Contemporary Art in the Americas Arte Contemporáneo en las Américas
Mírame

Mírame

by Joey Terrill

A cross-generational narrative of queer Chicanx and Latinx artists finds a common space in LA. I don’t attempt a critique of Pacific Standard Time or the myriad queer Latinx works that will be presented in it. What I offer instead is a personal reflection as a gay Chicano artist who is beginning to be considered an “elder” in the queer community, an

A cross-generational narrative of queer Chicanx and Latinx artists finds a common space in LA. Gabriel Garcia Roman, Carlos & Fernando, 2015. Silkscreen print. Photo courtesy of the artist. I don’t attempt a critique of Pacific Standard Time or the myriad queer Latinx works that will be presented in it. What I offer instead is a personal reflection as

Cultural Representation and the Demise of NAFTA Cultural Representation and the Demise of NAFTA

Cultural Representation and the Demise of NAFTA

by Eduardo Abaroa

Eduardo Abaroa and Rubén Ortíz-Torres talk about the art scenes in LA and Mexico City framed by globalization in a neoliberal era. Eduardo Abaroa: I want to begin by recalling a discussion we had many times while I was living in Los Angeles, your adopted city. Why is there so little contact between the art

Eduardo Abaroa and Rubén Ortíz-Torres talk about the art scenes in LA and Mexico City framed by globalization in a neoliberal era. Eduardo Abaroa; Total Destruction of the Anthropology Museum (Photoshop), 2016. Photographic mural. Photo courtesy of the artist Eduardo Abaroa: I want to begin by recalling a discussion we had many times while I

Art after LA/LA

Art after LA/LA

by Alma Ruiz

How Los Angeles Can Make PST Stick Come September, all of Southern California will be in the thrall of Latin American / Latino art. Why? Because after years of research and hard work by museums, alternative spaces, university galleries, and many other institutions, Pacific Standard Time: Los Angeles / Latin America (PST: LA / LA) will be officially inaugurated. This massive effort, spearheaded

Carlos Almaraz, Mr. and Mrs. Rabbit Go to Town, 1982, Collection of Robert M. DeLapp, Los Angeles. © Carlos Almaraz Estate. Photo courtesy Robert M. DeLapp Gallery. How Los Angeles Can Make PST Stick Come September, all of Southern California will be in the thrall of Latin American / Latino art. Why? Because after years of research and hard work

Archiving for New Worlds Archiving for New Worlds

Archiving for New Worlds

by Eunsong Kim and Gelare Khoshgozaran

Monica Rodriguez’s research as practice explores international and intergenerational struggles for Caribbean independence. The Antilles for the Antilleans. This is how Puerto Rican nationalist Ramon Emeterio Betances calls for the independence of the Caribbean and the foundation of an Antillean Confederacy. Artist Monica Rodriguez describes her project Las Antillas para los Antillanos as a consideration

Video Antillano (still of contribution by Luis Vazquez from Trinidad & Tobago). One of the online “exquisite corpse” projects Monica Rodriguez’s research as practice explores international and intergenerational struggles for Caribbean independence. The Antilles for the Antilleans. This is how Puerto Rican nationalist Ramon Emeterio Betances calls for the independence of the Caribbean and the

Unsettled: Limits and Domains Unsettled: Limits and Domains

Unsettled: Limits and Domains

by Natalia Mendoza and Miguel Fernández de Castro

When the concept of the frontier touches down at the border between Mexico and the US. In 1768, the Marquis de Rubí—following an inspection that took him two years and three thousand leagues—sent Viceroy Croix a proposal to solve defense, provisioning, and corruption problems at New Spain’s northern frontier. In the document, the marquis proposed for the first time the

Gambusinos at the municipality of Caborca, Sonora. June 2017. Photo by Miguel Fernández de Castro. When the concept of the frontier touches down at the border between Mexico and the US. In 1768, the Marquis de Rubí—following an inspection that took him two years and three thousand leagues—sent Viceroy Croix a proposal to solve defense, provisioning, and corruption problems

Let the Building Be the Sign Let the Building Be the Sign

Let the Building Be the Sign

by Anthony Carfello and Brian Mann

From Missions to Mission-style to Mission-branded cubes: how Taco Bell architecture tells us the history of Southern California. “You let the building be the sign” was architect Robert McKay’s promise. His 1962 roadside masterwork shot up at 7126 Firestone Boulevard in the southeastern L.A. County suburb of Downey. A collage of allusions to California’s twenty-one

The first Taco Bell. Downey, CA, 1962. Photo courtesy of Taco Bell Corp. From Missions to Mission-style to Mission-branded cubes: how Taco Bell architecture tells us the history of Southern California. “You let the building be the sign” was architect Robert McKay’s promise. His 1962 roadside masterwork shot up at 7126 Firestone Boulevard in the

Counterspectacles Counterspectacles

Counterspectacles

by Suzy Halajian

Counterspectacles Asco’s ephemeral actions reconfigured the patterns of public space. Stations of the Cross (1971) was the East Los Angeles collective’s first public spectacle: a walking mural along a one-mile stretch of Whittier Boulevard in East Los Angeles, performed on Christmas Eve. It was also Asco’s earliest attempt at reclaiming the streets. The act served as a theatrical, public protest against the

First Supper (After A Major Riot), ©1974, Harry Gamboa Jr. Counterspectacles Asco’s ephemeral actions reconfigured the patterns of public space. Stations of the Cross (1971) was the East Los Angeles collective’s first public spectacle: a walking mural along a one-mile stretch of Whittier Boulevard in East Los Angeles, performed on Christmas Eve. It was also Asco’s earliest attempt at reclaiming the