SAN DIEGO - Museum of contemporary art la Jolla - Pacific beach - Mission beach

 Founded in 1941 as The Art Center in La Jolla, the Museum of Contemporary Art San Diego (MCASD) has evolved into an organization of national and international renown. The collection includes more than 4,000 works created since 1950, and reflects an artistic program that encourages promising emerging artists and recognizes mid-career artists whose work deserves more visibility. The Museum serves the region as a vital cultural and civic asset, with contemporary art and living artists at its core.

The La Jolla location was originally an Irving Gill-designed residence, built in 1916 as the home of philanthropist Ellen Browning Scripps. Today, MCASD La Jolla comprises nearly three acres of prime oceanfront property, including the Edwards Sculpture Garden. Venturi, Scott Brown & Associates' renovation of MCASD's La Jolla location opened in 1996. 
Garden sculptur ci-dessus : Mauro Staccioli // Ed Ruscha - Brave Men of La Jolla
The future is the past - Chitra Ganesh’s multilayered work makes use of iconography derived from mythic narratives of Hindu, Buddhist, and Greek traditions, in concert with a visual lexicon indebted to comic books, anime, science fiction, and Surrealism. Completed on site by the artist, three large canvas panels form the core of this wall installation, which incorporates elements that punctuate the surface and extend off the canvas into the surrounding space. The pictorial space of the work is equally complex: fragmented bodies of hybrid beings float in a lurid atmosphere, their heads and torsos hovering beside bodies with which they are linked through gestures of touch. The beings that occupy this uncertain space appear as some combination of human, animal, and otherworldly spirit, but they are decidedly female, and Ganesh’s work consistently offers up female protagonists and nuanced articulations of female subjectivity. Inflected by science fiction and queer politics, the female body appears in her work as a kind of battleground—the site of cyborgian mutation and transformation. “I’m interested in how science fiction has become our preeminent contemporary mythology,” Ganesh notes, “probing eternal questions of how we form ideas of identity, civilization, past and future.”
Approximately Infinite Universe - Approximately Infinite Universe is inspired by science fiction, with its exploration of other possible worlds, its dislocation of spatial and temporal trajectories, and its challenges to distinctions between human and alien, self and other.  The seventeen artists featured in the exhibition understand art as a vehicle for time travel, employing an array of mediums as means to move backward and forward through time.  Their work re-visions fraught histories and en-visions utopian futures, with the effect of gaining insight into the complexities of the present.
Recently, allusions to space travel and depictions of the cosmos have appeared with increasing frequency in the art world, occasioned, perhaps, by the dissolution of the American space program and the privatization of space travel.  Beyond simply referencing the motifs and rhetoric of space travel, the artists in Approximately Infinite Universe employ ideas and strategies associated with experimental science fiction writing, such as that of a new wave of science fictions writers who emerged in the late 1960s and 70s, influenced by the social and political movements of that time—these include Ursula K. Le Guin, Octavia E.
Memento of Infinite Space - Andrea Bowers // Channeling Aura - Desirée Holman
Starification Object Series - Simone Leigh’s work combines forms that appear at once archaic and futuristic, organic and industrial, earthy and otherworldly. Her ceramic and mixed media sculptures draw on the visual vocabulary of modernist abstraction while employing the forms and techniques of traditional African pottery—from which modernism itself borrowed. Leigh’s work is also indebted to feminist art of the 1970s: the rolled-up bud forms that populate the front of the sculpture No Face, for example, recall the tiny vulvar sculptures that Hannah Wilke once fashioned for her Starification Object Series of 1974. Retracing “lost” aesthetic and historical genealogies, her work nonetheless evokes objects from a future time and place. The wall-bound Brooch #2 holds dozens of ceramic pieces cast from plantains—for Leigh, a symbol of the post-colonial—in its metal clamps, evoking both jewelry and weaponry, beauty and brutality.
The Empathics - Saya Woolfalk’s multimedia project The Empathics invents an elaborate mythology surrounding a group of women who come upon a burial site that prompts visions and eventually transforms the women into the titular Empathics, hybridized beings that are part-plant, part-animal.  The playful appearance of Woolfalk’s work—rainbow-colored figures dressed in handcrafted costumes made of fleece, felt, and spandex—may at first belie the complex parable of cultural hybridization that it offers. The artist takes a pseudo-anthropological approach to her project, often presenting sculptural work according to the conventions of dioramas in natural history museums.  In a similar spirit, Woolfalk has created a convincing website for the Institute of Empathy, where the Empathics document and study their own transformation and culture, which is radically democratic and environmentally minded.
Black Moon - Amie Siegel’s film and video work often mixes original footage and historical images to upend traditional genre conventions. Her three-part Black Moon project is loosely based on French director Louis Malle’s 1975 film of the same name, a surrealist drama set in the future during a civil war between men and women. In Siegel’s remake—“a present-day science fiction without dialogue”—a group of armed female revolutionaries defend themselves against an unknown enemy. The group moves through empty streets in the suburbs of the desert—scenes that were shot in foreclosed housing developments in California and Florida. Employing stylistic devices of film genres from science fiction to the western, Siegel translates key motifs from Malle’s film to reflect on the present-day ruins of a future that never was.
Dissolver : The Filthy Detritus of Transmigration - Kara Tanaka is interested in the idea of transcendence as it appears in both science fiction and eastern religious philosophies. Her large-scale sculpture Dissolver takes the form of a space capsule-cum-Buddhist temple, merging concepts of transmigration and enlightenment with the logic of fantasy and space travel. Based on contemporary prototypes for privatized space exploration, Tanaka’s vessel proposes a plan for survival in the open universe. The structure is studded with spiky gold forms and holds a single spinning tank of blue liquid, which the artist envisions as “…a storehouse consciousness, or a traveling packet of energy that transmigrates from one life to the next. By inserting these energy units into the internal machine of Dissolver, human consciousness can take advantage of this transport vessel and become an integral component of its mission to use technological advancements in consciousness and space exploration to disrupt the flow of human existence.”
Sky TV - This exhibition takes its name from a 1973 record album by Yoko Ono, and her 1966 piece Sky TV is included here as a historical precedent for many of the works included in this exhibition. One of the first video installations ever made, Sky TV transmits views of the sky into the gallery via a live feed camera. Unlike film, video offers the possibility of a closed circuit of camera and monitor, a loop in which the production of the image occurs simultaneously with its transmission. Sky TV was created just after the appearance of the Sony Portapak, the first portable video camera, at a time when the television industry controlled the transmission and distribution of all televisual images—and decades before surveillance camera technology became ubiquitous, as it is today. Ono trains the camera not at people, but at the sky, where we might observe passing clouds, formations of birds—perhaps even UFOs. Framing the expansive sky on a small screen, treating the television monitor as a window, Ono’s playful evocation of the cosmos suggests that awareness comes not from looking inward, but from considering the infinite universe beyond the self. 
Nancy Rubins - Pleasure point
Jonathan Borofsky - Hammering man
Pacific beach - Grand Av.
Crystal Pier - Pacific Beach
Mission Beach - 
Mission Bay area -
Street art Mission -
Sunset near Grand Av. -
(c) Chavanitas