A plaque at Watts Towers Arts Center.

“One does not have to be a visual artist to utilize creative potential. Creativity can be an act of living a way of life and a formula for doing the thing.” Noah Purifoy

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, curated by Tatiana Flores, is MOLAA’s Pacific Standard Time: LA/LA exhibition.

It is a major survey exhibition of twenty-first century art of the Caribbean that employs the archipelago as an analytical framework. The exhibition is divided into four thematic sections: Conceptual Mappings, Perpetual Horizons, Landscape Ecologies and Representational Acts and features over 80 artists with roots in Haiti, the Dominican Republic, Cuba, Puerto Rico, Curaçao, Aruba, St. Maarten, St. Martin, Martinique, Guadeloupe, Trinidad, Jamaica, The Bahamas, Barbados, and St. Vincent whose works have informed and shaped those themes.

The exhibition includes painting, installation art, sculpture, photography, video, and performance.


#relationalundercurrents opening with: Charlene Smith, Kishan Munroe,Kimberley King-Burns @molaaart @pstinla @kishanmunroe #caribbeanart #bahamas

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Antillas by Engel Leonardo in Relational Undercurrents: Contemporary Art of the Caribbean Archipelago at MOLAA for PST: LA/LA #engelleonardo @molaaart @pstinla #relationalundercurrents #pstlala #pstinla #caribbeanart #artecaribeño #contemporaryart #contemporarydesign #antillas #caribbeanlandscape #caribbeannature #dominicanart #artedominicano #antillas #antilles

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UNIA in California

UNIA Division 156 of Los Angeles was part of a general spread of Garveyism between 1920 and 1921. According to UNIA parent body records recently uncovered in New York City, by 1926 there were sixteen divisions and chapters of the UNIA in California.

Source: Emory Tolbert, The UNIA and Black Los Angeles: Ideology and Community in the American Garvey Movement (Los Angeles, 1980), pp. 57-58, 53.

Via Dr. Taylor.