{"id":1194,"date":"2021-02-01T12:57:38","date_gmt":"2021-02-01T20:57:38","guid":{"rendered":"https:\/\/www.artandpractice.org\/?p=1194"},"modified":"2021-02-01T12:58:08","modified_gmt":"2021-02-01T20:58:08","slug":"8-l-a-artist-and-art-world-figures-to-watch-in-2016","status":"publish","type":"post","link":"https:\/\/www.artandpractice.org\/es\/news\/8-l-a-artist-and-art-world-figures-to-watch-in-2016\/","title":{"rendered":"8 artistas de Los \u00c1ngeles y figuras del mundo del arte a tener en cuenta en 2016"},"content":{"rendered":"<p>John Outterbridge ha sido un artista de Los \u00c1ngeles durante mucho tiempo. Se mud\u00f3 aqu\u00ed en 1963, despu\u00e9s de trabajar como cabo del ej\u00e9rcito y conductor de autob\u00fas en Chicago. A mediados de la d\u00e9cada de 1960, en NBC, se enfrent\u00f3 al cr\u00edtico de arte del LA Times William Wilson por no ir a ver espect\u00e1culos en la Galer\u00eda Brockman, enfocada en las minor\u00edas, en Leimert Park. \u201cMi inter\u00e9s no est\u00e1 necesariamente guiado de esa manera\u201d, respondi\u00f3 Wilson. El arte de Outterbridge \u2014ensamblajes que casi siempre son antropom\u00f3rficos, a veces terrenales ya veces militaristas\u2014 no ha aparecido en una exposici\u00f3n individual importante en Los \u00c1ngeles desde la d\u00e9cada de 1990. Idealmente, su exposici\u00f3n individual actual en Art+Practice en Leimert se\u00f1ala un cambio, y el trabajo del artista de 83 a\u00f1os estar\u00e1 m\u00e1s en el radar de los espectadores de arte en 2016.<\/p>\n\n\n\n<p>Lee el art\u00edculo completo&nbsp;<strong><a href=\"https:\/\/www.laweekly.com\/8-l-a-artists-and-art-world-figures-to-watch-in-2016\/\">aqu\u00ed<\/a><\/strong>.<\/p>","protected":false},"excerpt":{"rendered":"<p>John Outterbridge has been an L.A. artist for a long time. He moved here in 1963, after stints as an Army corporal and a Chicago bus driver. In the mid-1960s, on NBC, he confronted L.A. Times art critic William Wilson for not going to see shows at the minority-focused Brockman Gallery in Leimert Park. \u201cMy [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1194","post","type-post","status-publish","format-standard","hentry","category-contemporary-art"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1194","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/comments?post=1194"}],"version-history":[{"count":6,"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1194\/revisions"}],"predecessor-version":[{"id":1281,"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1194\/revisions\/1281"}],"wp:attachment":[{"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/media?parent=1194"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/categories?post=1194"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artandpractice.org\/es\/wp-json\/wp\/v2\/tags?post=1194"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}