Search Results
Subject is exactly
Immigrants
Use buttons below to view additional pages.
-
La Llorona vs. La Migra
title La Llorona vs. La Migradescription Acrylic on canvas / acrílico sobre lienzo. 19 5/8" x 23 3/4" x 1 1/2" (frame included).artist/creator Enriquez-Courts, Pamelasubject La Llorona Satire La migra Immigration Trump, Donald J., 1946- Día de los muertos Day of the Dead Día de muertos Días de los muertos Piñatas Injustice Cigarettes Border Patrol Alcohol Beer in art Whiskey Frontera Children's detainment camp Presidents Controversy Immigrantscontributor National Museum of Mexican Art (NMMA) -
DRA 13 P 14, DRF 11 P 12 and DL 7 P 8 from the Deportable Alien Series
title DRA 13 P 14, DRF 11 P 12 and DL 7 P 8 from the Deportable Alien Seriesdescription Ceramic triptych / tríptico en cerámica. 23 3/4" x 10 1/2" x 13 1/2" (largest of the three).artist/creator Lara Zendejas, Rodrigocontributor National Museum of Mexican Art (NMMA) -
Into the Golden Age
title Into the Golden Agedescription Linocut, 21/35. Linograbado, 21/35. 15" x 11" (paper size). From the Posada Presente portfolio.artist/creator Moya, Oscarsubject Posada, José Guadalupe, 1852-1913 Printmaking Arroyo Golden Age Animals Insects Fences Immigration Migration Monarch butterfly Borderlands Frontera Crosses in art QR codes Chrysalis Pupae Metamorphosis Homage Immigrantscontributor National Museum of Mexican Art (NMMA) -
Cuentos sin fin
title Cuentos sin findescription Linocut, 21/35. Linograbado, 21/35. 14 7/8" x 11" (paper size). From the Posada Presente portfolio.artist/creator Monarrez, Epifaniosubject Posada, José Guadalupe, 1852-1913 Printmaking Arroyo Bureau of Alcohol, Tobacco, and Firearms (ATF) Immigration Operation Fast and Furious (2009-2011) Borderlands Frontera Guns Weapons Homage Firearms Immigrantscontributor National Museum of Mexican Art (NMMA) -
Mojada
title Mojadadescription Commercially manufactured glazed ceramic, glass and resin / cerámica vidriada y vidrio de fabricación comercial y resina. 11" x 6 1/2" x 6 1/2".artist/creator Mondini-Ruiz, Francosubject National Museum of Mexican Art (NMMA) 25th Anniversary Donation Found objects Women Nudes in art Conceptual art Immigration Humor Identity Undocumented immigrants Noncitizens Immigrants Sculpturecontributor National Museum of Mexican Art (NMMA) -
The Garden of Earthly Delights
title The Garden of Earthly Delightsdescription Customized tractor lawn mower / cortadora de césped personalizada. 43" x 93" x 37" (unopened).artist/creator Ortiz Torres, Rubéncontributor National Museum of Mexican Art (NMMA) -
Bienvenidos a los Tostados Unidos
title Bienvenidos a los Tostados Unidosdescription Etching, 52/100. Aguafuerte, 52/100. 14 3/4" x 21 3/4" (paper size). From The New Immigration portfolio.artist/creator Aguirre, José Antoniosubject Self Help Graphics and Art (SHG) Immigration Borderlands Poverty Statue of Liberty (New York, N.Y.) in art Buildings Cities California--Los Angeles Cityscapes Urban landscapes Architecture New York (State)--New York Urbanization Frontera Immigrantscontributor National Museum of Mexican Art (NMMA) -
Before the Migration
title Before the Migrationdescription Woodcut on paper, 30 in. x 22.5 in. Desert Triangle Print Carpeta. "January 15th, 1944. My grandparents in front of La Catedral, in Mexico City, the four-hundred-year-old church built from the stones of the Aztec’s Templo Mayor. My father, only four years old at the time, and his brother, my namesake, an infant. They moved to Tucson, Arizona from Puebla in a mining truck that my grandfather later delivered to the Pima Copper Mines. With 1500 miles ahead of them, I can only imagine what an arduous task that was. I don’t know for sure because all four of these family members have passed on, but I wonder if they had visited La Catedral to say goodbye and pray for a safe journey. Besides wanting the reminder of where my family came from, I wanted to get to know them through this [print]: I wanted to feel how they felt that day, to feel the sun on their faces, the awe from the sheer grandeur of architecture, and maybe even the warmth of their hearts from the presence of God. Through the carving process, the image also revealed their brewing excitement, and hope for a better future. They had to have known that their diligence would add prosperity to future generations. It makes me grateful for their hard work and perseverance to arrive in America." — Ruben Urrea Morenoartist/creator Urrea Moreno, Rubensubject Borderlands Frontera Immigration Immigrants Families Woodcuts Prints Portraits Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Medusa
title Medusadescription Serigraph on paper, 30 in. x 22 in. Taller 75 Grados, Mexico City, MX. Desert Triangle Print Carpeta. "I am a 'Tapatia de Corazón' born in Guadalajara, Jalisco. My draftsmanship, iconography, artistic forms, color, and style are derived from Mexican neo-figurative expressionism, which I learned from academic training at the Universidad de Guadalajara, Escuela de Artes Plásticas, in combination with the training I received at the University of Arizona where I earned a Master of Fine Arts degree in printmaking. I am a recipient of grants and fellowships: The Lila Wallace Reader’s Digest Award Residency at Claude Monet Museum in Giverny, France; NEA/WESTAF Regional Fellowship for Visual Artists; and Great Walls Unlimited, SPARC, Venice, CA, among others. Due to my personal history as an immigrant, the recurring theme in my work responds to and communicates relevant political and personal impressions, such as the right for immigrants to have a path to American citizenship. My work is an exploration of immigration/migration and its effects on culture, family, the loss of los ausentes (the ones who left their homelands and are considered missing in their physical absence, but not in their psychological presence), and the individual in these times of racism. I also represent with images the timeless human phenomena of deconstructing female stereotypes, echoing themes of divided families, struggle, strength, and success. I create from the perspective of a woman artist born “al otro lado” that has now lived and worked in the border region of Tucson, Arizona for over two decades." — Christina Cárdenasartist/creator Cárdenas, Christinasubject Portraits Borderlands Frontera Mexico--Jalisco Immigration Immigrants Medusa (Greek mythology) 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) -
Illegals
title Illegalsdescription Lithograph on paper, 37 in. x 46 in. An image of immigrants traveling at night on the side of a highway. 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 Immigration Immigrants Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Tan Lejos de Dios, Tan Cerca de los Estados Unidos
title Tan Lejos de Dios, Tan Cerca de los Estados Unidosdescription Lithograph on paper, 40 in. x 62 in. This print by El Paso artist Luis Jiménez represents the countless immigrants crossing daily into the United States; as relevant today as it was in the past with mass migration continuing to surge at the Southern border. Hoping to achieve the American Dream, immigrants journey from Mexico, and increasingly from the Northern Triangle in Central America (El Salvador, Guatemala, and Honduras). Individuals and families endure violence and hardship to come to the U.S., demonstrating grit, perseverance, and ingenuity to survive the known and unknown perils of crossing to the other side of the border (el otro lado). Once in the U.S., immigrants are vulnerable to abuse and discrimination while trying to adapt to a different culture. The artist’s title appropriately describes the scene, immigrants far from their homeland and their spiritual life, and so close to the U.S., where they may face more obstacles. On the left side, a vehicle belonging to the U.S. border patrol chases a group of immigrants confronted by cacti and barbed wire. A federal helicopter flies overhead, while a woman’s lifeless body lies on the ground, her disheveled clothing indicates a nefarious end. Near the center, with a coyote nipping at her legs, a woman frantically tries to escape. Next to her, a father and mother cautiously lead their children into the U.S. On the right side, a smuggler armed with rifle and pistol supervises his pack of mulas (mules) carrying heavy bundles, meanwhile an airplane drops more bundles of contraband below. Jiménez captures the harsh and cruel reality of border crossings facing immigrants. 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 in El Paso. He eventually traveled to Mexico to study with the Mexican muralists Diego Rivera and José Clemente Orozco, and he 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. Jiménez 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 Immigration Immigrants Rio Grande Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Magueyes II
title Magueyes IIdescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Layers of faces within what looks like a detention center with barbed wire fences. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Romero, Alejandrosubject Politics in art Faces Figurative art Fences Barbed Wire Immigration Immigrants Borderlands Frontera Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Magueyes
title Magueyesdescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. People outside of a gated area being chased by dogs and beaten. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Romero, Alejandrosubject Politics in art Batons Fences People Dogs Perros Crowds Watchtowers Immigration Immigrants Borderlands Frontera Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. A flag potentially being pierced by an agave plant behind a wall with barbed wire in the foreground and background. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Montoya, Malaquíassubject Politics in art Agaves Barbed Wire Banderas Flags Immigration Immigrants Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Man's face partially hidden by striped vertical lines. The lines could be part of a USA flag with the barbs of barbed wire as stars. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Montoya, Malaquíassubject Banderas Flags Men Eyes Immigration Immigrants Intaglio Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
A Votar
title A Votardescription Intaglio on paper, 18 in. x 24 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Crowds of people are on either side of a barbed wire with bound hands. The people are small and look up to massive voting boxes for the USA and Mexico, with large hands contributing their votes. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Limón, Leosubject Mexico Immigration Immigrants United States Buildings Voting People Rope Barbed Wire Hands Hand in art Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
La U.S.A. and the Three Diablos
title La U.S.A. and the Three Diablosdescription Intaglio on paper, 18 in. x 24 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. A man's head becomes a part of the land as he smiles and looks at the "three diablos" to the right. He has a cap with stars and a bald eagle on his head. There are people running across the land and people picking vegetables in a field in the foreground. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Limón, Leosubject Eagles Immigration Immigrants Demons Demonios Devil Diablo Workers Figurative art Animals in art Vegetables Stars Estrellas Running Intaglio Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Del Sur al Norte #2
title Del Sur al Norte #2description Intaglio on arches cover buff paper (250 grams), 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Woman carrying something above her head with a body laying on the ground next to her. She is in a city setting. A collage of men dressed in business attire also appear in the image. Printed at the Taller Romero in Mexico City, MX by Renato Esquivel Romero.artist/creator Bert, Guillermosubject Women Bodies Stairs Arrows Men Immigrants Immigration Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Del Sur al Norte #1
title Del Sur al Norte #1description Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Woman carrying something above her head with bodies lying on the ground next to her. In 1988, Sister Karen Boccalero, founder of Self Help Graphics and Art in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Bert, Guillermosubject Women Bodies Immigration Immigrants Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
El Paso, al Reves
title El Paso, al Revesdescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Shirtless man with a crowd of people in front of and behind a fence. Brick wall and city in background with skulls and a flying space craft. In 1988, Sister Karen Boccalero, founder of Self Help Graphics and Art in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Aguirre, José Antoniosubject Fences Humans Crowds Immigration Immigrants Intaglio Prints Unidentified Flying Objects UFO Buildings Hands Hand in art Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Bienvenidos a los Estados Unidos
title Bienvenidos a los Estados Unidosdescription Intaglio on paper, 18 in. x 24 in. A part of the "New Immigration" Portfolio by Self Help Graphics and Galería Sin Fronteras, Austin, TX. A Statue of Liberty is in the bottom right corner with a large border fence immediately behind her. There are lines of movement, a building in the background, and lines that suggest skulls. In 1988, Sister Karen Boccalero, founder of Self Help Graphics and Art in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Aguirre, José Antoniosubject Statue of Liberty (New York, N.Y.) in art Statues Estatua de la Libertad Buildings Fences Hands Hand in art Cactus Borderlands Frontera Immigration Immigrants Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Dr. Gilberto Cardenas, The Immigrant's Dream
title Dr. Gilberto Cardenas, The Immigrant's Dreamdescription Typeface on paper, 24 in. x 18 in. A part of the "New Immigration" Portfolio by Self Help Graphics and Galería Sin Fronteras, Austin, TX. "The Immigrant's Dream" is text written by Gilberto Cardenas, then Associate Professor of Sociology at The University of Texas at Austin. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Cardenas, Gilberto Self Help Graphics and Art Galería Sin Fronteras Self-Help Graphics & Artsubject Portfolios Immigration Immigrants Prints Text Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Cruzando el Rio Bravo
title Cruzando el Rio Bravodescription Color lithograph on paper, 38.75 in. x 28.5 in. A famous artist of the Chicano art movement, El Paso artist Luis Jiménez combined Pop Art with Chicano social commentary to celebrate the downtrodden and marginalized, such as immigrants who cross the Rio Grande (or Rio Bravo) to pursue the American Dream. This border crossing is based on the artist’s grandfather carrying his wife and son across the Rio Grande from Mexico to El Paso. Despite the dangers of such crossings, immigrant families demonstrate heroic spirit in search of a better life. Jiménez later rendered this study into a series of painted fiberglass sculptures that pay homage to the countless immigrants who undertake the perilous trek to the U.S. 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 in El Paso. He eventually traveled to Mexico to study with the Mexican muralists Diego Rivera and José Clemente Orozco, and he 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. Jiménez 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 Rio Grande Immigration Immigrants Color Lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
I Am IMMIGRANT You Are
title I Am IMMIGRANT You Aredescription Serigraph on paper, 11 in. x 15 in. Text as image composition that reads "I Am IMMIGRANT You Are."artist/creator Coronado, Pepesubject Borderlands Frontera Immigration Immigrants Prints Screen prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Serigraph on paper, 15 in. x 19 in. El Paso Serie Project. An American flag in black and grey.artist/creator Escobedo, Miguelsubject Politics in art Borderlands Frontera Immigration Immigrants Flags Texas--El Paso Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Open Season
title Open Seasondescription Serigraph on paper, 15 in. x 22.25 in. Crossed out caution sign with a man, woman, and child running. The Statue of Liberty is facing away from the sign.artist/creator Moya, Oscarsubject Borderlands Frontera Immigration Immigrants Statues Statue of Liberty (New York, N.Y.) in art Irony Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
A Couple Of Immigrantes, Highland Park, Los Angeles, 1997
title A Couple Of Immigrantes, Highland Park, Los Angeles, 1997description A couple of immigrantes, Highland Park, Los Angeles, 1997, North Figueroa Street (northside alley) between 51st Street and 52nd Street, Highland Park. Aerosol, approximately 12' x 30 ', by ManOne (Alex Poli). Self-sponsored. -- Dunitz, Street gallery, rev. 2nd ed., p. 123, #23.contributor Calisphere -
East Meets West, Los Angeles, 1991
title East Meets West, Los Angeles, 1991description East meets West, Los Angeles, 1991, Bangkok Market, exterior corner, 4757 Melrose Avenue (at Harvard Boulevard), Hollywood. An optimistic depiction of Asian immigrants moving to Los Angeles, melding images of traditional costumes, Oriental architecture, and contemporary life. Symbols of Eastern and Western dance, dress, and technology are intended to emphasize the mutual learning and understanding that multicultural diversity has to offer. When this large market opened in the early 1930s, it was the first Thai business in Los Angeles. It supplies most local Thai restaurants. By Vibul Wonprasat, assisted by Amaree Israngkura, Pornthakarn Karasinth, Mongkolchay Yukol, Khalid Taylor, and Helaina M. Taylor. Sponsored by SARC. -- Dunitz, Street gallery, p. 96, #47.artist/creator Israngkura, Amaree Yukol, Mongkolchay Dunitz, Robin J Taylor, Helaina M Wonprasat, Vibul Taylor, Khalid Karasinth, Pornthakarncontributor Calisphere -
El Nuevo Mundo: Homage To The Worker, Los Angeles, 1996
title El Nuevo Mundo: Homage To The Worker, Los Angeles, 1996description El Nuevo Mundo: homage to the worker, Los Angeles, 1996, Peerless Hardware, exterior, 2011 West Sunset Boulevard (at Park Avenue), Echo Park. Breaking barriers. How immigrants contribute to our everyday lives, including solo image of a day laborer. Acrylic, 16' x 40' (2 panels), by Ernesto de la Loza. Sponsored by Echo Park Pride Committee. -- Dunitz, Street gallery, p. 113, #37.contributor Calisphere -
Celebration Of Diversity, Canoga Park, Los Angeles, 1990
title Celebration Of Diversity, Canoga Park, Los Angeles, 1990description Celebration of diversity, Canoga Park, Los Angeles, 1990. Lanark Park Recreation Center, exterior, 21816 Lanark Street (near Topanga Canyon Boulevard), Canoga Park. Individuals from successive waves of immigration to Los Angeles. They each hold objects symbolic of their culture. Acrylic, 24' x 10', by Francisco Letelier, assisted by Mario Bustamante, Carlos Caprio, May Young Chung. Sponsored by SPARC. -- Dunitz, Street gallery, p. 149, #55.contributor Calisphere -
Immigrant, Los Angeles, 1992
title Immigrant, Los Angeles, 1992description Immigrant, Los Angeles, 1992, El Tigre Market, exterior, Pico Boulevard at Hoover Street. Latin American immigrants coming to the U.S. At the far left the Statue of Liberty appears as a mirage that is beyond reach. Among those portrayed are a pregnant woman with young children, a man hawking bags of oranges, a woman at a sewing machine, and a man digging through a dumpster for cans. Oil, 10' x 30', by Juan Hector Ponce.-- Dunitz, Street gallery, rev. 2nd ed., p. 80, #55.contributor Calisphere -
The Koreans, Koreatown, 1989
title The Koreans, Koreatown, 1989description The Koreans, 1989, Korean Daily News building, exterior, 690 Wilshire Place (mural on 7th Street), Koreatown. Several panels depict the plight of the newly arrived immigrant. Subjects addressed include cultural shock, loneliness, the rewards of hard work, and the blending of cultural differences. Acrylic, 80' x 15', by Dong-In Park. Sponsored by Social and Public Art Resource Center. -- Dunitz, Street gallery, rev. 2nd ed., p. 76, #34.contributor Calisphere -
Contributions Of Asians For The Development And Progress Of California, Los Angeles, 1990
title Contributions Of Asians For The Development And Progress Of California, Los Angeles, 1990description Contributions of Asians for the development and progress of California, 1990, 4375 Beverly Boulevard (at Harvard Boulevard). The United States, represented as a woman with a torch, welcoming immigrants to help build California. Acrylic, 10' x 20', by Orlando Castillo, assisted by Bobby Yi, Jezreel Balajadia, Rod Parong, Rogelio Galang, and Alen Terre. Sponsored by SPARC. -- Dunitz, Street gallery, rev. 2nd ed., p. 76, #37.artist/creator Balajadia, Jezreel Parong, Rod Castillo, Orlando Galang, Rogelio Dunitz, Robin J Yi, Bobby Terre, Alencontributor Calisphere -
Tome Conciencia (Drink Awareness), Boyle Heights, 1987
title Tome Conciencia (Drink Awareness), Boyle Heights, 1987description Tome conciencia (Drink awareness), Boyle Heights, 1987. One Stop Immigration and Educational Center (formerly Julian Furniture), 3600 Whittier Boulevard (mural on Esperanza), [Boyle Heights]. A highly graphic montage in solidarity with workers, especially the undocumented. Images of Superman (Truth, Justice, and the American Way) recur, but he doesn't seem to be a match for the determination and militancy of farmworkers, illegal immigrants, and others who are struggling for a broader application of American justice. The title (upper left corner) is written in the same style as a Coca Cola advertisement. Paint on brick, by Taller de Grafica Monumental, Xochimilco, Mexico, D.F. (Norma Urenda, Isela Guerrero, Eduardo Juarez, Mauricio Gomez, Esther Cimet). -- Dunitz, Street gallery, p. 319, #76.artist/creator Juarez,Eduardo Gomez, Mauricio Urenda, Norma Guerrero, Isela Dunitz, Robin J Cimet, Esthercontributor Calisphere -
Great Wall Of Los Angeles: Detail: 1880 Frontier California
title Great Wall Of Los Angeles: Detail: 1880 Frontier Californiadescription A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Narrative mural depicting California history from prehistory thru the 1920s. This detail shows the California land boom and the battles that ensued over land between the Native Americans and the White settlers. Paintings Tujunga Wash, Los Angeles (California)artist/creator Baca, Judith Franciscasubject Oranges Horses Indians Of North America Battles Mural Painting And Decoration Orchards Immigrants Railroads History Employees Narrative Art Chinese Symbolism Agriculture Californiacontributor Calisphere -
Great Wall Of Los Angeles: Detail: 1890 Los Angeles Mountains To The Shore; Immigrants
title Great Wall Of Los Angeles: Detail: 1890 Los Angeles Mountains To The Shore; Immigrantsdescription A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Narrative mural depicting California history from prehistory thru the 1920s. The concluding 100 feet of first summer's work. It pays homage to the new wave of immigrants and their labor, important in the development of this region. Designed by Isabel Castro, the section begins with an image showing these new arrivals in a wave of flags which indicated their varied origins. Paintings Tujunga Wash, Los Angeles (California)artist/creator Baca, Judith Franciscasubject Mural Painting And Decoration History Employees Narrative Art Immigrants Symbolism California Flagscontributor Calisphere -
Great Wall Of Los Angeles: Detail: 1848 Bandaide And 1868 Sojourners
title Great Wall Of Los Angeles: Detail: 1848 Bandaide And 1868 Sojournersdescription A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. California History: Prehistoric thru 1920s Joaquin Murieta, a legendary Mexican Robin Hood, fights for the oppressed: The landless who "squat" on the state; the "hanging tree" victims of prejudice; and the Indians who are slaughtered with the coming of the "Iron Horse". Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Paintings Tujunga Wash, Los Angeles (California)artist/creator Baca, Judith Franciscasubject Indians Of North America Mexican American Art Mural Painting And Decoration Murieta, Joaquín Railroads History Violence Narrative Art Immigrants Symbolism Gold Mines And Mining Californiacontributor Calisphere -
Great Wall Of Los Angeles: Detail: 1890 Los Angeles Mountains To The Shore; World Ward I
title Great Wall Of Los Angeles: Detail: 1890 Los Angeles Mountains To The Shore; World Ward Idescription A collaborative project by Judy Baca and over 400 employed youths and artists. The Great Wall was initially a beautification project proposed by the Army Corps of Engineers in 1974. Under the direction of Baca, the mural transformed into a bold illustration of the history of California from the state's prehistoric past to the struggles of its ethnic minorities for civil rights and equality. Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Narrative mural depicting California history from prehistory thru the 1920s. The concluding 100 feet of first first summer's work. It pays homage to the new wave of immigrants and their labor, important in the development of this region. The segment continues with the invention of the car and airplane, which shaped the development of 20th century California. Paintings Tujunga Wash, Los Angeles (California)artist/creator Baca, Judith Franciscasubject Automobiles Mural Painting And Decoration History Airplanes Technological Innovations Employees World War, 1914-1918 Narrative Art Medals Immigrants Symbolism Horizon Agriculture California Flagscontributor Calisphere -
Great Wall Of Los Angeles: Detail: 1868 Sojourners; Chinese Massacre Of 1871
title Great Wall Of Los Angeles: Detail: 1868 Sojourners; Chinese Massacre Of 1871description A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Narrative mural depicting California history from prehistory thru the 1920s. This detail focuses on the Chinese massacre of 1871, a racially motivated riot on October 24, 1871, when a mob of white men entered Los Angeles' Chinatown to attack, rob and murder Chinese residents of the city. Paintings Tujunga Wash, Los Angeles (California)artist/creator Baca, Judith Franciscasubject Mural Painting And Decoration Massacres Immigrants History Violence Narrative Art Chinese Symbolism Californiacontributor Calisphere -
Great Wall Of Los Angeles: Detail: 1868 Sojourners
title Great Wall Of Los Angeles: Detail: 1868 Sojournersdescription A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Narrative mural depicting California history from prehistory thru the 1920s. Paintings Tujunga Wash, Los Angeles (California)artist/creator Baca, Judith Franciscasubject Mexican American Art Mural Painting And Decoration Immigrants Railroads History Employees Narrative Art Chinese Symbolism Gold Mines And Mining Californiacontributor Calisphere -
Great Wall Of Los Angeles: Detail: 1868 Sojourners: Chinese Laborers Working On The Transcontinental Railroad
title Great Wall Of Los Angeles: Detail: 1868 Sojourners: Chinese Laborers Working On The Transcontinental Railroaddescription A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Narrative mural depicting California history from prehistory thru the 1920s. Designed by Gary Takamoto, the Chinese segment shows the workers on the transcontinental railroad, which was built largely by Chinese labor. The faces which appear in the smoke of the locomotive honor those who died in the course of this mammoth undertaking. Paintings Tujunga Wash, Los Angeles (California)artist/creator Baca, Judith Franciscasubject Mexican American Art Mural Painting And Decoration Immigrants Railroads History Employees Narrative Art Chinese Symbolism Californiacontributor Calisphere -
Public Hearing
title Public Hearingdescription Centro Cultural de la Raza (San Diego, Calif.) Puerto Rican artist Pepón Osorio's project for inSITE94 was a continuation of his exploration of the issues particular to the experience Latin immigrants have as they settle and integrate into the culture of the United States. Entitled "Vista pública/Public Hearing," the installation dealt specifically with the frustrations and misunderstandings arising from interactions with government agencies. According to the artist the piece evolves each time it is presented at a new site within a new community facing issues that describe the immigrant experience. --inSITE94 Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 310, Folder 03, Item 261) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.subject Hearings Place Settings Race Discrimination Sculpture (Visual Work) Clothing Insite94 Puerto Rico Immigrants Installations (Visual Works) Bronx (New York, N.Y.)contributor Calisphere -
Public Hearing
title Public Hearingdescription Centro Cultural de la Raza (San Diego, Calif.) Puerto Rican artist Pepón Osorio's project for inSITE94 was a continuation of his exploration of the issues particular to the experience Latin immigrants have as they settle and integrate into the culture of the United States. Entitled "Vista pública/Public Hearing," the installation dealt specifically with the frustrations and misunderstandings arising from interactions with government agencies. According to the artist the piece evolves each time it is presented at a new site within a new community facing issues that describe the immigrant experience. --inSITE94 Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 310, Folder 03, Item 262) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.artist/creator Osorio, Pepónsubject Hearings Place Settings Race Discrimination Sculpture (Visual Work) Clothing Insite94 Puerto Rico Immigrants Installations (Visual Works) Bronx (New York, N.Y.)contributor Calisphere -
Esl: Tonguetied
title Esl: Tonguetieddescription Boehm Gallery, Palomar College Drawings and Watercolors Graphic Design and Illustration Paintings Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) The Border Art Workshop/Taller de Arte Fronterizo's project, "ESL: tonguetied/lenguatrabada," dealt with the subject of cultural identity and the difficulties encountered in learning a language other than one's mother tongue. The project specifically referenced the impact of the recently adapted Proposition 187, a 1994 California ballot initiative designed to limit social services, health care, and public education for undocumented workers. At the same time, the project provided a space for responding to the implications of differentiating between "legal" and "illegal" immigrants. The installation consisted of a mock classroom with written questions on all surfaces and blackboard walls where viewers were invited to express their thoughts on the issues. -- inSITE94 This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 02, Item 038) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.artist/creator Unknownsubject Language Identity (Philosophical Concept) Political Art Education Sculpture (Visual Work) Mexican-American Border Region Classrooms Insite94 Undocumented Immigrants Immigrants Installations (Visual Works) Border Art Prejudicescontributor Calisphere