Andrés Janacua
Quiero Saborear Mi Dolor
February 5, 2022 - May 4, 2022
It is a language, considerate of esoteric rules that subject the reader to conform to its logic regardless of any native tongue. Weaving functions as a form of resignation, settling on acts of translating patterns into communicative parameters between being read and being seen. No less, resisting a fixed definition. This form of translating shares its philosophical outlook with the act of transculturation, a manner of recycling in which a subjected party assimilates signs and objects of another as their own resulting in a syncretic byproduct. With this redefinition, a new subsequent meaning is generated which may place the object at odds with the inherent traditional custom to bear; an intersection that filters similarities with just enough dissonance to infer the Platonic vision of hell: a pale simulation with too much generational degradation to ever be whole again.
Andrés Janacua lives and works in northeast Los Angeles.
Golden Hour: California Photography from the Los Angeles County Museum of Art
February 19–May 14, 2022 (Monday through Saturday from 12-4pm)
We are excited to share the news of Local Access, a new partnership made possible by a grant from the Art Bridges Foundation that will bring special exhibitions drawn from LACMA's collection to the California State University, Northridge, Art Galleries; Lancaster Museum of Art and History; Riverside Art Museum; and Vincent Price Art Museum at East Los Angeles College.
Local Access's inaugural exhibition, Golden Hour: California Photography from the Los Angeles County Museum of Art, features works by more than 70 artists and three photography collectives, offering an aesthetic approach to understanding the complexities and histories of California. These images from LACMA's collection have come to define the myths, iconographies, and realities of this unique state. With works ranging from the early 1900s to present day, Golden Hour is neither a didactic history of the state nor an inclusive tale of photographic history, but rather artists’ impressions of the state of being in, and being influenced by, California.
This exhibition was organized by the Los Angeles County Museum of Art in collaboration with the California State University, Northridge, Art Galleries; Lancaster Museum of Art and History; Riverside Art Museum; and Vincent Price Art Museum at East Los Angeles College.
Lindsay Kane: crime emblem research & symbol association "What We Talk About When We Talk About Glove"
March 1 - March 19, 2022 (Monday through Saturday from 12-4pm)
The Glove embodies the life cycle of an enchanted object and a fertile site for fantasy. Unworn the glove is banal and innocuous, once worn it becomes a dual talisman, a protection for the hand but also protection from discovery at the scene of a crime. The glove bears witness and the glove performs. It takes the shape of the wearer, and in this case, an absurd performance of menacing. One can easily imagine a montage of hundreds of scenes including Hitchcock's Dial M for Murder to the trial of OJ Simpson where the donning or discarding of gloves becomes symbolic, representational, and powerful. The glove's final role is as evidence or artifact, the discarded or the eventually discovered. I see this work as both an object and performance study, the glove itself, and what movements must be done to give it the talismanic or enchanted status.
Lindsay Kane is an interdisciplinary artist, educator, and writer who recently moved from Guam to Los Angeles. She received her BFA from the Santa Fe Institute of Art and Design, MA from the University of Guam, and a MFA from the School of Visual Arts in New York. Kane’s focus is the history and philosophy of the print, the reproducibility and reversal of the image, and the dissemination of political ideas through technological advancements. She examines the object, its meaning or its void of meaning and pseudo-scientific efforts to build transient ideas into tangible objects. Her work often explores transformation and structural systems of understanding death and trauma. She has given artist lectures at the School of Visual Arts, Isla Center for the Arts, the College of Santa Fe, and California State University Northridge and Bakersfield. Her work has been shown at the ART Santa Fe Art Fair, Artslab in Albuquerque, New Mexico, The Front Gallery in New Orleans, The Isla Center for the Arts in Guam, Loisaida Center in New York, Satellite Art Fair in Miami Beach, the Guam Art Exhibit the Carlsbad Museum and Art Center in New Mexico, and Torrance Art Museum. She was awarded a fellowship to act as a visual arts delegate for the Festival of the Pacific Arts, was a muralist for PowWow Guam and is a member of the collective Atomic Culture.
February 19 – May 21, 2022 (open when the building is open)
Amy Zapata: ‘Round the city ‘round the clock
“Every day patches the night up…” While in the midst of a pandemic, photography offered me a form of sanity as I continued photographing the neighborhoods I live in. Walking to corner liquor stores became respites in times of isolation. Working from home, moments began bleeding into one another. Things continued to blow up around me, days blending into nights, weeks into months, and finally years. Double exposed images, taken at specific times of
Amy Zapata, a third generation Chicanx, is a photographer, printmaker, and documentary filmmaker whose work has been shown internationally. Amy graduated from California State University, Northridge with her Master of Arts in photography with an emphasis in photo/video. She primarily focuses on her hometown of San Bernardino, Queer Latinx identity issues, and hopes to highlight under-represented communities. Currently, she’s working on various video projects, as well as Pocha, a multimedia art event. She is a featured artist for the Pomonan, a virtual magazine that works to center the voice of the community. She lives and creates in both Los Angeles and the Inland Empire.
