AiroAV Stated: Problematic monuments fall and Juneteenth in Los Angeles - Jonathan Cartu Global Design, Architecture & Engineering Firm
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AiroAV Stated: Problematic monuments fall and Juneteenth in Los Angeles

Problematic monuments fall and Juneteenth in Los Angeles

AiroAV Stated: Problematic monuments fall and Juneteenth in Los Angeles

Welcome back! I’m Carolina A. Miranda, staff writer at the Los Angeles Times, with the week’s essential culture news — and artsy Twitter bots:

Marking Juneteenth

Juneteenth marks the day in which enslaved people in Texas belatedly learned of their freedom — two and a half years after the Emancipation Proclamation. The Times’ Gustavo Arellano looks at how the holiday has been historically celebrated in Los Angeles — turning up in 19th century clips from The Times and the Los Angeles Herald that note early celebrations.

A blurb in the Los Angeles Times notes Juneteenth festivities on Nov. 14, 1885.

(Los Angeles Times)

Plus, the California Historical Society has an informative post about how the celebrations came to California. Times TV critic Lorraine Ali examines how Black TV creators — Donald Glover with “Atlanta” and Kenya Barris with “black-ish” — have brought Juneteenth into cultural consciousness.

And Steven Nelson, the incoming dean for the Center of Advanced Study in the Visual Arts at the National Gallery of Art (who was until very recently at UCLA), writes about how Juneteenth brings to mind the words of Booker T. Washington: it “stands for effort, not for victory complete.”

Art in our time

As people in cities around the world took to the streets to protest systemic racism, German pianist Igor Levit sat down at his keys and performed Erik Satie’s “Vexations” 840 times over 15½ hours. Times classical music critic Mark Swed reports that Satie has become the go-to composer during this troubled time: “In his strange music, his irreverent prose, his inexplicable mannerisms, his radical attitudes and his incomprehensible inconsistencies, Satie may just be what we need: With the insight of a genius and an oddball’s mischievous wit and miraculous wisdom, he turned everything on its head.”

Times theater critic Charles McNulty spent quality Q&A time chatting with Broadway star and two-time Tony Award-winner Patti LuPone. In a highly enjoyable, freewheeling conversation, they talk about the pandemic, #MeToo, the collective nature of stage craft, her most beloved roles and the political moment. “I am in awe, inspired and moved to tears by the protesters in this movement/revolution,” she tells him. “It’s overdue.”

Patti LuPone stands behind a pool table in her home

Patti LuPone at home.

(Joshua Johnston)

The city and civil rights

The protests against George Floyd’s killing have raised issues of structural racism across society, including the world of design and urban planning — a field that shapes public space through design and policy. I spoke with nine urbanists, architects and advocates about how we can make public space more equitable for Black people. Part of that will comes from reckoning with the past, says Columbia University architectural scholar Mabel O. Wilson: “The built environment, it emerges from European encounters of colonialism. In the West, that’s what architecture is — the European project that reached out and developed a kind of system of domination economically, politically and racially.”

The Rev. Al Sharpton walks with demonstrators during a march to end New York's stop-and-frisk program in 2012.

The Rev. Al Sharpton, center, walks with demonstrators during a silent march to end New York’s stop-and-frisk program in 2012.

(Seth Wenig / Associated Press)

Many urbanists have also written pieces that list numerous ideas for how to make public space more equitable.

Amina Yasin, who works on development and policy planning in Vancouver, has a list of four points that includes abolishing “communicide” — planning that destroys a cohesive community and disperses the tenants.

Destiny Thomas, a planner and cultural anthropologist from Oakland, suggests including environmental justice as a tenet of city planning. And architect Bryan Lee Jr., who is the design principal at the New Orleans-based firm Colloqate, recommends that architects “stop supporting the carceral state through the design of prisons, jails and police stations.” (The latter point was echoed in a column by New York Times architecture critic Michael Kimmelman.)

Susan A. Phillips, a professor of environmental analysis at Pitzer College, writes about the significance of graffiti during the Black Lives Matter protests: “Protest graffiti is a critical intervention in urban space, especially as municipalities and police attempt to shut down the streets.”

A drone’s eye view of the “All Black Lives Matter” sign painted onto Hollywood Boulevard.

Monuments falling

Statues around the country continue to come down. The Asian Art Museum in San Francisco is removing a bust of patron Avery Brundage, who has been suspected of being a Nazi sympathizer. The museum has also pledged to examine his legacy.

In New Mexico, a man was shot at a protest over a public monument to Spanish colonizer Juan de Oñate. Among his various brutal acts as governor in the early 16th century, Oñate ordered his men to cut off a foot of Acoma men. In 1997, activists sawed off a foot of an Oñate statue in Alcalde as symbolic retribution. (Simon Romero had a good story about it in the New York Times in 2017.)

Related: archeologist and historian Kurly Tlapoyawa compares the impetus to maintain the statue of Oñate to the desire to maintain Confederate symbols in an essay from 2018.

Madge Dresser has a look at the history of how the statue of notorious slave trader Edward Colston in Bristol, England, came to be.

A A sign taped onto the statue of Edward Colston is dedicated to "the slaves that were taken from their homes"

A sign taped onto the statue of Edward Colston is dedicated to “the slaves that were taken from their homes.”

(Associated Press)

Art critic Philip Kennicott of the Washington Post has an idea for all those plinths: leave them empty.

Coronavirus and the arts

The A+D Museum will shut down its Arts District gallery and instead focus on pop-up and virtual programming, reports The Times’ Deborah Vankin. Moving forward, A+D will present architecture and design exhibitions throughout Los Angeles, as well as in other cities. The focus, explains executive director Anthony Morey, is “community-based exhibitions and events where people don’t have to come to us, but we come to them.”

The A+D Museum building in the Arts District.

The A+D Museum building in the Arts District.

(A+D Museum)

The Center Theatre Group will remain dark until the spring of 2021. L.A.’s largest nonprofit theater company will not resume productions until late April (with “To Kill a Mockingbird”), reports Ashley Lee. “Should health officials become more optimistic about a safe timeline to resume large gatherings, we will work as quickly as possible to return to the stage sooner,” says artistic director Michael Ritchie.

Related: Carnegie Hall and Lincoln Center have canceled all fall shows. New York’s two major classical music organizations will likely not have any large-scale performances until 2021.

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The Academy Museum of Motion Pictures is delaying its opening to April of 2021 due to “the unprecedented and devastating pandemic.”

In addition, the Joffrey Ballet has canceled all performances through the end of 2020.

The Getty Foundation has awarded $2 million in grants to 80 L.A. arts organizations affected economically by the pandemic. The foundation has also awarded $700,000 in relief grants to 400 Los Angeles artists.

The Times’ Makeda Easter surveyed 18 performing arts organizations in L.A. to find out what percentage of audiences have donated the cost of their tickets from canceled shows as a way of supporting these arts groups. The totals vary by organization. For example: for canceled Disney Hall shows, 11% of ticket income was donated, while the Antaeus Theatre Company in Glendale had 40% of ticket holders donate their ticket fees. It’s “an interesting time to think about what certain economics performing arts are functioning under,” says Edgar Miramontes, deputy executive director at REDCAT, “and envision this other model that doesn’t rely…

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