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When the Opportunist Is King, Women Are a Commodity

title When the Opportunist Is King, Women Are a Commodity

description Acrylic on linen / acrílico sobre lino. 52 3/4" x 67 1/2".

artist/creator Álvarez, Cecilia Concepción

subject National Museum of Mexican Art (NMMA) 25th Anniversary Donation Feminism Washington (State)--Seattle Women Figurative art Oppression Liberation Women of Juárez Violence Rastros y cronicas Women artists California Society Skull in art Día de los muertos Day of the Dead Día de muertos Días de los muertos Suffering Pain Money Guadalupe, Our Lady of Religion in art Pink crosses Factories Borderlands Frontera

contributor National Museum of Mexican Art (NMMA)
Untitled

title Untitled

description Polychrome ceramic, wood and mixed media / cerámica policromada, madera y técnica mixta. 46 1/2" x 23 3/4" x 6 1/2".

artist/creator Rios, Richard Rios, Graciela

subject Clubs Violence Jesus Christ Christianity Crosses in art Contemporary art Religion in art Men Vatos Controversy Crucifixion Pain Suffering Sculpture

contributor National Museum of Mexican Art (NMMA)
Sin título

title Sin título

description Etching and aquatint, 17/100. Aguafuerte y aguatinta, 17/100. 11 3/8" x 15 1/8" (paper size). From The Song of Paper portfolio.

artist/creator de Jesús, Nicolás

subject Día de los muertos Day of the Dead Día de muertos Días de los muertos War War in art Violence Death Soldiers Moon Night Darkness

contributor National Museum of Mexican Art (NMMA)
Freeway Wars

title Freeway Wars

description Serigraph on paper, 39.75 in. x 46 in. Chicano artist Frank Romero has explored numerous subjects in his art, especially the car culture of Los Angeles. He portrays classic cars, trucks, lowriders, and muscle cars. Romero is also known for depicting car crashes on freeways and shootings from cars, as seen in this print. Rivals shoot at each other from their cars, while speeding recklessly around a curve in the freeway. Frank Romero was born in 1941 in East Los Angeles, California; he attended Otis College of Art and California State University. Romero began painting when he was five years old. During the height of the Chicano Movement for civil rights in the early 1970s, Romero identified himself as a Chicano. He began working with three other Chicano artists in what was known as Los Four. The art collective used murals, graffiti, and street theater to protest America’s military involvement in Vietnam and Southeast Asia. His most famous artwork, The Death of Rubén Salazar (1986), documents the killing of Chicano journalist Rubén Salazar. He was fatally struck by a canister of tear gas shot into the Silver Dollar Bar on August 29, 1970, by LA County Sheriffs after a rally against the Vietnam War. “I grew up in East Los Angeles, and we always had problems and feared the sheriff’s department because their policy was to come down hard on minorities,” says Romero. Commenting on his use of bright, bold colors in his art, “The part of me that’s Mexican or Latino, I think of Mexicans, like hot vibrant colors. You see that in the way the houses are painted in Mexico and East LA.” Romero has been a dedicated member of the Chicano art community of Los Angeles for forty years.

artist/creator Romero, Frank

subject Borderlands Frontera Guns Violence California--Los Angeles Cars Automobiles Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)

contributor Mexic-Arte Museum (MAM)
Unity, Love, Respect, Pride, Manual Arts High School, Los Angeles, 1992

title Unity, Love, Respect, Pride, Manual Arts High School, Los Angeles, 1992

description April 29. 1992, 45 killed, 10,000 arrested, 2000 deported and injustice for millions, where do we go from here Unity, love, respect, pride, Manual Arts High School, Los Angeles, 1992. Exterior near student store, untitled, 4131 South Vermont Avenue (between 40th Place and 42nd Street). The theme is redemption from negative societal influences (drugs, gangs, violence) through learning the history of the Latino and African American cultures that make up the community. Designed by Elliott Pinkney from students drawings, executed with the after-school mural club under the supervision of teacher Joshua Pechthalt. Sponsored my Museum of African American Art -- Dunitz, Street gallery, rev. 2nd ed., p. 219, #51. "Unity, love, respect, pride stop the killing" -- on the mural

artist/creator Dunitz, Robin J After-School Mural Club Pinkney, Elliott

subject Manuel Arts High School Mural Painting And Decoration Violence Gangs Street Art

contributor Calisphere
Great Wall Of Los Angeles: Detail: 1848 Bandaide

title Great Wall Of Los Angeles: Detail: 1848 Bandaide

description A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Narrative mural depicting California history from prehistory thru the 1920s. In the state capital at Monterey, ex‑Southerners passed laws-WHITES ONLY‑which did not allow people of Mexican, Black or Chinese descent to make claims. Biddy Mason, an ex‑slave from Georgia who fought extradition under the fugitive slave laws and who became wealthy, was known for her charity and was a founder of the African Methodist Church in Los Angeles. Joaquin Murieta, a legendary Mexican Robin Hood, fights for the oppressed: The landless who "squat" on the state; the "hanging tree" victims of prejudice; and the Indians who are slaughtered with the coming of the "Iron Horse". Paintings Tujunga Wash, Los Angeles (California)

artist/creator Baca, Judith Francisca

subject Mexican American Art Mural Painting And Decoration Murieta, Joaquín Railroads History Violence Segregation Mason, Biddy, 1818-1891 Narrative Art Symbolism Gold Mines And Mining California Miners

contributor Calisphere
We The Razas Live In The Barrios But We Do Not Own The Barrios: Detail

title We The Razas Live In The Barrios But We Do Not Own The Barrios: Detail

description Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) East Los Angeles (California) East Los Angeles mural painted on the wall of a coin operated laundromat. Paintings Viva La Raza Unida, Hasta La Victoria

artist/creator Cruz, Manuel

subject Mexican American Art Mural Painting And Decoration Prohibition Deterioration History Violence Narrative Art Uncle Sam (Symbolic Character) Devil Laundries Symbolism California

contributor Calisphere
Great Wall Of Los Angeles: Detail: 1848 Bandaide And 1868 Sojourners

title Great Wall Of Los Angeles: Detail: 1848 Bandaide And 1868 Sojourners

description A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. California History: Prehistoric thru 1920s Joaquin Murieta, a legendary Mexican Robin Hood, fights for the oppressed: The landless who "squat" on the state; the "hanging tree" victims of prejudice; and the Indians who are slaughtered with the coming of the "Iron Horse". Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Paintings Tujunga Wash, Los Angeles (California)

artist/creator Baca, Judith Francisca

subject Indians Of North America Mexican American Art Mural Painting And Decoration Murieta, Joaquín Railroads History Violence Narrative Art Immigrants Symbolism Gold Mines And Mining California

contributor Calisphere
Great Wall Of Los Angeles: Detail: 1868 Sojourners; Chinese Massacre Of 1871

title Great Wall Of Los Angeles: Detail: 1868 Sojourners; Chinese Massacre Of 1871

description A collaborative project by Judith Baca and over 400 employed youths and artists. The first one thousand feet were painted during the first summer of work in 1976. Additionally the first one thousand feet were divided into sections of 100 feet each. Although the content is highly integrated, each section was designed by a different artist under the general supervision of Judith Baca. Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) Los Angeles Valley College Narrative mural depicting California history from prehistory thru the 1920s. This detail focuses on the Chinese massacre of 1871, a racially motivated riot on October 24, 1871, when a mob of white men entered Los Angeles' Chinatown to attack, rob and murder Chinese residents of the city. Paintings Tujunga Wash, Los Angeles (California)

artist/creator Baca, Judith Francisca

subject Mural Painting And Decoration Massacres Immigrants History Violence Narrative Art Chinese Symbolism California

contributor Calisphere
We The Razas Live In The Barrios But We Do Not Own The Barrios: Detail

title We The Razas Live In The Barrios But We Do Not Own The Barrios: Detail

description Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) East Los Angeles (California) East Los Angeles mural painted on the wall of a coin operated laundromat. Paintings Viva La Raza Unida, Hasta La Victoria

artist/creator Cruz, Manuel

subject Mexican American Art Graffiti Mural Painting And Decoration Deterioration History Television Receivers Violence Narrative Art Symbolism California Radio And Television Towers

contributor Calisphere
We The Razas Live In The Barrios But We Do Not Own The Barrios: Detail

title We The Razas Live In The Barrios But We Do Not Own The Barrios: Detail

description Digital Library Development Program, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/digital-library) East Los Angeles (California) East Los Angeles mural painted on the wall of a coin operated laundromat. Paintings Viva La Raza Unida, Hasta La Victoria

artist/creator Cruz, Manuel

subject Mexican American Art Mural Painting And Decoration Prohibition Deterioration History Violence Narrative Art Moses (Biblical Leader) In The New Testament Devil Uncle Sam (Symbolic Character) Laundries Symbolism California

contributor Calisphere
Tijuana Projection

title Tijuana Projection

description After a two-year process, Krzysztof Wodiczko's project culminated in two evenings of projections on the 60-foot-diameter façade of the Omnimax Theater at the Centro Cultural Tijuana. Known for his large-scale outdoor projections, with "Tijuana Projection/Proyección en Tijuana" Wodiczko wanted to use progressive technology to give voice and visibility to the women who work in the maquiladora industry in Tijuana. The projections consisted of prerecorded materials interspersed with live feeds from a headset with an integrated camera and microphone designed by the artist and worn by the participating women. This was Wodiczko's first time creating a projection incorporating live segments, adding a certain immediacy and potency to the presentation of these very personal accounts. In preparation for the projection, the artist conducted nearly one year of workshops with eight participating women. His work with these eight women was facilitated through two organizations based in Tijuana, (Factor X and Yeuani), that are dedicated to helping women who face difficulties in the workplace or at home. The pre-recorded and live personal testimonies given by the eight women focused on work-related and sexual abuse, family disintegration, alcoholism, and domestic violence. The scale at which these stories were heard and witnessed in the open space of the city and by an audience of more than 1,500 on the Centro plaza over the two nights created a powerful impact and literally magnified what so often never gets spoken about. The projections took place February 23 and 24, 2001. -- inSITE2000 Centro Cultural Tijuana Film, Audio, Video and Digital Art Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 311, Folder 01, Item 408) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Wodiczko, Krzysztof

subject Offshore Assembly Industry Testimonies Workers Boundaries Violence Face Labor Emotions Border Art Projections (Visual Works) Suffering Collective Biographies Biography Portraits Mexican-American Border Region Poverty Installations (Visual Works) Insite2000 Video Art

contributor Calisphere
Tijuana Projection

title Tijuana Projection

description After a two-year process, Krzysztof Wodiczko's project culminated in two evenings of projections on the 60-foot-diameter façade of the Omnimax Theater at the Centro Cultural Tijuana. Known for his large-scale outdoor projections, with "Tijuana Projection/Proyección en Tijuana" Wodiczko wanted to use progressive technology to give voice and visibility to the women who work in the maquiladora industry in Tijuana. The projections consisted of prerecorded materials interspersed with live feeds from a headset with an integrated camera and microphone designed by the artist and worn by the participating women. This was Wodiczko's first time creating a projection incorporating live segments, adding a certain immediacy and potency to the presentation of these very personal accounts. In preparation for the projection, the artist conducted nearly one year of workshops with eight participating women. His work with these eight women was facilitated through two organizations based in Tijuana, (Factor X and Yeuani), that are dedicated to helping women who face difficulties in the workplace or at home. The pre-recorded and live personal testimonies given by the eight women focused on work-related and sexual abuse, family disintegration, alcoholism, and domestic violence. The scale at which these stories were heard and witnessed in the open space of the city and by an audience of more than 1,500 on the Centro plaza over the two nights created a powerful impact and literally magnified what so often never gets spoken about. The projections took place February 23 and 24, 2001. -- inSITE2000 Centro Cultural Tijuana Film, Audio, Video and Digital Art Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 311, Folder 01, Item 409) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Wodiczko, Krzysztof

subject Offshore Assembly Industry Testimonies Workers Boundaries Violence Face Labor Emotions Border Art Projections (Visual Works) Suffering Collective Biographies Biography Portraits Mexican-American Border Region Poverty Installations (Visual Works) Insite2000 Video Art

contributor Calisphere
Tijuana Projection

title Tijuana Projection

description After a two-year process, Krzysztof Wodiczko's project culminated in two evenings of projections on the 60-foot-diameter façade of the Omnimax Theater at the Centro Cultural Tijuana. Known for his large-scale outdoor projections, with "Tijuana Projection/Proyección en Tijuana" Wodiczko wanted to use progressive technology to give voice and visibility to the women who work in the maquiladora industry in Tijuana. The projections consisted of prerecorded materials interspersed with live feeds from a headset with an integrated camera and microphone designed by the artist and worn by the participating women. This was Wodiczko's first time creating a projection incorporating live segments, adding a certain immediacy and potency to the presentation of these very personal accounts. In preparation for the projection, the artist conducted nearly one year of workshops with eight participating women. His work with these eight women was facilitated through two organizations based in Tijuana, (Factor X and Yeuani), that are dedicated to helping women who face difficulties in the workplace or at home. The pre-recorded and live personal testimonies given by the eight women focused on work-related and sexual abuse, family disintegration, alcoholism, and domestic violence. The scale at which these stories were heard and witnessed in the open space of the city and by an audience of more than 1,500 on the Centro plaza over the two nights created a powerful impact and literally magnified what so often never gets spoken about. The projections took place February 23 and 24, 2001. -- inSITE2000 Centro Cultural Tijuana Film, Audio, Video and Digital Art Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 311, Folder 01, Item 410) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Stéfano, Alfredo De Wodiczko, Krzysztof

subject Offshore Assembly Industry Testimonies Workers Boundaries Violence Face Labor Emotions Border Art Projections (Visual Works) Suffering Collective Biographies Biography Portraits Mexican-American Border Region Poverty Installations (Visual Works) Insite2000 Video Art

contributor Calisphere
Tijuana Projection

title Tijuana Projection

description After a two-year process, Krzysztof Wodiczko's project culminated in two evenings of projections on the 60-foot-diameter façade of the Omnimax Theater at the Centro Cultural Tijuana. Known for his large-scale outdoor projections, with "Tijuana Projection/Proyección en Tijuana" Wodiczko wanted to use progressive technology to give voice and visibility to the women who work in the maquiladora industry in Tijuana. The projections consisted of prerecorded materials interspersed with live feeds from a headset with an integrated camera and microphone designed by the artist and worn by the participating women. This was Wodiczko's first time creating a projection incorporating live segments, adding a certain immediacy and potency to the presentation of these very personal accounts. In preparation for the projection, the artist conducted nearly one year of workshops with eight participating women. His work with these eight women was facilitated through two organizations based in Tijuana, (Factor X and Yeuani), that are dedicated to helping women who face difficulties in the workplace or at home. The pre-recorded and live personal testimonies given by the eight women focused on work-related and sexual abuse, family disintegration, alcoholism, and domestic violence. The scale at which these stories were heard and witnessed in the open space of the city and by an audience of more than 1,500 on the Centro plaza over the two nights created a powerful impact and literally magnified what so often never gets spoken about. The projections took place February 23 and 24, 2001. -- inSITE2000 Centro Cultural Tijuana Film, Audio, Video and Digital Art Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 311, Folder 01, Item 411) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Wodiczko, Krzysztof

subject Offshore Assembly Industry Testimonies Workers Boundaries Violence Face Labor Emotions Border Art Projections (Visual Works) Suffering Collective Biographies Biography Portraits Mexican-American Border Region Poverty Installations (Visual Works) Insite2000 Video Art

contributor Calisphere
El Round Nuestro De Cada Día: General View Of "Boxers" In Ring

title El Round Nuestro De Cada Día: General View Of "Boxers" In Ring

description Manolo Escutia's inSITE97 work, "El round nuestro de cada día/Our Daily Rounds," consisted of four monumentally scaled boxing figures in the style of traditional small wooden Mexican "thumb toys." Made to be fully operable by the viewer, the boxers were installed at the Palenque (cock-fighting pit) in Playas de Tijuana. In a statement about the work, Escutia referred to the endless fighting humans engage in, against the struggles of daily life, others, and the self. His work presented the stage for confrontation, but left it to the viewer to either realize victory or admit defeat. --inSITE97 Palenque, Cortijo San Jose, Tijuana, Playas de, Baja California Norte, Mexico Performing Arts (including Performance Art) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 04, Item 113) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Escutia, Manolo Luis Rittermann, Philipp Scholz

subject Boxers (Sports) Arenas Battles Political Art Cockfighting Humor Sculpture (Visual Work) Public Art Mexican-American Border Region Violence Performance Art Toys (Recreational Artifacts) Insite97 Installations (Visual Works) Border Art

contributor Calisphere
Tijuana Projection

title Tijuana Projection

description After a two-year process, Krzysztof Wodiczko's project culminated in two evenings of projections on the 60-foot-diameter façade of the Omnimax Theater at the Centro Cultural Tijuana. Known for his large-scale outdoor projections, with "Tijuana Projection/Proyección en Tijuana" Wodiczko wanted to use progressive technology to give voice and visibility to the women who work in the maquiladora industry in Tijuana. The projections consisted of prerecorded materials interspersed with live feeds from a headset with an integrated camera and microphone designed by the artist and worn by the participating women. This was Wodiczko's first time creating a projection incorporating live segments, adding a certain immediacy and potency to the presentation of these very personal accounts. In preparation for the projection, the artist conducted nearly one year of workshops with eight participating women. His work with these eight women was facilitated through two organizations based in Tijuana, (Factor X and Yeuani), that are dedicated to helping women who face difficulties in the workplace or at home. The pre-recorded and live personal testimonies given by the eight women focused on work-related and sexual abuse, family disintegration, alcoholism, and domestic violence. The scale at which these stories were heard and witnessed in the open space of the city and by an audience of more than 1,500 on the Centro plaza over the two nights created a powerful impact and literally magnified what so often never gets spoken about. The projections took place February 23 and 24, 2001. -- inSITE2000 Centro Cultural Tijuana Film, Audio, Video and Digital Art Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 311, Folder 01, Item 412) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Wodiczko, Krzysztof

subject Offshore Assembly Industry Testimonies Workers Boundaries Violence Face Labor Emotions Border Art Projections (Visual Works) Suffering Collective Biographies Biography Portraits Mexican-American Border Region Poverty Installations (Visual Works) Insite2000 Video Art

contributor Calisphere
Tijuana Projection

title Tijuana Projection

description After a two-year process, Krzysztof Wodiczko's project culminated in two evenings of projections on the 60-foot-diameter façade of the Omnimax Theater at the Centro Cultural Tijuana. Known for his large-scale outdoor projections, with "Tijuana Projection/Proyección en Tijuana" Wodiczko wanted to use progressive technology to give voice and visibility to the women who work in the maquiladora industry in Tijuana. The projections consisted of prerecorded materials interspersed with live feeds from a headset with an integrated camera and microphone designed by the artist and worn by the participating women. This was Wodiczko's first time creating a projection incorporating live segments, adding a certain immediacy and potency to the presentation of these very personal accounts. In preparation for the projection, the artist conducted nearly one year of workshops with eight participating women. His work with these eight women was facilitated through two organizations based in Tijuana, (Factor X and Yeuani), that are dedicated to helping women who face difficulties in the workplace or at home. The pre-recorded and live personal testimonies given by the eight women focused on work-related and sexual abuse, family disintegration, alcoholism, and domestic violence. The scale at which these stories were heard and witnessed in the open space of the city and by an audience of more than 1,500 on the Centro plaza over the two nights created a powerful impact and literally magnified what so often never gets spoken about. The projections took place February 23 and 24, 2001. -- inSITE2000 Centro Cultural Tijuana Film, Audio, Video and Digital Art Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 311, Folder 01, Item 413) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Stéfano, Alfredo De Wodiczko, Krzysztof

subject Offshore Assembly Industry Testimonies Workers Boundaries Violence Face Labor Emotions Border Art Projections (Visual Works) Suffering Collective Biographies Biography Portraits Mexican-American Border Region Poverty Installations (Visual Works) Insite2000 Video Art

contributor Calisphere
Heat Seeking: Cell Phones

title Heat Seeking: Cell Phones

description "Heat-Seeking," the film Jordan Crandall produced for inSITE2000, made use of and mimicked surveillance technology deployed along the US-Mexico border. Exploring themes of Erotica and violence through five fantasy sequences woven into the overall structural narrative of mobility and monitoring, the film was shot on location in San Diego and Tijuana over the course of seven days in August 2000. Crandall stated that he wanted to use the language of cinema, advertising, and the "strategic seeing" of military systems to produce a film that would investigate interior and exterior borders. The piece was presented in two formats that each referenced mobility and ultimately established a reconfigured role of the viewer. In Tijuana, the film could be seen on the video billboard at the Cuauhtémoc Circle where scenes would be interspersed with advertising and other public media. In San Diego, Crandall's film could be seen on hand-held cell phones using streaming video technology. --inSITE2000 Cuauhtémoc Circle, Tijuana (Baja California, Mexico) Film, Audio, Video and Digital Art San Diego (Calif.) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 03, Item 073) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Miyata, Shigeto Crandall, Jordan

subject Boundaries Border Art Sculpture (Visual Work) Mexican-American Border Region Violence Technology Erotica Communication (Function) Installations (Visual Works) Insite2000 Military Surveillance Video Art

contributor Calisphere
A Tale Of Two Cities

title A Tale Of Two Cities

description First created in 1981, "A Tale of Two Cities/Historia de dos ciudades," was re-installed for inSITE94 at the Children's Museum, San Diego. As a room-sized miniature reconstruction of two cities at war with each other, "A Tale of Two Cities" used over 5,000 toys collected by the artist from the United States, Japan, and Europe. Set in an environment of plants, sand, and rocks, the two cities, one much larger and more powerful than the other, faced off in conflict. Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) The New Children's Museum (American museum) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 02, Item 052) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Rittermann, Philipp Scholz Burden, Chris

subject War Landscapes (Representations) Models (Representations) Sculpture (Visual Work) Mexican-American Border Region Violence Cities Insite94 Installations (Visual Works) Border Art

contributor Calisphere
The Good Neighbor

title The Good Neighbor

description Casa de la Cultura de Tijuana Installed at the Casa de la Cultura in Tijuana, Tony Capellan's inSITE97 piece, El buen vecino/The Good Neighbor, was a symbol of the border and the consequences brought by partitioning land between two powers. The two chairs at the heads of table represented to United States and Mexican governments, and the table, covered in chili peppers, was dissected by a raucous, spinning buzz saw. Originally conceived to represent two hundred years of land treaties between the two countries, the final installation emphasized the violence and loss experienced by Mexico when the country was divested of its lands. --inSITE97 Performing Arts (including Performance Art) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 03, Item 060) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Capellán, Tony Rittermann, Philipp Scholz

subject Boundaries Sculpture (Visual Work) Machinery Deaths Mexican-American Border Region Violence Hazards Insite97 Installations (Visual Works) Border Art Furniture

contributor Calisphere
Heat Seeking: Detail Of San Diego Installation

title Heat Seeking: Detail Of San Diego Installation

description "Heat-Seeking," the film Jordan Crandall produced for inSITE2000, made use of and mimicked surveillance technology deployed along the US-Mexico border. Exploring themes of Erotica and violence through five fantasy sequences woven into the overall structural narrative of mobility and monitoring, the film was shot on location in San Diego and Tijuana over the course of seven days in August 2000. Crandall stated that he wanted to use the language of cinema, advertising, and the "strategic seeing" of military systems to produce a film that would investigate interior and exterior borders. The piece was presented in two formats that each referenced mobility and ultimately established a reconfigured role of the viewer. In Tijuana, the film could be seen on the video billboard at the Cuauhtémoc Circle where scenes would be interspersed with advertising and other public media. In San Diego, Crandall's film could be seen on hand-held cell phones using streaming video technology. --inSITE2000 Cuauhtémoc Circle, Tijuana (Baja California, Mexico) Film, Audio, Video and Digital Art San Diego (Calif.) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 03, Item 074) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Miyata, Shigeto Crandall, Jordan

subject Boundaries Border Art Sculpture (Visual Work) Mexican-American Border Region Violence Technology Erotica Communication (Function) Installations (Visual Works) Insite2000 Military Surveillance Video Art

contributor Calisphere
A Tale Of Two Cities

title A Tale Of Two Cities

description First created in 1981, "A Tale of Two Cities/Historia de dos ciudades," was re-installed for inSITE94 at the Children's Museum, San Diego. As a room-sized miniature reconstruction of two cities at war with each other, "A Tale of Two Cities" used over 5,000 toys collected by the artist from the United States, Japan, and Europe. Set in an environment of plants, sand, and rocks, the two cities, one much larger and more powerful than the other, faced off in conflict. Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) The New Children's Museum (American museum) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 02, Item 053) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Burden, Chris

subject War Landscapes (Representations) Models (Representations) Sculpture (Visual Work) Mexican-American Border Region Violence Cities Insite94 Installations (Visual Works) Border Art

contributor Calisphere
Heat Seeking: Film Still

title Heat Seeking: Film Still

description "Heat-Seeking," the film Jordan Crandall produced for inSITE2000, made use of and mimicked surveillance technology deployed along the US-Mexico border. Exploring themes of Erotica and violence through five fantasy sequences woven into the overall structural narrative of mobility and monitoring, the film was shot on location in San Diego and Tijuana over the course of seven days in August 2000. Crandall stated that he wanted to use the language of cinema, advertising, and the "strategic seeing" of military systems to produce a film that would investigate interior and exterior borders. The piece was presented in two formats that each referenced mobility and ultimately established a reconfigured role of the viewer. In Tijuana, the film could be seen on the video billboard at the Cuauhtémoc Circle where scenes would be interspersed with advertising and other public media. In San Diego, Crandall's film could be seen on hand-held cell phones using streaming video technology. --inSITE2000 Cuauhtémoc Circle, Tijuana (Baja California, Mexico) Film, Audio, Video and Digital Art San Diego (Calif.) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This film still is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 03, Item 075) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Miyata, Shigeto Crandall, Jordan

subject Boundaries Border Art Sculpture (Visual Work) Mexican-American Border Region Violence Technology Erotica Communication (Function) Installations (Visual Works) Insite2000 Military Surveillance Video Art

contributor Calisphere
The Good Neighbor: Detail Of Circular Saw Blade Surrounded By Chili Powder

title The Good Neighbor: Detail Of Circular Saw Blade Surrounded By Chili Powder

description Casa de la Cultura de Tijuana Installed at the Casa de la Cultura in Tijuana, Tony Capellan's inSITE97 piece, El buen vecino/The Good Neighbor, was a symbol of the border and the consequences brought by partitioning land between two powers. The two chairs at the heads of table represented to United States and Mexican governments, and the table, covered in chili peppers, was dissected by a raucous, spinning buzz saw. Originally conceived to represent two hundred years of land treaties between the two countries, the final installation emphasized the violence and loss experienced by Mexico when the country was divested of its lands. --inSITE97 Performing Arts (including Performance Art) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 03, Item 061) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Capellán, Tony Rittermann, Philipp Scholz

subject Boundaries Sculpture (Visual Work) Machinery Deaths Mexican-American Border Region Violence Hazards Insite97 Installations (Visual Works) Border Art Furniture

contributor Calisphere
No Title

title No Title

description Argentinian-born artist Enrique Jezik's untitled piece for inSITE94 was located at the Santa Fe Depot in Downtown San Diego. Jezik specifically wanted to consider issues he felt the site naturally conjured up and referenced, and that to him seemed two culturally shaping forces - labor and violence. Featuring elements such as railway ties and sledgehammers, the installation evoked strength and struggle through material and physical labor. --inSITE94 Santa Fe Depot (San Diego, Calif.) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 06, Item 169) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Ježik, Enrique Rittermann, Philipp Scholz

subject Workers San Diego (Calif.) Railroads Sculpture (Visual Work) History Mexican-American Border Region Railroad Stations Railroad Tracks Violence Insite94 Installations (Visual Works) Border Art Labor

contributor Calisphere
A Tale Of Two Cities: General View

title A Tale Of Two Cities: General View

description First created in 1981, "A Tale of Two Cities/Historia de dos ciudades," was re-installed for inSITE94 at the Children's Museum, San Diego. As a room-sized miniature reconstruction of two cities at war with each other, "A Tale of Two Cities" used over 5,000 toys collected by the artist from the United States, Japan, and Europe. Set in an environment of plants, sand, and rocks, the two cities, one much larger and more powerful than the other, faced off in conflict. Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) The New Children's Museum (American museum) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 02, Item 054) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Burden, Chris

subject War Landscapes (Representations) Models (Representations) Sculpture (Visual Work) Mexican-American Border Region Violence Cities Insite94 Installations (Visual Works) Border Art

contributor Calisphere
El Round Nuestro De Cada Día: Detail Of Boxers

title El Round Nuestro De Cada Día: Detail Of Boxers

description Manolo Escutia's inSITE97 work, "El round nuestro de cada día/Our Daily Rounds," consisted of four monumentally scaled boxing figures in the style of traditional small wooden Mexican "thumb toys." Made to be fully operable by the viewer, the boxers were installed at the Palenque (cock-fighting pit) in Playas de Tijuana. In a statement about the work, Escutia referred to the endless fighting humans engage in, against the struggles of daily life, others, and the self. His work presented the stage for confrontation, but left it to the viewer to either realize victory or admit defeat. --inSITE97 Palenque, Cortijo San Jose, Tijuana, Playas de, Baja California Norte, Mexico Performing Arts (including Performance Art) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 04, Item 112) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Escutia, Manolo Luis Rittermann, Philipp Scholz

subject Boxers (Sports) Arenas Battles Political Art Cockfighting Humor Sculpture (Visual Work) Public Art Mexican-American Border Region Violence Performance Art Toys (Recreational Artifacts) Insite97 Installations (Visual Works) Border Art

contributor Calisphere
Heat Seeking: Detail Of Cell Phones

title Heat Seeking: Detail Of Cell Phones

description "Heat-Seeking," the film Jordan Crandall produced for inSITE2000, made use of and mimicked surveillance technology deployed along the US-Mexico border. Exploring themes of Erotica and violence through five fantasy sequences woven into the overall structural narrative of mobility and monitoring, the film was shot on location in San Diego and Tijuana over the course of seven days in August 2000. Crandall stated that he wanted to use the language of cinema, advertising, and the "strategic seeing" of military systems to produce a film that would investigate interior and exterior borders. The piece was presented in two formats that each referenced mobility and ultimately established a reconfigured role of the viewer. In Tijuana, the film could be seen on the video billboard at the Cuauhtémoc Circle where scenes would be interspersed with advertising and other public media. In San Diego, Crandall's film could be seen on hand-held cell phones using streaming video technology. --inSITE2000 Cuauhtémoc Circle, Tijuana (Baja California, Mexico) Film, Audio, Video and Digital Art San Diego (Calif.) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 03, Item 076) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Miyata, Shigeto Crandall, Jordan

subject Boundaries Border Art Sculpture (Visual Work) Mexican-American Border Region Violence Technology Erotica Communication (Function) Installations (Visual Works) Insite2000 Military Surveillance Video Art

contributor Calisphere
Public Projections

title Public Projections

description After a two-year process, Krzysztof Wodiczko's project culminated in two evenings of projections on the 60-foot-diameter façade of the Omnimax Theater at the Centro Cultural Tijuana. Known for his large-scale outdoor projections, with "Tijuana Projection/Proyección en Tijuana" Wodiczko wanted to use progressive technology to give voice and visibility to the women who work in the maquiladora industry in Tijuana. The projections consisted of prerecorded materials interspersed with live feeds from a headset with an integrated camera and microphone designed by the artist and worn by the participating women. This was Wodiczko's first time creating a projection incorporating live segments, adding a certain immediacy and potency to the presentation of these very personal accounts. In preparation for the projection, the artist conducted nearly one year of workshops with eight participating women. His work with these eight women was facilitated through two organizations based in Tijuana, (Factor X and Yeuani), that are dedicated to helping women who face difficulties in the workplace or at home. The pre-recorded and live personal testimonies given by the eight women focused on work-related and sexual abuse, family disintegration, alcoholism, and domestic violence. The scale at which these stories were heard and witnessed in the open space of the city and by an audience of more than 1,500 on the Centro plaza over the two nights created a powerful impact and literally magnified what so often never gets spoken about. The projections took place February 23 and 24, 2001. -- inSITE2000 Centro Cultural Tijuana Film, Audio, Video and Digital Art Performing Arts (including Performance Art) Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This video file was extracted from a DVD-R from the InSite Archive (MSS 707, Box 256, DVD 00-16) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Wodiczko, Krzysztof

subject Biography Emotions Offshore Assembly Industry Portraits Workers Mexican-American Border Region Poverty Violence Projections (Visual Works) Suffering Insite2000 Collective Biographies Installations (Visual Works) Border Art Labor Face

contributor Calisphere
The Good Neighbor

title The Good Neighbor

description Casa de la Cultura de Tijuana Installed at the Casa de la Cultura in Tijuana, Tony Capellan's inSITE97 piece, El buen vecino/The Good Neighbor, was a symbol of the border and the consequences brought by partitioning land between two powers. The two chairs at the heads of table represented to United States and Mexican governments, and the table, covered in chili peppers, was dissected by a raucous, spinning buzz saw. Originally conceived to represent two hundred years of land treaties between the two countries, the final installation emphasized the violence and loss experienced by Mexico when the country was divested of its lands. --inSITE97 Performing Arts (including Performance Art) Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 03, Item 062) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Capellán, Tony Rittermann, Philipp Scholz

subject Boundaries Sculpture (Visual Work) Machinery Deaths Mexican-American Border Region Violence Hazards Insite97 Installations (Visual Works) Border Art Furniture

contributor Calisphere
A Tale Of Two Cities

title A Tale Of Two Cities

description First created in 1981, "A Tale of Two Cities/Historia de dos ciudades," was re-installed for inSITE94 at the Children's Museum, San Diego. As a room-sized miniature reconstruction of two cities at war with each other, "A Tale of Two Cities" used over 5,000 toys collected by the artist from the United States, Japan, and Europe. Set in an environment of plants, sand, and rocks, the two cities, one much larger and more powerful than the other, faced off in conflict.--inSITE94 Sculpture and Installations Special Collections & Archives, UC San Diego, La Jolla, 92093-0175 (https://lib.ucsd.edu/sca) The New Children's Museum (American museum) This image is a scan of a 35mm color slide from the InSite Archive (MSS 707, Box 309, Folder 02, Item 055) [Title, Date]. InSite Archive. MSS 707. Special Collections & Archives, UC San Diego.

artist/creator Burden, Chris

subject War Landscapes (Representations) Models (Representations) Sculpture (Visual Work) Mexican-American Border Region Violence Cities Insite94 Installations (Visual Works) Border Art

contributor Calisphere
Dominación Colonial (Detail)

title Dominación Colonial (Detail)

description

artist/creator Rivera, Diego

subject Swords Rivera, Diego, 1886-1957 Violence Art, Mexican Lynching Murder In Art Prayer In Art

contributor Calisphere
Life Style (Detail)

title Life Style (Detail)

description Detail is of the portion of the mural on the far right. Text reads, "Life's a jungle is about the obstacle's and battles that life gives. "Extra Extra read all about it" Monday I read an armed man fired into a crowd killing several innocent people the perpetrator was never captured it was suspected as gang related Tuesday a car bombing set to kill a navy captain was suspected as a terrorist act. Wednesday man finds himself jumping off a bridge soon after he was terminated from his job. Thursday fruit from Chile found poisoned million's stop eating fruit. Friday man just got paid he was on his way home when he was confronted by a male who asked for the time and forced jewelry and money from the victim and left to suffer from loss. Family lose's home on Saturday caused by fire authorities say the fire was caused by arson. Sunday I took a break from this jungle-- so until the jungle's obstacle's pass i'll stay to wonder if life will ever last. PEACE..." 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 Ortiz, Jessie

subject Fruit In Art Mexican American Art Fire In Art Aerosol Hip-Hop Mural Art Chicano Art Violence Political Violence Gangs Mexican Americans Gang Violence Chicanos

contributor Calisphere
La Tierra Mía

title La Tierra Mía

description Photo is of two sides of a painted freeway column. The front depicts a man swinging an axe beneath the words "La Tierra Mia". The background is alternating rays of sunlight in yellow and orange. The side of the column features a green, indigenously-stylized bird, the words "We are not a minority" with a pointing image of Che Guevara, a "No" emblem with the words "Stop the Violence", and two Chicanos, one in a brown beret. 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 Torero, Mario

subject Mexican American Art Birds In Art National Brown Beret Organization Work Mural Art Chicano Art Violence Mexican Americans Sun - In Art Chicanas Guevara, Ernesto, 1928-1967 Chicanos

contributor Calisphere
Stop The Violence

title Stop The Violence

description Mural on a residential fence. Image is of two children. Text to the left of the image reads "Stop", with a peace symbol for the "O". Text on a scroll beside the word reads "the violence 93". The photo is taken through 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 Ortiz, Jessie "Buster"

subject Children In Art Mexican American Art Graffiti Peace Movements Aerosol Mural Art Chicano Art Violence Mexican Americans Chicanos

contributor Calisphere
Desecration Of We Are Not A Minority

title Desecration Of We Are Not A Minority

description Che Guevara's face has been splattered with red paint in attempt to vandalize the mural. The remainder of the design is intact. 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 Torero, Mario

subject Mexican American Art Birds In Art National Brown Beret Organization Mural Art Chicano Art Violence Mexican Americans Revolutionaries Chicanas Guevara, Ernesto, 1928-1967 Chicanos

contributor Calisphere
Beaten 'Chuco On The Sidewalk

title Beaten 'Chuco On The Sidewalk

description A foreshortened view of a pachuco sprawled on the ground. 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 Pachucos Mexican American Art Pen Drawing Chicano Art Violence Death In Art Mexican Americans Chicanos

contributor Calisphere
Beaten-Up 'Chuco

title Beaten-Up 'Chuco

description Pen drawing is of a pachuco sprawled on the ground. "Part of a series on Pachucos beat during the L.A. Riots." 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 Pachucos Mexican American Art Pen Drawing Chicano Art Violence Mexican Americans Chicanos

contributor Calisphere
Beaten Up Pachuco

title Beaten Up Pachuco

description A view of a dead pachuco with blood. 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 Pachucos Mexican American Art Pen Drawing Chicano Art Violence Death In Art Mexican Americans Chicanos

contributor Calisphere
Executed

title Executed

description One of a series of prints used as instructional aids for California State University Sacramento Barrio Art. Three men in caskets with their hands tied in front of them. 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 Anguiano, Raul

subject Coffins Violence Political Violence Prints Death In Art Art, Mexican Graphic Arts

contributor Calisphere
Pachuco Beaten Up By Us Soldiers/Marines During Zoot Suit Riots

title Pachuco Beaten Up By Us Soldiers/Marines During Zoot Suit Riots

description A view of a slumped Pachuco. 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 Pachucos Mexican American Art Pen Drawing Chicano Art Violence Death In Art Mexican Americans Chicanos

contributor Calisphere
Fila Fila

title Fila Fila

description A cross-section at the waist of a shirtless pachuco. 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 Pachucos Mexican American Art Pen Drawing Chicano Art Violence 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
Death Of A Homeboy

title Death Of A Homeboy

description Cat.8 043(2) From the California Murals off the Wall Exhibition at Centro Cultural de la Raza, Balboa Park, San Diego, CA (March 1983). Media unknown. A whiskered man shoots a Native American performing 'La Danza del Venado' in the back. 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 East Los Streetscapers

subject Indians Of Mexico Indians Of North America Mexican American Art Firearms In Art Mural Art Native Americans Chicano Art Violence Dancers In Art Death In Art Dance Mexican Americans Chicanos

contributor Calisphere
(Title Unknown)

title (Title Unknown)

description Cat.8 019 Notes: From the California Murals of the Wall Exhibition at Centro Cultural de la Raza, 2004 Park Blvd. Building #671, Balboa Park, San Diego, CA (March 1983). Portable mural depicts military officers and their wives sit at a dining table where two bloody bodies are served. 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 Central America Mexican American Art Mural Art Chicano Art Soldiers Political Violence Violence Mexican Americans Paintings Armed Forces Armed Forces - Officers Chicanos

contributor Calisphere
The Shooting Of Humberto Carrillo

title The Shooting Of Humberto Carrillo

description Cat.9 014(1) From an exhibition of David Avalos' work at Centro Cultural de la Raza. This painting is a large cut-out of a man from the chest up that sits on the floor. He is being pursued by a border patrolman whose gun is flaming from discharging bullets. 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 Firearms In Art Mexican American Border Region Chicano Art Violence Mexican Americans Installations (Art) Border Art Chicanos

contributor Calisphere
David Avalos Solo Exhibition

title David Avalos Solo Exhibition

description Cat.3 013(12) Photo of several from the David Avalos Exhibition at Galería Posada, Sacramento. 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 Raza2125 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 Galería Posada

subject Border Patrols Mexican American Art Mexican American Border Region Television Art - Exhibitions Chicano Art Violence Mexican Americans Installations (Art) Border Art Chicanos

contributor Calisphere
David Avalos Exibition

title David Avalos Exibition

description Cat.3 037(2) Photo is part of Avalos' "Cristo" assemblage installation. 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 Automobiles Parts Fences In Art Chicanos Mexican American Art Cactus Mexican American Border Region Chicano Art Nopales Violence Mexican Americans Border Art Assemblage (Art)

contributor Calisphere
Border Patrol Dumbo

title Border Patrol Dumbo

description Cat.9 013(2) From an exhibition of David Avalos' work at Centro Cultural de la Raza. This black and white painting has a cartoon-like quality. The image is a variation of Sylvester Stallone's "Rambo," using a border patrolman to draw attention to the rampant violence and abuse of Mexican children on the border. 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 Graphic Arts Barbed Wire Border Patrols Mexican American Art Firearms In Art Mexican American Border Region Chicano Art Violence Mexican Americans Border Art Chicanos

contributor Calisphere
Donkey Cart Altar (Detail)

title Donkey Cart Altar (Detail)

description A two-wheeled 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". Detail is of the photograph and its surrounding adornments. Cat.12 016(4) 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 Photography In Art Assemblage (Art) Chicano Art Lennon, John, 1940-1980 Murder In Art Tableware Death In Art Mexican Americans Violence Sculpture Border Art Chicanos

contributor Calisphere
David Avalos Exibition

title David Avalos Exibition

description Cat.3 037(7) 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 three Avalos pieces.

artist/creator Centro Cultural De La Raza

subject Border Patrols Mexican American Art Art - Exhibitions Chicano Art Violence Mexican Americans Installations (Art) Border Art Chicanos

contributor Calisphere
Not Cristo

title Not Cristo

description Photo of David Avalos installation from an unknown exhibition featuring a collage beneath the crossed-out word 'Cristo'. The area surrounding the collage and text is smeared with red paint resembling blood. Text on either side of the collage reads, "Christ is the perfect victim you can abuse him all you want and he will still forgive you... Cristo goes both ways at the border and thus becomes meaningful as a symbol for social and political change." The collage features images of Christ, Immigration Commisioner Leonel Castillo, and the text "A Shephard Policeman". On either side of the area smeared with blood are reproductions from a newspaper article titled " Boy finds scars of shooting burn deep in his mind." 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 Newspapers In Art Mexican American Border Region Immigration Art - Exhibitions Chicano Art Violence Mexican Americans Installations (Art) Jesus Christ In Art Mixed Media Border Art Chicanos

contributor Calisphere
Police Brutality

title Police Brutality

description Cat.4 017(1) Pen and ink, color pencil. A police officer holds a large chain in front of a suspect. 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: Royal Chicano Air Force 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 Web:http://www.rcaf.info/

artist/creator Favela, Ricardo

subject Colored Pencils Mexican American Art Calaveras Law Enforcement Pen Drawing Police Brutality Chicano Art Violence Police In Art Chains Mexican Americans Chicanos

contributor Calisphere
Josefa-Juanita, From La Historia De California Calendar 1977

title Josefa-Juanita, From La Historia De California Calendar 1977

description Inscription in pencil below the image area reads "35/200, Josefa Juanita, Patricia Rodriguez 77" Josefa was a mexican woman from Sonora, Mexico who was hanged by a mob of frontier miners in Downivielle in 1851. She was 26 years old and pregnant when the lynching took place on July 4, 1851.

artist/creator Rodriguez, Patricia

subject Gold Rushes California 1840-1850. Tgm-1 Gold Miners California Women Violence Rape Juanita, Josefa, Ca. 1825-1851 Women In Art Lynching Chicanas Mexican Americans

contributor Calisphere
Justicia Para Juan Corona, Announcement Poster For

title Justicia Para Juan Corona, Announcement Poster For

description Announcement Poster for "Justicia para Juan Corona." Central oval image of Juan Corona in green and white against a red striped background. The image is framed by a red-white-green strip rounded in the corners. Underneath the image area red and green lettering reads: "8 P.M. - 1 A.M. / Food / Antojitos / Refrescos. . . .Baile - Benefit - Dance. . . .At Our Lady Of Grace Audit[orium] Off Jeferson / On Linden Rd. West Sacramento Copa-RCAF." This print was stapled to a May Calendar done with markers and containing 'Dates' and 'Guests' such as: "Holy Angel Dance Group, Andy Farila - La Hacienda" among others, most of them illegible. [Addendum: information given by Ricardo Favela 2/97. Printed by José Montoya.] Cat.5 051(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: Royal Chicano Air Force 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 Web: http://www.rcaf.info/;

artist/creator Montoya, José

subject Screen Prints Mexican American Art Law Enforcement Corona, Juan Vallejo Chicano Art Silkscreen Prints Violence Mexican Americans Criminals--California Posters Printmaking Graphic Arts Chicanos Prints - Technique

contributor Calisphere
Ruben Salazar

title Ruben Salazar

description Cat.4 140 Pencil, pen and ink, and Conte crayon drawing of Ruben Salazar and his assassin. 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: Royal Chicano Air Force 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 Web:http://www.rcaf.info/

artist/creator Villa, Esteban

subject Mexican American Art Newspapers In Art Pencil Drawing Money In Art Law Enforcement Riots Blood In Art Pen Drawing Police Brutality Violence Riots - California Salazar, Ruben, 1928- Police In Art Chicanas Mexican Americans Chicanos

contributor Calisphere
Police Brutality

title Police Brutality

description Cat.4 017(2) Pen, ink, and color pencil. An arrested pachuco. 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: Royal Chicano Air Force 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 Web:http://www.rcaf.info/

artist/creator Favela, Ricardo

subject Colored Pencils Pachucos Mexican American Art Calaveras Law Enforcement Pen Drawing Police Brutality Chicano Art Discrimination Violence Police In Art Mexican Americans Chicanos

contributor Calisphere
Police Brutality

title Police Brutality

description Cat.4 017(3) Pen, ink, and colored pencil depiction of police brutality. 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: Royal Chicano Air Force 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 Web:http://www.rcaf.info/

artist/creator Favela, Ricardo

subject Colored Pencils Mexican American Art Calaveras Law Enforcement Pen Drawing Police Brutality Chicano Art Violence Police In Art Mexican Americans Chicanos

contributor Calisphere
National Chicano Moratorium 20Th Anniversary

title National Chicano Moratorium 20Th Anniversary

description Cat.3 055(18) Sign reads, "A Decade of War in El Salvador It has cost us $3,000,000,000 dollars. It has cost El Salvador 70,000 lives. ¡Basta Ya!" 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: Royal Chicano Air Force 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 Web:http://www.rcaf.info/

artist/creator National Chicano Moratorium Committee

subject War Central America El Salvador El Salvador, U.S. Intervention In Mexican Americans--California--Los Angeles War In Art Processions Violence Political Violence Chicano Movement El Salvador - History--1979-1992 Demonstrations Chicanas Mexican Americans Chicanos

contributor Calisphere
February Calendar

title February Calendar

description Monthly Calendar. The backs of a group of men attacking someone with chains and sticks. On the right edge of the print it reads: "CIA / TAC SQUAD / IBM / ITT / EXXON / HALCONES." 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Camplis, Francisco X.

subject Graphic Arts Mexican American Art Calaveras Fossil Fuels Capitalism Law Enforcement Police Brutality Chicano Art Calendar Art Political Violence Prints Intelligence Service - United States Mexican Americans Violence Posters Chains Chicanos

contributor Calisphere
El Salvador

title El Salvador

description Cat.9 063 From Lisa Kokin's Studio, a one-woman show at Galería de la Raza. Batik depicts a young child holding documents in the foreground. In the background, a crowd has gathered around a victim of violence. 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Kokin, Lisa

subject Central America Children In Art El Salvador El Salvador, U.S. Intervention In Mexican American Art Blood In Art Chicano Art Murder In Art Political Violence Violence Death In Art El Salvador - History--1979-1992 Chicana Art Paintings Batik Chicanas Mexican Americans Chicanos

contributor Calisphere
(Title Unknown)

title (Title Unknown)

description Cat.9 009(2) From Art from Jail Exhibition at Galería de la Raza. Painting of indeterminate media depicts the suffering and death that result from drugs and violence amidst an urban skyline. A coffin hovers portentously in the middle ground, and half of the earth is visible in the sky. A cholo is tied to a rocket that doubles as a hypodermic needle; mushroom cloud in rear. 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Artist Unknown

subject Landscapes (Representations) Bombs Coffins Violence Bandannas Cholas Drugs Death In Art Suffering In Art Gang Violence Globes Calaveras Prisons Cholos Prisoners Atomic Bomb In Art Mexican Americans Skull In Art Graveposts Mexican American Art Crosses In Art Chicano Art Pinto Art Chicanas Chicanos Drug Abuse

contributor Calisphere
The Day Of The Dead Of Political Prisoners

title The Day Of The Dead Of Political Prisoners

description Cat.3 083(14) From El Día de los Muertos Exhibition, curated by René Yáñez and Ralph Maradiaga. Rupert García silkscreen features a close-up of a sprawled-out victim of political violence with blood on his clothes. Inscriptions read "A/P", "The Day of the Dead of Political Prisoners" and "Rupert García 75". 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator García, Rupert

subject Screen Prints Mexican American Art Violence Blood In Art Chicano Art Murder In Art Political Violence Politics In Art Death In Art Mexican Americans Political Prisoners In Art Prints Día De Los Muertos Silkscreen Graphic Arts Chicanos

contributor Calisphere
(Title Unknown)

title (Title Unknown)

description Cat.11 009(1) 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org These slides are copies of the photos exhibited in a traveling show from the collection of Minerva and Gilberto V. Martínez (February 15-March 23, 1980). Exhibition organized by Galería de la Raza, San Francisco. Frightened people huddle in a cloud of smoke.

artist/creator Casasola, Agustín Víctor, 1874-1938

subject War Mexicans In Art War In Art Casasola, Agustín Víctor, 1874-1938 Mexico - History--Revolution, 1910-1920 Photography, Artistic Violence Political Violence Revolutionaries Art, Mexican

contributor Calisphere
(Title Unknown)

title (Title Unknown)

description Cat.11 009(47) 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org These slides are copies of the photos exhibited in a traveling show from the collection of Minerva and Gilberto V. Martínez (February 15-March 23, 1980). Exhibition organized by Galería de la Raza, San Francisco. Photo is of a street scuffle.

artist/creator Casasola, Agustín Víctor, 1874-1938

subject War Horses Firearms In Art Casasola, Agustín Víctor, 1874-1938 Mexico - History--Revolution, 1910-1920 Rifles Photography, Artistic Soldiers Political Violence Violence Revolutionaries Art, Mexican Mexico - History--1910-1946

contributor Calisphere
Artist Call

title Artist Call

description Announcement Poster for "Artist Call Against U.S. Intervention In Central America." Five-color serigraph print depicts a man's back showing several orifices produced by bullets--one of the orifices is indicated with a white arrow, another with a red circle around it. The man has his hands tied up with a white rope. On his shoulder, a number is printed. The upper and lower sections of the print are for the lettering that announces different events. 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Sances, Jos

subject International Relations Central America Mexican American Art Chicano Art Murder In Art Political Violence Prints Mexican Americans Violence Posters Graphic Arts Chicanos

contributor Calisphere
April Calendar

title April Calendar

description April Calendar. Two men are facing one another. One man is stabbng the other and draws first blood. Text within the image reads: "Hermanos Stop Gang War." The background is blue. 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Luján, Gilbert "Magu"

subject Graphic Arts Mexican American Art Cholos Blood In Art Chicano Art Calendar Art Prints Violence Mexican Americans Posters Gang Violence Chicanos

contributor Calisphere
Viva El Salvador Libre!

title Viva El Salvador Libre!

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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org Three individuals--only their legs visible, stand around a pool of blood where a yellow cap has been left. Lavender lettering reads: "In El Salvador la guardia fires into crowds...".

artist/creator Artist Unknown

subject Central America El Salvador El Salvador, U.S. Intervention In Mexican American Art Blood In Art Chicano Art Murder In Art Political Violence Prints Mexican Americans Violence Posters Graphic Arts Chicanos

contributor Calisphere
The Last Supper

title The Last Supper

description Cat.8 009(1) From In Progress Exhibition, organized by René Yáñez at Galería de la Raza (May 4- June 12, 1982). As military officials and their wives sit to dine, the fruits of their labor--the murdered civilians of third world countries-- are recontextualized, right on the table. The medium is politec acrylic on portable panel. 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Fuentes, Juan

subject Central America Dinners And Dining Mexican American Art Armed Forces Mural Art Chicano Art Violence Political Violence Death In Art Mexican Americans Chicana Art Chicanas Armed Forces - Officers Chicanos

contributor Calisphere
Voices Of Tlatelolco

title Voices Of Tlatelolco

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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org The central part of the print is a two-column text with statements by different people. Along the edges, there are eight small photographs with captions and statements underneath. At the bottom, black lettering reads: "2 October 1968-1978 / Dedicated to those who fell in 1968 / This poster is reprinted from Schooled in Conflict, NACLA Report, / Sept-Oct 1978, available from NACLA, 464 19th Street, Oakland Ca, / 94612".

artist/creator Montoya, José

subject Mexican American Art Sports In Art Russell, Bertrand, 1872-1970 Chicano Art Violence Political Violence Prints Death In Art Mexican Americans Sartre, Jean Paul, 1905- Posters Graphic Arts Chicanos

contributor Calisphere
(Title Unknown)

title (Title Unknown)

description Cat.11 009(20) 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org These slides are copies of the photos exhibited in a traveling show from the collection of Minerva and Gilberto V. Martínez (February 15-March 23, 1980). Exhibition organized by Galería de la Raza, San Francisco. Photo is of a man with his arms stretched out as if in front of a firing squad.

artist/creator Casasola, Agustín Víctor, 1874-1938

subject War Men Mexicans In Art Casasola, Agustín Víctor, 1874-1938 Mexico - History--Revolution, 1910-1920 Photography, Artistic Violence Political Violence Death In Art Art, Mexican Mexico - History--1910-1946

contributor Calisphere
Stop U.S. Aid To Israel

title Stop U.S. Aid To Israel

description Abstract caricature image of a soldier in the foreground and another soldier in the background who just shot someone. Colors of image are green, gray, orange, yellow, and red. Border is black. Title is red. Black lettering reads "In 1988, U.S. aid to Israel is $3.8 billion dollars, almost $11 million dollars a day." Smaller text reads "sponsors voter initiative, teach-ins, speakers, and material aid campaigns in support Palestinian rights". 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Minkler, D.

subject International Relations Posters Mexican American Art Weapons In Art Blood In Art Chicano Art Murder In Art Prints Politics In Art Death In Art Mexican Americans Soldiers Violence Middle East Intifada, 1987- Armed Forces Graphic Arts Chicanos

contributor Calisphere
Silk Screen Classes Are A Blast

title Silk Screen Classes Are A Blast

description Anouncement poster for "Silk Screen Classes Are A Blast / La Raza Graphics / 3174 16th St., 863-5820, ask for Jos / Class begins Jan 22 / 10 weeks, 10 am to 2 pm, $50.00." Superimposed images in light pink and blue-green ink on a light blue background. Images include two pigs dressed as policemen, some trees being bent over by a strong wind, one policeman or soldier discharging a gun and several skeletons--one of them riding a horse skeleton. The lettering is a gradation of red, magenta, and orange. 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Sances, Jos

subject Mexican American Art Workshops In Art Education Law Enforcement Police Brutality Chicano Art Silkscreen Prints Violence Mexican Americans Police In Art Posters Graphic Arts Chicanos

contributor Calisphere
(Title Unknown)

title (Title Unknown)

description Cat.9 043 From El Día de los Muertos 1983 Exhibition, curated by Ralph Maradiaga and René Yáñez at Galería de la Raza. Charcoal drawing of a bruised boxer on the mat of a boxing ring. 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: Galeria de la Raza 2857 24th Street San Francisco, California 94110 t: 415.826.8009 Phone: 1-415-826-8009 E-mail: info@galeriadelaraza.org Web: http://www.galeriadelaraza.org

artist/creator Fuentes, Juan

subject Charcoal Drawing Boxing In Art Mexican American Art Sports In Art Chicano Art Violence Athletes In Art Día De Los Muertos Mexican Americans Chicanos

contributor Calisphere
Cross Fire/Truth From The Bloodstorm Series

title Cross Fire/Truth From The Bloodstorm Series

description Atelier 22; Coventry Rag, 290 grms; I-size: 22" x 16 1/8"; P-size: 26 1/8" x 20"; Ed#: 4/67, 14/67; Signed;, Inscription in pencil below image area reads: "4/67, 'Cross Fire/Truth', signature [illegible], '93"; chopmark: embossed "SHG" insignia located in lower left corner. COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu Colors used: 1. Clear Base, 2. Trans Rust Red, 3. Blend Lt Yellow-Magenta Lt. Yell (sic.), 4. Lt Trans Grey. "'Crossfire:Truth' is from 'Bloodstorm' a series of painting (sic.), drawings, and prints based on the art of boxing. Started in 1990, the series incorporates figurative imagery an (sic.) text from verious literary and sports sources. This image refers to the Mike Tyson rape trial, the Clarence Thomas confirmation hearings, and our bodies. The works explore violence and social, political and gender issues using boxing as a vehicle." L. Schuette.# Prints: 2. The image of a person's back, shoulders and head without skin (as if an anatomy lesson--drawn to show false-looking muscles, arteries, spine, etc.) is visible through the window of a three-dimensional cross. The words "boxer", "judge", "bodies" and "truth" are written with different lettering across the body.

artist/creator Schuette, Lynn

subject Boxing In Art Mexican American Art Violence Chicana Art Tyson, Mike, 1966- Chicanos

contributor Calisphere
David And Dalilah

title David And Dalilah

description "This is an oval shaped print boardered by yellow drapery, angels, and stars. With in [sic] this boarder [sic] stands a central man, standing on a platform, swinging a sling-shot. A bed is behind him with a woman seated on it. Beneath the platform lay a woman and a nude man, who is facing down." Atelier 16; Westwinds; I-size: 35" x 26"; P-size: 40" x 28"; Ed#: 56/63; Signed;Oscar Duardo; mtrx: Destroyed; Inscription in pencil below the image reads: "56/63 'David and Dalilah', A Donis, 91"print: Oscar Duardo; chopmark: embossed "SHG" located on the bottom center COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu Colors used: 1. Tran. Lt. Brown, 2. Tran. Flesh, 3. Tran. Golden Yellow Ochar (sic.), 4. Tran Cyan, 5. Tran. Magenta, 6. Tran. Lt. Blue, 7. Tran. Lt. Pastel Yellow, 8. Tran. Lt. Pale Pink, 9. Tran. Vilot (sic.), 10. Tran. Dr. Cobalt Green, 11. Yellow shade Gold. "This print represents my reaction toward the battles we wage against each other in the arena of human relations. The wounds we inflict cut deeper than any sword and the pain we endure is just as overwhelming. As all of the David's and the Dalilah's have proven throughout the ages, there are no victors in the games of love and war[,] only victims." A. Donis.

artist/creator Donis, Alex

subject Angels In Art Mexican American Art Interpersonal Relations Chicano Art Violence Interpersonal Conflict Mexican Americans Chicanos

contributor Calisphere
Cordova'S Candle

title Cordova'S Candle

description COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu Image size: 22 1/2" x 16 1/4"; paper size: 22 1/2" x 16 1/4" Studio proof; Ed#: 2/2; Signed;, Inscription in pencil located at the bottom of the print reads: "Cordovas Candle, s/p, 2/2, R. Balboa [illegible]"; n.d. The mutilated body of a naked woman represents a candle melting. It has no arms and in the place of the head is the wick . The melted wax is red and drips over the yellow body. The background is a bright orange with splashed drips of black.

artist/creator Balboa, Richard

subject Mexican American Art Women Nudes Chicano Art Violence Symbolism Mexican Americans Chicanos

contributor Calisphere
King James Version

title King James Version

description Atelier 33; silkscreen; I-size: 26 1/2" x 19 1/4"; P-size: 30 1/4"x 22"; Ed# : 4/58, 6/58; Signed;, Inscription in pencil below image area reads: "4/58, King James Version, Noni Olabisi 1999." COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu Image is of a man kneeling with his hands tied above him. There are blood spots on his shirt. To the left of the image is a female figure. The background is red. The foreground is an open book with the scripture of Lebiticus, Chapter 26 and a hand gun resting on top of it. "The physical, cultural, and spiritual survival of the African diaspora is embodied in the visually dominating fertility figure from Ghana, even as slavery was grounded in an institutionalized, Eurocentric version of Christianity"--Maestras Atelier XXXIII 1999.

artist/creator Olabisi, Noni

subject Mexican American Art Women Religion In Art Chicano Art Discrimination Violence Slavery In Art Mexican Americans Chicanos

contributor Calisphere
Victoria Ocelotl

title Victoria Ocelotl

description Atelier 2; Artprint 25%, Rag; I-size: 18" x 24", P-size: 22" x 34"; Ed.#: 4/77; Signed;, Inscription in pencil below the image area reads: "4/77, 12-83, title and signature" print: Stephen Grace; chopmark: "SHG" logo below the image area in purple; Fund: funded in part by the CAC and the NEA Brown, blue, dark purple, green, gold, ochre, black background. Images of guns, helicopters, a sphere, and black glitter animals. COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu

artist/creator Cervántez, Yreina D.

subject War Mexican American Art Women Violence Chicana Art Symbolism Chicanas Mexican Americans Chicanos

contributor Calisphere
This Is Pain

title This Is Pain

description Atelier 2; Artprint 25% Rag; I-size: 17 1/2" x 23"; P-size: 22 7/8" x 35"; Ed#: 4/77; Signed;, Inscription in pencil below the print: "4/77 and title" print: Stephen Grace; chopmark: "SHG" logo below the image area in black. COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu Light yellow figure on a black background.

artist/creator Segura, Dan

subject Chicano Art Violence Mexican American Art Mexican Americans

contributor Calisphere
El Perro Y La Mujer

title El Perro Y La Mujer

description 4/48; Signed;, Inscription in pencil below image area reads: "4/48, El Perro y La Mujer, Dolores Guerrero-Cruz, 2/88" print: Oscar Duardo; chopmark: "SHG" chops located in the lower right hand corner . COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu Colors used: 1. Ocher (sic.) (Flesh), 2. Ocher (sic.) (Flesh), 3. Melon (split fountain), 4. Light Purple, 5. Yellow, 6. Yellow Orange (Peach), 7. Red, 8. Dark Purple, 9. Blue, 10. Green, 11. Ocher (sic.), 12. Dark Blue. "The dog or Perro symbolizes men or man. It's a concept of men chasing women. This woman does not want to be chased and, therefore, hides in her room holding her body in despair. This is Print A." D. Guerrero-Cruz Image of a dog howling at a woman in the window. "This is an outside view of the dog that chases women." D. Guerrero-Cruz.

artist/creator Guerrero-Cruz, Dolores

subject Mexican American Art Women Ethnic Stereotypes Chicano Art Violence Chicana Art Chicanas Mexican Americans Chicanos

contributor Calisphere
Things To Come

title Things To Come

description Atelier 33; 4/65, 6/65; Signed;, Inscription in pencil under image reads: "4/65, Amos 99." COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu Image is of a blue cartoon-like creature that is bowling with an ignited canon ball aiming for green glass bottles. The background is yellow with a thinking bubble of an alien/robot demolishing a city. Poster reads "Things to Come...& things that never will be. Prints, Paintings, & Illustrations by: Amos." At bottom of poster in grey reads "March 1999 Delirium-Tremens-1553 Echo x Parque." Image size: 20" x 9 1/2"; paper size: 22 1/8" x 12"

artist/creator Amos

subject Mexican American Art Chicano Art Violence Dreams In Art Mexican Americans Chicanos

contributor Calisphere
La Mujer Y El Perro

title La Mujer Y El Perro

description 4/48; Signed;, Inscription in pencil below image area reads: "4/48, La Mujer y El Perro, Dolores Guerrero-Cruz, and 2/88"print: Oscar Duardo; chopmark: "SHG" chops located in the bottom left hand corner of the image COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu Image of a woman sitting on a bed with her back towards you. She's facing the window looking at a dog outside the window. "The dog or perro symbolizes men or man. It's a concept of men chasing women. This woman does not want to be chased and therefore hides in her room, holding her body in despair. This is print A." D. Guerrero-Cruz.

artist/creator Guerrero-Cruz, Dolores

subject Mexican American Art Women Stereotypes Ethnic Stereotypes Chicano Art Violence Chicana Art Chicanas Mexican Americans Chicanos

contributor Calisphere
Untitled

title Untitled

description Acrylic on canvas COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu

artist/creator Torrez, Eloy

subject Men Mexican American Art Chicano Art Violence Mexican Americans Chicanos

contributor Calisphere
Champ De Bataille

title Champ De Bataille

description "There are two angels with wings, one is red-orange in color, the other is blue-green. They are holding each other close by the arms and each one is holding a sword over-head. The background color is purple with gold colored writing." Colors used: 1. Tran. Lt. Powder Blue, 2. Tran. Milorie (sic.) Blue, 3. Tran. Violet, 4. Golden Yellow, 5. Peach, 6. Lt. Pastel Yellow, 7. Lt. Pastel Magent (sic.), 8. Tran. Lime Green, 9. Red-Orange, 10. Purple, 11. Gold, 12. Tran. Peralesence (sic.) White. "It was a dream, it was all a dream." A. Donis. Atelier 14; Westwinds; I-size: 36" x 24"; P-size: 38" x 26"; Ed#:4/61, 14/61; Signed;, Inscription in pencil below the image reads: "4/61, title, and signature". Bottom right hand corner of paper COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu

artist/creator Donis, Alex

subject Angels In Art Mexican American Art Chicano Art Violence Dreams In Art Mexican Americans Chicanos

contributor Calisphere
(Title Unknown)

title (Title Unknown)

description COPYRIGHT WARNING 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. The Artist of any work retains all rights to that work. 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: Self Help Graphics & Art http://www.selfhelpgraphics.com/ 3802 Cesar Chavez Avenue Los Angeles, CA 90063 323-264-1059 E-mail: cema@library.ucsb.edu Web: http://cemaweb.library.ucsb.edu From Edgar Aparicio Exhibition, organized by the artist himself (December 5, 1986-January 18, 1987). Cross-reference with Installation Art and Center Activities and Programs, slide No 2: represents Chilean Nueva Cancion singer Victor Jara

artist/creator Aparicio, Edgar

subject Children In Art Mexican American Art Animals In Art Women Chicano Art Violence Mexican Americans Chicanos

contributor Calisphere