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BILL VIOLA

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Suenos

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BOOK OF CEREMONIAL DREAMS

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BOOK OF CEREMONIAL DREAMS

Mixed Media

By: Vincent Ramirez

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Rick Bartow (Wiyot), December 16, 1946 - April 2, 2016 Bartow was a Vietnam Veteran, a life-long musician and songwriter, a widower, an enrolled member of the Mad River Band of Wiyot Indians, and is considered one of the most important leaders in contemporary Native American art

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Continuing self-portraits series.

INVOCATION

20″ X 30″ PRINT ON WATERCOLOR PAPER

By: Vincent Ramirez

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A growing appreciation of the photobook has inspired a flood of new scholarship and connoisseurship of the form—few as surprising and inspiring as The Latin American Photobook, the culmination of a four-year, cross-continental research effort led by Horacio Fernandez, author of the seminal volume Fotografia Pública. Compiled with the input of a committee of researchers, scholars, and photographers, including Marcelo Brodsky, Iatã Cannabrava, Pablo Ortiz Monasterio and Martin Parr, The Latin American Photobook presents 150 volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru and Venezuela. It begins with the 1920s and continues up to today, providing revelatory perspectives on the under-charted history of Latin American photography, and featuring work by great figures such as Claudia Andujar, Barbara Brändli, Manuel Álvarez Bravo, Horacio Coppola, Paz Errázuriz, Graciela Iturbide, Sara Facio, Paolo Gasparini, Daniel González, Boris Kossoy, Sergio Larrain and many others. The book is divided into thematic sections such as "The City," "Conceptual Art and Photography" and "Photography and Literature," the latter a category uniquely important to Latin America. Fernandez's texts, exhaustively researched and richly illustrated, offer insight not only on each individual title and photographer, but on the multivalent social, political, and artistic histories of the region as well. This book is an unparalleled resource for those interested in Latin American photography or in discovering these heretofore unknown gems in the history of the photobook at large.

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GIVING THANKS

LASER CUT IMAGE ONTO 12″ X 19″ CIDER WOOD.

By: Vincent Ramirez

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Mixed Media

By: Vincent Ramirez

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Point/Counterpoint features work from contemporary Mexican photographers created from 2000-2015. Presented as part of the Getty’s Pacific Standard Time: LA/LA initiative, MOPA brings together nineteen artists whose images explore the political, economic, and social changes of a country that is tied to the past, yet seeking a new future.

At a time when there is considerable interest in issues surrounding the political, economic, and social boundaries between Mexico and the United States, Point/Counterpoint presents nineteen Mexican photographers whose works reflect cultural transformations that are currently underway in their country. These artists explore the intersection between perceived “traditional” Mexican culture and the actuality of contemporary life in Mexico.

The artists expand upon the history of photography in Mexico using a variety of innovative techniques including installation, video, appropriation, and working on the surface of the print. The works presented here challenge one’s understanding of Mexican photography by exploring themes of abstraction, landscape, religion, gender, pain, or fractures in society. In a global environment, it is imperative that we communicate and understand one another beyond borders—physical, cultural, artistic or linguistic—and these works provide an opportunity for conversation.

Artists featured in the exhibition include: Guillermo Arias, Iñaki Bonillas, Andrés Carretero, Ana Casas Broda, José Luís Cuevas, Alex Dorfsman, Federico Gama, Maya Goded, Juan José Herrera, Dr. Lakra, Pablo López Luz, Daniela Edburg, Alejandra Laviada, Teresa Margolles, Patricia Martín Fernando Montiel Klint, Daniela Rossell, Gerardo Suter, and Yvonne Venegas.

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An exploration of the visual culture of “race” through the work of five contemporary artists who came to prominence during the 1990s.

Over the past two decades, artists James Luna, Fred Wilson, Amalia Mesa-Bains, Pepón Osorio, and Renée Green have had a profound impact on the meaning and practice of installation art in the United States. In Subject to Display, Jennifer González offers the first sustained analysis of their contribution, linking the history and legacy of race discourse to innovations in contemporary art. Race, writes González, is a social discourse that has a visual history. The collection and display of bodies, images, and artifacts in museums and elsewhere is a primary means by which a nation tells the story of its past and locates the cultures of its citizens in the present.

All five of the American installation artists González considers have explored the practice of putting human subjects and their cultures on display by staging elaborate dioramas or site-specific interventions in galleries and museums; in doing so, they have created powerful social commentary of the politics of space and the power of display in settings that mimic the very spaces they critique. These artists' installations have not only contributed to the transformation of contemporary art and museum culture, but also linked Latino, African American, and Native American subjects to the broader spectrum of historical colonialism, race dominance, and visual culture. From Luna's museum installation of his own body and belongings as “artifacts” and Wilson's provocative juxtapositions of museum objects to Mesa-Bains's allegorical home altars, Osorio's condensed spaces (bedrooms, living rooms; barbershops, prison cells) and Green's genealogies of cultural contact, the theoretical and critical endeavors of these artists demonstrate how race discourse is grounded in a visual technology of display.

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In the history of photography in Mexico, portraiture is an important tradition that transcends styles, subjects, and decades. Mexican Portraits includes more than 350 portraits from over eighty anonymous and well-known Mexican photographers, including Manuel Álvarez Bravo, Agustín V. Casasola, Romualdo García, Graciela Iturbide, and Enrique Metinides.

Including both contemporary and classic works, mostly created from the 1970s to the present, this diverse group of images has been selected by photographer and editor Pablo Ortiz Monasterio, in conjunction with curator Vesta Mónica Herrerías, and presents an idiosyncratic and personal perspective on this particular genre. Mexican Portraits explores the frontiers of portraiture from various perspectives. At the center of this wide-ranging selection are two distinct notions embedded in the history of the portrait: mask and metamorphosis. The face is the most communicative part of the human body, with the ability both to reveal and to cover up emotions, creating an ever-fascinating tension between the temporary and the permanent. Organized into fourteen chapters, this beautifully illustrated book is a reflection on Mexican portraiture and identity, both individual and collective.

Photographers Include: Eunice Adorno, Francis Alÿs, Iñaki Bonillas, Manuel Álvarez Bravo, Miguel Calderón, Ana Casas, Agustín V. Casasola, María Félix, Romualdo García, Maya Goded, Juan Guzmán,Javier Hinojosa, Graciela Iturbide, Guillermo Kahlo, Fernando Montiel Klint, Gerardo Montiel Klint, Dr. Lakra (Jerónimo López Ramírez), Nacho López, Enrique Metinides, Pedro Meyer, Rodrigo Moya, Adolfo Patiño, Daniela Rossell, Stefan Ruiz, Carlos Somonte, Carla Verea

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“PRAYERS”

Mixed Media

By: Vincent Ramirez

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Ka'ila Farrell-Smith is a contemporary Klamath Modoc visual artist based in Modoc Point, Oregon. The conceptual framework of her practice focuses on channeling research through a creative flow of experimentation and artistic playfulness rooted in Indigenous aesthetics and abstract formalism. Utilizing painting and traditional Indigenous art practices, her work explores space in-between the Indigenous and western paradigms. Ka’ila displays work in the form of paintings, objects, and self-curated installations.

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There are a few exceptions to this with the very brown Eva Longoria and Mario Lopez, who are beautiful Nican Tlaca, full-blood or mixed-blood Indigenous people. But overall, even with our own people, there is a tendency to show the least attractive of our people in Mexico and the "USA", from "La India Maria" to Danny Trejo. They are there for ridicule, to be jokes, to be the ugly people that no one wants to be. The lesson is: DON'T BE MEXICAN!  DON'T BE INDIGENOUS! We all have family, friends, and people we know who are VERY beautiful Nican Tlaca, male and female, young and old, who are breathtakingly beautiful and beautifully brown. Why don't we see those beautiful people in movies, commercials, ads, and TV?  They don't want us to have role models. They need us to be self-hating. The same goes for our ignorance of our beautiful ancient cities and civilizations, along with the genius accomplishments of our ancestors.   They don't want us to have pride. They want us to think that we are descendants of savages, human sacrificing savages, an ugly people.  This is all part of enforcing self-hate.