Wanderlust: Actions, Traces, Journeys 1967–2017 by Rachel Adams
Artists as voyagers …
Wanderlust highlights artists as voyagers who leave their studios to make art. This book (and the exhibition it accompanies) is the first comprehensive survey of the artist’s need to roam and the work that emerges from this need.
Each of these works recognizes the walk and the journey as much more than just a basic human act. Rebecca Solnit observes that walking replicates thinking, adding “the motions of the mind cannot be traced, but those of the feet can.” These works trace the motions of wandering artists’ focused minds.
Vito Acconci, Bas Jan Ader, Nevin Aladag, Francis Alÿs, Janine Antoni, John Baldessari, Kim Beck, Roberley Bell, Blue Republic, Sophie Calle, Rosemarie Castoro, Cardiff/Miller, Zoe Crosher, Fallen Fruit, Mona Hatoum, Nancy Holt, Kenneth Josephson, William Lamson, Richard Long, Marie Lorenz, Mary Mattingly, Anthony McCall, Ana Mendieta, Teresa Murak, Wangechi Mutu, Efrat Natan, Gabriel Orozco, Carmen Papalia, John Pfahl, Pope.L, Teri Rueb, Michael X. Ryan, Todd Shalom, Mary Ellen Strom, and Guido van der Werve.
Rachel Adams, Lucy Ainsworth, Andrew Barron, Pamela Campanaro, Andy Campbell, Hannah Cattarin, Ian Cofre, Jamie DiSarno, Katherine Finerty, Joshua Fischer, Natalie Fleming, Melanie Flood, Jason Foumberg, Allison Glenn, Kate Green, Ross Stanton Jordan, Anna Kaplan, Jamilee Lacy, Jennie Lamensdorf, Toby Lawrence, Jane McFadden, Lynnette Miranda, Conor Moynihan, Liz Munsell, Karen Patterson, Ariel Lauren Pittman, Sean Ripple, Eve Schillo, Holly Shen, Rebecca Solnit, Lexi Lee Sullivan, Whitney Tassie, Charlie Tatum, Zoë Taleporos, Lori Waxman
Jefferson L. Edmonds‘s newspaper had the byline, “A weekly newspaper devoted to the cause of good government and the advancement of the Negro.”
The claims for greater freedom are never enough. The role of operators acting on the machineries that produce civics, culture and liberties, Liberator, if you will, is pivotal and always needed.
William H. Johnson, Toussaint l’Ouverture, Haiti, ca. 1945, oil on paperboard, Smithsonian American Art Museum, Gift of the Harmon Foundation, 1967.59.1154
Jean-Jacques Dessalines and the Haitian Revolution– William and Mary Quarterly, July 2012.
About the park, itself:
In the last decades of the 19th century, this 160-acre was a privately owned racetrack and fairgrounds. The park was jointly purchased in 1889 by the State of California, and the County and City of Los Angeles, and by 1909, a Beaux-Arts site plan emerged. The area, known then as Agricultural Park, was destined to become a new cultural center for the young city.
The County funded a museum and art gallery (which became the Natural History Museum of Los Angeles County); the State funded an exposition building (now the north facade of the California Science Center) and an armory building; and the City pledged to maintain the grounds of the park, including the proposed sunken rose garden. In December 1910, the site’s name changed to Exposition Park, and later that month, cornerstones were laid for both the County museum building and the State exposition building. November 6, 1913, marked the beginning of a two-week, city-wide celebration that opened Exposition Park and its facilities, and the first day the new Museum opened to the public. The tripartite ownership and operation of the park and its structures, forged almost 100 years ago, is still in place today
Also, site of CAAM.