In 1935, in the midst of the Great Depression, President Roosevelt needed to generate enthusiasm for his New Deal. The challenge was to find support for investments into programs and services directed primarily to the recovery of rural America, which most city folk had not experienced firsthand. Roosevelt’s conversational and intimate fireside radio chats brought him into people’s homes. His straight talk promised hope and comfort to an ailing nation and highlighted what the government was doing to remedy the country’s ills.
Clarissa Tossin’s Ch’u Mayaa questions the forms of cultural appropriation in modernist architecture. Tossin focuses on Mayan Revival style as it manifested in Los Angeles during the early 20th century and sets the work in the Hollyhock House (built 1919–1921), a private home in Los Angeles designed by Frank Lloyd Wright. Working with the choreographer and performer Crystal Sepúlveda, Tossin based Ch’u Mayaa’s choreography and movements on the gestures and poses represented in Mayan ceramics and murals.
This exhibition presents Buddhist objects and Buddhist-inspired artworks, from across and beyond Asia, in their many and varied styles and expressions. The concept of “Asia,” which was invented by ancient Greeks and Romans and perpetuated by European geographers, misrepresents diverse groups of people and their divergent civilizations by suggesting they form a cohesive whole. Buddhism, however, is one of the few cultural traditions that has connected distinctive Asian populations over time.
This special installation, from SCMA's collection, traces the unique histories of over 20 of the Museum’s most important works of African art. New research has connected artists with objects that were previously unattributed, while the roles of collectors and donors are examined in conjunction with the objects’ own cultural histories and meanings.