See the Light through the Female Gaze

November 18, 2013

I’ll admit I have little interest in an exhibit whose focus is based primarily on the gender of the artist. That said, if in some alternate universe (or blogosphere!) I was asked to organize such a show, I’d be glad to be able to share with my audience the depth and breadth of female photographers found in the Marjorie and Leonard Vernon Collection. In See the Light—Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection, the presence of women practitioners is felt throughout the 200-plus works that are featured in the loosely chronological display that covers the invention of photography through to the late 1980s.

Early adapters abound, such as Julia Margaret Cameron and her eerily contemporary portraits from the late 1800s. There is a presence about the works—I can almost feel the air around her sitters.

Julia Margaret Cameron, Ms. Herbert Duckworth (née Julia Jackson), The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation and Carol and Robert Turbin

Julia Margaret Cameron, Ms. Herbert Duckworth (née Julia Jackson), c. 1867, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation and Carol and Robert Turbin

And yes, women captured women in a way that was, by default, different from (if not better than) their male counterparts. Beyond Cameron, my eye finds the 1930s California modernist Ilse Bing and her experimental view from above. The unique perspective, seen in this image below, is the result of a modernist sensibility regarding composition, which is married with a desire to depict a more modern woman.

Ilse Bing, Knitted Round Cap, 1933, printed 1933, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation and Carol and Robert Turbin, © Estate of Ilse Bing

Ilse Bing, Knitted Round Cap, 1933, printed 1933, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation and Carol and Robert Turbin, © Estate of Ilse Bing

Back to a classic presentation of the female form: the nude. In Ruth Bernhard’s iconic 1960s Classic Torso with Hands (many of you many know her Nude in the Box better), the body serves as a sculptural entity, enabling Bernhard to organize the play of light and shadow. It also shows how shades of gray can create a “landscape” and how the subject’s head is truncated in a way that makes this torso sculptural first and sensual second. Though I’m wondering what we would all be thinking if the author was male . . .

Ruth Bernhard, Classic Torso with Hands, 1962, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, Ruth Bernhard Archive, Princeton University Art Museum, © Trustees of Princeton University

Ruth Bernhard, Classic Torso with Hands, 1962, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, Ruth Bernhard Archive, Princeton University Art Museum, © Trustees of Princeton University

The progression of photographic practice as represented by women artists continues within the four “chapters” of See the Light. They are: “Descriptive Naturalism,” “Subjective Naturalism,” “Experimental Modernism,” and “Romantic Modernism.” These chapters bracket not only the advances in photography, but the progression of thinking by scholars in the fields of perception, psychology, and neurology. The exhibition traces the idea that all such advances in either the photographic arts or the sciences happened in tandem with these scientific discoveries.

The photographic eye went through modifications as understanding of the mechanics of human optics developed, meaning both the eye as a machine (not unlike the camera), and, later, our grasp of what the brain does with this received imagery.

My favorite chapter, “Experimental Modernism,” also has a good proportion of female artists. Intriguingly, Berenice Abbott is one who moves from 1930s work describing a street scape, to the late 1950s, when she crosses over on our “Experimental Modernism” chapter with work done while at MIT creating imagery for use in teaching physics. The presentation elaborates  on one career track the ideas in and around visual thinking that are the essence of this exhibit.

Back to the fun being had in “Experimental Modernism.” Even within each imposed division there is still an early, middle, and later period. Follow how the eye/mind works within this trio that runs from 1936 to 1940 to 1947. First, Margaret Bourke-White’s abstracted and monumental view of a dam, next Carlotta Corpron’s equally monumental distorted light (a play on perception), and Ruth Mandel’s newly defined “landscape” of a storefront window (this image asks the viewer to accept interior and exterior on one picture plain, and surface reflections as equal to background shadows).

Carlotta M. Corpron, Fluid Light Design, 1940, printed c. 1940, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © 1983 Amon Carter Museum of American Art

Carlotta M. Corpron, Fluid Light Design, 1940, printed c. 1940, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © 1983 Amon Carter Museum of American Art

Rose Mandel, On Walls and Behind Glass, 1947, printed 1947, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Rose Mandel Archives, all rights reserved

Rose Mandel, On Walls and Behind Glass, 1947, printed 1947, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Rose Mandel Archives, all rights reserved

These next two experimenters are also great examples of early/later imagery: 1950s Germany and 1980s America. We likely wouldn’t posit these two artists—or time periods or the county of production—together, but that’s the wonderfully freeing and, for many, new way of looking at the images that make up the history of photography on display in See the Light.

 Ruth Hallensleben, Interior Structure—Factory, 1950s, printed 1950s, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Ruth Hallensleben / Ruhr Museum Photo Archive

Ruth Hallensleben, Interior Structure—Factory, 1950s, printed 1950s, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Ruth Hallensleben / Ruhr Museum Photo Archive

Barbara Kasten, Construct NYC 11, 1984, printed 1984, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Barbara Kasten

Barbara Kasten, Construct NYC 11, 1984, printed 1984, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Barbara Kasten

Picturing these next two women, Mostyn in 1850s and Enos in the 1970s, separated not only by time and their approach to depicting nature, but of course, by the very tools available to enable them to conceive of such imagery. Enos actually went back in time a bit, using a stereoscopic process popular in the late 1800s and early 1900s. Images are viewed in pairs (representing the left and right eye view) through a stereoscopic viewer; optically the brain fills in the overlaps of both images and creates another image, one that appears three dimensional.

Chris Enos, Untitled, 1974, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Chris Enos

Chris Enos, Untitled, 1974, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Chris Enos

 Henrietta Augusta Mostyn, Tree and Rock, c. 1850, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

Henrietta Augusta Mostyn, Tree and Rock, c. 1850, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin

My final walkthrough of See the Light brings me to another juxtaposition with the “Subjective Naturalism” section. Käsebier’s poignant image of mother and child (a family favorite of the Vernons) from 1899. Marjorie Vernon often referred to this image as expressing a sentiment that she and Leonard held dear—the value of family, but also the value of a parent seeming to push a child forward into the world, proclaiming, go forward and create something.

Gertrude Käsebier, Blessed Art Thou among Women, 1899, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

Gertrude Käsebier, Blessed Art Thou among Women, 1899, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation and promised gift of Carol Vernon and Robert Turbin

Marjorie was feisty enough to include this contrasting image in their collection: another subjective view on the theme of parent and child by controversial photographer (depending on your perspective) Sally Mann.

Sally Mann, Untitled (Man on Lawn Chair with Girl in His Lap), 1985, printed 1985, The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Sally Mann, courtesy Gagosian Gallery

Sally Mann, Untitled (Man on Lawn Chair with Girl in His Lap), 1985, printed 1985, The Marjorie and Leonard Vernon Collection, gift of the Annenberg Foundation, acquired from Carol Vernon and Robert Turbin, © Sally Mann, courtesy Gagosian Gallery

It’s worth noting that the photography industry focused on the female demographic from the very beginning. Even then such early adapters brought the camera into the household and made it increasingly relevant part of everyday life, as well as becoming key practioners. Below is a selection of Kodak instructional manuals that would have been in circulation as early as the late 1880s and early 1900s—note each cover depicting a woman practicing the art of photography.

Kodak pamphlets, courtesy Stephen White, Collection II

Kodak pamphlets, courtesy Stephen White, Collection II

Perhaps when you visit this exhibit you will start to move around the show as I have here—in terms of cognition, subjectivity, and perception, that is, not just the gender of the artist!

Eve Schillo, curatorial assistant, Wallis Annenberg Department of Photography


This Weekend at LACMA: Legendary Mexican Film, Jazz and Classical Performances, Stellar Exhibitions, and More!

November 15, 2013

There’s only one way LACMA knows to enjoy a weekend—with live music, stunning film, and world-class art—and this week is no exception. On Friday the Tom Rizzo Group takes center stage at Jazz at LACMA. Guitarist Tom Rizzo helms this bebop-based jazz group, recognized by their dulcet tones and pulsing rhythms. Jazz at LACMA is, as always, free and open to the public. Then, in the Bing Theater, the brief but beautiful film series The Image of Mexico: Multiple Visions presents works by Mexican cinematographer Gabriel Figueroa and his legacy, as seen in the exhibition Under the Mexican Sky: Gabriel Figueroa—Art and Film. See Redes at 7:30 pm, a fascinating and influential artifact, and Let’s Go with Pancho Villa at 8:45 pm, a production with epic proportions.

Manuel Álvarez Bravo, Gabriel Figueroa reviewing light tests for the film Sonatas, directed by Juan Antonio Bardem, 1959, Gabriel Figueroa Flores Archive, © Estate of Manuel Álvarez Bravo

Manuel Álvarez Bravo, Gabriel Figueroa reviewing light tests for the film Sonatas, directed by Juan Antonio Bardem, 1959, Gabriel Figueroa Flores Archive, © Estate of Manuel Álvarez Bravo

On Saturday museum patrons are invited to join any of the half-dozen free tours offered throughout the day, including a walk-through of one of our newest exhibitions See the Light: Photography, Perception, Cognition—The Marjorie and Leonard Vernon Collection. While you’re exploring the collection, don’t miss David Hockney: Seven Yorkshire Landscape Videos, 2011, Lingering Dreams: Japanese Painting of the 17th Century, and Down to Earth: Modern Artists and the Land, before Land Art. In the evening, The Image of Mexico film series concludes with the hallucinatory ¡Que viva México! at 5 pm, and then the tribute documentary Multiple Visions—The Crazy Machine at 7:30 pm (both screenings are free).

Image: © 2013 Artists Rights Society (ARS), New York / ADAGP, Paris.

Image: © 2013 Artists Rights Society (ARS), New York / ADAGP, Paris

Finally, on Sunday families are invited to join in this week’s edition of Andell Family Sundays beginning at 12:30 pm. For the month of November children and their parents are looking at and creating their own interpretations of animals in Japanese art in the form of scrolls and screens. Later in the day, Sundays Live presents the Young Musicians Foundation Debut Orchestra with pieces from Arvo Pärt, Darius Milhaud, and Wolfgang Amadeus Mozart. Topping it all off, Film Independent at LACMA hosts a free members-only screening of Eastbound & Down, the HBO television comedy about to reach its finale. This is what we call a weekend done right.

Roberto Ayala


My Melodiously Magical Sunday Evening at LACMA

November 15, 2013

One of the perks of interning at an organization as dynamic as LACMA is becoming familiar with the variety of programs and events that take place. For instance, the Sundays Live series is a truly wonderful (and free!) opportunity to hear classical music that I had previously not explored. Thus, to rectify such an omission, I attended my first Sundays Live performance on October 27 and was greatly impressed by the caliber of talent that LACMA showcased in the cozy Bing Theater.

Capitol Ensemble

Capitol Ensemble

The performance I attended featured members of the Capitol Ensemble playing with Rina Dokshitsky a program of Romantic-era pieces by Johannes Brahms and Robert Schumann. The concert was broadcast live on KUSC, adding to the excitement of the event. As I waited for the concert to start, I observed that the audience was a diverse cross section of the community, which included seasoned classical music aficionados and likely newcomers. Notably, there were families taking advantage of the opportunity to introduce their children to classical music and students curious about the genre. The works, a violin sonata and a piano quintet, had a transcendent effect that made for a truly magical Sunday evening—the perfect ending to the weekend.

Sundays Live offers free classical concerts every Sunday evening at 6 pm, hosting a variety of musicians and ensembles. This series effectively underscores the complementary nature of visual and performing arts.

So next time you are planning your weekend, consider incorporating an experience with music at Sundays Live after out the works of art in the collection and special exhibitions. You might make connections between what you see in the galleries and onstage.

Oxana Ermolova, intern, marketing


Reflections on Kitasono Katue: Surrealist Poet

November 13, 2013

It was a great pleasure to view the exciting LACMA exhibition Kitasono Katue: Surrealist Poet. In Japan, Kitasono Katue’s reputation as an artist, designer, and photographer has been rising exponentially in the past 10 years, despite the fact that the avant-gardist—who advocated for the amateur over the professional—was proud in the latter part of his life to pose as a minor poet. In 2010, I curated the Kitasono presentation of the exhibit, Hashimoto Heihachi and Kitasono Katue: Unusual Pair of Brothers, a Sculptor and a Poet. The exhibition ran for two months at the Mie Prefectural Art Museum (where my colleague, Mori Ichiro, curated the Heihachi presentation), after which it had a two-month display at Setagaya Art Museum in Tokyo. Although not a blockbuster—it wasn’t promoted on billboards or television like some exhibitions—the work was new to the audience and drew 14,000 visitors, many of whom were young artists, art enthusiasts, and romantic couples.

vou6

Kitasono Katue, Forgotten Man (Plastic Poem), 1975, collection of John Solt

Over the past few years, retrospective exhibitions of artists have been held one after another, with the aim of reconsidering the careers of artists who flourished before World War II. Curators and researchers are aiming to reexamine this complex history by combining existing documents with newly discovered ones. Along with Kitasono and his brother, the lives and art of prominent figures such as Murayama Tomoyoshi (MAVO Group), Surrealist painter Koga Harue, and Nihonga-style painter Tamamura Hokuto (the sponsor of Kitasono’s Dada-era journal), among others, have added to a critical mass of a new understanding about the breadth and vibrancy of the activities of artists who worked in multiple fields and genres before the war.

There was a curious phenomenon after our exhibition: Kitasono Katue became an “idol” among young artists and art lovers—especially photographers, designers, and poets. Suddenly it became unhip to be unfamiliar with Kitasono and his works. Interestingly, this phenomenon finds a parallel to Kitasono’s popularity in the United States during the 1950–70s, when bohemian, Beat, and hippie poets were all familiar with Kitasono’s poems in English (self-translated), and later with his plastic poems.

Kitasono Katue (Japan, 1902-1978) Plastic Poem Homage to J.F. Bory (Hommage à J.F. Bory), 1967, on page 20 of the periodical VOU, no. 113, January 1968 approx: 8 3/8 x 7 1/2 in. (21.3 x 19.0 cm) Collection of John Solt

Kitasono Katue, Plastic Poem Homage to J.F. Bory (Hommage à J.F. Bory), 1967, on page 20 of the periodical VOU, no. 113, January 1968, collection of John Solt

The recent Kitasono boom in Japan has little to do with new findings on pre–World War II artists; rather, it is linked to the contemporary art and technological worlds. There is something about the fragmental elements of Kitasono’s words and images that relates to the way information is disseminated today.

Strolling through the exhibition at LACMA, I wondered how Kitasono’s work resonates with the diverse American audience. At the partition, without curtains between the Kitasono exhibit and the permanent collection, one can stand and reflect simultaneously on two pasts: the 2,000 years represented by the priceless examples in the permanent collection, and the half-century of work by 20th-century poet-artist Kitasono Katue. It is an important and rewarding exhibition because in the one figure of Kitasono is bridged the little-known, pre-World War II Japanese avant-garde and the better-known postwar period.

Noda Naotoshi (and Mori Ichiro) flew expressly from Tokyo to see the exhibition Kitasono Katue: Surrealist Poet at LACMA. Noda and Ichiro worked collaboratively on Hashimoto Heihachi and Kitasono Katue: Unusual Pair of Brothers, a Sculptor and a Poet, which was awarded the Japanese Association of Art Museums’ 2010 exhibit of the year. Setagaya Art Museum has carved out a niche as one of the main museums in Japan for regularly displaying Japanese avant-garde art, and occasionally it also exhibits Western painting and photography. Noda recalls his experience in the LACMA presentation.

Kitasono Katue at Knotts

Kitasono Katue at Knott’s Berry Farm in California

“Katue once visited the U.S. with a group of fellow librarians. He didn’t contact his literary friends—perhaps he had no time—but he made sure to have a photo of himself taken at Knott’s Berry Farm, which he made into his 1965 New Year’s greeting card and sent around.”

Noda Naotoshi, curator, Setagaya Art Museum, Tokyo


Gabriel Figueroa in Collaboration and Context

November 12, 2013

To take a still from one of Gabriel Figueroa’s films is to capture an image that is markedly photographic. Indeed, Figueroa’s aesthetic was created without coincidence; the filmmaker was in dialogue and surrounded himself with the great modernist painters and photographers of Mexico who worked in the early half of the 20th century. In the exhibition Under the Mexican Sky: Gabriel Figueroa—Art and Film, on view in the Art of the Americas Building, curators Rita Gonzalez and Britt Salvesen aimed to present Figueroa in the context of Mexican art at large.

Gabriel Figueroa, scene from the film La perla, directed by Emilio Fernández, 1945. © Televisa Foundation

Gabriel Figueroa, scene from the film La perla, directed by Emilio Fernández, 1945, © Televisa Foundation

Gabriel Figueroa’s circle, which included artists such José Orozco, Diego Rivera, David Siqueiros, among others, were collaborative and mutually influenced one another. While the exhibition has one person’s name on it, and it’s Figueroa’s story told throughout, it’s also a narrative of creative networks and inventive teams of people.

Gabriel Figueroa, Film still from Enemigos, directed by Chano Urueta, 1933, (c) Gabriel Figueroa Flores Archive

Gabriel Figueroa, Film still from Enemigos, directed by Chano Urueta, 1933, © Gabriel Figueroa Flores Archive

Film, by its nature—the multiple entities and talents involved—is a collaborative medium. Figueroa and Emilio Fernández, who worked together on the adaptation of John Steinbeck’s La Perla (The Pearl), pushed each other to create vivid iconography of the legacy of the Mexican Revolution. Later in Figueroa’s career, when he worked with the Spanish Surrealist Luis Buñuel, there was some disparity in their viewpoints—Buñuel was not particularly interested in a monumental version of Mexico. He wanted something grittier, more ambivalent, surreal. Yet both collaborations produced numerous films. In some cases, artistic tension was productive.

Mario Ybarra, Jr. and Juan Capistran, Stick 'em Up . . . (Slanguage Bandito), 2003, © Juan Capistran and Mario Ybarra, Jr.

Juan Capistran and Mario Ybarra, Jr., Stick ‘em Up . . . (Slanguage Bandito), 2003, © Juan Capistran and Mario Ybarra, Jr.

Under the Mexican Sky also puts the work of contemporary artists in dialogue with Figueroa’s. For example, there is a section that deals with a genre called commedia ranchera, and it also includes the figure of the charro, or Mexican cowboy. Parallel to the depiction of cowboys in American Westerns, there was too in Mexico a really robust representation of the charro. In contemporary art, there have been a number of plays with the figure of the charro, namely as a representation of masculinity. A number of contemporary artists, such as Guillermo Gómez-Peña, Gonzalo Lebrija, have been mining that territory.

Through Figueroa, audiences are given an incredible overview of Mexican cinema in the 20th century. Figueroa was active for 50 years, a time that covers a lot of changes in the industry, in style, and presentation. The images in Figueroa’s films are iconic, and have informed Mexican visual identity and visual culture since the early 20th century. Under the Mexican Sky provides a capsule view of this incredible history.


A Sighting at LACMA: Little Frida Kahlo

November 11, 2013

A common assumption we museum educators often face is that our job is always glamorous; that we spend all of our time surrounded by world-class works of art, bumping elbows with famous artists. Just a couple of weeks ago, we confirmed this theory.

littlefrida

Birdie, or Little Frida, attends an Andell Family Sunday.

The Andell Family Sundays staff was truly in the presence of greatness when the iconic Mexican painter, Frida Kahlo, wheeled around the corner in her push car and onto the Los Angeles Times Central Court, ready to create a masterpiece before our very eyes.  The paparazzi went wild, bringing out the big lenses to capture the moment.  She was just as stunning in person as she is in the portrait her husband, Diego Rivera, painted some 74 years ago, that now graces our museum walls.

In 1925, when Frida Kahlo was only 18 years old, the city bus she was riding in collided with a trolley car in Mexico City. The crash caused injuries that left her bed and wheelchair-ridden for months at a time. During this time, she was quoted as saying, “Feet, what do I need you for when I have wings to fly?” Her paintings kept her company during times of rest, but each time she was able to stand again, it was a milestone for her recovery.

This little Frida celebrated a similar milestone on LACMA’s campus.  Her parents—and us, of course!—were thrilled when she took her very first steps on her own! Congratulations, Birdie! Thanks for visiting us at Andell Family Sundays!

Angela Hall, education coordinator, education and public programs
Alicia Vogl Saenz,  senior education coordinator, education and public programs


This Weekend at LACMA: Free Jazz and Classical Music, A Look at Luba Art, The Stories of San Bernardino in Nicole Miller’s “Believing Is Seeing,” and More!

November 8, 2013

Start your weekend this Friday at 6 pm with a free, live performance at Jazz at LACMA, featuring the group House of Games. Known for their distinctive mix of jazz and fusion, the members of this group have individually worked with artists such as Ray Charles, Herbie Hancock, and Michael Bublé. The quartet, complete with guitar, piano, bass, and drums, has been thrilling audiences for decades.

Caryatid Stool, Democratic Republic of the Congo, Luba Peoples, 19th Century, Wood, glass beads, Royals Museum for Central Africa, RG 22725, Photo R. Asselberghs, RMCA, Tervuren ©

Caryatid Stool, Democratic Republic of the Congo, Luba Peoples, 19th Century, Wood, glass beads, Royals Museum for Central Africa, RG 22725, Photo R. Asselberghs, RMCA, Tervuren ©

Make your way to the Ahmanson Building on Saturday for a Gallery Tour: Luba Art, Culture, and Cosmology Saturday at 11 am. Led by curator Mary (Polly) Nooter Roberts and California State University, Northridge’s associate professor of religious studies Mutombo Nkulu-N’Sengha, the discussion covers the importance of history, the role of women , the nuances of Luba philosophy. Visit a handful of LACMA’s galleries and exhibitions on view after the tour.

Three new exhibitions debuted this month, including David Hockney: Seven Yorkshire Landscape Videos, 2011, Agnès Varda in Californialand, and See the Light—Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection. Beyond those, check out Murmurs: Recent Contemporary Acquisitions and Princely Traditions and Colonial Pursuits in India.

Viva!—Rado—Ragni—Varda in Hommage to Magritte, Agnès Varda's film LIONS LOVE (. . . AND LIES), 1968, © Max Rabb / Agnès Varda

Viva!—Rado—Ragni—Varda in Hommage to Magritte, Agnès Varda’s film LIONS LOVE (. . . AND LIES), 1968, © Max Rabb / Agnès Varda

On Sunday at the Bing Theater, see Nicole Miller’s Believing Is Seeing, a film work showcasing personal stories from San Bernardino residents that participated at the LACMA9 Art+Film Lab a few months ago and Redbelt, a film by David Mamet about a martial-arts instructor who blindly follows the code of morality. The day also includes Andell Family Sundays beginning at 12:30 pm, in which families and children are invited to craft animals found in Japanese art. See a live performance by violinist Martin Chalifour and pianist Nadia Shpachenko at Sundays Live.

Roberto Ayala


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