Column: Investigating Carmen Miranda and fighting the ‘biennial effect’: Two Latin American artists in L.A. prepare for Pacific Standard Time
LA TimesCarla Zaccagnini had never been to Los Angeles when she landed in the city for a residency at Santa Monica’s 18th Street Arts Center in mid-April. The artists, who are in town for six-week residencies, will have their work featured in next year’s “A Universal History of Infamy,” a PST LA/LA show of genre-bending contemporary Latin American artists that will go on view at the L.A. County Museum of Art, the 18th Street Arts Center and LACMA’s satellite space at Charles White Elementary in Westlake. She also has a long-running interest in how entertainer Carmen Miranda came to be the embodiment of all things Brazilian for North American audiences in the 1940s — not to mention a friendly face of the U.S.’ Good Neighbor Policy With the assistance of Betty Marín, a PST researcher at the 18th Street Arts Center, she was able to track down correspondence between the singer’s representatives and Nelson Rockefeller, who had funded a performance by the star at a San Francisco yacht club in 1945, for a conference that launched the charter for the United Nations. That’s something you know, but it’s not something you absorb until you get here.” ALSO Casta paintings were weird racial documents that broke stereotypes Getty Foundation to issue $8.5 million in grants for Latino and Latin American-themed shows across SoCal Venice Architecture Biennale, Day 1: Govan and Zumthor make their LACMA pitch Artist Rodrigo Valenzuela’s shrines of disillusionment Find me on Twitter @cmonstah.
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