Daytime

An in-depth installation of Jean-Michel Basquiat, features all 13 works by the artist in the Broad collection, including three works on view for the first time at The Broad: Santo 2, Deaf, and Wicker.

Tuesday & Wednesday & Friday – 11:00 a.m. – 5:00 p.m.
Thursday – 11:00 a.m. – 8:00 p.m.
Saturday & Sundays – 10:00 a.m. – 6:00 p.m.

Vamba Bility is a multidisciplinary artist whose work echoes the experience of the African diaspora. Having journeyed from Côte d’Ivoire to Guinea to the United States, Bility perceives this contested way of living as a blur, albeit one that is deeply intimate. In his hands, this blurred sensibility becomes a fluid movement that draws on various material histories. He expresses the reverberating motions of his existence by leaning on and weaving together mediums and materials such as painting, textiles, found objects, and sound. A cracked calabash gets sewn together. A torn canvas gets stitched as a salve. A painting is propped up by a brick or two. All of this is a form of mark-making that structures the landscape of diaspora as a material residue of atmosphere, of feeling, of process. Bility threads this through a shared poiesis—a bringing forth, a revelation—that sketches out an architecture of what it means to be.

Mark Bradford’s 150 Portrait Tone, a mural-size composition that contains elements of both abstraction and realism, is based on an idea for a work that the artist conceived after the fatal shooting of Philando Castile by a police officer in Saint Paul, Minnesota, in July 2016. Castile, a nutrition services supervisor at an elementary school, was shot after being pulled over in his car—an incident that was livestreamed on Facebook by Castile’s girlfriend, Diamond Reynolds, who was sitting in the passenger seat next to him.

The painting features excerpts of Reynolds’s dialogue from the video. The title, 150 Portrait Tone, refers to the name and color code of the pink acrylic used throughout the painting. Like the now-obsolete “flesh” crayon in the Crayola 64 box (renamed “peach” in 1962), the color “portrait tone” carries inherent assumptions about who, exactly, is being depicted. In the context of Bradford’s painting, the title presents a sobering commentary on power and representation.

Tuesdays, Wednesdays & Fridays – 11:00 a.m. – 5:00 p.m.,

Thursdays – 11:00 a.m. – 8:00 p.m.,
Saturdays & Sundays 10:00 a.m. – 6:00 p.m.

Bahia Reverb: Artists and Place presents the work of ten former fellows at the Sacatar Institute in Bahia, Brazil, all from North America and of African descent, to reflect on how Bahia, an epicenter of the African diaspora, has fueled their work and changed their understanding of themselves.

Artists include Gerald Cyrus, Juan Erman Gonzalez, Mark Steven Greenfield, Karen Hampton, Rik Freeman, Francis Tre Lawrence, Germaine Ingram, Sandra Brewster, Precious Lovell, and Tim Whiten.

Bahia Reverb: Artists and Place is organized by the California African American Museum (CAAM) and Art + Practice (A+P). The exhibition is curated by Bia Gayotto, independent curator, artist, and writer. CAAM at A+P is a five-year collaboration.

Glenn Kaino: Aki’s Market is inspired by Akira and Sachiye Shiraishi’s small neighborhood market (1957–1970) in East Los Angeles. Created by artist Glenn Akira Kaino (Akira’s grandson and namesake), the exhibition explores the transgenerational trauma from the World War II Japanese American incarceration experience through the stories of Kaino, his family, and the community. It is also an interrogation of the American practice of displacement—collapsing almost 100 years of cultural subjugation into a spiritual, exploratory space from which the building blocks of peace might be discovered.

The exhibition draws from the life of Kaino’s grandfather, Akira Shiraishi, a legendary high school football player who was unable to realize his dreams of attending Occidental College when he was incarcerated at the Heart Mountain concentration camp in Wyoming. Upon returning to East LA after the war, he and Sachiye dedicated their lives to building their market on the corner of Blanchard Street and Geraghty Avenue—a multicultural anchor that served the Japanese and Hispanic communities.

Kaino only knew his grandfather through family stories. To recreate the market, he pulled from his artistic toolkit and used his skill of unlocking past memories through layered conversations (as in his work with historical figures like Olympian, Tommie Smith). He used this methodology to draw out family memories and paint a full picture of the place they called “The Store.”

Through a virtual reality recreation of the store and an installation of related works, Glenn Kaino: Aki’s Market is an exhibition about collective memory where the archival bleeds into the imaginary and where the most advanced technology serves the most personal past.