BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

During the forced removal and incarceration of Japanese Americans\, some 33\,000 individual contracts wer e issued for seasonal farm labor\, with many Nikkei working in the sugar be et industry. Uprooted: Japanese American Farm Labor Camps During World War II introduces their story.

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< em>Uprooted features a selection of images from federal photographer R ussell Lee&rsquo\;s documentation of Japanese American farm labor camps nea r the towns of Nyssa\, Oregon\; and Rupert\, Shelley\, and Twin Falls in Id aho. Visitors will learn about the farm labor camps through Lee&rsquo\;s ph otographs\, interpretative text panels\, and a short documentary film featu ring firsthand accounts about life in the camps.

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Learn more about this exhibition at uprootedexhibit.com.

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This exhibition was organized by the Oregon Cultu ral Heritage Commission (OCHC) and funded in part by grants from the U.S. D epartment of the Interior\, the National Park Service\, the Japanese Americ an Confinement Sites Grant Program\, and the Idaho Humanities Council\, a s tate-based program of the National Endowment for the Humanities. DTEND:20170108 DTSTAMP:20160601T070553 DTSTART:20160927 GEO:34.049739;-118.238563 LOCATION:Japanese American National Museum\,369 East First Street \nLos Ang eles\, CA 90012 SEQUENCE:0 SUMMARY:Uprooted: Japanese American Farm Labor Camps During World War II\, Russell Lee UID:419960 END:VEVENT BEGIN:VEVENT DTEND:20160927T170000 DTSTAMP:20160601T070553 DTSTART:20160927T110000 GEO:34.049739;-118.238563 LOCATION:Japanese American National Museum\,369 East First Street \nLos Ang eles\, CA 90012 SEQUENCE:0 SUMMARY:Uprooted: Japanese American Farm Labor Camps During World War II\, Russell Lee UID:419961 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Tatau: Marks of Polynesia< /em> will present the 2\,000-year-old origins and current practices of Samo an tattoo tradition in the land of its inception\, with particular emphasis on the influential Sulu&lsquo\;ape family and their disciples.

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The JANM exhibition will explore the beauty of < em>tatau as well as its key role in the preservation and propagation o f Samoan culture. The spread of the art form outside of Samoa and some of i ts more contemporary applications will be demonstrated with photographs tak en in New Zealand\, Hawai&lsquo\;i\, California\, and Nevada.

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Tatau is curated by Takahiro Kitamura\, a master tattoo artist and author. Exhibition photography will be contribute d by John Agcaoili.

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Thank you to all of our supporters who helped us exceed our goal for the Tatau crowdfunding campaign. If you are interested in additional sponsorship opportunities\, please contact development@janm.org.

DTEND:20170108 DTSTAMP:20160601T070553 DTSTART:20160730 GEO:34.049739;-118.238563 LOCATION:Japanese American National Museum\,369 East First Street \nLos Ang eles\, CA 90012 SEQUENCE:0 SUMMARY:Tatau: Marks of Polynesia UID:419958 END:VEVENT BEGIN:VEVENT DTEND:20160730T170000 DTSTAMP:20160601T070553 DTSTART:20160730T110000 GEO:34.049739;-118.238563 LOCATION:Japanese American National Museum\,369 East First Street \nLos Ang eles\, CA 90012 SEQUENCE:0 SUMMARY:Tatau: Marks of Polynesia UID:419959 END:VEVENT BEGIN:VEVENT DESCRIPTION:

After the bombing of Pearl Har bor in 1941\, both the Canadian and American governments incarcerated citiz ens of Japanese descent who were living in the western coastal regions. Nea rly 120\,000 Japanese Americans and 22\,000 Japanese Canadians were affecte d. In the United States\, concentration camps to house the citizens were sc attered throughout the interior. In Canada\, the BC Security Commission was established to oversee the transportation of citizens to hastily planned c amps in British Columbia&rsquo\;s interior\, or to work and road camps in o ther parts of the country.

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Two Vi ews: Photographs by Ansel Adams and Leonard Frank presents a compellin g collection of documentary images by two renowned 20th-century photographe rs\, who captured distinctive views of the Japanese American and Japanese C anadian incarcerations. The exhibition features 40 photographs taken at the Manzanar War Relocation Center by Ansel Adams in 1943 and 26 prints by Leo nard Frank recording the movement of Japanese Canadians in British Columbia in 1942. Together\, the images provide an opportunity to reflect on the na ture of forced separation and uprooting and the effects they have on their victims.

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Ansel Adams (1902&ndash\;1984) is well known as a landscape photographer who captured the American West in masterful images that blend drama and contemplation. F rom 1943 to 1944\, angered by what he heard about the American government&r squo\;s policy towards citizens of Japanese descent\, Adams made a number o f trips to Manzanar War Relocation Center. His powerful photographs capture d the harsh daily life and resilience of the 10\,000 Japanese Americans inc arcerated there during World War II. When he offered the collection to the Library of Congress\, Adams wrote\, &ldquo\;The purpose of my work was to s how how these people\, suffering under a great injustice\, and loss of prop erty\, businesses and professions\, had overcome the sense of defeat and de spair by building for themselves a vital community in an arid (but magnific ent) environment.&rdquo\;

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Born in Ber ne\, Germany\, Leonard Frank (1870&ndash\;1944) moved to V ancouver in 1917 and quickly became the leading commercial/industrial photo grapher in the city. His body of work captures the growth of industries in Vancouver and British Columbia between the world wars. In 1942\, Frank was hired by the BC Security Commission to document the removal of Canadians of Japanese descent from the coast of British Columbia. He visited temporary holding areas as well as several camps in the interior of BC. The resulting photographs\, which tend to focus on buildings and structures rather than individual people\, are both stark and shocking\, depicting the movement of humans within bureaucratic systems.

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Two Views: Photographs by Ansel Adams and Leonard Frank is a trave ling exhibition organized by the Nikkei National Museum.

DTEND:20160424 DTSTAMP:20160601T070553 DTSTART:20160228 GEO:34.049739;-118.238563 LOCATION:Japanese American National Museum\,369 East First Street \nLos Ang eles\, CA 90012 SEQUENCE:0 SUMMARY:Two Views: Photographs by Ansel Adams and Leonard Frank\, Ansel Ada ms\, Leonard Frank UID:419957 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the early 1900s\, groups of Japanese Americans formed photography clubs along the Pacific coast from L os Angeles to Seattle. Their photographs were exhibited and published inter nationally to considerable acclaim\, and admired by other photographers inc luding Edward Weston and Lá\;szló\; Moholy-Nagy. Through artful ly arranged images\, the photographers represented the Japanese cultural he ritage that they knew and loved\; at the same time\, their dynamic composit ions of abstract forms contributed to the progress of modern art both at ho me and abroad. Sadly\, much of this output was lost or destroyed during the forced incarceration of Japanese Americans at the onset of World War II.\n

Making Waves: Japanese American Ph otography\, 1920&ndash\;1940 takes an in-depth look at a lost legacy. In 103 striking prints from the 1920s and &rsquo\;30s\, the classic subject s of still life\, nature\, landscape\, and portraiture are represented\, al ong with more adventurous forays into abstraction and formal experimentatio n. The vintage photographs\, largely by Los Angeles photographers\, are sup plemented by artifacts and ephemera that help bring the era to life\, such as publications that were put out by the Japanese American photography club s\, national and international (including Japanese\, German\, French\, Sovi et\, and British) publications in which the photographers&rsquo\; work was reproduced\, film negatives\, awards\, and vintage cameras.

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Making Waves commemorates the 30th annivers ary of the first comprehensive exhibition of Japanese American photography\ , titled Japanese Photography in America\, 1920&ndash\;1940. Organ ized in 1986 by Dennis Reed\, that exhibition traveled to several prestigio us venues\, including the Whitney Museum of American Art and the Corcoran G allery of Art. Making Waves\, also organized by Reed\, is the firs t comprehensive examination of this material since the 1986 exhibition. It features iconic images from the first exhibition plus many additional photo graphs discovered in the intervening years.

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Dennis Reed is a writer\, curator\, and collector who specializes in American photography from the 1920s and &rsquo\;30s. A leading expert in A sian American photography\, Reed is Professor Emeritus of Art at Los Angele s Valley College. Making Waves is accompanied by a 160-page catalo g featuring an essay by the curator.

DTEND:20160626 DTSTAMP:20160601T070553 DTSTART:20160228 GEO:34.049739;-118.238563 LOCATION:Japanese American National Museum\,369 East First Street \nLos Ang eles\, CA 90012 SEQUENCE:0 SUMMARY:Making Waves: Japanese American Photography\, 1920–1940 UID:419956 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Origami&mdash\;the Japanese tr adition of folding paper into recognizable objects&mdash\;dates back at lea st 1\,000 years\, with possible roots in Shinto purification rituals and gi ft exchanges among the nobility. By the 18th century\, the practice had com e into popular use\, and in the mid-20th century\, it was further modernize d and popularized by Akira Yoshizawa\, who is considered the first true &ld quo\;origami artist.&rdquo\; Yoshizawa created enchanting new designs and i ntroduced a system of notation for origami folds that become the internatio nal standard. Today\, origami is so popular that it is practiced all around the world.

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In the hands of a number of extraordinary contemporary artists\, the art form has recently been evol ving in remarkable new directions\, including sculpture\, large-scale insta llations\, and conceptual works. Above the Fold: New Expressions in Ori gami presents the work of nine renowned artists working in six differe nt countries and ranging in age from 29 to 71. These artists&mdash\;Erik De maine and Martin Demaine (Canada/USA)\, Vincent Floderer (France)\, Miri Go lan (Israel)\, Paul Jackson (UK/Israel)\, Robert J. Lang (USA)\, Yuko Nishi mura (Japan)\, Richard Sweeney (UK)\, and Jiangmei Wu (China/USA)&mdash\;ha ve been pushing the boundaries of origami to elevate what was once consider ed a children&rsquo\;s craft into a sophisticated global art form. Each wor k\, created specifically for this touring exhibition\, presents a unique pe rspective on contemporary social\, political\, and aesthetic ideas.

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Above the Fold demonstrates how ori gami has become a multifaceted method of artistic expression. It is increas ing in size\, with larger single sheets or multiple modules being formed in to large-scale sculptures that blend geometry and grace. It is creased and crumpled to create fantastic new worlds inhabited by life-like organisms\, and it is folded along curved lines to twist and swirl in unexpected direct ions\, sometimes inside of other materials. Some artists have even employed mathematical theorems to solve folding problems and advance the capabiliti es of the medium. Now\, origami not only expresses the beauty and spirit of natural forms such as birds and animals\, but it also touches on religious \, social\, and political ideas&mdash\;moving the viewer with both the intr icacy of its craft and the power of the artist&rsquo\;s message.

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Above the Fold is curated by Meher McA rthur and toured by International Arts &\; Artists\, Washington\, DC.

DTEND:20160821 DTSTAMP:20160601T070553 DTSTART:20160529 GEO:34.049739;-118.238563 LOCATION:Japanese American National Museum\,369 East First Street \nLos Ang eles\, CA 90012 SEQUENCE:0 SUMMARY:Above the Fold: New Expressions in Origami\, Erik Demaine\, Martin Demaine\, Vincent Floderer\, Miri Golan\, Paul Jackson\, Robert J. Lang\, Y uko Nishimura\, Richard Sweeney\, Jiangmei Wu UID:419955 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A SUMMER IDYLL: Picturesqu e Views of Californiais a glorious celebration of summer in the Golden State that combines works by California artists\, contemporary and histori c\, painted over the last one hundred years.

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Among the historic artists in the exhibition\, the museum visitor w ill view an important painting by Joseph Kleitsch (1882-1931) entitled &ldq uo\;Red and Green\,&rdquo\; which shows the artist&rsquo\;s wife\, Edna\, a nd a friend strolling through the gardens of the Mission San Juan Capistran o. The painting is set in late afternoon with the golden glow of the sun ca sting a deep shadow in the immediate foreground. In addition\, the museum w ill display a wonderful watercolor painting by Emil Kosa (1903-1968) entitl ed &ldquo\;Lunch in the Park\,&rdquo\; which shows a family&rsquo\;s summer outing beneath the dappled shade of a grove of tall\, elegant trees. There will also be works by Guy Rose (1867-1925)\, Donna Schuster (1883-1953)\, George Gardner Symons (1863-1930)\, Sam Hyde Harris (1889-1977) and several other historic masters.

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In recogniti on of the thriving school of contemporary landscape painters\, the museum w ill be showing several works by noted plein air painters working throughout the United States. &ldquo\;On the Edge\,&rdquo\; by John Cosby\, is a larg e important work that shows cliff-side homes in Shell Beach\, a small seasi de community on California&rsquo\;s central coast. A bouquet of elegant sum mer flowers becomes the subject of &ldquo\;Lavender Gladiolus and Sunflower s\,&rdquo\; by Jim McVicker. The work shows a colorful arrangement of bloom s set against a background of intricately woven oriental rugs. In addition\ , the visitor can enjoy paintings by such contemporary masters as Jesse Pow ell\, Bryan Mark Taylor\, Mian Situ\, Steven Mirich\, Rita Pacheco and West Fraser\, among others.

DTEND:20161006 DTSTAMP:20160601T070553 DTSTART:20160625 GEO:33.6712444;-117.858098 LOCATION:Irvine Museum\,18881 Von Karman Ave. Ste. 1000 \nIrvine\, CA 92612 SEQUENCE:0 SUMMARY:A Summer Idyll: Picturesque Views of California\, Jesse Powell\, Br yan Mark Taylor\, Mian Situ\, Steven Mirich\, Rita Pacheco\, West Fraser\, Guy Rose\, Donna Schuster\, George Gardner Symons\, Sam Hyde Harris\, Emil Kosa\, Joseph Kleitsch UID:419952 END:VEVENT BEGIN:VEVENT DTEND:20160625T170000 DTSTAMP:20160601T070553 DTSTART:20160625T110000 GEO:33.6712444;-117.858098 LOCATION:Irvine Museum\,18881 Von Karman Ave. Ste. 1000 \nIrvine\, CA 92612 SEQUENCE:0 SUMMARY:A Summer Idyll: Picturesque Views of California\, West Fraser\, Sam Hyde Harris\, Joseph Kleitsch\, Emil Kosa\, Steven Mirich\, Rita Pacheco\, Jesse Powell\, Guy Rose\, Donna Schuster\, Mian Situ\, George Gardner Symo ns\, Bryan Mark Taylor UID:419953 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On June 28\, The G2 Gallery will open Moths at LArge\, an exhibit from Canadian moth expert and photographer Jim des Rivi&egra ve\;res that was originally shown at the American Museum of Natural History in New York.

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Moths at LArge will feature large-format photography of various species of moth from des Riviè\;r es\, mostly from the Ottawa region of Canada\, where des Riviè\;res l ives and works as a software engineer by day\, moth collector by night. He traveled to Los Angeles to specifically photograph two local species for th is show: the Ceanothus Silkmoth (Hyalophora euryalus) and the Whit e-Lined Sphynx (Hyles lineata)\, which he captured in the Certified Wildlife Habitat backyard of G2 owners Dan and Susan Gottlieb.\n

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The process des Riviè\;res uses to collect\, i dentify\, photography and print each moth is available on his website: http://ottawa.mo ths.ca/technical.html

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The opening reception for Moths at LArge\, along with 100 Years of National Parks: The Midwest\, will be held on July 9 from 6:30 to 9:00 p.m. Admission is $ 10 at the door and includes wine\, hors d&rsquo\;oeuvres and complimentary valet in front of the gallery. All proceeds from admissions will be donated to Earthjustice. RSVP to rsvp@theg2gallery.com. \;

DTEND:20160814 DTSTAMP:20160601T070553 DTSTART:20160628 GEO:33.990525;-118.46464 LOCATION:The G2 Gallery\,1503 Abbot Kinney Blvd \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:The G2 Gallery Opens Moths at Large by Jim des Rivières \, Jim des Rivières UID:419950 END:VEVENT BEGIN:VEVENT DTEND:20160709T210000 DTSTAMP:20160601T070553 DTSTART:20160709T183000 GEO:33.990525;-118.46464 LOCATION:The G2 Gallery\,1503 Abbot Kinney Blvd \nVenice\, CA 90291 SEQUENCE:0 SUMMARY:The G2 Gallery Opens Moths at Large by Jim des Rivières \, Jim des Rivières UID:419951 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Nature of Wateris an exhibition that serves a dual purpose\; it presents a selection of supe rb California landscape paintings and it makes the museum visitor aware of one of California&rsquo\;s historically scarce and precious resources\, wat er.

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With this exhibition\, we feature art that documents the perpetual natural cycle of water in our atmosphere. Water exists in nature in three physical states\, liquid (water)\, solid ( ice) and gas (water vapor). The Water Cycle describes how a fixed quantity of water has remained the same for hundreds of millions of years. The amoun t of water on Earth is constantly refreshed by being cycled\, through the o cean\, sky and land\, over and over again. Without this cycle\, whatever wa ter exists would be used up and gone forever and there would be no life on Earth.

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By looking at how water moves through its cycle in the atmosphere\, by the physical processes of evaporat ion\, condensation\, precipitation\, infiltration\, runoff\, and subsurface flow\, one sees how water goes through its three different phases: liquid\ , solid\, and gas.

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The evaporative ph ase of the cycle purifies water which then replenishes the land with freshw ater. The flow of liquid water and ice transports minerals across the globe . It is also involved in reshaping the geological features of the Earth\, t hrough processes including erosion and sedimentation. The water cycle is al so essential for the maintenance of all life and ecosystems on the planet.< /p>\n

The oceans are the most important par t of the Water Cycle\, as it stores more than 97% of the water found on Ear th.

DTEND:20160616 DTSTAMP:20160601T070553 DTSTART:20160130 GEO:33.6712444;-117.858098 LOCATION:Irvine Museum\,18881 Von Karman Ave. Ste. 1000 \nIrvine\, CA 92612 SEQUENCE:0 SUMMARY:The Nature of Water: Our Most Precious Resource\, Guy Rose\, Paul G rimm\, Karl Yens\, Granville Redmond\, Franz Bischoff\, Mischa Askenazy UID:419949 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Between the first French publi cation on the paper negative in 1847 and more-streamlined mechanical advanc ements in the 1860s\, dynamic debates were waged in France regarding photog raphy&rsquo\;s prospects in the divergent fields of art and science. At the same time\, novelists and painters were bringing everyday subjects&mdash\; rather than idealized\, academic themes&mdash\;to the forefront of the arti stic imagination\, forging a new art for this era of social\, economic\, an d political change. Organized around the Getty Museum&rsquo\;s holdings and supplemented with important international loans\, this exhibition highligh ts the work of four photographers who were integral to the development of p aper photography: É\;douard Baldus\, Gustave Le Gray\, Henri Le Secq\ , and Charles Nè\;gre.

DTEND:20161127 DTSTAMP:20160601T070553 DTSTART:20160830 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:Real/Ideal: Photography in France\, 1847–1860\, Édouard Baldus\, Gu stave Le Gray\, Henri Le Secq\, Charles Nègre UID:419947 END:VEVENT BEGIN:VEVENT DTEND:20160830T173000 DTSTAMP:20160601T070553 DTSTART:20160830T100000 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:Real/Ideal: Photography in France\, 1847–1860\, Édouard Baldus\, Gu stave Le Gray\, Charles Nègre\, Henri Le Secq UID:419948 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The contemplative mood and mes merizing level of detail in the large-scale color photographs of Richard Le aroyd present an uncanny intimacy between the depicted subject and the view er. Working in his East London studio\, the photographer utilizes a room-si zed camera obscura with a fixed lens to make unique direct-positive prints. Eschewing digital technologies\, his method emphasizes the creative potent ial of working under self-imposed restrictions. This is the first exhibitio n in an American museum to examine Learoyd&rsquo\;s studio-based practice.< /p> DTEND:20161127 DTSTAMP:20160601T070553 DTSTART:20160830 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:In the Studio\, Richard Learoyd UID:419945 END:VEVENT BEGIN:VEVENT DTEND:20160830T173000 DTSTAMP:20160601T070553 DTSTART:20160830T100000 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:In the Studio\, Richard Learoyd UID:419946 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From the 1940s onward\, as con temporary art came to be increasingly dominated by abstraction\, conceptual ism\, and minimalism\, a group of painters in London doggedly pursued the d epiction of the human figure and everyday landscape\, forging startling new approaches and styles. Drawn largely from the unrivaled holdings of the Ta te in London\, this is the first major exhibition in the U.S. to consider t he work of six of the leaders of this &ldquo\;School of London&rdquo\;&mdas h\;Francis Bacon\, Lucian Freud\, Leon Kossoff\, Michael Andrews\, Frank Au erbach\, and R. B. Kitaj&mdash\;collectively\, providing a timely reassessm ent of their extraordinary achievement.

DTEND:20161113 DTSTAMP:20160601T070553 DTSTART:20160726 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:London Calling: Bacon\, Freud\, Kossoff\, Andrews\, Auerbach\, and Kitaj\, Francis Bacon\, Lucian Freud\, Leon Kossoff\, Michael Andrews\, Fra nk Auerbach\, R.B. Kitaj UID:419943 END:VEVENT BEGIN:VEVENT DTEND:20160726T173000 DTSTAMP:20160601T070553 DTSTART:20160726T100000 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:London Calling: Bacon\, Freud\, Kossoff\, Andrews\, Auerbach\, and Kitaj\, Michael Andrews\, Frank Auerbach\, Francis Bacon\, Lucian Freud\, R .B. Kitaj\, Leon Kossoff UID:419944 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Drawn primarily from the Getty Museum&rsquo\;s permanent collection of manuscripts\, this exhibition expl ores the visual challenges artists faced as they sought to render miraculou s encounters with the divine\, grand visions of the end of time\, the intri cacies of belief\, and the intimate communications of prayer. These &ldquo\ ;unseen&rdquo\; spiritual experiences\, recorded by Jewish and Christian au thors in antiquity\, were translated in new ways by the illuminators of med ieval and Renaissance books. Rather than simply narrating otherworldly even ts\, the innovative images in this exhibition offer visual entry points to the ineffable nature of faith.

DTEND:20160925 DTSTAMP:20160601T070553 DTSTART:20160612 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:Things Unseen: Vision\, Belief\, and Experience in Illuminated Manu scripts UID:419941 END:VEVENT BEGIN:VEVENT DTEND:20160612T173000 DTSTAMP:20160601T070553 DTSTART:20160612T100000 GEO:34.0788083;-118.4750258 LOCATION:Getty Center Los Angeles\,1200 Getty Drive \nLos Angeles\, CA 9004 9 SEQUENCE:0 SUMMARY:Things Unseen: Vision\, Belief\, and Experience in Illuminated Manu scripts UID:419942 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This dazzling exhibition featu res commissions by three dozen acclaimed international artists including Ri chard Tuttle\, Cynthia Schira\, Helena Hernmarck\, Jim Bassler\, Gyö\;n gy Laky\, Gerhardt Knodel\, Sherri Smith\, N. Dash\, Lewis Knauss\, Ana Lis a Hedstrom\, Kiyomi Iwata\, Nancy Koenigsberg\, and John Garrett. It showca ses these skilled artists&rsquo\; ingenious use&mdash\;and often-expansive definitions&mdash\;of fiber\, while exploring the collector/artist relation ship. The commissioned works come from the Lloyd Cotsen Collection.

DTEND:20170115 DTSTAMP:20160601T070553 DTSTART:20160911 GEO:34.0686108;-118.4454795 LOCATION:Fowler Museum at UCLA\,North Campus \nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:The Box Project: Uncommon Threads\, Richard Tuttle\, Cynthia Schira \, Helena Hernmarck\, Jim Bassler\, Gyöngy Laky\, Gerhardt Knodel\, Sherri Smith\, N. Dash\, Lewis Knauss\, Ana Lisa Hedstrom\, Kiyomi Iwata\, Nancy K oenigsberg\, John Garrett UID:419939 END:VEVENT BEGIN:VEVENT DTEND:20160911T170000 DTSTAMP:20160601T070553 DTSTART:20160911T120000 GEO:34.0686108;-118.4454795 LOCATION:Fowler Museum at UCLA\,North Campus \nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:The Box Project: Uncommon Threads\, Jim Bassler\, N. Dash\, John Ga rrett\, Ana Lisa Hedstrom\, Helena Hernmarck\, Kiyomi Iwata\, Lewis Knauss\ , Gerhardt Knodel\, Nancy Koenigsberg\, Gyöngy Laky\, Cynthia Schira\, Sher ri Smith\, Richard Tuttle UID:419940 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Fowler Museum presents a retrospectiv e of works on paper

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by Chicano artist and a ctivist José\; Montoya

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Hig hly regarded for his contributions as an artist\, educator\, and activist\, José\; Montoya (1932&ndash\;2013) was a pivotal figure in the Chican o movement who captured its struggles and victories in his singular drawing s\, paintings and poems. \; The Fowler Museum is pleased to present José\; Montoya&rsquo\;s Abundant Harvest: Works on Paper/Works on Li fe\, the largest retrospective of Montoya&rsquo\;s drawings to date (o n view February 21&ndash\;July 17\, 2016). \; The exhibition honors the life and work of the prolific artist in a comprehensive survey that includ es nearly 2\,000 works\, the inspiration for which Montoya drew from the ve rdant fields and their workers\, farm towns\, and port cities of post-war C alifornia. Through Montoya&rsquo\;s oeuvre\, this exhibition also examines the central role that artists and poets played in the Chicano movement\, an d its impact on immigrant rights\, as well as the other social and politica l issues during that time.

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Montoya&r squo\;s personal experience in the fields and his understanding of the hars h living conditions faced by migrant workers informed both his activism and his art.  \;Born in New Mexico\, he moved with his family in the 1940s to California&rsquo\;s San Joaquin Valley. There\, at the age of nine\, he joined his father in the fields to perform backbreaking labor. During his youth and throughout his life\, Montoya wrote about these experiences in es says and poems that are at once personal and universal in their messages an d their empathy.

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The artist also dre w constantly\, in sketchbooks\, on napkins or scraps of paper\, using whate ver was available to him. Despite the sometimes humble origins of the paper and the economy of his line\, Montoya produced complete and complex scenes and portraits\, suggesting the potential of his subjects to perform acts o f resistance\; the artist referred to the pachucos and pachuca s he drew as the first &ldquo\;freedom-fighters&rdquo\; of the Chicano Movement. Alive and pulsating with the rhythms of Beatnik-era California\, Montoya&rsquo\;s drawings also depicted zoot suiters\, cholas and abue litas\, soldiers and sailors\, campesinos in the fields\, rev olutionaries\, and los de abajo &mdash\;subjects that defined the artist&rsquo\;s world and a shared Chicano history.

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In addition to his myriad contributions as an artist\, Monto ya was a lifelong educator. After high school he took advantage of the G.I. Bill to study fine arts at the College of Arts and Crafts in Oakland. Late r\, he received his master&rsquo\;s degree from Cal State Sacramento\, wher e he would eventually serve for more than twenty-five years as a professor of art\, photography\, and education. In 2002\, he was named poet laureate of Sacramento. He also co-founded the artists&rsquo\; collective playfully dubbed the Royal Chicano Air Force (rcaf). The group worked tirelessly in s upport of the United Farm Workers movement and with Cesar Chavez in their e fforts to ensure fair labor standards. \;

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The works on paper will be shown in nearly 100 individually curate d boxes that evoke the grape trays used to hold the Central Valley&rsquo\;s harvest\, and they will stand in long rows like grapes planted in a vineya rd\, allowing visitors to walk freely among them and view their contents. T he center\, or &ldquo\;altar\,&rdquo\; row consists of actual grape trays f illed with drawings of pachucos and pachucas\, two of Montoya&rsqu o\;s favorite subjects.

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At ease in ca ntinas\, labor camps\, fields\, churches\, union halls\, barrio streets\, c orridors of power\, and academia\, Montoya helped create and advance the Ch icano movement through his practice as an artist and activist. The messages and impact of his work during his lifetime as a champion for the Chicano p eople and their social and political rights are still resonant and relevant today.

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José\; Montoya&rsquo\;s Abundant Harvest: Works o n Paper/Works on Life \;is organized by the Fowler Museum at UCLA and co-curated by playwright and filmmaker Richard Montoya and indepen­\ ;dent curator Selene Preciado. Major funding is provided by the Donald B. C ordry Memorial Fund. Additional support is provided by the National Compadr es Network\, John and Rosa Martinez\, Art Nuñ\;ez\, Michelle Shocked\ , and the many other donors who made gifts to the Fowler Museum&rsquo\;s 20 15 UCLA Spark crowdfunding campaign. The accompanying publication has been generously funded by The Ahmanson Foundation\, at the recommendation of Tru stee Emeritus Lloyd E. Cotsen. Educational outreach activities are made pos sible in part by The Nicholas Endowment.

DTEND:20160717 DTSTAMP:20160601T070553 DTSTART:20160221 GEO:34.0686108;-118.4454795 LOCATION:Fowler Museum at UCLA\,North Campus \nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:José Montoya’s Abundant Harvest: Works on Paper/Works on Life\, Jos e Montoya UID:419938 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MAO to NOW: Photographs by Stephen Verona features 32 images documenting striking changes when c omparing Chinese society in 1980 with 2014. The exhibition will be on view in the Fowler&rsquo\;s Goldenberg Galleria from May 15&ndash\;September 11\ , 2016.

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In 1980\, Stephen Verona made his initial trip to China to direct a co-produced American-Chinese film\, the first in more than 40 years. Verona and his film crew entered China sho rtly after the country opened its borders to the outside world as a result of the Chinese Economic Reform that began in 1978. The film crew traveled w ith Chinese escorts\, including an army general\, from Shanghai to Suzhou a nd on to Beijing. While scouting for film locations\, photographed many asp ects of everyday life including people bicycling\, practicing Tai Chi\, and fetching water from the Bund.

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In lat e October of 2014\, Verona returned to China to retrace his steps and docum ent the many changes that took place during the previous 34 years. &ldquo\;I had to go and see the country again.&rdquo\; Verona said. &ldquo \;Today it&rsquo\;s almost unrecognizable.&rdquo\;

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In Mao to Now\, Verona contrasts his vastly differen t photographs of China in diptych groupings. The paired images highlight dr amatic societal changes such as expanded modes of transportation (rickshaws and bullet trains) and communication methods (community bulletin boards an d mobile devices). These images bring to light both the positive and negati ve effects of China's economic development\, from the stagnation of the Mao ist era to one of the fastestgrowing in the world.

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Stephen Verona is an artist\, photographer\, and filmmaker wh o lives in Los Angeles. His paintings and photographs are in public and pri vate collections worldwide.

DTEND:20160911 DTSTAMP:20160601T070553 DTSTART:20160515 GEO:34.0686108;-118.4454795 LOCATION:Fowler Museum at UCLA\,North Campus \nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:MAO to NOW: Photographs by Stephen Verona\, Stephen Verona UID:419937 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This Fowler in Focus exhibition presents important artworks that entered the Fowler Museum at UC LA&rsquo\;s collection as a result of the enduring friendship between two i ndividuals\, collector and long-term Fowler patron Jay T. Last and the late New York-based artist and dealer Merton D. Simpson. The Collector and the Dealer: Gifts of African Art from Jay T. Last and Merton D. Simpson&mdash\;on view May 8 through August 7\, 2016&mdash\;underscores the lasti ng impact that these two men have had on the development of the Fowler&rsqu o\;s acclaimed African art holdings.

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The Simpson Estate recently offered the Fowler two rare objects\, a Yaka ma sk and a Lobala drum from the Democratic Republic of the Congo\, centerpiec es of the exhibition. The imposingly large Yaka mask\, known locally as an mbawa\, is a remarkable example of a powerful ceremonial object th at served as a social tool for maintaining order. Also large in scale\, the Lobala drum represents the power of forest spirits embodied in its form an d the prestige of the chiefs who may have owned it. Historically placed in< /p>\n

villages throughout Lobala territory\ , drums like this were used as a means of long-range communication from vil lage to village across a leader&rsquo\;s domain as well as to provide music for festivals and dances.

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These monu mental works were donated by Simpson&rsquo\;s family based on their knowled ge of Simpson&rsquo\;s decades-long relationship with Last and Jay&rsquo\;s close connections to the Fowler Museum. In addition\, the exhibition featu res numerous examples of art made by the Lega peoples of the Democratic Rep ublic of the Congo and the Zulu peoples of South Africa\, which Last purcha sed from Simpson&rsquo\;s New York gallery before donating them to the Fowl er. Last had a particularly keen interest in collecting Lega art because it satisfied his passion for the serial image\; he frequently purchased parti cular object types in large numbers as a way of exploring the many variatio ns on a form. Over the years Jay Last has donated over 300 examples of Lega art to the Fowler&mdash\;mostly masks and figures&mdash\;making the museum one of the foremost repositories of art by the Lega in the world.

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When Simpson and Last first became acquainted in the 1960s\, the market for African art was drastically different from t he market today. Collectors of African art at that time favored figurative wooden sculpture with strong lines\, smooth surfaces\, and symmetrical feat ures. In contrast to these typical preferences\, Simpson and Last shared a unique interest in the simplicity and abstraction of both Lega and Zulu art s. The two men quickly established a close rapport fueled by their shared a esthetic preferences.

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&ldquo\;The exc eptional works on view in &ldquo\;The Dealer and the Collector&rdquo\; dona ted by Last and Simpson are testaments of the lasting impact that individua ls can have on the shape of an art institution&rsquo\;s collection and lega cy\,&rdquo\; said Marla C. Berns\, the Shirley and Ralph Shapiro Director o f the Fowler Museum at UCLA.

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Merton D. Simpson was born in Charleston\, South Carolina\, in 192 8. As a young man\, he was prevented by segregation from taking university- level courses. This prompted his move to New York in 1949 where he studied art at both New York University and the Cooper Union. During this period he developed an abstract expressionist style of painting that garnered him ac colades in the New York art scene. Simpson established a gallery in New Yor k City specializing in African art in the mid-1950s. Early in his career he had been exposed to fine works of African art in Julius Carlebach&rsquo\;s New York gallery\, and this helped him to hone his eye as a collector and dealer. Although his reputation as an art dealer grew\, Simpson never stopp ed painting\, considering himself first and foremost an artist. Simpson pas sed away in 2013\, at the age of 84.

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Jay T. Last received his PhD in physics from Massachusetts Institute of Technology and is one of the eight original founders of Fairc hild Semiconductor Corporation\, who are known as the &ldquo\;Fathers of Si licon Valley.&rdquo\; He is also the president of Hillcrest Press\, a publi shing house that he founded in 1982 to focus on books dealing with Californ ia art\, ethnic art\, and the graphic arts. As with his contributions to th e fields of science and engineering\, Last has left a deep and abiding impr ession on the world of African art in Los Angeles. Last helped fund the con struction of the Fowler building and has provided significant financial sup port and gifts of art over the decades.

DTEND:20160807 DTSTAMP:20160601T070553 DTSTART:20160508 GEO:34.0686108;-118.4454795 LOCATION:Fowler Museum at UCLA\,North Campus \nLos Angeles\, CA 90095 SEQUENCE:0 SUMMARY:Fowler in Focus: The Collector and the Dealer: Gifts of African Art from Jay T. Last and Merton D. Simpson UID:419936 END:VEVENT END:VCALENDAR