Mexican American Art Since 1848 (MAAS1848)

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  La Llorona vs. La Migra

  title La Llorona vs. La Migra 

  description Acrylic on canvas / acrílico sobre lienzo. 19 5/8" x 23 3/4" x 1 1/2" (frame included). 

  artist/creator Enriquez-Courts, Pamela 

  subject 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  Immigrants 

  contributor National Museum of Mexican Art (NMMA) 
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  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 Series 

  description Ceramic triptych / tríptico en cerámica. 23 3/4" x 10 1/2" x 13 1/2" (largest of the three). 

  artist/creator Lara Zendejas, Rodrigo 

  subject Immigration  Deportation  Injustice  Immigrants  Sculpture 

  contributor National Museum of Mexican Art (NMMA) 
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  Into the Golden Age

  title Into the Golden Age 

  description Linocut, 21/35. Linograbado, 21/35. 15" x 11" (paper size). From the Posada Presente portfolio. 

  artist/creator Moya, Oscar 

  subject 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  Immigrants 

  contributor National Museum of Mexican Art (NMMA) 
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  Cuentos sin fin

  title Cuentos sin fin 

  description Linocut, 21/35. Linograbado, 21/35. 14 7/8" x 11" (paper size). From the Posada Presente portfolio. 

  artist/creator Monarrez, Epifanio 

  subject 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  Immigrants 

  contributor National Museum of Mexican Art (NMMA) 
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  Mojada

  title Mojada 

  description 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, Franco 

  subject National Museum of Mexican Art (NMMA) 25th Anniversary Donation  Found objects  Women  Nudes in art  Conceptual art  Immigration  Humor  Identity  Undocumented immigrants  Noncitizens  Immigrants  Sculpture 

  contributor National Museum of Mexican Art (NMMA) 
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  Bienvenidos a los Tostados Unidos

  title Bienvenidos a los Tostados Unidos 

  description Etching, 52/100. Aguafuerte, 52/100. 14 3/4" x 21 3/4" (paper size). From The New Immigration portfolio. 

  artist/creator Aguirre, José Antonio 

  subject 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  Immigrants 

  contributor National Museum of Mexican Art (NMMA) 
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  Before the Migration

  title Before the Migration 

  description 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 Moreno 

  artist/creator Urrea Moreno, Ruben 

  subject Borderlands  Frontera  Immigration  Immigrants  Families  Woodcuts  Prints  Portraits  Life and Experiences in the U.S./Mexico Borderlands (exhibition) 

  contributor Mexic-Arte Museum (MAM) 
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  Medusa

  title Medusa 

  description 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 Cárdenas 

  artist/creator Cárdenas, Christina 

  subject 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) 
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  Esto es un Río

  title Esto es un Río 

  description 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” Alvarado 

  artist/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) 
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  Illegals

  title Illegals 

  description 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, Luis 

  subject Borderlands  Frontera  Immigration  Immigrants  Lithographs  Prints  Life and Experiences in the U.S./Mexico Borderlands (exhibition) 

  contributor Mexic-Arte Museum (MAM) 
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  Tan Lejos de Dios, Tan Cerca de los Estados Unidos

  title Tan Lejos de Dios, Tan Cerca de los Estados Unidos 

  description 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, Luis 

  subject Borderlands  Frontera  Immigration  Immigrants  Rio Grande  Lithographs  Prints  Life and Experiences in the U.S./Mexico Borderlands (exhibition) 

  contributor Mexic-Arte Museum (MAM) 
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  Magueyes II

  title Magueyes II 

  description 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, Alejandro 

  subject 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) 
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  Magueyes

  title Magueyes 

  description 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, Alejandro 

  subject 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) 
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  Untitled

  title Untitled 

  description 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, Malaquías 

  subject 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) 
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  Untitled

  title Untitled 

  description 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, Malaquías 

  subject Banderas  Flags  Men  Eyes  Immigration  Immigrants  Intaglio  Prints  Allegory  Life and Experiences in the U.S./Mexico Borderlands (exhibition) 

  contributor Mexic-Arte Museum (MAM) 
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  A Votar

  title A Votar 

  description 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, Leo 

  subject 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) 
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  La U.S.A. and the Three Diablos

  title La U.S.A. and the Three Diablos 

  description 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, Leo 

  subject 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) 
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  Del Sur al Norte #2

  title Del Sur al Norte #2 

  description 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, Guillermo 

  subject Women  Bodies  Stairs  Arrows  Men  Immigrants  Immigration  Intaglio  Prints  Life and Experiences in the U.S./Mexico Borderlands (exhibition) 

  contributor Mexic-Arte Museum (MAM) 
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  Del Sur al Norte #1

  title Del Sur al Norte #1 

  description 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, Guillermo 

  subject Women  Bodies  Immigration  Immigrants  Intaglio  Prints  Life and Experiences in the U.S./Mexico Borderlands (exhibition) 

  contributor Mexic-Arte Museum (MAM) 
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  El Paso, al Reves

  title El Paso, al Reves 

  description 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 Antonio 

  subject 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) 
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  Bienvenidos a los Estados Unidos

  title Bienvenidos a los Estados Unidos 

  description 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 Antonio 

  subject 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) 
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  Dr. Gilberto Cardenas, The Immigrant's Dream

  title Dr. Gilberto Cardenas, The Immigrant's Dream 

  description 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 & Art 

  subject Portfolios  Immigration  Immigrants  Prints  Text  Life and Experiences in the U.S./Mexico Borderlands (exhibition) 

  contributor Mexic-Arte Museum (MAM) 
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  Cruzando el Rio Bravo

  title Cruzando el Rio Bravo 

  description 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, Luis 

  subject 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 Are 

  description Serigraph on paper, 11 in. x 15 in. Text as image composition that reads "I Am IMMIGRANT You Are." 

  artist/creator Coronado, Pepe 

  subject Borderlands  Frontera  Immigration  Immigrants  Prints  Screen prints  Life and Experiences in the U.S./Mexico Borderlands (exhibition) 

  contributor Mexic-Arte Museum (MAM) 
• 

  Untitled

  title Untitled 

  description Serigraph on paper, 15 in. x 19 in. El Paso Serie Project. An American flag in black and grey. 

  artist/creator Escobedo, Miguel 

  subject 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 Season 

  description 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, Oscar 

  subject 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) 
• 

  Who's the Illegal Alien, Pilgrim?

  title Who's the Illegal Alien, Pilgrim? 

  description Yolanda López, Who's the Illegal Alien, Pilgrim?, 1978, offset lithograph on paper, Smithsonian American Art Museum, Museum purchase through the Samuel and Blanche Koffler Acquisition Fund, 2020.43.2, © 1978, Yolanda Lopez 

  artist/creator López, Yolanda M. 

  subject Immigration  Figure Male 

  contributor Smithsonian American Art Museum (SAAM) 
• 

  Who's the Illegal Alien, Pilgrim?

  title Who's the Illegal Alien, Pilgrim? 

  description Yolanda López, Who's the Illegal Alien, Pilgrim?, 1981, offset lithograph on paper, Smithsonian American Art Museum, Museum purchase through the Samuel and Blanche Koffler Acquisition Fund, 2020.43.1, © 1978, Yolanda Lopez 

  artist/creator López, Yolanda M. 

  subject Immigration  Figure Male 

  contributor Smithsonian American Art Museum (SAAM) 
• 

  De la tierra somos !no somos ilegales!

  title De la tierra somos !no somos ilegales! 

  description Carlos A. Cortéz, De la tierra somos !no somos ilegales!, 1984, linoleum cut on paper, Smithsonian American Art Museum, Gift of Tomás Ybarra-Frausto, 1995.50.6, © 2020, Dora Katsikakis 

  artist/creator Cortéz, Carlos A. 

  subject Figure Group  Pyramid Of The Sun  Immigration  Liberation  Corn  Hispanic 

  contributor Smithsonian American Art Museum (SAAM) 
• 

  The Gilded Age

  title The Gilded Age 

  description Carlos A. Cortéz, The Gilded Age, 1992, linocut on paper, Smithsonian American Art Museum, Museum purchase, 1993.13.5, artist claims work to be in public domain 

  artist/creator Cortéz, Carlos A. 

  subject Immigration  Poster  Female  Textiles 

  contributor Smithsonian American Art Museum (SAAM) 
• 

  De la Tierra Somos (!No Somos Illegales!)

  title De la Tierra Somos (!No Somos Illegales!) 

  description Carlos A. Cortéz, De la Tierra Somos (!No Somos Illegales!), 1984, woodcut on paper, Smithsonian American Art Museum, Museum purchase, 1993.13.3, artist claims work to be in public domain 

  artist/creator Cortéz, Carlos A. 

  subject Figure Group  Immigration  Labor History  Mexican  Injustice  Teotihuacan  Corn  Temple 

  contributor Smithsonian American Art Museum (SAAM) 
• 

  The Mexican in Chicago

  title The Mexican in Chicago 

  description Interested in reading more? Visit our partner's homepage by clicking on the 'View Item' button or visiting the url in the website section 

  artist/creator Jones, Robert C.  Wilson, Louis R. 

  subject Customs  Mexican American  Identity  Immigration 

  contributor International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) 
• 

  Telling Images Bracket the "Broken-Promise(d) Land": The Culture of Immigration and the Immigration of Culture across Borders

  title Telling Images Bracket the "Broken-Promise(d) Land": The Culture of Immigration and the Immigration of Culture across Borders 

  description Interested in reading more? Visit our partner's homepage by clicking on the 'View Item' button or visiting the url in the website section 

  artist/creator Sorell, V. A. (Victor A.) 

  subject Mexican American  Emigration  Immigration  Assimilation  Culture  Popular Culture  Mexican 

  contributor International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) 
• 

  El pachuco y otros extremos

  title El pachuco y otros extremos 

  description Interested in reading more? Visit our partner's homepage by clicking on the 'View Item' button or visiting the url in the website section 

  artist/creator Paz, Octavio 

  subject Identity  Mexican  Culture  Immigration 

  contributor International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) 
• 

  The multicultural paradigm : an open letter to the National Arts Community

  title The multicultural paradigm : an open letter to the National Arts Community 

  description Interested in reading more? Visit our partner's homepage by clicking on the 'View Item' button or visiting the url in the website section 

  artist/creator Gómez-Peña, Guillermo 

  subject Mexican American  Immigration  Art  Culture  History  Language  Artists 

  contributor International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) 
• 

  The outlaw artist of 18th street : Marcos Raya: his life, his work, his demon

  title The outlaw artist of 18th street : Marcos Raya: his life, his work, his demon 

  description Interested in reading more? Visit our partner's homepage by clicking on the 'View Item' button or visiting the url in the website section 

  artist/creator Huebner, Jeff 

  subject Mexican American  Immigration  Mural Painting  Mexican  Artists 

  contributor International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) 
• 

  Marchista (Harlingen, Tex.)

  title Marchista (Harlingen, Tex.) 

  description Newspaper from Harlingen, Texas published by the Valley Coalition for Justice that includes news and information relating to the organization and reports on participation in the Latino and Immigrants' Rights March in Washington, D. C. 

  artist/creator Valley Coalition For Justice 

  subject Cameron County (Tex.) -- Newspapers.  Business, Economics And Finance - Journalism  Mexican Americans -- Rio Grande Valley (Colo.-Mexico And Tex.) -- Newspapers.  Business, Economics And Finance - Advertising  Immigration  Business, Economics And Finance - Communications - Newspapers  Valley Coalition For Justice.  People - Ethnic Groups - Hispanics  Places - United States - Texas - Cameron County  Latino And Immigrants' Rights March  United States -- Emigration And Immigration -- Government Policy -- Newspapers.  Harlingen (Tex.) -- Newspapers. 

  contributor Portal to Texas History (TPTH) 
• 

  The Dilemma of the Illegal Alien: A Research Paper for English IV

  title The Dilemma of the Illegal Alien: A Research Paper for English IV 

  description Research paper written by Carlton M. Godbold about the undocumented immigration of Mexican citizens into the United States. It covers the ways immigrants enter the US as well as the motivating factors of the businesses who employ migrants. This paper was written for an English IV class at Marfa High School. 

  artist/creator Godbold, Carlton M. 

  subject Places - United States - Texas - Presidio County  Immigration  stereotyping 

  contributor Portal to Texas History (TPTH) 
• 

  History Report

  title History Report 

  description History Report by Jess Wvans about a book by Bary Scobee, titled "Nick Mersfelder, A Remarkable Man." 

  artist/creator Evans, Jess 

  subject Epsy, Joe  Mersfelder, Nick  Young, Gerald  Immigration  People - Groups - Pioneers  Agriculture - Ranching  Landscape And Nature - Mountains 

  contributor Portal to Texas History (TPTH) 
• 

  U. S. Border Patrol Seal

  title U. S. Border Patrol Seal 

  description Photograph of a sign depicting the seal of the United States Border Patrol. The sign appears to be near a field. There are several buildings in the background. 

  artist/creator Unknown 

  subject Signs  Immigration  United States Border Patrol  Seals 

  contributor Portal to Texas History (TPTH) 
• 

  Border Patrol Vehicle

  title Border Patrol Vehicle 

  description Photograph of a U. S. Border Patrol vehicle. There is a Border Patrol seal on the driver's side door. There are buses in the background that are used to transport illegal aliens back across the border. 

  artist/creator Unknown 

  subject Buses  Immigration  Border Patrol  Business, Economics And Finance - Transportation - Automobiles 

  contributor Portal to Texas History (TPTH) 
• 

  Man Holding Tortilla

  title Man Holding Tortilla 

  description Photograph of a man holding a tortilla near the United States-Mexico border. There are mountains in the background. 

  artist/creator Unknown 

  subject Social Life And Customs - Food And Cooking  Immigration  Landscape And Nature - Deserts  Tortillas 

  contributor Portal to Texas History (TPTH) 
• 

  History and Organization of the Immigration and Naturalization Service

  title History and Organization of the Immigration and Naturalization Service 

  description Research paper for an American History class at Marfa High School, written by Debbie Henderson on December 7, 1970. The paper gives the history of the Immigration and Naturalization Service, with extensive coverage of the U.S. Border Patrol at Marfa, Texas. It includes information about smugglers during prohibition, patrolmen's uniforms, the minimum requirements to join the U. S. Border Patrol, as well as the names of the staff people at the Marfa Headquarters in 1971. 

  artist/creator Henderson, Debbie 

  subject Immigration  Border Patrol  Government And Law - Law Enforcement 

  contributor Portal to Texas History (TPTH) 
• 

  We Are Human

  title We Are Human 

  description

  artist/creator Colby Poster Co 

  subject Chicano/Latino  Immigration 

  contributor Calisphere 
• 

  Benefit Dance For: Centro Legal De La Raza, Oakland

  title Benefit Dance For: Centro Legal De La Raza, Oakland 

  description

  artist/creator Montoya, Malaquias  Centro Legal De La Raza 

  subject Immigration 

  contributor Calisphere 
• 

  No Simpson Rodino

  title No Simpson Rodino 

  description

  artist/creator Siguenza, Herbert  Casa El Salvador  La Raza Graphics Center 

  subject Immigration 

  contributor Calisphere 
• 

  Declaracion De Amor

  title Declaracion De Amor 

  description

  artist/creator Montoya, Malaquias 

  subject Immigration 

  contributor Calisphere 
• 

  Un Continente Unidad Sin Fronteras

  title Un Continente Unidad Sin Fronteras 

  description

  artist/creator Montoya, Malaquias  El Teatro De La Esperanza 

  subject Immigration 

  contributor Calisphere 
• 

  Me Vine Desde Alla

  title Me Vine Desde Alla 

  description

  artist/creator Montoya, Malaquias 

  subject Immigration 

  contributor Calisphere 
• 

  Si Se Puede

  title Si Se Puede 

  description

  artist/creator Montoya, Malaquias  Self Help Graphics And Art 

  subject Immigration 

  contributor Calisphere 
• 

  Inmigrante

  title Inmigrante 

  description

  artist/creator National Coalition For Fair Immigration Laws And Practices 

  subject Immigration 

  contributor Calisphere 
• 

  Dreams Are Stronger Than Fear

  title Dreams Are Stronger Than Fear 

  description

  artist/creator Inkworks Press  Cervantes, Melanie  Dignidad Rebelde 

  subject Immigration 

  contributor Calisphere 
• 

  Ya Basta

  title Ya Basta 

  description

  artist/creator Community Printers  Cervantes, Melanie 

  subject Immigration 

  contributor Calisphere 
• 

  May Day 2014 Shut Down Ice Now

  title May Day 2014 Shut Down Ice Now 

  description

  artist/creator Solespace 

  subject Spring  Immigration 

  contributor Calisphere 
• 

  Todos Somos Americanos

  title Todos Somos Americanos 

  description

  artist/creator Jackson, Carlos  Taller Arte Del Nuevo Amanecer 

  subject Immigration 

  contributor Calisphere 
• 

  Mano A Mano Latinos Somos Uno

  title Mano A Mano Latinos Somos Uno 

  description

  artist/creator Montoya, Malaquias 

  subject Immigration 

  contributor Calisphere 
• 

  Me Hechan De Mojado

  title Me Hechan De Mojado 

  description

  artist/creator Montoya, Malaquias  Guadalupe Cultural Arts Center 

  subject Immigration 

  contributor Calisphere 
• 

  Siempre En La Lucha

  title Siempre En La Lucha 

  description

  artist/creator Vazquez, Chandra 

  subject Immigration 

  contributor Calisphere 
• 

  Defend Ethnic Studies

  title Defend Ethnic Studies 

  description

  artist/creator Garcia, Joel  Sjep Tucson 

  subject Immigration 

  contributor Calisphere 
• 

  Got Lunch?

  title Got Lunch? 

  description

  artist/creator Dominguez, Francisco J 

  subject Immigration 

  contributor Calisphere 
• 

  Destination America

  title Destination America 

  description

  artist/creator Dominguez, Francisco J 

  subject Immigration 

  contributor Calisphere 
• 

  Escape To Nature

  title Escape To Nature 

  description

  artist/creator Montoya, Malaquias 

  subject Immigration 

  contributor Calisphere 
• 

  518 Years Of Resistance

  title 518 Years Of Resistance 

  description

  artist/creator Garcia, Natalia  Lopez, Leslie 

  subject Immigration 

  contributor Calisphere 
• 

  Undocunation

  title Undocunation 

  description

  artist/creator Rodriguez, Favianna 

  subject Art And Culture  Immigration 

  contributor Calisphere 
• 

  Aliens On Their Own Land

  title Aliens On Their Own Land 

  description

  artist/creator Montoya, Malaquias 

  subject Immigration 

  contributor Calisphere 
• 

  Migra Ii

  title Migra Ii 

  description Acrylic painting depicts an immigration officer taking two men with their hands behind their heads into custody. The background is yellow.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Victor Ochoa c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563 E-mail: cema@library.ucsb.edu Ochoa’s website: http://www.chicanozauruz.com/ and http://www.victorochoa.net/ E-mail: vochoa@att.net 

  artist/creator Rodriguez, Pedro A. 

  subject Border Patrols  Mexican American Art  Law Enforcement  Immigration Regulation And Control  Immigration  Undocumented Workers  Chicano Art  Immigration And Naturalization Service  Mexican Americans  Police In Art  Border Art  Chicanos 

  contributor Calisphere 
• 

  Border Sutures 1990

  title Border Sutures 1990 

  description Border Sutures was a traveling performance art piece that visited cities along the 2000 mile border between the U.S. and Mexico. Photo is of artists in Mexican wrestling masks in front of a mural depicting Benito Juarez with the words, "El respeto al derecho ajeno es la paz."  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Victor Ochoa c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563 E-mail: cema@library.ucsb.edu Ochoa’s website: http://www.chicanozauruz.com/ and http://www.victorochoa.net/ E-mail: vochoa@att.net 

  artist/creator Border Arts Workshop/Taller De Arte Fronterizo 

  subject Mexican Wrestling Masks  Mexican American Art  Mexican American Border Region  Artists  Immigration Regulation And Control  Immigration  Mural Art  Chicano Art  Performance Art  Juárez, Benito, 1806-1872  Mexican Americans  Human Rights  Masks  Border Art  Chicanos 

  contributor Calisphere 
• 

  (Title Unknown)

  title (Title Unknown) 

  description Mural in unknown media on a Chicano Park concrete freeway underpass depicts an eagle, an ant, ears of corn, animals, part of a feathered serpent, and skeletal hands inside letters.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: James Prigoff c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563, E-mail: cema@library.ucsb.edu 

  artist/creator Ochoa, Victor 

  subject Aztec Gods  Mexican American Art  Animals In Art  Conquistadors  Immigration  Mural Art  Chicano Art  Quetzalcoatl (Aztec Deity)  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  Border Crossing Memorial

  title Border Crossing Memorial 

  description The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: James Prigoff c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563, E-mail: cema@library.ucsb.edu  This series of photos depicts a mural that is in remembrance of those who have died attempting to cross the border. It is composed of wooden crosses painted white with the name, age, and origin of the deceased in black when it is known. These are nailed to a corrugated iron portion of the wall demarcating the U.S.-Mexican border. Police tape with the words "Crime Scene Do Not Cross" is strung in front of the crosses. 

  artist/creator Artist Unknown 

  subject Mexican American Art  Mexican American Border Region  Crosses In Art  Immigration Regulation And Control  Immigration  Mural Art  Chicano Art  Murals (Any Medium)  Death In Art  Mexican Americans  Border Art  Chicanos 

  contributor Calisphere 
• 

  Border Crossing Memorial

  title Border Crossing Memorial 

  description The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: James Prigoff c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563, E-mail: cema@library.ucsb.edu  This portion of the Border Crossing Memorial is in the form of an assemblage. In the center is clothing attached to a black cross which leans against the corrugated iron wall on the border. At its base is a vase of flowers. Three crosses on either side of the central black cross enumerate border deaths by year: In 1995, 61 deaths, in 1996, 59 deaths, in 1997, 89 deaths, in 1998, 147 deaths, in 1999, 111 deaths, and in 2000, 117 deaths. On the ground in front of the crosses are empty milk jugs with the words "No identificado" on them. 

  artist/creator Artist Unknown 

  subject Mexican American Art  Altars  Crosses In Art  Immigration Regulation And Control  Immigration  Mural Art  Chicano Art  Death In Art  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  Border Crossing Memorial

  title Border Crossing Memorial 

  description The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: James Prigoff c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563, E-mail: cema@library.ucsb.edu  This series of photos depicts a mural that is in remembrance of those who have died attempting to cross the border. It is composed of wooden crosses painted white with the name, age, and origin of the deceased in black when it is known. These are nailed to a corrugated iron portion of the wall demarcating the U.S.-Mexican border. Police tape with the words "Crime Scene Do Not Cross" is strung in front of the crosses. 

  artist/creator Artist Unknown 

  subject Mexican American Art  Mexican American Border Region  Crosses In Art  Immigration Regulation And Control  Immigration  Mural Art  Chicano Art  Murals (Any Medium)  Death In Art  Mexican Americans  Border Art  Chicanos 

  contributor Calisphere 
• 

  Border Crossing Memorial

  title Border Crossing Memorial 

  description The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: James Prigoff c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563, E-mail: cema@library.ucsb.edu  This series of photos depicts a mural that is in remembrance of those who have died attempting to cross the border. It is composed of wooden crosses painted white with the name, age, and origin of the deceased in black when it is known. These are nailed to a corrugated iron portion of the wall demarcating the U.S.-Mexican border. Police tape with the words "Crime Scene Do Not Cross" is strung in front of the crosses. 

  artist/creator Artist Unknown 

  subject Mexican American Art  Mexican American Border Region  Crosses In Art  Immigration Regulation And Control  Immigration  Mural Art  Chicano Art  Murals (Any Medium)  Death In Art  Mexican Americans  Border Art  Chicanos 

  contributor Calisphere 
• 

  Peligro Animales Venenosos

  title Peligro Animales Venenosos 

  description A metal sign posted on the wall separating the U.S. from Mexico words migrants of the dangers of poisonous animals, including scorpions, spiders, snakes, and centipedes. Text reads, "Peligro Animales Venenosos SG Programa Nacional De Proteccion A Migrantes Secretaria De Gobernacion Instituto Nacional De Migracion". The photo, juxtaposed with photos of the Border Crossing Memorial, highlights the absurdity of the sign itself and the Mexican government's measures to protect migrants. The sign warns of poisonous animals when the greater danger is from dehydration, exhaustion, vigilantism, abuse by coyotes, and exploitation by labor contractors.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: James Prigoff c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563, E-mail: cema@library.ucsb.edu 

  artist/creator Mexican Government 

  subject Animals In Art  Mexican American Border Region  Immigration Regulation And Control  Immigration  Mural Art  Art, Mexican  Border Art 

  contributor Calisphere 
• 

  (Title Unknown)

  title (Title Unknown) 

  description Painting in unknown media is of a man whose hands and thumbs are bound. He is in the custody of two armed men in green uniforms. A third uniformed man detains a man on the ground. In front of the arrested man are two women in rebozos and a man in a red helmet. A multitude of elderly gentlemen with white hair watch the affair from the other side of a chain-link fence.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: James Prigoff c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563, E-mail: cema@library.ucsb.edu 

  artist/creator Laguna, Juan 

  subject Fences In Art  Mexican American Art  Mexican American Border Region  Immigration Regulation And Control  Immigration  Chicano Art  Soldiers  Mexican Americans  Aged  Ancianos  Imprisonment  Armed Forces  Border Art  Chicanos 

  contributor Calisphere 
• 

  Border Crossing Memorial

  title Border Crossing Memorial 

  description The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: James Prigoff c/o California Ethnic and Multicultural Archives, Library – CEMA, University of California, Santa Barbara 93106 Phone: (805) 893-8563, E-mail: cema@library.ucsb.edu  This portion of the Border Crossing Memorial asks, "¿Cuantos mas?". Between the two words is a series of wooden panels painted with red numbers, resembling a counter. The last panel has two numbers, as if in transition. 

  artist/creator Artist Unknown 

  subject Mexican American Art  Mexican American Border Region  Immigration Regulation And Control  Immigration  Mural Art  Chicano Art  Murals (Any Medium)  Death In Art  Mexican Americans  Border Art  Chicanos 

  contributor Calisphere 
• 

  How I Came To America

  title How I Came To America 

  description Image is of a woman and a child with a sun and a mountain in the background. "Remembering 1st visit to Albuquerque with mother and discovering America was a 'strange place' - 'Stranger than the village and the mountains that I came from'."  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: José Montoya c/o California Ethnic and Multicultural Archives Library – CEMA University of California, Santa Barbara, CA 93106 Phone: (805) 893-8563 E-mail: cema@library.ucsb.edu 

  artist/creator Montoya, José 

  subject Watercolors  Mexican American Art  Rebozos  Immigration  Chicano Art  Children And Adults In Art  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  Metamorphosis In Progress

  title Metamorphosis In Progress 

  description Seven artists on scaffolding work on Metamorphosis (The Butterfly Mural), K Street Parking lot, Sacramento. The mural was painted by Juanishi Orosco, Stan Padilla, Esteban Villa, and their children assisted. The artists used Poly-tec mural paint. It is unclear who is who in this photo.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: José Montoya c/o California Ethnic and Multicultural Archives Library – CEMA University of California, Santa Barbara, CA 93106 Phone: (805) 893-8563 E-mail: cema@library.ucsb.edu 

  artist/creator Royal Chicano Air Force 

  subject Mexican American Art  Butterflies In Art  Immigration  Mural Art  Chicano Art  Art, Abstract  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  Los Que Se Van, Film Poster For

  title Los Que Se Van, Film Poster For 

  description Film poster for "Los Que Se Van". Image is of eleven silhouettes on a hilltop. The background is a gradation from orange to yellow. Text reads, "Producción: Consejo Nacional Para la Cultura Y Las Artes (Unidad de Producciones Audiovisuales) Colegio de la Frontera Norte/ Realización: Adolfo Davila/ Helena Tamayo/ Música: Kiliwa/ Fotografía: Adolfo Davila/ Duración: 27 minutos/ Tijuana/ Mexico/ 1991".  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Artist Unknown 

  subject Mexican American Art  Film Posters  Motion Pictures  Mexican Film Posters  Immigration  Chicano Art  Mass Media And The Arts  Prints  Mexican Americans  Posters  Graphic Arts  Chicanos 

  contributor Calisphere 
• 

  Entrance Is Not Acceptance Exhibition

  title Entrance Is Not Acceptance Exhibition 

  description Cat.3 047(4)  Interactive multi-media installation with videotaped interviews and slide projections for the Newport Harbor Art Museum's Third Biennial: Mapping Histories. Photo is of an installation compsed of a sign reading "Entrance is Not" above a series of doors with one letter from the word "Acceptance" on each.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Centro Cultural De La Raza 

  subject Mexican American Art  Immigration  Assimilation (Sociology)  Art - Exhibitions  Chicano Art  Installations (Art)  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  Humberto Carrillo

  title Humberto Carrillo 

  description Cat.1 025(4)  From the Border Realities--Part Two Exhibition at Centro Cultural de la Raza, Balboa Park, San Diego, CA (February 1986). This piece uses a Xerox of an injury to a young boy who was shot by the border patrol because he was throwing rocks. A definition of a boulder was included as well as the District Attorney's refusal to prosecute the border patrol responsible for the shooting. Parallels are drawn with apartheid South Africa's practice of shooting children who throw stones.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Avalos, David 

  subject Fences In Art  Children In Art  Border Patrols  Mexican American Art  Photography In Art  Immigration  Chicano Art  Violence  Mexican Americans  Installations (Art)  Border Art  Chicanos 

  contributor Calisphere 
• 

  (Title Unknown)

  title (Title Unknown) 

  description Cat.11 001(4)  From the Vidas Perdidas/Lost Lives Exhibition organized through Border Arts Workshop/Taller de Arte Fronterizo by Richard Lou, Victor Ochoa, Robert Sanchez and Michael Schnorr at the Artist Space Gallery, New York, NY, and Centro Cultural de la Raza, Balboa Park, San Diego, CA (January 1989). Photographs document life in transient border shelters.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Artist Unknown 

  subject Mexican American Art  Dwellings In Art  Mexican American Border Region  Immigration  Chicano Art  Photography, Artistic  Poverty  Mexican Americans  Border Art  Chicanos 

  contributor Calisphere 
• 

  Highways Opening Benefit--Cinco De Mayo Celebration

  title Highways Opening Benefit--Cinco De Mayo Celebration 

  description Cat.3 053(17)  Performance commemorates Cinco de Mayo as well as providing commentary on Columbus' role in the decimation and exploitation of native peoples. This photo is of a stage set or installation art for ambiance. On the ground is a ship dated October 12, 1492, and beneath it, a cross. Against the back wall is a picture of a crowd with their hands up, possibly at a third reich rally. Highways Performance Space, Santa Monica. The picture is placed in a boat named "U.S.S. Amnesty". Text on the boat reads, "If you catch an alien, you ought to clean 'em and try 'em yourself.- Hi Ezell." Ezell was the Western Regional Commissioner for the Immigration Naturalization Services under Regan.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Centro Cultural De La Raza 

  subject Columbus, Christopher  Cinco De Mayo (Mexican Holiday)  Mexican American Art  Crosses In Art  Immigration  Chicano Art  Installations (Art)  Ships In Art  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  Undocumented Worker (Detail)

  title Undocumented Worker (Detail) 

  description Cat.8 106(4)  Rubber surface conditioner, liquitex, and pro-line vinyl paints on acid-etched conrete freeway support pillar, Chicano Park. Mural depicts five scenes with artistic interpretations of immigrant labor. Detail is of the upper half of the mural. At the top a chicana tears down a wall.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Schnorr, Michael 

  subject Mexican American Art  Immigration Regulation And Control  Immigration  Mural Art  Undocumented Workers  Chicano Art  Work  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  Border Realities

  title Border Realities 

  description Cat.3 023(5)  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/  View of David Avalos' installation Portait of Francisco Sanchez, Shot to Death by the Border Patrol on December 8, 1980 from the exhibition at Galería de la Raza, San Francisco. 

  artist/creator Centro Cultural De La Raza 

  subject Border Patrols  Mexican American Art  Mexican American Border Region  Immigration  Chicano Art  Nopales  Mexican Americans  Border Art  Chicanos 

  contributor Calisphere 
• 

  Vine, Vi...Y Mejor Me Fui De Willebaldo López

  title Vine, Vi...Y Mejor Me Fui De Willebaldo López 

  description Cat.5 028  Silkscreen announcement poster for Mexican playwright López Guzmán's play "Vine, Vi...y Mejor me Fui" about the immigrant experience.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Avalos, David 

  subject Mexican American Art  Calaveras  López Guzmán, Willebaldo, 1944-  Immigration  Chicano Art  Performing Arts  Prints  Mexican Americans  Teatro  Posters  Graphic Arts  Chicanos 

  contributor Calisphere 
• 

  Los Desarraigados, Announcement Poster For

  title Los Desarraigados, Announcement Poster For 

  description Announcement poster for "Los Desarraigados". The same image of a crowd is repeated three times. Text reads, "Centro Cultural de la Mission (M.C.C.) 2868 Mission St. San Francisco/ Y/ Teatro Gusto/ presentan:/ Los Desarraigados/ El drama de una familia que deja su pais en busca de la "felicidad" en los E.E.U.U./ Viernes 19, Sabado 20 y Domingo 21 de Enero de 1979 a las 8:00 P.M. Adm. $2.00". "Los Desarraigados" is a play by Humberto Robles.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Artist Unknown 

  subject Mexican American Art  Robles, J. Humberto (José Humberto), 1921-  Plays  Immigration  Chicano Art  Performing Arts  Prints  Mexican Americans  Mexican Americans--Drama  Teatro  Posters  Graphic Arts  Chicanos 

  contributor Calisphere 
• 

  Untitled Installation

  title Untitled Installation 

  description Cat.1 033(1)  From the David Avalos Solo Exhibition at Galería Posada, Sacramento (1985). This piece combines a collage and two hubcap art works. The word "Cristo" is crossed out and centered above the collage, which is a group of color Xeroxes on a Parade magazine cover.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Avalos, David 

  subject Automobiles Parts  Collage  Mexican American Art  Mexican American Border Region  Immigration  Chicano Art  Mexican Americans  Installations (Art)  Jesus Christ In Art  Border Art  Chicanos 

  contributor Calisphere 
• 

  Border Bingo/Lotería Fronteriza (Detail)

  title Border Bingo/Lotería Fronteriza (Detail) 

  description Cat.8 036(5)  From the Border Realities Exhibition at Galería de la Raza, 2851 24th Street, San Francisco, CA (February 23-March 23, 1985). Portable mural by Victor Ochoa. Detail is of several Lotería cards, including "El Bote", "La Mordida", "La Luna", "La Valiente", "El Burro", "El Peso", and "La Ventana".  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Ochoa, Victor 

  subject Fences In Art  Mexican American Art  Mexican American Border Region  Immigration  Mural Art  Chicano Art  Mexican Americans  Lotería (Game)  Border Art  Chicanos 

  contributor Calisphere 
• 

  Untitled Installation (Detail)

  title Untitled Installation (Detail) 

  description Cat.1 033(3)  From the David Avalos Solo Exhibition at Galería Posada (1985). This piece combines a collage and two hubcap art works. The word "Cristo" is crossed out and centered above the collage, which is a group of color Xeroxes on a Parade magazine cover. Detail is of the magazine cover, which features Immigration Commissioner Castillo and images of Christ bound at the hands and blindfolded.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Avalos, David 

  subject Collage  Mexican American Art  Mexican American Border Region  Castillo, Leonel  Immigration  Chicano Art  Mexican Americans  Jesus Christ In Art  Border Art  Chicanos 

  contributor Calisphere 
• 

  The Border Is An International Fiction

  title The Border Is An International Fiction 

  description Cat.5 018(3)  Pages from the journal Fiction International (San Diego, CA) focusing on the ongoing debate about the U.S./Mexican border. This page features a reclining person watching television inside a room with a barred window, along with text.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Avalos, David 

  subject Mexican American Art  Newspapers In Art  Mexican American Border Region  Border Art  Immigration Regulation And Control  Immigration  Television  Chicano Art  Immigration And Naturalization Service  Prints  Mexican Americans  Graphic Arts  Chicanos 

  contributor Calisphere 
• 

  Conquests Do Not Belong Only To The Past--Group Slide Projection Exhibition

  title Conquests Do Not Belong Only To The Past--Group Slide Projection Exhibition 

  description Cat.3 007(4)  Photo of a young woman holding a large crucifix on the side of a road that crosses the border. Behind her a sign reads, "Watch for Pedestrians Next 11 Miles". Presented as part of a slide show at INTAR (International Arts Relations) Gallery, New York, NY.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Border Arts Workshop/Taller De Arte Fronterizo 

  subject Mexican American Art  Crosses In Art  Immigration  Chicano Art  Mexican Americans  Jesus Christ In Art  Chicanas  Border Art  Chicanos 

  contributor Calisphere 
• 

  Undocumented Worker

  title Undocumented Worker 

  description Cat.8 106(3)  Rubber surface conditioner, liquitex, and pro-line vinyl paints on acid-etched conrete freeway support pillar, Chicano Park. Mural depicts five scenes with artistic interpretations of immigrant labor.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Schnorr, Michael 

  subject Mexican American Art  Immigration Regulation And Control  Immigration  Mural Art  Undocumented Workers  Chicano Art  Work  Women In Art  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  Donkey Cart Altar

  title Donkey Cart Altar 

  description A two wheel carreta has the painted image of a man with his hands raised in the air and a border patrol agent frisking him on its backboard. Stairsteps in from the piece have "1985 San Diego" painted on them. On the back of the cart is a Xerox of a photograph and information which identifies it as a "portrait of Francisco Sanchez, shot to death by the border patrol on December 8, 1980".  Cat.12 016(8)  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Avalos, David 

  subject Border Patrols  Mexican American Art  Mexican American Border Region  Immigration Regulation And Control  Assemblage (Art)  Immigration  Chicano Art  Mexican Americans  Sculpture  Border Art  Chicanos 

  contributor Calisphere 
• 

  (Title Unknown)

  title (Title Unknown) 

  description Cat.11 001(8)  From the Vidas Perdidas/Lost Lives Exhibition organized through Border Arts Workshop/Taller de Arte Fronterizo by Richard Lou, Victor Ochoa, Robert Sanchez and Michael Schnorr at the Artist Space Gallery, New York, NY, and Centro Cultural de la Raza, Balboa Park, San Diego, CA (January 1989). Photographs document life in transient border shelters.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Artist Unknown 

  subject Mexican American Art  Mexican American Border Region  Immigration  Chicano Art  Photography, Artistic  Poverty  Mexican Americans  Women In Art  Chicanas  Border Art  Chicanos 

  contributor Calisphere 
• 

  Destination L.A. Exhibition

  title Destination L.A. Exhibition 

  description Cat.3 040(1)  Entrance to Los Angeles Contemporary Exhibition (LACE), Los Angeles. Above door reads, "Destination L.A." and one of the doors resembles a dollar bill. Text to the left of the doorway describes the maquiladoras of the U.S.-Mexico border region.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Centro Cultural De La Raza 

  subject Mexican American Art  Mexican American Border Region  Money In Art  Immigration  Art - Exhibitions  Chicano Art  Mexican Americans  Installations (Art)  Border Art  Chicanos 

  contributor Calisphere 
• 

  Babalonia

  title Babalonia 

  description Cat.9 031  From the Victor Ochoa--Easel Painting and Graphics Exhibition at Centro Cultural de la Raza, Balboa Park, San Diego, CA. Painting of a car checking in at a border crossing identified as "Babylonia." The driver shows a green card to a man wearing dark glasses and a uniform and a dog sits nearby.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Ochoa, Victor 

  subject Fences In Art  Border Patrols  Automobiles  Mexican American Art  Mexican American Border Region  Immigration Regulation And Control  Immigration  Chicano Art  Mexican Americans  Dogs In Art  Green Cards  Border Art  Chicanos 

  contributor Calisphere 
• 

  (Title Unknown)

  title (Title Unknown) 

  description Cat.11 001(5)  From the Vidas Perdidas/Lost Lives Exhibition organized through Border Arts Workshop/Taller de Arte Fronterizo by Richard Lou, Victor Ochoa, Robert Sanchez and Michael Schnorr at the Artist Space Gallery, New York, NY, and Centro Cultural de la Raza, Balboa Park, San Diego, CA (January 1989). Photographs document life in transient border shelters.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Artist Unknown 

  subject Mexican American Art  Mexican American Border Region  Immigration  Chicano Art  Photography, Artistic  Poverty  Mexican Americans  Women In Art  Chicanas  Border Art  Chicanos 

  contributor Calisphere 
• 

  Border Bingo/Lotería Fronteriza (Detail)

  title Border Bingo/Lotería Fronteriza (Detail) 

  description Cat.8 036(9)  From the Border Realities Exhibition at Galería de la Raza, 2851 24th Street, San Francisco, CA (February 23-March 23, 1985). Portable mural by Victor Ochoa. Detail is of the Lotería card "La Valiente", which depicts a woman penetrating a chain-link fence. The card is mocks the chauvinism of traditional Mexican culture, which, in the original Lotería, only has "El Valiente", with an image of a man.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Border Arts Workshop/Taller De Arte Fronterizo 

  subject Fences In Art  Mexican American Art  Mexican American Border Region  Immigration  Mural Art  Chicano Art  Mexican Americans  Lotería (Game)  Border Art  Chicanos 

  contributor Calisphere 
• 

  Undocumented Worker (Detail)

  title Undocumented Worker (Detail) 

  description Cat.8 106(5)  Rubber surface conditioner, liquitex, and pro-line vinyl paints on acid-etched conrete freeway support pillar, Chicano Park. Mural depicts five scenes with artistic interpretations of immigrant labor. Detail is of the uppermost panel. A man's body is half-formed by a constellation.  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Schnorr, Michael 

  subject Mexican American Art  Immigration Regulation And Control  Immigration  Mural Art  Undocumented Workers  Chicano Art  Work  Women In Art  Chicanas  Mexican Americans  Chicanos 

  contributor Calisphere 
• 

  End Of The Line Workshop

  title End Of The Line Workshop 

  description Cat.3 010(85)  Performance artists dressed as characters from Victor Ochoa's Border Bingo/Lotería Fronteriza on the borderline between Tijuana, Mexico, and San Diego, U.S.A. This photo is of a man dressed as a taxi. His car is labeled "Coyote".  The artist of any work retains all rights to that work. Copyright has not been assigned to the Regents of the University of California. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be "used for any purpose other than private study, scholarship, or research." If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. No further reproduction is permitted without prior written permission by the artist or copyright holder. Any requests for permission to reproduce this piece must be directed to: Centro Cultural de la Raza 2125 Park Blvd. San Diego, CA 92101, 619-235-6135, 619-595-0034 fax, E-mail:centro@centroraza.com. Web: http://www.centroraza.com/ 

  artist/creator Border Arts Workshop/Taller De Arte Fronterizo 

  subject Mexican American Art  Columbus Day  Mexican American Border Region  Immigration  Chicano Art  Día De La Raza (Mexican Holiday)  Coyotes (Immigrant Smugglers)  Performance Art  Mexican Americans  Border Art  Chicanos 

  contributor Calisphere