![]() ![]() The catalog also included many images in which copyright is shared between Asco and Gamboa.īut in recent years, Gamboa has begun to demand that the photos be attributed solely to him, along with a description that reads, “from the Asco era.” “I would choose the locations,” he told The Times via telephone in March. This is how much of the work was credited in the catalog for its LACMA retrospective in 2011, “ Asco: Elite of the Obscure, 1972-1987,” the most comprehensive source of information on the group. Since at least the 1980s, publications have generally attributed the work to Asco, while copyright has been held by Gamboa. Other photographers took pictures of Asco’s flamboyant actions, but the vast majority and the most iconic images were taken by Gamboa, and it is he who has historically controlled dissemination of the group’s imagery (and presumably most of the sales). ![]() ![]() ![]() As a result of the conflict, the Hammer withdrew it from advertisements, although a large wall vinyl of “Limitations” still greets visitors to the show. Gamboa counters that it was not presented under her name alone. Moreover, Valdez notes that the piece is an archival poster from the ’70s that she previously exhibited under her name. Thank you for your support.Įxplore more Subscriber Exclusive content. Times subscribers special access to our best journalism. Subscribers get exclusive access to this story ![]()
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