ロサンゼルスカウンティ美術館のインスタグラム(lacma) - 9月12日 13時56分

In the 1950s sky over Los Angeles, was a nearly continuous opaque brown swirl of smoke, smog, and ash. The resulting oddly formed shadows and eerie pallor of the urban spectrum filtered my consciousness as I set out to distinguish the parameters of the physical and social space/place. Childhood images burned into my memory reflect the official racism that was projected via public signage, television, textbooks, and other popular media. Many of my youthful tears, laced with environmental toxins, we're tinged with the understanding that the Chicano community was being obscured by an elaborate mainstream media effort to a race all traces of positive involvement in the "American" experience. During the 1960s and 1970s, effective forms of political activism shaped the national dialogue, and creative cultural projects affected global attitudes, negating any notions that the Chicano community was a disposable phantom culture. By the end of the 20th century, I was intent on interacting with others who had contributed to a clarified view of Chicano culture under a welcoming azure sky.– Harry Gamboa Jr.
ASCO ( East Los Angeles Chicano art collective- Harry Gamboa, Jr., Glugio "Gronk" Nicandro, Willie Herrón and Patssi Valdez ) —Guadalupe Rosales (of @veteranas_and_rucas And @map_pointz) #LACMAInstaResidency

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