#pearl hsiung

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Pearl C. Hsiung (Taiwanese/American, b. 1973), Helens, 2004. Oil-based enamel on canvas, 228 x 182.5 cm.

[houseofvans]

SKETCHY BEHAVIORS | INTERVIEW WITH PEARL C. HSIUNG

LA based multimedia artist Pearl C. Hsiung explores the relationships between humans and nature through her various paintings, sculptures, videos and installations.  In a collaboration with the Borrego Boys & Girls Club as well as members of the public, Pearl recently created a site-specific sculpture using wood, plexiglass and non-recyclable plastic waste. She’s also unveiling a large-scale tile mosaic commission in 2022 at the new 2nd/Hope St Metro station in downtown, LA. We’re excited to find out more about Pearl’s artwork, collaborations, and what she’s got coming up for the rest of the year.

Take the Leap! 

Photographs courtesy of the artist. 

Could you introduce yourself to everybody? Hi I’m Pearl C Hsiung, I live and work in Los Angeles.  ‘Hsiung’ is pronounced ‘shung’ and means the animal bear in Chinese.  I have a pet mini-Rex named Rambo who lives free- range in my apartment.

How would you describe the art you create? How would you describe your particular technique? I’d say that my practice uses the landscape as a starting point for thinking through our connection to it and towards the idea that we are inseparable from the matter around us.  If all matter in the universe combusted out of the same material then our current, subjective reality, where we behave as if we’re defined apart from everything around us, is an illusion.  

In past painting, video and installation works this is performed through metamorphosing, flowing and eruptive forms bursting out of their geological, biological, technological, and cultural skins.  In works like Full Gorge (2017) and Original Face (2018), I was thinking about the interconnection of all that is natural, human, more-than-human and artificial through an experience of immersive presence in material space.  

For me, these free-standing paintings point to a certain moment of presence, not unlike the moment I experience sometimes after reading certain zen kõans or Daoist phrases; it is an instant moment, a moment of clarity where I understand it all.  But it is fleeting, it is a momentary experience that precedes, challenges or completely eludes language.  Maybe this is not unlike a moment experienced when in nature, during sex or laughter (during both?), plugged into VR or while coding.  

What are your favorite things to paint? What should folks take away from your works? I enjoy painting on canvas, paper, MDF, wood…  Actually I hope people bring to my works.  I encourage the exchange that I make the work and viewers bring their perceptions and interpretations.

What’s a typical day in the studio for you like? And what are you currently working on in the studio? My studio schedule is fluid depending on the season.  It also depends on how much I’m teaching, I may only get one full day and a couple half days a week for the studio, other times I’m 5-6 days a week.  Time spent in the studio varies a lot and can include research, reading, sketching, painting, writing, building, cleaning, organizing, accounting, correspondence, grant proposals, teaching applications, pacing, prepping for big work/big actions, paint experiments, materials tests, staring, repotting plants…

I’m starting on new work for a show at Visitor Welcome Center in Koreatown in November 2019.

When you’re working on and developing a new painting or piece, how does it begin - take us from sketchbook, to color choices, to finished painting?   New work is always a continuation of themes and ideas from previous works and research. The form changes as the focus shifts on those ideas or approaches.  The decisions on everything from composition, structure, color palette and presentation are informed by this new focus as well as the new context of making that work.  Personal, experiential, studio environment, cultural influences, topical events all seep into that.  The sketchbook is full of garbage, I let it sit there to compost and sometimes it sprouts a new bud…

What tools will someone always find you using at your studio? What are your preferred materials? Tools have changed through the years.  More recently you’ll see squeegees and plastic paint guides (that I use like a squeegee) rather than brushes for the paintings.  Consistently, I use white paper and tape as painting tools.  The computer, the internet and books are always studio necessities for research and admin tools.  I use paints and inks that comes tubes, tubs, tins, buckets, bottles, spray cans, jars, sets on canvas, cold-pressed paper, MDF, cardboard.  I’ve been experimenting with painting on non-recyclable plastic I’ve tried to make into it’s own substrate but it’s not yet working out.

How do you unplug yourself so to speak? What do you do to center or re-focus yourself if you find yourself stressed out about deadlines, art shows, and the sort? When the stress piles up it helps if I do yoga first thing in the morning in my living room, but the best way to deal with the stress is to work through it.  When I feel overwhelmed by anxiety relating to projects, teaching, or deadlines, it usually helps me to become more prepared, using research, preparation and experimentation to deal with the parts that can be addressed.  For short term refocusing, I step outside and stare at things:  the sky, the plants outside of my studio, the birds on the telephone lines, the clouds.  Or I’ll take a walk around the block, change my daily routine like driving a different route, take the bus, walk through the grocery or thrift store before getting to work.  

For longer term re-centering, if I can, I leave town or just go stare at the ocean.  Staring is like open-eyed meditation for me, I try to empty out my thoughts, blank out and spend unscheduled time.  Sleep well and spending time with family and friends are also priceless rechargers.

You recently worked with AIR Talks: Candlewood Arts Festival collaborated with folks you met at the Borrego Boys & Girls Club? Tells us about the festival, the project and about the various workshops you helped conduct? Why was this event so important to you? This was the inaugural Candlewood Arts Festival, a temporary public art event in the town of Borrego Springs located in the Anza Borrego State Park.  Tanya Aguiniga, Devon Tsuno, Kor Newkirk, Mario Ybarra Jr and I created different site- and community-specific sculptures and happenings during the last weekend of March 2019.  Most of our works were located out in Galleta Meadows, an open, outdoor lot amidst the expansive desert landscape.  

For my sculpture Holocene Screen, I collaborated with youth from the Borrego Boys & Girls Club as well as members of the public during a workshop at the Borrego Art Institute to create a sculpture using wood, plexiglass and non-recyclable plastic waste that considered the simultaneity of nature, human and artificial as a landscape within a landscape.  

As part of the Holocene Screen workshop process, the students had to brainstorm words that fell into three categories: nature, human and artificial.  Then they were asked to write a short story, poem or single sentence using one word from each category which they painted onto a plexiglass window in the sculpture.  It was interesting to learn how easy it was for them to identify elements from nature and human, yet struggle with artificial.  

We had discussions about what artificial is and what items from their everyday lives fall under that definition.  Their next step was to visualize and compose a singular picture or narrative that threaded all three.  I think that was a good example of how easily we can grasp, and even romanticize and/or idealize the relationship between nature and human, and the difficulty or resistance to imagining the artificial in our aesthetic compositions or picture of reality.  

My intention, for both workshop participants and myself, was to place these three elements in one view, one image in order to de-emphasize the space between natural and unnatural.  What does that look like and where does that lead us to.

What do you enjoy about collaborations? What would be your dream collaboration? The best aspect of collaboration is giving up control and the sharing of ideas and labor.  Working in the studio is so solitary that it can be a great relief to open up to working with someone else or others.

Earlier this year you also showed works and visited with the Paramo Galeria in Guadalajara! Tell us a bit about the overall experience and exhibition. I had paintings included in New Suns, a group exhibition curated by Kris Kuramitsu at Paramó, it was the first time I’ve been to Guadalajara.  It was thrilling to be showing with such a strong group of artists, Sherin Guirguis, Kenyatta A.C. Hinkle, Nasim Hantehzadeh and Gabriella Sánchez among them.  I went for the opening back in December and also spoke on a panel with Sherin, Kenyatta and Kris at the Guadalajara International Book Fair, which I learned is the largest book fair of the Americas and the second largest in the world.  

Another first was speaking to an audience while being translated sentence by sentence.  We had a really furtive conversation though regarding the themes that our practices share.  

Something else that was new for me, was having an experience that someone might call…spirit related.  Ghost or undead related?  I told you about it later and you also had a ghostly experience the same weekend but in Big Bear?  

All I will say is that it was a disturbance by very young thing that was too visceral to be a dream.

You’ve worked in various mediums from murals to sculpture to painting to video / animation. Is there a medium you’ve yet to try that you want to get into? I like an answer that Gertrude Stein gave during an interview from 1935.  It regards the forms that writing takes, i.e. the novel, the autobiography etc, so I’m taking it out of context a bit, but the interviewer asks her “What has passion got to do with choosing an art form?”  She answers “Everything.  There is nothing else that determines form.”  So I think I’ve let form, or choice of medium come from the initial impulses of the work I end up making.  Maybe there is a VR piece or mural in bronze in my future….

What’s the most challenging aspect of what you do? How do you overcome these obstacles? What keeps you going? Financial sustainability.  Keeping the studio open while also preserving time to work in it.  I live off a financial collage composed of hustling - teaching, selling work, artist lectures, panel discussions, grants, commissions - but the stress of keeping it together has taken years off my life!

Share with us some artists you’re really excited about as of late.  York Chang,The Signal and The Noiseat Vincent Price Art Museum, April-July 2019. What I like about York Chang’s works in this show is that he uses information, text, images and sound to magnify the chaotic and disorienting feeling that comes with checking your phone, radio or tv for news or information. Facts and truths are just atoms floating around in a giant cosmos of distorted narratives, info, and transmissions, you cannot locate the signal or its source amidst the noise. The show’s installation makes you feel swallowed up in this, it’s enveloping yetliberating to be lost in, setting you up to enjoy the weird connections that York makes.

Carolina Caycedo’s Apariciones / Apparitions, a video exhibited at the Huntington Library last summer (you can see it on view at the Vincent Price Art Museum this summer, June 15 - December 21, 2019.)  This video is gorgeous and powerful.  Female, black, brown and queer dancers twirl, flounce, throb and glide throughout the colonial-style and asian gardens and libraries of the Huntington.  Sometimes they are totally fluid bodies in motion and at others times quite still and making spellbinding eye-contact with the viewer. You are watching a conjuring of the bodies and spirits of those whose representations and histories are missing throughout the art, books and histories archived in the Huntington’s collections.

Christina Quarles But I Woke Jus’ Tha Same at Regen Projects, April-May 2019. I suggest people see her paintings in person, they are really engaging.  They are figurative, figures coupling, moving into and through each other, embracing beyond recognition by the brain and into recognition by the flesh.  Materially they are gymnastic, virtuosic but not stuffy and make me want to paint. York Chang, The Signal and The Noise at Vincent Price Art Museum, April-July 2019.  What I like about York Chang’s works in this show is that he uses information, text, images and sound to magnify the chaotic and disorienting feeling that comes with checking your phone, radio or tv for news or information. Facts and truths are just atoms floating around in a giant cosmos of distorted narratives, info, and transmissions, you cannot locate the signal or its source amidst the noise.

Dynasty Handbag (Jibz Cameron) is a performance, video artist who lives in LA right now.  She’s the sharpest, funniest, slipperiest, grotesque-adjacent comic performer in the universe.  When you see her live, she reads the room, the crowd and herself so spontaneously that you’re always on a mood-swinging rollercoaster. She’s so distortedly vulnerable, proud and charming that you’re not only laugh-crying with and at her, but you’re mostly dying over how culture makes us schizo and insane.  She hosts a monthly queer performance night called Weirdo Night here at Zebulon.

What are your favorite Vans? SK8-His that are all solid black w/ black soles.

What do you have coming up that you can share with us? I’ve got a show opening in November 2019 at Visitor Welcome Center in Koreatown, LA and a large-scale tile mosaic commission at the new 2nd/Hope St Metro station in downtown LA, opening in 2022!!

FOLLOW PEARL | WEBSITE | INSTAGRAM 

[fighttothesuccess]

Fight To The Death’s Old Horny tattoo by John Haney

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九天玄女 Jiutian Xuannü (Mysterious Woman of the Nine Heavens)

九天玄女娘娘 Jiutian Xuannü niangniang (Mysterious Woman, Damsel of the Nine Heavens)

The Mysterious Woman is and emissary of the Queen Mother of the West (Xiwang mu) and transmitted various magical arts and talismans to aid the Yellow Emperor in his battles.

The Taoist master Tu Kuang-t'ing includes a biographical account of the Mysterious Woman in his "Record of the Assembled Transcendents of the Fortified Walled City," a compendium of lives of goddesses and female saints important to the Shang Ch'ing or Supreme Qear Realm school of Taoism, of which he was a master. An English translation of part of this document follows below;

The Mysterious Woman of the Nine Heavens was the teacher of the Yellow Thearch (Huang ti) and the disciple of the Primal Ruler known as the Incomparable Mother (the Queen Mother of the West). In former times, the Yellow Thearch became ruler of the Yu hsiung Kingdom; he took Shen Nung's grandson, Yii Wang, as his assistant. Later, when all was in decline, the various feudal lords attacked each other and sought each other with a thousand swords. Based on the colour of his direction, each gave himself a cognomen after one of the five phases. The descendent of Tai Hao (Fu Hsi) called himself the Blue-green Thearch, the descendent of Shen Nung, Yii Wang, called himself the Scarlet Thearch, the descendent of Kung Kung called himself the White Thearch, and the descendent of the Ko Tien clan called himself the Black Thearch. The Thearch, arising from the Barren Wastes of Yu hsiung, called himself the Yellow Thearch. He was reverent indeed. The lower nobles turned themselves around and cultivated virtue.

After the Thearch had been on the throne twenty-one years, Ch'ih Yu set forth his calamities. His eighty-one elder and younger brothers had the bodies of wild birds and human speech; they had bronze heads with iron foreheads. They relished sand and gobbled rocks, but did not eat the five grains. They created the shapes of five tigers to harm the black-haired people, and cast weapons in the mountains of Ko Iu without using the Thearch's decree.

The Thearch, wanting to punish them, sought far and wide for talented and capable men to act as his assistants. He obtained Feng Hall at a comer of the sea and Li Mu at the Great Marsh. He made an assistant of Ta Hung; the Heavenly Elder acted as his teacher. He established the offices of the three common-lords to represent the three platforms. Feng Hou for the Supreme Platform, the Heavenly Elder for the Middle Platform, and Wu Sheng the Lower Platform.

First, the Thearch grasped the precious tripods. Without being heated on a stove, their contents were cooked. He welcomed the sun and investigated the divining stalks. He made Feng Hou his general and the son of Lady Fei Hsiu his heir apparent. He employed Chang Jo, Hsi P'eng and Li Mu. Faces radiant, they went forth on dragons. Ts'ang Chieh, Jung Ch'eng, Ta Nao, She Lung, and the flock of his vassals acted as auxiliary wings. They fought .Ch'ih Yu at Cho Iu; the Thearch and his teachers did not triumph. Ch'ih Yu created a great mist; for three days inside and outside were indistinguishable.

Following the model of the Dipper's governing mechanism, Feng Hou made a great vehicle with a handle pointing south to distinguish correctly the four directions. The Thearch, drawing upon his anxiety and grief, fasted beneath T'ai shan. The Queen Mother sent him an emissary wearing a dark fox-fur cloak. She bestowed talismans upon the Thearch, saying: "If you make your thoughts essential and then report to heaven, you will definitely receive a response from the Grand Supreme.

The Thearch dwelt for several days in the great mist, so impenetrable it obscured both daylight and the dark of night The Mysterious Woman descended into it, riding a cinnabar phoenix, holdingphosphors and clouds as reins. She wore variegated kingfisher-feather garments of nine colours. She perched before the Thearch, who repeatedly saluted her and received her command. The Mysterious Woman said: "1base myself on the teachings of the Grand Supreme. If you have any doubts, you may question me.

The Thearch kowtowed and said: "Ch'ih Yu is cruelly crossing us. His poison is harming all the black-haired people. The four seas are sobbing. no one can protect his own nature or life. I want the art of winning a myriad victories in a myriad battles. Can I cut off the harm facing my people?"

The Mysterious Woman thereupon bestowed upon the Thearch the Talisman of the Military Token of the Six Chia and the Six len, the Five Numinous Treasure Talismans and Whips, the Document on Using Ghosts and Spirits as Messengers, the Seal of the Five Bright-Shiners for Regulating the Uncanny and Communicating with the Numina, the Formula of the Five Yin and Five Yang for Concealing the CJzia, Charts for Grabbing the Mechanism of Victory and Defeat from the Ten Essences and Four Spirits of the Grand Unity, Charts of the Five Marchmounts and Four Holy Rivers, Instructions on the Essentials of the Divining Slips, jade junctures of the nine radiances, pennants of the Ten cutoffs, swords which command demons, an auroral cloud cap and fire belt pendant, dragon halberds and rainbow banners, a kingfisher carriage and green palanquin with sinuous dragons as the inner pair of the draft team and tigers riding astride, a thousand flowered canopies, eight simurgh carts, feathered flutes and mysterious staffs, rainbow standards and jade battle axes, phenomena of the divine transcendents, seals of the five dragons, pearls of the nine bright-shiners, junctures of the nine heavens: all went to make military tokens. There were five-coloured banners to distinguish the emperors of the five directions.

The Thearch subsequently restored and led all. The feudal lords fought again, driving out the demons. The scattered ill-omened creatures were placed against him in battle array. The Rain Master and Wind Sire acted as guards; responsive dragons stored up water to attack the Thearch. But the Thearch controlled them all. Thereupon he destroyed Ch'ih Yu in the wilds of Chiieh pen. At his grave mound in the township of Chung chi, the Thearch buried him, dividing his four limbs. Subsequently Yii Wang resisted the mandate and the Thearch punished him as well, in the wilds of Pan ch'iian. The Thearch pursued the Hsiin yu to the north, and greatly settled the four quadrants. He exhaustively paced to the four extremities, travelling altogether over twenty-eight thousand li. Then he cast tripods to set up the nine provinces, and established vassals of the nine courses and nine virtues to observe heaven and earth, sacrifice to the ten thousand numina, hand down models, and establish teachings.

After that he selected bronze from Mount Shou and cast tripods at Mount Ching. A yellow dragon descended to welcome him. Riding the dragon, the Thearch ascended to heaven. All of this was done on the basis of the talismans, whip, charts, and plans bestowed by the Mysterious Woman.

[artbookdap]

A little reminder from our friends @cara_the_org ・・・ #Repost 1996. For this volume artist Matt Keegan (born 1976) interviews artists and commissions writing to reassess the 1990s as the moment when the Democratic Party abandoned its New Deal values and swung to the right.  In the wake of the 2016 election, Keegan began investigating the Democratic Party’s shifts over recent decades. In the late 1980s, members of the Democratic Leadership Council successfully moved the party’s platform to the right by including a pro-business, pro-military, interventionist agenda, and downplaying social infrastructure as a calculated break from its New Deal-era foundation. This shift led to Bill Clinton’s consecutive terms. 1996 captures this pivotal time in American politics and soci ety through the experience of artists who completed their undergraduate studies in that year and voted for Clinton, and others who were born in 1996 and voted for the first time in 2016. Essays focus on cultural and ideological shifts from that time, such as the 1994 Crime Bill, 1996 Immigration Act, the Telecommunications Act, the start of Fox News and beyond. Interviews edited by Svetlana Kitto. With texts by Alissa Bennett & Mel Ottenberg, Michael Bullock, Dale Corvino, Thomas Eggerer, Svetlana Kitto, Patrick McGraw, Dave McKenzie, Chris Morten, José Muñoz, Debbie Nathan, Yigal Nizri, Nicole Otero & Martine Syms, Mychal Denzel Smith, Natasha Stagg, Lincoln Tobier, Jordan Teicher, and Interviews with Becca Albee, Malik Gaines & Alex Segade, Chitra Ganesh, Pearl Hsiung, Jennifer Moon, Seth Price, Elisabeth Subrin. 📘First establishing itself as a publisher under the imprint New York Consolidated, CARA’s publication program began with1996, co-published with @inventorypress @matt_keeg [Product shot of book. White text with title 1996 on shiny blue front cover. Red back cover meets the blue on the spine half blue and red split down the middle. Next: Interior spread of covers of Time magazine from 1996. Next: detail of book section titled An Aroma of 90's Gay Smells. Next: detail from interior image showing cast of MTV's The Real World: San Francisco, 1994. Next: Table of Contents] https://www.instagram.com/p/CaKeFYFFApn/?utm_medium=tumblr

[sweetums]

“High Prismatic,” a glass mosaic artwork for the future Grand Av Arts/Bunker Hill Station by Pearl C. Hsiung

[mutantsalon]

SATURDAY, JUNE 24, 12-3pm: Closing brunch @commonwealthandcouncil, and at 2PM, Elliot Reed and Dove Ayinde will perform a new collaborative piece “YOU FUCKING THOUGHT." Also closing (same building, same day), Pearl Hsiung at @visitorwelcomecenter! #commonwealthandcouncil #youngjoonkwak #patriciafernandez #pearlhsiung #visitorwelcomecenter #ElliotReed #doveAyinde (at Commonwealth and Council)

[materialsworld]

How tarantula hairs are inspiring 3D-printed colours

Peacock feathers are less colourful than meets the eye.

The surface microstructure of the peacock’s tail feathers creates iridescent blue, turquoise and green light in reflection – but did you know that their pigmentation is just plain old brown?

Structure is used to create dazzling colours throughout nature, from the shimmering nacreous shells of pearl oysters to the glittery patterns on a butterfly wing. What makes these colours so captivating is their iridescence – the viewer’s perception of the colour is constantly changing as the light, the object and the viewing angle move.

These colours are far more durable than pigmentation, but beautiful as it is, iridescence is not always the most practical type of colouration – you probably wouldn’t want the colours on your TV to change colour whenever you moved, or the surfaces in your home to swirl like petrol in a puddle. You may or may not want your car to look like this:

Enter the blue tarantula. A study led by researchers at the University of Akron, USA, has found that while these colourful arachnids also use nanostructures to produce their hue, they aren’t iridescent.

They found that a flower-like shape found in the nanostructure on the hairs of some spiders reduced the iridescent effect, and using a series of computer simulations built physical prototypes replicating this with 3D printing.

The researchers were able to create 3D-printed structures with a viewing angle of 160 degrees – the largest viewing angle of any synthetic structural colour yet demonstrated.

Image: University of Akron

‘These structural colourants could be used as pigment replacements – many of which are toxic – in materials such as plastics, metals, textiles and paper, and for producing colour for wide-angle viewing systems such as phones and televisions,’ lead author Bor-Kai Hsiung explained.

His team’s paper is published in Advanced Optical Materials.

[amplifycompassion-blog]

Pearl C. Hsiung / Kamuro / 16" x 16" / oil-based enamel on canvas / Price upon request

As part of the Amplify Compassion art sale benefit for the ACLU taking place at 356 Mission Rd. Jan 21st and Jan. 22nd!

[grumpybert]

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Piece by @michaelchsiung from our show two years ago. We’ll be doing it again this Thursday evening beginning at dusk “Constellations” will be projected on the Manhattan Bridge! Special thanks to #lightyear @nymediacenter @tomr4 @dumbobid Featuring work from: Ben Voldman Cindy Suen Drew Shields Irene Feleo Jean Jullien / Nicolas Jullien John Balestrieri Josh Cochran / Alexa Lim Haas / Eron Hare / Peter Carlson Matt Huynh Michael C. Hsiung Min Liu Rose Wong Taezoo Park Taili Wu / Robin Ellis Will Herring Xaviera Lopez . . . #constellations #digital #art #artshow #brooklyn #animation #gif #illustration #manhattanbridge (at Pearl Street Triangle)

[longlistshort]

Protomartyr- Don’t Go To Anacita

Things to do in Los Angeles this weekend (3/8-3/11/18)-

Thursday

Son Lux are playing at The Regent Theater with Gordi and Wills opening

Photographer Matthew Rolston will be discussing his exhibition Art People: The Pageant Portraits at Ralph Pucci in Hollywood, with arts writer and editor Katya Tylevich. RSVP here

Darlingside are playing at The Echo with Henry Jamison opening

Grammy award winning musical director of the LA Opera, James Conlon will be discussing his recent collaboration with the Joffrey Ballet, and making the mythology of Orpheus and Eurydice modern at the Hammer Museum

Holly Miranda is playing a free show at Zebulon

LACMA is having a free screening of Lean on Pete starring Steve Buscemi with a conversation with writer/director Andrew Haigh to follow

No Age are playing an all ages show at Highland Park Ebell

Palm are playing at the Echoplex with The Spirit of the Beehive and Jerkagram opening

Friday

ArtNight Pasadena returns with a night of free museums, performances, music, and more- with free shuttles to take you around

Moaning are having a record release party at The Echo with Froth and Numb.er opening

Union Station is hosting Josh Nelson & The Discovery Project’s multi-disciplinary artistic collaboration and presentation- combining video, performance art, light and art installations with his original music (free)

ICA LA‘s event Art Buzz, is a happy hour tour of the exhibition Skip Arnold: Truffle Hunt followed by “libations and tastings” (free but RSVP)

Orb, Flat Worms, and Hooveriii are playing at Zebulon

Ghostface Killah will be performing at the Echoplex’s 2ooos era Hip Hop Party-Echo Flex

Current Joys are playing with Celebrity Crush at Lodge Room

Saturday

Protomartyr are playing at the Teragram Ballroom with Shame and GLAARE opening

ICA LA is partnering with Crayon Collection to host a free all ages workshop with artist Pearl C. Hsiung focused on crayon creations

No Win and Luke Rathbone are opening for Criminal Hygiene at the Bootleg Theater

The Aero Theatre is playing a double feature of The Life Aquatic with Steve Zissou and The Adventures of Buckaroo Banzai Across the 8th Dimension

The Wedding Present are playing at The Echo with Terry De Castro opening

Saturday and Sunday

To celebrate the 50th Anniversary of the East LA Walkouts, Fowler Museum along with the Chicano Studies Research Center will have two days of free programming- on Saturday there will be a speaker’s program with Walkout participants and scholars and on Sunday there will be screenings of the 1995 documentary Taking Back the School, and the 2005 HBO film Walkout! with a Q +A to follow

Sunday

Artist Luchita Hurtado will be in conversation with Hans Ulrich Obrist at Los Angeles Municipal Art Gallery (LAMAG)- free but RSVP (1pm with light refreshments at 2pm)

MOCA Community Day at The Geffen Contemporary at MOCA will include activities, performances and two panels with artists and activists- one discussing Art as Transformation and the other Envisioning a Different Framework- both focusing on LA’s homelessness crisis. Free but bring white tube socks to donate.

Bootleg Theater is hosting Lancaster- jazz music by Eric Revis, Jeff Parker, Joshua White and Guillermo Brown

Hibou are playing the Echoplex with Death Bells, Floating Room, and Alien Boy

Haunted Summer are playing at the Moroccan Lounge with Alyeska and Gold Casio opening

[foryourart]

Image: Mark Bradford, 150 Portrait Tone (detail), 2017, courtesy of the artist and Hauser & Wirth, commissioned by the Los Angeles County Museum of Art in honor of the 2017 Art + Film Gala © Mark Bradford. Image courtesy of LACMA.

PLAN ForYourArt: March 8–14

Thursday, March 8

Conservation Transformations at the Walters Art Museum, Santa Barbara Museum of Art (Santa Barbara), 10–11:30am.

Talk: Gallery Talk: The Art of Looking—Mark Bradford, LACMA (Miracle Mile), 12:30pm.

MFA Exhibition #1, UCLA (Westwood), 5pm.

INTERNATIONAL WOMEN'S DAY EXHIBITION + LASER, UCLA (Westwood), 5pm.

Paul Brach Lecture Series: Jim Shaw, CalArts (Valencia), 5:30pm.

LACDA Artists' Reception, LACDA (Downtown), 6–9pm.

OPEN FORUM - El Segundo Elections 2018, ESMoA (El Segundo), 6:30–8pm.

Kay Redfield Jamison: Mental Illness and Creativity, Getty Center (Brentwood), 7pm.

Talk: Curator Walkthrough of Painted in Mexico, 1700–1790: Pinxit Mexici with Ilona Katzew, LACMA (Miracle Mile), 7pm.

Artist Talk between Photographer Matthew Rolston and Katya Tylevich, author and Editor-at-Large of Elephant Magazine, Ralph Pucci (Hollywood), 7–9pm.

City of the Future, with Sesshu Foster, Southern California Library (South L.A.), 7–9pm.

Filmforum: The Familiar Unknown: Mysticism in the Present Future, MOCA Grand Avenue (Downtown), 7pm.

Health/Care Film Series: 3 Short Films, Women's Center for Creative Work (Frogtown), 7–10pm.

Live! at the Museum: Argus Quartet, Laguna Art Museum (Laguna Beach), 7pm. 

A Lecture with Walter Hood - Landscape design through a new lens, University Art Museum, CSU Long Beach (Long Beach), 7–9pm.

Writing Now Reading Series: Bruce Bauman, CalArts (Valencia), 7–10pm.

Film: Free Screening | Lean on Pete, LACMA (Miracle Mile), 7:30pm.

The Sandblaster Chorus Blasters Do Broadway, Palm Springs Art Museum (Palm Springs), 7:30pm. $25.

CONVERSATIONS: Orpheus and Eurydice: From Ancient Greece to Modern Ballet/Opera, Hammer Museum (Westwood), 7:30pm.

Friday, March 9

Art Buzz: Skip Arnold, Institute of Contemporary Art Los Angeles (Downtown), 5:30–7pm.

Zillionaires Against Humanity: Sabotaging the Skid Row Neighborhood Council, Skid Row History Museum and Archive (Downtown), 6–8pm.

ArtNight Pasadena, various locations (Pasadena), 6–10pm.

Kori Newkirk and Joshua Haycraft, Pasadena City College (Pasadena), 6–10pm.

The Visitor - Alfredo Barsuglia & Alice Könitz, Mackey Apartments, MAK Center for Art and Architecture (Mid-City), 7–9pm.

Le Petit Chaperon rouge, Le Lycée Français de Los Angeles (Century City), 7:30pm. Also March 10.

KRONOS QUARTET, RINDE ECKERT AND VÂN-ÁNH VÕ: MY LAI, CAP UCLA (Westwood), 

The Door Gallery Grand Opening Reception, The Door Gallery (Hollywood), 8pm–2am.

Saturday, March 10

Quiet Mornings: Art x Mindfulness @ MOCA, The Geffen Contemporary at MOCA (Downtown), 9:30am.

50TH ANNIVERSARY OF THE EAST LA WALKOUTS, Fowler Museum (Westwood), 9am-7pm. Continues March 11. 

Family Festival Celebrating the Getty Center's 20th Anniversary, Getty Center (Brentwood), 10am–6pm.

Girl Power Panel Discussion: Sistas Are Doin’ It For Themselves, The Nate Holden Performing Arts Center (Mid-City), 10am–12pm.

Emergency Health Grant Info Session and Writing Assistance, Women's Center for Creative Work (Frogtown), 11am–2pm.

Block Party and Drop in Art Workshop, The Church of the Epiphany/La Iglesia de la Epifanía (Lincoln Heights), 11am–6pm.

Wheel Throwing Workshop with Wayne Perry, Craft & Folk Art Museum (Miracle Mile), 1–4pm. $45–55.

LAMAGPlay Workshop, LAMAG (East Hollywood), 1–3pm.

Stickerly: LB by Annelie McKenzie, leiminspace (Chinatown), 1–6pm.

Families: Free Family Art Making Workshop with Maria de Los Angeles, LACMA (Miracle Mile), 1:30pm.

Families: On-Site: North Hollywood—Art in the Ancient Americas, LACMA (Miracle Mile), 2pm.

Crayon Collection + ICA LA: Workshop with Pearl C. Hsiung, Institute of Contemporary Art Los Angeles (Downtown), 2–4pm.

From Walls Of Empowerment to Screens Of Engagement: The Progression Of Murals, Pasadena Museum of California Art (Pasadena), 2pm.

MOVIE MATINEE – Gayby Baby, ESMoA (El Segundo), 2–4pm.

Fahrenheit 2018, American Museum of Ceramic Art (Pomona), 2–5pm.

From Walls of Empowerment to Screens of Engagement: The Progression of Murals, Pasadena Museum of California Art (Pasadena), 2pm.

The Insanity Principle Workshops, High Desert Test Sites (Joshua Tree), 2–4pm.

10th Annual African American Composer's Series and Free Education Program, HOW THE WEST GOT FUNKED UP, William Grant Still Arts Center (West Adams), 3–6pm.

Senon Williams / Hamilton Press, Odd Ark•LA (Highland Park), 4–8pm.

Tony Larson: Load Signs, Zevitas Marcus (Hollywood), 5–8pm.

Edel Bordón: Paradoja de la Soledad and Martiros Adalian: Caution, Lois Lambert Gallery (Santa Monica), 6–9pm.

Robert Colescott, Blum & Poe (Culver City), 6–8pm.

Katinka Matson: White Flowers, Eric Buterbaugh Gallery (West Hollywood), 6–9pm.

Christiane Lyons: Some Women, Meliksetian Briggs (Fairfax), 6–8pm.

INTERNATIONAL JURIED COMPETITION, LACDA (Downtown), 6–9pm.

NEVER HAVE I EVER, Coagula Curatorial (Chinatown), 7–9pm.

$3.33 / Dan Joseph / Hakim Muhammad, Human Resources (Chinatown), 7pm.

Brodie Kaman x These Days Zine Launch, These Days (Downtown), 7–9pm.

Kristopher Raos: Blocked Out, Museum as Retail Space (MaRS) (Downtown), 7–10pm.

Bradney Evans: Finally Endless, Elephant (Glassell Park), 7–10pm.

Naked as a Daisy, Shockboxx Project Gallery (Hermosa Beach), 7–9pm.

Nose Job, BBQLA (Downtown), 8pm–12am. 

There's More to Neon Signs than Liquor, Motels and Live Nude Girls and Motel California, MONA Museum of Neon Art (Glendale), 7:30–10:30pm.

Sunday, March 11

MOCA Community Day, The Geffen Contemporary at MOCA (Downtown), 11am–4pm.

Love Her to Death...and Back: The Enduring Myth of Orpheus and Eurydice, Getty Villa (Pacific Palisades), 11am–5pm.

SCREENINGS: KIDS: Family Flicks Film Series: Space Jam, Hammer Museum (Westwood), 11am.

Year of the Doggo: Riceballs, snacks, zines, 356 Mission (Downtown), 12–3pm.

ForYourArt invites you to an intimate interview with Luchita Hurtado and Hans Ulrich Obrist, Los Angeles Municipal Art Gallery (East Hollywood), 1pm. 

Everything is Medicine with Olivia Chumacero and Sarita Dougherty, Main Museum (Downtown), 1–3pm.

Tiny Terrariums: A CraftLab Family Workshop!, Craft & Folk Art Museum (Miracle Mile), 1:30–3:30pm. $5–7.

Family Jam: Storytelling with Dena Atlantic, Fowler Museum (Westwood), 2–3:30pm.

Families: On-Site: North Hollywood—The Identity Body Map, North Hollywood Amelia Earhart Regional Library (North Hollywood), 2pm.

Anti-Semitism and Islamophobia in the Middle Ages and Today, Getty Center (Brentwood), 3pm.

Andrea Fraser: Toward a Reflexive Resistance, Institute of Contemporary Art Los Angeles (Downtown), 3–5pm.

CAAM Reads! Save Me the Waltz, California African American Museum (Downtown), 3–4:30pm.

Desert X screening, Palm Springs Art Museum (Palm Springs), 3pm.

James Crosby: Forms Between, Team (bungalow) (Venice), 4–7pm. 

Volume I: Cultural Identities and Volume II: Shifting Landscapes, Residency Art Gallery (Inglewood), 6:30–8:30pm.

Monday, March 12

Mondays at the Museum, Behind the Veil: Andy Warhol in Context, Palm Springs Art Museum (Palm Springs), 12pm.

Sister Spit: QTPOC Cruising the West Tour - Los Angeles, Women’s Center for Creative Work (Frogtown), 7–10pm.

In Conversation: Vera Lutter and Michael Govan, LACMA (Miracle Mile), 7:30pm.

Tuesday, March 13

Rembrandt and the Inspiration of India, Getty Center (Brentwood), 10am–5:30pm.

Film: Cry ‘Havoc’, LACMA (Miracle Mile), 1pm.

International Contemplative Dance Practice Day In Celebration of Barbara Dilley's 80th Birthday, Pieter (Lincoln Heights), 3–6pm.

SAM CONGDON, UCLA (Westwood), 5–7pm.

Talk: Cur-ATE: Dining in Colonial Mexico, LACMA (Miracle Mile), 6pm.

CONVERSATIONS/ READINGS: Charles Ray: If You Can Read This You Are Dead, Hammer Museum (Westwood), 7:30pm.

ArtCenter Spring 2018 Graduate Seminar Lecture: Nicole Eisenman, ArtCenter College of Design (Pasadena), 7:30pm. 

Wednesday, March 14

Shinique Smith: Refuge, Nicole Miller: Athens, Ca, Charting the Terrain: Eric Mack and Pamela Smith Hudson, California African American Museum (Downtown), 7–9pm. Artists and Curatorial Walkthrough, 6–7pm.

Made by X > Spray Paint with Panca, Museum of Contemporary Art San Diego (San Diego), 6:30–8pm. $25–40.

India through a European Lens: Seventeenth Century Images and Words, Getty Center (Brentwood), 7pm.

FILMS BY AXÉ BAHIA ARTISTS, Fowler Museum (Westwood), 7pm. 

Artist Talk: EJ Hill, Art + Practice (Leimert Park), 7pm.

Harald and Elsa: The Kingdom of Referentials, ICA LA (Downtown), 7:30pm.

Native Women's Voices through Poetry, Main Museum (Downtown), 7:30–9pm.

Dibner Lecture - Making ArtDiscovering Science, The Huntington (San Marino), 7:30pm.

Cross-Hatched | Usuyuki: Johns in Japan, The Broad (Downtown), 8pm. $25

[houseofvans]

While You Were Sleeping | Full Gorge (Pearl C. Hsiung) While you were sleeping, we stopped by artist Pearl C. Hsiung’s solo show ‘Full Gorge’ to check out her new paintings and installation at the Visitor Welcome Center gallery (LA). Her paintings invoke landscapes formed by the earth’s crust, while her painting process mimic forms such as entropy and natural erosion. Not only did we love the vibrant color gradients, flattened surfaces, and use of paint, but also the fluidity and fun of her newest “gorge-ous” work.

Check out ‘Full Gorge’ which runs till June 24th at Visitor Welcome Center! 

Photographs by MCH

[fighttothesuccess]

Old Horny - Long sleeve Red on Black by Fight To The Death

[inspireif]

Pearl C Hsiung #prlhsiung #PearlCHsiung

[artbookdap]

Yay! @l_cy_v_s reviews '1996,' a new anthology revisiting the look of the 1996 presidential race, edited by artist Matt Keegan with writer @svetlanakitto ⁠⠀ ⁠⠀ "The anthology deploys ephemera very effectively, handily shocking the reader with the stupidity of mainstream ideology of the mid-1990s. An image of Ivanka Trump as teen model or a fear-mongering depiction of the pledge of allegiance in Spanish and German from the xenophobic nonprofit 'U.S. English,' still operational today—provide some of the strongest tastes of the moment and foreshadow its lingering social and political effects…⁠⠀ ⁠⠀ An informative and, in the end, hopeful collection, demonstrating that we can learn a great deal from recent history, even as the time remaining to apply these urgent lessons grows increasingly short."⁠⠀ ⁠⠀ Read the complete review via linkinbio.⁠⠀ ⁠⠀ Published by @inventorypress⁠⠀ ⁠⠀ Text by Alissa Bennett & Mel Ottenberg, Michael Bullock, Dale Corvino, Thomas Eggerer, Svetlana Kitto, Patrick McGraw, Dave McKenzie, Chris Morten, José Muñoz, Debbie Nathan, Yigal Nizri, Nicole Otero & Martine Syms, Mychal Denzel Smith, Natasha Stagg, Lincoln Tobier, Jordan Teicher. Interview with Becca Albee, Malik Gaines & Alex Segade, Chitra Ganesh, Pearl Hsiung, Jennifer Moon, Seth Price, Elisabeth Subrin.⁠⠀ ⁠⠀ #1996 #electoralpolitics #mattkegan #svetlanakitto⁠⠀ https://www.instagram.com/p/CHLrQhuJiVg/?igshid=pb2h8vh0h146