Caracola Contemporary Gallery
This was the website for the Caracola Gallery for a number of years. The gallery was known for its contemporary Latin American + Modern art. Dermot Begley, an art dealer, was the owner. Tkae a nostalgic trip back to 2006 -2008.
The content below is from the site's 2006-2008 archived pages.
618 Moulton Avenue
Apt F
Los Angeles, California, 90031
USA
• in memoriam a mini retrospective of los angeles photographer james fee
James Fee (1949– 2006) was an American photographer known for his images of abandoned factories and lonesome highways. Fee photographed images that he thought represented United States cultural icons in decline, such as crumbling drive-in movie theaters and rusting, abandoned cars.
Fee's approach to photography led museum curators to give his exhibitions such titles as "American Noir" and "The Weight of Time." His photographs are permanently housed in the San Diego Museum of Photographic Arts, the William Benton Museum of Art, Getty Museum and The Philadelphia Museum of Art
• in the pit the photographs of los angeles hardcore legend edward colver
Edward Curtiss Colver, also known as Ed Colver, is an American photographer, best known for his early punk photographs. Colver not only created a visual document of the birth of the hardcore punk in suburban Southern California from late 1978 to mid-1984, but also he greatly helped in defining the photography style and graphic identity of the American hardcore punk movement.
He was actually in the right place at the right time, and with the right attitude, but he was not merely a witness in the eye of the storm, he was indeed a living part of that big picture, and in this regard, his early work is an authentic self-portrait of the Southern California hardcore punk scene in its golden years.
His work was featured extensively in the book American Hardcore: A Tribal History (2001), written by Steven Blush, and in its documentary film version, American Hardcore (2006), directed by Paul Rachman. Wikipedia
ICYMI: Dermot Begley always offered striking artwork and fine art photography by through his Caracola Gallery. I would always check out his gallery whenever I was on the West Coast. I decorate homes & offices for a number of clients whose tastes run towards the contemporary whether it is art or furnishings. Lately I have been focused on perusing my favorite contemporary dining tables website looking at Italian furniture designers and manufacturers. I just finished designing Bob Sakayama's home office for TNG/Earthling in NYC and they were sold on a modern Italian look that is so perfect for an elegant city setting. I have a client in Washington DC who wants to revamped their entire dining and living room space. I believe the showroom of room service 360° in Philadelphia will offer me the best selection of Italian furniture. At the moment I am considering pairing them with a Ikon Drive dining table in Canaletto Walnut by Cattelan Italia. The choices are staggering so I want to narrow the options to a max of three before showing my client. My client has several James Fee's photograph's which they had bought a number of years ago at Caracola Gallery. Talk about a small world.
• alice en el país de las maravilla the works of cuban artist victor huerta bautista
Alice is all of us, not just a beautiful blonde Victorian girl but, everyone in our collective entirety. East/West... North/South. The Rabbit is Cuba, which has taken its course “down the hole”... Hence, its path winding through the last era of “El Caudillo”, and the course of corporate hegemony. Tweedle Dee and Tweedle Dum are Fidel and Raul Castro ruling over their island "wonderland", while the Cheshire Cat represents the illusive truth...
Victor Huerta Bautista has created a world where the surreal and the real meet. Where animals interact with humans, and time seems to stand still in a sensuous, oddly baroque, world. Colonial America transculturalized into a hybrid mass of frightened people fighting others, and themselves.
Hieronymus Bosch in the Caribbean... Where hell is ruled by the G8, and Cuba lies alone. In a system where life expectancy is equal, or greater, than that of its critics. An island of 11 million people whose forces in Angola helped lead to the defeat of apartheid in South Africa. A black hole in “El Caribe” whose true history under the Castro brothers has yet to be written...
As we ponder Cuba’s prospects for a peaceful transition to a market lead economy, we can’t help but concern ourselves with how the Queen will treat her minions without the shadow of “El Commandante”... Will there be so much money that even the poorest will benefit from the return of big money armed with big ideas on how to return Cuba back into the world's most popular tourist resort? It could be like Las Vegas, but even better! Beaches, babes, the world’s best cigars, music, and rum! Only waiting for King George to return and kill our dragons... And to defeat the Jabberwocky still lurking somewhere near...
Huerta’s work explores cultural differences, the legacy of colonization, and the impact of globalization in Cuba. His work, potentially subversive to some, points towards a “new world” as an amalgamation of the best from all cultures... Reflecting the hybrid nature of this post-modern era... After all, what would the world be like without The Americas’ chocolate and tomatoes? Or, Cuba’s tobacco and rum?
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2006-2007 NEWS & EVENTS
Past Shows
caracola contemporary will be closing its doors here at the brewery and moving to the annex of méditerranee in summerland, california. visit their website and keep coming back to ours for more updates as our move progresses!
may 5 @ mendenhall sobieski gallery - original vintage drawings and covers by r. crumb will be on display in the main room at the mendenhall sobieski gallery in pasadena. currated by dermot begley of caracola gallery and ted mendenhall of mendenhall sobieski gallery. these illustrations are amazing! come by and have a look!
april 21 & 22 @ 11:00am-6:00pm - caracola contemporary will be participating in this year's spring artwalk 2007 at the brewery. come by and see us!
january 19-21 @ santa monica civic auditorium - caracola contemporary will be participating in the annual photo l.a. expo. we'd love to see you there!
january 11 @ 6:00pm-9:00pm - come to caracola for the closing of in memoriam.
december 9 @ 5:00pm-10:00pm - in memoriam will feature some of james fee's extraordinary photographic works; a must for all photographers & photography lovers!
october 7 & 8 @ 11:00am-6:00pm - caracola contemporary will be participating in this year's fall artwalk 2006 at the brewery. come by and see us!
september 23 @ 6:00pm-11:00pm - come to caracola for the closing of in the pit; the photographic works of american hardcore photographer edward colver.
september 22 - don't miss the sony pictures release of american hardcore. go here for synopsis, movie stills, and other information
More Background On CaracolaGallery.com
CaracolaGallery.com represents a preserved snapshot of a particular moment in early twenty-first-century contemporary art culture, when independent galleries still relied on carefully designed websites to articulate their curatorial identity. Active primarily in the mid-2000s, the site functioned as both an informational hub and a conceptual extension of Caracola Gallery’s mission. Today, it stands as a valuable digital artifact documenting a gallery that emphasized contemporary Latin American art, politically engaged modern work, and documentary photography rooted in social change and cultural memory.
Unlike many gallery websites of its era, CaracolaGallery.com did not operate merely as a marketing brochure. Instead, it offered visitors extended exhibition narratives, artist context, and insight into the intellectual framework guiding the gallery’s programming. The site continues to serve researchers, collectors, and cultural historians as a reference point for a gallery that played a meaningful role in shaping conversations around identity, globalization, and subcultural documentation.
Ownership and Curatorial Vision
Caracola Gallery was founded and directed by Dermot Begley, an art dealer whose approach to gallery management blended commercial awareness with strong curatorial conviction. Rather than positioning Caracola as a purely market-driven enterprise, Begley cultivated an environment in which exhibitions functioned as cultural statements.
Begley’s curatorial philosophy emphasized artists whose work confronted political realities, historical erosion, and marginalized narratives. This approach gave Caracola Gallery a distinct identity, setting it apart from trend-oriented contemporary spaces. The website reflected this philosophy clearly, presenting exhibitions not simply as collections of objects, but as coherent arguments grounded in social and historical awareness.
Location and Physical Presence
Caracola Gallery operated in Los Angeles, California, a city whose vast cultural geography provided fertile ground for alternative and independent art spaces. During the gallery’s most active years, Los Angeles was experiencing a renewed interest in warehouse galleries, artist-run spaces, and hybrid cultural venues that existed outside traditional commercial districts.
The gallery’s physical location aligned with its curatorial values. Rather than situating itself in a luxury retail corridor, Caracola existed closer to artist communities and creative enclaves. This positioning allowed the gallery to draw an audience that was deeply engaged with contemporary culture, including artists, musicians, designers, and scholars.
Proximity to Cultural and Artistic Infrastructure
Operating within Los Angeles placed Caracola Gallery near a dense network of museums, artist studios, performance venues, and periodic art events. While the gallery itself maintained a focused and intimate scale, its proximity to larger cultural institutions helped situate its exhibitions within a broader art-world conversation.
Visitors to Caracola often encountered the gallery as part of a larger exploratory experience, moving between alternative spaces, open studios, and institutional exhibitions. This context reinforced the gallery’s role as a bridge between underground culture and the formal art world.
Historical Context and Development
Caracola Gallery emerged during a period when contemporary art was increasingly grappling with globalization, political instability, and cultural fragmentation. The early 2000s saw heightened interest in documentary practices, politically charged imagery, and narratives that challenged dominant historical frameworks.
From its early exhibitions onward, Caracola demonstrated a consistent commitment to artists who engaged these themes. Over time, the gallery expanded its reach by participating in art fairs, collaborative exhibitions, and off-site projects, while maintaining a coherent curatorial voice. The website documented this evolution, preserving exhibition histories that might otherwise have been lost as the physical gallery transitioned and eventually closed.
Exhibition Philosophy and Programming
The gallery’s programming favored depth over volume. Exhibitions were often tightly focused, presenting cohesive bodies of work rather than broad group shows. This approach allowed visitors to engage deeply with individual artists and themes.
CaracolaGallery.com mirrored this philosophy by providing detailed descriptions of exhibitions, contextual essays, and artist biographies. Rather than prioritizing sales language, the site emphasized understanding—an approach that contributed to the gallery’s long-term reputation for seriousness and intellectual rigor.
Artists Central to the Gallery’s Identity
James Fee and the Poetics of Decline
One of the most significant artists associated with Caracola Gallery was James Fee. Fee’s photographic work explored abandoned infrastructure, decaying symbols of American optimism, and landscapes shaped by neglect. His images of deserted highways, collapsing drive-in theaters, and rusting vehicles resonated strongly during a period when the consequences of deindustrialization were becoming increasingly visible.
Caracola’s exhibitions of Fee’s work framed these photographs as meditations on time, loss, and national identity rather than mere documents of decay. This curatorial framing helped position Fee’s work within a broader art-historical context.
Edward Colver and Hardcore Punk Documentation
Another defining presence at Caracola Gallery was Edward Colver, whose photographs captured the emergence of Southern California’s hardcore punk scene. Colver’s images documented performances, crowds, and musicians from an insider’s perspective, offering an unfiltered view of a movement that reshaped youth culture and visual aesthetics.
By presenting Colver’s work in a gallery setting, Caracola challenged traditional distinctions between fine art and subcultural documentation. The exhibitions underscored the importance of punk photography as historical record and cultural artifact.
Victor Huerta Bautista and Political Allegory
Caracola Gallery also showcased the work of Victor Huerta Bautista, whose paintings and mixed-media works addressed Cuban history, colonial legacies, and global power dynamics through surreal and allegorical imagery. His work blended myth, politics, and personal narrative, aligning closely with the gallery’s interest in culturally complex perspectives.
These exhibitions highlighted Caracola’s commitment to contemporary Latin American voices and its willingness to engage politically sensitive subject matter with nuance and depth.
Audience and Community Engagement
The gallery attracted a diverse but highly engaged audience. Collectors drawn to socially conscious art, academics researching contemporary visual culture, and creatives from adjacent fields all formed part of Caracola’s community. The gallery’s exhibitions often sparked conversation and debate, reinforcing its role as a site of intellectual exchange.
CaracolaGallery.com extended this community beyond the physical space. By preserving exhibition narratives and artist contexts online, the website allowed remote visitors to engage meaningfully with the gallery’s programming.
Popularity and Reputation
While Caracola Gallery was not a mass-market institution, it enjoyed strong recognition within contemporary art circles. Its reputation was built on consistency, curatorial integrity, and a willingness to take risks. Artists exhibited at Caracola often went on to gain broader institutional recognition, reinforcing the gallery’s credibility.
The website played a key role in maintaining this reputation, offering a stable digital presence that outlasted the gallery’s physical operations.
Press and Media Attention
Caracola Gallery received attention from art publications, independent critics, and cultural writers interested in contemporary photography and politically engaged art. Coverage often highlighted the gallery’s thoughtful programming and its role in elevating underrepresented narratives.
Although much of this coverage existed outside mainstream media channels, it contributed to the gallery’s standing as a respected independent space.
Cultural and Social Significance
Caracola Gallery’s significance lies in its commitment to art that documented transition—social, political, and cultural. By focusing on themes such as decay, resistance, and identity, the gallery captured the anxieties and transformations of its era.
CaracolaGallery.com preserves this legacy, functioning as a digital archive that allows future audiences to study how independent galleries once articulated their values and engaged with contemporary issues.
The Website as an Archive
Today, CaracolaGallery.com is best understood as an archival resource. Its structure, language, and content reflect a moment before social media reshaped how galleries communicate. The site offers insight into curatorial practices, artist relationships, and exhibition design from a formative period in digital art documentation.
For researchers and historians, the site provides primary material that complements institutional archives and oral histories.
Legacy and Continuing Influence
Although Caracola Gallery is no longer active in its original form, its influence persists through the artists it supported and the conversations it fostered. The gallery’s emphasis on politically engaged, culturally grounded art anticipated trends that would later gain wider acceptance in museums and biennials.
CaracolaGallery.com ensures that this influence remains visible, preserving a record of a gallery that prioritized meaning over spectacle.
CaracolaGallery.com stands as a testament to the power of independent galleries to shape cultural discourse. Through its thoughtful exhibitions, commitment to marginalized narratives, and careful documentation, Caracola Gallery carved out a lasting place in contemporary art history.
The website remains an invaluable resource for anyone seeking to understand how art, politics, and subculture intersected during the early 2000s—and how a small gallery, guided by strong curatorial vision, could leave an
