Category: Past

Photos by Gary Askew.

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Capacity is limited. All attendees are encouraged to wear white.

LAND (Los Angeles Nomadic Division) presents The Horse, a 45 minute immersive performance directed, choreographed and performed by Chris Emile. Developed during a three month creative residency, The Horse is the result of a collaborative process between Emile, sound architect Cody Perkins, vocalist Alevonallure, lighting designer Jason Fox, and a small circle of West African drummers with guidance from Vodun practitioners.

The Horse evokes the supernatural experience of spiritual possession. In Vodun tradition, a “horse” is a person possessed, being “ridden” by a possessing deity. In combining somatic practice, theology and research into the origins of ballet, Emile reassesses what traditional balletic training deems the role of the performer/dancer. The resulting work embodies ancestral knowledge, reverence for African religions, the human-divine connection, and, in reintroducing catharsis into performance, reclaims the relationship between body and spirit.

The Horse is a contemporary ritual. All are invited to witness and experience a shared catharsis.

The Horse by Chris Emile is commissioned by LAND (Los Angeles Nomadic Division).

Evan Greer – Drummer

Kevin Moore – Drummer

Nery Madrid – Drummer

Alexis Vaughn – Vocalist

Cody Perkins – Sound Architecture

Jason Fox – Lighting

Liz Montecastro – Costume

Hatt Merlino – Audio Engineer

Daniela Aramayo – Producer

Special thanks to Glorya Kaufman Performing Arts Center and James R. Eads

This performance will take place outside. Floor seating and chairs will be available on a first come first serve basis. You are welcome to bring your own blankets and pillows for seating on the floor. If you need specific accessibility accommodations, please email info@nomadicdivision.org.

About Chris Emile

Based in Los Angeles, Chris Emile is an active director, choreographer, educator, and performer. He received his formidable dance education from Lula Washington, Karen McDonald, the Ailey School, and holds a BFA in Dance from the Alonzo King LINES Ballet/Dominican University BFA program as a member of the inaugural class. As a dancer, Chris has performed with Alonzo King LINES Ballet, Complexions Contemporary Ballet, Morphoses, Luna Negra Dance Theater, and BODYTRAFFIC performing the works of master choreographers such as Nacho Duato, Idan Sharabi, Stijn Celis, Barak Marshall, and Gustavo Ramirez Sansano.

Chris’s directorial and choreographic work oscillates between the experiential, film, stage, and commercial worlds. He is a 2022 Artadia Award Finalist. His film work has been presented by the Getty Museum, Compound LB, NOWNESS, 4:3 Boiler Room, Art + Practice, and CULTURED Magazine. His choreographic work has been commissioned by  Solange Knowles, the Kennedy Center, Sao Paolo Opera, Anderson Paak, Moses Sumney, San Francisco Symphony, Opera Omaha, the University of Southern California, the Institute of Contemporary Art, Museum of Contemporary Art, LA, and LA Opera for the Pulitzer Prize winning opera p r i s m where he also assistant directed. Chris’s first solo exhibition was presented by the MAK Center for Art & Architecture in 2020.  AMEND explored Black male identity through movement, cinema, sculpture and sound. Emile employed archival & contemporary found footage with artifactual set design to re-render the modern architectural marvel that is the Schindler House into a sacred, private place: a home amenable for Black dealing and healing. An intergenerational cast of three dancers acting as one man, move the audience through the house and through time working their way through the question: who, if not me, decides what a Black man is?

He is the co-founder/curator for the movement based project No)one. Art House where he has programmed site specific performances, films, educational workshops, and movement based installations with institutions such as Hauser & Wirth, the Getty Museum, SAINT HERON, Refinery 29, St. Germain,  the 14th Factory, and the California African American Museum among others.

As an educator, he has been a guest lecturer at the California Institute of the Arts, UCLA, AMDA, Loyola Marymount University, Pomona College, Boston Conservatory, and UC Irvine. He also coordinates a week long workshop every summer entitled CIPHER that engages movement based artists in an intense daily practice of meditation, movement research, and composition study.

The Horse by Chris Emile is commissioned by LAND (Los Angeles Nomadic Division) and is being presented as a part of Gatherings, LAND’s ongoing series of public installations, performances, collaborations and offerings reimagining civic spaces and ways of gathering with artists who weld ritual, myth, ancestral knowledge, and communal practices to navigate and reimagine the world. Gatherings is presented with support from the Pasadena Art Alliance.

LAND’s 2022 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terri Kohl Family Foundation. Additional support is provided by the Fran and Ray Stark Foundation, the Los Angeles County Board of Supervisors through the Department of Arts and Culture, the LA Arts Recovery Fund, Wilhelm Family Foundation, and LAND’s Nomadic Council. Special thanks to Artist Sponsors Karen Hillenburg, Brenda Potter, Abby Pucker, Jay and Deanie Stein Foundation Trust, and the Poncher Family Foundation.

LAND is a member-supported organization. Support LAND’s free, public programming by becoming a member today.

February 16 – February 20, 2022

9900 Wilshire Boulevard

Beverly Hills, CA 90210

In partnership with Frieze Sculpture, LAND (Los Angeles Nomadic Division)  commissioned a new sculpture by Los Angeles-based artist Isabel Yellin entitled Pillar of the Intangible. A continuation of Yellin’s visual language, the sculpture plays with hardness and softness, the duality of our internal experience and external presentation. The work is a connective structure that invites as much as it confounds. The organic, soft forms rendered permanent encompass the contradictory and confounding expanse of time that we move through, the daily obstacles we face, and the fluidity demanded of our rigid, breakable bodies.

This is a unique opportunity for LAND to support a young artist in pushing their work to a new scale alongside an exciting group of established artists. This would be Yellin’s first public commission, and at 9 feet tall, the largest iteration of her work to date.

Isabel Yellin (b. 1987, New York, NY) received her MA in Painting from the Royal College of Art, London, in 2014. Her combinative works aim to articulate the subconscious. Her work is simultaneously sensory and sensitive, corporeally linked to both the guttural and the alien. Recent exhibitions include Show Me As I Want To Be Seen at the Contemporary Jewish Museum, San Francisco (2019), Cuddle Puddle (solo), at Althuis Hofland, Amsterdam, The Netherlands (2018), and Velvet Concrete (solo) at M. Le Blanc Gallery, Chicago, IL (2018). She is also the curator of a two-part LA based female sculpture show, Your Presence is Encouraged, which opened last month in Nevine’s Yard, and PSYCHOSOMATIC at Various Small Fires, LA.

LAND’s 2022 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terri Kohl Family Foundation. 

Additional support is provided by the Los Angeles County Department of Arts and Culture, the LA Arts Recovery Fund, Abby Pucker, the Fran and Ray Stark Foundation, Jay and Deanie Stein Foundation Trust, the Poncher Family Foundation, Brenda Potter, and LAND’s Nomadic Council.

Photo by Casey Kelbaugh. Courtesy of Casey Kelbaugh/Frieze.

For resources and information, please visit twotw.org

LAND is pleased to present Hank Willis Thomas and Dr. Baz Dreisinger’s The Writing on the Wall, a multi-site wheatpaste campaign in partnership with Kayne Griffin Los Angeles. 

The Writing on the Wall is a shape-shifting collaboration between professor and activist Dr. Baz Dreisinger, artist Hank Willis Thomas, and a growing list of design and production partners including Openbox, MASS Design and Chemistry Creative. 

As an artwork made from essays, poems, letters, stories, diagrams and notes written by people in prison around the world, it is a potent visual intervention. In its fullest form it debuted on the High Line in NYC, the most trafficked public park in the World. LAND is pleased to partner with Hank Willis Thomas and Dr. Baz Dreisinger to bring The Writing on the Wall to Los Angeles spread across its various neighborhoods. 

The Writing on the Wall is housed within the fabric of the radically imaginative justice work of the Incarceration Nations Network (INN): a global network and think tank that supports, instigates and popularizes innovative prison reform efforts around the world. With 115 partners spanning every continent and more than 50 countries, INN uses The Writing on the Wall as an anchorage point and artistic soapbox for justice partners, believing in the power of the visual to emphasize creative approaches to justice.

In response to the global pandemic dire impact on the carceral population, The Writing On the Wall transformed its 1,200 square foot installation into a digital version that took over cityscapes. By partnering with local projection collectives, the artwork was featured guerilla-style on “justice” buildings (i.e. jails & courts) and iconic sites in New York City, Washington DC, Columbus OH, Mexico City, Chicago, IL and Boise, ID. This transformation also includes the writings wheat pasted in neighborhoods across the US–featuring QR codes taking people to Incarceration Nations Network’s information website filled with resources.

LAND’s 2022 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terri Kohl Family Foundation. 

Additional support is provided by the Los Angeles County Department of Arts and Culture, the LA Arts Recovery Fund, Abby Pucker, the Fran and Ray Stark Foundation, Jay and Deanie Stein Foundation Trust, the Poncher Family Foundation, Brenda Potter, and LAND’s Nomadic Council.

You can find Hank Willis Thomas and Dr. Baz Dreisinger’s The Writing on the Wall’s posters in the following neighborhoods: Chinatown, Downtown Los Angeles, Leimert Park, Little Tokyo, Echo Park, Mid-City, and Hollywood.

Photos by Bradley Hale

THEIR BODY BECAME (an offering) 5/20

THEIR BODY BECAME (an offering) 5/27

Opening event 
Friday, May 7 (Los Angeles State Historic Park) 

6:30pm PT — Welcome
7:00pm PT — Ceremony

In the Catholic “ex novoto” tradition, where symbols of body parts can be used as offerings that evoke gratitude or desire for healing, Laur Lewis Neal will lead participants in a ritual, accessible and open to all, that centers queer and trans bodies. Participants will be guided through a practice of letting go; offering up parts of themselves that no longer serve them so that healing can enter the new space left behind. This ritual acknowledges the transformative act of relinquishing ownership, infusing generosity and gratitude into the objects, concepts or traumas we choose to release. RSVP here.

The Institute of Contemporary Art Los Angeles (ICA LA) and Los Angeles Nomadic Division (LAND) present a collaboration for WE RISE 2021.

For WE RISE 2021 the artist veronique d’entremont will present a public artwork that reimagines their own family legacy of spiritual mysticism, bipolar disorder and suicide through the veneration of human ancestors and non-human kin. The artist’s installation Their Body Became (An Antenna, Transmitting the Message of God) at the Los Angeles State Historic Park takes inspiration from their ongoing interspecies collaboration with feral swarms of honeybees. Borrowing from a multitude of sources including Christian Mysticism, Sicilian folk magic, earth-based spirituality, entomology and developmental psychology, the artist re-frames the story of their mother’s untimely death as one of martyrdom and sainthood—albeit unrecognized by the Catholic Church. Through their devotional sculpture and poetry, d’entremont crafts a personal mythology that seeks to reclaim agency and find liberation amidst patterns of intergenerational trauma.

Located at the top of a small hill is a 20’ diameter circular tapestry, painted with gold lettering that tells a poetic allegory of honeybee reproduction, through excerpts from the artist’s text Hail Holy Queen: A Novena To The Bees.  “…but we remind you, O Queen, your mother abandoned you that you might flourish.” In the center of the tapestry sits an empty adobe shrine, sculpted out of a mixture of unfired clay, cemetery dirt and the ashes of the artist’s mother. The shrine simultaneously refers to a backyard grotto that might house a religious icon, but also to the mountain caves in which feral honeybee colonies commonly make their homes. Over the course of the installation, the unfired ceramic shrine will evolve, reminding the viewer of both the impermanence of human-made institutions and the lifecycle of the natural works.

At the base of the hill are arranged a series of sculptural receptacles bearing purposeful statements written by the artist as a form of invocation. Viewers are invited to write their own responses or prayers and insert them into openings incorporated into the sculptures.  In future artworks, the artist will engage these written contributions, and the ceramic receptacles will be put to use as sculptural hives for feral colonies of honeybees.

 Through a QR code provided at the site, viewers are invited to watch documentation of “Their Body Became (An Offering)” a ritual centering queer and trans bodies and inspired by Catholic “ex novoto” tradition, where symbols of body parts can be used as offerings that evoke gratitude or desire for healing. The syncretic nature of d’entremont’s work—merging spiritual traditions to yield new meaning—creates room for the frictions and contradictions implicit in the gesture of a queer artist reclaiming the Catholic rituals of their upbringing.  “Their Body Became (An Antenna, Transmitting the Message of God)” marks an expansion of d’entremont’s spiritual cosmology, as the artist moves beyond the matrilineal legacy of their biological family into an exploration of queer mysticism.

Los Angeles State Historic Park is located on a site with a syncretic history of its own.  It was once an indigenous pueblo and trading site for the Tataviam, Chumash, and Tongva people, a Spanish settlement, and over the last two centuries the surrounding neighborhood has been a cultural center for Chinese, Mexican and Italian communities. On the street behind d’entremont’s installation sits St. Peter’s Italian Church, one of few remaining relics of Los Angeles’s Little Italy, where a now-aging Italian spiritual community hold processions and feasts honoring certain saints.

WE RISE encourages wellbeing and healing through art, connection, community engagement and creative expression.Taking place during May: Mental Health Awareness Month, WE RISE 2021 includes Art Rise, a series of 21 art experiences; Community Pop-Ups, hyperlocal activities across Los Angeles County neighborhoods; and a robust Digital Experience, offering original programs that can be enjoyed from anywhere. All installations and activities are meant to be viewed from a distance individually or in small groups, in order to remain COVID-safe while still fostering community connection and collective healing.

An initiative of the Los Angeles County Department of Mental Health, WE RISE is needed now more than ever as the region emerges from the isolation of the global pandemic and continues to grapple with related stressors and racial injustice. This is our opportunity to rise together.

WE RISE events are calls to action, asking you to join a movement to break through barriers and defy old assumptions about mental health and the many related social conditions that compound problems and hurt our communities. WE RISE is the signature experience of the broader WHY WE RISE public education campaign, which is part of a national movement to transform the mental health system and help break through barriers by defying old assumptions about mental health, combatting stigma and recognizing the role that related social conditions play in the wellbeing of individuals and communities. For more information, please visit werise.la

LAUR LEWIS NEAL is a nonbinary writer, historian, and artist based in Los Angeles. Their essays, research, and interviews interrogate how physical space is gendered and raced in community building and politics. They have been published in Dissent, Guernica, and After Ellen, and their prose was a finalist for the Summer Literary Prize. As a writer-in-residence at the Grin City Collective, Neal explored poetry as ritual, removing it from a strictly religious context and reappropriating it as a personal form of healing inclusive of queer experience. In the interactive poetic installation All My Saints at the Rurally Good Festival, they conducted rituals canonizing people in our past as a form of healing. Their current focus is on symbols and rituals that expand physical space outside the binary

veronique d’entremont is a transdisciplinary artist who looks to early Christian mysticism and earth-based practices for ways to claim queer ancestry with human & non-human kin. Their practice spans devotional sculpture, audio installation, video, performance, and an inter-species collaboration with a feral colony of honeybees. Through myth-making, veronique seeks paths to healing our relationships to the environment, each other and ourselves. Their current public artwork, inspired their own mother’s martyrdom and sainthood, explores avenues of mysticism and ritual that center trans and other queer bodies.

LAND’s 2021 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terry Kohl Foundation. Additional support is provided by the the Los Angeles County Department of Arts and Culture, the California Community Foundation, the J. Paul Getty Trust Foundation, Fran and Ray Stark Foundation, the Chauncey and Marion D. McCormick Family Foundation, the Poncher Family Foundation, Brenda Potter, and LAND’s Nomadic Council.

Opening Event: Sundial portraits with Megan Dorame and iris yirei hu

Saturday, May 8
3-5pm PT

RSVP HERE

The Institute of Contemporary Art Los Angeles (ICA LA) and Los Angeles Nomadic Division (LAND) present a collaboration for WE RISE 2021.

For WE RISE 2021 Julia Bogany (Tongva), poet Megan Dorame (Tongva), and artist iris yirei hu have constructed a human sundial entitled Pakook koy Peshaax (The Sun Enters the Earth and Leaves the Earth) at The Los Angeles State Historic Park. To interact with the sundial, the visitor stands upon a platform, from which their casted shadow tells time. The sundial considers the cycle of life and regeneration by using materials that can rehabilitate the earth. Soil and compost shape the sundial’s arc, onto which each hour is marked by stone replicas of cogstones. Cogstones are discoidal, cog-shaped objects that were carved into different varieties of stone. Because they are believed to have been ceremonial in nature, they are held in sacred regard to the Indigenous people of Southern California. Cogstones have been found throughout the Los Angeles Basin, with their highest concentrations being found along the Santa Ana River and at the Bolsa Chica site in Orange County. The enigmatic stones, which date back to at least 7000 BC, have shaped the Indigenous legacy of Southern California. 

In an effort to ground our healing from traumatic and oppressive forces, Tongva elder Julia Bogany often led wellness circles for Indigenous women and youth that began with the question, “Who is the rock beside you?” to call in the relationships that have impacted and supported our lives. Her formative question eventually led the collaborative triad to feature the ancestral cogstones, whose function and meaning continue to be mysterious. In her poem, “Cogstones,” Tongva poet Megan Dorame uses the imagery of these sacred artifacts to question the cultural patrimony of the myriad of looted Tongva tribal objects that are currently displayed in museums. To repatriate these objects to her people, she symbolically throws them into the sky where her ancestors exist as stars. Dorame’s work is rooted in her homeland, the Los Angeles Basin, where she explores the entanglements of settler colonialism and confronts its implications on her community. In her work, she moves between past and present in search of a path towards healing, and ultimately finds her way through the language, images, sounds and songs of her ancestors.

Visitors are invited to stand on a colorful platform that features newly commissioned poetry by Megan Dorame and painted imagery by artist iris yirei hu. The imagery depicts Blue Child, a recurring ancestral figure in hu’s oeuvre, attuning themself to the brilliance of Bogany and Dorame’s Tovaangar while making meaning nearby Dorame words and Bogany’s legacy. In the past, hu and Bogany supported each other in creative and classroom teaching capacities in ways that uplifted Bogany’s advocacy to ensure that the future of her culture, people, and language are bountiful and accessible for generations to come. Together, Bogany, Dorame, and hu present visitors with an offering to connect purposefully to place and affirm our position within the extant systems of the universe. They imagine an alternate possibility for the cogstones’ return by forging a multi-layered path towards healing: To heal the soil is to heal the place we call home, and to heal the place we call home is to heal ourselves. 

Pakook koy Peshaax (The Sun Enters the Earth and Leaves the Earth) is presented in loving memory of Julia Bogany, whose legacy lives on in the hearts of the Tongva community and beyond. To learn more about Ms. Bogany, please visit her website at http://www.tobevisible.org.

The project received astronomical consultation from Yuguang Chen, and fabrication assistance from Nicolas Papoin and David L. Bell.

WE RISE encourages wellbeing and healing through art, connection, community engagement and creative expression. Taking place during May: Mental Health Awareness Month, WE RISE 2021 includes Art Rise, a series of 21 art experiences; Community Pop-Ups, hyperlocal activities across Los Angeles County neighborhoods; and a robust Digital Experience, offering original programs that can be enjoyed from anywhere. All installations and activities are meant to be viewed from a distance individually or in small groups, in order to remain COVID-safe while still fostering community connection and collective healing.

An initiative of the Los Angeles County Department of Mental Health, WE RISE is needed now more than ever as the region emerges from the isolation of the global pandemic and continues to grapple with related stressors and racial injustice. This is our opportunity to rise together.

WE RISE events are calls to action, asking you to join a movement to break through barriers and defy old assumptions about mental health and the many related social conditions that compound problems and hurt our communities. WE RISE is the signature experience of the broader WHY WE RISE public education campaign, which is part of a national movement to transform the mental health system and help break through barriers by defying old assumptions about mental health, combatting stigma and recognizing the role that related social conditions play in the wellbeing of individuals and communities. For more information, please visit werise.la

Megan Dorame is a Tongva poet who lives and writes in Santa Ana, California. She holds a BA in anthropology from the University of Oklahoma, and works to reclaim and revitalize the Tongva language. Megan is a 2020 PEN Emerging Voices Fellow and three of her poems have been nominated for the Pushcart Prize. Her work has appeared in Dryland, The Offing, and Best of the Net 2019, among others. Megan compiled and edited the forthcoming book anthology Totoongvetamme Maaynok / Tongva People Create, which brings together art and writing from the Tongva community. She is currently working on her first poetry collection.

Julia Bogany was a teacher, an activist, and an elder of the Tongva tribe dedicated to the teaching, revitalization, and visibility of Tongva language and culture. She worked for over thirty years for the American Indian community and for her tribe. She provided cultural, FASD, ICWA training and workshops in the Los Angeles, San Bernardino, and Riverside areas. She also provided workshops in Sacramento for the California Rural Indian Health Board Woman’s conferences. Ms. Bogany taught Tongva language and cultural classes. She helped to reawaken and revive the Tongva language, as well as assemble a Tongva dictionary.

She was Vice President of the Keepers of Indigenous Ways (KIW), a non-profit group of the Tongva, and President of Residential Motivators, her own non-profit consulting firm. Ms. Bogany served on several committees and organizations: Community Health Worker for Mental Health, California Indian Education Association, Children Court L.A. Round Table for ICWA, and runs co-ed and women’s circles. She was President of Kuruvungna Springs, a Representative for California tribes on Route 66, a member of CNAC (California Native American College board), and Pitzer College Elder-in-Residence at the Claremont Colleges, where she taught native culture and history and women’s issues. In September 2010, she received the Heritage Award from the Aquarium of the Pacific at their sixth annual Native American festival, Moompetam. Ms. Bogany consulted with and trained teachers and school boards on how to revise their curriculum to reflect the correct history of California and California tribes. Her desires were to change the future for her tribe, children, grandchildren, and great grandchildren.

iris yirei hu is an artist from Los Angeles. She uses her hands to weave, tell stories, transform, dye, and compost her lived reality. She sees painting, weaving, natural indigo dyeing, collecting earthly specimens, and working with soil and fibers as ways to redeem the embodied intimacy we once had with the natural world. She often makes colorful, haptic, and large assemblages, in which one may encounter materials, stories, living organisms, and ecologies from Taiwan, California, Southern China, Mexico, and the American Southwest. Her work allows her to form connections with artists, scientists, historians, keepers of traditions, and community stakeholders and organizers, and sees these relationships as futures and friendships.

She has shown her work at the Plug-in ICA (Winnipeg, Manitoba, Canada), Los Angeles Contemporary Exhibitions (LACE), OxyArts at Occidental College, John Michael Kohler Arts Center (Sheboygan, WI), Los Angeles Municipal Art Gallery, Women’s Center for Creative Work, Human Resources, Lenfest Center for the Arts (New York, NY), and Visitor Welcome Center. Public art commissions include mural wraps at California State University Dominguez Hills (2020) and bus and rail posters for LA Metro (2016). She has held residencies at the Women’s Center for Creative Work (2018), Carrizozo AIR (2020), and Los Angeles Cleantech Incubator (2021). She has been supported by the Foundation of Contemporary Art, Rema Hort Mann Foundation Artist Engagement Grant, and is a 2016 Paul & Daisy Soros Fellow. Her work has been reviewed and featured in the LA Times, Artforum, Carla, American Craft Magazine, CNN, Sinovision, KCET, X-TRA Online, and Artillery. She is working on her first book. She earned her BA from UCLA and MFA from Columbia University in the City of New York.

LAND’s 2021 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terry Kohl Foundation. Additional support is provided by the the Los Angeles County Department of Arts and Culture, the California Community Foundation, the J. Paul Getty Trust Foundation, Fran and Ray Stark Foundation, the Chauncey and Marion D. McCormick Family Foundation, the Poncher Family Foundation, Brenda Potter, and LAND’s Nomadic Council.

RSVP HERE – Free and open to all.

Hang in They’re is a 15-person group exhibition of exclusively suspended works, organized by Julia Leonard and Perwana Nazif. This exhibition considers works that suspend—or float—and trouble normative considerations and displays of artworks. The works, exclusive to the exhibition, demonstrate each artist exploring outside of the boundaries they have established for themselves in art–making, just as suspension does in regards to the physical laws of the universe: push/pull, resist/float, fixed/moving, serious/playful, weighted/weightlessness. Ultimately, the show addresses how we can grapple with serious ideas and situations and yet remain buoyant, without escapism.

Iterative in its very nature, Hang in They’re also calls attention to re/decontextualization of exhibition and art-making within the context(s) of Los Angeles and in community-building with this particular group of Los Angeles-based and likeminded artists. The one-day outdoor event, held at the Los Angeles State Historic State Park, will be followed with future indoor installations of the show. The health and safety of all visitors are our top priority and media of the works will be made available online.

Participating artists
Mario Ayala
Ross Caliendo
Kayla Ephros
Jake Freilich
Kelly Infield
Patrick Jackson
Aaron Elvis Jupin
Ann Greene Kelly
Liz Lee
Julia Leonard
Roula Nassar
Ryan Preciado
Jessica Williams
Alake Shilling

Special performance by Pacoima Techno.

Hang In They’re Map by Julia Leonard

LAND’s 2021 exhibitions are made possible with support from the Offield Family Foundation, the Fran and Ray Stark Foundation, the Chauncey and Marion D. McCormick Family Foundation, the Poncher Family Foundation, Brenda Potter, and LAND’s Nomadic Council.

Special thanks to the Los Angeles State Historic Park, especially Helen Boek and Stephanie Campbell.

LAND’s 2021 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terry Kohl Foundation. Additional support is provided by the the Los Angeles County Department of Arts and Culture, the California Community Foundation, the J. Paul Getty Trust Foundation, Fran and Ray Stark Foundation, the Chauncey and Marion D. McCormick Family Foundation, the Poncher Family Foundation, Brenda Potter, and LAND’s Nomadic Council.