Chinatown's Central Plaza Swings Into the Night
Ed Fuentes
DOWNTOWN LOS ANGELES — With a big band playing hits from the 40s, scheduled after the traditional Dragon, The 70th Anniversary Celebration of "New Chinatown" had the substance of history and tradition, along with a nod to L.A.s noir era
Visitors, dignitaries, Downtown locals and Chinatown residents filled Central Plaza to watch restored neon be lit, dance to swing music, wear 40s era clothing (or attempt it), fill cafes and galleries, while photos of Chinatown's past were projected on walls. Hopefully, it can become a yearly event.
Annual Chinatown Noir Festival anyone?
David Kennedy on July 01, 2008, at 05:19PM – #1
"Looking dapper in white and a t-shirt..."
Ed, you seem unaware that Chairman Mao is one of the psychotic rulers of the twentieth century. He is responsible for slaughtering millions of Chinese. Millions. Ever heard of the Cultural Revolution?
Dapper is not the word I'd use.
Ed Fuentes on July 01, 2008, at 06:13PM – #2
I am aware.
Mass production has become a narrative substrate in Chinese contemporary art, and a production method that been part of Chinese culture since the Neolithic period.
Europe and North American were doing cave paintings while China was producing huts and pottery in assembly lines.
In this case, Mao as an image on commercial wear comments on the method of political outreach using mass production, and in way shares the philosophy that defines today's street art such as Shepard Fairey Obama poster series.
The posthumous cult of the Cultural Revolution is as much a paradox as the popularity and fashion statement of revolution of Che, the Marxist made iconic by an Alberto Korda photograph.
If we were to censor satire that could defuse the crimes, harms of notorious world leaders, perhaps refunds should be demanded for any profit made by the Zero Mostel film or Nathan Lane stage play of Mel Brook's "The Producers."
That would be millions. Millions.
David Kennedy on July 01, 2008, at 07:54PM – #3
You're right, Ed. After I posted the comment I wondered what the words on the shirt said. If I understand you correctly, you're saying the text and image are meant as satirical political commentary lampooning Mao. It would be really interesting to know what the t-shirt says. Frankly, if it is critical of Mao, it is encouraging to learn that such dissent is now allowed in China. While the political power of the Communist Party is China is eroding, it is still very dangerous. Then again, you well know, I tend to be a mite twitchy about romanticising murderous psychopaths.
No, I'm not advocating censorhip on blogdowntown. Just discretion and context. The glib choice of words irked me.
As for drawing the parallel with the Shepard Fairey Obama series, I'm not sure that's the most effective choice. In the case of Obama, the images are meant to romanticize the candidate. Basically, it is political propoganda (a regretable career decision in the long-run for Mr. Shepard, in my opinion). Whereas here, with the Mao images, you are saying they are meant as satire of authority. That is probably not Mr. Shepard's intent, unless he has a very devious sense of humor.
As for the paradox of Che worship, there is none. It merely illustrates the credulity of youth and, what you correctly point out, as the corrosive influence of fashion on art in the past century. Che is just another murderous pyschopath who has been romanticized by those who know nothing of his bloody deeds.
As for your comment, "Mass production has become an narrative substrate in Chinese contemporary art", I'm sorry I have no idea what you are talking about. If you're inclined to explain it to me, you can email me directly. I would be most appreciative.
Ed Fuentes on July 01, 2008, at 09:08PM – #4
I had only 15 minutes to write a comment before the next onsite assignment. I could have been more clearer. My apologies, David.
Mass production as a "narrative substrate" offers the idea that manufacturing and assembly in China has become a subtext in Chinese contemporary art, not unlike rebellion is welcomed theme in Western art.
That brings us to the "Obama" series. It's an example of how the west will romanticize the idea of change by an individual–– based in this ironic case –- on political art based on composition designed to promote group unity.
Frankly, Fairey has made a following by the parody of visual manifestos and isn't hurting by it. The outcome of taking an actual political stance will be known later.
The interesting question is this: Will Fairey's "Obama" street poster series legitimize street art? A different political debate all together.
melinda lewis on July 27, 2008, at 06:02AM – #5
Cary Farnsworth and Laurie really got into the spirit of the era. Their vintage dress and dance participation really added to the festivities.