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CRAFT &\; FOLK ART MUSEUM PRESENTS LONG OVERDUE SOLO EXHIBITION OF MU LTI-DISCIPLINARY LEIMERT PARK ARTIST TIMOTHY WASHINGTON

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LOS ANGELES &nda sh\;The Craft &\; Folk Art Museum presents Timothy Washington: Love Thy Neighbor\, the first solo museum exhibition of Los Angeles artist Timothy Washington. Born in 1946 and raised in the largely Black communitie s of South Los Angeles\, Washington is a notable contemporary of Southern C alifornia&rsquo\;s canon of Black assemblage artists that broke ground in t he 1960s and 1970s\, including David Hammons\, Betye Saar\, and John Outter bridge.

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Timothy Washington: Love Thy Neighbor will be on view from January 26 through April 27\, 2014.

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The exhibition traces the significance of the human form in Washington&rsquo\;s dynamic aluminum etc hings and monumental assemblage sculptures\, beginning from the 1960s to pr esent day. Long overdue\, this exhibition offers the most complete view to date of this independent voice in the art history of Los Angeles. This exhi bition brings together a rare opportunity to see a large and diverse select ion of Washington&rsquo\;s works from private collections\, as well as from the permanent collections of the Los Angeles County Museum of Art (LACMA) and the California African American Museum.

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Washington is a graduate of the Chouinard Art Institute (later merged with CalArts)\, where he gained a firm foundation in realism and figurative abstraction. Between the 1970s a nd 1980s\, he exhibited at now-legendary art spaces Gallery 32 in MacArthur Park and Brockman Gallery in Leimert Park. Both galleries were notable for cultivating the careers of prominent Black artists in Los Angeles. While h e went on to build a career as a studio set painter for NBC and Disney\, Wa shington continued to create a prolific body of work that reflected his per sonal spirituality\, social vision\, and political critique.

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An interdis ciplinary artist\, the materials and content within Washington&rsquo\;s wor k often contain nuanced messages reflective of the contemporary moment. A s eries of aluminum etchings from the 1960s and 1970s depict the human form i n reaction to social and political events of the time. The etching &ldquo\; 1A&rdquo\; (1972) combines dry-point etching with found-object collage and depicts Washington and his brother as young men. With their fingers outstre tched both are rejecting \; Washington&rsquo\;s draft card\, collaged o nto the aluminum plate\, that branded him as immediately available for serv ice in Vietnam. His unusual choice of showing the aluminum plates as comple ted objects\, rather than using the plates to create prints\, led LA Times art critic Henry Seldis to characterize Washington&rsquo\;s work as &ldquo\ ;technical unorthodoxy&rdquo\; in the 1980s.

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The same &ldquo\;technical unorthodoxy&rdquo\; led him to develop a proprietary method of creating scu lptures from a mixture of cotton and glue. His method includes a complex la yering process that begins with a metal armature covered in cotton and glue \, then completed with countless found objects and symbolic trinkets. The h istoric associations of cotton are not lost on Washington who has quipped\, &ldquo\;I am still picking cotton.&rdquo\;

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Washington is never didactic \, moralizing\, or stringent in his messages\, preferring to subtly convey messages of social justice and humanism. However\, his ongoing social conce rns of present day are also reflected in works such as &ldquo\;Sitting Duck &rdquo\; (2013)\, an assemblage washboard pertaining to the recent tragedy of Trayvon Martin&rsquo\;s death and George Zimmerman&rsquo\;s trial.

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Th e countless objects embedded on the surfaces of his assemblage sculptures h old symbolic meaning for Washington\, who can &ldquo\;read&rdquo\; and tran slate the significance in his choice of objects. The exhibition title\, Love Thy Neighbor is borrowed from his 1968 sculpture of an imposing\ , large-scale female figure. Though the daunting figure has an extraterrest rial appearance and is composed of harsh materials such as scrap metal and nails\, it skillfully conveys Washington&rsquo\;s humanist messages of love \, compassion\, and unity\, even towards the unfamiliar.

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Washington&rsq uo\;s work has been included in museum exhibitions such as Three Graphi c Artists: Charles White\, David Hammons\, Timothy Washington and Los Angeles\, 1972: A Panorama of Black Artists\, both at the Los Ange les County Museum of Art in 1971 and 1972\; 19 Sixties: A Cultural Awak ening Re-evaluated 1965-1975 in 1989 and Inside my Head: Intuitive Artists of African Descent in 2009\, both at the California African A merican Museum\, Los Angeles.

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CAFAM members will be able to previ ew Timothy Washington: Love Thy Neighbor on Saturday\, January 25 starting at 12:00 p.m. The opening reception will take place on Saturday\, January 25 from 6:00 - 9:00 p.m. The reception is open to the public for a $12 admission fee.

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This exhibition is partially supported by the Cit y of Los Angeles Department of Cultural Affairs.

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Public Programs:

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CAFAM will offer exhibition-relate d workshops and events in conjunction with the exhibition\, \; includin g CraftLab family workshops on the second Sunday of each month from 1:30 to 3:30 p.m.

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Artist Talk with Timothy W ashington

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Sunday\, March 16 | 3:00 p. m.

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DTEND:20140427 DTSTAMP:20140802T055325 DTSTART:20140125 GEO:34.062177;-118.3555702 LOCATION:Craft and Folk Art Museum\,5814 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Timothy Washington: Love Thy Neighbor (3rd Floor) \, Timothy Washin gton UID:311559 END:VEVENT BEGIN:VEVENT DTEND:20140125T210000 DTSTAMP:20140802T055325 DTSTART:20140125T180000 GEO:34.062177;-118.3555702 LOCATION:Craft and Folk Art Museum\,5814 Wilshire Blvd. \nLos Angeles\, CA 90036 SEQUENCE:0 SUMMARY:Timothy Washington: Love Thy Neighbor (3rd Floor) \, Timothy Washin gton UID:311560 END:VEVENT END:VCALENDAR