This weekend is the Second Sunday of the month…… do you know what that means?

It means that entrance is FREE to everyone at the Palm Springs Art Museum!


Make sure to swing by if you are in town.  The museum not only has really cool special features such as films and lectures (that are also FREE for all) going on that day, but have an amazing selection of art on display around the museum that are really fascinating.


To check it all out, either visit the PSAM’s website, or simply look below!


All information has been provided by the Palm Springs Art Museum website:



“With generous support from the H.N. and Frances C. Berger Foundation, the museum is proud to present Free 2nd Sundays. The second Sunday of each month features a schedule of programming for all ages and interests including hands-on family activities, performances, films on art and culture, docent-led spotlight talks and demonstrations of artists at work. The spring activities are centered on John Baldessari: A Print Retrospective, the annual Art Party, and Weird Art. Admission and all activities are free.”


Annenberg Theater • 10:15 a.m.
Journeyman Architect: The Life and Work of Donald Wexler, Jake Gorst, U.S.A., 2009 • During the 1950s and 60s, Donald Wexler pioneered commercial and residential construction using steel and prefabrication. He applied his groundbreaking techniques and unique style to projects throughout the Coachella Valley. 67 minutes.


Zone 101 in the Hoover Gallery • 1 p.m.
See What I See • Meet the talented visually-impaired artists from the Braille Institute. This exhibition demonstrates that they can see – albeit differently – and that sight loss is not a barrier to creativity and independence.



Lecture Hall • 2 p.m.
Dr. Lauren Weiss Bricker, co-curator of Steel and Shade: The Architecture of Donald Wexler, will discuss the innovations of his sustainable desert architecture. Then join the Cal Poly Pomona architecture students who designed the exhibition models for a special walk-through.


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also featured at the Palm Springs Art Museum…


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Comic Art Indigéne

06.17.11 – 09.18.11

Comic art is now mainstream. It is a source for award-winning fiction, highly-budgeted motion pictures, and endless streams of merchandising such as toys and video games. Yet comic book art remains an enigma, its most popular genre has always been directed towards a young audience hindering its growth and acceptance among artists and critics.

Comic strips, and its unruly offspring, comic books are maturing as an indigenous American art form. Two-fisted tales of suspense showcasing fantastic heroes and villains interacting with gods old and new have also always been a part of Native American culture. Comic Art Indigène examines how American Indian artists articulate identity, art, worldview, politics and culture through the kinetic expression of sequential art. Inspired by this unique medium, using its icons, tropes and dynamism, this is a new world of American Indian art, full of the brash excitement first seen on newsprint a century ago, sometimes unrefined, even crude at times, but never sterile.

Using images and art spanning from the 13th century to contemporary works, Comic Art Indigène begins with the image of the red, white and blue All American Man, a shield-carrying warrior pictograph of the Pueblo II period (c. 1290), and is contrasted with an image of that other red, white and blue, shield-hurling hero, Captain America. Traditional media such as ceramics, beadwork and painting are represented, however the subject matter may surprise those expecting standard romanticized scenes of Native American life.

This exhibition has been organized by the Museum of Indian Arts and Culture/Laboratory of Anthropology, Santa Fe, NM. The Palm Springs Art Museum presentation is made possible by a grant from the James Irvine Foundation and Donna and Cargill MacMillan, Jr.

*art by: Ryan Hume Smith (Chemehuevi/Navajo), Tribal Force, 2000, pen and ink on board, Museum of Indian Arts and Culture


Ransom: An Art Installation

06.17.11 – 12.31.11

Lewis deSoto’s exhibition project, Ransom, utilizes the Mesoamerican collection at the Palm Springs Art Museum, commissioned videos, and historical sculptural elements to create a multi-nuanced environment that presents the dynamic relationship between victor and vanquished. On view concurrently with Comic Art Indigène, another exhibition addressing indigenous cultural themes, the project references Hernando de Soto’s defeat of the Incan empire in Peru under Francisco Pizarro’s command.

Located in the Video Projects Room, the James & Jackie Lee Houston Atrium on the main level, and the Marilyn & Bruce Throckmorton Gallery on the mezzanine level, deSoto’s exhibition project begins with a conceptual gateway of gold and silver leaf that juxtaposes Peruvian vessels from before and after the encounter between Europeans and native peoples of the Americas. Working closely with the Education Department, he has created a video featuring Coachella Valley teens and young people as the “actors” in a reading of texts originally presented to the indigenous peoples of the Americas by Spanish conquerors. In addition, deSoto will be in residence during the museum’s summer Art Camp to interact with children and introduce them to his project.

The opening of the exhibition will feature deSoto’s 2004 sculpture CONQUEST, a simulation (“faux-riginal”) of a 1965 car that never existed. This actual car carries within its branding, color schemes, and inherent metaphors the language of colonial power in the Americas, referencing the white war horse that Hernando de Soto used as a conquering weapon in the new world. DeSoto’s wry sculptural and video inventions in combination with actual Mesoamerican objects bring to light the historical meanings of the museum’s holdings by positioning them within a contemporary context. The car will remain on view through September 18, 2011.

Having grown up in nearby San Bernardino, Lewis deSoto (b. 1954) is literally a native son of the Inland Empire. His mixed blood heritage positions him as a literal product of the exchange and competing claims of the Cahuilla/Native American, Spanish, and Mexican-American peoples who identify with this region. He is known for his photographs, installations, sculpture and public art that engage cosmological questions, notions of self, and cultural mythologies.

Organized by the Palm Springs Art Museum, this project is supported by a grant from The James Irvine Foundation.


Backyard Oasis: The Swimming Pool in Southern California Photography, 1945-1982

01.21.12 – 05.27.12

As part of the Getty Foundation’s Pacific Standard Time: Art in L.A., 1945-1980 regional initiative, Backyard Oasisexamines swimming pools in photographs from 1945 to 1980 as visual analogs of the ideals and expectations associated with Southern California. These images of individual water-based environs in the arid landscape are an integral part of the region’s identity, a microcosm of the hopes and disillusionments of the country’s post-World War II ethos. As a private setting, the backyard pool became a stage for sub-culture rituals and clandestine desires. As a medium, photography became the primary vehicle for embodying the polar emotions of consumer optimism and Cold War fears. Crossing the boundaries of popular and high culture, commercial merchandising, journalistic reporting, and vernacular memorabilia, photography conveyed the developing ideologies of the period. As such, its visual language forms a network of discursive topics that open onto each other, offering a rich study of physical and cultural geography. For the first time, this exhibition, its catalogue, and attendant programs trace the integrated histories of photography and the iconography of the swimming pool, bringing new light to aspects of this complex interaction.

Pacific Standard Time is an initiative of the Getty with arts institutions across Southern California.

Pacific Standard Time
Pacific Standard Time is a joint initiative of the Getty Foundation and the Getty Research Institute that aims to document the history of art in Southern California in the post World War II decades, and to bring it to a wider audience. The project is an unprecedented collaboration of more 40 cultural institutions across Southern California that are presenting thematically linked exhibitions and programs, all designed to celebrate the region’s vibrant post WWII art scene. Previewed by a film festival and two symposia in late 2010 and early 2011, Pacific Standard Timeexhibitions and events will open in October 2011 and continue through mid-late 2012.





upcoming exhibitions


Michael Petry: The Touch of the Oracle

03.17.12 – 07.29.12

The Touch of the Oracle features three site-specific installations – Golden Rain, Joshua D’s Wall, and Joshua’s DilemmaGolden Rain was originally commissioned by Eva Watne, Director of Hå gamle prestegard, Norway, for the exhibition On the Edge, which she curated in Norway for Stavanger 2008, European Capital of Culture. Petry was one of six international artists invited to select a lighthouse in which to create an artwork. Petry chose the Eigeroya Lighthouse (1854), Egersund, the first lighthouse built in Norway from cast iron. The Golden Raininstallation of 100 gold mirrored glass vessels references the Greek myth of Danae, who was impregnated by Zeus in the guise of a shower of gold, thereby fathering Perseus. Petry invited 100 artists to place an artwork, poem, object or text inside each of the bottles ranging from 12 to 18 inches in size, which were fabricated by Liam Reeves, and Anthony Harris at the Royal College of Art, London, to Petry’s design. Each was permanently sealed and suspended throughout the lighthouse interior’s six floors. Like a shower of rain, Golden Rain will be installed in a visual dialog with the site-specific Joshua D’s Wall.

Alluding to the biblical story of Joshua, his horn and the fallen walls of Jericho, the Joshua D’s Wall component of the exhibition will feature a field of approximately 250 hand-blown glass stones. The works will be created at the famous Berengo Glass Studio in Murano, one of the project’s main collaborators. Each piece will be the size of a small boulder or large rock (12-18 inches wide). The hollow glass stones will take up the space of approximately five square yards. Each stone in the exhibition will reference the production of magma and the many colors found therein, as well as Petry’s own artistic take on the natural environment.

The third component is Joshua’s Dilemma, a sound piece that will periodically play throughout the gallery. Hidden speakers will project a new text work by Petry set to music by John Powell. The piece will feature a female and male voice in a dialogue of misunderstanding with yet-to-be-cast professional actors singing the texts. The work continues a collaborative relationship between Petry and Powell who have created performance art (Deceptions, 1987), video installations (The Hisory of the World, 1999), and opera (An Englishman, and an Irishman and a Frenchman, 1995) for more than 25 years. British-born Powell is one of Hollywood’s leading film composers. His many movie credits include How to Train Your Dragon (2010), the Bourne Identity series (2002, 2004, 2007), X-Men: The Last Stand (2006), Shrek (2001), Antz (1998) and Face/Off (1997). Together Petry and Powell will create a sound work that will continue their efforts to extend the possibilities of sound as artwork. The piece, while referencing the installation Joshua D’s Wall will be installed in the same gallery (along with Golden Rain), thereby adding another layer of tonal / visual complexity which Petry hopes will allow emergent performative ideas to develop in the space as visitors encounter the glass installations and move about the gallery.

The exhibition will include an English/Spanish bilingual publication / brochure with an artist’s statement.


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To get more information, please visit: