|Diego Rivera Portrait of Maria Felix Oil on Canvas 1948|
Coleccion Perez Simon, Mexico Arturo Piera
Wednesday, February 7, 2018
Modern Masters from Latin America: The Pérez Simón Collection
San Diego Museum of Art
Through March 11th, 2018
Article by Cathy Breslaw
Modern Masters from Latin America: The Pérez Simón Collection is part of the broadly based Pacific Standard Time LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art. Supported by grants from the Getty Foundation, exhibitions and associated events are taking place through March 2018 at more than 70 cultural institutions across Southern California. Pérez Simón, a Mexican businessman and collector from Mexico City, generously provided 100 paintings of his over 3,000 works in collection to be exhibited together for the first time in the United States at the San Diego Museum of Art. Curated and organized by San Diego Museum of Art Executive Director Roxana Velásquez, this exhibition covers artworks from the early 1800’s to the first decades of the 21st century. Featured artists include: Fernando Botero, Félix González-Torres, Frida Kahlo, Wilfredo Lam, Roberto Matta, José Clemente Orozco, Alfredo Ramos Martínez, Diego Rivera, David Alfaro Siqueiros, Jesús Rafael Soto, and Rufino Tamayo. Countries represented in this exhibition are Argentina, Chile, Columbia, Cuba, Mexico, Peru, Brazil and Uruguay. Some underlying themes of these works reference modern colonial histories with the importance of landscape painting in the formation of distinctive national identities, the development of avant-garde styles, modern depictions of indigenous peoples and customs, the age of the metropolis and modernism. Many of the artists studied with masters in Europe where they were exposed to Cubism, Futurism, Impressionism, and other art movements, then returning to their home countries to develop and share their distinctive voices. The exhibition styles range from abstraction to realism, with portraits as well as landscapes. The approximately 70 artists included in this exhibition provide insight into the complex histories of these countries that share their beginnings as settled primarily by Spain and Portugal, but have their own notable presence and identities. Viewing this broad spectrum of paintings introduces audiences to the divergent historical and more current circumstances of Latin American countries – the variety of ethnicities, the politics and culture, as well as commonalities among them.
Friday, January 26, 2018
The Language of Things
San Diego Art Institute
Through March 17th
|Roberto-Romero Molina System #49 |
8 channel video installation without sound 2017
Article by Cathy Breslaw
When you arrive in the gallery spaces of the San Diego Art Institute you may ask yourself the question “Where’s the art?” There is little hanging from the walls because the artist wants you to listen, hear and interact with ‘sound’. Originally a painter, artist Roberto Romero-Molina is a visual and sound artist working on both sides of the US-Mexico border and this exhibition is presented in partnership with the Tijuana Cultural Center(CECUT). His exhibition The Language of Things includes 6 installations strategically placed throughout the expansive space of the gallery. All but two of the installations include sound and visitors can hear them all simultaneously from various points within the space. At first, this can be a little disorienting but given time to acclimate to these unusual surroundings, there is a feeling that it all co-exists nicely together. For Romero-Molina’s art pieces to work their magic, we are required to slow down, be present in the moment and occasionally close our eyes to receive the full value of these art pieces. Open Field (2017) is an interactive piece which includes a black and white video screen(oscilloscope) and parabolic antenna that when moving, jumping, stomping, singing, clapping or making utterances into the microphones, the visual display oscillates in kind. Picking up the sounds of our movements, we are provided a visual description of the sounds we are creating. Quartet is a set of four screens, each with a formal geometric shape in either red, blue, yellow or green, activated by thin white lines and tiny specs that are in motion, each vibrating within the rectangular screens. Reminiscent of minimal hard edge painting, each of these colorful works provide us with distinctive sound patterns in motion, along with the shapes. System #32 is a black steel tree-like structure with several branches, each holding its own speaker from which we hear bird sounds produced with an electronic synthesizer. Each audio player has a variety of sounds and cycles through periods of both vocalizations and silence. As you walk in and around each branch, visitors hear varying bird sounds. Serendibite is an installation that exists within a temporary structure of “walls” made from commercial insulation and black metal frames, all guiding the visitor into a more private space of sound. There are three benches for sitting and contemplation, and for listening and ‘feeling’ while we let the sound wash over us. System 49 is a series of eight individual black and white video screens on stands, set in a circular pattern at eye level. All the screens have the same location - a room with several small bright windows, but with a different ‘scene’ in each. Two human figures(one male and one female) wrapped in clear plastic appear in some, while in others,there is a figure covered in plastic on the floor, still or breathing. There is no sound for this installation as the imagery draws us into questioning the content of each screen. The last installation is Video Painting, a video screen where we spend two minutes watching an image emerge from shapes and shadows as the movements go in and out of haziness and sharpness and variations in color. Romero-Molina wants us to meet him halfway, inviting us into his world of sound and communications, calling our attention to a mostly visceral experience of what art can be.
|Roberto Romero-Molina Quartet |
4 Channel Video Installation 2012-2017
|Roberto Romero-Molina System #32 |
8 Channel Sound Installation 2017
Saturday, January 13, 2018
Museum of Photographic Arts
Through February 11th
Written by Cathy Breslaw
Point Counterpoint presents the photographic images of 19 contemporary Mexican photographers at the Museum of Photographic Arts. Underwritten by the Getty Foundation as part of the Pacific Standard Time exhibitions held across 70 institutions in southern California, it highlights the social, political and economic changes in Mexico. The work covers the years from 2000 to 2015 and was designed by both American and Mexican curators with a diverse range of work including issues of: the border, cultural identity, abstraction, appropriation and the human body. Artist Patricia Martin’s photographs digitally manipulate wedding portraits to examine the brides’ identity and traditional female roles and Ana Casa Broda’s works chronicle her own journey through motherhood. Teresa Margolles uses the backdrop of abandoned theater marquees to display suicide notes, referencing decaying buildings and infrastructure and Mexico’s struggle with violence and the past. Maya Goded uses photography and video to document the emotional environment of women in vulnerable communities in Ciudad Juarez. Guillermo Arias also documents violence of Mexico’s drug war with a rising death count that effects the border regions. Jose Luis Cuevas’s work informs viewers with a dark photographic essay describing a spiritual world where faith and religion are exchanged for technology. Frederico Gama documents a year long project with the goal of photographing an event for 12 years, in the 12th month, on the 12th day for 12 hours, focusing his camera on individuals who on that day abandon their everyday life to play the part of a religious pilgrim. Yvonne Venegas’s series focuses on one of the wealthiest regions of Latin America and one that has kept drug violence at bay, revealing moments of authenticity as well as the denial of everyday reality of its citizens. Andres Carretero presents his Redheads Series (2009) of 32 large format images of Mexican redheads challenging expectations about what Mexicans are assumed to look like, either by outsiders or other Mexicans. Dr. Lakra, who is known for embellishing vintage images with tattoo-like designs that are both beautiful and repulsive, blurs the line between traditional and pop culture. Alex Dorfsman explores themes of the Mexican landscape through abstract views of natural and man-made artifacts and are representations of emotional spaces. Alejandra Laviada exhibits an abstract series of images of light, composed through multiple exposures and the images appear to float in space with each layer revealing a unique play with transparency and perspective. These photographers and others included in this exhibition largely reflect the cultural transformations occurring in Mexico and use themes of abstraction, landscape, religion, gender, and pain by providing viewers with a deeper understanding of the challenges of our Mexican neighbors in this global environment.
|Alejandra Laviada, "Red, Yellow Composition," 2014. © Alejandra Laviada/Courtesy of the artist/|
Museum of Photographic Arts, San Diego
|Guillermo Arias. A Federal Police officer guards outside a bar during a special operation at the Zona Norte area in Tijuana, Mexico, Friday, June 12, 2009. © Guillermo Arias/Courtesy of the artist/|
Museum of Photographic Arts, San Diego
Thursday, December 21, 2017
Wednesday, December 20, 2017
Walker Evans Retrospective
San Francisco Museum of Modern Art
San Francisco, CA
Through February 4, 2018
Article by Cathy Breslaw
|Allie Mae Burroughs Wife of a Cotton Sharecropper Hale County Alabama 1936|
gelatin silver print; private collection; Walker Evans Archive Museum of Metropolitan Art NYC
Senior Curator of Photography Clément Chéroux brings the Walker Evans Retrospective to the San Francisco Museum of Modern Art from its’ exhibition at the Centre Pompidou in Paris. Walker Evans (1903-1975), was most interested in the “vernacular”, in expressing as the dictionary defines it: using a (visual) language or dialect native to a region or country. This solo exhibition includes 300 vintage prints and 100 art objects on loan from the collections of the Metropolitan Museum of Art, the Getty Museum, the Art Institute of Chicago, the National Gallery of Art in Washington D.C., the Musée du quai Branly, the National Gallery of Canada. and the San Francisco Museum of Modern Art.
Known for his documentary style, Evans was fascinated by the ordinary. He photographed main streets of small towns, laborers, sharecroppers, dockworkers, transients, panhandlers, subway passengers and others whose challenging lives reflected human dignity and resilience in the face of adversity. His subjects were aware of being photographed, gazing directly into the lens of the camera and into the faces of the viewers who see this exhibition. Evans was also drawn to signage and typography, the organization of storefront displays, luncheonettes, gas stations, fruit and vegetable stands, and objects like paper, and flyers left by the side of the road – anything that revealed the character of the particular neighborhoods or towns he visited and photographed.
During the several decades of his career, Evans collected thousands of postcards, hand painted signage, tickets, flyers, logos, brochures including a few paintings done by the artist, which are exhibited alongside the hundreds of photographic prints, all organized by theme, but all of which are classic documentary images of life in America during the 20th century. Having spent 20 plus years as staff photographer at Fortune Magazine, Evans also worked for the Farm Security Administration during the Great Depression during the 1920’s – 1940’s where his photographs put a ‘face’ on the poverty and under-recognized farmers, and general culture that he felt revealed “American-ness” at that time.
Passionate about the minute details of everyday American life, Evans was a primary influence in the development of the American documentary style of photography and in helping to shape how we see history, and to see the ‘everyday’ as sublime. Though his photos were not meant to be ‘artsy’ or ‘beautiful’, Evans’ s renditions of life in America are compelling – both in their compositional constructions as well as in the content they display.
|Walker Evans Labor Anonymous Fortune 34, No 5, November 1946|
offset lithography Centre Pompidou, Musee Nationale d'arte moderne, Paris
Bibliotheque Kandinsky Collection of David Company; Walker Evans Archive;
Metropolitan Museum of Art, NYC
|Walker Evans Roadside Stand Near Birmingham/Roadside Store Between|
Tuscaloosa and Greensboro Alabama 1936; gelatin silver print; collection of the J Paul Getty Museum LA,
Walker Evans Archive, Metropolitan Museum of Art, NYC
|Walker Evans Truck and Sign, 1928-30|
gelatin silver print; Walker Evans Archive,
The Metropolitan Museum of Art, NYC