The motivation for this was I wanted to do work that was more universal. And I didn't
want to focus on work that was like Latino imagery. I mean the whole concept was about
racial profiling. But I wanted to have a bigger audience as far as like galleries and people
looking at my work. So, I was focusing on the visuals to be more universal and on this
one it was focusing on doing something that anyone could relate to. This model she was
really cool she knew 5 languages. Well she knows 5 languages. She knows how to cook like
gourmet foods. She's an amazing dancer and she paints abstract and realism art. I met
her in Germany. So here is more of what I was going for like about doing a portrait
without showing the face. But after this I was trying to give you less information about
who they were. So, I started looking for models that have shaved heads. This way I can have
something that's more universal and more neutral. About 4 inches it's really really small, what's
really fun about this piece is that a collector of mine really wanted it. And I told him I
really want to keep this piece I don't want to sell it. He goes well you know when I met
him I think he was like 70. He goes I'm going to die soon and my collection is going to
go to a museum. I go alright I'll sell it to you. I sold it to him. And 10 years later
I saw him at a party I go "hey man I thought you were going to die. I go, I want my piece
back you know you're still alive, it's a true story man." He's probably still alive knowing
him. So, this is the same model but 3 quarters. So here is where I found people with shaved
heads. And this is more of what I was looking for in in doing like a universal portrait.
Cause I wanted to do a portrait when you didn't know if it was a male or female or able to
figure out where they were from. Like identity, identity. I say that because the one problem
with Latino art is the artist get pigeonholed. And they get like a limited audience and they
get as far as like galleries, they have a limited amount of galleries that are interested
in showing their work. So, I didn't want to have any limitations. And I wanted to focus
on just being an artist and being accepted as one. So, when I did this body of work I
was able to achieve my goals. Same angle but more showing the full body from the study.
So, here is where I went from the drawing to the painting. This is 12, 12 by 12 inches.
And with this one idea alone like my whole career took off. With this one concept. It's
amazing like I went from just being like a regular artist in the art scene to being famous
to like making like 18,000 dollars a month. But I was you know I thought it was going
to keep on coming so I kept on spending it you know. Eventually I didn't have anything.
But, I bought a lot of sushi, took my friends out to eat.
>> A Porsche.
>> Oh and I went and bought a Porsche. It cost me a hundred and five thousand. So, here
is the same concept which of full figure. And I wanted to see what would happen when
I would go full figure. So, it was more about confrontation than the other ones where it
was about something else. But the original the motivation behind this was about racial
profiling. It's like that size of the door is like 76 inches by 33. So, then I aspired
to make up my own figures from different photographs. Like the upper part is a female and the from
the waist down is a male. I wanted to create like again again I wanted to create a portrait
a figure where you didn't know if it was male or female. This one's at the Hoya museum and
it's like 6 feet by 48 inches. So, same everything but just a different model. This ones at LACMA,
LACMA museum has this one. I wanted to do some paintings of jails, and then I when I
came down to painting the jails I wasn't happy with what I had. So, as I was, as I was leaving
the jails in Compton I noticed these houses that were painted with candy coated colors
around the jail. And they were painted that way to hide the idea that it was a jail in
the community So, I started to do paintings of the houses. Of course, it didn't have trees
like this but it was more to create like an abstraction of the house. This one is actually
like the same size that you see on the screen that's what it is in person. I went to the
collector's home in San Francisco he had it on his mantle. And I saw that there was like
a little bit of I don't know lint or something on the painting. And I was I was about to
touch it and to remove the lint and the collector was like hey! Don't touch it! So, when he
wasn't looking I touched it you know. Anyways it's my painting I know how to touch it. This
one is going to be at the, at the LACMA show in June. I think it's in June. I guess. LACMA
is the LA County Museum of Art. This is the one of the most I I made this painting like
in 2016. The others were 2003. And when I painted I didn't know what what was I thinking.
And then afterwards I realized that it was a picture of the projects where I was raised.
And I wasn't trying to do that it just kind of came out that way. This is a portrait of
Amber. It had to be shot in this angle because it was the the dark colors were getting a
lot of glare and you couldn't photograph it. A painting of Brenda wearing make-up. We just
played around with the make-up she doesn't really wear her make-up that way. We just
wanted to mess around and see what it would look like. This is the one right here and
when I saw doing these fighters I wanted to capture the violence of boxing and compare
it to the violence towards the black male. Like it's very disturbing what you see in
the news about these black males getting killed by the cops. So, I just did like some regular
portraits and then on some like this ones over here. I just focused on like the blood
and the violence of boxing and tried to make a comparison to the violence towards the black
male. So, like in this one you know you really don't know is if he's a boxer or if he's just
someone who's going to riot. You know or caught between police violence or some other kind
of violence. So, one on the side. This is a gun series that I'm working on right now.
For this painting, I wanted to capture the tension of the gun. And before making that
mark on top the gun was just a gun on this table. And then I wanted some more tension
so I grabbed some paint and just smeared it on top. And I think I captured what I was
looking for. And this painting is really small. It's like 8 by 10 inches. So, I'm doing a
series right now of 9 gun themes with food. When I was 9 years old through ages 16 my
dad would have me bring him food to his room. Of course, he didn't drink coffee this is
me thinking about the paintings. It's me like the coffee that I have every morning. There,
these are about 14 by 16 inches. So, this show is going to be in in the fall. If you
want to come to the show just add me on Facebook and or Instagram. And then I'll post the invite
and you'll be more than welcome to come. So here is a glass of water and gun. We're almost
done if you want to [inaudible]. Of course, I wouldn't bring 3 bananas but 3 look better
than 1. So, I put 3 bananas in this painting I think they were outside of the story that
motivated me to paint these paintings. I think you know these guns are always in the news.
So, everyone has some kind of like story about or they heard something. My dad was very minimal.
When he passed away everything he left behind was in a suitcase. And one of the things that
was in the suitcase was the gun. And supposedly he gave it to my brother but I'm the one that's
been using it in these still lights. And I want to do a mold out of it and make an additional
guns and paint them and do all kinds of funny stuff to them and just sell them. I think
that's it. I, if yea whatever question you have. What I say? I'll be happy to answer.
[ Applause ]
>> Any questions? I mean I know that all of you have a question to ask just like we practiced
last week. So, don't feel shy people, just raise your hand or just we can start forming
the line right here. And then just say your name.
>> My name is Monnie Caliver. My dad also graduated from Art Center and most of his
work is acrylic on canvas. I just wanted to know what kind of medium you use for most
of your?
>> I've been to your house, yeah, I know you.
>> Oh really?
>> Yeah, I use oil, yeah, I use oil on canvas. And of course, the early ones were drawings.
>> Are any of your surfaces or do you ever use wood panel?
>> Oil base, it's oil on canvas over panel.
>> Ok.
>> And the reason I put panel is because I want to press into the canvass and I don't
want the material to.
>> Warp.
>> To warp or to extend.
>> Next question, come on people don't be shy.
>> Would anyone like to form a line?
>> Extra credit come get in line.
>> Can I get extra credit too?
>> Yes, we'll give you an honorary degree.
>> Thank you for the presentation. My name is Rick [inaudible]. I'd like to ask you about
motivation and self-discipline when it comes to your art. The brief sketch you gave us
being at Pasadena City College was kind of being lost until you found that thing. And
then in my experience the discipline and all those things are easy once you've found it.
So, is that a mystical process? How what was your experience in finding your purpose at
being an artist?
>> Well I sucked at everything and, and then that was the only thing, you know, that I
was able to do without anyone helping me. So, I was avoiding it because I had no, no
reference. I I there was no one that I knew that was an artist. And then once I met artists
and that motivated me that I wanted to be like them. But I was avoiding it, avoiding
it and then once the teachers were recommending that I go to
art school for illustration, or fine art then I then I took that path. And then once I was,
once I was there you know with other students and the motivation like it was really easy
to get motivated to work. It was really easy to do to want to be your best, you know, because
everyone else was doing the same thing. Especially in art school when everyone there was an artist.
But when you go to university the arts the art department is going to be small. And even
to have other majors. When I went to UCLA I was, it was fun to be with other majors.
And to interact with other students from other majors.
>> Next question.
>> Hello Gilbert [inaudible] from ethnic and women's studies. Thank you very much for coming
and sharing your work. This past weekend I saw Picasso and Rivera at the LACMA. My question
is like how do LA artists like yourself and particularly artist of color get to show in
LA? I mean I go to a lot of museums and it's really hard to see, you know, the outstanding
artist like yourself and show their work. How were you able to do it? And how can others
also do it?
>> Well you know you have to go to art school there's no way around it. Like a lot of the
Chicanos that I met early on as I was coming up I they probably were they were the first
of their generation. Of even before like here in LA to go to art school so they didn't have
anyone to look at. They had the, they had the old masters to look at they had Diego
Rivera to look at or Frida. But they didn't have friends of them that were like let's
say John Maladares or [inaudible] or Lagu. These artists didn't have someone to look
at. So, I look at them and then I also say well what else, what else can I do to take
it further? And that was to go to grad school. Most Chicanos you know what I mean. Right
now, there's a lot of Chicanos in grad school but when I was going to grad school I was
like I was the only one. The only one in undergrad and the only one in grad school. I think you,
you have to play ball with everyone in order to be a part of the game you know.
>> Thank you.
>> Your welcome.
>> I can attest to what you're saying. Because there's been a major shift in the last 20
years of inclusion of people of color and women in the art center. It's been a shift.
It's slow we need to keep going.
>> Yep.
>> I as a Latina curator myself also I think its real important for curators to be of color
and to be women and to be Latino. And to be able to help pull pull it up as well. Pull
all of these artists up and recognize them as they should be recognized. So on to the
next question.
>> Everybody that has a question please stay with the microphone because otherwise you'll
be blocking the camera.
>> Hi everyone, I'm Louis Antonio a Chicano [inaudible] great work.
>> Thank you.
>> It's amazing, what grabbed my attention was when you mention how colored people for
instance the African American portraits. That you have represents how they stand strong
and how you show the blood in these boxer's face. My question is like how did you come
up with that idea? Do you just like sit down just like draw it? Or what made you want to
connect both of those?
>> Well this idea well we were raised in the projects. We would see police brutality like
every day and I'm not exaggerating, it was like every day so.
>> Yeah, I know. You know it was like very surreal it's like a hyper reality what happens
in the projects. So, when I started to see the violence towards the black male in like
the last couple years I got really like just affected by it. And I wanted to do something
for myself, you know, to kind of like deal with it. Because I was starting to become
afraid of cops like when, you know, when they are behind you or something like that. So,
the but it all goes back to being raised in the projects.
>> Oh ok.
>> And like how long does it take you to like draw these portraits?
>> Well that one there probably took 2 hours, an hour and a half.
>> Oh really?
>> Yeah because you know I went to school enough and I mastered their the material so
it happens really fast. Sometimes it happens so fast that I don't I don't know if the painting
is good or not. I just kind of sit on it for a while and then and then probably either
if I don't destroy it then I keep it.
>> Thank you.
>> Thank you.
>> Hello everyone. My name is Rays Gary. And I guess I just wanted to state that I notice
a lot of motivation behind your paintings has a sociopolitical motivation behind it.
>> So I guess my question is what are your what are your opinions and motivations on
things that's done on in recent times that drive your work?
>> Well what's my career and ideas that I'm working on?
>> Well more like events going on in society?
>> Oh, no right now I'm just focusing on these gun paintings. I think it also still goes
back to the violence like the shootings you know. Cause I mean I have the gun and I wanted
to do something with it. I was, I've always there was so much violence being raised in
the projects that I've always wanted to capture the violence in my work. So, when I see the
violence towards like the black male or the violence of just police brutality. That kind
of like motivated me. But I'm not inspired by anything right now other than just trying
to finish these paintings.
>> Thank you.
>> Thank you.
>> Hi my name is Jane [inaudible]. I'm going to kind of piggy back on the last one which
is that art school's kind of known for being like training you to do really commercial
products. And also like car illustrations and I don't see any cars. And how do you find
that balance between trying to make a living and also doing art that really speaks to your
heart? Like how do you manage that?
>> Well I, I teach, you know, so that's mostly that's all my friends that do art mostly are
part-time teachers or full-time teachers. Or another and like I also do commissions
you know where I do portraits. So, like if I do a portrait of someone's kid that size
I charge like from 3 to 5 thousand. But I mean you know not that many kids want to pay
that much money. You know I got a limited amount of kids to paint.
>> Well thanks.
>> Just to speak to that I mean Omen you're an artist, right? And you work how many jobs?
>> Three.
>> Three jobs and you're an artist and you also show your work, you're exhibiting. He's
a part-time faculty.
>> He was my student at Oakridge.
>> So you know him? He did an amazing installation piece here for the faculty show couple just
a few months ago.
>> That's great.
>> And it got a lot of attention so like you know I can vouch for that. Almost all faculty
are working, teaching multiple classes. I mean sometimes teaching at multiple universities
and colleges. And at the same time having to also keep their craft going, keep their
craft up. So, you're probably working 24/7 you're breathing art every day. And that's
kind of what the life of an artist is these days. It's just that's what it just seems
I don't know if you can relate.
>> Yeah yeah, yeah then you need that private time of just sorting your ideas. You know
like when.
>> And sleeping.
>> Cause you don't eat, right?
>> Yeah, I had to go through, yes. When I was going to art center I literally made it
on a dollar a day.
>> Wow! What I did is I got to know the cooks and I and I would have them. I would buy a
bowl of rice but I would have them fill it up with meat. And then cover it with rice
so I would only pay for a dollar.
>> Well and I tell students that you don't go into art to make a lot of money. Even though
it can happen to the few, the lucky. But you do it because you love what you do. You do
it because it has meaning and fulfilment for you and I think that that's something a lot
of people need to recognize.
>> Yeah, it's it's an honor to be part of culture like it's really fun and exciting
to like I'm going to have a show in September. And to know that hundreds of people are going
to see the show and it's going to be reviewed by magazines. And to get all that support
needed and to be part of the dialogue that's currently going on. And it's a total honor,
I get like it's even on a bad day I can create a painting so.
>> Can we pick one more question?
>> I just want to ask as a Latino when I was growing up I wanted to be a musician. And
I really had no college experience or anything else but I really wanted to pursue like a
musician. Or a musician more but my parents I don't know they kind of pushed me away from
it cause you're not going to make any money doing it. How did your parents take that?
And was that a struggle I guess you were probably?
>> Well of course my mom she wanted me to be a lawyer or a doctor. Which I was like
I don't see how I could've done that for me you know. Especially when you're having your
girlfriends write their papers it's not going to happen. So, I really, I mean I got support
but not the kind of support that people normally give to their to their children. So, I was
just basically on my own doing my work not knowing that I was at a really good school.
And I was focusing on artists for support. I had a lot of outside support. I mean my
family supported me especially as I started to exhibit it when they saw what it was about.
And when they started to realize what art was about you know for me and the impact it
was having in the family then they started to support me more.
>> I want to share a little story too because I think that's a struggle that happens with
a lot of people in the arts, visual, performing, music. I also had the same problem. I had
Latino parents that thought you know art was not the direction to go in. And I got pushed
towards business and I got a degree in business. I made my parents happy but then I went back
to school and did what I wanted. And I'm able to put those 2 things together now. And I
think it's possible. I think you can pursue your passion and still make your parents happy.
Like it takes a lot of extra help and extra support. Like I said and just the motivation
and desire to really do what you really want to do. But in any case, I mean I'm sure you've
found, your you'll find your way. One more question.
>> Hi, I'm Christina here on behalf of the graduate clinic study association. And we
just wanted to give you this basket from the [inaudible].
>> Thank you.
>> So you guys can [inaudible]. We just wanted to thank you for coming today doing this artist
lecture. And we want to thank you for having your art on display and we're sure it's going
to inspire a lot of students here. Thank you.
>> Well thank you.
[ Applause ]
Are they real?
>> I didn't get a basket? I'm an artist. It was just a lot of wonderful, very insightful
questions. You know apart from being an artist, and a teacher, someone who has mentored to
a lot of students over the years. A lot of young people and one of the things I encourage
them to do is to pursue college. And then also pursue graduate school to improve the
skills. And then also to push them beyond their safe zone or their home. You know a
lot of artists that ended up getting accepted to schools in Boston and New York. And pretty
much push them they literally push them go, go outside of your home, outside of your safety
community and explore. This is what I think is the idea of being a risk taker taking those
risks. Cause a lot of times when you grow up in these very close-knit communities and
families it's scary. For especially for women and young men to leave their homes and he's
able to be that mentor that he didn't have growing up. You know a lot of times when you
grow up in a situation like we did in the projects we had someone here who also grew
up in the gardens one of our students. Is that it's a pretty bleak situation so when
anybody graduates from high school it's like they made it. It's like they met the mark.
They feel big everybody is like [inaudible] because nobody graduates from high school
in the projects. You know it's when the, I believe this idea that each generation needs
to do better than the next that, that's my philosophy. And when your parents didn't go
to school you know our parents grew up in [inaudible], Mexico, and [inaudible]. They
literally didn't go to school at all. So, for us when we graduated elementary school
we already surpassed them. You know we already, you know, we made it mom you don't have to
work anymore. You know you don't have to work I just graduated elementary school I'll be
great. So, anything above that is icing on the cake. You know graduating from high school
you know graduating when Salamone went to art center. My mother and my father one of
the reasons they didn't discourage him is because they didn't know. They didn't know
what college was. They didn't know I mean most immigrants they know, they think going
to college means being a doctor or lawyer. [inaudible] because that's the thinking. And
when you're [inaudible] what are you going to do with that? My parents were pretty much
they were not, they didn't have an understanding of how the system worked. So, they pretty
much at least with my brother and I they pretty much let us do whatever we want, bottom line.
They never said no, they said no to my sisters cause of the Mexican the the [inaudible],
the sexism that we experience in Mexican cultures, traditional Mexican culture. But literally
for my brother and I whatever we wanted to do. They just pretty much ok amigo you know
buy some groceries that was it. We could've joined a gang, [inaudible] be careful with
that drive by you know don't hit anybody. So, when we started exhibiting that's when
my parents and my family were like whoa we didn't know that that was possible. And sometimes
it's kind of funny the way it works is that. By not putting boundaries, by not telling
the kid no so much can come out of that child you know. I think that's kind of what happened
to us we're pretty much lucky and an outlier within the America that we grew up. And I
think that for me you know being here and showing all of you that there is no limits
really. I mean I could say like in terms of skill wise, like technical skill wise there's
no one better than Salamone. In within Latinos, Chicanos, in the history of United States
period. And because, because he mastered the skill of an illustrator. And unfortunately,
a lot of the Chicanos and Chicanas, Latinos and Latinas, African Americans haven't had
that privilege. To attend a very rigorous, expensive college, university that teach you
those skills, technical skills that allow you to exhibit at LACMA. You know Gagosian
the most expensive gallery in the world, [inaudible] bi annual. And I don't say this like to show
off or whatever because you're my brother. I say this because I want other people that
are here, urban planners, architects, artists, musicians and people that like to cook and
have this creative side to them. That pursue those dreams, don't let anybody tell you otherwise.
Don't let others whether it's your parents or anybody else, you know, limit your ability,
your potential right.
>> Don't be afraid.
>> Don't be afraid you know reach for the stars. So, with that I would like to thank
our few our co-sponsors. We're we're here because we have the students a lot the ethnic
studies students help promote the event. A lot of the urban planning students of the
undergrad and graduate helped promote the event. The UCLA Chicanos studies research
center help promote the event where Salamone is going to be a visiting scholar this fall.
Also, we have [inaudible] in Los Angeles. We have other people that trying to understand
the importance of the art especially in this time that we're living today where the arts
are going to be cut by this administration. Is we cannot allow for the arts to be killed
or the arts to have a diminished and show the value of creativity. So, with that like
we say Mexico and east LA muchas gracious.
[ Applause ]
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