Larry Sultan: Here and Home

Theory and Criticism, , , Leave a comment

Larry Sultan: Here and Home

Los Angeles County Museum of Art (BCAM, Level 2)

unnamed

Larry Sultan, Pictures from Home (1982–92)

All of us in some way or another think about memorabilia and the sensitive value through non-functional objects when were growing up. That’s whats so beautiful about Sultan’s photographs, that you can really feel the sensitivity through the lens of a child experiencing emotional displacement. Sultan weaves personal documentation that engages both class and memory through his photography.

Larry Sultan: Here and Home is the first exhibition and retrospective where his five major bodies of work are presented together. The five major bodies of work include: Evidence (1977); Swimmers (1978–81); Pictures from Home (1982–92);The Valley (1998–2003); and Homeland (2006–2009).

unnamed-1

Larry Sultans, Swimmers (1978–81)

One of the most influential photographers of his generation, and still today, Larry Sultan (1946–2009) consistently challenged documentation through his subjects and themes. When you enter Larry Sultan: Here and Home you’re confronted with Sultan’s last series Homeland (2009). The series depicts Hispanic day laborers posed in California landscapes on the edge of suburbia. The activities of the individuals are mundane and somber but you truly get lost in beautiful composition that Sultan captures.

The retrospective is a phenomenal experience exploring the themes of placement and displacement in society. My favorite part about this exhibition is the way the collection is curated. As expected his most recent work is presented first but the decisions that were made tell Sultans narrative throughout the exhibition truly surprised me. This exhibition is profoundly quiet with both small and large work that is loud with meaning.

Check it out – November 9, 2014–March 22, 2015

Archives Bazaar

Theory and Criticism Leave a comment

Los Angeles Archives Bazaar, presented by L.A. as Subject and the USC Libraries

-2

                                                    USC Doheny Memorial Library

Today I attended the 9th annual Los Angeles Archives Bazaar, presented by L.A. as Subject and the USC Libraries.

-4

Los Angeles County Archives Booth

A recent Graduate of the UCLA MLIS program gave me a lead on the event, which featured archives, special collections and a broad array of local institutions that value the importance of preserving and sharing history. The event supplied a surprising amount of information regarding the Society of California Archivists, California Audiovisual Preservation Project, California Historical Society, The Getty Research Institute and even local Universities.

One of the most interesting aspects of the event was exploring the concepts of modern methods of preserving documents through digital applications and multimedia. As I discussed with some of the representatives of many of these institutions, I discovered that the modern practices of archiving have developed close alongside technology and the two have benefited from each other.

The fundamental understanding of archival skills and the formal and informal instruction of practicing archivists has evolved immensely into the digital world. Although each job description and practice can range in Library Information Studies, there is no doubt that there is a growing need for skills and education in technology and digital media management in order to adequately catalog our modern world.

After learning about The Western Archives Institute (WAI) through the Society of California Archivists, it’s clear that the preservation of history and the ways we preserve our past are changing alongside a modernized and ever-developing world. As long as the individual is willing to discover new techniques we will continue to expand our understanding of history, identity and culture.
The WAI is two-week intensive program at Santa Clara University that expands on the basic archival practices – check it out, I know I’m going.

Peeking into LACMA’s History

Theory and Criticism Leave a comment
Costume Council Reception 1984

LACMA’s Costume Council Reception 1984

 

As an intern at the LACMA I’m immersed into a world of information and archiving. So what am I learning exactly? Now looking intimately into the lives of artists and their practice, I’m also puzzling the pieces of LACMA’s history together. Using the database TMS (The Museum System) I’m learning how LACMA manages their art collection. The TMS stores information about the Permanent Collection and all artwork that is or has been on the premises or is under LACMA’s jurisdiction. What I found is that the archives range immensely from Council Events to Installations.

 In addition to learning TMS foundations I was introduced to renaming digital images and creating meta-data for our digital archives. My goal is to rename images that are back logged in our TMS database, this only needs to happen if the file does not have a identified archival number.Recently one of those was renaming the digital files for the printmaker Leopoldo Méndez (1902-1969). Méndez’s intricate and vibrant prints immediately struck research interest after I realized his artwork was influenced from the rise of fascism in the 1930s.

University of Texas Press,

            ” A politically motivated artist who strongly opposed injustice, fascism, and war, Méndez helped form and actively participated in significant political and artistic groups, including the Estridentistas in the 1920s and the Liga de Escritores y Artistas Revolucionarios (LEAR) and the Taller de Gráfica Popular (TGP) in the 1930s. To champion Mexican art and artists, Méndez also founded and directed the Fondo Editorial de la Plástica Mexicana, a highly respected art book publishing company.”

Peeking into LACMA’s archives is the most rewarding art historical opportunity I have ever experienced. Looking forward to sharing more with you as I continue to investigate and discover art historical information.

 

See more from University of Texas Press