Selections from the Getty Research Institute’s collections :
Barbara T. Smith—A performance- and installation-art pioneer. Her work explores concepts that strike at the core of human nature, including sexuality, spirituality, and death.
The Guerrilla Girls—An anonymous feminist protest group that confronts discrimination against women artists and artists of color in the art world and tackles broader social issues.
Harmony Hammond—A trailblazing feminist, lesbian, and queer artist whose work aims to “break down the distinctions between painting and sculpture, between art and women’s work, and between art in craft and craft in art.”
Marcia Tucker—An influential curator of painting and sculpture at the Whitney Museum of American Art and founder of the New Museum of Contemporary Art. At the New Museum she organized key exhibitions such as Bad Paintings (1978) and Bad Girls (1994).
Joanie 4 Jackie—A feminist video project started by filmmaker, artist, and writer Miranda July in 1995. These chain-letter videos, started during the Riot Grrrl movement, aimed to create a generation of female film makers in a pre-YouTube era.
FRANK LLOYD WRIGHT, Living Room from the Francis W. Little House, Wayzata, Minnesota (1912-1914). The room is nowadays re-installed as close to it´s original appearance as possible at the Metropolitan Museum of Art, New York. Photo copyright by Scandinavian Collectors 2016.
Published in conjunction with a major exhibition organized by The Museum of Modern Art, New York, in collaboration with The Menil Collection, Houston, and The Art Institute of Chicago, Magritte: The Mystery of the Ordinary, 1926–1938 focuses on the breakthrough Surrealist years of René Magritte, creator of some of the twentieth century’s most extraordinary images. Bringing together nearly 80 paintings, collages and objects with a selection of photographs, periodicals and early commercial work, it offers fresh insight into Magritte’s identity as a modern artist and one of Surrealism’s greatest painters. Beginning in 1926, when Magritte first aimed to create paintings that would, in his words, “challenge the real world,” and concluding in 1938–a historically and biographically significant moment just before the outbreak of World War II–the publication traces central strategies and themes from this seminal period, particularly those of displacement, isolation, transformation, metamorphosis, the “misnaming” of objects and the representation of visions seen in half-waking states. The publication also includes an illustrated chronology outlining significant moments in the artist’s life during this period, including travel, connections with other Surrealist artists and writers, contributions to journals and important exhibitions and reviews.
4 Books on Latin American and Latino
art A Shelfie from Selene Preciado, Program Assistant
I’m Selene Preciado, program assistant at the Getty Foundation. Outside of my
work at the Getty, I am an independent curator of Latin American and Latino
anticipation of Pacific Standard Time: LA/LA, this selection of books is
inspired by the initiative’s effort on advancing the fields of Latin American
and Latino art history by promoting their dialogue, as these are often
perceived as separate fields of study albeit sharing narratives and historical
contexts. One of the strongest points of convergence between the two fields is
in the strategies of conceptual artists, particularly in arte de acción or performance, which has been a significant area of
production in the Americas since the sixties.
exhibition catalogue for Arte No es Vida:
Actions by Artists of the Americas at El Museo del Barrio is one of the
most comprehensive compilations on performance art by Latino and Latin American
artists, and it includes a detailed chronology of the most important actions
since 1957 until the year 2000. The exhibition was also a curatorial laboratory
for exploring the problem of exhibiting performance—a time-based medium—through
documentation, video, ephemera, and objects.
432-page tome is the most important document on the East Los Angeles collective
ASCO (1972–1987), produced on the occasion of the major retrospective organized
as part of the Getty’s Pacific Standard Time: Art in L.A., 1945–1980 in 2011.
But don’t let its girth intimidate you—the exhibition catalogue is very
dynamic, fully illustrated, and contains about twenty essays of different
lengths and topics, such as ASCO’s walking murals, collaborations, or
“No-movies,” as well as a section on documents and extensive bibliographic information.
book was edited by theorist, curator, and artist Coco Fusco, whose work since
the 1980s has explored postcolonial, gender, and race issues. Corpus Delecti is an excellent resource
and one of the very first performance art surveys that bridged together regions
and movements by including art from Latin American, Chicana/o, and Caribbean
artists, as well as genres that blurred the lines between fine arts, theater,
vaudeville, and staged political protest.
ASCO: Elite of the Obscure, this catalogue
was published in conjunction with the groundbreaking exhibition MEX/LA, part of
Pacific Standard Time: Art in L.A., 1945–1980, and organized by the Museum of
Latin American Art. Just like the exhibition, this catalogue is an
unconventional and thought-provoking approach to telling the story of the
relationship between Mexico and Los Angeles.
Departing from forked origins—from
the mythological location of Aztlán, the founding of L.A. as a “Latin American city” (since it was Mexican territory back in 1781), to the presence of Mexican
muralists in the 1930s who ignited local production—it visits chapters in L.A.’s
history that explore exchange, remix, appropriation, and ongoing negotiations
of race, class, and gender. Through the work of Chicana/o artists like ASCO, Barbara
Carrasco, Yolanda López, and Ricardo Valverde, as well as Americans such as
Wallace Berman, the Eames, or Millard Sheets, MEX/LA pushed boundaries also in
exhibition making. Its non-chronological, non-thematic approach consisted in
connecting artists and artworks through ideas.
While this book doesn’t solely focus on performance art, the
MEX/LA catalogue might be the unifying thread of this list, in
that it offers a critical view on hybrid and shifting identities as performative
constructs. You only have to take a look into the performativity of figures
such as Robert Stacy-Judd, the Zoot Suiters (a counterculture of the
1930s–40s), or even the borrowed Maya elements in the architecture of Frank
Lloyd Wright—all included in the particular universe of MEX/LA. The concepts
explored in the exhibition and catalogue of MEX/LA are part of the origin story
of what is now Pacific Standard Time: LA/LA.
“Every year, one lucky town in Connecticut gets to host “The Festival of Living Pictures,” a show which presents onstage recreations of famous works of art - statues, paintings, et cetera, with real people posing as the figures in the art. We hosted it seven years ago - successfully, I might add.”
Andy Warhol and
Robert Indiana at the Opening of Americans 1963, Museum of Modern Art, New York.
This photograph was taken at the opening of the exhibition Americans 1963, which featured several works by Indiana and fourteen other contemporary artists, though none by Warhol. The exhibition was organized by the Museum of Modern Art, to which Indiana had sold a painting two years earlier. Shortly thereafter Indiana would go on to design a Christmas card for that museum, which marked the debut of what would become the painter’s iconic image, LOVE.
aries: matches, leather jackets, skater skirts, skulls, knives, red lipstick, roses, roller skating, standing up for their friends
taurus: warm coffee, cozy sweaters, bikes, greenhouses, marshes with cattails, binge-watching tv shows, dark indie chill music, calming others down, bringing world peace
gemini: circle sunglasses, jump ropes, vintage telephones, little sketchbooks, colorful mismatched socks, twinkling eyes, typing, running through meadows, chasing their dreams
cancer: light wash faded blue jeans, nintendo ds’, sea foam, white beaches with pastel skies, baking, delicate paintings, baby animals, cuddling, protecting, never letting go
leo: neutral eye makeup, iced coffee, the warmth of the sun on skin, open fields with little yellow wildflowers, gold jewelry, gothic architecture, red wine, theater curtains, giving life all they’ve got
virgo: clean linen, grids, succulents, art museums, organized notes, collared shirts, hand holding, haiku poems, making those around them feel safe
libra: heart shaped glasses, chokers, snow cones, mascara, dimples, charming smiles, fancy dinners, carnations, dancing, old movies, musical riffs, getting along with everyone
scorpio: smoke, doc martens, ouija boards, graveyards, powerful slam poetry, night swimming, sad songs, angel wings, the most beautiful and deeply felt emotions for the ones they love
sagittarius: amusement parks, forests, fog, beautiful mountain views, long and winding roads, laughter, hair flowing in the wind, vintage guitars, the 70s, exploring, spreading knowledge and awareness everywhere they go
capricorn: old books, heavy coats, pen and ink, the shade of trees, the deepest depths of the ocean, folk music, pianos, dark tea, sarcasm, ambition that gives life meaning
So I see your super awesome posts about all the sentai and Kamen Rider and stuff, and just have to say whenever your posts show up on my dash I always end up smiling because you really do post real good, interesting stuff.
I’ve been really into Sentai and wanted to give Kamen Rider a watch. I’ve seen most of Kabuto (Kinda lost interest when the Hyper Zector appeared…) and Decade (It was…okay.) but have really been enjoying Gaim. Was thinking of watching Kamen Rider W next. So if you have time, I’m curious what you thought of that show? (Also, don’t think I’ve seen a post on your opinions on Kabuto. Have you watched that one yet?)
Even if you don’t end up answering this, thank you for everything you post. Really brightens up my day ^^
Kamen Rider W is, without a doubt, one of the BEST Kamen Rider series to come out post-Decade. This isn’t hyperbole on my part when I say I found this show to be absolutely excellent in almost every aspect. It brought a new flavor to Kamen Rider with the tale of a private detective and his partner solving what may have seemed like minor problems for clients that turn into major catastrophes.
Those two are the core of the series and played to absolute perfection by Renn Kiriyama as the detective Shotaro Hidari:
And Masaki Suda as his mysterious partner Philip:
Shotaro desperately wants to be seen as a hard boiled detective like the ones from the works of Dashiell Hammett or Raymond Chandler. He just isn’t as unflappable as he wants to be though and gets known as the ‘Half-Boiled’ Detective, much to his consternation.
Philip, on the other hand, is actual a lot cooler of temperament than his partner, seeming slightly detached from other people. He has the unique ability to access the Gaia Library (a white void filled with floating racks of books) and look up almost any topic with the right keywords. His origins and nature of his ability are shrouded in mystery, which is one of the major plot points of the series so I won’t spoil it here.
Their “boss” is Akiko Narumi, who’s Father actually owned the Detective Agency that Shotaro and Philip work for. He is gone thanks to the incident that united Philip and Shotaro (in more ways than one) and Shotaro spends a lot of time trying to hide his death from her, mostly because he blames himself.
If Shotaro tries to be cool and Philip is cool then Akiko has no cool. She’s very reactionary and prone to wild takes and slapping people who upset her with a shoe upside the head. Despite this, she’s actually a pretty awesome character and brings a level of ‘we need the job for the money stupid’ to Shotaro’s attempts to maintain his cool and be more selective with their work. If it was up to him they’d only handle important things like missing persons but she makes them take cases involving missing pets and stolen purses.
Now, they all live in the fictional city of Fuuto, which is something of a character itself in the series. I love this aspect because in all good detective fiction, the writer gives you a feel for the location and makes the human characters part of the character of their setting.
Fuuto is a city of wind, of people going places and of secrets. The biggest secrets of all involve the shadowy Museum organization headed by the Sonozaki family.
They are somehow connected to strange objects showing up on the streets called Gaia Memories (which look live oversized USB flash drives) that give normal people amazing powers, at a cost.
Shotaro and Philip also have Gaia Memories in their possession, though they have a safe way to harness them via the Double Driver belt they wear.
However, the Double Driver requires two memories to be used and two users. That’s where the two have to combine together into one hero. In that process, Philip’s body goes limp as his mind enters Shotaro’s body and controls one half of their combined Rider form, thus creating Kamen Rider Double.
They can use different memories to give themselves different powers, each time they swap, one half their body (whichever half has a new memory) changes color and they gain new abilities and a new name. The standard form above is Cyclone Joker (named after the two memories used to form it) but the other usual combinations are:
Heat Metal and:
There are other forms later but again, spoilers and I really think you should watch this show and discover its mysteries for yourself. It has some really fun characters, a great plot that keeps you interested and a fantastic ending that almost made me cry. There is a reason it got several continuation movies and spin-offs. It was just that rich with potential.
So, thank you for the ask and thank you for your kind words! I really hope this brings you to want to watch Kamen Rider W, it truly is a special show and one I cherish to this day.
(Oh and I will get to my thoughts on Kamen Rider Kabuto one of these days)