Phantom Sightings: Art after the Chicano Movement is the first comprehensive consideration of Chicano art in almost two decades and the largest exhibition of cutting-edge Chicano art ever presented at the Los Angeles County Museum of Art. Traditionally described as work created by Americans of Mexican descent, Chicano art first emerged during the vibrant Chicano rights movement of the late 1960s and early 1970s. This catalog and exhibition explore the experimental tendencies within today's Chicano art, which is oriented less toward painting and polemical assertion and more toward conceptual art, performance, film, photography, and media-based art, as well as "stealthy" artistic interventions in urban spaces. Three essays by Rita Gonzalez, Howard N. Fox, and Chon A. Noriega explore the topic in depth. With more than two hundred color illustrations, twenty-five individual artist portfolios, and a wryly subversive chronology of significant moments in Chicano cultural history, Phantom Sightings: Art after the Chicano Movement charts new territory and provides a conceptual sampling of Chicano art today.

Phantom Sightings: Art after the Chicano Movement

Arts & Photography

Fox, Howard

González, Rita

Noriega, Chon A.

History & Criticism

University of California Press

Shows examples of the American artist's paintings, sculptures, and combine and discusses his work in video and performance art

Robert Longo

Rizzoli

Shows examples of the American artist's paintings, sculptures, and combine and discusses his work in video and performance art

Individual Artists

Avant Garde in the 80's

Los Angeles County Museum

For more than three decades Southern California artist Eleanor Antin has been an acclaimed figure on the American art scene. During that time she has created a body of work that is remarkable for its inventiveness, its wit, and its poignancy. This is the first comprehensive survey of this pioneer in the development of video, performance, conceptual and installation art.

Eleanor Antin

Beal, Graham

Los Angeles County Museum of Art

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LinkedIn for International Students

Business & Money

Steinfeld, Steven

Job Hunting & Careers

CreateSpace Independent Publishing Platform

Since the early 1960s, William Christenberry has plumbed the regional identity of the American South through his work in Hale County, Alabama, where he was raised. Although he is most often associated with--and recognized as a pioneer in--American color photography, he also works in an unorthodox mix of media that includes sculpture, drawing, painting and found-object assemblage. This comprehensive survey of his work considers all those practices together, and in doing so gives readers access to the full scope and complexity of his vision. In every medium, Christenberry's theme is unified: the history, the story of place, is at the heart of his project. His poetic documentation of vernacular architecture, signage and landscape captures moments of quiet beauty in a sometimes mythic terrain that, with its worn iconography and buildings turned ramshackle, evokes the form and power of the passage of time. Since relocating to Washington, D.C., in 1968, Christenberry has dutifully returned to photograph the same locations annually--the green barn, the palmist building, the Bar-B-Q Inn--fulfilling a personal ritual and documenting the physical changes wrought by the passing of a year. More than half the photographs in this comprehensive survey are previously unpublished, including new and vintage images and a stunning selection of never-before-seen Kodachrome work. An essay by Walter Hopps, the artist's lifelong friend and the founding director of the Menil Collection, who passed away in 2005, will draw attention as well.

William Christenberry

Grundberg, Andy

Broun, Elizabeth

Aperture

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