Daytime

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.

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.

Creating in Community: Fowler at 60 celebrates the sixtieth anniversary of the Fowler Museum at UCLA. As we look back at the research, exhibitions, and public programs of the past sixty years, we recognize that the most joyful and interesting projects have been those created with others. Through these collaborations fresh ideas bloomed, unforeseen challenges and expectations arose, and new connections were forged. Come revisit these extraordinary projects with us, as we bring this spirit of engagement into the future by working with partners to use our building and collections in ever more experimental ways.

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.

Stories and Voices from L.A. Chinatown is the first in the series Archive Alive, a new collaboration between The Huntington Library, Art Museum, and Botanical Gardens; the Library Foundation of Los Angeles; and the Los Angeles Public Library. Archive Alive activates historic photographs, documents, and maps drawn from the Huntington’s and LAPL’s vast collections through online exhibitions, site-specific installations and displays, and interviews with community members, whose personal reflections and connections bring the archives to life. You can explore these materials by theme below.

You can explore these materials by online or visit the outdoor exhibition in Chinatown at 942 N Hill Street.