We Are Here: Contemporary Art and Asian Voices in Los Angeles brings attention to the dynamic voices in our diverse metropolis that extend viewers’ knowledge and understanding of the Asia Pacific region. The exhibition highlights seven female contemporary artists of diverse Asian Pacific heritages living and working in Los Angeles.
Yellow No. 5 examines the transactional relationship between culture and consumerism and how they often work in tandem to conceal their connection. Tariqa Waters’ project-based, multi-disciplinary exhibition sees her collaborate with regional artists to explore the grab-and-go nature of material goods and how these products serve as armor to shield us from our intrinsically codependent relationship with consumerism—using artificial additives.
Part of a long-term documentary project by interdisciplinary artist Carlos Motta— in collaboration with artists Heldáy de la Cruz, Julio Salgado, and Edna Vázquez– We Got Each Other’s Back is a three-part, multi-channel video installation featuring portraits of queer artists and activists in the United States who are or have been openly undocumented, and who are producing work to denounce historic and present-day broken US immigration policies.
Zemula Barr Your Chair, digital photography, 2020 Zemula Barr is an artist and curator based in Portland, Oregon, where she manages the photography exhibitions at Blue Sky Gallery. From 2015–2019 she co-directed Wolff Gallery in Portland. She works primarily with photo-based media, combining original film, alternative process, and digital photographs with family snapshots, handwritten text,…
Elizabeth Leach Gallery is pleased to present A Postcolonial Landscape by Modou Dieng, featuring paintings that explore themes of Black representation and erasure in a globalized society. Dieng reimagines his own experience through dazzling, idiosyncratic mixed media artworks that engage in dialogue with personal narratives and Eurocentric art history.
Beginning in 18th century France, fashion plate prints introduced buyers to current fashion trends. Engravings collaged with silk or velvet depicted women in the latest styles. Green's Fashion Plate extends this tradition to encompass contemporary fashion, gender, and identity, intertwined with the artist's personal narratives.
Over the past few months, I have been making collages with scrap fabric on Khadi Paper and embroidering on Khadi. Handwork like embroidery has been the means of educating women into the feminine ideal but at the same time it also proved a weapon of resistance to the constraints of femininity as it provides women with a set of skills that can be utilized for self empowerment.
Christine Howard Sandoval’s practice revolves around the embodied act of walking on sites of precarious and contested land. Negotiating the material contours of urban and rural landscapes, their inherent layers of human memory, and their political and ecological stakes in the present, she seeks to un-learn things as they are.
The Jordan Schnitzer Printmaking Residency at the Sitka Center for Art and Ecology was established in 2002 to provide working artists with little or no printmaking experience the opportunity to explore a new creative medium with guidance, instruction and technical assistance from an expert etching printer.
A native San Franciscan, Carlos Villa (1936-2013) was an artist and educator whose legacy was immeasurable. His works from the 1970s and 80s deftly reject the ethnographic terms historically ascribed to non-Western art. Combining repetitive action, performance, and activism, his abstract assemblages are visually dramatic expressions of Filipino-American identity.
The artworks in What Will Have Being draw the relics of fallen empires into discourse with contemporary political and environmental instabilities, considering the legacy of our species on this planet. Creating a throughline between ancient past and possible future, the works suggest a museological exhibition of antiquities that has been forgotten and reclaimed by nature.