Exhibitions News Pacific Standard Time USA

Getty gives $5m to Latin American art shows

The foundation has announced its first wave of grants for the next Pacific Standard Time project

Lacma is planning a show on 50 Years of Latin American design, from Oscar Niemeyer’s Brasilía (above), to Gui Bonsiepe’s work for Salvador Allende’s Project Cybersyn in Chile

When Cecilia Fajardo-Hill’s job as chief curator at the Museum of Latin American Art in Long Beach was eliminated in 2012, one reason given, fairly or not, was that her big exhibition in development—a survey of radical women artists from Latin America—was too expensive for the small museum.

Now, the ambitious show has found a home at the Hammer Museum—and $225,000 in funding from the Getty. It is one of more than 40 exhibitions on different aspects of Latin American art that the Getty Foundation has committed to funding for its 2017 edition of Pacific Standard Time, subtitled “LA/LA” for Los Angeles/Latin America. At a press event today, the Getty announced the initial grant recipients: 40 institutions from San Diego to Santa Barbara receiving a total of $5m, with more funding to follow before the shows open in 2017.

Among the notable projects in the works, the Los Angeles County Museum of Art (Lacma) has received $335,000 for three different exhibitions, including a survey of Latin American Modern design, from 1920 to 1970, and another on the Chicano artist Carlos Almaraz. (The Chicano Studies Research Center at UCLA has also received $210,000 for a show on Latino artists to be hosted at Lacma.) The Museum of Contemporary Art has received $225,000 for a survey of Latin American abstractions in Brazil, Chile, Argentina, the Caribbean and more.

The Fowler Museum at UCLA has received $170,000 to look at Afro-Brazilian art making from the region of Bahia. The Otis College of Art and Design is using its strengths in the field of “social practice” and its $180,000 grant to mount a gallery show on contemporary artists working in that mode abroad.

Other university art museums have received grants for more focused shows, whether one on the Argentine-born video artist David Lamelas at the California State Long Beach ($100,000) or an exploration of Argentinian and Brazilian “Xerox” art from the 1970s at University of California San Diego ($58,000).

One new name to the PST project: the San Diego Museum of Art, which did not submit a proposal for the 2011-12 event, when the focus was Southern California art from 1945 to 1980. The museum is now looking at “indigenismos” and how a fascination with native cultures shaped art spanning decades. Elsewhere in San Diego, the Museum of Contemporary Art is partnering with the Museo Rufino Tamayo in Mexico and the Museo de Arte de Lima in Peru to do a show on subversive strains of Latin American performance and conceptual art, mainly from the 1960s through the 80s, and plans to recreate a number of site-specific or ephemeral works ($275,000).

From this initial exhibition list, it is clear that numerous collaborations with scholars in Latin America are well underway. Also evident is the vast scope of the project, which covers many countries and includes home-grown Chicano art, although this field is treated distinctly from Latin American art by most scholars. And while the main focus is clearly Modern and contemporary art, the second edition of PST also includes a couple shows dealing with antiquity, such as the Getty’s own exhibition on luxury goods from the ancient Americas, organised jointly with the Metropolitan Museum of Art in New York.



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