Welcome to impeachment week, in which we grow increasingly concerned about the fate of our fragile republic but also the aesthetics of Sen. Ted Cruz’s haircut. I’m
Carolina A. Miranda, arts and urban design columnist at the Los Angeles Times, here with your weekly dose of culture news and hamburger dispatches:
Artistic legacies
Shortly after abandoning her religious vows in 1968,
Corita Kent produced a series of 29 prints called “Heroes and Sheroes” that honored political and civil rights figures she admired. The prints mark a moment of departure, when Kent is increasingly appropriating images from mass media and, unshackled from the Catholic Church, her critiques of the powerful become more overt.
You might remember seeing a sneak peek of Anna Tsouhlarakis’s upcoming exhibit.
During the artist’s residency at the Fine Arts Center a year ago, she put up two eye-catching billboards near downtown Colorado Springs. The signs were sparse in design, showing capitalized black letters over white backgrounds. One read, “I really like the way you respect Native American rights.”
Tsouhlarakis, who is of Navajo descent, suspects people walking or driving by had different reactions to the billboards.
“Some people might think you’re talking down to them or you’re being super sarcastic,” she said. “In an ideal world, they’d say, ‘Thanks, because I know I do that. Well done, me.’”
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Linda Lomahaftewa’s bold Hopi landscapes unite the ancient world with the contemporary in a symphony of shape and color.
“The Moving Land: 60+ Years of Art by Linda Lomahaftewa,” featuring 70 paintings and works on paper, is open at Santa Fe’s IAIA Museum of Contemporary Native Arts. The exhibition runs through July 17.
Linda Lomahaftewa, “Healing Prayers for a Pandemic Universe (detail),” mixed-media, 2020, 8-by-10 inches. (Courtesy of The Iaia Museum Of Contemporary Native Arts)
Best known for her prints, the show marks Lomahaftewa’s first solo exhibition in a retrospective spanning her career from high school to retirement.
“We have works from when she was 15 years old,” said Lara Evans, guest curator and associate professor of art history. “In the beginning, she was experimenting with Abstract Expressionism. Then she breaks out into the aesthetic of explosive mark-ma