Urbanscape of Mirage – Vital Signs – Stanford University

Cassils and Harry Gamboa Jr.
Stanford University
Photo: Georgina Hernandez

Artist Talk  | Harry Gamboa Jr. Presents “Urbanscape of Mirage”

Thursday
October 19, 2017
4:00pm – 6:00pm

Roble Gym  |  75 minutes including Q&A

Imagery of Asco (1972-1985), Virtual Vérité (2005 – 2017), and current performance works will accompany this lecture that focuses on the recent demolition of the iconic Los Angels 6th Street Bridge, the confluence of freeways, and the familiar nondescript locations that often serve as a starting point for anonymous journeys across an ocean of undulating asphalt. The swirling milieu of multiple cultures/languages of Los Angeles are in perpetual collision/melding/erasure as sudden tectonic shifts reset the clock towards countdown to consciousness. The historical relevance of events and places are subject to system loss of memory.


VITAL SIGNS
2017-2018 Guest Performance Artist Series  |  Curated by Cassils
https://taps.stanford.edu/vitalsigns.html

Guest artist series to expose Stanford students to innovative performance art
Stanford News
October 13, 2017
https://news.stanford.edu/2017/10/13/guest-artist-series-expose-stanford-students-innovative-performance-art/

http://www.harrygamboajr.com

Harry Gamboa Jr. – The Asco Years – Marlborough Contemporary

Harry Gamboa Jr. – The Asco Years – Marlborough Contemporary

September 7 – October 7, 2017

Viewing Room
Marlborough Contemporary
545 West 25th Street New York, NY 10001
+1 (212) 463 8634
http://www.marlboroughcontemporary.com/exhibitions/viewing-room-harry-gamboa-jr

Gallery Walk-Thru
Saturday
September 30, 2017
6:30 pm – 8:30pm

Attendees

Brenda Zamora

Leo Fitzpatrick, Director, and Harry Gamboa Jr.
Photo:  C. Ondine Chavoya, Ph.D.

In 1972, I co-founded Asco (Spanish for nausea), an East Los Angeles-based artist collective that included core members: Willie Herrón, Gronk, Patssi Valdez, and oftentimes, Humberto Sandoval. Asco emerged from the intense politics of the 1960’s Chicano Movement but also from the hybridity of 20th Century angst/determination that would propel all American youth to question cultural norms, the Vietnam War, and modern to post-modern media influences.

The Asco artists grew up in 1950s-1970s Los Angeles under a shroud of fallout-laden smog that tinted the urbanscape so that mass-media negative stereotypes would stand out in flagrant false relief against the reality of thriving cultures, which were moving quickly towards a vibrant amalgam of languages, customs, and visions. Decoy Gang War Victim employed various cinematic techniques to create an image that would reverberate and crossover into mainstream media consciousness by being presented on local television as having been the actual documentation of the last gang member to be killed in an absurd fait accompli that would contradict the propaganda campaign of major newspapers, which were promoting gang warfare. First Supper (After A Major Riot) was staged and photographed in the exact location where a major police riot had taken place and peaceful protesters who were mourning the assassination of acclaimed English/Spanish language journalist Ruben Salazar were brutally attacked. The site had been under strict condemnation by the authorities, but Asco declared it to be a place of celebration and a feast for the eyes.

The use of our 1970s youthful bodies to create art was in absolute opposition to what was expected of us by a society that often employed harsh methods of oppression, poor educational systems, synchronized narratives that often-portrayed Chicana/o youth in a dismal light despite the long history of active engagement in generating scholarship, impressive creative works, and with full-fledged heroic defense of the United States during time of war and other historical situations. To become self-defined and visually assertive in photographic form depicted a new version that would require complex interpretations. X’s Party and Instant Mural consists of private/public encounters that push the boundaries of persistence and erasure. The absurdity of self-denial is made manifest in A La Mode.

Asco engaged in numerous actions and produced many works during its existence (1972-1985) while being excluded from exhibitions and discourse of official contemporary art canon. In 2011, Los Angeles County Museum of Art presented Asco: Elite of the Obscure, a major retrospective, that served to introduce Asco to an eclectic national and international audience.

Harry Gamboa Jr. – The Asco Years is presented here for a 21st Century viewership that has so much to consider and to reflect upon while taking a closer look at what was and what is currently taking place in our world.

— Harry Gamboa Jr., Los Angeles, September 2, 2017

Harry Gamboa Jr. – The Asco Years
Flashart
October 3, 2017
https://www.flashartonline.com/2017/10/harry-gamboa-jr-marlborough-contemporary-newyork

The Glam Politics of a Chicano Collective from East L.A.
The New Yorker
September 16, 2017
https://www.newyorker.com/culture/culture-desk/theglam-politics-of-a-chicano-collective-from-east-la

The ASCO Years’ by Harry Gamboa Jr. at Marlborough Contemporary
BLOUIN ARTINFO
September 17, 2017
http://www.blouinartinfo.com/news/story/2528595/diverting-the-mainstream-the-asco-years-by-harry-gamboa-jr-at

Art Out: Harry Gamboa Jr. – The ASCO Years
Musée
http://museemagazine.com/culture/2017/9/8/art-out-harry-gamboa-jr-the-asco-years
September 8, 2017

 

 

http://www.harrygamboajr.com

FEEDBACK – Curated by Leo Fitzpatrick

FEEDBACK
Curated by Leo Fitzpatrick
Marlborough Contemporary
http://www.marlboroughcontemporary.com/exhibitions/feedback

July 6 – August 4, 2017

545 West 25th Street
New York, NY 10001
+1 (212) 463 8634

Gallery Hours Tues – Sat 10-6

Photo:
Pierre Le Hors

 

9 Art Events to Attend in New York City This Week
ARTNEWS
http://www.artnews.com/2017/07/03/9-art-events-to-attend-in-new-york-city-this-week-110/

 

Spray Paint LACMA, 1972
©1972, Harry Gamboa Jr.

40 inches x 60 inches
Chromogenic Print
Mounted on aluminum

Alexander Sramek at opening of FEEDBACK.

Photo: Linjie Deng

 

Guests at opening of FEEDBACK.

Photo:  Alexander Sramek

 

Guests at opening of FEEDBACK.

Photo:  Sean Carrillo

 

Isabel Tesfazghi at opening of FEEDBACK

Selfie

Abel Correa
FEEDBACK

Leo Fitzpatrick
Curator
FEEDBACK
Marlborough Contemporary
New York

Photo: Harry Gamboa Jr.

 

http://www.harrygamboajr.com

Counter Current Festival – Houston 2017

Illusions of Urbanscape
Thursday
April 20, 2017
6:30pm
Quintero Theatre
Cynthia Woods Mitchell Center for the Arts
University of Houston

In this new lecture, Gamboa looks at myth in contemporary society with images and videos of his work. For more than forty years, his artistic lens has responded to the Los Angeles “urbanscape” with its subtle layering of codes, rules, and visual markers that contribute to making a sophisticated living space for millions of people
http://www.countercurrentfestival.org/project/illusions-of-urbanscape/

l-r:
Ariane Roesch

Harry Gamboa Jr.
Quintero Theatre
University of Houston

l:
Ariana Roesch
Roberto Tejada, Ph.D.
Harry Gamboa Jr.
Jesus Gonzalez

r:
Angel Lartigue
Delilah Montoya
Leticia Contreras
Stalin Villarreal

Houston

University of Houston and Lee College students with Houston community artists.
l-r:
Leticia Contreras
Victoria Paige Gonzalez
Angel Lartigue
Tere Garcia
Harry Gamboa Jr.
Caine Salazar

Houston

 

http://www.harrygamboajr.com

MXLA 2017 – Creative Economy Forum

6th Session – Visual Arts

June 27, 2017
13:10 – 15:10

Moderator:
Rubén Ortiz-Torres

Panelists:
Eduardo Abaroa
Julieta González
Harry Gamboa Jr.
Janet Sternburg
Raúl Zorrilla
Alma Ruiz

Photo:
©2017, Francesco X. Siqueiros

MEXLA 2017
Los Angeles Times
August 3, 2017
http://sections.latimes.com/mxla/2017/08/03/#?page=1

México ama a Los Ángeles, y Los Ángeles ama a México
por
Julia Barajas
La Opinión
https://laopinion.com/2017/07/06/mexico-ama-a-los-angeles-y-los-angeles-ama-a-mexico/

also, previous items:

Luna Córnea 34. Viajes al Centro de la Imagen Vol. 2, 2015
Issuu
https://issuu.com/c_imagen/docs/lunacornea_34

Mexico City’s Best, 2013 – Patrick Charpenel
Art in America
http://www.artinamericamagazine.com/news-features/news/mexico-citys-best-2013patrick-charpenel/

crisisss. Art and Confrontation in Latin America. 1910-2010 at Palacio de Bellas Artes
e-flux
http://www.e-flux.com/announcements/35628/crisisss-art-and-confrontation-in-latin-america-1910-2010-at-palacio-de-bellas-artes-and-ex-teresa-arte-actual/

Hecho en Latinoamérica. Segundo Coloquio Latinoamericano de Fotografía by Centro de la Imagen, 1981
Issuu
https://issuu.com/c_imagen/docs/2-coloquio

Thin Line

border_crossed_us5july16aEMAILborder_crossed_us5july16bEMAILborder_crossed_us5july16cEMAILborder_crossed_us5july16dEMAILThin Line (Sketch)
©2016, Harry Gamboa Jr.

l-r:
Jo Caimo
Minja Gu
Stefan Wouters

border_crossed_us5july16iEMAIL

Thin Line (Draw)
©2016, Harry Gamboa Jr.

l-r:
Minja Gu
Saori Kuno
Stefan Wouters

border_crossed_us5july16nEMAILborder_crossed_us5july16oEMAILborder_crossed_us5july16pEMAILborder_crossed_us5july16qEMAILborder_crossed_us5july16rEMAILborder_crossed_us5july16sEMAIL

Thin Line (Erase)
©2016, Harry Gamboa Jr.

l-r:
Dave Nuyts
Saori Kuno
Stefan Wouters
Nico Dockx
Isabel Tesfazghi

Virtual Vérité

Antwerpen

 

http://www.harrygamboajr.com