Starting March 21, the Americas Society will host the exhibition The Metropolis in Latin America, 1830-1930. The exhibition is a leading feature of Pacific Standard Time: LA/LA, an exploration of Latino and Latin American art across 70 cultural institutions in Southern California. Pacific Standard Time: LA/LA is an initiative led by the Getty Research Institute, where The Metropolis in Latin America was previously on display. The exhibition presents a century-long narrative of six Latin American capitals: Buenos Aires, Havana, Lima, Mexico City, Rio de Janeiro, and Santiago de Chile. Within this arc of time, these cities transformed from provincial seats of power in the Spanish empire to full-fledged republican capitals. This shift from Iberian urban regulations to independent national authority was expressed through a diverse set of novel and imported models of architectural design and urban planning. The cities of Latin America maintained most of their colonial structures until the mid-nineteenth century. The gradual adoption of modern architectural repertoires, coupled with massive rural migration to the cities, encouraged the removal of colonial-era vestiges in favor of new civic buildings, burgeoning residential quarters and centers of industrial production. Cocurated by Maristella Casciato and Idurre Alonso, The Metropolis in Latin America will display the dramatic transformation of these six Latin American capitals in a number of mediums, including maps, plans, prints and photographs. The historical scope of featured pieces range from Hernan Cortes’ Map of Tenochtitlan (1524) to the modernist utopia depicted in Le Corbusier’s drawings of the City of Buenos Aires (1929).
Posts tagged with "Pacific Standard Time":
Venezuelan-born artist Carlos Cruz-Diez has completed work on a new art installation at the Broad Museum in Los Angeles that utilizes blocks of pastel-colored paint to activate the crosswalks connected to the museum. The installation was developed by the Broad with the Cruz-Diez Art Foundation and the artist himself as part of Pacific Standard Time: LA/LA (PST), an ambitious multi-venue exploration of Latin American and Latino art currently taking place across the Los Angeles region. The installation, titled Couleur Additive, was installed along the four crosswalks located at the intersection of Grand Avenue and 2nd Street in Downtown Los Angeles. One of the crosswalks connects the Broad to the Disney Concert Hall located on a block north of the museum. Cruz-Diez is a highly-regarded figure in the Kinetic-Optical art genre, an experimental color theory-based form of artistic exploration initially developed in the 1950s. Cruz-Diez, who recently turned 94 years old, developed his approach based on the assumption that the perception of color in the human eye constitutes an autonomous reality that changes based on position, time, and perspective. His works, according to Ed Schad, assistant curator at The Broad, create art “through and around” the side-by-side collision of the installation’s green, orange, yellow, and blue hues. Schad’s team undertook great pains to comply with the City of Los Angeles’s permitting process for the installation, which required that the paint be applied in such a way as to retain the original sidewalk striping in its entirety. As a result, the paint swatches exist independently from the typical white crosswalk striping. The paint itself was applied by student-artists from the nearby Ramon C. Cortines School of Visual and Performing Arts, a complex designed by architects Coop Himmelb(l)au. Joanne Heyler, founding director of The Broad said in a press release, “Carlos Cruz-Diez’s practice challenges the traditional relationship between art and the viewer, and between the viewer and the urban environment,”adding, “His new work Couleur Additive activates the public space around The Broad, embracing Grand Avenue and bringing the museum out into the daily life of pedestrians and our visitors, highlighting the ideas of an important Latin American artist whose career has spanned seven decades.” The public art installation will be featured alongside explanatory materials displayed inside the museum and in conjunction with educational workshops put on by Learning Lab, an arm of the Cruz-Diez Art Foundation. The installation is on view through the year and into 2018.
The Getty-sponsored initiative, Pacific Standard Time, has released a partial list of the exhibitions associated with next year’s upcoming installment of its Southern California-wide arts extravaganza. Held every two to three years since 2011, the upcoming Pacific Standard Time installment for 2017 will focus squarely on facilitating cross-cultural artistic pollination by showcasing artworks and research from North and South America in the Los Angeles area. Pacific Standard Time is being presented by more than 70 partners located within a California area spanning Santa Barbara to the north, Palm Springs to the east, and San Diego to the south. Pacific Standard Time: LA/LA (PST:LA/LA), as next year’s initiative is known, aims to utilize the Southland area as a staging ground for the provocative presentation of works hailing from regions of the continent that feed into L.A.’s multicultural expanse. According to a promotional Youtube clip for the project, “A single form of artistic expression can be born in one place and reshape an entire region thousands of miles away. That’s the power of Latin American and Latino Art’s influence on Los Angeles,” adding, “It’s time for Southern California to turn a spotlight on its cultural and artistic roots.” Though the exhibitions presented will cover topics as diverse as luxury goods from the pre-Columbian Americas to post-World War II utopias in Brazil, Mexico, and Venezuela, PST:LA/LA’s program also aims to showcase a variety of architectural- and design-related exhibitions that touch on critical architectural issues and their impact on art. The Getty Museum and Los Angeles County Museum of Art (LACMA) are doing much of the heavy lifting in this department, with LACMA presenting multiple architecturally-related shows. LACMA’s Found in Translation: Design in California and Mexico, 1915–1985 will look at the exchange of architectural dialogues between California and Mexico and examine how the Spanish Colonial, Pre-Columbian Revivals, Craftsman, and Modernist architectural movements played a role in defining each locale throughout the 20th century. The museum’s Home—So Different, So Appealing, exhibition—part of a collaboration with Museum of Fine Arts, Houston and organized by the Chicano Studies Research Center at the University of California, Los Angeles—aims to present an "alternative narrative of postwar and contemporary art by showcasing the work of Latino-American and Latin American artists from the late 1950s to the present who have used the idea of "home" as a grounding feature in their work." LACMA will also play host to A Universal History of Infamy, a collective exhibition of more than 15 artists and collectives who have developed multi-disciplinary projects while attending residency programs organized by the 18th Street Art Center in Santa Monica, California, including the work of Naufus Ramírez-Figueroa and his A Brief History of Architecture in Guatemala from 2013. The Getty Research Institute's Urban Transfer(s): Building the Latin American Metropolis from Independence to the Threshold of Modernism will consist of a visual survey of the growth experienced by Latin American cities between the 1920s and today, tracing a narrative arc spanning from the decolonization period of the late 19th century to contemporary urban conditions for the metropolises that now dot the continent. The Palm Springs Art Museum will hold Living Architecture: Lina Bo Bardi and Albert Frey, a comparative look at the work of Brazilian Modernist paragon Lina Bo Bardi and Southern California architect Albert Frey. Bo Bardi translated Frey’s text, Living Architecture for Domus in 1959 and each helmed practices that engaged with Modernism in architecture as well as furniture and urban design. The Craft and Folk Art Museum will show The U.S.-Mexico Border: Place, Imagination, and Possibility, a collection of work by individuals who grapple with the U.S.-Mexico border wall in their work, featuring work of artists and designers like Teddy Cruz, Adrian Esparza, Consuelo Jimenez Underwood, and Ana Serrano. Last but not least, the Los Angeles Municipal Art Gallery will hold Learning from Latin America: Art, Architecture, and Visions of Modernism a collection of work from Brazilian, Cuban, Mexican, and Venezuelan artists who have engaged with the contested legacies of Modern architecture in their work. To explore the growing list of exhibitions, visit the Pacific Standard Time website here.
A. Quincy Jones: Building for Better Living The Hammer Museum 10899 Wilshire Boulevard Los Angeles Through September 8 Archibald Quincy Jones (1913–1979) was a Los Angeles–based architect known both for the glamorous homes he designed for actors like Gary Cooper, as well as his dedication to the redevelopment of middle-class housing using effective, innovative, and sustainable building methods during the 1950s and 60s. His 5,000 built projects were centered on the premise of “better living” and “greenbelt planning.” He experimented with materials like plywood, steel, and masonry block construction and intentionally built in locations where his buildings would have access to natural light, air, ventilation, and views. This exhibition is presented as a part of Pacific Standard Time Presents: Modern Architecture in L.A. The documentation on view—including original architectural drawings taken from the architect’s personal and professional archive, a case study house model, and vintage photographs—highlights a variety of Jones’s projects, including community developments, churches, libraries, restaurants, residential homes, work spaces, and schools.
In front of a packed room inside the Capitol Records building in Hollywood yesterday, the Getty announced details of the next installment of Pacific Standard Time, the popular series of art and architecture exhibitions that helped reframe Los Angeles’ position on the map of worldwide arts and culture. Sporting a new moniker, Pacific Standard Time Presents: Modern Architecture in L.A. will be smaller in scope than the previous iteration, with eleven exhibitions and accompanying programs in and around Los Angeles scheduled for April through July 2013. Among the offerings, anticipated favorites include Overdrive: L.A. Constructs the Future, 1940–1990 at the Getty, A New Sculpturalism: Contemporary Architecture from Southern California at MOCA, and A. Quincy Jones: Building for Better Living at the Hammer Museum. The one noticeable outlier among the offerings of PSTP’s museum partners is the name Peter Zumthor, who will be the focus of one of LACMA’s exhibits: The Presence of the Past: Peter Zumthor Reconsiders LACMA. The kickoff event’s final speakers, Eric Owen Moss and Michael Maltzan, balked at the larger implications of lionizing the tradition of architecture in Los Angeles. Moss pointed out the “paradox of benediction” by the Getty for Los Angeles architecture scene: "What makes this a speculative endeavor is exactly the prospect that it might fail," he noted. Maltzan echoed the idea that L.A.’s history is still in the process of revision: “It’s reasonable to argue that there is not another city in the world that has a more continuous project of modernist development than in Los Angeles.” While worrying that "the mistakes we make here are often played out again and again at even greater scale," Maltzan pointed to experimentation as the attraction for so many architects that have come to Los Angeles: “The majority that came here and stayed here did so because Los Angeles was a hotbed of creativity and possibility. You can make things here. You’ve always been able to. While that seems like a simple idea—it should be easy anywhere—it isn’t.” Here's a full list of institutions taking part in Modern Architecture in L.A.: Exhibitions A New Sculpturalism: Contemporary Architecture from Southern California (MOCA)
Quincy Jones: Building For Better Living (Hammer) The Presence of the Past: Peter Zumthor Reconsiders LACMA (LACMA) Stephen Prina: As He Remembered It (LACMA) Technology and Environment: The Postwar House in Southern California (W. Keith and Janet Kellogg University Art Gallery, Cal Poly Pomona) Everything Loose Will Land (MAK Center for Art and Architecture) Windshield Perspective (A+D Architecture and Design Museum) A Confederacy of Heretics: The Architecture Gallery, Venice, 1979 (SCI-Arc) Outside In: The Architecture of Smith and Williams (Art, Design & Architecture Museum, UC Santa Barbara)
ProgrammingCenter for Land Use Interpretation for On-Site Office Trailers: Invisible Architecture of the Urban Environment, an exhibition of original photography and related construction site tours. Community Art Resources, Inc. for CicLAvia: Modern Architecture on Wilshire Blvd, an architectural guide and special programming as part of their June 2013 car-free/open streets event. The Huntington Library, Art Collections, and Botanical Gardens for the online exhibition, Form and Landscape: Southern California Edison and the Los Angeles Basin, and public programming. Los Angeles Conservancy for Curating the City: Modern Architecture in L.A., an interactive online resource as well as tours, public programs and print material. Los Angeles Philharmonic for The Mozart/Da Ponte Trilogy Conversation, a discussion with Pritzker Prize-winning architects who are designing sets for this unique interdisciplinary series. Machine Project for The Machine Project Field Guide to L.A. Architecture, a performance series at architectural sites across the city. Pasadena Heritage for Pasadena 1940 Forward: Residential Architecture of the Recent Past, a tour of modernist homes in the Pasadena area along with a related lecture and oral history project. UCLA Architecture and Urban Design for Extreme IDEAS: Architecture at the Intersection, a series of discussions about the dynamic and interdisciplinary future of architecture.
Breaking Ground: Chinese American Architects in Los Angeles (1945–1980) The Chinese American Museum 425 North Los Angeles St., Los Angeles Through June 3 As part of the Pacific Standard Time initiative, the Chinese American Museum presents Breaking Ground to showcase the pioneering contributions made by four Southern California–based Chinese American architects. These architects, Eugene K. Choy, Gilbert Leong, Helen Liu Fong, and Gin Wong, all made contributions to the development of postwar California architecture, from Choy and Leong’s playful Chinatown Modernism to Wong’s radical masterplan for LAX and Fong’s development of the Googie style (think neon signage and cantilevered boomerang-shaped roofs). Original and reproduced photographs, blueprints, renderings, and drawings of works by the architects are on display, including original photographs by architectural photographer Julius Shulman (above, The Choy House).
As Ice Cube said, the Eames "were doing mash-ups before mash-ups existed," and the winner of our giveaway contest--featuring a limited edition poster of Ice Cube celebrating the Eames--was admiring the Eames before she knew who they were. Congratulations to AN reader/commenter Lori who proclaimed, "My grandparents collected mid-century furniture, and I loved the Eames before I had any idea what design was. Now that I know, I so appreciate that early introduction to clean, functional beauty." As a consolation prize, we suggest rewatching archi-drafter-rapper Cube give a tour of an Eames Case Study House, catching up with the exhibition at Pacific Standard Time, or tuning in to the PBS documentary on the Eames' life and work.
Update: The giveaway contest has ended and we're pleased to congratulate AN reader and commenter Lori for winning the poster! At the end of last year, a video of the rapper Ice Cube waxing poetic about the Eames ("They was doing mash-ups before mash-ups even existed.”) made the internet rounds, warming the hearts of nerdy architects and designers everywhere. The homage was part of the high-octane promotion of Pacific Standard Time (PST), a series of exhibits and events in L.A. celebrating that city's art and design from the years between 1945 and 1980. Promo materials also included a limited run series of posters featuring Ice Cube and other celebs. Well, AN readers, your response to our previous blog posts on Mr. Cube was so enthusiastic that our friends from the PST team sent us the above hand-numbered poster (36 inches by 24 inches) to give to you! It's in the office right now waiting to be shipped. For a chance to win it, simply leave a comment below with a note about why you're crazy about the Eames. We'll randomly select a name from the commentors on Monday at noon (PST, natch) and contact the lucky winner via email. Pacific Standard Time runs through April. Visit the PST site to see their line-up of programming, including the Performance and Public Art Festival January 19-29.
The House That Sam Built: Sam Maloof and Art in the Pomona Valley, 1945–1975 The Huntington Library, Art Gallery, and Botanical Gardens 1151 Oxford Road San Marino, CA Through January 30, 2012 The exhibit explores over 100 works of renowned midcentury furniture craftsman, Sam Maloof (1916–2009) and his circle of friends, who gathered at the Maloof residence and workshop—which have become a central part of the dynamic Pomona Valley art community—to share a meal and their common interest of hand-crafted objects. The exhibit showcases some of the earliest Maloof pieces, such as a round, plywood coffee table with walnut legs, decorative arts and crafts such as ceramic works by Otto and Gertrude Natzler (above), an office chair made for the prominent industrial designer Henry Dreyfuss, three iterations of his classic rocking chair, a table lamp by William Manker, among other objects. Visitors will also find two rare watercolors produced early in Maloof’s career. The exhibit is part of Pacific Standard Time: Art in L.A. 1945–1980, a Getty collaboration spanning six months, bringing together over 60 cultural institutions all across Southern California.
Earlier this fall the rapper Ice Cube pleasantly surprised us by turning up in posters promoting the Getty's exhibition series Pacific Standard Time: Art in L.A. 1945-1980, a sweeping SoCal round-up that also covers the work of architects and designers. It turns out that before founding the group N.W.A., Ice Cube studied architectural drafting, and in the process he became a fan of Ray and Charles Eames. In a video just released by the Getty, Ice Cube communes with the designer couple's famous Case Study #8 house in Pacific Palisades, walking around the exterior to admire the "off-the-shelf factory windows, prefabricated walls" and then kicking back in a 670 lounge chair inside to hold forth on the Eames' approach of mixing the new with the old, comparing it to sampling in music: " They was doing mash-ups before mash-ups even existed.” But the most instructive part of the video may be Ice Cube's decoding of the traffic specific to L.A. freeways...watch for it here: For more on Ice Cube's take on design, read his interview with the New York Times.
Every once in a while forces converge and we get an epic architecture weekend. One of those weekends is happening now. Here are some of the events going on in LA this weekend: 1.) Hollywood Wilshire Boulevard Focus Weekend, featuring free admission at the A+D Museum, Hammer Museum, Craft and Folk Art Museum, MAK Center, Fowler Museum along Wilshire Boulevard as well as events at all the institutions. All revolve around the Getty's epic Pacific Standard Time series of exhibitions. These include: A discussion called The Legacy of the California Design Exhibitions at LACMA; a talk with Deborah Sussman about Eames Designs at A+D; a panel about Mapping Another L.A.: The Chicano Art Movement at the Fowler, a discussion about Now Dig This! Art and Black Los Angeles 1960 – 1980 at the Hammer; and a about Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design at the MAK Center. 2.) Launch of the exhibition, Architecture—A Woman's Profession at WUHO Hollywood and a Saturday panel discussion at the MAK Center, moderated by AN's Sam Lubell and featuring author Tanja Kullack as well as Barbara Bestor, Monica Ponce de Leon, Dagmar Richter, and Ingalill Whlroos-Ritter. 3.) Inglewood Open Studios, featuring visits to the studios of more than 30 artists (and a few architects) in this emerging arts district, but showing off great arts spaces like the 32,400 square foot Beacon Arts Building.
Since an unofficial concept ad was leaked (above, left) in September proclaiming "Ice Cube celebrates Ray & Charles Eames," the web has been abuzz about the rapper's upcoming film on the architects' influence on his life, part of the Getty's Pacific Standard Time series of exhibitions in Los Angeles. For the exhibition on Ray and Charles Eames, Ice Cube recreated an old ad (above, right) from the 1950s, complete with a pipe and a 1953 DAT Chair. Cube, it appears, studied architectural drafting, although he never got his degree. He joins LA stars like Red Hot Chili Peppers singer Anthony Kiedis and actor Jason Schwartzman in promoting the epic series, which continues through next year.