Residency Art Gallery, in conjunction with Pacific Standard Time: LA/LA is extremely pleased to present the group exhibition Barrio Logos: Displacement and Vanishing Iconography, curated by Oscar Magallanes. The group exhibition ran from September 23rd through December 16th, 2017, with an opening block party reception on Saturday, October 7th. Barrio Logos will feature work from John Carlos de Luna “Barrio Dandy”, Adriana Corral, Pablo Cristi, Aaron Estrada, Miles “El Mac” MacGregor, Gustavo Martinez, Patrick Martinez, Ofelia Marquez, Vincent Valdez and Cindy Vallejo.
The Chicano movement born of the civil rights movement of the 1960’s in Southern California gave rise to art, murals, west-coast hand style graffiti, fashion, tattoo and literary works along with lowrider culture and fashion as forms of self identifying and culture pride in the midst of oppression and segregation. This unique style has spread to many countries but in Los Angeles, one of the birthplaces of the style it has faced persistent attacks whether in the form of criminalization to steep fines placed on unsanctioned murals. This has created an erasure of the cultural markers that speak most clearly in opposition to systemic racism. There is a heightened urgency to the preservation and documentation of this work in the midst of rapid gentrification. This exhibition will bring together artist that not only continue to use Chicano/Chicana Aesthetics but help continue the use of art as a means for challenging dominant narratives. The exhibition will also include performance works and a public art component as well.
“Who gives the barrio its logos, the essential reason that defines its being? Who decides the uses to which it is put and the cultural practices that characterize it? In the imperious logic of the marketplace, the owners of its real estate have primacy. But should material possession alone direct the form and function of the barrio? Can its resident majority (regardless of their marketplace status) claim a different kind of priority, one based on belonging to, rather than necessarily owning the spaces of the barrio? In other words, can use value trump exchange value? If so, its historical habitation by working class Mexicans and other Latinos gives them an ethical, and perhaps political, claim to primacy and protection in their long-standing urban locations. Sadly, this has not often been the case, as the barrios have always been subject to the strongest winds of urban change. Through most of the 20th century their social, spatial and cultural integrity were vulnerable to the slash and burn modernism of monumental slum clearance, urban renewal, and freeway construction projects that cleared these strategic urban spaces for “higher and better” uses than those of its proletarian residents. In our post-modernist present, the threat is more insidious and dispersed, as the invisible hand of real estate speculation catalyzes a piece-meal but cumulative displacement of working class Latino households, especially renters, through residential and commercial gentrification. Even Latino homeowners, who are not forced out, may feel this displacement as their familiar social spaces morph into an unfamiliar commercial and demographic milieu. But today, as in the past, artists of all stripes are like canaries in the coalmine, as their well-tuned sensibilities gauge the tangible and intangible consequences of changes in the air around them. As such, the artists in this exhibition express a variety of insights—some allusive, others transparent— about the complex dynamics of being-in-the barrios. Their creative reflections on the barrio’s logos thus enact a discourse on its meaning and a theorizing of its possible future. We would do well to engage them with their barrio-logical inquiry”
– Raúl Villa for Barrio Logos
Pacific Standard Time: LA/LA is a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles taking place from September 2017 through January 2018. Led by the Getty, Pacific Standard Time: LA/LA is a collaboration of arts institutions across Southern California. Through a series of thematically linked exhibitions and programs, Pacific Standard Time: LA/LA highlights different aspects of Latin American and Latino art from the ancient world to the present day. With topics such as luxury arts in the pre- Columbian Americas, 20th century Afro- Brazilian art, alternative spaces in Mexico City, and boundary-crossing practices of Latino artists, exhibitions range from monographic studies of individual artists to broad surveys that cut across numerous countries. Supported by grants from the Getty Foundation, Pacific Standard Time: LA/LA involves more than 70 cultural institutions from Los Angeles to Palm Springs, and from San Diego to Santa Barbara. Pacific Standard Time is an initiative of the Getty.
Barrio Logos is the only PST LA/LA participating exhibition taking place within South Central Los Angeles. While the majority PST LA/LA exhibitions are displayed at galleries and museums typically associated with strong art recognition or locations viewed as art centric, Barrio Logos is taking place in Inglewood. The city is 50% Latino of which the majority are Mexican or of Mexican descent. This gives Chicanos a rich history that stems back to Spanish land grants. The history of displacement began as far back as the Mexican-American war and is still ongoing. With the current political climate, the current groundbreaking for the of a massive football stadium, the shuttering of local storefronts, corporate purchases of historical buildings just a few miles from LAX makes this exhibition even more timely. The artists involved are practitioners from varying mediums and the programming will include live performances, artist talks and opportunities for calls to action. More details to come about public opening reception, artists talks and more programming surrounding the exhibition.
Magallanes is a Los Angeles based artist, working with painting, sculpture and mixed media. His work often touches down at the intersections of cultural iconography, the folkloric and the aesthetics of propaganda. While the execution of the work asks the viewer if the work is a call to action, nostalgic or tinged with irony, it serves to explore the slippage that occurs between idealism and reactionary movements as to ultimately work in the space of “elsewhere” rather than “the other”. His work has been exhibited at the North Carolina Museum of Art, Museo CEART de Baja California Mexicali, Mexico, the National Museum of Mexican Art in Chicago, Illinois, the McNay Museum in San Antonio, Texas, Las Cruces Museum of Art, Las Cruces, New Mexico and is part of the permanent collections of the Museum of Latin American Art, National Museum of Mexican Art, La Salle University Art Museum and the McNay Museum. In 2014, he participated in the Los Angeles County Museum of Art’s Andrew W. Mellon Curatorial Fellowship Academy. Other professional activities include serving as a board member for the arts education organizations Ryman Arts and Self Help Graphics and Art as well as a Young Professional Board member for Inner-City Arts.
Adriana Corral’s installations, performances, and sculptures embody universal themes of loss, human rights violations, concealment, and memory. With a rigorous and solicitous researched based practice and process; anthropologists, writers, journalists, gender scholars, human rights attorneys, and the victim’s families provide Corral with the key data and infrastructure for the formation of her works. Corral received her Masters of Fine Arts from The University of Texas at Austin and completed her Bachelor of Fine Arts at the University of Texas at El Paso. Corral was invited to attend the 106th session of the Working Group on Enforced and Involuntary disappearances at the United Nations in Geneva, Switzerland, selected for the Joan Mitchell Foundation Emerging Artist Grant, named Artists to Watch 18 exceptional new talents by Modern Painters and recently attended the International Artist-in-Residence at Artpace and the Künstlerhaus Bethanien Residency in Berlin, Germany.
Pablo Cristi is an artist born and raised in Los Angeles. Born to Chilean parents escaping the Pinochet regime, Cristi’s work is motivated by an active political awareness and is steeped in a critical inquiry of power, representation and history. His investigations of the colonial past, present, and future often take the form of paintings and sculptural objects that deconstruct and commingle urban visual vernaculars. By articulating strategies of cultural erasure, survival, and trans- formation, Cristi’s work produces counter-hegemonic narratives that allow a critical reanalysis of the status quo. Cristi is also an arts educator and co-chairs the visual art program at Oakland School for the Arts. Cristi is a graduate of the Masters of Fine Arts(MFA) program at California College of the Arts, San Francisco, and was awarded the Barclay Simpson Award in 2009. He has recently exhibited in Tokyo, New York, Los Angeles, San Francisco, and Oakland.
Through installations, sculptures, and ritualistic performances I investigate ideals of identity and socioeconomics. I reproduce gritty tones, stains and inscribed marks frequently found on “urban” walls. The specific locations I look at are Downtown Los Angeles before and after the gentrification, Arlington Heights, and the Pico Union District. To me these areas are filled with overlooked cultural signifiers: territorial symbols, tags, altars, shrines, murals, and other esoteric residue that may only become accessible to the observant viewer. Many of these things while overlooked by many, are not only ubiquitous but also meaningful within the communities previously mentioned. It is my intention to honor and give new life to these signifiers. My rituals hope to open an entryway into conversations revolving around identity. My work is intended to evoke an experience in which the viewer becomes apart of the work through their physical presence, position, opposition, or self-recognition in the work presented.
Raised in Boyle Heights, California, de Luna is a self taught multi disciplinary artist working in mixed media, installation, performance art and fashion design. His work has been compared to that of A.S.C.O, as De Luna’s artistic practice stems from his work and training with Los Angeles Avant-Guarde Artist Willie Herron lll. Inspired by the “No Movies”, Fashion as resistance and the abstract use of time and memories De Luna is on the verge and his work and audience grows as he creates “new old memories” that seem to inspire and resonate with thousand in his community and beyond. De Luna’s work in fashion will also be part of LACMA’s upcoming PST Exhibition “Found in Translation: Design in California and Mexico, 1915 to 1985.
Marquez is a first generation Mexican- American artist based in Los Angeles. She received her MFA in sculpture at UCLA and is currently an art restorer at Aleksei Tivetskys Art Restoration and Conservation studio. Ofelia Marquez’s has recently exhibited at; New Wight Gallery, the William Rolland Gallery of Fine Art, Avenue 50, and REDCAT the latter of which she hand-carved a trickster masked as part of a performative gesture. Ofelia’s exceptionally detailed wood- work is often combined with recycled fabrics that our hand sewn together acting as a kind of armature that engages cultural and social relationships/inter- sections associated with death and continuum.
Martínez was born in 1993 in Los Angeles, California to undocumented Mexican parents who recently became US citizens. Growing up in Inglewood, California he noticed the silent violence that was occurring throughout his neighborhood. It all began with accelerated structural renovations and immediate decrease in crime rates. Although this appeared to be an improvement, he realized that the minority and low-income residents would soon be displaced by the economic changes. As Inglewood continues to be “discovered,” he continues to make work that places the marginalized at the center of his focus. Gustavo Martinez received his Bachelor of Arts from University of California Los Angeles. He was a Restoration Assistant for the Black Experience Mural Restoration Project and temporary Art Instructor for the UCLA Community School.
Since the vivid days of Patrick’s childhood he was always drawing or scribbling on something. In his teenage years circa early 90’s, he was introduced to Hip Hop culture and exclusively to one of its elements, graffiti. Graffiti remains an influence in his work. Hip Hop has influenced his art ever since he understood what it was about, movies like “Wild Style” and “Style Wars” turned him onto the Hip Hop movement in his earlier days. In 1994 he attended Pasadena High School Visual Arts and Design Academy where he learned and practiced his image making skills. Patrick graduated high school and moved on to Pasadena City College. Patrick spent three years at PCC experimenting, developing his artistic skills and trying to find a hint of himself at the same time. He kept a steady career doing illustrations and design work mainly for underground and mainstream record labels that catered to the Hip Hop community. In 2001 he was ready to take on the next stage of art discipline. This led him to apply to Art Center College of Design in Pasadena, where he received a bachelor of fine arts. Patrick focuses on the phenomenology of his surroundings. He brings sublime beauty to things that aren’t thought of as conventionally beautiful. He uses subject matter such as everyday people that aren’t usually painted into the limelight and elements of the city that would be thought of as objects we take for granted. He uses these objects as communicative mediums. Patrick works with intellect and intuition in creating pieces of art that reflect and document situations that are ever present around him. Vitality and rhythm are the essence and energy in his artwork.
Miles MacGregor is an internationally renowned artist whose gorgeous large-scale works blur the lines between fine art and graffiti. El Mac began painting with acrylics and painting graffiti in the mid ’90s, when his primary focus became the life-like rendering of human faces and figures. El Mac has since worked consistently toward developing his unique rendering style, which utilizes repeating contour lines reminiscent of ripples, Turing patterns and indigenous North American art. He has been commissioned to paint murals across the U.S., as well as in Mexico, Denmark, Sweden, Canada, South Korea, Belgium, Italy, The Netherlands, Puerto Rico, Spain, France, Singapore, Germany, Ireland, the U.K., Vietnam and Cuba. Some of his murals have become local landmarks. Mac continues to balance his love of painting large-scale public artworks around the world with his meticulous and time-consuming creation of indoor works. He aims to uplift and inspire through his careful, perfectionist renderings of both the sublime and the humble.
Through portraiture Cindy Vallejo communicates various attitudes towards identity, individuality, culture and self. While much of her latest work involves self-portraits she uses the photographic platform for discussion of her own personal experiences and views of the world and the people around her. Through the use of self-created characters Cindy Vallejo stages her images to evoke the essence of “real” people, places and situations within her compositions. Her work represents her views, surroundings, culture and identity growing up in an ever-changing atmosphere. An artist originally from Inglewood California, Cindy Vallejo attended California State University, Long Beach where she received her BFA in Photography. Her work is highly influenced by artists and writers like Gloria Anzaldua, Cindy Sherman and Tomoko Sawada. As her work continues to grow she continues to explore and question ideas surrounding her work. She has had the privilege of being exhibited at such places as The Museum de Louvre Paris and SCOPE Art Fair Miami. She also has had the honor of being published in Stories Within Images for SeeMee book collections. And she recently took part in the at Lands Edge 2016/2017 Fellowship program in East LA.
Valdez was born in San Antonio, TX. He received a full scholarship to The Rhode Island School of Design and completed a BFA in 2000. Valdez’ life and career has focused on the practice of drawing and painting. Recognized for his intensive devotion to skill and detail, his monumental portrayal of the contemporary figure remarks on a universal struggle within various sociopolitical arenas and eras. Exhibition & Collections include venues such as, The Museum of Fine Arts Houston, The Ford Foundation, The Los Angeles County Museum of Art, The National Portrait Gallery, The Blanton Museum of Art, The Parsons School of Design, Paris, France, OSDE Buenos Aires, among others. Valdez is a recipient of The Joan Mitchell Foundation Grant for Painters and Sculptors, The Skowhegan School of Painting ’05 and the Kunstlerhaus Bethania Berlin Residency ‘14.