I trust your summer months were filled with adventures – near and far – and buckets of joy. Here at CAFAM, we celebrated the commencement of the harvest season by opening a 50-year retrospective exploring the work of ceramist Dora De Larios. Learn more about Dora’s pan-cultural, artistic vision below and check out the gallery photos for a blast of whimsy and feminine power today!
While Dora De Larios may have been born into a Mexican-American family, she is a true citizen of the world – a cosmopolite. Raised with a deep respect for her own cultural inheritance, Dora embraced the ethnic diversity of her native Los Angeles with delight and curiosity from an early age. She continued to feed her insatiable interest in world religions and culture through her studies and travel. Dora’s work reflects a deep reverence for our shared humanity as sublimely expressed in folk traditions and rituals from around our magnificent globe. Rooted in the belief that all cultures contain wisdom and beauty, Dora’s art is imbued with multiculturalism in both shape and spirit. Dora’s emotional intensity and connection to all elements of life – including its shadows – are revealed in her signature plaques, masks, totems, and intimate animal figurines.
The Goddess, known by many names – Asarte, Isis, Ishtar – reigned supreme in the cradle of civilization for eons producing prosperity and peace. Worshipped for her fertility, the Goddess was revered as the wise creator, the source of universal order, and the provider of culture. While systematically marginalized in modern times or erased from written histories, the power of the Goddess, as embodied in the feminine form, lives on in ancient temples, objects, carvings and paintings throughout the world. For Dora, the Goddess reflects “a life-long interest in the divine, the symbolism and its interpretation in various cultures.” As a college student in the mid 1950’s, Dora learned about “ancient times when women had temples dedicated to them” and pondered the current state of women’s power and societal roles. The thread of the feminine from Babylonian figurines, to pre-Columbian sculpture, to Mayan rituals, to a contemporary concern for “Mother Earth,” is evident in Dora’s devotion to the Goddess and the spiritual aspects of life.
While Dora knew early on that she was born to create beauty, it was not until her fingers touched the earthly offering of clay that she found her beloved medium. With the Goddess as muse, a vivid imagination, and a cosmopolitan worldview, Dora has created a vast array of dynamic ceramic and sculptural works in the course of her 50-year career. Possessing a deep understanding of her chosen medium, Dora is able to move from intimate clay sculptures to life-size totems and immense public installations with fluid grace. Besides her innovative designs, the vibrancy and sheer life-force of Dora’s glazes, which transmit unadulterated colors of planet Earth, effortlessly lure the viewer into a state of happiness. Dora’s works are joyful (with a few exceptions), bold, and memorable. And yes, Dora De Larios herself is joyful, bold, and memorable.
Although I have declared myself ageless, Ms. Cosmopolite still adores birthday presents! In May I celebrated my birth as I do most every year by acquiring a new piece of art. I had been coveting the work of Nancy Baker Cahill since February when I saw her art at the charity event FreshStART that benefits Para Los Niños. There were probably hundreds of works presented that night and I buzzed around the gallery space searching for my favourite. To my surprise, every piece I choose was a) by Nancy Cahill Baker and b) already sold! Undeterred, I contacted Nancy directly after the event to see more of her work and was immediately drawn to her Bullet Blossoms Series. At first sight, I wanted to touch these delicate and fierce works on paper that felt both cheery and slightly serious. It took me a few minutes to incorporate the title of the series, Bullet Blossoms, into my psyche and for a spilt second I jumped back. It dawned on me that the beautiful, vibrant painted poppies I was admiring were created with bullets! Bullets that kill, maim, and destroy so many lives in the world! Honestly, I was not sure how to feel about a symbol of violence transformed into something so utterly beautiful. But the work got me THINKING and FEELING, so I knew I was on to something very special.
Aesthetically I was completely awed by the work, but wanted to explore my feelings around the artistic process. I read Nancy’s artist statement and spent time talking to her and in the process learned more about my own view on guns.
So you are probably wondering how a slight, young, pretty lady ended up creating fabulous art at the shooting range? Already a working artist, Nancy visited a shooting range with her father in 2007 and found the experience of operating a gun nerve racking and jarring, yet rather empowering. She was aware of the inherent danger around her, but also her increased sense of confidence. After the first experience, Nancy decided knowledge is power and started gun training with a professional. Just being a woman in the male dominated shooting range alerted her to issues of safety and trust (even as she endured some nasty behaviour). Since she was not interested in shooting targets of the human form, Nancy started painting her own targets of botanical objects. Eventually, this led to painting poppies both for their ripe and swollen features and their relation to the drug trade in Afghanistan. Her goal was not to erase the ugliness of violence, but to heal and transform it into something beautiful and productive. This work is, in my mind, truly performance art. Working with specialty paper, Nancy shoots the piece with a 9mm handgun (45 Kimber), standing about 10 yards away to insure accuracy. The “exit wounds” create 3 dimensional sculptures that form the poppies and allow for varying paintings.
I asked Nancy to create a petite version of the Bullet Blossoms and then frame it in a walnut shadow box to allow room for the 3D aspects of the work. It now hangs in my bedroom and I am touched by both its beauty and message daily. One of the interesting things about viewing Bullet Blossoms is the realization that the viewer is on the receiving end of the bullet. Looking at the work, I don’t think I have ever been in the line of fire of art in quite the same way... I, like many women, am intimidated and uncomfortable with guns and have never touched one. I abhor violence and war, and have expressed my views many times to lawmakers, politicians, and community leaders. Yet, I am not naïve to the fact that our society is being militarized in many aspects, and as a result our safety and privacy are in jeopardy. Just this week the issue of allowing guns in State parks was debated, and some are advocating for students to carry guns on University campuses. This all begs the question, do I stay fearful and uneducated about gun usage or do I bite the bullet? Curious to hear your thoughts on this important subject.
I received a curious call the other day from an art curator and museum director I had not previously known. His voice sounded urgent and excited - his words rolled at a brisk pace as his emotions elevated. Enthusiastically, he told me about an artist visit he just concluded, saying that it was the “most mesmerizing and surprising experience of his 30 year art career”. As I listened to this stranger describe an electrifying experience of seeing art that clearly moved him, I started to wonder why he had chosen to share it with me. Truthfully, I even started to zone out as he kept repeating his near religious experience until he got to the punch line, “I would give the artist an exhibit in a heartbeat but I don’t show FOLK ART.” I smiled to myself and politely asked him what exactly he thought “folk art” was. He rattled off a rather stale description using terms such as “untrained”, “primitive”, “naïve”, “cultural artifact”, blah, blah, blah.
Normally I don’t shy away from a good debate, but discussing what is high, low, good, or bad art is an empty exercise. My definition of good art is very simple -- it is art that moves my soul, inspires me to feel or think, and fills me with pure delight. I know the exact feeling of coming into contact with it and experience an instant high when I see it. Sadly, it seems the more “educated” one is on the subject of art, the more disconnected he/she is from the creative impulse that inspires great art. I joyfully spend every dollar I can on art and enjoy my collection daily - my art is part of my life. I personally prefer art created in the context of community or connected to tradition and ritual. Plastic pop art sculptures “fabricated” by machines may get millions at Sothebys, but leave me unmoved. They say that you are what you collect, and I guess that’s the real story. I am a folk… who are you?
Now for those of you wondering, “what exactly is Folk Art?” Here’s one view:
At CAFAM we view the term “folk art” in a contemporary and dynamic light that is not limited to one frame. We consider all art made in a cultural and social context as part of our domain. Our stance encompasses a wide breath of art and ideas ranging from Polynesian body tattoos that mark a tribe, whether traditional or urban, to the modern interpretation of ancient cave paintings from India that offer political commentary about a post-9/11 world, to a photojournalist’s observations of the complexity of contemporary Iranian society.
Folk art offers cultural insights not readily seen in other art forms since it is created with an awareness of, and a connection to tradition and community. The process of creating folk art is a varied and dynamic one the builds on traditional methods or ideas, but also includes individual creativity and contemporary influences. This artistic merger of social order and individual creativity offers incredible insight into global and local values and beliefs. Perhaps the most fascinating aspect of folk art is how sublimely it reveals human similarities amongst diverse cultures.
No song, no performance, no act of creation can be properly understood apart from the culture or subculture in which it is found and of which it is a part; nor should any ‘work of art’ be looked on as a thing in itself apart from the continuum of creation-consumption.
While the rather destructive effects of conspicuous consumption have been the hallmark of our culture in recent years, the meaningful exchange of one resource for another is the engine of any society. People have traded informally amongst themselves from the earliest times, however, the range and quality of goods exploded with the creation of the first permanent marketplace or bazaar. The word bazaar comes from the Persian word bāzār, meaning "the place of prices", which in our world means the mall (how unsexy!).
As someone who views unearthing worldly goods as a cultural adventure, I delight in visiting bazaars on my global travels and flea markets at home. My first visit to the Grand Bazaar, the world’s largest covered market, in Istanbul, Turkey, was both exhilarating and exhausting. Claiming over 4,000 shops, the Kapali Carsi boasts goods ranging from jewelry, leather goods, copper pots, cashmere shawls, incense, rare spices, and many other finds. The rather Byzantine layout of the market pretty much guarantees a new comer will get lost (which is of course part of the fun), making it a bit overwhelming but well worth it. The Bazaar is filled with charming and jovial merchants serving apple tea and offering a whiff of tobacco water pipes as they artfully show you their specialty goods. This sensual shopping experience also sharpens one’s negotiating skills as bargaining for the right price is a cultural necessity. Nothing is as it seems and prices are not exactly precise. The theatrical setting of the Bazaar has often led me to spend much more than I intended… Yet arriving home after the adventure, and unwrapping each one of my unique treasures, is priceless.
On April 3rd and 4th I invite you to the LA version of a Global Bazaar at CAFAM. Local vendors and artisans will be selling their handmade goods in exchange for gold or perhaps an offer of barter. Take a look at the wealth of offerings at www.cafam.org/shop.html and indulge in the experience of coming face to face with the makers of beautiful objects. I am sure a very special treasure awaits you!
The grand notion that government has a key role to play in the sponsoring of artistic production and that the arts are linked to national prestige has lead many countries around the world to establish Ministries of Culture. Here, in the “wealthiest country in the world”, we apparently don’t see the need for too much art and beauty. So, a simple agency – the National Endowment of the Arts (NEA) – will do. (BTW, the NEA doesn’t really have an endowment, but that’s another story.) You may have heard some brouhaha recently from “conservatives” (a.k.a. the people that brought us two wars and passionately promoted the wisdom of the markets) about the NEA getting $50 million in the recent economic stimulus bill, bringing its overall budget to about $200 million. By comparison, we are currently spending $341 million a DAY on the war in Iraq yet, funding for the arts somehow manages to be more controversial! Ms. Cosmopolite wonders what kind of folks would vote for bombs over art? Talk about upside down values.
Apparently, the NEA is currently looking for new leadership. To generate some new thinking on the future of the agency, the LA Times recently ran a piece asking artists, activists, creative thinkers, and a few duds to answer the question, “IF I RAN THE NEA”. Take a look here: http://latimesblogs.latimes.com/culturemonster/2009/02/nea-if-i-ran-th.html.
The article got me thinking about what I would do if I ran the agency…
First, I would do away with the current NEA slogan, “Because a great nation deserves great art.” This line gives me the hives from start to finish and raises many questions. Does a great nation come before great art or the other way around? Based on what criteria does one define greatness? I also don’t get the deserve part. Is there a nation on the planet that doesn’t merit culture? In my mind, the creation of art does not occur in a parallel universe, but is a naturally occurring byproduct of society. Instead of this rather empty line, I would borrow the slogan of a colleague of mine from the Festival of Philippine Arts & Culture that captures my sentiment perfectly: Art=Culture=Community
Secondly, instead of funding “artistic excellence”, I would rewrite the grant-making criteria to focus on fostering artistic innovation and community building. I would commit at least 50% of the budget to funding arts organizations with budgets of less than $5 million, and insure that their programming reflected the diversity and spirit of their communities authentically. Certainly, watching a world-class symphonic performance or ballet is an astonishing thing, but I believe that true love for the arts comes from first-hand experiences. The hours I spent in dance rehearsals, the glamour of putting on a costume and painting my face before stepping on a stage to twirl and spin in front of a small, but adoring audience deepened my appreciation for watching professional dance companies perform immeasurably. Sure, arts appreciation programs that focus on the “masters” and “classics” are important, but not enough to sustain an authentic connection. I want to see small, innovative organizations that bring joy and beauty to their communities thrive. Let’s focus more on the electrifying experience of being creatively engaged and less on being arbiters of good taste.
I would also make sure the NEA was staffed with bright, well-rounded, happy, creative folks that believe in the power of art to inspire, heal, and unite. The entire agency should reflect fresh thinking and innovation – from website communication, to job descriptions, to office décor. Let the NEA be a catalyst for a cultural movement that values the role of artists and arts, in a happy and healthy society.
Lastly, I would insert a clause that the NEA would never fund anything to do with Jeff Koons! (In my view, he is the vulgar and vacuous poster boy of all that is wrong with market driven art that is highly promoted and leaves most people cold and confused.)
So, here are my initial thoughts on the topic. If President Obama is interested in hearing more, he can give me a ring. In the meantime, I am curious to hear – How would YOU run the NEA?
Those closest to me are well aware of my great love affair with sleep and morning rituals of green tea and meditation. In general, I rarely make commitments “before the double digits” to preserve my delicate balance, however, this morning I simply could not resist the invitation to attend the Optimist’s Breakfast on the topic of – “What does patriotism mean to me?”
Symbolically, Optimist’s Breakfasts are held only on Friday the 13ths as a pooh-pooh to the myth of impending doom related to the number 13. The Metabolic Studio at Farmlab sponsors these jubilant, creative, and thought-provoking community gatherings labeled “Burning Man meets City Hall” by writer and actor Richard Montoya. Since describing what Farmlab is could easily be a very lengthy discussion, I will summarize it as, “part progressive think tank, part art studio, and part alternative performance space, unexpectedly located in an industrial section of Los Angeles”. If you appreciate originality, community, and live in LA you need to get there soon! Find out more here http://farmlab.org/2006/12/what-is-farmlab_11.html.
On this cold and rainy Friday the 13th, over 100 artists, community leaders, philanthropists, politicians, big thinkers, and a high school class from Topanga, California gathered to consider the issue of patriotism and munch on bacon & eggs (which were very tasty, btw). The first couple of speakers were local politicians (the usual suspects…), and despite their clear commitment to local issues and love of Los Angeles, their rather convoluted ramblings on patriotism left me rather unmoved. (Although, I am sorry about the “most handsome guy at Marshall High” that died while serving in the Korean war circa 1973.) My mind (and heart) perked up right about the time Lauren Bon (the force behind Farmlab and the magnificent “Not a Cornfield” project) invited the sleepy and chilled guests to perform the Hokey Pokey in the spirit of shared optimism. Everything was up hill from “put your left hand in...”
Once the artists took the podium, the rather tired and seemingly obligatory pronouncements of “patriotism” by politicians transformed into intense, emotional, and uplifting personal stories of the PROCESS of becoming patriotic. Perhaps politicians have an inherent disadvantage discussing patriotism since the approved definitions of the term are so narrow. As a daughter of immigrants, I was touched by President of Otis College Samuel Hoi’s story of being born in Hong Kong, under foreign rule, which left him with a British passport with the “Country of Birth” section left blank. This bureaucratic colonial byproduct left a mark on a young mind unsure of his place in a shifting landscape. Samuel spoke about the gratitude and relief he felt becoming an American citizen, but eloquently shared that his love for his adopted homeland was cemented in the midst of the of September 11, 2001 tragedy.
The regal air of Tongva tribe sage, cultural activist, and environmental educator, Cindi Alvitre literally transformed the gathering with her powerful, ceremonial greeting declared in her native tongue. Her concept of patriotism had little to do with the flag waving or baseball-playing, but with a primal connection to the land. In keeping with her indigenous beliefs and values, patriotism to Cindi translates into honoring and protecting the soil beneath her feet. She boldly declared her loyalty to the land not the socio-political system. Her environmental view of patriotism seemed to provide the most holistic definition of the question, how can we claim to love our country while literally destroying its foundation?
Diverse comments from artists, community leaders, and citizens some in accented English, some in local dialects, made it clear that patriotism is a beautifully complex and deeply personal emotion not a rote, vacuous declaration made for political gain. Emotional references to the Tiananmen Square massacre, civil rights rallies, and several mentions of Michelle Obama’s much publicized comment about “being proud of her country for the first time” illustrated that like all love affairs, the affection for one’s country is fluid and based on mutual respect.
The Merriam Webster’s dictionary simply defines patriotism as love for or devotion to one's country, however, the true meaning is highly dependent on context and philosophy. The classic version of patriotism developed by the Greeks was based on an ethical theory of altruism and benevolence, not on the tribal affiliations often expressed in nationalism. When speaking of moral duty towards others, the issue of application is a tricky one. Does our altruism (or patriotism) extend only to the borders of land, culture, religion, gender, and ethnicity, or does it apply equally to all humans?
My thoughts? Well, Ms. Cosmopolite doesn’t carry around a globe for nothing!
The love of one's country is a splendid thing. But why should love stop at the border?
Everyone has their favorite energy elixir. Some folks need champagne or vodka; some prefer herbs or levitation to make them tingle with excitement. My drug of choice is interesting people, and original ideas. This week I got a powerful tonic of originality, and feel (and look ;-) 10 years younger for it!
On Tuesday, I was lucky enough to get invited to the home of a young, tech-entrepreneur, philanthropist, and Burning Man groupie to partake in his weekly SMS (Subversive Movie Series). The email invitation arrived addressed to “Dear Subversive Person” and listed four possible film options. After a rather ordinary day at work, a little rebellion seemed in order so I headed up to the Hills. After a delicious dinner and quick introductions, the group headed upstairs to the cozy and hip screening room to vote on the evening’s subversive movie. My first choice, The Business of Being Born, a documentary that claims, “you will never look at birth the same way again” was not surprisingly declined by the mostly male crowd. (I plan on viewing this alternative version of birth one day soon; check it out at www.thebusinessofbeingborn.com.) Instead, the politically and artistically diverse group voted for a silent movie made nearly 75 years ago entitled, Modern Times. I must admit that I never saw the film considered Charlie Chaplin’s greatest achievements and dubbed “the original subversive movie” by one of the guests. Take a peek:
Watching this “old” film and its witty, but unflattering portrayal of a fast paced, cold, industrial society, it occurred to me that we have actually made little “progress” in the past 75 years when it comes to quality of life. The comic scenes of Chaplin working frantically to keep up with his assembly line duties (that transformed his hands and legs into robotic organs through repetitive motion) and the greedy, inhumane captains of industry felt very 2009. Chaplin’s escapades and light humor are brilliant tools of social commentary, and make clear he was ahead of his time in so many ways. The Man vs. Machine narrative, which turns workers into nervous wrecks and corporate executives into greedy psychopaths, was straight from today’s headlines. It seems our society has been trapped into our invention of the wisdom of industry and nothing less than a total cultural transformation is needed to chart a better course. I agree that Modern Times is a brilliant, thoughtful subversive movie, but I sincerely hope that its narrative is left in the dust.
Despite the seriousness of the discussion, I was truly inspired to be part of a group of original thinkers that are searching for a way out of the status quo. The economic mess we are currently in was made possible by both greed and groupthink. It will take holistic thinking and bold action to transform the way we live and work if our goals are to lead to sustainability and prosperity. My money is on the thousands of grassroots groups across the globe (including many subversive folks) that use their imagination and originality to create common good. Let subversion reign!
Ms. Cosmopolite is a blog offering a feminine perspective on art, culture, politics, and life behind the scenes of a museum. Created by the Los Angeles Craft and Folk Art Museum, the blog is primarily written by its current Executive Director, Maryna Hrushetska (a blonde who vaguely resembles the blog's representative illustration). Written with a blend of whimsy and substance, Ms. Cosmopolite reinforces the museum’s worldview of building common ground through the universal lens of art. Discussion topics range from exhibition themes, social and political commentary, and all things Venusian.
The Ms. in the blog name is homage to both the group of women that founded the establishment in 1965 and the current all female full-time staff. Additionally, a cosmopolite is defined as someone who is at home in every culture; a citizen of the world; a cosmopolitan person; and magnificently embodies the museum’s current mission.
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