If there is a knockout art exhibition to go to and great artists to learn about they are at the Hammer Museum’s biennial exhibition of Made In L.A. 2018.

Made In LA: An Event To Remember

June 2nd, 2018 was a momentous day! Why? I launched this blog and attended the Made In L.A. 2018 art opening celebration. The night was amazing! The art is incredible-so diverse and thought-provoking, totally surpassing my expectations. The exhibition showcases the different styles and perspectives of Los Angeles based artists. A majority of the whole museum space is dedicated to artworks by people of color. That’s right, the exhibition is throughout the entire museum and it reflects an authentic look at Los Angeles. I am beyond grateful to have met and spoken with some of the artists who attended: Nikita Gale, Diedrick Brackens, and Beatriz Cortez.

I came to the opening almost an hour and a half early and the wait was so worth it. The opening celebration was overwhelming in the best way. Installations, collages, photography, paintings and so much more– are inside and outside of the galleries. People all over Los Angeles came to the celebration too, so much so that huge lines formed and they were being shuffled in and out whenever there was space. I’m so glad I was able to stay until nearly the end of the opening celebration, I felt absolute wonder as I experienced the event.

The highlight of my evening, of course, was meeting the artists whose work blew me away! You can catch a hint of the artist’s work in the background of my photos, to see them fully I encourage you to support the arts and go to Made In L.A. 2018, the exhibition is open until September 2nd. It’s free! 

Nikita Gale’s Massive Installation

When I stepped into Gallery 1, to my right there was Nikita Gale’s Proposal: Soft Surround System, which encompassed two walls. Gale was born in Anchorage, Alaska, and now resides in Inglewood, CA. She uses objects in her work, drawing them away from their functional purposes to symbolize a deeper psychological meaning.

In her installation at the Hammer, there were many objects associated with music like stands and cords, juxtaposed with video projections and metal sheets all to communicate a connection between music and protest. The installation recognizes that music can be and has been a call to action.

I felt that I could see that sound and feel traces of the strong galvanizing energy as I saw the art. I loved talking to the artist as well; Gale is a very down-to-earth person, with a chill demeanor. I asked her how long it took for her to set up the installation and she said a few days, yet the preparation took almost nine months. When I spoke about my blog, she mentioned how she began a small music blog in Atlanta and her career blossomed from there. 

The Phenomenal Diedrick Brackens Tapestries 

Further into Gallery 1 were Diedrick Brackens’ tapestries. The artist is from Mexia, Texas and now works in the Leimert Park area of LA. He uses textile and weaving to explore identity, memory, sociopolitical issues, and much more. Significant moments in his life were the sparks that ignited the desire in him to create such rich works. One specific moment happened near his hometown when three young Black men were arrested for marijuana at a lake and drowned when the police boat capsized and they were still handcuffed. The tapestries are sincere narratives, speaking to one another and highlighting black silhouettes. bitter attendance, down jubilee (2018), the tapestry we stood before, is specifically about the three young males.

The art of weaving has a critical connection to Black History, which is something Brackens is acutely aware of and what I immediately grasped when viewing the work. To me, Brackens honored and translated that history into his more contemporary imagery with his use of yarn and specific color palettes in each tapestry. Brackens was appreciative of my praise, taking it all in with a kind smile. We chit chatted like new buddies. When I asked which piece was his favorite he had to admit it was bitter attendance, down jubilee (2018), for it’s deep personal connection to him and his hometown. It was my fav of his too!

Beatriz Cortez & Tzolk’in

Outside of the galleries, on the Bookstore Terrace, Beatriz Cortez had three metal sculptures, all involving some type of motion. Cortez is from El Salvador and works in San Fernando, CA. Her sculptures represent the clashing and melding of opposites. One, in particular, Tzolk’in, is much like an old industrial machine yet it is based on the Mayan agricultural calendar and uses kinetic motion to reflect planetary movements.

Cortez’s sculptures draw on her experience of being rooted in two spaces/places and cultures: El Salvador and The U.S. They challenge notions of separation with the idea of coexistence. Cortez was so welcoming when I met her, hugging me as if I were a long-lost friend. When I praised her work she acknowledged that her art bridges the past and future.

The Made In L.A. 2018 opening celebration was a great chance to see the artists simply as people communicating some message or idea that they hope the viewer can grasp. Yet, in sharing themselves through their art, they are doing great things. I loved every minute of the opening. The exhibit shows art as culturally and socially significant, as well as political. The interplay of these concepts was so fluid in each of the artworks. Literally, all the 32 artists in Made In L.A. 2018 offered something unique which makes it really hard to pin down a favorite piece.

But, here are some quick highlights (because it’s so irresistible) of more artwork that blew me away: The life-sized model of Lauren Halsey’s The Crenshaw District Hieroglyph Project. It connects Ancient Egypt and aspects of Black culture from her Los Angeles. The humbling photography and beautiful sculpture by Mercedes Dorame. Which acknowledges the contemporary indigenous experience from the artist’s perspective as a member the Gabriellino-Tongva tribe (which has inhabited the Los Angeles basin for over eight thousand years). The surreal and dreamy paintings from Luchita Hurtado, are a study of visual perspective and the body as a landscape. Also, EJ Hill’s work in the Vault Gallery was a touching piece. In a simplified context, the artwork symbolizes running the race of life and meeting challenges along the way- but there is so much more to be deconstructed! His work utilizes the whole space, featuring photography, a fabrication of a track field, neon writing, and other objects.

Anyone can benefit from spending the day at the Hammer to take in what it means to be Made In L.A. I definitely have to go again and catch more of the art from the 32 artists who make up the exhibition. I want to, need to, soak it all up. Again, the exhibition will be open until September 2nd. You would think such moving artwork would come with a hefty price for admission but what’s so great about the Hammer Museum is that it is always free. Due to membership and patronage from fellow Angelinos and many others.

For more information about the artists and the exhibition hop over here: hammer.ucla.edu/exhibitions/

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Best,

Kai 😀