A striking juxtaposition between the past and present courses throughout the small gallery. Celia Blomberg’s “International Women’s Day March 8” can’t help but make one think of 2017’s Women’s March, which occurred 37 years after the print’s first appearance.
Co-published by The American Prospect
Kikito, an enormous photograph of a 1-year-old child, pasted onto plywood sheets, stands 65 feet high on Mexico’s side of the border. Viewed from the U.S., he is a giant black-and-white toddler, his chubby hands appearing to grip the top of the border wall as he looks over it, into the mysterious United States.
What space is left for art, now that its traditional license of intellect, invention and poetic imagination have been so effectively seized by Donald Trump’s own brand of performance art?
The power of art to effect fundamental social change will be on display in Los Angeles this week as a major 10-day “pop-up” exhibit of visual art and accompanying performances, and workshops opens Friday at a former movie theater in the city’s Baldwin Hills neighborhood.
Called Manifest: Justice, the event will showcase over 250 works from more than 150 artists, along with 30 community events that focus on race and criminal justice reform, inequality, healthy communities and immigration reform. It is being produced with support from the California Endowment and Amnesty International.
Drawn from across the country, the list of participants includes such marquee artist-activists as the godfather of guerilla poster caricaturists, Robbie Conal, and Obama ‘HOPE’ agit-provocateur Shepard Fairey, as well as a host of up-and-coming street muralists and wheatpaste artists, inducling the likes of Tatyana Fazlalizadeh, Favianna Rodriguez and Jesse Hazelip. Also on hand will be big-league gallerists such as collagist-photographer Lyle Ashton Harris and painter-sculptor Eric Fischl.