Events
  • Sitting in Sound

    Jul 15| Special Event
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    Image: Electronic Sound Bath
     

  • L: Nora Jane Slade, Kate Mouse Mickey Moss, 2014, Photo transfer and fabric paint on sweatshirt, cardboard and found objects. R: Marisa Takal, I Love My Sister, 2016, Oil on canvas, 65 x 50 inches.

    Opening Reception: I Wish I Was a Telephone: Nora Jane Slade and Marisa Takal

    Celebrate the opening of the two-person exhibition of work by Los Angeles-based artists Nora Jane Slade and Marisa Takal.

    Light snacks and refreshments.

    Exhibition on view July 15 - August 19, 2017.

  • Amelia Gray is the author of the short story collections AM/PM, Museum of the Weird, and Gutshot, as well as the novels Threats and, most recently, Isadora, published by Farrar, Straus and Giroux. Her fiction and essays have appeared in The New Yorker, the New York Times, the Wall Street Journal, Tin House, and VICE. She is winner of the New York Public Library Young Lions Award, of FC2's Ronald Sukenick Innovative Fiction Prize, and a finalist for the PEN/Faulkner Award. 

  • Image: BijaRi, On the rooftops of Santa Domingo-Savio neighborhood as part of the project Contando con Nosotros, 2011

    Opening Reception 3-5pm /  Curator and Artist led walk-thru of the exhibition, 3pm  /  Free

  • Talking to Action

    Sep 17| Exhibition
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    Image: Eduardo Molinari, Confluencia 2: Los Angeles River, 2016.

  • Luis J. Rodriguez was Los Angeles Poet Laureate from 2014-2016. The twenty-fifth edition of his first book, Poems Across the Pavement, won a 2015 Paterson Award for Sustained Literary Achievement. He has written fourteen other books of poetry, children’s literature, fiction, and nonfiction, including the best-selling memoir Always Running: La Vida Loca: Gang Days in L.A. Rodriguez is also founding editor of Tia Chucha Press and co-founder of Tia Chucha’s Centro Cultural & Bookstore in the San Fernando Valley. In 2016 Tia Chucha Press produced the largest anthology of L.A.-area poets, Coiled Serpent: Poets Arising from the Cultural Quakes & Shifts of Los Angeles. Rodriguez’s last memoir It Calls You Back: An Odyssey Through Love, Addiction, Revolutions, and Healing was a finalist for the 2012 National Book Critics Circle Award. His latest poetry collection Borrowed Bones appeared in 2016 from Curbstone Books/Northwestern University Press.

  • Raised in Philadelphia, with roots in South Africa and Trinidad, Zinzi Clemmons’ writing has appeared in Zoetrope: All-Story, Transition, The Paris Review Daily, and elsewhere. She has received fellowships and support from the MacDowell Colony, Bread Loaf, the Fine Arts Work Center in Provincetown, and the Kimbilio Center for African American Fiction. She is co-founder and former Publisher of Apogee Journal, and a Contributing Editor to LitHub. She teaches literature and creative writing at the Colburn Conservatory and Occidental College. Her debut novel, What We Lose, as well as a second title, are forthcoming from Viking.

O-Tube

Hideo Date

Hideo DateHideo DateHideo Date

 

Hideo Date was born in Osaka, Japan, and emigrated to California in 1923. After graduating from high school, he enrolled at Otis but left after a year to pursue the study of traditional ‘nihonga’ brush painting in Japan. This style melded the strong use of line in Japanese painting with Western techniques of perspective and modeling.

Date returned to L.A. where, during the late 1920s and 1930s he says that he and his fellow artists “were influenced by Orient across the Pacific just as N.Y. was influenced by Europe across the Atlantic. He was part of the so-called "Independents," a group of L.A.-based artists who rejected modernism and described their work as “Linear-composition.”

Date and his colleagues fell under the influence Stanford MacDonald-Wright, who oversaw the Los Angeles Art Students League and was one of the originators of Synchronism, the “orchestration” of colors in paintings based on “major” and “minor” color scales —as well as the avant-garde art scene. Macdonald-Wright’s works impressed Date, who admitted: “I was flabbergasted, such colors I had never seen before.”

Date spent the 1930s creating art and exhibiting through groups such as the College Art Association, the Foundation of Western Art, the Los Angeles Oriental Artists Group, and the Los Angeles Art Association. Because he held onto nearly all of his work, he had to make his living from odd jobs, once working on a mural at Mary Pickford’s mansion. He also depended on the generosity of friends, the occasional commission, and private teaching.

Art exhibitor Hammond Sadler once described Date’s work as being “primarily interested in linear movement and color. Combining these elements in a manner never attempted by the older Japanese painters, he has scorned the strictly traditional for ‘Datean.’ Particular note of his work in watercolor must be made. The finish, developed by him, is unsurpassed in its jewel-like surface.”

The outbreak of World War II sent Date to Wyoming’s Heart Mountain concentration camp, where he taught art privately to other Japanese-American inmates. After the war, he went to New York and traveled extensively, including trips to Italy and France.

“Over his lifetime,” writes Japanese-American National Museum curator Karin Higa, “Date had preferred not to sell his artwork even when he had the chance.” But in 1999, Date finally decided to donate more than 190 works to the L.A.’s Japanese American National Museum.

 

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