No. 319: PST: LA/LA at MCASD, Pomona College, LACMA

Episode No. 319 of The Modern Art Notes Podcast features curators Julieta González and Wendy Kaplan, and artist Adela Goldbard.

This week the program spotlights three exhibitions from the Getty-funded Pacific Standard Time series of exhibitions.

Julieta González discusses “Memories of Underdevelopment: Art and the Decolonial Turn in Latin America, 1960-85,” which is at the Museum of Contemporary Art San Diego through February 4, 2018. The exhibition shows how artists responded to Western investment in Latin America (and the inevitable alliance with global capitalism that came along with it). González organized the show with three other co-curators: Kathryn Kanjo, Sharon Lerner and Jacopo Crivelli Visconti. After the exhibition’s run in San Diego, it will travel to Museo Jumex in Mexico City next spring, and then to the Museo de Arte de Lima (MALI) in Peru. The exhibition catalogue will be published in March, 2018.

Next, artist Adela Goldbard will discuss her work, especially her interest in fire. Her work is included in “Prometheus 2017: Four Artists from Mexico Revisit Orozco” at the Pomona College Museum of Art. The show, which was organized by Rebecca McGrew, features work made to address Pomona’s great 1930 José Clemente Orozco mural Prometheus. It’s on view through December 16. Goldbard is a Rhode Island and Mexico City-based artist whose work addresses national histories, especially the history of the relationship between the US and Mexico.

On the final segment, Los Angeles County Museum of Art curator Wendy Kaplan discusses “Found in Translation: Design in California and Mexico, 1915-1985.” The exhibition shows how a bi-national conversation that included art, architecture, film, and design all informed the development of a distinctive Californian and Mexican style. Kaplan co-curated the show with Staci Steinberger. It’s on view through April 1, 2018. The show’s excellent catalogue was published by Delmonico Prestel. Amazon offers it for $42.

Air date: December 14, 2017.

Juan Downey, Anaconda Map of Chile, 1973.

Hélio Oiticica, Tropicália, Penetrables PN 2 ‘Purity is a myth_ and PN 3 ‘Imagetical_, 1966-67.

León Ferrari, Jaula con aves Cage -de la serie Excrementos-, 2004-2008.

Marcel Gautherot, Congresso Nacional em construção, Brasília, DF, 1959.

Marcel Gautherot, Esplanada dos Ministérios em construção, Brasília, DF, 1959.

Leo Matiz installation in “Memories of Underdevelopment” at the MCASD.

Lygia Pape, Caixa das baratas, 1967.

José Clemente Orozco, Prometheus, 1930.

Adela Goldbard, still from A World of Laughter, A World of Fears, performed at Pomona College, 2017.

Adela Goldbard, still from A World of Laughter, A World of Fears, performed at Pomona College, 2017.

Carleton Watkins, Mission Santa Barbara, 1876.

Carleton Watkins, Mission San Juan Capristano, ca. 1876-78.

Frida Kahlo, Necklace given to/owned by Paulette Goddard, c. 1940.

City College of San Francisco’s website for Diego Rivera’s 1940 Pan American Unity murals.

Donal Hord, Indigenas door panels, 1933.

James Osborne Craig, Patio Entrance from De La Guerra Street, El Paseo for Irene and Bernhard Hoffmann, Santa Barbara, c. 1922.

Gallery in Patio, Cuernavaca, from Louis La Beaume and William Booth Papin, The Picturesque Architecture of Mexico, 1915.

Roberto Montenegro, Cuauhtemoc, c. 1922.

Ruth Asawa, Untitled (S.266), 1961.

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