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A Nomad in Love
title A Nomad in Lovedescription Serigraph on paper, 27.5 in. x 19.5 in. Taller 75 Grados, Mexico City, MX. Desert Triangle Print Carpeta. "A Nomad in Love is a personal narrative. While making this print, I was also working on a painting for an exhibit at the National Museum of Mexican Art about home and community. When I think of home, the image of the mountains comes to mind, so in this print, I depict the Franklin Mountains. These mountains are a sacred indigenous symbol of the thunderbird on them. As a kid, I played at the foot of these mountains, and they make me feel grounded. The image of a hummingbird is inspired by the Mexica (Aztec) tradition that says the spark in our hearts beats like the flight of a hummingbird: steady and self-sustaining. I was in some hard times, personally having lost important people in my life. I was feeling crazy and alone like a coyote howling at the rabbit moon. So I’m telling a love story through symbols and images about heartbreak and anxiety. But there is also some comedy in those wild eyes. Laughing at my loss. There is a saying I know from the work of the artist poet, José Montoya: “La locura cura” (Craziness cures). Laughter heals, and this print cracks me up. I was born in Las Cruces, NM [in 1983] and raised in El Paso, TX. I’ve exhibited in museums, galleries, and community spaces in Chicago, Los Angeles, and throughout the Southwestern region. I have a Visual Studies degree from The University of Texas at Austin, and I’m self-trained in my craft. My multidisciplinary work explores identity, community, and life on the border. My process often involves community collaboration and engagement." — Zeke Peñaartist/creator Peña, Zekesubject Borderlands Frontera Mountains Texas--El Paso Nature in art Environment Ecology Desert Triangle Animals in art Love in art Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Esto es un Río
title Esto es un Ríodescription Serigraph on paper, 22 in. x 30 in. Desert Triangle Print Carpeta. "Esto es un Río is a memory of growing up on the border. As a child, I would remember crossing the bridge from El Paso to Juárez and watching people cross the river in makeshift inner-tube rafts. People with jobs in the U.S. side and who didn’t want to get wet would pay lancheros to ferry them across the river every day. I see this as the universal experiences; we all have people who cross boundaries and blaze paths to reach our goals, whatever they may be. For years, political graffiti has been painted on the concrete banks of the border. I decided to use “Esto No Es Una Frontera/ Esto es un Río” as one of many messages painted on the concrete banks for years. The quote is from [The Liberator of Venezuela] Simón Bolívar, who alluded to the use of borders to divide communities instead of uniting them. Bolívar suggested that the overreaching powers in place politically at the time benefitted from the ensuing chaos that occurred once divisions were made and enforced. He further suggested that if one community suffered, the other 'opposite' community suffered, as well. Another graffiti tag appears on one of pillars that support the international bridge. The message was painted by the family of Sergio Adrian Hernandez Guereca, who was shot and killed by a U.S. Customs and Border Protection agent through a barbed wire border fence near El Paso, Texas. At the time of the shooting, Guereca, a 15-year-old-Mexican national, was standing on the Mexican side of the Mexico-United States border, while the agent was on the American side. The agent claimed after the shooting that he had used deadly force because Guereca had been throwing rocks." — Jesus “Cimi” Alvaradoartist/creator Alvarado, Jesus "Cimi"subject Politics in art Borderlands Frontera Rio Grande Environment Ecology Geography Nature in art Bridges Immigration Immigrants Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Howl
title Howldescription Color lithograph on paper, 44.5 in. x 34 in. Luis Jiménez portrays a lone wolf howling at the full moon that rises above snow capped mountains. The wolf’s howl is transformed into the title of the work. Wolves, like this Mexican wolf, communicate with their pack by howling; this vocalization communicates their location and marks their territory; serves as a warning to rivals or signals a threat of intruders. Besides expressing affection through their howling, wolves express other emotions. Here, the “howl” vibrates above, resonating with rage, pain, and warning. Jiménez used the color red to emphasize these strong emotions. Note that the letter “l” in the word “howl” resembles the wolf’s raised right paw. The wolf is enraged as his species is endangered. Humans continue to hunt wolves for pelts and bounty. The wolf also painfully mourns the vanishing Western landscape and the diminishing presence of the Original Americans. The howl is a warning to humanity to protect and preserve the natural landscape and animal life. The Mexican wolf also symbolizes how Mexican immigrants have been hunted by the border patrol and vigilantes at border crossings. This work is a visual metaphor for the artist Jiménez, who for years before he gained critical recognition was perceived as an outsider: a “lone wolf.” Born in El Paso, he was an artist fiercely proud of his Mexican roots who celebrated the everyday culture of the Southwest. He howled especially for his people, Mexicans and Chicanos, and their ongoing struggle for social mobility and social justice in the borderland and beyond. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Animals in art Wolves Environment Ecology Nature in art Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Spring
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Earth Day 1990
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Planeta O Muerte
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Water Is A Weapon
title Water Is A Weapondescriptionartist/creator Rodriguez, Faviannasubject Ecologycontributor Calisphere -
Dialogue 1: Liminal Zones / Coursing Flows
title Dialogue 1: Liminal Zones / Coursing Flowsdescription Film, Audio, Video and Digital Art Salk Institute for Biological Studies Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) Video recording, in four parts, of presentations and discussions about borders, globalization, identity and inSite_05 at the Salk Institute for Biological Studies in La Jolla, California. [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.artist/creator Unknownsubject Space (Composition Concept) Geography Identity (Philosophical Concept) Other (Philosophy) Boundaries San Diego (Calif.) Art Museums Videorecording Lectures Ecology Deconstruction Insite_05 Critical Theory Capital Globalization Artists Tricksters Architecture Mexican-American Border Region Demonstrations Urban Planning Tijuana (Baja California, Mexico) Symposia Walls Ramírez Erre, Marcos (Mexican Installation Artist And Sculptor, Born 1961) Border Art Unhousedcontributor Calisphere