makulit

In a state of makulit-y

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Mapping Small Arts and Culture Organizations of Color in Oakland

A benchmark project that will encourage funders to adopt intentional investment strategies to support the long-term stability of this sector.

“...This report shows that arts and culture groups embedded in Oakland’s communities of color are advancing understanding and spurring collective action on urgent issues—from racial justice, economic development and displacement to oppressive policing and gun violence. But as in other communities across the country, Oakland’s small, grassroots organizations are at risk due to a lack of reliable, long-term funding—even as they grapple with rising operating costs...”

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Our Maps - Culture Mapping 90404

What is Culture Mapping 90404?

Facilitated by 18th Street Arts Center, Culture Mapping 90404 is a community produced map highlighting the history and cultural assets of the Pico neighborhood. Cultural assets are people, places, events and organizations, both past and present, that serve as cultural anchors within this community. In collaboration with the Alliance for California Traditional Arts, we have trained community volunteers to document cultural resources, memories, and histories in the Pico neighborhood of Santa Monica. ACTA has a successful record of creating culturally sensitive and meaningful cultural asset maps with diverse communities across Southern California.

Download our Map User Guide here.

Based in the Pico Neighborhood for nearly 30 years, 18th Street Arts Center is invested in our neighborhood, and seeks to represent its cultural vibrancy, both past and present, as well as to engage its diverse communities in art-making and public dialogue. Our goal is to collect 100 resources, (people, places, events, groups, and memories) that paint a collective portrait of the Pico neighborhood to the broader Santa Monica community, region, country and world.

Map content collected through this community project will also be shared with local and national contemporary artists, working with 18th Street Arts Center, as inspiration for new and inventive art making initiatives involving Pico residents, Santa Monicans, and metro commuters.

This map is meant to be a dynamic, living collection of cultural resources that is added to over time. If you see a resource that is missing, you can submit a resource here. If you would like to get involved in collecting and documenting new resources for the map, you can contact us here.

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Women Have Made Gains in Museum Leadership, But Progress Has Been More Incremental for People of New Color, a Study Says

These results come from more than 300 museums who participated in the study, which was originally launched in 2014.

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▫️Mail Order Brides/M.O.B.▫️ Artists Jenifer “Baby” Wofford, Eliza “Neneng” Barrios, and Reanne “Immaculata” Estrada, collectively known as Mail Order Brides/ M.O.B. Since 1995, M.O.B. has used performance, photography, and video work to tackle contentious subjects, such as the one designated in their name “mail order brides,” to raise awareness about the ways in which race, gender, and culture are stereotyped. The acronym “M.O.B.” reveals their undercover and strategic motivation to infiltrate arts and cultural spaces. One of my favorite projects include "Manananggoogle" 2013-ongoing, which is a project where they merged the Filipino Folklore of the manananggal, a female ghoul that separates from the torso to become a winged-animal at night to scour the lands for unborn children to eat; and Google, which many people know as the corporation that invented one of the most used internet browsers, and manages various programs and communication. I first learned about their 2005 project "Always a Bridesmaid" where they, as entrepreneurs, developed/REVOLUTIONIZED the wedding industry. This is he epitome of #squadgoals #FAHM #filipinoamericanhistorymonth Photos from Wofford's website. Learn more: www.wofflehouse.com/mob/ @wofflesmcgillicuddy @xebxxx

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▫️Jenifer Wofford▫️ I had the great honor to take Wofford’s drawing class at Cal in 2008, then an upper div global art class. Not only was she a generous instructor, she is a great mentor and friend. I fell in love with her art practice and specifically the honesty of portraying narratives that I could relate to, while also addressing several global topics such as concepts of belonging, immigration, and popular culture. This series is from 2008 public art kiosk posters project entitled “Flor 1973-78” for San Francisco Arts Commission. I remember encountering these along Market Street and realizing how awesome it was that she was my instructor. One day in the city, I watched a family walk from kiosk to kiosk to read Flor’s story--what a great way to encounter how art really moves people. 〰〰〰〰〰〰〰 San Francisco-based artist and educator Jenifer K Wofford works address notions of hybridity, authenticity and global culture, often with a humorous bent. She is also 1/3 of the Filipina-American artist trio Mail Order Brides/M.O.B. Her work has been exhibited in local Bay Area museums and art institutions. Further a eld, she has shown at New Image Art, LA; Wing Luke Museum, Seattle; DePaul Museum, Chicago; Silverlens Galleries, Philippines; VWFA, Malaysia; and Osage Gallery, Hong Kong. Wofford’s awards include the Eureka Fellowship, the Murphy Fellowship, and grants from the Art Matters Foundation, the Center for Cultural Innovation, UCIRA, and the Pacific Rim Research Program. Wofford is part-time faculty in Fine Arts and Philippine Studies at the University of San Francisco, and Art Practice at UC Berkeley. She has also taught at the San Francisco Art Institute, California College of the Arts and San Francisco State University. She holds a BFA from the San Francisco Art Institute and an MFA from UC Berkeley. Born in San Francisco and raised in Hong Kong, Dubai, Malaysia and California, Wofford has also lived in Oakland, New Orleans and Prague. http://wofflehouse.com/ #JeniferWofford #SFAC #FAHM #FilipinoAmericanHistoryMonth @wofflesmcgillicuddy

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▫️Jenifer Wofford▫️One of my favorite aspects of her practice is her performance work. I’m not posting because I’m in in them-although my mug isn’t that bad-I’m sharing because I appreciate the ways in which Wofford invites folks to enter the discussion, such as women’s reproductive rights, with humor, wit, and and song. After witnessing a Wofford performance, you leave inspired, curious, and with sore cheeks from laughing so damn much. 〰〰〰 Image from Wofford’s website Offering to Women’s Health (image courtesy Greg Peters) Wands of Enchantment (image courtesy SoEx) Wands of Enchantment (image courtesy Cesar Valdez) No Scrubs (Image courtesy of Maurice) SF March crew #FAHM #filipinoamericanhistorymonth #JeniferWofford

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Carlos Villa’s practices began with using indigenous material like feathers, teeth, and bones to comment on rituals. Later, he used found objects like painted doors to point to the passage of time and memory. Installation shots of CV exhibition at @mcclasf by Alan Bamberger and last photo from Theo Gonzalves' book "Carlos Villa and the a Integrity of Space"

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▫️Carlos Villa cont.▫️Cover of “Worlds In Collision” (WIC) Published 1994

In WIC, Carlos Villa shares, “Documentation is representation.” Villa was an incredible leader of the multicultural arts movement in the Bay Area. In 1976 (two years before E. Said’s influential book “Orientalism”), he curated “Other Sources: An American Essay,” which featured paintings, prints, photos, sculptures, and performances of artists of color (“Third World Artists”). Following, he created a series of symposia that began in the late 1980’s that established dialogue amongst artists, curators, and writers of color. They discussed the future and subsequent history of diversity in the arts and possibilities for future collaborations. This established the first multicultural art history course at SFAI, a course at the University of San Francisco, then this book, and a website. http://worldsincollision.org Shout out to the OGs Rico Reyes, Andrew Venell, and Jenifer Wofford @andrewvenell @wofflesmcgillicuddy

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▫️Carlos Villa▫️ "Artist's Feet" 1978. Feathers and paper pulp. Photo from Theodore S. Gonzalves' book "Carlos Villa and the Integrity of Spaces." Carlos Villa (1936-2013) is an internationally recognized Filipino-American artist who was based in San Francisco, CA. He received his BFA in 1961 from the California School of Fine Arts (San Francisco Art Institute/SFAI) and an MFA in Painting from Mills College in 1963. He was an Adjunct Faculty in the Department of Visual & Performing Arts, University of San Francisco and resident faculty in the Painting department and the SFAI. Since 1958, he has been ehxibiting his work both nationally and internationally. His work is in the collections of Casa de las Americas, Havana, Cuba; Columbia University, New York; the Oakland Museum of California; the Smithsonian Institution, Washington, D.C.; and the Whitney Museum of American Art, New York. In 2007, Villa was honored by the Master Artist Tribute Series at St. Mary’s College’s Hearst Art Gallery with a major retrospective exhibition. Villa is the first person of color to be featured in this series, which began in 1990 and has featured Nathan Oliveira, Manual Neri, Ruth Bernhard, Frank Lobdell, and Stephen de Staebler. In 2012, he was awarded a Guggenheim Fellowship, which honored his work in Fine Arts field. #CarlosVilla #FAHM

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If we, as their teachers, didn’t get this education in classrooms ourselves, how do we learn how to pass it on? What genealogies and trajectories of artmaking do we tell in our roles as art historians, cultural critics, and teaching artists?

I. We Are Not Missing From Your (Art) History. You Are Just Telling The Story Badly.

I am invited to speak, but only when I speak my pain. Instead, I speak of desire. Desire is a refusal to trade in damage; desire is an antidote, a medicine to damage narratives… Desire, in its making and remaking, bounds into the past as it stretches into the future. It is productive, it makes itself, and in making itself, it makes reality.

—Eve Tuck and C. Ree, “A Glossary of Haunting” (2013)

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The Artsy Podcast, No. 25: Making It in the Art World If You’re Not a Rich Kid

This is a tired, and sadly, still true thing about the art world. Having generous mentors made it possible to be where I am today. How do you help others make it in your industry, and specifically, the arts? https://www.artsy.net/article/artsy-editorial-artsy-podcast-25-making-art-rich-kid

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We work at all scales and in all sectors. We create transformative cultural, corporate, residential and other spaces that work in synchronicity with their surroundings. 950 projects 44 countries 400 staff 55 nations Welcome to the interactive archive of Zaha Hadid Architects.

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Between Structure and Matter: Other Minimal Futures | Artinfo

The exhibition “Between Structure and Matter: Other Minimal Futures" seeks to "trouble some of the arbitrary limits placed on histories of Western abstraction."

“[O]ther minimal futures are possible, and here are some examples of how it has happened.” http://www.blouinartinfo.com/news/story/1428745/between-structure-and-matter-other-minimal-futures

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This project is an effort to contribute to the continuous mapping of Philippine art criticism. It aims to provide a glimpse, hoping that it would be an opportunity to identify its current state and possibly determine the projections for its future. The data that we present below are gathered from a close reading of Pananaw and Transit, two publications from the mid-1990s that focused on Philippine art criticism. We tallied the authors, the institutions they are affiliated with, the topics of their essay, the theoretical leanings that were identified with it, their jargon and references. It was also interesting to find the most mentioned artist, art works and its mediums, and art institutions where they were exhibited. Obviously, there are other publications that could have also been included in our study. For instance, the group has not even looked at art critiques from newspapers and magazines from the same decade. However, given the time constraints and challenge in accessing these materials, we have concurred that it is better to focus and properly articulate the parameters of the study than to ambitiously claim ‘mapping’ and not be able to deliver accordingly. This project consequently should not be taken as a complete survey that reflects the state of Philippine art criticism. Instead, the group posits that this can be considered as an exercise in locating it—that what can be gleaned from the study is a small portion of the landscape that is significantly telling of the conditions that art criticism dwells on today. What we have found conclusively was an art criticism landscape that was limited in terms of institutionalization. These writings were rather constrained in a certain niche and were bound to particular universities and writers. It appears the question to follow this study is one which deals with how we can democratize and expand the discourse.

If you would like to see the data from the study, click here.

For the generative aspect of this project, we encourage you to answer a quick survey that aims to further the study of art criticism and look at the general perception of Philippine Art. This survey can be accessed by clicking here.

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http://as255artcriticism.tumblr.com/

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Just three months shy of her 90th birthday, Los Angeles artist Betye Saar gives a tour of her studio and explains what keeps her inspired.

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