Word: greates
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Dates: during 1980-1989
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...melodrama of the interior life, the spectacle of "me." Hispanic culture offers a counterweight in the claims of community and the shared impulse. You can see those asserting themselves in mainstream life through such means as the outdoor murals -- acts of public declamation in the tradition of the great Mexican muralists -- that are an essential part of the Los Angeles cityscape. Add to that sentiment the claims of family, the primal unit of Hispanic life. The Mexican poet Octavio Paz recently described it. "In the North American ethic" he wrote, "the center is the individual; in Hispanic morals the true...
...Olmos family history is almost as colorful. Olmos' maternal great- grandparents were, as he puts it, "major" Mexican revolutionaries -- journalists who owned the leading radical newspaper in Mexico City before moving to Los Angeles. Olmos' mother Eleanor Huizar met Pedro Olmos, a young businessman, while visiting Mexico City. The couple married and raised three children: Peter, now 44, Edward and Esperanza...
...Cheesbrough's Lane, still has fond memories of life in the barrio. During a visit to his old neighborhood, he pauses before a vacant lot bordered by a garbage dumper and two dilapidated cars. "Coming back really tore me up," he says. He would like to turn his great grandparents' old wood-frame house into a museum "not out of ego, but to show kids that starting from here, they can go anywhere they want." Yet it took him a while to find his own path. When Olmos was eight, his parents were divorced. It was a painful time...
...possible with Kaija, 38, and his sons, now twelve and 15, at the island house they own off the coast of Florida and at their recently purchased ranch-style home in Encino, Calif. Though both boys have had small featured roles in their dad's movies, Olmos takes great pains to keep them out of the celebrity spotlight. "Everyone could always do better," Olmos says. "But I think I spend a good deal of time with my kids. I think I'm a good father...
...Beardsley points out in the catalog, the search for an identifiable American style was one of the great cultural fantasies of the 1950s and '60s. Once found, it was assumed, such a consensus would enable Americans to pit their art with confidence against the School of Paris. And it was found in abstract expressionism and then in color-field painting -- both high styles and, in theory at least, sociologically neutral. Thus, writes Curator Beardsley, there appeared an "unwritten presumption that the nearer an artist aspires to the level of high art, the more leached out will become the ethnic content...