Ammo Bunker (2009) is a multipart installation that includes large-scale wall prints and an architectural model. The work takes as its departure point the history of Wilmington, Ybarra’s native hometown in southern Los Angeles. The piece refers to a Civil War era ammunition store that Ybarra found at the heart of the harbor close to Long Beach. The facility was later used as a temporary prison to hold different people coming from Mexico to Los Angeles during the Civil War. The building’s walls are covered with different marks and inscriptions from that time—what Ybarra likes to call L. A.’s earliest graffiti and which today coexist with recent gang tags. By pointing out the presence of these two kinds of inscriptions in the same historical place, Ybarra furthers his investigation into the intertwining of Mexican-American and Anglo-American social and cultural histories in Southern California.
Mario Ybarra Jr. belongs to a generation of Mexican-American artists who embrace their double heritage and use it in order to create critical and compelling artistic work. Ybarra is based in Los Angeles, where he grew up, and a large part of his artistic practice has grown out of issues related to his upbringing in the Chicano community of Wilmington. He consistently explores the culture and politics of the West Coast to produce, as he says, contemporary art that is filtered through a Mexican-American experience. Ybarra is not only a multifaceted artist, but also works as an educator, gallerist, activist, and social anthropologist.
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany...
Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos...
Tarantism is the name of disease which appeared in southern Italy, resulting from the bite of a spider called Tarantula...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
Peasant Sensation Passing Through Flesh – 3 consists of a massage chair fixed to a wall...
The video Interrupted Passage presents a performance Morales staged in the former home of Mariano Guadalupe Vallejo, a mid-nineteenth-century Mexican general serving in California...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
Physical and mental exploration have been founding elements in Joachim Koester’s research for several years...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points...
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...