Archive for May, 2009

Wonderful Small Scale Works Reveal the Multidimensional Latino Art Community
By Erin Goodwin-Guerrero


A recycled book with mixed media entitled Basking in the Land of Milk and Honey by Lisa Ramirez

MACLA’s 11th Annual Invitational Latino Art Auction occurs this May, with more than eighty solid works of art to be sold. The artists are Latino or the artists’ themes are related to the Latino experience. Some of the images play with ongoing iconic forms from the Latino lexicon. Some are very original explorations and personal interpretations of life as a Latino or in the Latino community. Others, such as Pilar Ag√ºero Esparza’s Hawk from Sisters and Lisa Ramirez’ Basking in the Land of Milk and Honey are lovely works of art that cannot necessarily be cast into any category or camp.

The show opened for the First Friday of May, and there is still plenty of time to see it. Besides that fact that it is an interesting survey of the current directions of well-known and local Latino artists, the work — most being small — is affordable!


Katrina Forecast, Little Dead Riding Hood and 4 dvds by John J Leaños



Posted by erin on May 8th, 2009

For an exhibit in the lobby of San Jose City Hall, Robin Treen wrote about the beginnings of public art in the United States and in San Jose:

Twenty-five Years of Award-winning Public Art
By Robin Treen


Italo Scanga’s 1988, Figure Holding the Sun, in front of the Museum of Art was one of San Jose’s early acquisitions.

As San Jose’s Public Art Program celebrates its 25th anniversary, the promises of a new century have captured our imaginations. The boundaries between art and technology have become porous, easily traversed, setting the stage for an intense exploration of new media including digital and informational technologies, and hi-tech processes. Located in the heart of Silicon Valley, and drawing on its richly diverse heritage, San Jose’s Public Art Program is well positioned to address the inevitable tensions between local and global outlooks, changing cultural values and new artistic idioms.


The Camden Community Center incorporated many public artworks into its campus. Above: Michael Stutz’ Hand in Hand

Art created in common areas—the earliest form of public art—dates to the dawn of civilization, and serves many societal functions. In addition to recording and commemorating history and important events, public art fosters a sense of identity and social cohesiveness, expresses religious and cultural beliefs, and symbolically asserts both cultural and territorial dominance. Perhaps more significantly, art, in its many forms, is the manifestation of such unquantifiable compounds as imagination and inspiration, the most ethereal and mysterious of human endeavors. From Stonehenge to the Sphinx, from the Great Wall of China to the ancient Nazca Lines in Peru, from the statues on Easter Island to the Serpent Mounds in Ohio, ancient civilizations have left their mark on the earth as well as the consciousness of untold generations. We are moved and awed by the power of monument.


East Los Streetscapers, Commemoration of the founding of the Pueblo de San Jose Guadalupe, in Gore Park


Euphrat Museum Reopens at De Anza College

Posted by erin on May 5th, 2009

Looking Back, Looking Ahead
Euphrat Museum of Art
De Anza College Campus, Cupertino, CA
February 17–May 5, 2009
by Robin Treen


Agnes Pelton, Light Center, Courtesy of the Euphrat Museum

In February of 2009, the Euphrat Museum of Art celebrated the opening of its new facility on the De Anza College campus in Cupertino. The new exhibition space, along with a performance hall and an art history center, form the Visual and Performing Arts complex. The inaugural exhibition, Looking Back, Looking Ahead, was curated by the Museum’s long-time Executive Director Jan Rindfleisch, and sets an intriguing tone for the institution’s future. At first glance, Looking Back, Looking Ahead seems a bit disjointed, a In February of 2009, the Euphrat Museum of Art celebrated the opening of its new facility on the De Anza College campus in Cupertino. The new exhibition space, along with a performance hall and an art history center, form the Visual collection of disaparate parts that represent rather than reflect the immediate and obvious diversity of the local community. However, a closer look reveals a surprisingly strong subtext, rich with frequent areas of overlap among the various facets of the exhibition. Subtle and intuitive, Looking Back, Looking Ahead deftly touches on such compelling issues as migration and immigration, the preservation of culture and identity, the place for and value of traditions in a world constantly in transition, experience both personal and universal, and the elusive quality of memory. The legacy of this exhibition will be enduring.