{"id":1131,"date":"2021-02-01T13:58:05","date_gmt":"2021-02-01T21:58:05","guid":{"rendered":"https:\/\/www.artandpractice.org\/?p=1131"},"modified":"2021-02-01T13:58:35","modified_gmt":"2021-02-01T21:58:35","slug":"ruben-ochoa-at-art-practice","status":"publish","type":"post","link":"https:\/\/artandpractice.org\/ja\/news\/ruben-ochoa-at-art-practice\/","title":{"rendered":"\u30a2\u30fc\u30c8+\u30d7\u30e9\u30af\u30c6\u30a3\u30b9\u3067\u306e\u30eb\u30fc\u30d9\u30f3\u30aa\u30c1\u30e7\u30a2"},"content":{"rendered":"

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\u8a18\u4e8b\u5168\u6587\u3092\u8aad\u3080 \u3053\u3053<\/a><\/strong>.<\/p>","protected":false},"excerpt":{"rendered":"

Three photographs installed low to the ground in a corner of the gallery, provide a key to understanding Ruben Ochoa\u2019s evocative installation, Sampled y Surveyed, which in numerous ways brings the outside in. These images: Overlapped in the 90063, Still Tripping, 90033, Kissed in the 90011 (all 2007) depict concrete pavement blocks and curbs displaced by Ficus tree roots in three Zip codes, a commonplace occurrence in Los Angeles where the natural and man-made must co-exist. As tree roots bulge, the sidewalks become a hazard. While the photographs depict this in situ, Ochoa also creates a sculpture using the proportions of actual sidewalks and curbs to relocate the experience in the center of the […]<\/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-1131","post","type-post","status-publish","format-standard","hentry","category-contemporary-art"],"acf":[],"_links":{"self":[{"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/posts\/1131","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/comments?post=1131"}],"version-history":[{"count":3,"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/posts\/1131\/revisions"}],"predecessor-version":[{"id":1370,"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/posts\/1131\/revisions\/1370"}],"wp:attachment":[{"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/media?parent=1131"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/categories?post=1131"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artandpractice.org\/ja\/wp-json\/wp\/v2\/tags?post=1131"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}