L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum
L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum

L.A. collects L.A. – Latin America in Southern California Collections, Vincent Price Art Museum

$80.00

Photographs by Rubén Ortiz Torres document the wide range of Latin American art in the collections of Carl Baldwin’s Velvetería, April and Ron Dammann, E. Michael ‘Baltazar’ Díaz, Betty Duker, Armando and María Durón, Alonso Elías and Patricia Fontes Rosas de Elias, Lêda Leitão Martins, Nicholas Pardon, Tom Patchett, Sammy Sayago, Dan Segal, Enrique Serrato, Billy Shire, Esperanza Valverde, Elisabeth Waldo, Richard and Rebecca Zapanta, the Stendahl Gallery, and Bill London’s Pedorrero Muffler repair shop. Six essays explore the cultural, political, and social histories of Latin American art and artifacts in Southern California collections, including Matthew H. Robb’s sleuthing on the pre-Columbian as MacGuffin in mid-century Los Angeles, Ana Elena Mallet on Taxco Silver in California, Jesse Lerner on the meeting of ancient and modern in the Arensberg collection, Selene Preciado on Chicano art collections and collectors, Rubén Ortiz Torres on the Pedorrero, and Amy Sánchez-Arteaga and Misael Díaz on the Elías Fontes collection.

Based in Berlin and founded in 2011, BOM DIA BOA TARDE BOA NOITE is a small independent publishing house — a community of artists, graphic designers, authors, curators, cultural workers, craftsmen and craftswomen; specialising in artist books that are conceptualised as a part of an artwork or as the artwork itself.  They attempt to play with the format of the book and reflect its medium;  all of their books are produced in close collaborations with the artists themselves. Working in the long-standing tradition of alternative publishing practises, their focus is on collaborations with younger, not yet established artists or artists from outside of North America and Western Europe; from outside of an eurocentric discourse.

BOM DIA BOA TARDE BOA NOITE translates to ‘good day, good afternoon, good night’ in Portuguese. The name conveys the idea that books can become an integral part of our everyday life – regardless of the time of day. 

Measures: 18 x 25 cm
Pages: 224
Binding: Hardcover