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Los Angeles

William Grant Still Arts Center

Exhibition Detail
Colonialism: The Collective Unconscious
Curated by: Lili Bernard
2520 West View Street
Los Angeles, CA 90016


October 8th, 2011 - November 19th, 2011
Opening: 
October 8th, 2011 3:00 PM - 6:00 PM
 
, Lili BernardLili Bernard
Colonialism the Collective Unconscious, Colonialism the Collective Unconscious,
2011
William Grant Still Arts Center, William Grant Still Arts Center
Mijo Negrito, Zeal HarrisZeal Harris, Mijo Negrito,
Mixed Media on Wood, 18 x 24
© Zeal Harris
, Roger Guenveur SmithRoger Guenveur Smith
, Willie MiddlebrookWillie Middlebrook
, Raksha ParekhRaksha Parekh
, Raul BaltazarRaul Baltazar
, Steven J. BrooksSteven J. Brooks
, John OutterbridgeJohn Outterbridge
, Lavaille CampbellLavaille Campbell
, Dorit CypisDorit Cypis
Harry Gamboa Jr., Harry GamboaHarry Gamboa, Harry Gamboa Jr.
, BARBARA CARRASCOBARBARA CARRASCO
Marcus Miller\'s Freedom Jazz Movement, Marcus MillerMarcus Miller,
Marcus Miller's Freedom Jazz Movement
, Stephanie MercadoStephanie Mercado
, Xilomen RiosXilomen Rios
< || >
> ARTISTS
> QUICK FACTS
NEIGHBORHOOD:  
santa monica/venice
EMAIL:  
ami.motevalli@lacity.org
PHONE:  
323/734-1165
OPEN HOURS:  
Tue-Sat 12-5
TAGS:  
sculpture, traditional, modern, figurative, conceptual, performance, video-art, mixed-media, photography
> DESCRIPTION

http://www.lilibernard.com/Pages/Gigs/ColonialismTheCollectiveUnconscious.html

EXHIBIT DISCRIPTION - The exhibit includes Asco co-founder HARRY GAMBOA JR.'s avant garde video “Fire Ants for Nothing,” where a man (text and performance by RUBEN GUEVARA) tries without success to affirm that he is not an ant, before extinguishing himself. 

Chicana artist BARBARA CARRASCO offers her comic strip interpretation of colonialism via ”Undiscover 500 Years (Columbus 1492-1992),” while 3D glasses are available to view the sarcastic cartoonish commentary of half Native American/half African-American artist STEVEN J. BROOKS on the conqueror’s coiffeur via the artist's Conkaline’s Glam-O-Rama. Contrastingly, the African American collective psyche resisting assimilation as expressed through natural hair styles is vividly explored in the sculpture, "Throne," by LAVIALLE CAMPBELL, the great-granddaughter of a slave who came to the New World from Africa through the Middle Passage. WILLIE MIDDLEBROOK reveals the impact of colonialism on his slave ancestors through his digital photographic collages.

New Orleans native MARK BROYARD takes us back to Katrina in his assemblage series which he composed of objects found in the wake of the hurricane, while JOHN OUTTERBRIDGE ink drawings of the Watts Towers evoke memory of when the City of Los Angeles attempted to demolish the vernacular assemblage architecture built by Italian immigrant Simon Rodia.

Tel Aviv-born DORIT CYPIS uncovers a “self-knowledge that better recognizes otherness within” through a very personal conceptualization of colonialism in her native Israel, while XILOMEN RIOS explores her Jewish-Latino identity through collage.

Zimbabwe native RAKSHA PAREKH uses sugar and cotton to conceptualize the historical impact of those trade industries upon her native Africa and her East Indian ancestors, while Cuban native LILI BERNARD flips Eugene Delacroix’s Liberty Leading the People painting to tell the true story of a Cuban slave revolt lead by the African slave woman, Carlota, of the Triumvirato sugar plantation.  ZEAL HARRIS tells the story of the Congolese woman, Kimpa Vita, who lead a peaceful rebellion on the continent of Africa, when she attempted to Africanize and reform Catholicism, around 1704 AD.

Finally, Chicano artist RAUL PAULINO BALTAZAR offers a photographic contemporary reenactment of the Mexican Revolution while first-generation American-born-Mexican artist STEPHANIE MERCADO uses maps, real-estate, ships and classical European high-fashion to explore the affects of colonialism from a historical perspective.


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