LA/LA Exhibitions at Points Beyond Scripps

More exhibitions related to the Getty PST LA/LA initiative can be found only a short way from the Williamson, and farther eastward as well.

In addition to the Williamson’s exhibition in celebration of the Getty’s Pacific Standard Time LA/LA initiative:

Revolution and Ritual: The Photographs of
Sara Castrejón, Graciela Iturbide and Tatiana Parcero
Through Jan. 7, 2018
 

more shows and events await you, not too far afield.

More Getty LA/LA Exhibitions at the Claremont Colleges and Beyond

There are plenty of other organizations located near Scripps College (and a bit farther afield) that are participating in or enriching the Getty’s LA/LA initiative. A number of those are listed below. In addition, the weekend of Nov. 18-19 is designated as the Inland Cities Regional Weekend. Along with the Williamson Gallery, many of the organizations in the Inland Cities area that are participating in the Getty initiative are holding special events that weekend. More information on some of those special events is available below.

At the Colleges:

Pitzer College Art Galleries
Juan Downey: Radiant Nature
From the late 1960s until the mid-1970s, Juan Downey (b. Chile, 1940; d. New York, 1993) pioneered interactive, participatory artworks that helped shape his better-known multichannel video installations such as Video Trans Americas (1973–76) and The Thinking Eye (1974–89). The works that make up Downey’s Electronic Sculptures (1967–71); Happenings and Performances (1968­–75); and Life Cycle Installations (1970­–73) take radically different forms, but they share similar strategies; conceived as vehicles for interactivity, they are intended to be played with or participated in rather than passively observed.
Co-curated by Robert Crouch and Ciara Ennis
Through December 8, 2017
Nichols Gallery, Broad Center, Pitzer College
FMI: Juan Downey

Regional Weekend Special Event: Saturday, November 18, 10 am – 3 pm, Symposium on Cybernetics, Benson Auditorium, Pitzer College
FMI: Juan Downey

Pomona College Museum of Art
Prometheus 2017: Four Artists from Mexico
The exhibition features four contemporary women artists from Mexico: Isa Carrillo, Adela Goldbard, Rita Ponce de León, and Naomi Rincón-Gallardo, responding to José Clemente Orozco’s 1930 mural with new socially engaged artworks. Through December 16.
FMI: Prometheus

Regional Weekend Special Event: Saturday, November 18, 7-8:30 pm, Pyrotechnics Performance with Artist Adela Goldbard
FMI: Pyrotechnics Performance

In the Neighborhood:

AMOCA: Kukuli Velarde: Plunder Me, Baby
This is the first West Coast exhibition by the U.S.-based Peruvian artist Kukuli Velarde. To challenge racism, Velarde creates personal and sometimes confrontational ceramic sculptures which are based on the traditional forms and surface decorations of Pre-Columbian ceramics but include the artist’s own image and reference her indigenous ancestry.
Through February 11, 2018.
FMI: Plunder Me, Baby

DA Center for the Arts: Aztlan: A Sense of Place 2017. Collectively, artists, tinkers, thinkers engineers, and urban planners will consciously construct creative solutions expressing voices of concern for our inherited and future Aztlan’s Sense of Place. By connecting imagination, tradition and technology, artists Leigh Adams, Art Carrillo, Jimmy Centeno, Margaret Garcia, Mario Guerrero, Naiche Lujan, Heather McLarty, Cathi Miligan, Frank Romero, Nancy Romero, Marc Salazar, Mario Trillo, Ivan Deavy Zapien and others will provoke an engaging dialog between individuals, communities, and institutions to enhance  the LA/LA cultural map. Through January 28, 2017.
FMI: Aztlan

Millard Sheets Art Center: Judithe Hernández and Patssi Valdez: One Path Two Journeys
Hernández is well-known for her work as a muralist in LA between 1969 and 1982, and is credited with creating some of the earliest feminist work about women’s labor and migrants. Valdez became known for her avant-garde performance art, installations and photography. Though politically aligned with their male counterparts during this time of civil disobedience, their work also questioned issues of inequality specific to Chicana women, such as their assigned role in the home. Through January 28, 2018.
FMI: One Path, Two Journeys

A Bit Farther Afield:

Palm Springs Art Museum surveys South American artists of the international Kinetic Art movement. Kinesthesia: Latin American Kinetic Art, 1954-1969 encompasses 50 works–mainly kinetic sculptures and sculptural installations–by artists including Jesús Rafael Soto, Julio Le Parc, Carlos Cruz-Diez, and Martha Boto. Through January 15, 2018.
FMI: Palm Springs Art Museum

Riverside Art Museum
Myth and Mirage focuses on the Inland Southern California SCR landscape with its rich stylistic details and exoticized architectural forms, and how mythmakers from the 1880s through the 1930s fabricated a marketable past that was European and civilized to sell the mirage of wealth and paradise to Anglo settlers.  Through January 28, 2018.
FMI: Myth and Mirage

Regional Weekend: Special Events throughout the weekend of November 18 and 19
FMI: Spanish Colonial Revival

Sunnylands in Rancho Mirage: Carved Narrative: Los Hermanos Chávez Morado
These two brothers jointly created one of the most famous landmarks in Mexico, the 40-foot-tall El Paraguas fountain for the courtyard of the city’s National Museum of Anthropology. While the brothers’ work is well-known in Mexico, the exhibition, Carved Narrative: Los Hermanos Chávez Morado, is the first to display paintings by José and sculpture by Tomás together outside their homeland.
FMI: Carved Narrative

UCR ARTSblock in Riverside: Mundos Alternos: Art and Science Fiction in the Americas includes international artists from across the Americas to test science fiction’s genre to imagine utopian and dystopian realities. “We always imagine indigenous people being part of our past,” said Beatriz Cortez, an El Salvador-born artist. “I wanted to imagine indigenous people as part of our future.”
Through February 4, 2018.
FMI: UCR ARTSblock

Image: Tatiana Parcero, Cartografia Interior #21, archival pigment on acetate and photo paper, 14 3/4 x 10 3/4 in. Collection of Sharon and Michael Blagen.