The exhibition’s curators, filmmaker/writer Jesse Lerner and artist Rubén Ortiz-Torres, thoroughly examined Disney’s long engagement with Latin American culture, from Donald Duck’s first featured role in the 1937 Mexican-themed short Don Donald to the company’s 2013 attempt to trademark the Day of the Dead. Lerner and Ortiz-Torres’s research further drew from a pivotal trip Walt Disney took with his team to South America in 1941. Along with a group of fifteen animators, musicians, and screenwriters, Disney flew to over five South American countries as part of a U.S. government-directed effort to promote the “Good Neighbor” policy during the Second World War. In addition to the celebrated film The Three Caballeros, this trip produced the feature Saludos Amigos; a “making of” documentary titled South of the Border with Disney; and propaganda films such as The Grain that Built a Hemisphere.
The infamous 1971 Chilean book by scholars Ariel Dorfman and Armand Mattelart, Para leer al Pato Donald (How to Read Donald Duck), was brought to Ortiz-Torres’s attention while studying with artist Michael Asher at the Disney-funded CalArts in the 1990s. The book (formerly banned in Chile and threatened by legal action in the U.S.) provides a structural analysis denouncing the ways in which Disney comic books were used as vehicles to justify and promote U.S. policies and cultural imperialism.
As curators, Lerner and Ortiz-Torres intend to show that Disney cannot be seen as something simply exported to the rest of the Americas, and passively received. Like any other cultural force or mythology in Latin America, Disney imagery has always been quickly reinterpreted, assimilated, adapted, cannibalized, syncretized, and subverted by artists: sculptor Nadín Ospina creates pre-Columbian-like objects portraying Disney characters using carved stone and gold; artist Enrique Chagoya juxtaposes imagery from codices, indigenous iconography, and popular graphics that include Disney characters in a postcolonial critique; Liliana Porter has produced conceptual graphics and photography where Disney toys are juxtaposed with recognizable figures such as Che Guevara. Photographs like Antonio Turok’s show how Disney iconography has been intertwined with daily life in Latin America. Arturo Herrera’s work plays with our almost innate ability to immediately recognize Disney characters, no matter how abstracted: the artist will present a new mural near the Schindler House, on the side of the West Elm building at 8366 Beverly Blvd, Los Angeles 90048, on view through the length of the exhibition.
Due to its size and scope, the exhibition will be presented in two locations: the Schindler House in West Hollywood and the Luckman Gallery at Cal State LA.
Luckman Fine Arts Complex
5151 State University Dr., Los Angeles, CA 90032
The Gallery at the Luckman Fine Arts Complex at Cal State LA is open Monday–Thursday, and Saturday, 12 p.m.–5 p.m.
Lalo Alcaraz, Florencia Aliberti, Sergio Allevato, Pedro Álvarez, Carlos Amorales, Rafael Bqueer, Mel Casas, Alida Cervantes, Enrique Chagoya, Abraham Cruzvillegas, Minerva Cuevas, Einar and Jamex De la Torre, Rodrigo Dorfman, Dr. Lakra, El Ferrus, Demián Flores, Pedro Friedeberg, Scherezade Garcia, Alicia Mihai Gazcue, Arturo Herrera, Alberto Ibañez, Claudio Larrea, Nelson Leirner, Fernando Lindote, José Rodolfo Loaiza Ontiveros, Marcos López, José Luis and José Carlos Martinat, Carlos Mendoza, Pedro Meyer, Florencio Molina Campos, Mondongo, Jaime Muñoz, Rivane Neuenschwander, Rafael Montañez Ortiz, Nadín Ospina, Leopoldo Peña, Liliana Porter, Artemio Rodríguez, Agustín Sabella, Daniel Santoro, Mariángeles Soto-Díaz, Magdalena Suarez Frimkess, Antonio Turok, Meyer Vaisman, Ramón Valdiosera Berman, Angela Wilmot, Robert Yager, Carla Zaccagnini.
ABOUT THE CURATORS
Jesse Lerner and Rubén Oritz-Torres each bring considerable knowledge to the exhibition project and publication. Both are artists and academics—teaching at Pitzer College and UC San Diego, respectively—whose work explores the boundaries of culture and art; their fields of expertise and methodologies, though distinct, complement each other and often overlap. They previously collaborated in the production of the film Frontierland and in curating MEX/LA, ‘Mexican’ Modernism(s) in Los Angeles 1930-1985 for the Museum of Latin American Art in Long Beach in 2011. Scholar Fabián Cereijido is the assistant curator of the exhibition.
ABOUT PACIFIC STANDARD TIME: LA/LA
Pacific Standard Time: LA/LA is 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. Led by the Getty, Pacific Standard Time: LA/LA is a collaboration of arts institutions across Southern California.
Through a series of thematically linked exhibitions and programs, Pacific Standard Time: LA/LA highlights different aspects of Latin American and Latino art from the ancient world to the present day. With topics such as luxury arts in the pre-Columbian Americas, 20th century Afro-Brazilian art, alternative spaces in Mexico City, and boundary-crossing practices of Latino artists, exhibitions range from monographic studies of individual artists to broad surveys that cut across numerous countries.
Supported by more than $16 million in grants from the Getty Foundation, Pacific Standard Time: LA/LA involves more than 70 cultural institutions from Los Angeles to Palm Springs, and from San Diego to Santa Barbara. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.
Major support of this exhibition and publication is provided through grants from the Getty Foundation.
Generous support provided by the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, and the City of West Hollywood.
This project is also supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.
MAK Center for Art and Architecture, Los Angeles835 North Kings Road
West Hollywood, CA 90069
T +1 323 651 1510
F +1 323 651 2340
Opening HoursWed–Sun 11 a.m.–6 p.m.
Closed Mon and Tue. MAK Center Bookstore is open seven days a week, 11 a.m.–6 p.m.
Guided Toursat the weekend and by advance booking.
Admission$10 / $7 students and seniors,
admission including Schindler by MAK guide $17 / $16 students and seniors
children under 12, Friends of the Schindler House, and Friends of the MAK Center; on Friday afternoons 4–6 p.m.; International Museum Day in May; and Schindler's Birthday, 10 September
Schindler House / Mackey Apartments & Garages / Fitzpatrick-Leland House:
The first Friday of every month,
11 a.m.–6 p.m., advance reservations required
Admission for all three houses,
incl. Schindler by MAK guide:
$50 / $42 students and seniors / $30 Friends of the Schindler House and Friends of the MAK Center
Admission Fitzpatrick-Leland House only,
incl. Schindler by MAK guide:
Suggested donation $34 / $32 students and seniors / $20 for Friends of the Schindler House and Friends of the MAK Center
Admission Mackey Apartments only,
incl. Schindler by MAK guide:
$17 / $16 students and seniors, free to Friends of the Schindler House and Friends of the MAK Center