Pacific Standard Time LA/LA: photo essay #02
For this sixteenth post, I will present a series of images in the form of a photo essay that impressed me during my visits to museums during the inaugural week September 11–17.

At the opening Press Conference of Pacific Standard Time: LA/LA at the J. Paul Getty Museum at the Getty Center, James Cuno, President and CEO of the J. Paul Getty Trust, declared that art doesn’t know political borders, a thought that transcends the political discourse of today. Furthermore, Mr. Cuno rightly added that we are witnesses to a historical moment of recognition when more than seventy arts and cultural institutions present exhibitions of Latin American and Latino art in dialogue with Los Angeles and southern California. This unprecedented initiative, led by the Getty, has been in the making for years. It provides unparalleled opportunities to learn about the breadth, depth, and reach of artistic practices and histories in this scholarly collaborative undertaking. Some readers will be familiar with some of the artists’ works, and others, totally unfamiliar. Raising awareness of unknown or lesser-known artists is a core objective of this undertaking. As a result, much new research has gone into both the search for artists selected in the museums, as well as the research for the newly published catalogues.
Subjectively speaking, the compellingly interesting and often beautiful works are only a few of the countless images researched, historically contextualized, and selected by curators who have dedicated years to preparing for these exhibitions. Pacific Standard Time: LA/LA. will doubtless be an eponymous exploration. Here are some of my choices among thousands of works in Los Angeles and southern California.
Unless otherwise noted, the images were taken by the author on site. For further information regarding size, media, photo credits, museums’ acquisitions, loans, promised gifts, private collections, see the museums’ websites, catalogues or www.pacificstandardtime.org
The presenting sponsor is Bank of America.
*Please note Camillo Ontiveros used the personal belongings of Juan Manuel Montes, who was granted protected status by the Deferred Action for Childhood Arrivals (DACA) program created by President Clinton. However, Mr. Mones was recently deported by the present administration.
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Martín Ramírez, Untitled (Abstract Patterns with Four Animals), c. 1953. (ICA LA, Martín Ramírez: His Life in Pictures, Another Interpretation)
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Albert Chong, Throne for the Gorilla Spirits, 1993. (California African American Museum (CAAM), Circles and Circuits: Chinese Caribbean Art)
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Katarina Wong, Fingerprint Project: Murmuration Unfolding, 2017. (CAAM, Circles and Circuits: Chinese Caribbean Art)
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Nicole Awai, Simultaneity (detail), 2017. (CAAM, Circles and Circuits: Chinese Caribbean Art)
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Maria Magdalena Campos Pons, Finding Balance, 2015. (CAAM, Circles and Circuits: Chinese Caribbean Art)
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Kathryn Chan, Another Life (installation view), 2017. (CAAM, Circles and Circuits: Chinese Caribbean Art)
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Andrea Chung, Sink & Swim (detail of installation view), 2013. (CAAM, Circles & Circuits, Chinese Caribbean Art)
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Paz Errazuiz, Evelyn (series, La manzana de Adán), 1982. (Hammer Museum, Radical Women: Latin American Art, 1960-1985)
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Lotty Rosenfeld, Una milla de cruces sobre el pavimiento (A Mile of Crosses on the Pavement), 1979. (Hammer Museum, Radical Women: Latin American Art, 1960-1985)
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Camillo Ontiveros, Temporary Storage: The Belongings of Juan Manuel Montes (Almacenamiento temporal: los objectos personales de Juan Manuel Montes*), 2017. (LACMA, Home—So Different, So Appealing)
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Livia Corona Benjamin, 47,547 Homes, 2009. (LACMA, Home So Different, So Appealing)
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Juan Sánchez, ¿Dónde Está Mi Casa? (Where Is My Home?), 1990. (LACMA, Home—So Different, So Appealing)
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Amalia Mesa Bains, Transparent Migrations (Migraciones transparentes), 2001. (LACMA, Home—So Different, So Appealing)
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Michael Linares, Museo del palo (Museum of the Stick), 2013–17, and Una historia aleatoria del palo (An Aleatory History of the Stick), 2014. (LACMA, A Universal History of Infamy)
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Alexandre Arrechea, Havana, 2015. (Los Angeles Municipal Art Gallery, Condemned To Be Modern)
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Carlos Garaicoa, Self-flagellation, Survival, and Insubordination, 2003. (Los Angeles Municipal Art Gallery, Condemned To Be Modern)