2019 GETTY MARROW MULTICULTURAL UNDERGRADUATE SUMMER INTERNSHIPS

The Center for the Study of Political Graphics (CSPG) has been awarded a grant from the Getty Foundation to hire two undergraduate students for summer internships: one Media & Design Intern and Archive & Research Intern. Each intern will receive a stipend of $5,700 for a full-time, ten week period between June 3 and August 23, 2019.

Qualification & Eligibility Requirements

Students must:

Be of a group underrepresented in museums and visual arts organizations, including, but not limited to, individuals of African American, Asian, Latino/Hispanic, Native American, Middle Eastern or Pacific Islander descent.Be currently enrolled undergraduates. Students must have completed at least one semester of college by June 2019. Students graduating in May or June 2019 are also eligible. (Students who are enrolled in a second BA or BS program are not eligible.)Reside or attend college in Los Angeles County andBe a U.S. citizen or permanent resident.Students who have previously served as Getty Multicultural Summer Interns at CSPG are not eligible

Internship #1: Media and Design Intern

CSPG is seeking an intern with a major in graphic design, or related experience, to assist with marketing and outreach, to curate content for CSPG’s online platforms, and help design educational and promotional materials. The intern will also have some archival responsibilities, including poster cataloguing and an introduction to exhibition development. Knowledge of Photoshop and/or InDesign would be helpful.

Internship #2: Archive and Research Intern

CSPG is seeking an intern with a background in the humanities, such as art history, history, political science, etc., to research and catalogue historical and contemporary social movement posters, help update CSPG’s online finding aid, and assist with exhibition research and development.

TO APPLY: Please e-mail the following materials to Jerri Allyn at admin@politicalgraphics.org by EXTENDED DEADLINE Monday April 29, 2019. 1) Cover letter with a description of how you meet the requirements for the position. 2) Resume. 3) Contact information for 3 references. Please include name and internship title in the subject line of the email.

[Photo: 2018 Summer Interns, CSPG; two were Getty Interns]

Woodland Hills supporters: Prison Nation: Posters on the Prison Industrial Complex, is at the Pierce College Art Gallery! 6201 Winnetka Ave, Woodland Hills, CA 91371. On view 2/4/19 - 3/29/19. http://www.piercecollege.edu/d…/art_architecture/gallery.asp

An easy visit for CSPG fans in Calabasa, Encino, Sherman Oaks, Van Nuys, Reseda, Canoga Park, Agoura Hills.

And kudos to Pierce College for their "One Book, One Campus" program, designed to foster student engagement by creating an interdisciplinary and integrated intellectual experience. 35 classes (!) are reading the graphic novel, Race to Incarcerate, in alignment with this exhibition. https://library.piercecollege.edu/onebook/event.

San Diego supporters: ! Reclaim! Remain! Rebuild! Posters on Affordable Housing, Gentrification & Resistance, a CSPG exhibition featuring political posters on race, housing and gentrification, opens at UC San Diego Art Gallery, Mandeville Center, 9500 Gilman Dr, San Diego, CA 92161. (858) 534-2107. On view Feb 4 – Mar 15, 2019, Mon’s & Wed’s 12-4pm; Tues’s & Fri’s 2-6pm.

The Center for the Study of Political Graphics is collecting posters for a new exhibition, Healthcare Not Wealthcare: Posters Promoting Secure, Sustainable & Just Healthcare, to open May 2019.

Please mail posters to: CSPG, 3916 Sepulveda Blvd, Suite 103, Culver City, CA 90230.

To email hi-res digital files, or for more information: (310) 397-3100,

Alejandra Gaeta,archives@politicalgraphics.org.Healthcare Not Wealthcare will illustrate how the lack of affordable and accessible healthcare creates life-threatening conditions. Posters are one of the primary tools used throughout the world for educating about these issues and organizing for health justice. U.S. and international posters call attention to diverse topics, galvanize constituencies, and show how different countries approach healthcare. Please send posters or hi-res digital files for the Community Curatorial Committee to consider about issues such as:

-labor: environmental, occupational health & safety (pollution, lead paint, pesticides, toxic waste dumps);

-women’s health (right to choose, reproductive rights, fake pregnancy clinics); pre-natal, birth, breast feeding;

-domestic violence;

-disability rights;

-transgender health discrimination;

-HIV/AIDS (safe sex, clean needle exchange);

-privitization of hospitals/public funds for private medical;

big pharma;

-intrusion of religion into healthcare;

-mental illness, PTSD/Vets;

-homelessness & health;

-alcohol, flavored/tobacco (e-cigarettes, VAPE marketing targeted at youth), drugs (prescription & nonprescription);

-guns & war toys;

-prison care;

-we are what we eat;

-organizing for health justice;

-other?

All submissions will become part of CSPG’s permanent collection, and will be accessible to curators, organizers, researchers, students, and the general public.

Meet Daniel, (left) a graphic design student at California State University of Los Angeles. Being undocumented, he wanted to intern at CSPG to represent his community and help educate and inspire people to action with the power of political art.

Meet Kevin, (right), an LA native and a rising sophomore at Hobart and William Smith Colleges in upstate New York, pursuing a major in Sociology and minors in Entrepreneurial Studies and Art History. Kevin wanted to intern at CSPG because he's an activist, and believes in the power of posters to highlight struggles of disenfranchised communities.

CSPG hired Daniel for our Media & Design position and Kevin for our Archive & Research position.

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Since 1993, the Foundation's Multicultural Undergraduate Internship program has provided substantive, full-time work opportunities to 3,200 undergraduates, exposing them to potential careers in the arts. Aiming to encourage greater diversity in the professions related to museums and the visual arts, the program provides funding for internships at cultural organizations across Los Angeles, including at the Getty Center and the Getty Villa. The Foundation's support enables organizations to host students in full-time, paid internships for ten weeks during the summer. The internships are intended for outstanding students who are members of groups underrepresented in careers related to museums and the visual arts. Students gain experience in key areas such as curatorship, conservation, education, publications, and related programmatic activities. Candidates are sought from all areas of undergraduate study and are not required to have demonstrated a previous commitment to the visual arts.

Thank You NEA Big Read & Panelists!

Saturday, May 19th, 2-4 pm. Reception, Tour & Panel Discussion with (lift to right:) Carol Wells, Patrisse Khan-Cullors, Nancy Halperin-Ibrahim, Erika Barbosa, Kim McGill & Cindy Panuco. CSPG's exh moves downtown: To Protect & Serve? Five Decades of Posters Protesting Police Violence.

Mercado La Paloma 3655 South Grand Ave. Los Angeles, CA 90007

May 12 – July 15, 2018 On view daily, 8:00am - 9:00pm.

The event is aligned with the nationwide initiative, the 2018 NEA Big Read, which chose Claudine Rankine’s bold book, Citizen An American Lyric, to read this year. Citizen recounts mounting racial aggressions during her encounters with colleagues in twenty-first-century life, with the police, and in the media.

NEA Big Read is a program of the national endowment for the arts in partnership with arts Midwest. Big Read broadens our understanding of our world, our communities, and ourselves through the joy of sharing a good book

Thank You Mike Kelley Foundation for generously supporting the exhibition,To Protect & Serve? Five Decades of Posters Protesting Police Violence.

Mercado La Paloma 3655 South Grand Ave. Los Angeles, CA 90007

May 12 – July 15, 2018 On view daily, 8:00am - 9:00pm.

Media & Design InternshipCSPG is seeking an intern with a major in graphic design, or related experience, to assist with marketing and outreach, curate content for CSPG’s online platforms, and help design educational and promotional materials. The intern will also have archival responsibilities, including poster cataloguing, preparing digital images to be linked to database records, and an introduction to exhibition development. Required: working experience with Microsoft Office programs, strong visual interpretation and research skills, working knowledge of Adobe Photoshop; knowledge of InDesign a plus.

Archive & Research InternshipCSPG is seeking an intern with a background in the humanities, such as art history, history, political science etc., to research and catalogue social movement posters, update CSPG’s online finding aid, prepare digital images to be linked to database records, and assist with exhibition research and development. Required: working experience with Microsoft Office programs, strong visual interpretation and research skills.

TO APPLY: Please e-mail the following materials to Jerri Allyn at admin@politicalgraphics.org by April 30, 20181) Cover letter with a description of how you meet the requirements for the position,2) Resume,3) Contact information for 3 references.4) Please include name and internship title in the subject line of the email.The Center for the Study of Political Graphics (CSPG) has been awarded a grant from the Getty Foundation to hire two undergraduate students for summer internships: one Archive & Research Intern and one Media & Design Intern. Each intern will receive a stipend of $5,000 for a full-time, ten week period between June 4 and August 24, 2018.

Qualification & Eligibility Requirements

Students must:

Be of a group underrepresented in museums and visual arts organizations, including, but not limited to, individuals of African American, Asian, Latino/Hispanic, Native American, Middle Eastern or Pacific Islander descentBe currently enrolled undergraduates. Students must have completed at least one semester of college by June 2017. Students graduating in May or June 2017 are also eligible. (Students who are enrolled in a second BA or BS program are not eligible.)Reside or attend college in Los Angeles County andBe a U.S. citizen or permanent residentStudents who have previously served as Getty Multicultural Summer Interns at CSPG are not eligible

CSPG is an educational and research archive with more than 90,000 social movement posters and prints from the 19th century to the present, including the largest collection of post WWII political posters in the USA. CSPG demonstrates the power and significance of these artistic expressions of social change through traveling exhibitions, lectures, publications, workshops, and making the Archive accessible to researchers, curators and students. Through our diverse programs, CSPG is reclaiming the power of art to inspire people to action.

Thank you to The California Endowment for generously supporting the exhibition, Reclaim! Remain! Rebuild! Posters on Affordable Housing, Gentrification & Resistance, and tour to four other Building Healthy Communities (BHC) sites in SoCal! Check out their BHC initiative in 14 communities here: http://www.calendow.org/

Thank you Los Angeles County Arts Commission for an Organizational Grant! This funding is so important to our work, exposing new generations to universal struggles for social justice through our online and traveling exhibitions, archive research opportunities, and internships. All programs free and open to the public.

https://www.lacountyarts.org/funding/organizational-grant-program

Thank you High School Insiders Los Angeles Times reporters Sarah Kim, Tyler Kwon and McKenna Thurber for a news blurb on Reclaim! Remain! Rebuild! Posters on Affordable Housing, Gentrifiction & Resistance. This exhibition just closed at Mercado La Paloma - but look out for the other 4 sites it will travel to: East LA, San Diego and two others in SoCal.

http://highschool.latimes.com/los-angeles-high-school-of-the-arts/historical-political-graphics-shed-new-light-on-social-issues/

Betty Avila of Self-Help Graphics delivers a keynote speech to the 2017 Getty Foundation multicultural interns. (Elon Schoenholz / Getty Foundation)

By Carolina A. Miranda

In summer 1999, Edgar Garcia took an internship at the Los Angeles Conservancy that helped change the course of his life.

Born in Hollywood and raised in Lincoln Heights, Garcia is the son of Mexican immigrants who, when he was accepted at Yale University, hoped he might study something “practical.” Maybe medicine, engineering or law.

“I was forcing myself to go down that track and take the courses in areas I thought I had to,” he recalls. “But every time I took a history or architecture course, that was my passion.”

That passion ultimately led him to apply to the Getty Foundation’s Multicultural Internship Program, which funds undergraduate internships for students from underrepresented groups at cultural organizations around Los Angeles County.

Through that program, he landed a summer internship at the Los Angeles Conservancy, where he helped map historic sites in Lincoln Heights and put together a historical exhibition in collaboration with students from Lincoln High School.

“I’d had no idea that organizations dedicated to either architecture or public art or programs like that were so professionalized,” recalls Garcia. “I didn’t know that was even a viable career.”

Indeed, it has been quite viable for Garcia in the years since.

Today, he is the deputy for art and culture at City Hall, helping manage art and culture policy for Mayor Eric Garcetti.

“I’m proud of the fact that the mayor’s cultural person happens to be a Mexican from Lincoln Heights,” says Garcia. “I came out of a neighborhood that we work with every day.”

The Getty Foundation’s Multicultural Internship Program was launched as a direct response to the Los Angeles riots in 1992.

“It was really a process of thinking, how does the Getty respond to these events — and respond in a way that relates to our mission?” says foundation Deputy Director Joan Weinstein.

“We could look at arts organizations across the city and see that they still didn’t appropriately reflect the diversity of communities in Los Angeles,” she adds. “So we started to think of the pipeline issue.”

By funding paid internships for underrepresented minorities at dozens of cultural organizations around L.A. County, the foundation got to work building that pipeline. The idea: Provide students with real-world professional experience at cultural nonprofits small and large, be it the Center for the Study of Political Graphics or the Museum of Contemporary Art.

The first crop of 89 interns completed sessions at 80 arts organizations around Los Angeles in summer 1993. Twenty-five years later, the Multicultural Internship Program is still going strong.

Over that period, the Getty Foundation has funded more than 3,200 internships at an estimated 160 Los Angeles arts organizations — including 120 internships this summer. That amounts to an investment of more than $12 million over a quarter century.

The program is open to individuals with some connection to L.A. — students who are either attending university in the area or were raised in Los Angeles County — and in the large scheme of things, it may not seem as if an arts internship program could do all that much beyond providing an enriching summer experience to a handful of individuals. But the Getty’s program is quietly helping change the face of culture in Los Angeles.

It is no secret that the arts industry has a diversity problem. According to a report released by the Andrew W. Mellon Foundation in 2015, 84% of high-level jobs at museums nationwide — curators, conservators, educators and leaders — are occupied by whites. The only areas in which minorities dominate are in janitorial and security services.

In a county like Los Angeles, where roughly half the population is Latino, 14% is Asian and nearly 9% is black, stats such as those would translate to cultural leadership that in no way represents the ethnic or racial reality on the ground.

For 25 years, the Getty’s Multicultural Internship Program has attempted to adjust those figures.

Alumni include painter Mark Bradford, who recently had a one-man show at the Hammer Museum and will represent the United States at the Venice Biennale this year; Letitia Fernandez Ivins, who manages public art programs at Metro, and John Tain, who is an assistant curator for modern and contemporary collections at the Getty Research Institute, or GRI. Tain, who was born in Taiwan and raised in the San Gabriel Valley, completed his internship in 1995 at what was then the Getty Research Center, now the GRI. A paid position — “I needed to have a paying summer job,” he says, “and this was enough to pay rent and other expenses” — it provided him with work experience.

“I was having a real hands-on experience working with archival materials and special collections material,” he says. “I wasn’t pushing paper.”

For Ivins, who has worked at Metro for 2½ years helping to oversee public art projects in train stations and bus facilities, the internship provided a broader knowledge of arts in Los Angeles.

Ivins, who is part Filipina and grew up around Culver City, did two multicultural internships — one at the Skirball Cultural Center and another at the Pacific Asia Museum in Pasadena in the early 2000s.

“I saw parts of L.A. that I had never really dug into,” she says.

A trip to Highland Park introduced her to the work of artist Tricia Ward and the nonprofit Art. Community. Land. Activism., or ACLA, which employed art as a community-organizing tool.

“When I graduated, on the recommendations of a mentor, I volunteered with them,” says Ivins. “That was the segue into nonprofit art organizations.”

Over the years, an informal network of former Getty interns has become more influential.

“I can call my friend the filmmaker or my friend the registrar at UCLA or my friend the archivist,” Garcia says. “It’s a total cross-pollination.”

“Every mentor I’ve worked under has been an amazing resource and I keep in contact with most of them today,” says Hanna Girma, an assistant curator at the Mistake Room, an arts nonprofit in downtown. (She curated the ongoing exhibition “Analog Currency,” which explores the reverberations of the Internet on culture.)

Girma grew up in Oakland and is of Ethiopian and African American descent. As a student at UCLA, she interned at the Hammer Museum and the Mistake Room. She was always drawn to the arts but says her Getty mentors “really have helped shape me.”

Even with the program’s successful track record, there have been challenges. Last year, a white student who did not get into the program sued the Getty Foundation for discrimination. The case was settled for an undisclosed sum and now the official language states that applicants must be “members of an underrepresented group including but not limited to those of African American, Asian, Latino/Hispanic, Native America, or Pacific Island descent.”

None of this changes the Getty Foundation’s aim of continuing to diversify the leadership ranks at the city’s cultural institutions, an aim that is beginning to blossom as some former interns reach a stage of their careers where they begin to wield greater influence over programming and policy.

As they move on to bigger roles, the foundation has continued to support them — providing, for example, funding for professional development.

“Because of the Getty I’ve been to the California Assn. of Museums conference more than once and I’ve been to the American Alliance of Museums mega-conference more than once,” says Betty Avila, associate director at Self-Help Graphics. “Every time I attend those types of things, it grows my network even more — it grows opportunities and connections.”

Avila, who grew up in Cypress Park and attended Pitzer College in Claremont, completed her internship at the Getty Research Institute in 2007, where she helped bring nontraditional audiences to the museum. As part of that job, she arranged for garment workers, housekeepers and day laborers to get curator-led tours of a classical art exhibition at the Getty Villa in Pacific Palisades.

As a result, she says, “I became very interested in community engagement,” which inspired her to take her position at Self-Help, the community arts nonprofit that works with myriad constituencies in Boyle Heights.

Weinstein says it is “unbelievably gratifying” to see former interns start to transform the city’s cultural profile.

“It can take 25 years to effect change,” she says. “It’s patience.”

We could look at arts organizations across the city and see that they still didn’t appropriately reflect the diversity of communities in Los Angeles. — Joan Weinstein, deputy director, Getty Foundation

A mammoth, multi-exhibition project in southern California explores Latin American and Latino art and artists throughout the hemisphere, including the U.S., by Susan Delson

In La La Land, the second “La” can stand for Latin America.

It certainly does this season, as “Pacific Standard Time: LA/LA,” a mammoth, multi-exhibition project, unfurls across the city and region. “Los Angeles has a deep connection to Latin America,” said Deborah Marrow, director of the Getty Foundation, which initiated and largely funded development of the project. The city was “born in the 18th century as part of New Spain,” she added, noting that today, “approximately half of our population identifies as Latino or Latin American.”

Exploring Latin American and Latino art and artists throughout the hemisphere, including the U.S., “PST: LA/LA” encompasses more than 70 venues throughout Southern California, from San Diego to Santa Barbara and east to Palm Springs. Participating museums range from modest institutions like the Pasadena Museum of California Art to heavyweights like the Getty Center and the Los Angeles County Museum of Art, or Lacma.

“PST: LA/LA” marks the third “Pacific Standard Time” organized under the Getty’s aegis. The first, presented in 2011–12, explored art in Los Angeles from 1945 to 1980, while the second, in 2013, focused on modern architecture in Los Angeles. This year’s version features work from more than 50 countries and 1,000 artists, from colorful Cuban movie posters to tough-minded protest art from Colombia to 18th-century Mexican paintings.

Although the official launch is Sept. 15, one exhibition opened at Lacma in June and more will open this summer. “Hollywood in Havana: Five Decades of Cuban Posters Promoting U.S. Films,” opening Aug. 20 at the Pasadena Museum of California Art, explores a side of the island nation rarely seen in this country: its passion for American cinema.

“What? Cubans watch U.S. films?” joked guest curator Carol Wells, executive director of the L.A.–based Center for the Study of Political Graphics. Despite an embargo that has limited distribution of American films on the island, that love has persisted and includes an enduring affection for Charlie Chaplin. His silent comedies were among the first films ever seen by many rural Cubans, thanks to traveling “mobile cinema” units set up soon after the 1959 revolution. The 44-poster exhibition opens with a section devoted to Chaplin.

Made by hand on silk-screen presses, Cuban film posters are more akin to fine-art prints than mass-produced U.S. versions, with a visual wit that has long characterized graphic design on the island. Unlike their American counterparts, Cuban posters put less focus on the movie stars and instead playfully hint at plot and theme. A 2009 poster for the 1948 Alfred Hitchcock thriller “Rope” positions an ominously thick length of the stuff as a necktie. The poster for Stanley Kubrick’s “The Shining” depicts a child’s tricycle leaving blood-red tracks in its wake.

Several designers have international reputations. One of Eduardo Muños Bachs’s specialties is his inventive use of Chaplin’s head and derby hat. Antonio Pérez, known as Ñiko, created a black-and-white design fantasia surrounding a cherub hefting submachine guns for “The Godfather.”

The works in “Radical Women: Latin American Art, 1960–1985” take on darker subjects. Opening Sept. 15 at the Hammer Museum, the exhibition gathers more than 100 artists from 15 countries to weave a history of experimental art focused on the female body. Much of it was created under harsh political and social conditions.

“You have to think about the coups d’état in Chile, in Peru, in Brazil, Argentina, Uruguay” taking place in the era covered by the exhibition, said Andrea Giunta, professor of Latin American art at Buenos Aires University and co-curator of the show. In this context, art-making was a form of political resistance as well as a place to break creative ground.

Several artists ferociously depict the violence and repression they experienced. Photographs document a powerful 1980s performance in which the Colombian artist María Evelia Marmolejo cut her feet to leave a trail of blood as she walked on white paper laid through a public square in the city of Cali. “Sal-si-puedes” (“Get Out if You Can”), a 1983 installation and projected photographic performance by the Uruguayan artist Nelbia Romero, refers to a massacre of indigenous people in Uruguay in 1831 and establishes a parallel with the 1980s dictatorship then in power.

Other artists explored notions of gender, motherhood and mainstream traditions. In the late 1970s, the Mexican artist Mónica Mayer staged “The Clothesline,” an interactive performance in which women shared their thoughts about sexual harassment on slips of pink paper, hanging them like laundry on a line.

Next April, “Radical Women” will head to the Brooklyn Museum in New York City. But the complete “LA/LA” experience will happen, as they say, only in L.A.

Press Release By Pasadena Museum of California Art

Media Contact: Brianna Smyk, Director of Communication & Editor 626.568.3665 x12 / bsmyk@pmcaonline.org

Pasadena, CA — Hollywood in Havana: Five Decades of Cuban Posters Promoting U.S. Films, on view at the Pasadena Museum of California Art (PMCA) August 20, 2017–January 7, 2018, assembles approximately 40 Cuban posters publicizing Hollywood films from the 1960s to 2009. Astonishing in their design, stylistic diversity, and artistic skill, these bold and vibrant posters helped create visual literacy among the Cuban population in the decades following the Cuban Revolution. The screenprints go beyond the glossy and celebrity-filled film posters that are ubiquitous in Los Angeles today and reawaken viewers to the nuanced visual signs that inform and shape their worldviews.

Produced by the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) or the Cuban Institute of Cinematographic Art and Industry, the posters were part of an initiative of the revolutionary government to develop cultural awareness and consciousness after Fidel Castro and the guerrilla forces overthrew the dictatorship of Fulgenico Batista in 1959. Today, the posters stand independent of the films they represent. Their magnetism and innovative use of design elements continue to spark conversation and understanding about the role of film, culture, art, and politics in Cuba as well as California. Poster designers working during the early years of the Revolution had few material resources and operated in an almost artisanal manner, using the silkscreen technique. While the limited resources imposed by the U.S. embargo inspired many of the design decisions, revolutionary ideals can also be cited as source material. Screenprints created for Cuban audiences to promote iconic American films, such as Modern Times, Singin’ in the Rain, Cabaret, Schindler’s List, and Silence of the Lambs, are in striking contrast to the vast majority of Hollywood posters for the same films, which formulaically feature faces of the movies’ stars. Instead, the imagery depicted often relates to an iconic element or moment in the film, such the umbrella in Singin’ in the Rain. ICAIC posters employ creativity and free expression as well as a variety of art styles, including Art Nouveau, abstraction, Pop, and Op, many of which mirror the American counter-culture of the times.

Selected from the collection of the Center for the Study of Political Graphics (CSPG), the exhibited posters showcase the range and ingenuity of Cuban screenprinters and provide audiences an opportunity to understand a complex culture from a new perspective. “Based on a shared love of films, Hollywood in Havana identifies commonalities between Cubans and Californians,” says Carol A. Wells, curator of the exhibition and Founder and Executive Director of the CSPG. “The exhibition creates a dialogue not only about these visually stunning and easily approachable posters, but also regarding longstanding stereotypes about Cuba and its government.”

During a time when momentous changes are underway for Cuban-American relations, Hollywood in Havana adds to the discourse between the two countries. Presenting Cuban film art in the film capital of the world encourages viewers to consider the power of these posters as well as the printed media and graphic designs that permeate their daily lives. The exhibition demonstrates how art, entertainment, and politics intersect and integrate to influence and reflect cross-cultural communication.

Hollywood in Havana: Five Decades of Cuban Posters Promoting U.S. Films is co-organized by the Pasadena Museum of California (PMCA) art in partnership with the Center for the Study of Political Graphics (CSPG), curated by CSPG Founder and Executive Director Carol A. Wells, and accompanied by a brochure. The exhibition is supported by the PMCA Board of Directors, PMCA Ambassador Circle, and the California Visionary Fund. Media sponsorship is provided by LALA.

The exhibition is part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.

SPACE LIMITED ! PLEASE RSVP TO :

admin@politicalgraphics.org or 310-397-3100

Postcard size prints, like those shown above, are possible to complete during this workshop. Come with designs you'd like to print!

Join Ernesto Vazquez for

Poster Making-Linocut Workshop

on Saturday, June 10, 2017, from 1:00 to 4:00 pm.

Ernesto Vazquez was born and raised in Boyle Heights and now lives in El Sereno. His artworks can vary from paintings to Ink illustrations, charcoal, pastels, screen-prints and his favorite medium, linoleum block printing. The subject matter of his art also has a broad range of themes that depict social justice, comics, graffiti art, culture, religion and death. This allows Ernesto to keep evolving different images and techniques, that visually engage his audiences. In 2007 he became more involved with community organizing which influenced him to join a group of five community members in establishing Solidarity Ink, a politically driven screen-printing cooperative. Being a part of this cooperative, from 2009-2012, allowed him to gain experience in managing a print shop and curating cultural and socio-political art shows.

Reclaim! Remain! Rebuild!

Posters on Affordable Housing, Gentrification & Resistance

May 20, 2017 – June 29, 2017

A new exhibition from the Center for the Study of Political Graphics (CSPG)

Please join CSPG for the opening of Reclaim! Remain! Rebuild! Posters on Affordable Housing, Gentrification & Resistance, a timely and compelling new exhibition premiering at Mercado la Paloma, 3655 S. Grand Avenue, Los Angeles, CA 90007, Saturday, May 20th from 2-4 PM. This bilingual exhibition, on display through June 29th, presents 75 powerful posters from CSPG’s archive about a housing crisis that is more urgent now than ever.Reclaim! Remain! Rebuild! features graphics created during the last 60 years. The exhibition includes posters from Boyle Heights to Boston, from Melbourne to Paris. Topics covered include restrictive covenants, gentrification, displacement, homelessness, community building, and resistance. Housing is a battleground. It is central in the struggle to build thriving and inclusive communities. Posters are a powerful and strategic tool to oppose gentrification and displacement, promote affordable housing, and publicize the plight and rights of the homeless. Posters educate and inspire people to action. These graphics document a crisis that is local, national, and international, and affirm that housing is a human right. In line with CSPG’s mission of using art to educate and inspire people to action, a panel, tours, and poster-making workshop will accompany the exhibition. The panel will take place at the opening on May 20, and will feature the following curators and housing rights activists: Nancy Halpern-Ibrahim, Esperanza Housing Corporation; Carol A. Wells, CSPG; Cynthia Strathman, SAJE; Channa Grace, WORKS; Isela Gracian, East LA Community Corporation; and Pete White, LACAN.On Saturday, June 10th, 1-4 PM, printmaker Ernesto Vazquez will lead a linoleum cut workshop for participants to make their own political graphics (Space is limited, please RSVP: cspg@politicalgraphics.org). All events are free and open to the public. CSPG is an activist, educational, and research archive with more than 90,000 social movement posters from the 19th century to the present, including the largest collection of post-World War II political posters in the United States.

Reclaim! Remain! Rebuild! is funded by The California Endowment, California Arts Council, City of Los Angeles, Department of Cultural Affairs, with additional support from Esperanza Community Housing Corporation, The Getty Foundation, and Los Angeles County Arts Commission.

Upper images L to R: Housing for the People, Design Action Collective, Causa Justa :: Just Cause, People's Poster Project, Offset, 2010, Berkeley, CA; Condozilla, Josh MacPhee, Stencil, 2000, Chicago, IL; Fight for the International Hotel, Rachael Romero, San Francisco Poster Brigade, Offset, 1977, San Francisco, CA;

Lower images L to R: What’s the Difference…?, Guerrilla Girls, Offset, 1991, New York, NY; Community Control of the Land, Favianna Rodriguez, Center for the Study of Political Graphics (CSPG), Self-Help Graphics (SHG), Strategic Actions for a Just Economy (SAJE), Silkscreen, 2002; 33% of the Homeless are Veterans, San Francisco Print Collective, Silkscreen, 2006, San Francisco, CA

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2017 GETTY UNDERGRADUATE MULTICULTURAL SUMMER INTERNSHIPS AT CSPG

The Center for the Study of Political Graphics (CSPG) has been awarded a grant from the Getty Foundation to hire two undergraduate students for summer internships: one Archive & Research Intern and one Media & Design Intern. Each intern will receive a stipend of $5,000 for a full-time ten-week period between June 5 and August 25, 2017.

Qualification & Eligibility Requirements

Students must:

Be of a group underrepresented in museums and visual arts organizations, including, but not limited to, individuals of African American, Asian, Latino/Hispanic, Native American, or Pacific Islander descentBe currently enrolled undergraduates. Students must have completed at least one semester of college by June 2017. Students graduating in May or June 2017 are also eligible. (Students who are enrolled in a second BA or BS program are not eligible.)Reside or attend college in Los Angeles County andBe a U.S. citizen or permanent residentStudents who have previously served as Getty Multicultural Summer Interns at CSPG are not eligible

CSPG is an educational and research archive that collects, preserves, documents, and exhibits domestic and international political posters relating to historical and contemporary movements for social change. CSPG’s collection dates from the 19th century to the present, and includes the largest collection of post-World War II human rights and protest posters in the U.S. Through its programs, CSPG is reclaiming the power of art to educate and inspire people to action.

Media & Design Internship

CSPG is seeking an intern with a major in graphic design, or related experience, to assist with marketing and outreach, curate content for CSPG’s online platforms, and help design educational and promotional materials. The intern will also have archival responsibilities, including poster cataloguing and an introduction to exhibition development. Working knowledge of Adobe InDesign and Photoshop a plus.

Archive & Research Internship

CSPG is seeking an intern with a background in the humanities, such as art history, history, political science etc., to research and catalogue historical and contemporary social movement posters, help update CSPG’s online finding aid, and assist with exhibition research and development.

Required:

Working experience with Microsoft Office programsStrong visual interpretation and research skills

Both interns will receive training in the following:

Cataloguing political graphics using a museum database programPreparing digital images to be linked to database records

To apply: E-mail the following materials to Jerri Allyn at admin@politicalgraphics.org by April 17, 2017:

1) Cover letter with a description of how you meet the requirements for the position, 2) Resume, 3) Contact information for 3 references. Please include name and internship title in the subject line of the email.

Inquilinos

Santa Barbara Tenants Union

Silkscreen, ca. 1979, Santa Barbara, CA

CSPG invites artists, organizations, and activists to submit posters for our newest exhibition to premiere May 2017. Original posters, old or new, preferred, high resolution digital files accepted. Posters must be or have been produced in multiples, including Offset, Silkscreen, Stencil, Litho, Woodcut, Linocut, and Digital Print. Please send posters to CSPG by April 3, 2017.

Remain! Reclaim! Rebuild!

Posters on Affordable Housing, Gentrification & Resistance

Throughout the world, gentrification targets low income and vulnerable communities, driving up rents and housing costs for existing residents. Developers, merchants, and property owners are rapidly changing formerly affordable housing to luxury living. As the income gap widens, existing rent control legislation is unable to reconcile the gap between real wages and housing affordability. It is within this landscape that renters worry if they can ever buy homes of their own – or keep their rentals through retirement. As housing costs escalate, people often must choose between paying the rent or skipping meals, or moving away from schools, friends and family. When people are forced to move, their families and communities suffer.

Remain! Reclaim! Rebuild! will show the connection between gentrification, the loss of affordable housing and the increase in homelessness. Five decades of graphics will document not only that the crisis is local, national and international, but that people have been organizing to protect affordable housing for decades. Posters have been among the most effective tools to promote affordable housing, oppose gentrification and publicize the plight of the homeless. Posters are powerful tools for educating about the issue, organizing resistance and inspiring people to work for social justice.

CSPG maintains the largest archive of post-World War II political posters in the U.S., with more than 90,000 domestic and international posters and prints. Through traveling exhibitions, online photo albums, internships, and volunteer opportunities, CSPG is reclaiming the power of art to inspire people to action.

¡Cesen Deportación!

Stop Deportations!

Rupert García; Jesus Barraza

Silkscreen, 2011 reprint of 1973 original

Oakland, CA

The Art Gallery/Library Foyer, Glendale Community College

1500 North Verdugo Road, Glendale, CA 91208

Mar 1 - Apr 13, 2017

Exhibition Talk

Q&A with Dana Marterella, Professor/World Cultures/Critical Studies and David John Attyah, Gallery Director

Wed, Mar 15, 12:30 - 1:30pm

Leaving Home: refugees, migration, and the experience of leaving

Reception & Round table Discussion with special guests, in collaboration with GCC Cultural Diversity

Thurs, Apr 13, 5:00pm

No Human Being is Illegal: Posters on the Myths & Realities of the Immigrant Experience

From the collection of The Center for the Study of Political Graphics

September 6 – November 19, 2016

Reception on September 14 from 12:30-2pm

Wignall Museum of Contemporary Art, Chaffey College 5885 Haven Avenue, Rancho Cucamonga, CA 91737

Chaffey College and the Wignall Museum of Contemporary Art are pleased to present No Human Being is Illegal: Posters on the Myths & Realities of the Immigrant Experience from September 6 – November 19, 2016. There will be a reception on September 14, from 1230-2pm, with light refreshments and music from DJ Patrick Miller on the museum patio.

Give me your tired, your poor; Your huddled masses yearning to breathe free … There is an enormous disparity between Emma Lazarus' eloquent promise on the Statue of Liberty and ongoing attacks against immigrants. From the Irish and Chinese who came in the nineteenth century to the Mexicans and Middle Easterners arriving now, discrimination based on race, class, language, and culture has unfortunately been consistent. Whether the reason for migration is to escape war, seek asylum from persecution, or pursue better economic opportunities, leaving one’s family, friends, and home is never easy. These posters document diverse efforts to make immigrants’ reality closer to their hopes and dreams.

Five decades of powerful graphics use public spaces to organize and educate. They remind us to reflect upon our immigrant heritage, and challenge us to bring the immigrant experience closer to the promise on the Statue of Liberty This exhibition is about discrimination and prejudice, but it is also about hope, commitment, and determination. The posters record struggles but they also record victories, and the ability of people to successfully organize for change.

The Center for the Study of Political Graphics (CSPG) is an educational and research archive that collects, preserves and exhibits graphics of social change. With more than 85,000 political posters, CSPG includes the largest collection of post-World War II human rights and protest posters in the U.S. Through traveling exhibitions, workshops and publications, CSPG is reclaiming the power of art to educate and inspire people to action.

No Human Being is Illegal: Posters on the Myths & Realities of the Immigrant Experience is made possible in part by grants from the Department of Cultural Affairs, City of Los Angeles; the California Arts Council and individual donors.

Who’s the Alien, Pilgrim?

Yolanda M. Lopez

Offset, 1981

San Francisco, CA

31865

History. Chaz Maviyane Davies, digital print, 2016, MA. Image courtesy of: CSPG

http://thecreatorsproject.vice.com/blog/political-art-satirical-election-posters-exhibit

With every election comes promises and some nasty campaign rhetoric, as candidates hit the road, making their cases to become the next President of the United States. Commentating on the social and political issues that arise with each Presidential hopeful, the Center for the Study of Political Graphics has compiled 60 political posters, ranging from the Lyndon Johnson administration to the Republican and Democratic nominees of today, in an exhibit at ARENA 1, an LA-based gallery. Providing both a critical and entertaining look at Presidential policies, domestic and international, the artistically driven posters aim to spur second thoughts in voters ahead of election day.

“There is no such thing as a perfect candidate,” says Carol Wells, founder of the Center for the Study of Political Graphics(CSPG), a non-for-profit archive of political and socially influential posters from around the world. “In order to make the best decision we really need to have our eyes open and be as objective as possible to what’s going on. What a political poster does is try to get you to challenge the way that the corporate culture tries to get us to behave.”

Using art as a form of communication and protest, international and US-based artists create satirical assessments of the previous and potential leaders of the free world, presenting alternative views of a variety of issues the candidate stand for. Whether topics surrounding climate change, war or campaign financing, these posters seek to inform, advocate, and change attitudes.

“When they say an image is worth 1,000 words, it’s true,” says Wells, who has held this exhibit every 4 years since CSPG’s 1989 opening. “You can talk up and down about specific candidates but when you show someone an image focusing on either their good or their bad points, it really sticks in peoples’ heads. It’s a lot easier to ignore a statement than it is an image.”

Photo montages and clever taglines appear in the posters throughout the decades, to which, Wells tells The Creators Project, saw sophisticated graphics and easier distribution following the introduction and mass use of computers. “You’ll get anything from a street art aesthetic versus a fine art aesthetic versus someone who’s in a social movement and doesn’t really have art training,” explains Wells. The use of popular culture, mainly film, is also used to engage audiences.

Gulf Wars Episode II. Arie Kaplan, Scott Sonneborn, Mad Magazine.

2002. NY. Image courtesy of: CSPG

“It’s a very effective way of attracting attention,” explains Wells. “We are surrounded by images. One of the things that political posters have to do is break through that image overload. One of the techniques used to do that is by tweaking a familiar image in an unfamiliar way, which forces you to do a double take.

On whether a poster can change the world, Wells says, “art is the most powerful tool we have for communication,” citing a picture taken during the My Lai Masscre, which became plastered on posters everywhere and helped change the popular opinion towards the war in Vietnam.

Presented by the Center for the Study of Political Graphics, Presidential Rogues Gallery: Satirical Posters 1960s-Present runs at LA’s ARENA 1 Gallery until 20 August 2016.

Bernie So Punk

ABCNT

Digital print, 2015-2016

California, USA

46299

CSPG has been mounting exhibitions about satirical presidential posters every four years since 1988. This year CSPG and Arena 1 Gallery are pleased to announce the exhibition, Presidential Rogues Gallery: Satirical Posters 1960s to the Present,

3026 Airport Ave, Santa Monica, CA 90405. Exhibition open: July 16-August 20, 2016. Wed-Sat, 12-6:00pm.

Spanning administrations from Lyndon Johnson’s to the present, the posters in Presidential Rogues Gallery have nothing in common with traditional electoral posters supporting one candidate over another. Whether mobilizing against war, criticizing social policy, or targeting hypocrisy, both Republicans and Democrats are targeted in this exhibition.

Many posters appropriate the visual language of advertising and film promotion. George Bush I becomes the “Marlboro Man,” and George Bush II is depicted as the “Thief of Baghdad.” Others rely on puns and familiar slogans, such as a 1980 poster showing Ronald Reagan as the “Fascist Gun in the West, or Robbie Conal’s “Dough Nation” featuring Bill Clinton. Whether seen as humorous or scathing may depend upon the eye of the beholder.

These posters raise the issues and evoke the passions that inspire protests and protest art. They serve to remind all of us that democracy is based on the right and obligation to dissent, regardless of who sits in the Oval Office. We hope that this exhibition will amuse, bemuse, and provoke. As electoral campaigns continue, we may well need laughter and a measure of irreverence to put the political drama in perspective, as we wonder which candidate, and which issue, will be the first to appear on the next set of posters. We promise to bring them to you.

Design Action Collective, digital print, 2011, Oakland

On display through June 30th at Mercado la Paloma

For five decades, artists and activists have worked to advance environmental justice, fighting a war for the future of the planet. Posters give witness to a history of environmental struggles, prevent the issues from being forgotten by future generations, and show the vitality and importance of art in mobilizing social change. They reclaim the power of art to educate, agitate and inspire action.

Too Hot to Handle was funded in part by the City of Los Angeles, Department of Cultural Affairs, and the California Arts Council.

SCHEDULE OF EVENTS:

OPENING RECEPTION: Saturday, May 14th, 3-6 PM

Reception will begin shortly afterLA BREAK FREE 2016

PANEL OF SPEAKERS + TOUR:

Saturday, June 4th, 2-4 PM

featuring Yuki Kidokoro, Joshua Navarro, Sabina Virgo, and Carol A. Wells

POSTER MAKING WORKSHOP:

Led by Ernesto Vazquez

Saturday, June 11th, 1-4 PM

Space is limited, so please RSVP to cspg@politicalgraphics.org

All events are free & open to the public!

Featuring Work from the Following Artists and Organizations: ABCNT Alison Alder American Civil Liberties Union of Southern California (ACLU) Angelica Romero Anna Fer Barry Deutsch Bhopal Group for Information and Action Bill Moran Bündnis 90/Die Grünen California Coastal Commission Cara Cox CDM Enterprises The Center for Environmental Citizenship CESTA (El Salvadorian Center for Appropriate Technologies) Chuck Sperry Communities for a Better Environment CREDO Mobile Design Action Collective Division of Communications and Public Information/UNEP Douglas Tompkins Doug Minkler Earth Aware Editions Earth First EarthSave EarthShare East Yard Communities for Environmental Justice Environment Action Coalition Eric Kroll Esperanza Community Housing Corporation E-Z Prod. Farbo Druck GmbH Fédération Anarchiste Feminist Majority Foundation Firehouse & Mission Print Friends of the Earth Grassroots Global Justice Alliance Green For All Greenpeace Helga Housing Solidarity Network Indigenous Environmental Network Inkworks Press Javier López Jen Cartwright Jesse Goldstein Justseeds La Roche, Mc Caffrey & McCall, Inc. La Via Campesina Leslie Barany Communications Lighthawk Kevin Cross Mahar Adjmi Mariona Barkus Mary Lynn Sheetz Mary Macenka Mazatl Melanie Cervantes Micah Bazant Ministerio de Agricultura del Perú Molly Fair Nancy Ohanian Nepal Australia Community Forestry Project Network of Voluntary Organizations of East Uttar Pradesh Northland Poster Collective Nosey Posters Oficina de Información Tecnica (OIT), Perú One World Campaign Pan-African Liberation Committee Pam Debenham Pan-Pacific Committee for Environmental Poster Design Exhibition Paul B. Haglund Peace Studies Institute Pesticide Action Network (PAN) Asia and the Pacific Pesticide Education and Action Project Plakat Publisher Raghu Rai Rainforest Action Network The Research Foundation for Science, Technology & Natural Resource Policy Ricardo Levins Morales Robert Cenedella Robert Giusti Sahyog Sam Newbury San Francisco Indian Center "Watha" Graphics Scott Laserow Second Nature Graphics Seth Tobocman Sierra Club Social Impact Studios Socialist Harkevshina Somkiat Sirvikol Southern CA Environmental Health Sciences Center S. Prikaschikov Steven Lyons Stoptpp.org Stumptown Press Swedish Committee for Vietnam Tim Mendenhall Tin Sheds Art Workshop U. G. Sato University of Southern California Ursula Meyer Wendy Gutschow Wizard & Genius Y. Kurova Yossi Lemel Zero Population Growth

Artist unknown, offset, 1967, Los Angeles

CSPG is excited to announce that we have just been awarded a $25,000 grant from the Mike Kelley Foundation for the Arts to produce a timely new exhibition, To Protect and Serve? 50 Years of Posters Protesting Police Violence. The exhibition will premiere at the Social and Public Art Resource Center (SPARC) in December 2017, and will then travel.

A series of high-profile deaths over the past two years has catapulted the issue of racist police violence and state repression into the national and international spotlight. But this is not a new problem. Years before police killed Michael Brown and Eric Garner, there was Amadou Diallo and Sean Bell. In the 1970s, there was Eula Love and Ruben Salazar. In the 1960s there was James Chaney, Andrew Goodman, and Michael Schwerner. All were unarmed. All were killed by law enforcement. And these were just the handful that made headlines.

Videos of police brutalizing people are now too commonplace, yet the videotaped beating of Rodney King in 1991 made headlines around the world. The list of documented abuse by law enforcement is long...the list of unrecorded examples would be much longer.

Internationally, local police in the Mexican state of Guerrero have been implicated in the 2014 kidnapping, disappearance, and likely murder of 43 rural students. In Brazil, amidst preparations for the 2016 Summer Olympics, Amnesty International estimates that police are responsible for 16% of homicides in Rio de Janeiro. Palestinians living in the occupied territories voiced their solidarity with protesters in Ferguson, drawing parallels between the heavily militarized and disenfranchised communities of Gaza and the highly policed black and brown communities in the U. S.

Many of today's headlines find tragic parallels in the past, including the massacre of hundreds of Mexican students ten days before the 1968 Olympics and the 1970 killings of students at Kent State University, Ohio, and Jackson State University, Mississippi. Posters tell these and many other too often forgotten stories.

Current struggles against police violence and state repression are a part of a long history of resistance, depicted in graphics produced by the artists, activists and organizers who participated in these struggles. Thanks to the Mike Kelley Foundation's inaugural Artist Project grant, To Protect and Serve? will continue CSPG's mission to reclaim the power of art to educate, agitate, and inspire people to action.

The Center for the Study of Political Graphics (CSPG) has been awarded a grant from the Getty Foundation to hire two undergraduate students for summer internships: one Archive & Research Intern and one Media & Design Intern. Each intern will receive a stipend of $4,500 for a full-time ten-week period between June 1 and August 21, 2016.

Qualification & Eligibility Requirements

Students must:

Be of a group underrepresented in museums and visual arts organizations, including, but not limited to, individuals of African American, Asian, Latino/Hispanic, Native American, or Pacific Islander descentBe currently enrolled undergraduates. Students must have completed at least one semester of college by June 2016. Students graduating in May or June 2016 are also eligible. (Students who are enrolled in a second BA or BS program are not eligible.)Reside or attend college in Los Angeles County andBe authorized to work in the U.S.

CSPG is an educational and research archive that collects, preserves, documents, and exhibits domestic and international political posters relating to historical and contemporary movements for social change. Through its programs, CSPG is reclaiming the power of art to educate and inspire people to action. Students who have previously served as Getty Multicultural Summer Interns at CSPG are not eligible for consideration.

Media & Design Internship

CSPG is seeking a Media & Design Intern with a major in graphic design or art, or related experience, to assist with marketing and outreach, curate content for CSPG’s online platforms, and help design promotional and educational materials. The intern will also have archival responsibilities, including poster cataloguing and exhibition development. Working knowledge of Adobe InDesign and Photoshop preferred.

Archive & Research Internship

CSPG is seeking an Archive & Research Intern with background in the humanities, such as art history, history, political science, international relations, etc., to research and catalogue historical and contemporary social movement posters, help update CSPG’s online finding aid, and assist in exhibition research and development.

Required:

Working experience with Microsoft Office programsStrong visual interpretation and research skills

Both interns will receive training in the following:

Cataloguing political graphics using a museum database programPreparing digital images to be linked to database records

To apply: E-mail cover letter, resume, and three references to Karen Limón Corrales at admin@politicalgraphics.org by April 17, 2016. Please include name and internship title in the subject line.

AYOTZINAPA: A ROAR OF SILENCE

On display February through June 2016

On September 26, 2014, students from the Escuela Normal Rural de Ayotzinapa in the Mexican state of Guerrero boarded buses to attend a demonstration in Mexico City commemorating the anniversary of the 1968 Tlatelolco massacre, in which as many as 3,000 students were killed by Mexican police officers and military troops.

On their way to Mexico City, the students were to stop in the small town of Iguala to protest a political event held by the mayor and his wife. As the students arrived in Iguala, the buses were violently intercepted by local police. While details of the confrontation remain unclear, the police eventually opened fire, killing six and wounding twenty-five. Another 43 student teachers were witnessed being herded into police vehicles—and never seen again. After months of inaction and incompetence, the Mexican government released an official statement claiming that the Iguala police had handed the students over to a local drug cartel, the Guerreros Unidos, who later incinerated all 43 bodies in a nearby garbage dump. While the Mexican government hoped to close the case on the missing students, experts have pointed out that their claims are implausible, inconsistent, and scientifically unsound. The families of the missing students—with the support of the international community—continue to search for the truth.

Just eight weeks after the disappearances, internationally renowned artist and activist Francisco Toledo, in conjunction with the Instituto de Artes Gráficas de Oaxaca (IAGO), launched an open call encouraging artists from all over the world to submit work centered on the 43 missing students for an exhibition titled Carteles de Ayotzinapa. Over seven hundred pieces were submitted by artists from Mexico, Iran, Poland, Spain, Portugal, China, Greece, and more. The final forty-three were displayed at the Museo de Memoria y Tolerancia in Mexico City, along with an installation of 43 kites—each displaying the face of one of the missing students—created by Toledo and participants of an “Art and Paper” workshop in Oaxaca. Proceeds raised by the exhibition went to the families of the disappeared students.

Social and Public Art Resource Center (SPARC), Center for the Study of Political Graphics (CSPG), ArtDivision, and Self-Help Graphics & Art are working together to bring Toledo’s important, international exhibition to the United States for the first time. Ayotzinapa: A Roar of Silence will be travelling throughout Los Angeles in the following months with the help of organizations committed to using art as a tool for change. This series invites the LA community to support and amplify the roar for justice heard from Ayotzinapa and throughout the world.

Exhibition opens February 13th, Reception Thursday, February 18th, 5-8 PM

Social and Public Art Resource Center 685 Venice Blvd. Venice, CA 90291

Full schedule of events to follow

Image based on design by Carlos Carmona Medina

Loyola Marymount University's Art & Art History Department is hosting KaleidoLA, a speaker series exploring a range of interdisciplinary and intersecting experiences and pathways in the art world and in Los Angeles.

Don't miss CSPG Founder and Executive Director Carol Wells's keynote presentation, "Can Art Stop a War and Save the Planet?" happening Friday, January 22nd at 12:15 PM inside LMU's Murphy Recital Hall.

Carol A. Wells is an activist, art historian, curator, lecturer, and writer. She has been collecting posters and producing political poster art exhibitions on a variety of human rights themes since 1981. Trained as a medievalist at UCLA, she taught the history of art and architecture for thirteen years at CSU Fullerton until a poster changed her life. In 1988, Carol founded the Center for the Study of Political Graphics (CSPG), an educational and research archive with more than 80,000 social movement posters from the 19th century to the present. She believes that the power of graphics can combat public apathy and feelings of helplessness, and help open up a truly democratic arena for political debate.

This event is free and open to the public.

The Center for the Study of Political Graphics (CSPG) is creating a dynamic new poster exhibition touching on a range of diverse ecological issues, including global warming, environmental racism, and nuclear waste disposal. Too Hot to Handle: International Graphics on Climate Change, Pollution, & Environmental Justice will premiere this upcoming May in downtown Los Angeles at Mercado La Paloma.

We are asking organizations, artists, and activists for donations of ecology related posters, both contemporary and historical, to assist CSPG in curating the most comprehensive and inclusive exhibition possible. Posters from or about the 2015 Paris Climate Conference (COP21) are a priority.

Donated posters will be considered for the upcoming exhibition, and all will become a part of CSPG's unique archive. Donating posters to CSPG ensures that the posters' histories are made accessible to students, activists, and artists for generations to come.

Criteria for CSPG posters: 1) Works must have been produced in multiples, such as silkscreen, offset, stencil, lithograph, digital prints, etc. 2) The poster content must be overtly political.

February 29, 2016.

Contact: Center for the Study of Political Graphics (310) 397-3100 cspg@politicalgraphics.org

Featured posters, left to right: No Power Plant in South Gate!, Communities for a Better Environment, offset, 2001 / Und Neues Leben Büht aus den Ruinen ["And New Life Blossoms from the Ruins"], Klaus Staeck, offset, 1980 / Vote for True Food, Greenpeace, digital print, circa 2000