LAST NIGHT, I slipped in for the opening at the Craft Folk & Art Museum on the Miracle Mile.
Wilshire Boulevard was a bit of a madhouse as it was free museum admission day across the southland and LACMA, located just across the street from CFAM, was one of the venues participating in the promotion. (Which sent a pretty loud message about perhaps retooling pricing structures and thereby creating more access, but I digress …)
This brought a healthy crowd into CFAM as well — on top of the opening guest list/party crowd. The current show, which features the work of three artists — Timothy Washington’s “Love Thy Neighbor,” Golnar Adili and Samira Yamin’s “Displacements” and Shirley Familian’s “19,275 Stamps — was packed, and offered a pretty vivid representation of the many faces/guises/spaces that make up L.A.
Consequently the galleries were really too bustling to spend much contemplative time up-close with all of the work. That will be for later. But I did get upstairs to the third floor to take a quick-spin through “Love Thy Neighbor,” as I’m putting together a profile on another currently-L.A.-based assemblage artist who grew out of this very same L.A. strain of the tradition.
This is Timothy Washington’s first solo museum exhibition. The show, which occupies the entire third-floor gallery, features a generous sampling of his creative evolution — engravings on aluminum, found-art sculpture, mosaics, wash-boards and wooden spoon pieces among them. Meticulously layered, each piece is a story within a story within a story, offering powerful visual narratives about both sense of place and state of mind. Looking forward to returning to spend more time with all of it.
Here’s a preview piece by Mike Sonksen that appeared earlier this week on KCET Departures.
Below are some highlights and details from some of Timothy Washington’s work.