Archive for lecture

Fowler OutSpoken Conversation: Human Rights for Afghan Women

Two distinguished speakers grant an insight into the current situation for Afghan women in their county.

On Wednesday, April 25, 2012, Nushin Arbabzadah (pictured right), research scholar at UCLA’s Center for the Study of Women and an author, journalist, analyst and translator, and Brad Adams (pictured left), executive director of Human Rights Watch’s Asia Division since 2002, will discuss Afghan women’s rights since 2001, which was when the international community intervened in the country.

Adams elaborates on a newly released Human Rights Watch report on Afghan women and girls being imprisoned for “moral crime.” Together he and Arbabzadah will bring us up to date on the current state of rights for Afghan women.

Please join them before the talk from 6–7 pm for a light reception in our courtyard and a viewing of the related exhibition, Order and Disorder: Alighiero Boetti by Afghan Women.

This lecture program is generously supported by the Robert Lehman Foundation.

Fowler OutSpoken Conversation: Human Rights for Afghan Women

Fowler Museum at UCLA <<< go here for directions

North Campus, UCLA,

Los Angeles, CA 90095

Wednesday, April 25, 2012

7:00pm until 9:00pm


This event is free to the public.




Retrospective of Cuban American artist José Bedia – Fowler Museum

The Fowler Museum at UCLA presents Transcultural Pilgrim: Three Decades of Work by José Bedia, an exhibition that brings together 28 large-scale figurative paintings and drawings and a newly commissioned, site-specific installation to offer a comprehensive retrospective on this acclaimed member of Cuba’s “Generation of the ‘80s,” the pioneering young artists who incorporated Cuban vernacular and spiritual references into their work and experimented with eclectic visual forms.

The exhibition, which opens Sept. 17 with a conversation between Bedia and curators Judith Bettelheim and Janet Catherine Berlo, will be on display from Sept. 18 through Jan. 8, 2012.

Bedia’s ‘official’ entrée into the international art world came in 1989, with his installation in the exhibition Magiciens de la terre at the Centre Georges Pompidou in Paris. But several years prior, in 1985, Bedia had been included in a small group exhibition of Cuban artists at the State University of New York College at Old Westbury, on Long Island. While in New York, he attended a gallery opening in Soho and met artist Jimmie Durham, who introduced him to artists Claes Oldenburg and Coosje van Bruggen. Oldenburg and van Bruggen took an interest in Bedia’s work and, to cultivate Bedia’s interest in Native America, they provided the funds to send him and his colleague Ricardo Rodríguez Brey to the Rosebud Indian Reservation in South Dakota.

This chance meeting with Durham, Oldenburg and van Bruggen proved to be pivotal in forging an important direction in Bedia’s art; indigenous America continues to play a vital role in his production.

The 30 years of Bedia’s work on display in this exhibition can be understood in the context of conversations on “post-national” and “post-essentialist” art, especially as these concepts developed into discussions of the New Internationalism, cosmopolitanism and globalization. Bedia’s “global” is centered on an exploration of and participation in diverse spiritual worlds. He has consistently sought artistic and spiritual peers, whether in the Sonoran Desert of Mexico, the North American plains, the Amazonian rain forest, the Dominican countryside or the Central African savanna, in what amounts to his own take on cosmopolitanism and internationalism.

Bedia’s drawings are punctuated with collaged historical photographs, and he moves easily between black-and-white charcoal drawings and vibrant, colorful acrylic paintings, as well as between small- and large-scale canvases. His distinctive figural style is rendered in graceful yet powerful gestural lines, sometimes incorporating short, meaningful and often sacred texts in Spanish, Kikongo or Lakota.

His canvases are often packed tightly with portrait-like depictions, combining to produce pictorial narratives. At times, he paints with his hands in bold and dramatic strokes, yet he also creates precise drawings to depict his experiences. In his many large-scale environments, he combines seemingly banal objects — store-bought figures and materials associated with Arte Povera such as dirt, rope, stones or sticks — ideographic designs, and large-scale wall paintings.


Exhibition overview

The trajectory of Bedia’s work unfolds as a narrative of the transcultural journeys he has made. The first section of the exhibition includes eight works that deal with his involvement with the Afro-Cuban religion Palo Monte, which he has practiced since the early 1980s in Cuba. Bedia was initiated into Palo Monte in 1983 and immersed himself in the religion’s history and rituals.

For Bedia, the power of the central icon of Palo Monte, the nganga (a cauldron or pot), takes on iconic proportions and is a recurring motif in his work. A number of paintings in this section portray the nganga — first shown empty and then, on other canvases, filled with the sacred objects that signify the artist’s increasing knowledge and power attained through initiation and practice.

The works in the next section comment on and chronicle Bedia’s travels in Mexico, as well as his studies with Lakota peoples and visits to shamans in the Peruvian Amazon. Another grouping features four works that pay homage to Caribbean revolutionary figures who combined their religious beliefs with a strong sense of activism and social justice. Three final, large paintings, each approximately 15 feet wide, reflect Bedia’s longstanding interest in African art, as well as the pilgrimages he made to Zambia to work with diviners and view masquerades.

Three “Moments of Inspiration” present objects from Bedia’s personal collections that relate to the subjects of his paintings within the gallery. Bedia is an ardent collector: his Miami home contains hundreds of sculptures, textiles and drawings, principally from Africa and the indigenous Americas. Of this vast collection, he says, “I collect these objects to learn from them. For me, this is like a library. These are my books. That’s why I keep them in front of me every day.”

Fowler in Focus: ‘Bedia Selects’

The Fowler Museum has also invited Bedia to curate a concurrent small exhibition that draws on the museum’s permanent collections. In “Bedia Selects,” the artist offers intriguing new insights into the Fowler’s collections and into some of the artistic and intellectual interests that have driven his own practice. Highlighting works from Central Africa, Bedia’s selection brings more than 30 pieces out of storage for the first time, including a rare Sala Mpasu dance platform that is one of only three such known works in collections.


“I am truly grateful for the opportunity the Fowler is giving me to make a small selection of objects based on my aesthetic criteria in conjunction with my personal show,” Bedia said. “It is a great sign of trust for the Fowler to allow me to curate a group of African objects that have the peculiar aspect of not being the “classic” figures (or masks) most commonly known in relation with African art … These pieces cover a great margin, from simple and utilitarian to religious and ceremonial. They are also all extremely beautiful and possess a very sophisticated technical manner that also pervades their content.”


About José Bedia

Bedia was born in January 1959, the same month and year Fidel Castro marched into Havana. He graduated from the Instituto Superior de Arte and was included in the groundbreaking Havana Biennials of the 1980s. He was selected for the exhibition “Magiciens de la terre,” held at Paris’ Centre Pompidou in Paris in 1989, and in 1991 moved to Mexico. In 1993, he immigrated to the United States. He presently lives and works in Miami.

Bedia’s major projects include an invitational installation concurrent with the Saõ Paulo Biennial and a traveling retrospective organized by the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia, both in 1994, and exhibitions at the Museo de Arte Contemporáneo in Monterrey, Mexico, and SITE Santa Fe in New Mexico in 1997. He had a major solo exhibition at the Museo de Badajoz in Spain in 2004. Bedia was featured in the 2008 group exhibition “NeoHooDoo: Art for a Forgotten Faith” at the Menil Collection in Houston and P.S. 1 in New York. In 2010, his work was included in “Without a Mask,” an exhibition of contemporary Cuban art at the Johannesburg Art Gallery. In spring 2011, the Centro Atlántico de Arte Moderno in Las Palmas, Canary Islands, mounted a retrospective exhibition of Bedia’s installations. The artist has received a number of prizes and awards, including First Prize in Painting at the IV Beijing International Biennale in 2010, a Guggenheim Fellowship in 1993 and a prize at the Second Havana Biennial in 1986.

Bedia’s work is in the collections of the Los Angeles County Museum of Art; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; the Whitney Museum of American Art; the Guggenheim Museum; and the Miami Art Museum, among others. Museums in Latin America and Europe with Bedia holdings include the Museo de Bellas Artes in Caracas, the Museo Nacional de Bellas Artes in Havana, the Afrika Museum in Berg en Dal, and the Tate Gallery in London.


Additional information

Transcultural Pilgrim: Three Decades of Work by José Bedia is organized and produced by the Fowler Museum at UCLA and guest curated by Judith Bettelheim, with co-curator Janet Catherine Berlo. Major support for the exhibition is provided by the National Endowment for the Arts and the Donald B. Cordry Memorial Fund. Additional support is provided by the Fay-Bettye Green Fund, the Pasadena Art Alliance, the UCLA Latin America Institute and Manus, the support group of the Fowler Museum.

A book, also titled “Transcultural Pilgrim: Three Decades of Work by José Bedia,” by Bettelheim and Berlo, with contributions by Bedia, Lauren Derby, Orlando Hernández and Alan Varela, will be published by the Fowler this fall and distributed by the University of Washington Press.

Related Events:

Opening Night
Saturday, Sept. 17, 2011

5–6 p.m.: Fowler OutSpoken conversation with José Bedia, Judith Bettelheim and Janet Catherine Berlo

6–8:30 p.m.: Opening party for members

Related Events:

Free drawing workshop Oct 2, in conjunction with the exhibition Transcultural Pilgrim: Three Decades of Work by José Bedia and The Big Draw L.A.

Workshop: Gesture and Line

In this drawing workshop in Transcultural Pilgrim, join artist Justin McInteer to explore the figural and gestural drawing style of featured artist José Bedia.

This event is part of The Big Draw L.A.

Fowler Museum, in the heart of UCLA’s north campus.

Sunday, Oct 2, 2011 2–4 pm

Fowler Museum admission is FREE.

Easy parking for a maximum of $11.00 in Lot 4 (at Sunset Blvd. @ Westwood). 310/825-4361 or visit their official site.




The Fowler Museum at UCLA is one of the country’s most respected institutions devoted to exploring the arts and cultures of Africa, Asia and the Pacific, and the Americas. The Fowler is open Wednesday through Sunday from noon to 5 p.m. and Thursday from noon to 8 p.m. The museum is closed Mondays and Tuesdays. The Fowler Museum, part of UCLA Arts, is located in the north part of the UCLA campus. Admission is free. Parking is available for a maximum of $10 in Lot 4. For more information, the public may call 310-825-4361 or visit the official site.


For more news, visit the UCLA Newsroom and UCLA News|Week and/or follow them on Twitter.



Beatrice Wood: Career Woman—Drawings, Paintings, Vessels, and Objects

This Friday, September 9th, there will be an opening reception at the Santa Monica Museum of Art (SMMoA) at Bergamot Station of a vast exhibition entitled Beatrice Wood: Career Woman—Drawings, Paintings, Vessels, and Objects.

Co-curated by SMMoA Executive Director Elsa Longhauser and Deputy Director Lisa Melandri, this comprehensive exhibition and lecture series will offer a scholarly, commemorative evaluation of as well as a comprehensive survey and a new assessment of Beatrice Wood, an emblematic California artist whose extraordinary life and career traversed and contributed to the cultural and artistic highlights of the entire 20th century.

Beatrice Wood: Career Woman is part of Pacific Standard Time: Art in L.A. 1945–1980. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene. An artist who worked on both the East and West coasts and bridged gaps between areas as disparate as New York Dada and Southern California ceramics, Wood (1893–1998) was a vital contributor to the art scene of the period and is thus a key player in the Pacific Standard Time project.

Beatrice Wood: Career Woman will include over 100 works of art. The exhibition will begin with Wood’s early Dada work, which includes drawings, paintings, posters, prints, and illustrated albums and travelogues. Wood first encountered Dada—a primary creative and personal influence—in New York, arising from her intimate friendships with Marcel Duchamp and the collectors Walter and Louise Arensberg. It was Dada that first inspired Wood to become an artist, and it shaped her creative thinking for the rest of her life. The exhibition will then go on to feature prominent examples of Wood’s ceramics created from the 1940s until her death in 1998. Wood was exceptionally prolific, even given her remarkable longevity. She repeatedly investigated and revisited a number of subjects, forms, and materials over a 60- to 70-year period.

Though Wood did not turn to ceramics until 1933 at the age of 40, she became an accomplished clay artist and went on to produce some of her most notable works well into her 90s. Her experimentation with ceramic glazing and firing was extraordinary, a compendium of clay technique. She first began to experiment with clay pieces that took the form of tiles or plates. By the 1980s, Wood was creating objects on a much larger scale, such as colossal goblets more than a foot tall and wide. The exhibition will survey the full range of her ceramics—from the miniature to the large-scale, from the utilitarian to the decorative, and from the vessel to figures, scenes, and tableaux.

A fully-illustrated, scholarly catalogue will accompany the exhibition. Dada scholar and independent curator Francis Naumann and Marie T. Keller will edit, annotate, and illustrate excerpts from the Diary of Beatrice Wood. Using this primary source material, Naumann will investigate Wood’s artistic production in historical context, and in the process publish parts of her diary for the first time. Jennifer Sorkin, Assistant Professor of Art History and Critical Studies at the University of Houston, will explore the role Wood played in the Dada movement and how this involvement affected her artistic development. She also will examine Wood’s exploitation of her own sexuality and how this attitude affected the creation of her artistic persona. Clay scholar Garth Clark will catalogue Wood’s evolution as a potter, specifically focusing on her later period, which features evolving scale in both figurative and functional ceramics. He will contextualize Wood’s ceramic work within the era’s artistic milieu. Kathleen Pyne, Associate Professor of Art History at University of Notre Dame, will investigate the diverse aspects of California spirituality from the 1920s to the 1950s, examining its impact on modernists in general, and Beatrice Wood in particular.

Wood created a complex, thoughtful, and inexhaustible oeuvre, one that is equal parts narrative and form, equal parts poetry and wit. Her irrepressible sensibility could be bold, audacious, insouciant, sexually charged, and at times biographical. This exhibition will honor Wood’s indomitable spirit and dynamic artistic force, a pairing that produced a mature body of work that defines her importance as an artist.


The Beatrice Wood: Career Woman exhibition and publication are made possible by lead grants from the Getty Foundation. Generous support has also been provided by the LLWW Foundation and by Rosa and Bob Sinnott. Additional support has been given by The Bluhm Family Foundation; Julie Chapgier and Brian Biel; the Frederick R. Weisman Art Foundation; Susie and Jaime Gesundheit; the Kayne Foundation; Ric & Suzanne Kayne and Jenni, Maggie & Saree; the Pasadena Art Alliance; Brenda R. Potter; and Richard L. Menschel.

Lecture Series:

LECTURE: Not the Mama of Dada: Beatrice Wood’s Early Career in the Arts in New York, by Francis Naumann


Dada Scholar Francis Naumann will trace Wood’s early artistic career and involvement with the New York Dada group. Through a discussion of her activities in New York theater and her important relationships with Avant-garde collectors Walter and Louise Arensberg, artist Marcel Duchamp, writer and diplomat Henri Roché, and others, Naumann will describe the formative experiences that led to the creation of Wood’s artistic persona.


Free to the public.

To RSVP for a place at this lecture, please email [email protected] with the subject line ‘Not the Mama of Dada’


LECTURE: Wood and Bourgeois, by Jenni Sorkin

5–6 pm

In the twilight of their years, Beatrice Wood (1893–1998) and Louise Bourgeois (1911-2010) remained highly influential, continuously regarded as proto-feminist mentors and iconoclasts. Independent scholar and critic Jenni Sorkin offers a feminist re-reading of Wood’s and Bourgeois’ performance and artistic persona and the role these traits played in their performance-driven object making.

Free to the public.

To RSVP for a place at this lecture, please email [email protected] with the subject line ‘Wood and Bourgeois’


Beatrice Wood: Career Woman—Drawings, Paintings, Vessels, and Objects
September 10, 2011–March 3, 2012

Opening Reception: Friday, September 9, 2011
6 – 7 pm Members’ Preview
7 – 9 pm Public Opening

Santa Monica Museum of Art

Bergamot Station G1
2525 Michigan Ave.
Santa Monica, CA 90404
310.586.6487 fax
[email protected]


Museum Hours:
Tuesday through Saturday, 11 a.m.-6 p.m.
Closed Sunday, Monday, and all legal holidays
Closed for installation between exhibitions;
please check Calendar for details


Suggested Donation: $5; Artists, Students, Seniors: $3
OPENING DAY: Beatrice Wood, Kelly Barrie, Tantra Song

On view September 10, 2011March 3, 2012
Beatrice Wood: Career Woman—Drawings, Paintings, Vessels, and Objects

On view September 10, 2011December 10, 2011
Project Room 1: Kelly Barrie: Mirror House
Project Room 2: Tantra Song: Contemporary Tantric Paintings from Rajasthan

About Pacific Standard Time: Art in L.A. 1945 – 1980
Pacific Standard Time is a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post-World War II years through the tumultuous period of the 1960s and 70s, Pacific Standard Time encompasses developments from L.A. Pop to post-minimalism; from modernist architecture and design to multi-media installations; from the films of the African American L.A. Rebellion to the feminist activities of the Woman’s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering work of artists’ collectives. Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater Los Angeles to San Diego and Santa Barbara to Palm Springs.

Vanishing Point exhibit by Photoji Project in Little Tokyo

Vanishing Point Exhibit


A photo exhibition, entitled Vanishing Point, currently on display in Little Tokyo, shows a Japanese “healing” town before and after the disaster. There will be a reception and discussion with the artists on Saturday, August 20 at 5:30pm.

Admission for the exhibit and event is free but donations to raises funds for Earthquake victims and assistance organizations are deeply appreciated.


During the summer of 2010, the members of Photoji Project spent three weeks documenting, through photographs and interviews, the historically important onsen hot spring town of Naruko in the Tohoku region of Northern Japan. They focused their explorations on the concept of toji – a traditional method of healing by bathing in the medicinal waters of the hot springs multiple times a day over the course of a number of weeks.

Then came the Great East Japan Earthquake on March 11th, 2011. Over the course of one terrible, bitterly cold winter afternoon, everything in northern Japan changed. In a strange twist of fate, fading Naruko, home to hundreds of usually empty hotel rooms, became a refuge for 1000 tsunami victims, relocated there by the prefectural government. The ritual of toji, staying in an onsen town for an extended period in order to heal, took on an entirely new meaning.

Photoji Project returned to Naruko in May and June 2011, nearly one year after their original visit, to document how a place that was written off has now become safe haven for hundreds of families.

They will share these stories in Los Angeles in an exhibit entitled Vanishing Point.

The exhibit is currently on display at the Little Tokyo Koban and Visitors’ Center, from 9am – 6pm daily. The exhibit coincides with Nisei Week, the largest Japanese-American Festival in the US.

There will also be a reception and artist talk on Saturday August 20th at 5:30pm. Admission for the exhibit and event is free but donations are deeply appreciated.

Photoji photographer Gabe DellaVecchia notes, “The people of rural Japan were already facing steep challenges before the disasters, and now with added hurdles, we want to ensure their efforts towards recovery are seen as broadly as the images of destruction. In the case of Naruko, we now see that sometimes progress means going back to what worked before. At the exhibit and event we will be collecting donations, selling prints, and holding silent auctions to raise funds for the Naruko community. We are looking forward to seeing you at the exhibit!”


Vanishing Point

Little Tokyo Koban and Visitors’ Center

307 E. 1st Street, Los Angeles, CA 90012

Exhibition runs until August 21, 2011

9am – 6pm daily.


Reception and artist talk on Saturday August 20 at 5:30pm.

Admission for the exhibit and event is free but donations are deeply appreciated.

For more information, please go to the official website for the Photoji Project.


Ancient Cambodian Bronzes – two illuminating talks at the Getty Center

Getty - Angkor Bronze


Two terrific lectures are being presented, late February and early March, by the J. Paul Getty Museum, Getty Center to highlight the new exhibition of ancient Cambodian bronzes, Gods of Angkor: Bronzes from the National Museum of Cambodia.

Report by Pauline Adamek

Distinguished speakers include Hab Touch, Director General of the Cambodian Ministry of Culture and Fine Arts, and Gods of Angkor curator Paul Jett.


Bronzes from the National Museum of Cambodia

Tuesday, February 22, 2011, at 7 pm.

Harold M. Williams Auditorium, Getty Center

Paul Jett, head of the Department of Conservation and Scientific Research, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution; and Hab Touch, Director General, Cambodian Ministry of Culture and Fine Arts; will discuss the analysis and conservation of Khmer bronzes with Sean Charette of the Getty Conservation Institute. This lecture and discussion complements the exhibition Gods of Angkor: Bronzes from the National Museum of Cambodia.

Admission: Free.

Reservation required.

Call (310) 440 – 7300


Ancient Cambodian Bronzes: History, Ritual, and Relevance

Saturday, March 5, 2011, at 1 pm – 6 pm

Museum Lecture Hall, Getty Center

Leading scholars of Cambodian art and culture present and discuss the historical, religious, and contemporary contexts of ancient Cambodian bronze sculpture.

This lecture and discussion complements the exhibition Gods of Angkor: Bronzes from the National Museum of Cambodia. Co-organized by the University of California, Los Angeles”™ Center for Southeast Asian Studies and the J. Paul Getty Museum.

Admission: Free.

Reservation required.

Call (310) 440 – 7300

The J. Paul Getty Museum at the Getty Center
1200 Getty Center Drive, Los Angeles


Tuesday-Friday 10:00 a.m.-5:30 p.m.
Saturday 10:00 a.m.-9:00 p.m.
Sunday 10:00 a.m.-5:30 p.m.

Closed Mondays and on January 1, July 4 (Independence Day), Thanksgiving, and December 25 (Christmas Day).

Admission to the Getty Center and to all exhibitions is FREE””no tickets or reservations are required for general admission.

Public Transportation
Get to the Getty Center via public transport! The Getty Center is served by Metro Rapid Line 761, which stops at the main gate on Sepulveda Boulevard. To find the route that is best for you, call (800) COMMUTE or use the Trip Planner — the Web site of the Los Angeles County Metropolitan Transportation Authority.

Parking is $15 per car. Entry is FREE after 5:00 p.m. for the Getty Center’s evening hours on Saturdays (when they are open until 9:00 p.m.), as well as for all evening public programming, including music, film, lectures, and other special programs held after 5:00 p.m.

Parking reservations are neither required nor accepted. For more parking information, see hours, directions, parking.
and frequently asked questions.