Roaming in L.A.

There is so much to enjoy in Los Angeles and surrounding areas.  Here are a few pictures of what I enjoyed during the past week:

Happy Poppies at Huntington Gardens in San Marino

Favorite painting:  "View on the Stour near Dedham," 1822 by John Constable, British, 1776-1837,  "I should paint my own place best," Constable told a friend of this painting of his native Suffolk, England.

From the social realism school of Courbet and Millet, Jules Adolphe Aime Louis Breton, French, 1827-1906, painted "The Last Gleanings," in 1895

Donald Crockett conducting the Xtet, a new music ensemble, in a concert at LACMA's Bing Theater.(Photo by Lawrence K. Ho, L.A. Times).

On Wednesday night I attended a concert "Celebrating Los Angeles" at the Los Angeles County Museum of Art that is part of the celebration of the 50th anniversary of the founding of the museum.  The performances were by Xtet, Angel City Corale, Members of Los Angeles Chamber Orchestra and Martin Chalifour, concert master of the L.A. Phil.  The work celebrated composers who created their music in L.A. including Arnold Schoenberg, Igor Stravinsky, Morton Lauridsen, David Newman, Mitch Glickman and Steven Stucky.

On Saturday we enjoyed a walking tour of historic L. A. by a volunteer from the Los Angeles Conservancy.  This is a photo of the L.A. Subway building on Hill...yes there was a subway in L.A. in the early days.

The lobby of the subway building, now the entrance to loft apartments and a party scene. 

The Subway Building elevators

The Million Dollar Theater Building on Broadway and Third with its beautiful architecture.

A Close Up

Yes some wild dancing by the sculpted figures above the buffalo heads on the building.

Railing detail, inside walls and floor of the Bradbury Building at 04 Broadway built in 1893 by draftsman George Wyman from the original design by Sumner Hunt.  Below are more photos from the building.

A mural across the street from the Bradbury Building shows Anthony Quinn dancing on the same tiles inside the Bradbury.

Behind the building is a quiet courtyard with a tribute to Bridget "Biddy" Mason, Grandma as we was called.  She was born a slave in Georgia in 1818, and walked with her owner and others of his slaves to Los Angeles with their Mormon owners.  Since California was a free state, Bridget Mason and others were freed in San Bernardino.  Robert Smith, her owner, planned to move back to the slave state of Texas and take Mason with him, but she escaped with the help of friends and traveled to Los Angeles.  Mason worked in L.A. as a nurse and midwife, founding member of the First African Methodist Church, the city's first black church which was founded in her home at this site.  She is an honoree of the California Social Work Hall of Distinction for her service to individuals and the community.
Above is a photo of her and her signature X as she couldn't read or write.   She died in 1891 and buried in an unmarked grave in Boyle Heights.  Later a ceremony attended by the mayor of L.A. and members of the church she founded was held and the grave was marked with a tombstone.  

On Sunday, we roamed through beautiful gardens thanks to "Open Days."  Here are some of my photos of natures' paintings.

Working Through Tragedies last Tuesday

On April 28th, I attended a program sponsored by the California Endowment featuring Elizabeth Alexander, Yale professor, poet and writer.  The program was about writing to heal from trauma and tragedies.  Dr. Alexander was featured at President Obama's 2009 inauguration, reciting a poem she wrote for the occasion.  She has writing a book entitled "The Light of the World," a memoir about the sudden death of her husband two years ago.  She wrote the book about their love and 16 year relationship, his life, recipes, and their children as a part of her healing and working through her grief. She read from the book and discussed the healing process through writing by hand on paper which she described as more emotional, physical, with feelings coming out of your body.

The program also featured staff and youth from "Inside Out Writers."  This program was founded in 1996 to work with youth in juvenile halls in Los Angeles as well as with youth after their incarceration.  Three of the youth read about their lives, trauma, self hate, and hope.  They stated that writing is a life line, it takes courage to tell who you are.  The youth also express through art, dance, music, and poetry.  One stated that painting is a miracle.

Dr. Alexander stated that we grieve the loss of love and it is important to share, give to others and move the pain outwards.  "Extreme circumstances take us to the core of who we are...Writing stabilizes us when we are feeling upside down."

Other important messages from the evening include:

.  Vulnerability is a position of strength.
.  The grief process isn't easy and it shouldn't be.
.  When I have to get it out, that makes the pen move.
.  We all must bare witness to the art of baring witness to pain and trauma.
.  It is important to acknowledge that writing and expressing feelings is hard but is important...one needs to keep doing it.

I am now reading Elizabeth Alexander's book and feeling her love and her pain.  I recommend it because it is a beautifully account of pain and loss to which we can all relate.

One can learn more about the work in the juvenile halls through their web site:  insideoutwriters.org

LACMA 50 Promised Gifts of Art

On Thursday I visited the Los Angeles County Museum of Art to view the new promised gifts on the celebration of the 50th anniversary of the opening of the museum.  The museum art collection has grown enormously in a relatively short period of time.  This has been due to the gifts and bequests of art from the Los Angeles community.  Below are photos of some of the new promised gifts being shown in a special exhibition.

"Camitte the Hair Fixer Is Doing Ceolo's Hair," 1940s by Clementine Hunter, United States, 1886/87-1988, oil on paper promised gift of Gordon W. Bailey.

"Christ Blessing," 1480-85 by Hans Memling, active Flanders, 1430-1494, oil on Baltic oak panel.  Promised gift of Lynda and Stewart Resnick.

"Crucifixion with Madonna and Saint John the Evangelist," 1360 by Taddeo Gaddi, Florence, 1300-1366, oil and tempera on panel.  Promised gift of Suzanne Deal Booth.

"Portrait of a Gentleman, 1670-75 by Giovanni Lorenzo Bernini, Rome, 1596-1680, marble.  Gift of the Ahmanson Foundation.

"Two Women in a Garden," 1872 by Claude Monet, France, 1840-1926, oil on canvas.  Future gift of Wendy and Leonard Goldberg.

"Flying Mercury," probably 1580s by Giambologna (Giovanni da Bologna), active Florence, 1529-1608, bronze.  Promised gift of Lynda and Stewart Resnick.

"Two Marilyns," 1962 by Andy Warhol, United States, 1928-1987, silkscreen ink and pencil on linen.  Promised gift of Jane and Marc Nathanson.

"Who Do We Trust," 1990-99 by Herbert Singleton, United States, 1945-2007, carved and painted wood bas-relief.  Promised gift of Gordon W. Bailey.

"The Plague of Death in Egypt," 1970's by Josephus Farmer, United States, 1894-1989, carved and painted wood bas-relief. Promised gift of Gordon W. Bailey.

"Los Angeles," 1960 by Fred Ludekens, United States, 1900-1982, off set lithograph.  This and the three below are gifts of Martha and Bruce Karsh.

"Southern California," late 1950's by Stan Galli, U.S. 1912-2009, offset lithograph.

"California Beaches," 1923 by Maurice Logan, U.S. 1885-1977, offset lithograph.

"California Pacific International Exposition, San Diego," 1935 by Sam Hyde Harris, England, active U.S., 1889-1977, relief print.

The Duke's Surfboard.

"Before the Mirror," 1911 by Kees van Dongen, France (born Netherlands), 1977-1968, oil on canvas, loan and promised gift of The A. Jerrold Penenchio Collection.

"Jane Avril:  Profile of a Woman," 1893 by Henri de Toulouse-Lautrec," France 1864-1901, oil on board.  Loan and promised gift of The A. Jerrold Perenchio Collection.

"At the Concert:  The Song of the Dog," 1875 by Edgar Degas, France 1834-1917, gouache, pastel and monotype on joined paper.  Loan and promised gift of Perenchio Collection.

"Nude Study for Little Dancer, Aged 14," modeled 1878-81, cast 1928, bronze, by Edgar Degas.  Promised gift of the Perenchio Collection.

"Mexico: Fantastic Identity" with 20th Century Masterpieces at MOLAA

I roamed down to Long Beach today to visit the Museum of Latin American Art.  The museum has two powerful exhibits that I recommend.  The first is called "Transformations" about 5 persons who have had life-changing experiences who share them in video and statements at the exhibit.  They then selected art from MOLAA's permanent collection to represent their feelings before and after their transformations.  These are moving and inspiring.

The other exhibit "features paintings, photographs and mixed media works by artist who lived and worked in Mexico just prior to, during and after the Mexican Revolution.  It explores the ways that Mexican identity changed during this important period and how artists documented those changes through their work."

The Mexican Revolution, civil war, began in 1910 and continued for 10 years.  The new Mexican leadership wanted everyone to know that things were going to change and they wanted everyone to be proud to be Mexican.  They hired artists, writers and teachers to spread knowledge about important historical events.  Books were published and murals were painted in public buildings to make Mexican's proud.  This "Mexican School" created portraits of people participating in every day life.  This was the most popular style of art from 1920's to the 1970's.  The government paid for this and it was seen as a tool for nationalism.

Some artists strayed from the government endorsed style and works became more creative during the end of this period.

Here is some of what I appreciated:

"The Flutist," 1952 by Gabriel Fernandez Ledesma, Mexico, 1900-1983, Pyroxylin on masonite.   During his career Ledesman directed "Forma" a pioneering magazine abut fine arts in Mexico, created a school for sculpture and carving.

"Women," 1943 by Cordelia Ureta, Mexico, 1908-1995, oil on canvas.  "Her work attempts to convey her humanistic and philosophical ideas through an expressive use of color."

"Diego Rivera painting a mural," 1940 photo by Peter Stackpole, U.S., 1913-1997.  The photograph caputres Diego Rivera working on a large mural commissioned by San Francisco's Junior College depicting Pan-American unity.

"September, 1917," by Angel Zarraga, Mexico, 1886-1946.  Zarraga traveled through out Europe and lived in France for 30 years.  This painting reflects his Cubism style popular in France.

"Rufino Tamayo," 1930 photo by Manuel Alvarez Bravo, Mexico, 1902-2002

"Carlos Orozco Romero, n.d., photo by Tina Modotti, Italy, 1896-1942

"The Oblatos Ravine," 1947 by Carlos Orozco Romero, Mexico, 1898-1984.  Orozco Romero is know for his dreamlike landscapes. 

"New York from the Terrace," 1937 by Rufino Tamayo, Mexico, 1899-1991.  The artist is observing the urban landscape, perhaps with his wife, Olga, looking over the terrace.  Tomayo was highly influenced by the work of Pablo Picasso, George Braque and Henri Matisse.  He incorporated their ideas into his own style rooted in Mexico's ancient cultures. 

"Portrait of Gabriel Fernandez Ledesma," 1921 by Roberto Montenegro, Mexico, 1885-1968.  Montenegro studied art in Europe and experimented with Surrealism and Symbolism.  This painting reveals his interest in Art Nouveau and Mexican crafts. 

"The White Shawl," 1943 by Manuel Rodriguez Lozano, Mexico, 1896-1971.  Lozano also studied in Europe for several years.  "His works often contain elements of poetry and melancholy."  

"The Speared, From the Teules series," 1947 by Jose Clemente Orozco, Mexico, 1883-1949, pyroxylin on masonite.
"Orozco's powerful expressionism often distorted forms, reflecting his disappointment in the failure of the Mexican Revolution.  This painting reflects Orozco's depiction of another turbulent time, the Spanish Conquest." 

"Indian Wedding," 1931 by Alfredo Ramos Martinez, Mexico, 1871-1946, oil on masonite. Martinez moved from Mexico to Los Angeles in 1929 where he painted romanticized depictions of Mexico.

"Spain's Great (The Blue Angel or The Knight)", 1914 by Diego Rivera, Mexico, 1886-1957, oil on canvas.  Rivera studied in Europe and lived in Paris until 1921 when he returned to Mexico after the revolution. 

"Sleeping Woman (The Spring)," 1947 by David Alfaro Siqueiros, Mexico, 1896-1974, Pyroxylin on masonite.

"My Dress Hangs There," 1933-38 by Frida Kahlo, Mexico, 1907-1954, oil and collage on masonite.
"Frida Kahlo began painting "My Dress Hangs There" in 1933 while living in New York with Diego Rivera who was working on the Rockefeller Center mural commission.  The painting was finished in 1938, after their return to Mexico.  The description states that the painting/collage shows a chaotic Depression-era image of modern U. S. industrial society.

"Tlacuilo II," 1979 by Gunther Gerzso, Mexico, 1915-2000, acrylic on canvas.  This work shows the artist's interest in abstraction, architecture and geometry.  

"The Young Women," 1987 by Rodolfo Morales, Mexico, 1925-2001, oil on canvas.  " Rodolfo Morales's work often represents natives, especially women, set amongst rural buildings, churches, town squares and arcaded shops.

"Red Cape," n.d. by Guillermo Meza Alvarez, Mexico, 1917-1997, oil on masonite.  The artist explored Expressionism, Dadaism and Surrealism.  

"Frida Kahlo in Manuel Alvarez Bravo's Studio," 1930, photo by Manuel Alvarez Bravo

"Rodelfo Morales," n.d., photo by Juan Rodrigo Llaguno, Mexico, b. 1964.  The photographer works in Monterrey, Mexico.

"The Myths," 1944 by Juan O'Gorman, Mexican, 1905-1982.
The artist was a muralist and architect.  "In 'The Myths' which refer to religion and technology that would promise a better life, O'Gorman uses intense colors and distorted objects.  Hell is represented at the bottom of the painting, with monsters, devils and sinners.  Then, Adam and Eve are next to a tree and a snake.

"Self Portrait," 1957 by Jose Luis Cuevas, Mexico, b. 1934, oil and ink on canvas.
Cuevas is a member of the "Ruptura" movement and doesn't hesitate to shock throug pieces filled with distorted creatures .

"Fatherhood," 1987 by Eduardo Kingman, Equador, 1913-1998, oil on canvas.
This was one of the paintings selected by a man featured in the "Transformations" exhibit which represents his new life.

"Our Kids - The American Dream in Crisis," Robert D Putnam discusses his book at Zocalo

Last night at the RAND Corporation headquarters in Santa Monica, Zocalo Public Square sponsored a dialog with Robert D. Putnam about his new book, "Our Kids, The American Dream in Crisis." Carol S. Larson, CEO of the D&L Packard Foundation interviewed Putnam who is a Harvard Professor and author of "Bowling Alone" (about the lack of connection in our society) and "Making Democracy Work."

Putnam started his discussion by talking about returning to the community of Port Clinton, Ohio on Lake Erie where he grew up in the 1950's and 60's.  He was back for a reunion and remarked how people, rich and poor, from that era have all done pretty well in their lives.  He said that even though there was racism felt by the two African American students in his class, and sexism, that he perceived little class distinction and that 80% have done better than their parents in education and financial security.

Today, he says, that the American Dream is in crisis.  The disappearance of manufacturing has resulted in people being stuck in low wage jobs and living lives of few prospects.  He said the 30% of the American population who are the "haves" are doing better and better.  However, the disadvantaged lives are getting worse, not going beyond high school education, more in the criminal justice system, in poor health due to diet and that this will cost all of us in the future.  Putnam calls it an apartheid in our society and that it's wrong.

In his book he compares a first generation Mexican immigrant family living in Fullerton, CA to a family living in Santa Ana, California.  Even though they live only a few miles apart in Orange County, they experience greatly different lives with resulting different futures.  Even though the teacher-student ratio is the same and the same amount of public dollars are spent in the school, the result is different.  The cause is the opportunity gap.  The rich and poor are segregating more and more and the result is the poor are stuck in violence and despair.  He talks about the consequences of economic differences.  He said we are getting back to Social Darwinism that was prevalent before the Progressive Era of the 20th century.  He hopes that his book like that of "Other America" in the 1960's will encourage people to focus on this issue particularly during this presidential election cycle. He said that Hillary Clinton and Jeb Bush have both read his book.  Hillary liked it but Jeb didn't like Putnam's suggestions for change in chapter 6.  Putnam advocates focusing on children ages zero to 5, quality child care, preschool education, free extra curricular activities and sports and not "pay to play" as it is now. He recommends mentoring.  He highlighted the excellent early child education programs in Oklahoma,  and that many cities are pushing for this.  He recommends parent programs, raising pay scales, family leave and other family friendly policies by employers.

Putnam hopes that his book along with other advocates will lead to action to address this crisis.