Don Bacigalupi and Chad Alligood have been traveling around the United States for the better part of the past year, visiting artists in every region of the country in preparation for the exhibition. Chad stopped in the Museum offices this week long enough to answer a few questions.
The retrospective exhibition Sister Corita: Let The Sun Shine In at Circle Culture Gallery in Berlin (Germany) documents Corita's practice during over 30 years which she spent in Los Angeles, where she produced a variety of serigraph or screen-printed images.
Prominent among photographers of the American West, especially winter landscapes and the emergence of the modern ski industry, Ray Atkeson also made poetic photographs of the bustling industries gaining momentum.
As befits an art space that calls itself a 'lab,' the interior of the El Segundo Museum of Art is sparse. In the center of the space rests a chair and, piled with art books, a small table. The walls are lab white, the ceiling high.
Inspired by the verse "Voices, loved and idealized" from the poem "Voices," the exhibit uses archaeological artefacts to illustrate a selection of Cavafy's poems with mythological and, especially, historical subjects, which experts believe account for approximately one third of his work.
Ms. Waugh conceived this project to celebrate the successes of her generation, despite its underdog status. She calls her contemporaries "innovators," who, "starting with nothing, in the middle of a recession, with limited resources," banded together to overcome and prosper.
The human brain itself has dedicated hardware for seeing the face and the body. When this hardware is consistently not put to use in a culture's art, the art and the culture engage in a battle. The art loses first, and the culture second.
Although I am used to looking at contemporary art -- which often broadcasts its messages with great immediacy -- I found myself slowing down and scanning the 15-century works on view in their entirety, hoping for more subtle moments.
The first Llyn Foulkes' work I saw was one of the "blood head" works and it left a lasting impression. As I discovered more of his work, I could see that it is often dark, yet humorous, and he certainly doesn't shy away from contentious issues.
Bradford's handling of her chosen subject matter, ocean liners, deflates the heroic and grand tragic associations this subject typically conjures, suggesting instead the human frailties, struggles and joys of our everyday human existence.