way.  The company will soon be evicting the tenants at 800 Traction, another reminder to the residents of Little Tokyo of just how little their lives really mean.

Of course, you hear about evictions all the time in LA, and City Hall has let us know repeatedly that renters are completely disposable when their lives are weighed against investor profits. Mayor Garcetti has used the Department of City Planning like a sharp knife in carving out his radical gentrification agenda, and tenants from Boyle Heights to the beach communities know they have a target on their back.

But still, this case stands out, because of the history involved….

You see, Little Tokyo used to cover a lot more territory than it does now. While 800 Traction is no longer considered part of the district, prior to WWII it fell well within the bounds of the Japanese community. Many Japanese residents lost their homes and businesses because of the internment. City Hall took more land away in the 50s to build Parker Center. More land, more housing, more businesses were lost when (ironically) Japanese corporations moved in during the 70s and 80s. And so over time Little Tokyo has been reduced to a shadow of what it once was.

But there’s another layer to this that makes it even more disturbing. A number of the residents at 800 Traction are Japanese-American artists who’ve been living in the community for decades. They’ve worked with local cultural institutions, creating art for the people who live in Little Tokyo. They have deep roots in the neighborhood and helped create the Downtown art scene when nobody wanted to live there. Many people have pointed out the horrible irony in the fact that real estate interests have spent a fortune on branding the area as the Arts District, all the while kicking out the artists who made the place happen.

The tenants could be forced out by the end of this month. It’s hard to say whether they have any hope of keeping their homes, but it can’t hurt to raise your voice to support them. Please write to Councilmember Jose Huizar, and ask him why he isn’t doing more to protect the artists of 800 Traction against the soulless vampires at DLJ Capital Partners.

Here’s a clear, straightforward subject line.

STOP THE EVICTIONS AT 800 TRACTION!

Councilmember Jose Huizar
councilmember.huizar@lacity.org

And don’t forget to copy Mayor Garcetti, so he understands the damage his gentrification agenda is causing.

Mayor Eric Garcetti
mayor.garcetti@lacity.org

If you want more details, here’s an excellent piece from the Rafu Shimpo.

They Say Gentrify – We Must Unify!

 

Twilight: Los Angeles, 1992

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During the month of April there were plenty of reminders in newspapers and magazines, on radio and TV, of the civil disturbance that rocked Los Angeles twenty five years ago. I’ve seen plenty of coverage of those events over the years, but for my money the most honest and most insightful account of what went down is still Anna Deavere Smith’s Twilight: Los Angeles, 1992.

I went back and watched it again recently. If you’re not familiar it, Smith started by interviewing scores of people who lived in LA at the time the violence broke out. Using only the words of these witnesses, she constructed a one-woman show where she transforms herself into one character atfer another, weaving together an amazingly complex panorama, not just of the events of April 1992, but of the city at that time.

If you haven’t seen it, I recommend it highly. A video of the entire performance is available via WNET, a PBS affiliate. Here’s the link.

Twilight: Los Angeles, 1992

Twi 6 Baton