Happy Birthday to Dolores del Río!
This beautiful mural of the Mexican actress, by Alfredo de Batuc, is located on a side street off of Hollywood Blvd and includes scenes from several of her films. Her career spanned more than 50 years and she is regarded as the first major female Latin American crossover star in Hollywood. Her film career began in 1925 and her last film appearance was in 1978. She passed away in 1983.
From the wall description of the work-
Made shortly before Saar’s seventy-eighth birthday, the assemblage includes years and astrological glyphs on the inner left side that correlate to various important dates in her life. The work’s title wittily refers both to the timepieces in the sculpture- which, of course, are not ticking; indeed they are either frozen in time or missing their hands- and to the artist herself, who is alive and well, still ticking, now at age ninety-three.
One of the songs from the June 2020 playlists is Sleaford Mods’ Second, recorded in 2017 and recently released on the 2020 compilation album All That Glue which includes various B-sides, previously unheard tracks, and more.
The video stars actresses Kate Dickie (Game of Thrones) and Emma Stansfield (The Tudors) performing as singer Jason Williamson and producer Andrew Fearn at an open mic at the local pub.
To learn more about the Sleaford Mods, there was also a documentary about them released in 2017, Bunch of Kunst.
The playlists below are made up of musical selections from bands and musicians who would have played in Los Angeles in June of 2020 if not for the COVID-19 pandemic, and others who had or were part of concerts online.
One of the pieces from Drew Heitzler’s 2015 exhibition Pacific Palisades at Blum and Poe Los Angeles.
Today, July 6th, is the four year anniversary of the fatal shooting of Philando Castile by a police officer during a traffic stop in Minnesota. Castile was shot five times while his girlfriend and her four year old daughter were in the car.
Mark Bradford’s 150 Portrait Tone, 2017, currently at LACMA, is a devastating large scale work that uses excerpts from Philando Castile’s girlfriend Diamond Reynolds’s dialogue from the video she live streamed on Facebook from the incident.
From LACMA’s wall description of the work-
Bradford notes that he was moved by the multiple subjects Reynolds simultaneously addressed and the different spaces they occupied: her boyfriend, Castile, next to her (“stay with me”); the officer outside the car (“please, officer, don’t tell me that you just did this”); God (“Lord, please Jesus, don’t tell me that he’s gone”); as well as the unknown receiver on the other side of her lifestream (“please don’t tell me he just went like that”).
Like many of Bradford’s works, the mural-size composition contains elements of both abstraction and realism. In places, layers of manipulated paint render the text almost illegible. The dark form in the background, however, evokes all-too-real associations with the horrific shooting, such as Castile’s twisted arm and the dark-red bloodstain spread across his white shirt, both visible in the live stream feed.
The title, “150 Portrait Tone”, refers to the name and color code of the pink acrylic used throughout the painting (most conspicuous in a large patch at the work’s bottom edge). Like the now-obsolete “flesh” crayon in the Crayola 64 box (the color was renamed “peach” in 1962), the color “portrait tone” carries inherent assumptions about who, exactly, is being depicted. In the context of Bradford’s painting, the title presents a sobering commentary on power and representation.
For more of artist Lyndsay Rae’s (@msellerae) work, check out her Instagram