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Hammer Museum  The Hammer presents exhibitions & collections that span classic to contemporary art, and programs featuring the most innovative thinkers of our time.

"There are a lot of 'angelitos negros' that never get painted. Let’s make a little 'angelito negro' here." —Eamon Ore-Giron (@lengua) on his work for #MadeinLA2018

The subject of Charles White's portrait is a composite of his aunts Harriet and Hasty Baines, who both lived in the South. But it also references Harriet Tubman, who led many enslaved people to freedom in the nineteenth century, a figure White returned to over the years in numerous works. The splatter of red paint above Harriet's head signifies the violence of the history of slavery while also referencing the contemporary period. In “Harriet,” White created a link between the civil rights movement and the struggle for freedom from slavery.

Featured in our digital archive for the exhibition “Now Dig This! Art and Black Los Angeles, 1960–1980 “: Charles White, “Harriet,” 1972. Oil wash on board. 53 5/16 x 47 1/4 in. (135.4 x 120 cm). Private collection. Photo by Tim Nighswander/IMAGING4ART, Courtesy of the artist and Alexander Gray Associates.

For these paintings, Naotaka Hiro (@naotakahiro) crawls into circles cut in the surface of the canvas or encases himself in the canvas like a cocoon, painting only what he can reach. The paintings are punctuated by large ropes Hiro used to pull the canvas around his body while creating the work. Hiro’s work grapples with the question of whether we can know the parts of our bodies that we cannot see without a mirror or camera, and tests his own endurance in a range of media. #MadeinLA2018

Throughout the summer, we’re offering free tours of #MadeinLA2018 in the eight most-spoken languages in Los Angeles County—Armenian, English, Farsi, Korean, Mandarin, Spanish, Tagalog, and Vietnamese—plus American Sign Language. Every Saturday at 1 p.m., student educators lead a tour in English. A simultaneous tour in another language, copresented by @artmusela, is listed below. Swipe through the videos to meet some of the tour guides.

Chuyến tham quan Made in L.A. 2018 bằng tiếng Anh và tiếng Việt. Ngày 16 tháng 6, vào lúc1 giờ chiều.

Recorrido “Made in L.A. 2018 en inglés y español. Junio 23, Julio 28, y Agosto 25, a la 1PM las 13:00.

2018 년 영어와 한국어로 제작 된 투어. 6 월 30 일 오후 1시

“2018 年洛杉矶制造”之旅提供英语和普通话解说。
7 月 7 日星期六和 8 月 11 日星期六下午 1 点

Ang tour na Made in L.A. 2018 sa English at Tagalog. Hulyo 14, sa 1 PM.

2018թ-ին Լոս Անջելեսում կայանալիք շրջագայությունը լինելու է անգլերեն և հայերեն լեզուներով: Հուլիսի 21, ժամը`13:00

Farsi tours will be held on August 4 and 18 at 1 p.m.

What treasures have you found while going through old family boxes? Rosha Yaghmai (@roshayag)’s father immigrated to California from Tehran to study architecture and met her mother, who is American, while she was a student. Going through a box of family slides, the artist found a number of abstract images that her father made when he first arrived in California and used photography as a way to explore his new culture. These photographs contain colorful reflections made using chunks of glass taken from a nearby Coca-Cola factory and available sources of light, such as the reflection from a television set. Now on view in #MadeinLA2018, Yaghmai's new sculpture projects her father’s imagery through a paneled screen made of window-like sections, many of them cast in resin and embellished with her personal artifacts. There are so many details in this work; you'll want to spend a lot of time with it. 🔍

Do you feel connected to nature? 97 year old Luchita Hurtado produced a number of landscape paintings wherein the human body merges with the desert or mountains—breasts become sand dunes and a navel doubles as a hole in the ground. These works challenge the notion that humans are disconnected from the natural world, proposing instead that the earth is a living and breathing thing.

Her works on view in #MadeinLA2018 span the late 1960s to the 1970s, during which the artist primarily divided her time between Taos and Los Angeles.

Luchita Hurtado, Untitled, ca. 1969. Oil on canvas. 21 × 32 in. (53.3 × 81.3 cm). Courtesy the artist and Park View/Paul Soto, Los Angeles and Brussels. Photo: Brian Forrest.

“To make work in this city is nurturing in a way—and grounding in a way—that I don’t get anywhere else.”

For his durational performance for #MadeinLA2018, artist EJ Hill (@iheartbeuys) ran laps around every Los Angeles school he attended, a reflection on the hardships that black, brown, and queer bodies endure as well as their resilience. Watch this video [full video on YouTube], and attend our June 21 conversation on Hill’s practice with Made in L.A. cocurator Erin Christovale (@erinzulie); Amanda Hunt, MOCA Los Angeles director of education and public programming and Desert X 2019 cocurator; and artist Texas Isaiah (@kingtexas), who collaborated on Hill’s project.

“Christina Quarles (@cequarles) paints trompe l’oeil paintings onto flower-bedecked ‘wallpaper’ that she has also made, interrupting domestic space with knockout images of nude women entwined with their own and each other’s bodies, pushing against physical norms. Barely out of art school, she hasn’t shown much in L.A., so Quarles ranks as perhaps the biennial’s most exciting discovery.” Weekend plans? Come see #MadeinLA2018, which @latimes has called “the best one yet.” 🙌

Do you ever just want to get away from it all? Paul Gauguin—born 170 years ago today—sought refuge from the bustling industrialized city, wishing to escape "everything that is artificial and conventional" when in 1886 he abandoned his 11-year long career as a successful Parisian businessman. He quickly became enchanted by Pont-Aven, where he likely saw clusters of thatched granite houses and the water mills that hug the River Aven’s bubbling streams. The free and open yet simultaneously secure enclosure of cozy Pont-Aven formed the ideal atmosphere for Gauguin to experiment with his style and pigments. Surrounded and inspired by natural scenery and picturesque views, Gauguin cast off the feathery impressionist strokes he learned from Camille Pissaro in Paris. Instead he embraced bright jarring colors, bold black outlines, and a stark definition of form. It was Brittany’s environment that spurred the artist’s development of his iconic personal style, which continued to evolve while he lived and worked in the Polynesian islands.

Paul Gauguin, Bonjour Monsieur Gauguin, 1889. Oil on canvas and panel. 29 1/2 x 21 9/16 x 3/4 in. (74.9 x 54.8 x 1.9 cm). The Armand Hammer Collection, Gift of the Armand Hammer Foundation. Hammer Museum, Los Angeles. [This work is not currently on view.]

Big Ray is #MadeinLA2018 artist Linda Stark’s 😺. Ray can be found in his imaginary pink traveling orb, sitting the middle of Linda’s forehead in her painting Self Portrait with Ray (swipe left to see it)—and now he can also be found on these tote bags produced for the Hammer Store by @ellens_silkscreening. In conjunction with the exhibition, the Hammer Store developed a capsule collection featuring the work of seven artists—Jade Gordon and Megan Whitmarsh (@jagangormarsh), Lauren Halsey (@summaeverythang), #LuchitaHurtado, Alison O’Daniel (@the.holy.mountain.on.ice), Eamon Ore-Giron (@lengua), and #LindaStark. Follow @hammerstore to see even more of these exclusive products, and get shopping! 🛍

Linda Stark, Self Portrait with Ray, 2017. Oil on canvas over panel. 36 x 36 x 2 in. (91.4 x 91.4 x 5.1 cm). Courtesy the artist. #catsofinstagram

"We are still here!" In this video, #MadeinLA2018 artist @mercedes.dorame talks about her Tongva heritage, her art practice, and her work as a cultural resource monitor [full video on our Facebook page]. Tomorrow night, Mercedes joins panelists—Angela Riley, director of UCLA’s Native Nations Law and Policy Center, and Wendy Teeter, @fowlermuseum archaeology curator—to discuss repatriation and land ownership in indigenous communities.

“There is no cracking of earth or buckling of concrete, but a small fault line is shaking up the Hammer Museum here. This one, an artistic interpretation made of red resin sticks, is snaking from a museum gallery out to the terrace. “Faultline” (2018) begins underneath a giant sculpture of bright red plastic sunglasses that could symbolize California dreaming — only they’ve been split in half. The artist behind this jarring installation, who goes by MPA, spoke of her artwork figuratively this week, in terms of ‘social fissures’ and ‘the fracturing of political parties in the United States.’ But she also spoke of a more literal inspiration, the Pinto Mountain fault that runs through her hometown, Twentynine Palms, where ‘you can see this apocalyptic fever brewing.’ She’s not the only artist in ‘Made in L.A,’ the new Hammer biennial that opened Sunday, to explore the uneasy feeling of living in an epicenter for natural and man-made disasters. At least five of the 33 artists in the show, all based in the Los Angeles area, have made artworks somehow responding to the mounting environmental threats close to home.” –via @nytimes article on #MadeinLA2018
Photos: Coley Brown

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