Los Angeles-based artist Roberto Chavez, who was featured in the CSRC L.A. Xicano exhibition Art Along the Hyphen: The Mexican-American Generation, will have his first retrospective at a Los Angeles museum this fall.
Max Benavidez, author of Gronk in the CSRC Press's A Ver series, reviewed the exhibition Ricardo Valverde: Experimental Sights, 1971-1996 on his blog on the Huffington Post.
Huffington Post, July 23, 2014
CSRC director Chon Noriega will participate in the final night of the "Uptown Bounce" series in New York City when he joins El Museo del Barrio's founder, Raphael Montañez Ortiz, for a conversation about the history and legacy of the museum and Ortiz's "destruction" art.
The 2014 anthology Show Time: The 50 Most Influential Exhibitions of Contemporary Art, edited by Jens Hoffman, includes the 2008-2010 CSRC traveling exhibition Phantom Sightings: Art after the Chicano Movement.
The exhibition "Ricardo Valverde: Experimental Sights, 1971-1996" was highlighted in the GLIMPSES section of the Zócalo Public Square web magazine. (Image: I See What You Never Saw, 1976/1991)
We invite your submissions to the dossier section for the Fall 2015 edition, which will feature critical dialogues on topics relevant to Chicano studies. Essays, dossiers, and book reviews for future editions are also welcome.
Congratulations to Carolina Miranda, Kim Masters, and Darby Maloney on winning 1st Place at the Southern California Journalism Awards for Entertainment Reporting/Criticism (Radio). Their story on Latino bilingual TV was produced for "The Business" on KCRW 89.9 FM. CSRC director Chon Noriega was interviewed for the story, which can be heard here.
Los Angeles Times art critic Christopher Knight reviewed the exhibition "Ricardo Valverde: Experimental Sights, 1971-1996," a collaboration between the CSRC and the Vincent Price Art Museum.
A story on artist Yolanda M. López, a pioneer in feminist and Chicana art and the subject of a volume in the A Ver series, who after being evicted from her home is using her garage sales as a site of artistic performance. The article includes a López image from the CSRC.