Richly photographed and authentically local, LA Mexicano showcases LA’s famously rich and complex Mexican-food culture, including recipes; profiles of chefs, bakers, restaurateurs, and vendors; and neighborhood guides. Part cookbook, part food journalism, and part love song to LA, it's the definitive resource for home cooks, hungry Angelenos, and food-loving visitors. With a foreword by Taco USA's Gustavo Arellano.
Relational Undercurrents accompanies an exhibition by the same name that opens at the Museum of Latin American Art in Long Beach, California in September, 2017. The exhibition and edited volume call attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America.
When Frida Kahlo, died, her husband Diego Rivera asked the poet Carlos Pellicer to turn the Blue House into a museum that the people of Mexico Could visit to admire the work of the artista. Pellicer selected those of Frida’s paintings which were in the house, along with drawings, photographs, books, and ceramics, maintaining the spaces just as Frida and Diego had arranged them t olive and work in. The resto f the objects, clothing, documents, drawings, and letters, as well as over 6.000 photographs collected by Frida in the course of her life, were put away in bathrooms converted into storerooms.
In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.
In Homegrown, cultural critics bell hooks and Amalia Mesa-Bains reflect on the innate solidarity between Black and Latino culture. Riffing on everything from home and family to multiculturalism and the mass media, hooks and Mesa-Bains invite readers to re-examine and confront the polarizing mainstream discourse about Black-Latino relationships that is too often negative in its emphasis on political splits between people of color. A work of activism through dialogue, Homegrown is a declaration of solidarity that rings true even ten years after its first publication. This new edition includes a new afterword, in which Mesa-Bains reflects on the changes, conflicts, and criticisms of the last decade.
[Zen Psychosis] is a work of experimental fiction: the attempt to construct a personal memoir culled not from diaries, but dreams. In a way, as the scenes are taken from my own journals, this book is not fiction at all; the dreams are real, their meanings form a story. As a critic of art and an amateur student of Jungian psychoanalysis, I am often compelled to decode intuitive, inscrutable symbols and assemble meaning from the clues the dream or the artist leaves behind. In this novel, I'm applying the technique to my own inner self. This was directly inspired by Henry Miller, who in 1923 slipped an account of a vivid dream into a collection of short stories in [Black Spring]. "Into the Nightlife: A Coney Island of the Mind" later became an illustrated book in a collaboration between Miller and the artist Bezalel Schatz in 1947, as its tantalizing surrealism and literary voice actively blurred the boundaries between experience and imagination. The accompaniment of fantastical pinhole photographs by Osceola Refetoff augments and expands on this dynamic; bringing a beguiling dreamlike quality to what are in fact, people and places in the real world outside ourselves. As an artist and student of cinema, Refetoff has long been fascinated with the conventional visual language of what dreams are supposed to look like.
This volume examines the work of more than 100 female artists with nearly 300 works in the fields of painting, sculpture, photography, video, performance art, and other experimental media. A series of thematic essays, arranged by country, address the cultural and political contexts in which these radical artists worked, while other essays address key issues such as feminism, art history, and the political body. Published in association with the Hammer Museum. The exhibition took place from Sep 15, 2017-Dec 31, 2017, in the Hammer Museum, Los Angeles.