1. image: Ricardo Valverde, Boulevard Night, 1979/1991, Gelatin silver print, hand applied pigment, 11x14 inches, Esperanza Valverde and Christopher J. Valverde Collection


    Ricardo Valverde: Experimental Sights, 1971 - 1996
    May 17 to July 26, 2014
    Large Gallery
    Opening Reception on Saturday, May 17, 4 to 6 p.m.

    The late Los Angeles-based photographer and artist Ricardo Valverde (1946-1998) is featured in a career retrospective at VPAM. The exhibition is guest-curated by Cecilia Fajardo-Hill and highlights more than one hundred artworks spanning a twenty-five-year period of production.

    Ricardo Valverde: Experimental Sights, 1971-1996, includes works in a wide range of media, from black-and-white and color photographs, to solarized and intervened gelatin silver prints, to painterly collages that incorporate photographs and are mounted on canvas. The exhibition includes several videos; slide projections from Valverde’s photographs of lowriders, Day of the Dead celebrations, commercial signage; a light box with experimental slides treated as sculptural objects; and ceramic sculptures that resonate with his photography.

    VPAM’s exhibition is the first survey of Valverde’s extensive body of work, and it is undertaken in partnership with the UCLA Chicano Studies Research Center (CSRC), which recently published Ricardo Valverde, a new monograph in its award-winning A Ver: Revisioning Art History series. “With Ricardo Valverde: Experimental Sights, 1971-1996, we are working together in order to develop and present a comprehensive exhibition on a major L.A. artist who has been overlooked for too long,” explains CSRC director Chon A. Noriega. “Valverde was highly influenced by the New York School of street photographers and yet his photographs were never simply documents. They are works of art, visual artifacts of urban modern life in East L.A. during his lifetime, and a very personal expression unlike that of any other celebrated art photographer from Los Angeles.”

    Valverde’s artwork is included in collections in the U.S., Mexico, and Cuba, and his photographs were exhibited most recently in the Getty Foundation’s 2011-12 initiative, Pacific Standard Time: Art in L.A., 1945-1980, with multiple works in two exhibitions: Asco: Elite of the Obscure at the Los Angeles County Museum of Art, and MEX/LA: Mexican Modernism(s) in Los Angeles,1930-1985, at the Museum of Latin American Art.

    Public Programming:
    Panel Discussion
    Saturday, June 14, 2:00 – 4:00 p.m.
    Join Chon A. Noriega in conversation with the exhibition’s curator Cecilia Fajardo-Hill,
    author Ramón García, and artist Rubén Ortiz Torres.

    Curator’s Walk Through
    Saturday, June 21, 2:00 p.m.
    Walk through of the exhibition with guest curator Cecilia Fajardo-Hill.

    All events and programs are free and open to the public.

    About the Curator:
    Cecilia Fajardo-Hill is an independent curator specializing in modern and contemporary Latin American art. She has served as chief curator at the Museum of Latin American Art in Long Beach, California, and as director and chief curator for the Cisneros Fontanals Art Foundation and the Ella Fontanals-Cisneros Collection. She is currently a visiting scholar at the UCLA Chicano Studies Research Center.

    Vincent Price Art Museum (VPAM) on the campus of East Los Angeles College (ELAC) has been open in its brand new facility since May 2011. At 40,000 square feet, it is the largest museum serving the San Gabriel Valley. And, as part the Performing & Fine Arts Center on campus, VPAM is dedicated to the presentation of significant and wide-ranging exhibitions that directly benefit ELAC and all of our surrounding communities.

    For complete exhibition descriptions, related free programs, public hours, parking, and other information: http://vincentpriceartmuseum.org

     

  2. blackcontemporaryart:

    Christina FernandezLavenderia #1, 2002, Chromogenic development print mounted on Sintra, 30 x 40”, Los Angeles County Museum of Art, Ralph M. Parsons Fund, © Christina Fernandez, Photo courtesy of Gallery Luisotti, Santa Monica.

     


  3. CHICANO ART MOVEMENT visits: “MARCHING THROUGH HISTORY” with Cesar Chavez and the Farmworkers. A Photo Documentary by Cathy Murphy

    (Top: Sign in front of J. Paul Leonard Library Gallery at San Francisco State University announcing “Marching Though History” exhibition 2013)
    (Bottom: Detail shot of Cathy Murphy’s photo, “Cesar Chavez with his dogs, Boycott and Huelga”)


    About Cathy Murphy:
    When Brooks Institute of Photography opened its doors to female students in the mid-70s, Cathy moved to Santa Barbara to continue her photographic studies. While working as a photographic stringer for the Santa Barbara News and Review, she met one of America’s great Civil Rights leaders, Cesar E. Chavez. After seeing some of Cathy’s photographs, Chavez offered her the position of Staff Photographer for United Farm Workers. Like all UFW volunteers, Cathy was provided housing, a food allowance and $5 per week in wages. Cathy accepted the position and continued to photograph the entire “Thousand Mile March.”

    For more than two years, first with the UFW then with a grant from the Woody Guthrie Foundation, Cathy worked in the fields documenting the plight of the farm workers and their children who often worked from dawn until dusk in what Chavez called “the killing fields.” Cathy’s photographs were used by the UFW to rally support for ending child labor and inhumane working conditions. Through her friendship with Cesar and his family, Cathy also captured the personal side of his life as seen in her collection “Marching Through History with Cesar Chavez and the Farm Workers.”
    (Cathy Murphy - “Cesar Chavez talking to UFW Supporters King City, California” 1975)


    CAM:

    On my last day in the Bay Area we visited "Marching Through History" with Cesar Chavez and the Farmworkers exhibition. The "Marching Through History" exhibit was a Photo Documentary by Cathy Murphy. Which was held on the campus of San Francisco State University at the J. Paul Leonard Library Gallery and was sponsored by the Labor Archives and Research Center. We attended the “Marching Through History” exhibition on the first day of instruction for many at SFSU, which was not as hectic as I thought it would have been.
    Anita also had to tie some ends on campus before she began class the next day.

    Top: (“Marching Through History” with Cesar Chavez and the Farmworkers)
    Bottom: (Detail image of: Cathy Murphy’s - “Dolores Huerta and her children attending a wedding at Agbayani Village” 1975)


    After standing in a couple lines, we proceeded to make our way through the first day school crowds and arrive at the J. Paul Leonard Library Gallery, to attend Cathy Murphy’s exhibition of rarely seen photographs of Cesar Chavez. I was not familiar with Cathy Murphy’s photos of the UFW prior to attending this exhibition. I had only learned in my research the exhibit focused on photographic images of Cesar Chavez and the United Farm Workers (UFW). Once at the exhibit I was able to learn more about the story and contributions of Cathy Murphy who first photographed Cesar Chavez in 1975. I became engaged with Cathy’s thought provoking images of Cesar Chavez and the UFW. The photographs along with Cathy’s first-hand accounts enlightened me with in-depth knowledge of UFW history and the struggles for laborers rights during her stint as Cesar’s photographer.
    (Cathy Murphy - “Small boy about to lift a pesticide can filled with about 20 pounds of onions” 1976)

    The “Marching Through History” with Cesar Chavez and the Farmworkers exhibit consisted of mostly black & white photographs, with a few colored images, and period UFW labor ephemera.
    There were many thought provoking images, two such photos that brought me delight were entitled, “Cesar relaxing during a retreat Sweet’s Mill, California” circa 1976, in which I perceived Cesar still assessing the day during a much deserved break, and “Cesar Chavez with his dogs, Boycott and Huelga” 1975, where it looks as Cesar is enjoying Tonatiuh’s rays with his German shepherd companions. To the somber photos of children working in filled fields like, “Small boy about to lift a pesticide can filled with about 20 pounds of onions” 1976, and the final image in the exhibit was a moving photograph from 1993 entitled, “Richard Chavez saying goodbye to Cesar, his brother and best friend,” which was a photograph of Cesar Chavez being laid to rest as his brother Richard paid his respects to an American farm worker, labor leader and civil rights activist.

    Very inspiring exhibition Cathy Murphy, San Francisco State University, and the J. Paul Leonard Library Gallery. Bravo.

    More info visit: www.library.sfsu.edu & www.cathymurphyphotography.com


    More images and content visit: CHICANO ART MOVEMENT/Facebook page

     

  4. (Source: hypebeast.com, via hypebeast)

     

  5. angelicamuroinfo:

    PHOTO ID member’s reception @ Santa Cruz Museum of Art & History, March 29, 2013.

    Thanks to everyone who came out! A special thanks to Tamara Alvarado and Pedro Perez for loaning artwork from their collection.

    http://www.santacruzmah.org/2013/march-30-july-7-2013-photo-id/

     


  6. angelicamuroinfo:

    image

    March 30 – July 7, 2013: PHOTO ID

    This Museum-wide photography exhibition is centered on the theme of identity, and loosely broken into three sub-themes: self, social and gender.

    image

    In the Art Forum Gallery on the 3rd floor, themes of gender and social constructs are developed…

     


  7. CHICANO ART MOVEMENT visits: JOHN VALADEZ - SANTA ANA CONDITION: MCASD La Jolla 2012

    Payasa 1978-80 digital print on archival paper 25 X 16 1/2 in


    JOHN VALADEZ - SANTA ANA CONDITION:
    through Sep 02, 2012
    MCASD La Jolla

    700 Prospect Street
    La Jolla, CA 92037-4291


    CAM:
    On a very beautiful August day, my hot date and I took a trip to La Jolla, California to view John Valadez’s,”SANTA ANA CONDITION:” at the Museum of Contemporary Art San Diego La Jolla.
    I have been waiting to attend this exhibition since first hearing about in January from Mr. Valadez at the opening reception of “Resurrected Histories: Voices from the Chicano Arts Collectives of Highland Park” exhibition at Avenue 50 Studio in Highland Park C.A. This exhibition and Mr. Carlos Alamaraz’s show coming up at the Vincent Prince Art Museum in Monterey Park, CA are the two shows that have brought some excitement to this follower of the Chicano Art Movement this year.


    (left) Getting Them Out Of The Car 1984 pastel on paper 50 X 100 in (right) Santa Ana Condition 1985 pastel on paper 52 X 121 1/2 in


    Upon entering MCASD La Jolla I was instantly hit with the amazing color used by Mr. Valadez on massive pieces of paper. As I got closer to the first works on paper my eyes got bigger and so did my smile. Mr. Valadez’s Pastel works and his photography pieces are my favorite of his various mediums he is amazing at. Mr. John Valadez’s water themed pieces coexist perfect with this venue, as you can see in the image I took (below) of the spectacular multi-million dollar view. This was also my very first time viewing so many works by Mr. Valadez in one place. Prior to this exhibition I had only seen his colored street series photographs jointly, so for me to tour so many pieces in one place was a ocular delight.

    The view from MCASD La Jolla is worth the admission alone.
    Dr. Davies (MCASD Director) can I move in and be the guardian of this spectacular view unitl the show runs? I promise not to have too big of party (maybe).


    Having attended Santa Ana Condition on a weekday for me was sublime, with easy to find parking and a minimal of museum goers made the experience for me that much more enjoyable.
    Being able to examine and appriciate the works of art at your own pace is always great right?
    A few of the first pieces that grabbed my attention were from Mr. Valadez’s Car Show Series of artworks. I have never partaken in a lowrider carshow event (I like my cars sporty), but having seen videos and heard stories from friends who had attended, I think Mr. John Valadez catpures these events very vividly.

    MCASD Education department produced an audio guide for the exhibit. To listen to an excerpt of Mr. Valadez’s interview about the carshow scene paintings dial: 858-384-3321 then #29 to listen.

    Car Show 2001 oil on canvas 76 X 96 1/4 in


    The Pièce de résistance for me though was “Mesoamerica.” With its surrealist qualities and the dipiction of a civilization form its beginings to modern day, Mr. Valadez’s Right Encephalon Entophic vision make this masterpiece one that will stay lodged into this artgoers visual memory. I first caught a glimpse of this piece transitioning from one wing of the gallery to the other, restraining myself from going off course to view, I focused straight ahead onto the next wonderful Valadez work. Arriving in front of “Mesoamerica” with much anticipation built up, I knew it was worth the wait. This pastel on paper was the beauty of the ball for this artlover.
    As a whole this show was very a satisfying event and was curated excetionally by MCASD, the spectacular choice of photography and original artworks made the exhibition flow flawlessly. I highly suggest attendance to Santa Ana Condition at the Museum of Contemporay San Diego La Jolla which runs until September 2, 2012. If you attend and enjoy the exhibit as much I did Purchase the catalog, it contains detailed insight by Mr. Valadez and the MCASD curators on the artworks in the exhibited in show. Even if you do not attend JOHN VALADEZ - SANTA ANA CONDITION: MCASD La Jolla, but would still like to own a copy of this catalog purchase HERE.


    (detail) “Mesoamerica”


    I would like to thank the freindly staff at the Museum of Contemporary Art San Diego La Jolla
    More photos of JOHN VALADEZ - SANTA ANA CONDITION: exhibition at Chicano Art Movement Facebook Page.
    Enjoy!

     

  8. Oscar Castillo: Icons of the Invisible by Fowler Museum

    In this video, Oscar Castillo talks about his experience photographing the Chicano community in Los Angeles. Chon Noriega, curator of the exhibition “Icons of the Invisible” at the Fowler Museum at UCLA, puts the importance of Castillo’s work into context.

    This video was produced in conjunction with the exhibition “Oscar Castillo: Icons of the Invisible" at the Fowler Museum at UCLA.

    For more information about the Fowler visit: fowler.ucla.ed

    (Source: fowler.ucla.edu)