On the Road to the Summer of Love
CHS's ambitious exhibition in celebration of the 50th anniversary of the Summer of Love tells the story of the countercultural movement in San Francisco through photographs.
In the summer of 1967, young people from across the country converged in San Francisco's Haight-Ashbury district. In this exhibition, guest curators Dennis McNally and Alisa Leslie explore the cultural context—from the Beat poets to the experimental art scene—that put San Francisco at the center of a social revolution.
The story begins in the late 1950s with the Beatniks in North Beach and ends in late 1967 with the Diggers' Death of the Hippie ceremony. The exhibition explores iconic moments—such as Jack Weinberg in a police car at UC Berkeley at the birth of the Free Speech Movement—as well as less well-known, but none-the-less formative, events. Photographs and ephemera from CHS collections are featured alongside materials from private and institutional lenders.
IN LOS ANGELES
El Tranquilo Gallery, El Pueblo
Photographs, documents, scrapbooks, and ephemera are some of the material objects that help us to tell and understand our history. What are the objects that tell the story of Los Angeles? Who collects them? What stories do they tell?
In this exhibition celebrating Los Angeles's remarkable history, curious objects from collections housed across the Los Angeles region are displayed together at downtown Los Angeles's historic Olvera Street, El Pueblo de Los Ángeles, to illuminate the history of this multifaceted city.
The third annual History Keepers exhibition is co-presented by the California Historical Society and LA as Subject in partnership with El Pueblo Historical Monument and the El Pueblo Park Association.
Courtesy of the artists and Luis de Jesus, Los Angeles
Artist Hugo Crosthwaite combines his images of everyday men, women, and children—often sketched while riding the bus or sitting on a park bench—with historical and mythological references. His inspiration comes from observations he makes in the streets, alleys, and parks.
Crosthwaite's works are visual poems that depict the hopeful possibilities for a better future and the dichotomy of the reality that exists in the city's daily life. The underdog and the underprivileged command a central place in his work and to him they are the heroes of society.
For Hugo Crosthwaite: In Memorium Los Angeles, Hugo will source characters from the local downtown area to paint a mural as performance. Working only during the museum's open hours when visitors can observe. He will engage the public and allow the interactions to influence his work. He will paint for approximately four weeks, and just as he reaches the end of the mural, he will begin to obscure it. The mural is ephemeral and at the end of the exhibition's run, Crosthwaite will completely whitewash his own painting.
This exhibition is co-presented with the Museum of Social Justice.
Murals under Siege
Published in association with Angel City Press
Designed by Amy Inouye, Future Studio, Los Angeles
LA Plaza de Cultura y Artes, 501 North Main St., Los Angeles
The California Historical Society, in partnership with LA Plaza de Cultura y Artes, presents ¡Murales Rebeldes!, an exhibition and companion publication exploring the way in which Chicana/o murals in the greater Los Angeles area have been whitewashed, censored, neglected, and even destroyed.
Murals became an essential form of artist response and public voice during the Chicano protests of the 1960s and 1970s. They were a means of expressing both pride and frustration, and challenging the status quo, at a time when other channels of communication were limited for the Mexican American community.
Through photography, sketches, related art works, and ephemera, ¡Murales Rebeldes! tells the stories of murals—by artists Barbara Carrasco, Sergio O'Cadiz Moctezuma, Yreina Cervántez and Alma López, Roberto Chavez, Willie Herrón III, East Los Streetscapers, and Ernesto de la Loza—whose messages were almost lost forever . . . until this exhibition and publication.
¡Murales Rebeldes! — in the historic heart of Los Angeles at El Pueblo de Los Angeles Historic Monument—examines the iconography, content, and artistic strategies of 8 Los Angeles-area Chicana/o murals that made others uncomfortable to the point of provoking a contrary response, delving into the murals' creation and disturbing history of obstruction.
About Pacific Standard Time: LA/LA
¡Murales Rebeldes! is part of the Getty initiative Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.
The Getty Foundation and the Annenberg Foundation are sponsors of the publication ¡Murales Rebeldes! — L.A. Chicana/Chicano Murals under Siege.
About LA Plaza de Cultura y Artes
LA Plaza de Cultura y Artes is a museum and cultural center created by the Los Angeles County Board of Supervisors open to the public since 2011. LA Plaza explores the role of Mexicans, Mexican Americans, and all Latinos in shaping the Los Angeles of the past, present, and future. These stories come to life through a range of permanent and changing exhibitions as well as educational and public programs.
The LA Plaza campus includes two renovated buildings dating back to the 1880's, a large outdoor performance space, and a historic walkway. The campus is located within the Los Angeles's historic core in the El Pueblo de Los Ángeles Historic Monument, where the city was first settled in 1781.
Through its work, LA Plaza honors the past and shapes the future by celebrating and cultivating an appreciation for the enduring and evolving history, art, and culture of Latinos in Los Angeles.
Oregon Historical Society
Native Portraits: Contemporary Tintypes by Ed Drew is a series of portraits of members of the Klamath, Modoc, and Pit River Paiute tribes (tribes originally from California and Southern Oregon). Drew was commissioned by a tribal mental health worker to photograph several intensive “talking circle” weekends in which participants recounted their experiences with racism, abuse, drug addiction, crime, and tragedy. In their stories, Drew found connections to his own struggles with his identity as an African American. He was also drawn to the larger history of conflict between Native Americans and the United States government.