This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

Join us for a roundtable discussion with renowned muralists Elliot Pinkney, Mark Greenfield, Joe Sims, Ulysses Jenkins and other artists about the importance of the mural movement and takig art to the streets of Los Angeles.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

Participants create their own imaginery mosaic globe using toys and other recycled materials. RSVP 213-744-2024.

CAAM's Black History Month celebration highlights the importance of education in our history and for future generations. The program includes performances by local schools and professional performers.

The Galleries are closed today.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

Films at CAAM presents "Jump at the Sun", the life and work of Zora Neale Hurston.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

Four Sundays in January and February--January 29, February 12, February 19, and February 26
Following a one hour screening from the "Eyes on the Prize" documentary series, Drs. Brenda Stevenson of UCLA and Marne Campbell of Loyola Marymount will offer a series of lectures during the second hour focused on America's Civil Rights Movement from 1954-1965

The Galleries are closed today.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

The CAAM History Council invites you to join us for Conversations at CAAM with our special guest the Hon. Carol D. Codrington, Associate Justice, Fourth District Court of Appeal Division Two.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

Four Sundays in January and February--January 29, February 12, February 19, and February 26
Following a one hour screening from the "Eyes on the Prize" documentary series, Drs. Brenda Stevenson of UCLA and Marne Campbell of Loyola Marymount will offer a series of lectures during the second hour focused on America's Civil Rights Movement from 1954-1965

The Galleries are closed today.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

Galleries open at 6:00pm. Discussion and Q&A from 7:00-8:30 pm. A discussion about how African American artists have been viewed by critics and collectors, and how the market place is progressing for African American artists and culturally-specific art. Participants will include: Charlotte Sherman, Alden Kimbrough, Eric Hanks, Angela Witherspoon, Robert Holmes and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM organized exhibit thoroughly explores the representations of people of African descent in the work of Mexican artist Miguel Covarrubias (1904-1957). Covarrubias moved to New York City at 19 and became friends with the intellectual elite of the Harlem Renaissance. His drawings and caricatures were featured in Vanity Fair, Vogue and Fortune magazines. In 1927, he illustrated Negro Drawings. which presented a more dignified image of African Americans to mainstrean America. In the following years, Covarrubias also depicted Afro-Mexicans, Afro-Cubans, and West and North Africans. This exhibition places his art within a historical context and analyzes his works as part of his broader representation of people of color. It is particularly noteworthy that many of the works borrowed for this exhibition have never been shown in the USA.

Four Sundays in January and February--January 29, February 12, February 19, and February 26
Following a one hour screening from the "Eyes on the Prize" documentary series, Drs. Brenda Stevenson of UCLA and Marne Campbell of Loyola Marymount will offer a series of lectures during the second hour focused on America's Civil Rights Movement from 1954-1965

The Galleries are closed today.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.

This CAAM curated exhibition utilizes a range of imagery to explore Los Angeles' parallel universe of places and people that served to validate and further the progression of African American art between 1940-1980. Photographs from personal albums and institutional collections represent historical dcumentation of places and events, personal relationships and interactions. Others joined in, but ultimately, the community and the artists themselves proved to be the best source for "self-validation" in places such as Golden State Mutual Life Inusurance, Studio Watts Workshop, Watts Tower Art Center, Watts Summer Festival, Brockman Gallery, Gallery 32, Pearl C. Woods Gallery, St. Elmo's Vilalge, the Museum of African American Art, and many others. There were hundreds of working Black artists during this time period in Los Angeles. A sampling of the surnames in our exhibition include: Barthe, Beasley, the Davis brothers, Dickson, Jackson, LaRue Johnson, Hammons, Hassinger, Lane, Lewis, Mills, Outterbridge, Purifoy, Pinkney, Riddle, Saar, Sims, Waddy, Washington, Westmoreland, White, Woodard, Wyatt and others.