Ricardo Valverde (Volume 8) (A Ver)

At his untimely death in 1998, photographer Ricardo Valverde (b. 1946) had for almost three decades documented the various communities and social spaces of Los Angeles. Though he began this lifelong pursuit while still in college, capturing the streets of his South Central neighborhood and the urban landscape of downtown Los Angeles, it wasn’t until the Watts Riots of 1965 that Valverde and his work became deeply political. But if his work became more political, it did so within an aesthetic that grew ever more critical of the tropes and institutions of documentary art.Featuring more than one hundred illustrations, this book—in the landmark A Ver: Revisioning Art History series—records the unfolding of Valverde’s vision, from his first photographs of L.A. streets as repositories of the city’s social history, to his socially and politically acute portraiture, to his surrealist-inflected mixed-media work late in his career, to his role in the formation of the community-based arts groups Self-Help Graphics & Art, Ojos, and Chicano Art Collectors Anonymous. Ramón García’s essay offers a clear framework for understanding Valverde’s art and life, along with a sense of the personal and social politics and history that influenced both so thoroughly.

Arts & Photography

García, Ramón

History & Criticism

Chicano Studies Research Center

<div> At his untimely death in 1998, photographer Ricardo Valverde (b. 1946) had for almost three decades documented the various communities and social spaces of Los Angeles. Though he began this lifelong pursuit while still in college, capturing the streets of his South Central neighborhood and the urban landscape of downtown Los Angeles, it wasn't until the Watts Riots of 1965 that Valverde and his work became deeply political. But if his work became more political, it did so within an aesthetic that grew ever more critical of the tropes and institutions of documentary art. Featuring more than one hundred illustrations, this book--in the landmark A Ver: Revisioning Art History series--records the unfolding of Valverde's vision, from his first photographs of L.A. streets as repositories of the city's social history, to his socially and politically acute portraiture, to his surrealist-inflected mixed-media work late in his career, to his role in the formation of the community-based arts groups Self-Help Graphics & Art, Ojos, and Chicano Art Collectors Anonymous. Ramón García's essay offers a clear framework for understanding Valverde's art and life, along with a sense of the personal and social politics and history that influenced both so thoroughly. </div>

Poetry. Latino/Latina Studies. LGBT Studies. "There are infinite varieties/of saying no to geography." The Prodigal Son is the Other in the gray landscape of suburbia, the dystopian glamour of Los Angeles, the parched glitter of Palm Springs, the shadows of Paris, the traffic and noise of Accra--landscapes of dispossession and estrangement where the borders of memory and longing are permeable.

Other Countries

Literature & Fiction

Poetry

What Books Press

Strays Pack 3: Ramon Garcia, Richard Jackson, Jakob Maier

Jackson, Richard

Maier, Jakob

Foundlings Press

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