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Juan Antonio Sandoval Jr. Collection
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Recargando sobre el Borde
title Recargando sobre el Bordedescription Serigraph on paper, 27.5 in x 19.5 in. Taller 75 Grados, Mexico City, MX. Desert Triangle Print Carpeta. "Our work for Desert Triangle Print Carpeta is based on this strange relation between two countries divided by a line, and how we live. Our work tries to represent our opinion about this relation, and how we all forget the simpler things; like we all are just humans trying to live in this difficult world behind a fence as we wait for the next nonsense decision, rule, or law in this world. Meanwhile, we see so many hard things passing by through our eyes, people looking for money, fame, and so many things with no real meaning, and in that search, we lose a very valuable moment in our lives. We don’t see the amazing simple things, while a dog pees on our shoe. Jellyfish Colectivo is a creative group who have worked with graphic art, murals, exhibitions, animatio, and with social art projects based in Juárez since 2010. This group has worked in many different projects, like workshops with young kids, people with some disabilities, or adolescents for three years (2010-2013), and our collective did big events in Juárez like Hola Color (2013) and Color Walk (2014). With our artwork, Jellyfish Collective has worked in places like Mexico City, New York, Austin, and Germany, to name a few. We won our first animated short film award for the Best Animated Short Film of 2014 in FILM (Festival Internacional de Cine de Morelia). We are three graphic designers and one architect." – Jellyfish Collective, Ciudad Juárez, Mexicoartist/creator Jellyfish Collectivesubject Borderlands Frontera Desert Triangle Print Carpeta Art Collectives Artists' Collectives Mexico--Ciudad Juárez Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Before the Migration
title Before the Migrationdescription Woodcut on paper, 30 in. x 22.5 in. Desert Triangle Print Carpeta. "January 15th, 1944. My grandparents in front of La Catedral, in Mexico City, the four-hundred-year-old church built from the stones of the Aztec’s Templo Mayor. My father, only four years old at the time, and his brother, my namesake, an infant. They moved to Tucson, Arizona from Puebla in a mining truck that my grandfather later delivered to the Pima Copper Mines. With 1500 miles ahead of them, I can only imagine what an arduous task that was. I don’t know for sure because all four of these family members have passed on, but I wonder if they had visited La Catedral to say goodbye and pray for a safe journey. Besides wanting the reminder of where my family came from, I wanted to get to know them through this [print]: I wanted to feel how they felt that day, to feel the sun on their faces, the awe from the sheer grandeur of architecture, and maybe even the warmth of their hearts from the presence of God. Through the carving process, the image also revealed their brewing excitement, and hope for a better future. They had to have known that their diligence would add prosperity to future generations. It makes me grateful for their hard work and perseverance to arrive in America." — Ruben Urrea Morenoartist/creator Urrea Moreno, Rubensubject Borderlands Frontera Immigration Immigrants Families Woodcuts Prints Portraits Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
A Nomad in Love
title A Nomad in Lovedescription Serigraph on paper, 27.5 in. x 19.5 in. Taller 75 Grados, Mexico City, MX. Desert Triangle Print Carpeta. "A Nomad in Love is a personal narrative. While making this print, I was also working on a painting for an exhibit at the National Museum of Mexican Art about home and community. When I think of home, the image of the mountains comes to mind, so in this print, I depict the Franklin Mountains. These mountains are a sacred indigenous symbol of the thunderbird on them. As a kid, I played at the foot of these mountains, and they make me feel grounded. The image of a hummingbird is inspired by the Mexica (Aztec) tradition that says the spark in our hearts beats like the flight of a hummingbird: steady and self-sustaining. I was in some hard times, personally having lost important people in my life. I was feeling crazy and alone like a coyote howling at the rabbit moon. So I’m telling a love story through symbols and images about heartbreak and anxiety. But there is also some comedy in those wild eyes. Laughing at my loss. There is a saying I know from the work of the artist poet, José Montoya: “La locura cura” (Craziness cures). Laughter heals, and this print cracks me up. I was born in Las Cruces, NM [in 1983] and raised in El Paso, TX. I’ve exhibited in museums, galleries, and community spaces in Chicago, Los Angeles, and throughout the Southwestern region. I have a Visual Studies degree from The University of Texas at Austin, and I’m self-trained in my craft. My multidisciplinary work explores identity, community, and life on the border. My process often involves community collaboration and engagement." — Zeke Peñaartist/creator Peña, Zekesubject Borderlands Frontera Mountains Texas--El Paso Nature in art Environment Ecology Desert Triangle Animals in art Love in art Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
México en la Guerra: Los Braceros se van a Estados Unidos
title México en la Guerra: Los Braceros se van a Estados Unidosdescription Linocut on paper, 8.5 in. x 11.5 in. Taller de Gráfica Popular, Mexico City, MX. From the portfolio, 450 Years of Struggle: Tribute to the Mexican People / 450 Años De Lucha: Homenaje al Pueblo Mexicano. Both on the battle fronts, such is the case of Squad 201, as in the rear, Mexico cooperated to make possible the resounding triumph of the United Nations. True to its commitments, our Government sent thousands of peasants from all over the Republic to the neighboring country of the North, who worked in the American agricultural fields that supplied the Allied soldiers on the battle fronts.subject Borderlands Frontera Bracero War World (1939-1945) World War II Taller de Gráfica Popular (Mexico City, Mexico) (TGP) TGP Linocuts Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
La Mesilla
title La Mesilladescription Linocut on paper, 8.5 in. x 11.5 in. Taller de Gráfica Popular, Mexico City, MX. From the portfolio, 450 Years of Struggle: Tribute to the Mexican People / 450 Años De Lucha: Homenaje al Pueblo Mexicano. The terrifying territorial mutilation suffered by Mexico at the hands of the United States as a consequence of the war of 1846-1847, and of the concessions made to the invader in the Treaty of Guadalupe Hidalgo, was well added soon another. An extensive strip of territory, on the southern border of New Mexico, including the town called La Mesilla, was acquired through the Gadsden Purchase. The Americans claimed that it belonged to the State of New Mexico and that it was essential for them to build a railway. Santa Anna sold it for a paltry sum and signed the shameful treaty for its transfer on May 31, 1854.artist/creator Aguirre, Ignaciosubject Borderlands Frontera Taller de Gráfica Popular (Mexico City, Mexico) (TGP) TGP Santa Anna, Antonio López de, 1794-1876 New Mexico--La Mesilla Linocuts Prints Gadsden Purchase Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
El Santanismo
title El Santanismodescription Linocut on paper, 12 in. x 8.5 in. Taller de Gráfica Popular, Mexico City, MX. From the portfolio, 450 Years of Struggle: Tribute to the Mexican People / 450 Años De Lucha: Homenaje al Pueblo Mexicano. Not without reason, the figure of Antonio López de Santa Anna—eleven times President during the first stage of independent Mexico—is considered one of the most abominable in our history. He was, in his long military and political career, a realist, a supporter of independence, a monarchist, a republican. He was the typical caudillo of those late times. He ruled according to the reaction. He protected militarism and clericalism and culminated his disastrous performance in the war with the United States of America, in which Mexico lost half of its original territory.artist/creator Mora, Franciscosubject Borderlands Frontera Taller de Gráfica Popular (Mexico City, Mexico) (TGP) TGP Mexican-American War (1846-1848) Santa Anna, Antonio López de, 1794-1876 Linocuts Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Compraventa De Naciones
title Compraventa De Nacionesdescription Linocut on paper, 11.5 in. x 8.5 in. Taller de Gráfica Popular, Mexico City, MX. From the portfolio, 450 Years of Struggle: Tribute to the Mexican People / 450 Años De Lucha: Homenaje al Pueblo Mexicano. The war unleashed by the United States against Mexico in the middle of the previous century, culminated with a sale and purchase operation. Santa Anna agreed to sell a large part of the national territory to the Americans. These were used, for their conquest, weapons, and, perhaps, bribery. From that ignominious chapter in our history, only the patriots were saved who, like Generals Pedro María Anaya and Nicolás Bravo, defended the country with bizarreness, although they were defeated and betrayed.artist/creator Bracho, Ángelsubject Borderlands Frontera Nations Sales Taller de Gráfica Popular (Mexico City, Mexico) (TGP) TGP Mexican-American War (1846-1848) Linocuts Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Los Niños Héroes
title Los Niños Héroesdescription Linocut on paper, 11.5 in. x 8 in. Taller de Gráfica Popular, Mexico City, MX. From the portfolio, 450 Years of Struggle: Tribute to the Mexican People / 450 Años De Lucha: Homenaje al Pueblo Mexicano. Barely a quarter of a century had passed since the consummation of Independence, when Mexico was militarily attacked by the United States of America. The United States armies entered the capital of the Republic and only withdrew when, through the Treaty of Guadalupe Hidalgo, the United States annexed half of the Mexican territory to their country. Glorious incarnation of the resistance of our people were the cadets of the Military College who fought recklessly in the Castle of Chapultepec against an enemy far superior in number and weapons, and fell, on September 13,1847, bequeathing to the new generations an example of virile patriotism.artist/creator Mora, Franciscosubject Borderlands Frontera Taller de Gráfica Popular (Mexico City, Mexico) (TGP) TGP Linocuts Prints Children Heroes Mexican-American War (1846-1848) Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Study for Denver Mustang
title Study for Denver Mustangdescription Color lithograph on paper, 17.25 in. x 16 in. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Horses Animals in art Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Spanish-Mexican Hacendado
title Spanish-Mexican Hacendadodescription Pen and ink on paper, 18 in. x 14.75 in. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Pen and ink drawings Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
The First Thanksgiving
title The First Thanksgivingdescription Pen, ink, and color pencil, 25.25 in. x 20.25 in. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Holidays Thanksgiving Day Texas--El Paso Conquistadors Pen, ink, and color pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
El Adelantado Don Juan de Oñate, circa 1598
title El Adelantado Don Juan de Oñate, circa 1598description Pen, ink, and color pencil, 27 in. x 21 in. Signed by Direct Descendants of Juan de Oñate living in Spain. Conquistadors, and in particular adelantado Don Juan de Oñate, are favorite subjects of José Cisneros. Oñate was one of the few that received the title of adelantado. Adelantado was a title granted to a person in command of an expedition. Adelantado Don Juan de Oñate was born into a mining and military family in 1550 at Zacatecas, México. Because of his family’s prestige and military service, he was chosen to lead the expedition into New Mexico. Arriving in El Paso del Norte, with over five hundred colonists from Zacatecas and Mexico City, Oñate took possession of New Mexico on April 30, 1958. From here the expedition traveled pass the Rio Grande into Northern New Mexico. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Conquistadors Texas--El Paso Pen, ink, and color pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Graphite on vellum, 19 in. x 24 in. This piece is a part of a series of studies made by the artist. You can see the thought process as Marta Arat worked through various compositional ideas. In this sketch, a group of Tarahumara, originally the Rarámuri, participate in a ritual, perhaps the annual “curing” ceremony to assure plentiful rain and a good harvest. Artist Marta Arat (1932-2002) was born in Ciudad Juarez, Chihuahua, Mexico. She spent most of her adult life along the El Paso-Juárez border, where she studied art at The University of Texas at El Paso. Arat painted her social and spiritual self and created work that experimented with color while mirroring a time and place that reflects the region of the Chihuahuan borderlands. Arat’s work presents images taken from the beauty and diversity of people’s hopes, aspirations and dreams. Marta Arat painted a full spectrum of women, with the belief that women along the US-Mexico border are often overlooked though they are a historic example of life and change. She was a close friend of the El Paso collector Juan Sandoval. Arat was active in the Soñando Juntos organization, an immigrant youth-led organization that empowers borderland immigrant youth through civic engagement. Locally, her first exhibition Life in the Barranca Del Cobre in 1980 was followed by her first group exhibition La Mujer y Su Arte in 1984. Arat’s artwork has been published in magazines, books, and commercially. From Chihuahua, Mexico throughout Texas and to other parts of the region, she has exhibited in museums, galleries and university libraries. Her paintings can be found in many private, corporate, and public museum collections throughout Mexico and the United States.artist/creator Arat, Martasubject Borderlands Frontera Indigenous peoples Indígenas Tarahumara Indians Graphite pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Watercolor on vellum, 19 in. x 24 in. In this watercolor, a group of Tarahumara, originally the Rarámuri, participate in a ritual, perhaps the annual “curing” ceremony to assure plentiful rain and a good harvest. Other curing rituals helped to heal tribal members and protect their animals. Here, the shaman wearing a red shirt holds an offering, while behind him the drummer makes music and dances. The Rarámuri once occupied large areas in the Chihuahuan Desert but were driven south by the Spanish settlers looking for precious metals. Primarily farmers, the Rarámuri lived on small farming settlements or “ranchos.” Their original name, Rarámuri, refers to their ability to run long distances. They were never fully assimilated, although many blend Catholic practices with their native religion. In the twenty-first century, their population numbers around 70,000, and they remain fiercely independent. Artist Marta Arat (1932-2002) was born in Ciudad Juarez, Chihuahua, Mexico. She spent most of her adult life along the El Paso-Juárez border, where she studied art at The University of Texas at El Paso. Arat painted her social and spiritual self and created work that experimented with color while mirroring a time and place that reflects the region of the Chihuahuan borderlands. Arat’s work presents images taken from the beauty and diversity of people’s hopes, aspirations and dreams. Marta Arat painted a full spectrum of women, with the belief that women along the US-Mexico border are often overlooked though they are a historic example of life and change. She was a close friend of the El Paso collector Juan Sandoval. Arat was active in the Soñando Juntos organization, an immigrant youth-led organization that empowers borderland immigrant youth through civic engagement. Locally, her first exhibition Life in the Barranca Del Cobre in 1980 was followed by her first group exhibition La Mujer y Su Arte in 1984. Arat’s artwork has been published in magazines, books, and commercially. From Chihuahua, Mexico throughout Texas and to other parts of the region, she has exhibited in museums, galleries and university libraries. Her paintings can be found in many private, corporate, and public museum collections throughout Mexico and the United States.artist/creator Arat, Martasubject Borderlands Frontera Indigenous peoples Indígenas Tarahumara Indians Watercolors Paintings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
The First Thanksgiving
title The First Thanksgivingdescription Pen, ink, and color pencil, 21 in. x 31 in. Cisneros has produced many drawings of the “First Thanksgiving” on what is now United States territory. This historical event, which predates the Jamestown pilgrims, relates to the entry of Don Juan de Oñate into El Paso del Norte (modern Ciudad Juárez and El Paso, Texas area). After completing their last league of their expedition passing through Chihuahua desert, it is believed that here Oñate, the colonizers, and Indian allies, gave thanks after the long journey. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas up until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Thanksgiving Day Conquistadors Texas--El Paso Pen, ink, and color pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Spanish Officer, 18th Century
title Spanish Officer, 18th Centurydescription Pen and ink on paper, 27.5 in. x 22.5in. In the 18th Century, the Spanish military attire began to change from the conquistador helmet and armor to an imitation of the French uniform. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Horses Animals in art Uniforms Spanish military Pen and ink drawings Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Bici Rider #1 of Saipan
title Bici Rider #1 of Saipandescription Photography print on paper, 20 in. x 24.5 in. Taller 75 Grados, Mexico City, MX. Desert Triangle Print Carpeta. "This is my Desert Triangle serigraph, which originated with the crisp click of my camera’s shutter, while covering a grassroots rally in May 2014 to save the historic Lincoln Center in El Paso, Texas, from the destructive swing of a wrecking ball for new freeway construction. The still photograph has been featured in several art exhibitions in the photography form. My friend, Karl Whiataker, asked to use the image for a print created by maestro Arturo Negrete and his team at Mexico City’s Taller 75 Grados. The print features Luis (Tego), a young Chicano bicycle enthusiast proudly resting on his beautiful blue and chrome, three-wheel custom lowrider bike in Lincoln Park, an urban jungle playground of grass and freeway concrete pillars adorned with colorful art murals with Mexican American themes. The area has become a center of the celebration of Chicano culture, art, and heritage with its Chicano-themed murals and events like the annual Lincoln Park Day, featuring lowriders cars and bicycles, art, music, dance, and attire. It is El Paso’s flavor of San Diego’s famous Chicano Park. Lincoln Center and Park are located under several feeder arteries in the I-10/54 “Spaghetti Bowl'' freeway exchange area, historically known as Concordia and Saipan. Lincoln Center, the last remaining structure from El Paso’s past, was a training camp for Buffalo Soldiers (1860s) and the first non-segregated school, admitting Mexican American and Black students (1915). The summer when I took the photograph of Luis, the issue of Lincoln Center’s future had reached a fevered pitch, involving the Texas Department of Transportation, El Paso City Council, multiple car clubs, and several grassroots neighborhood groups, like Save Lincoln Center and Lincoln Park Conservation Committee. El Paso is my home base to wander the US/Mexico border. My street photography art tends to focus on visually documenting the things—dimples and blemishes—that make life along “la frontera” so colorful and unique. The debate on the future of Lincoln Center is still ongoing." — Federico Villalbaartist/creator Villalba, Federicosubject Borderlands Frontera Texas--El Paso Bicycles Portraits Photographs Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Medusa
title Medusadescription Serigraph on paper, 30 in. x 22 in. Taller 75 Grados, Mexico City, MX. Desert Triangle Print Carpeta. "I am a 'Tapatia de Corazón' born in Guadalajara, Jalisco. My draftsmanship, iconography, artistic forms, color, and style are derived from Mexican neo-figurative expressionism, which I learned from academic training at the Universidad de Guadalajara, Escuela de Artes Plásticas, in combination with the training I received at the University of Arizona where I earned a Master of Fine Arts degree in printmaking. I am a recipient of grants and fellowships: The Lila Wallace Reader’s Digest Award Residency at Claude Monet Museum in Giverny, France; NEA/WESTAF Regional Fellowship for Visual Artists; and Great Walls Unlimited, SPARC, Venice, CA, among others. Due to my personal history as an immigrant, the recurring theme in my work responds to and communicates relevant political and personal impressions, such as the right for immigrants to have a path to American citizenship. My work is an exploration of immigration/migration and its effects on culture, family, the loss of los ausentes (the ones who left their homelands and are considered missing in their physical absence, but not in their psychological presence), and the individual in these times of racism. I also represent with images the timeless human phenomena of deconstructing female stereotypes, echoing themes of divided families, struggle, strength, and success. I create from the perspective of a woman artist born “al otro lado” that has now lived and worked in the border region of Tucson, Arizona for over two decades." — Christina Cárdenasartist/creator Cárdenas, Christinasubject Portraits Borderlands Frontera Mexico--Jalisco Immigration Immigrants Medusa (Greek mythology) Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
César Chávez
title César Chávezdescription Lithograph on paper, 31 in. x 22.5 in. Chicano artist Luis Jiménez created a portrait of famous Chicano activist César Estrada Chávez (1927 – 1993), an iconic figure in the American civil rights movement. Jiménez captured Chávez’s humble nature, his gritty determination, and his silent power; his lips parted, he appears to be speaking directly to the viewer. Chávez organized protest marches to demand labor rights for Mexican and Chicano migrant farm workers. Along with Dolores Huerta, he organized the United Farm Workers (UFW) in 1962, the first Mexican American labor group to be recognized by the AFL-CIO (American Federation of Labor and Congress of Industrial Organizations). To garner support from American consumers, Chávez mounted a nation-wide boycott of iceberg lettuce and grapes. A pacifist inspired by Gandhi, Chávez practiced nonviolent resistance in his protests, and he fasted to gain public sympathy for the UFW and its fight for labor rights. His protests and speeches inflamed growers, and he received countless death threats. His constant fasting vigils may have weakened his health, and he died of natural causes. Tens of thousands of mourners attended his funeral, where he was called an American hero-martyr. César Chávez Day (March 31, his birthday) is a U.S. federal commemorative holiday, as proclaimed by President Barack Obama in 2014. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Chávez, César, 1927-1993 Borderlands Frontera Activism Politics in art Agriculture United Farm Workers (UFW) Lithographs Prints Portraits Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
$26
title $26description Oil on canvas, 49.5 in. x 87.75 in. As a borderland artist, Francisco Delgado illustrates U.S. citizens crossing the border into Mexico. Tourists, workers, students, commercial and industrial travelers pass through the busy El Paso-Juárez, Mexico border, which also conveys to-and-fro international trade between Mexico and the United States. According to Delgado, his painting represents the crossing of currency from the U.S. to Mexico, where the U.S. dollar is valued for its purchasing power (consistently worth more than pesos). This scene takes place at the “Free Bridge” (Cordova Bridge or the Bridge of the Americas) in El Paso as drivers cross into Juárez. U.S. Presidents Andrew Jackson (left), Abraham Lincoln (center), and George Washington (right) drive individually into Mexico, each of them pictured on U.S. dollar bills. Together, the total worth of their currency adds up to $26 (Jackson $20, Lincoln $5, and Washington $1). Jackson appears to be yelling, perhaps at the newspaper vendor who runs toward him. An angry Lincoln is saying “no” to a window washer, who wipes down his windshield and asks to be paid. He holds up an empty Coke bottle to Lincoln, who refuses to drop money into it. Meanwhile, a woman, wearing a green shawl (symbolizing the color of money) and holding a cup from McDonald’s, begs Lincoln for money. Her little boy reaches for his milk bottle that she clutches in her left hand. Washington waits patiently for the traffic to move forward. A paleta (Mexican popsicle) vendor pushes his paleta wagon, hoping to sell to the Americans. Delgado explains, “The masks on the vendors and other Mexicans symbolize the struggle to survive. They are luchadores [Mexican wrestlers]. The masks are black because they are anonymous, and we do not see them. We don’t see or acknowledge their faces or struggle.” Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Borderlands Frontera Texas--El Paso United States Presidents Money Oil Paintings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Presa es la Frontera, la Frontera Te Apresa
title Presa es la Frontera, la Frontera Te Apresadescription Serigraph on paper, 17.5 in. x 26.5 in. Taller 75 Grados, Mexico City, MX. Desert Triangle Print Carpeta. A large colorful bird with small humans climbing on its back. There are two people sitting in front of the bird.artist/creator Perez, Jorge "Yorch"subject Birds Borderlands Frontera Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Freeway Wars
title Freeway Warsdescription 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, Franksubject 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) -
El Gallo
title El Gallodescription Serigraph on paper, 29.5 in. x 22 in. Taller 75 Grados, Mexico City, MX. Desert Triangle Print Carpeta. The print is based on a series of paintings done in 2013 titled Tres Animales (El Gallo, El Chivo, El Coyote). The animal portraits were done on old Sonidero Party posters found on the streets of Canutillo, TX. The title is inspired by the song Mis Tres Animales by Mexican norteño band, Los Tucanes De Tijuana, who describe the song as one of their "valientes crónicas del acontecer diario" or "brave chronicles of everyday life." The song is a first-person narrative where a drug dealer uses animals to metaphorically speak about the products he sells in the U.S. In both song and the print, el gallo symbolizes a marijuana cigarette and along with the other animals is used to describe the narco culture and its impact on everyday life. For the artists, it also represents the human factor involved in transforming an animal and a plant as complex symbols of social behavior; this is why the rooster has a human eye. Los Dos is the collaboration moniker of husband-and-wife duo Ramon and Christian Cárdenas. Ramon is a Filipino-American visual artist and co-founder of Maintain, a multimedia artist network formed in 2007 and involved in curating cultural art events and projects in El Paso, TX. Christian is a female mixed media artist from Cd. Juárez, Chihuahua, with a background in textiles, design, and printmaking. Their approach is ethnographic in nature; describing their unique border culture, as well as their own Filipino and Mexican heritage, respectively.subject Drugs Borderlands Frontera Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Trolley Slap
title Trolley Slapdescription Oil on OSP, 24 in. x 19.25 in. The view of a street from the point of view of someone moving away in a trolley car.artist/creator Casas, Victorsubject Perspective Borderlands Frontera Trolley cars Oil Paintings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Puente
title Puentedescription Graphite on paper, 12 in. x 15 in. Two children fighting in a forest next to a highway.artist/creator Cruz Perez, Albertosubject Children Borderlands Frontera Fighting Graphite pencils Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Graphite on paper, 25 in. x 31.25 in. A priest choking a demon while holding a baseball bat. A child prays at the priest's feet. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Religion Borderlands Frontera Demons Baseball bats Children Graphite pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Esto es un Río
title Esto es un Ríodescription Serigraph on paper, 22 in. x 30 in. Desert Triangle Print Carpeta. "Esto es un Río is a memory of growing up on the border. As a child, I would remember crossing the bridge from El Paso to Juárez and watching people cross the river in makeshift inner-tube rafts. People with jobs in the U.S. side and who didn’t want to get wet would pay lancheros to ferry them across the river every day. I see this as the universal experiences; we all have people who cross boundaries and blaze paths to reach our goals, whatever they may be. For years, political graffiti has been painted on the concrete banks of the border. I decided to use “Esto No Es Una Frontera/ Esto es un Río” as one of many messages painted on the concrete banks for years. The quote is from [The Liberator of Venezuela] Simón Bolívar, who alluded to the use of borders to divide communities instead of uniting them. Bolívar suggested that the overreaching powers in place politically at the time benefitted from the ensuing chaos that occurred once divisions were made and enforced. He further suggested that if one community suffered, the other 'opposite' community suffered, as well. Another graffiti tag appears on one of pillars that support the international bridge. The message was painted by the family of Sergio Adrian Hernandez Guereca, who was shot and killed by a U.S. Customs and Border Protection agent through a barbed wire border fence near El Paso, Texas. At the time of the shooting, Guereca, a 15-year-old-Mexican national, was standing on the Mexican side of the Mexico-United States border, while the agent was on the American side. The agent claimed after the shooting that he had used deadly force because Guereca had been throwing rocks." — Jesus “Cimi” Alvaradoartist/creator Alvarado, Jesus "Cimi"subject Politics in art Borderlands Frontera Rio Grande Environment Ecology Geography Nature in art Bridges Immigration Immigrants Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
1936 Ford
title 1936 Forddescription Watercolor on paper, 34 in. x 45 in. "The automobile is an iconic symbol of American culture. Within the Chicano culture, old classic cars are not just instruments for mobility but are re-fashioned machines with sensory and aesthetic appeal and are objects of art. Both my grandfather and my father had a handsome old classic car. My son continues the tradition with his refurbished 1965 Mustang. I saw this 1936 Ford at a restaurant and fell in love with it and asked the owner permission to photograph it. I wondered about what travels this handsome car had taken and what stories it could tell. I wanted the painting to have a feeling of an endless clear sky on a warm summer day, like driving on a never-ending highway. This award-winning painting was on exhibition at the Americana Museum when Juan Sandoval first saw it. He immediately was attracted to it and decided to purchase it because it reminded him of his childhood. He never owned a car, preferring to use his money to purchase art; so he stated that this painting would be his car if anyone ever asked him if he owned one. My painting was reproduced in [the book] Hecho en Tejas. I am inspired by the rich Hispanic culture, and through it I hope to encourage a greater understanding and appreciation of the Hispanic culture. I was born and raised in El Paso, TX. After attending Modesto Junior College and The University of Arizona, I received my BA in Art Education from the University of Texas, El Paso. I have taught art in the public school system for 20 years. My artwork has been published in books, such as Triumph of Our Communities, Contemporary Chicana and Chicano Art, and Art of West Texas Women. My art has been included in numerous major art exhibitions and in public and private collections across the United States. Currently, I am an Artist-in-Residence for Chicano Studies at the University of Texas at El Paso." — Maria Almeida Natividadartist/creator Natividad, Maria Almediasubject Cars Automobiles Borderlands Frontera Ford automobile Desert Watercolors Paintings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Spanish Bullfighter on Horseback, circa 1700
title Spanish Bullfighter on Horseback, circa 1700description Serigraph on paper, 20.5 in. x 17 in. The drawing of this bullfighter, or most likely a “Caballero en Playa,” depicts a non-professional bullfighter armed with the rejon, which is a wooden pole with a barb at the end used to taunt and punish the bull. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Bullfighters Horses Animals in art Spears Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Las Peleoneras
title Las Peleonerasdescription Color lithograph on paper, 32.5 in. x 39.5 in. Two women fighting and pulling each others' hair outside of a dance club while a group of people look on. Chicana artist and illustrator Carmen Lomas Garza created a series of artworks in which she visually shares memories of growing up in Kingsville, Texas. Here, she presents two women fighting in the center of this print. We have no idea why the two rivals are brawling in front of the El Rio bar. On either side of the two women, onlookers watch the fight. Looking through the port windows of the front door, a man and woman observe the combatants with curiosity. Symbolizing anger and treachery, a small black dog barks at the women, while a full moon floats in the dark sky. The artist stimulates our imagination, so that we can complete our own version of her story. A narrative artist, Carmen Lomas Garza is a skillful storyteller who specializes in relating to her Mexican American heritage. Carmen Lomas Garza is an award-winning artist-educator, who was born in Kingsville, Texas in 1948. She attended Texas A & I University (renamed Texas A & M University, Kingsville), Juarez-Lincoln/Antioch Graduate School, and San Francisco State University. The artist is known for her use of papel picado in large ofrendas. She describes her life as an artist: “At the age of thirteen, I decided to become a visual artist and pursue every opportunity to advance my knowledge of art in institutions of higher education. The Chicano Movement of the late 1960s inspired the dedication of my creativity to the depiction of special and everyday events in the lives of Mexican Americans based on my memories and experiences in South Texas. I saw the need to create images that would elicit recognition and appreciation among Mexican Americans, both adults and children, while at the same time serve as a source of education for others not familiar with our culture. It has been my objective since 1969 to make paintings, prints, installations for Day of the Dead, and paper and metal cutouts that instill pride in our history and culture in American society.”artist/creator Garza, Carmen Lomassubject Borderlands Frontera Fighting Bars (Drinking establishments) Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
U.S. Camel Corps, circa 1855
title U.S. Camel Corps, circa 1855description Pen and ink on paper, 24 in. x 20 in. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas up until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Camels Pen and ink drawings Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Howl
title Howldescription Color lithograph on paper, 44.5 in. x 34 in. Luis Jiménez portrays a lone wolf howling at the full moon that rises above snow capped mountains. The wolf’s howl is transformed into the title of the work. Wolves, like this Mexican wolf, communicate with their pack by howling; this vocalization communicates their location and marks their territory; serves as a warning to rivals or signals a threat of intruders. Besides expressing affection through their howling, wolves express other emotions. Here, the “howl” vibrates above, resonating with rage, pain, and warning. Jiménez used the color red to emphasize these strong emotions. Note that the letter “l” in the word “howl” resembles the wolf’s raised right paw. The wolf is enraged as his species is endangered. Humans continue to hunt wolves for pelts and bounty. The wolf also painfully mourns the vanishing Western landscape and the diminishing presence of the Original Americans. The howl is a warning to humanity to protect and preserve the natural landscape and animal life. The Mexican wolf also symbolizes how Mexican immigrants have been hunted by the border patrol and vigilantes at border crossings. This work is a visual metaphor for the artist Jiménez, who for years before he gained critical recognition was perceived as an outsider: a “lone wolf.” Born in El Paso, he was an artist fiercely proud of his Mexican roots who celebrated the everyday culture of the Southwest. He howled especially for his people, Mexicans and Chicanos, and their ongoing struggle for social mobility and social justice in the borderland and beyond. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Animals in art Wolves Environment Ecology Nature in art Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Carnal
title Carnaldescription Oil on wood panel, 48 in. x 36 in. A painting of a pachuco in a suit with arrows in his chest and ropes around his arms. El Paso artist Francisco Delgado references the Christian saint and martyr St. Sebastian (AD 256 – 288) who was bound to a tree or post and shot with arrows by Roman soldiers after he refused to deny his faith, as ordered by Emperor Diocletian. Rescued and healed by St. Irene, St. Sebastian later was clubbed to death by the Romans. Inspired by Renaissance paintings honoring this saint, Delgado pays homage to Mexican and Chicano hipsters, pachucos, who were attacked by U.S. servicemen and arrested during the Zoot Suit Riots in Los Angeles, June 3 – 8, 1943. The history of the zoot suit is complex. Pachucos wore zoot suits prior to and during World War II, but they did not invent them, nor did they wear them exclusively. Zoot suits were first worn by African American jazz musicians that toured around the country. Jazz aficionados popularized them by wearing them to dances, and they grew widespread from there. In Los Angeles, they were worn by African Americans, Mexican Americans, Japanese Americans, and ethnic whites including Italian Americans and Jewish Americans, among others. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Portraits Borderlands Frontera Pachucos Saints Saints in art Martyrs Zoot suits Oil Paintings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Reflejo del Chuco
title Reflejo del Chucodescription Color lithograph on paper, 27.5 in. x 34.5 in. A woman in a green dress next to an orange car with a man inside, and a shirtless man walks behind the car on the street. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Cars Automobiles Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Rose Tattoo
title Rose Tattoodescription Color lithograph on paper, 27.5 in. x 35.25 in. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Cars Automobiles Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
El Pantalón Rosa
title El Pantalón Rosadescription Color lithograph on paper, 43.5 in. x 30.75 in. A man standing in front of a colored wood background. César A. Martínez states, "Originally, I had done a linoleum and woodblock print of El Pantalón Rosa. When I decided to do a lithograph of the same subject, I utilized the original woodblock with the wood texture by transferring the texture to a metal lithographic plate. Same for the shirt, but from another original plate. Everything else, in the different colors was drawn on metal lithographic plates, and then it was printed from the metal lithographic plates on a lithographic press. The date is 1992 and the printer was Peter Webber of Austin, Texas." César A. Martínez was born in Laredo Texas, in 1944, and currently lives in San Antonio, Texas. He was raised by his mother and her family in Laredo, because his father died when he was less than one year old. While studying art at Texas A&I College, and later Texas A&I University (renamed Texas A & M University, Kingsville), he became marginally involved in the Chicano Movement for civil rights. Eventually, he became an historical figure in the Chicano art movement. His colorful portraits represent real people from his life, many of them based on photographs. According to Martínez, “I’ve never really done art that I would say is political. But I think the kind of art that becomes politicized, as in my case and in many of my contemporaries, is simply because it had a Chicano perspective or Chicano imagery. The Chicano Movement was a renaissance in thinking about us and in creating those institutions and images and writings that reflected who we are. They were non-existent at that time, we had nothing to relate to, so we had to make it up as we went along. And that was the road to a deeper understanding of who we are."artist/creator Martinez, César A.subject Portraits Borderlands Frontera Cholos Clothing and dress Fashion Style Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Antropofagio: Radio Flyer
title Antropofagio: Radio Flyerdescription Oil on canvas, 60 in. x 72.5 in. A shirtless boy riding his tricycle through rock and cactus in what looks like a back alley, and behind him lays an upside-down plastic pool. Using Renaissance perspective and chiaroscuro, Francisco Delgado’s painting is a visual metaphor for his life living and working in the borderland of El Paso. Despite the rocks and cacti obstructing his passage, a young man wearing only shorts and Nike shoes plows his Radio Flyer tricycle forward. Oddly, the tricycle rider is headless, and his face is on his stomach. According to the artist, his imagery was inspired by the Brazilian poet Oswald de Andrade’s 1928 Manifesto Antropófago (Anthropophagist Manifesto). Its argument is that colonized countries, such as Brazil, should ingest the culture of the colonizer and digest it in its own way. Delgado refers to this as “cultural cannibalism” to explain how “Chicanos ingest American culture, and we make it our own.” The artist combines this cannibal concept with the Blemmyae, headless human figures with faces on their torsos, as found in Greek and Roman mythology and medieval art. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Borderlands Frontera Cannibalism Consumerism Consumption (Economics) in art Nike Tricycles Texas--El Paso Oil Paintings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Texas Waltz
title Texas Waltzdescription Color lithograph on paper, 56 in. x 39 in. Luis Jiménez created a series of artworks featuring dancers in honkytonks, dance halls, and fiestas. In the work, a mature looking couple dance the Texas Waltz, a contemporary style of the traditional waltz. The waltz originated in Europe in the 1700s and was considered provocative as couples held each other closely as they danced. Here, a man waltzes with his partner, who embraces him tightly. The artist used energetic lines to denote action and a bold red color in the woman’s top to indicate passion. The artist in other works depicted traditional Mexican dance, as in The Fiesta Jarabe sculpture, of which there exists five versions. His Fiesta sculpture represents the Mexican jarabe folk dance, often called the Mexican hat dance. One of his Fiesta Jarabe sculptures can be found at the Otay Mesa Port of Entry near San Diego, California. The sculpture was purchased by the U.S. federal government and erected in 1991. Describing the sculpture at Otay Mesa, Jiménez said, “It is a project that I thought of as a kind of bridge. I grew up on the border. I saw [immigrant] families crossing. My father was [an undocumented immigrant] from the time he was nine until I was born, when he was twenty-five. I decided that’s what I would focus on, and I’ll title it Fiesta, and people on both sides of the border will be able to relate to it.”artist/creator Jiménez, Luissubject Borderlands Frontera Dance Movement Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Cholo Van with Popo and Izta
title Cholo Van with Popo and Iztadescription Color lithograph on paper, 52.5 in. x 39 in. In his print, Jiménez portrayed the Aztec legend of Popo and Izta in a “moving mural” decorating a van driven by a Chicano cholo. The lovers Popocatépetl and Iztaccíhuatl are symbolized in the twin volcanoes of Mexico. His imagery shows the synthesis of Mexican and Chicano cultural expression, contextualized within American popular culture. This work also represents the artist’s lifelong fascination with automobiles, which are a critical part of the U.S. economy, industry, and society. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Cholos Vans Aztecs Legends Love in art Marriage Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Illegals
title Illegalsdescription Lithograph on paper, 37 in. x 46 in. An image of immigrants traveling at night on the side of a highway. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study the famous Mexican muralists Diego Rivera and José Clemente Orozco, and was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Immigration Immigrants Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
La Voz de la Frontera
title La Voz de la Fronteradescription Lithograph on paper, 31 in. x 37 in. Flatbed Press, Austin, TX. Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and in El Paso. He eventually traveled to Mexico to study with the Mexican muralists Diego Rivera and José Clemente Orozco, and he was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966, Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jiménez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Radios Radio programs Music Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Air, Earth, Fire, Water
title Air, Earth, Fire, Waterdescription Color lithograph on paper, 42 in. x 57.25 in. Well known Chicano artist Luis Jiménez interpreted the Aztec legend of the two lovers Iztaccíhuatl and Popocatépetl. The warrior Popocatépetl was sent to battle by his king, who wanted to discourage the romance between his daughter Princess Iztaccíhuatl and Popocatépetl. Although the king had promised Popo his daughter’s hand in marriage, he hoped that Popo would die in battle, so he lied to his daughter that her lover was dead. Izta died of a broken heart. When Popo returned to find her dead, he knelt down to hold her lifeless body. The gods took pity on the two lovers and covered them with snow. The story describes the origin of the volcanoes Popocatépetl (“the Smoking Mountain”) and Iztaccíhuatl (“White Woman” in Nahuatl, sometimes called the “Mujer Dormida’’ or “Sleeping Woman” in Spanish). Volcanoes are the home of the gods and considered sacred in Mexico. In the title of the print references the original elements in nature. These popular Aztec lovers decorate calendars, murals, T-shirts, and automobiles.artist/creator Jiménez, Luissubject Borderlands Frontera Aztecs Legends Volcanoes Love in art Elements Nature in art Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Tan Lejos de Dios, Tan Cerca de los Estados Unidos
title Tan Lejos de Dios, Tan Cerca de los Estados Unidosdescription Lithograph on paper, 40 in. x 62 in. This print by El Paso artist Luis Jiménez represents the countless immigrants crossing daily into the United States; as relevant today as it was in the past with mass migration continuing to surge at the Southern border. Hoping to achieve the American Dream, immigrants journey from Mexico, and increasingly from the Northern Triangle in Central America (El Salvador, Guatemala, and Honduras). Individuals and families endure violence and hardship to come to the U.S., demonstrating grit, perseverance, and ingenuity to survive the known and unknown perils of crossing to the other side of the border (el otro lado). Once in the U.S., immigrants are vulnerable to abuse and discrimination while trying to adapt to a different culture. The artist’s title appropriately describes the scene, immigrants far from their homeland and their spiritual life, and so close to the U.S., where they may face more obstacles. On the left side, a vehicle belonging to the U.S. border patrol chases a group of immigrants confronted by cacti and barbed wire. A federal helicopter flies overhead, while a woman’s lifeless body lies on the ground, her disheveled clothing indicates a nefarious end. Near the center, with a coyote nipping at her legs, a woman frantically tries to escape. Next to her, a father and mother cautiously lead their children into the U.S. On the right side, a smuggler armed with rifle and pistol supervises his pack of mulas (mules) carrying heavy bundles, meanwhile an airplane drops more bundles of contraband below. Jiménez captures the harsh and cruel reality of border crossings facing immigrants. Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and in El Paso. He eventually traveled to Mexico to study with the Mexican muralists Diego Rivera and José Clemente Orozco, and he was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966, Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jiménez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Immigration Immigrants Rio Grande Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Viejo Paso del Norte
title Viejo Paso del Nortedescription Serigraph on paper, 22.5 in. x 20.25 in. Two Spanish men, one in noble clothing and the other in church clothing, standing in front of a Spanish mission. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Missions Religion Church Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Ruben
title Rubendescription Acrylic on canvas, 37.5 in. x 36 in. A collage of images and cursive letters with ghostly female faces. The background image is a man with black hair and a mustache.artist/creator Casas, Victor "Mask"subject Abstraction Borderlands Frontera Portraits Acrylic Paintings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Danny
title Dannydescription Acrylic on canvas, 36 in. x 37.5 in. A collage of images and cursive writing including a Pope, Mesoamerican imagery, and women. The background is the profile of bald man with a mustache.artist/creator Casas, Victor "Mask"subject Abstraction Borderlands Frontera Acrylic Paintings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Blue Bato with Sunglasses
title Blue Bato with Sunglassesdescription Color lithograph on paper, 39.5 in. x 30.25 in. A portrait of a man in a blue plaid shirt and green sunglasses.artist/creator Martinez, César A.subject Portraits Borderlands Frontera Culture Plaid Cholos Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Opulento Conquistador
title Opulento Conquistadordescription Pen, ink, and color pencil, 27 in. x 21.25 in. A portrait of a Spanish conquistador wearing full armor. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Conquistadors Pen, ink, and color pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Tamalada
title Tamaladadescription Color lithograph on paper, 25.5” x 32.75” Chicana artist Carmen Lomas Garza was raised in Kingsville, Texas, which is located near the Mexico – United States border and the Gulf of Mexico. She created a series of works that recall her life growing up with her family in the small border town in South Texas. In a tamalada, families gather to make large batches of tamales during the Christmas season. The entire family, adults and children alike, organize an assembly line to produce tamales, which are filled with different carnes (meats) such as pork, beef, or chicken; sometimes beans or even fruit. Note the framed reproduction of the Last Supper on the wall. Garza uses these scenes of family life to educate mainstream America about the Mexican American traditions that are passed on from one generation to the next. This popular lithograph was acquired by the National Museum of Mexican Art in Chicago and the Smithsonian Museum of American Art in Washington, D.C.artist/creator Garza, Carmen Lomassubject Families Borderlands Frontera Food Food in art Culture Heritage Tamales Traditions Manners and customs Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled, Mexico
title Untitled, Mexicodescription Young children looking at the camera.artist/creator Carrillo, Manuelsubject Children Borderlands Frontera Gelatin silver prints Photographs Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Unidos Todos/Pueblo como Pueblo
title Unidos Todos/Pueblo como Pueblodescription Serigraph on paper, 28 in. x 22 in. Malaquías Montoya was born in Albuquerque, New Mexico in 1938, and he became one of the best-known artist-activists of the Chicano Movement (El Movimiento). He was raised by a single mother in a family of migrant workers who worked in the fields of central California. He joined the U.S. Marine Corps and later attended The University of California at Berkeley, through the G.I. Bill. Montoya has taught at a number of universities, and he held a professorship at The University of California, Davis since 1989. He teaches both in the Department of Art, and the Department of Chicanx Studies. A painter and prolific silk screen artist, Montoya is famous for making artworks that support the United Farm Workers (UFW) and the struggle for labor rights to protect migrant farm workers. In 1968, Montoya founded the Mexican American Liberation Art Front in Sacramento. Later, in 1970, he joined his brother José and other artists to form the Royal Chicano Air Force. Members painted murals addressing social justice, made banners and props for UFW marches, led poetry circles, and operated a bookstore. Montoya combined political protest with Chicano art, developing a program of cultural consciousness and political resistance in the Chicano pueblo. Through his art, activism, and teaching, Montoya calls for equal opportunity in education and employment for Chicanos, and he encourages them to embrace their unique ethnic identity.artist/creator Montoya, Malaquíassubject Borderlands Frontera Portraits Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
¡Ponte Trucha!
title ¡Ponte Trucha!description Etching on paper, 11 in. x 7 in. A pachuco in a suit with an alligator skull for a head and who is holding a snake. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Borderlands Frontera Texas--El Paso Alligators Pachucos Animals in art Intaglio Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Lithograph on paper, 12 in. x 9 in. A man riding a hose in a black suit while smoking a cigar. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Horses Animals in art Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Serigraph on paper, 11 in. x 15 in. Three men on horseback crossing a border through a hole in a broken chain-link fence at night.artist/creator Burciaga, José Antoniosubject Horses Animals in art Desert Fences Barbed Wire Stars Estrellas Borderlands Frontera Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Magueyes II
title Magueyes IIdescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Layers of faces within what looks like a detention center with barbed wire fences. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Romero, Alejandrosubject Politics in art Faces Figurative art Fences Barbed Wire Immigration Immigrants Borderlands Frontera Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Magueyes
title Magueyesdescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. People outside of a gated area being chased by dogs and beaten. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Romero, Alejandrosubject Politics in art Batons Fences People Dogs Perros Crowds Watchtowers Immigration Immigrants Borderlands Frontera Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. A flag potentially being pierced by an agave plant behind a wall with barbed wire in the foreground and background. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Montoya, Malaquíassubject Politics in art Agaves Barbed Wire Banderas Flags Immigration Immigrants Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Man's face partially hidden by striped vertical lines. The lines could be part of a USA flag with the barbs of barbed wire as stars. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Montoya, Malaquíassubject Banderas Flags Men Eyes Immigration Immigrants Intaglio Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
A Votar
title A Votardescription Intaglio on paper, 18 in. x 24 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Crowds of people are on either side of a barbed wire with bound hands. The people are small and look up to massive voting boxes for the USA and Mexico, with large hands contributing their votes. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Limón, Leosubject Mexico Immigration Immigrants United States Buildings Voting People Rope Barbed Wire Hands Hand in art Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
La U.S.A. and the Three Diablos
title La U.S.A. and the Three Diablosdescription Intaglio on paper, 18 in. x 24 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. A man's head becomes a part of the land as he smiles and looks at the "three diablos" to the right. He has a cap with stars and a bald eagle on his head. There are people running across the land and people picking vegetables in a field in the foreground. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Limón, Leosubject Eagles Immigration Immigrants Demons Demonios Devil Diablo Workers Figurative art Animals in art Vegetables Stars Estrellas Running Intaglio Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Del Sur al Norte #2
title Del Sur al Norte #2description Intaglio on arches cover buff paper (250 grams), 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Woman carrying something above her head with a body laying on the ground next to her. She is in a city setting. A collage of men dressed in business attire also appear in the image. Printed at the Taller Romero in Mexico City, MX by Renato Esquivel Romero.artist/creator Bert, Guillermosubject Women Bodies Stairs Arrows Men Immigrants Immigration Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Del Sur al Norte #1
title Del Sur al Norte #1description Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Woman carrying something above her head with bodies lying on the ground next to her. In 1988, Sister Karen Boccalero, founder of Self Help Graphics and Art in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Bert, Guillermosubject Women Bodies Immigration Immigrants Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
El Paso, al Reves
title El Paso, al Revesdescription Intaglio on paper, 24 in. x 18 in. The New Immigration: Ten Etchings Portfolio by Self Help Graphics, Los Angeles, CA and Galería Sin Fronteras, Austin, TX. Shirtless man with a crowd of people in front of and behind a fence. Brick wall and city in background with skulls and a flying space craft. In 1988, Sister Karen Boccalero, founder of Self Help Graphics and Art in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Aguirre, José Antoniosubject Fences Humans Crowds Immigration Immigrants Intaglio Prints Unidentified Flying Objects UFO Buildings Hands Hand in art Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Bienvenidos a los Estados Unidos
title Bienvenidos a los Estados Unidosdescription Intaglio on paper, 18 in. x 24 in. A part of the "New Immigration" Portfolio by Self Help Graphics and Galería Sin Fronteras, Austin, TX. A Statue of Liberty is in the bottom right corner with a large border fence immediately behind her. There are lines of movement, a building in the background, and lines that suggest skulls. In 1988, Sister Karen Boccalero, founder of Self Help Graphics and Art in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Aguirre, José Antoniosubject Statue of Liberty (New York, N.Y.) in art Statues Estatua de la Libertad Buildings Fences Hands Hand in art Cactus Borderlands Frontera Immigration Immigrants Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Dr. Gilberto Cardenas, The Immigrant's Dream
title Dr. Gilberto Cardenas, The Immigrant's Dreamdescription Typeface on paper, 24 in. x 18 in. A part of the "New Immigration" Portfolio by Self Help Graphics and Galería Sin Fronteras, Austin, TX. "The Immigrant's Dream" is text written by Gilberto Cardenas, then Associate Professor of Sociology at The University of Texas at Austin. In 1988, Sister Karen Boccalero, founder of Self Help Graphics in Los Angeles, and Dr. Gilberto Cárdenas, founder of Galería Sin Fronteras in Austin, co-organized this portfolio of ten etchings by five artists. The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presented a distinctive perspective on politics, immigration, and the border.artist/creator Cardenas, Gilberto Self Help Graphics and Art Galería Sin Fronteras Self-Help Graphics & Artsubject Portfolios Immigration Immigrants Prints Text Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
American Dream
title American Dreamdescription Color lithograph on paper, 34.5 in. x 24.5 in. A popular sculptor from El Paso, Luis Jiménez personifies the “American Dream” in the automobile, a symbol of material wealth and privilege in American society. The car is a product of the industrialized machine age, which provides a mode of transportation and is a status symbol. Here, a blond-haired woman lies in an embrace with a sports car, a luxury for most Americans. Jiménez references Greek mythology in the legend of Leda and the Swan, the wife of a king seduced by Zeus in the guise of a swan. Jiménez also interprets the story of the Olmec were-jaguar, born from the union of a jaguar and woman. Associated with the Pop Art movement in his early career, the artist produced a fiberglass sculpture of the same name in 1969 to speak to Americans and their intense obsession with their cars. Luis Jiménez was prominently featured in Dr. Jacinto Quirarte’s Mexican American Artists (1973), one of the first books on Mexican American and Chicano art.artist/creator Jiménez, Luissubject Sexuality in art Nudes in art Cars Automobiles Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Corrido
title Corridodescription Serigraph on paper, 18 in. x 12 in. This print is a ballad to the city of El Paso, Texas. El Paso native and artist, Zeke Peña created this print inspired by a músico (musician) he encountered at a local restaurant one evening who was singing corridos. A corrido is a Mexican ballad or folk song about the struggles and victories people experience. In this augmented reality work, look for El Paso born artist Luis Jiménez’ lagartos (alligators), the star on the Franklin Mountains, the American and Mexican flags flown over the border bridge. Also, notice the lowrider car, tennis shoes hanging from power lines, and the barb wire fence seen along the U.S.–Mexico border.artist/creator Peña, Zekesubject Borderlands Frontera Guitars Music Musicians Guitarras Músico Converse (Shoes) Zapatos Texas--El Paso Alligators Cars Automobiles Screen prints Prints Visual quotation--Jiménez, Luis, 1940-2006 Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Uncle Sam is Having a Bad Day
title Uncle Sam is Having a Bad Daydescription Linocut on paper, 15 in. x 16 in. Uncle Sam being tormented by demons in the desert.artist/creator Rodriguez, Artemiosubject Uncle Sam (Symbolic character) Demons Desert Plants Demonios Politics in art Linocuts Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Acordeonista 1
title Acordeonista 1description Serigraph on paper, 18 in. x 12 in. Older gentleman playing the accordion in blue jeans.artist/creator Alvarado, Jesus "Cimi"subject Borderlands Frontera Accordion Music Musicians Portraits Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Lechuga Lucha
title Lechuga Luchadescription Lithograph over color serigraph on tan woven paper, 30 in. x 22.5 in. Headless horseman holding a flaming head of lettuce and looming over his boss who cowering a lettuce field. Image is joined with the text, "Lechuga Lucha!" "Let us Fight!" In this print, a headless rider, wearing a red poncho emblazoned with the UFW (United Farm Workers) logo, encourages migrant farm workers to fight for their labor rights, as a frightened grower cries out, “Joaquin!” The artist references I Am Joaquin, or Yo soy Joaquin, composed by Rodolfo "Corky" Gonzales in 1967, a famous epic poem associated with the Chicano Movement. In the poem, Joaquin (the narrator) speaks of the struggles that the Chicano people have endured to gain economic justice and equal rights in the U.S., as well as to find an identity of being part of a unique Chicano culture. He promises that his culture will survive, if all Chicano people unify and demand social justice. The poet Gonzales outlines 2000 years of Mexican and Chicano history; he traces both his ancestry to the Spanish conquistadors and the Aztecs they "conquered.” He also identifies with revolutionary figures of Mexican history, such as Miguel Hidalgo y Costilla, Benito Juárez, Pancho Villa, and Joaquin Murrieta who was a legendary Californian vaquero and gold miner known for seeking retribution against the Anglo-Americans invaders who hanged his brother and killed his wife. Joaquin Murrieta eventually was captured by a bounty hunter and beheaded. Known as the “Robin Hood of the West,” Murrieta later inspired the creation of the Cisco Kid and Zorro. In 1969, the poem was adapted into a short film by Luis Valdez, a leading figure in Chicano theater and film.artist/creator García, Eric J.subject Borderlands Frontera Lettuce Fighting United Farm Workers (UFW) Lithographs Screen prints Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
La Smiley, 15 going on 30
title La Smiley, 15 going on 30description Serigraph on paper, 29 in. x 21.5 in. Coronado Studios, Austin, TX. Serie Project. Chicano artist Gaspar Enriquez witnessed many young girls mature too quickly during his 33 years as a high school art teacher in El Paso, Texas. One of these students is the subject of this print. The girl's name is Priscilla, and she was 15 when Enriquez first painted her. As implied in this portrait, she did not smile, which is why she acquired the nicknamed "Smiley." A lifetime spent mostly in El Segundo Barrio, El Paso’s economically deprived neighborhood, has given Enriquez uncommon insight into those he chooses to represent in portraits. From pachucos to cholos, his work immortalizes "a lifestyle of attitudes…defined by mannerism" that is part of his daily life in a two-culture environment. His artwork serves as a record of his experiences, ideas, and feelings about the suppression of Chicano culture. He prefers red as the background because it appropriately conveys "the passion and the fury" of those who hail from el barrio. Priscilla is simultaneously a pretty little quinceañera, primped and donning a tiara, and a world-weary woman with a penetrating glare. Living in a world that is marginalized and riddled with poverty and crime, little girls in el barrio have fleeting childhoods. Gaspar Enriquez was born in El Paso in 1942. He has a fine arts degree from The University of Texas at El Paso and an M.F.A. in metals from New Mexico State University. He employs airbrush as his primary artistic medium in murals and paintings, but he is also well-versed in metalwork. Retired as an educator, he now works full-time as an artist. The artist defines his Chicano identity: “The form of my creations and their execution integrate both American and Mexican (Chicano) cultures...One is born a Mexican American, but one chooses to be Chicano.” — Gaspar Enriquez.artist/creator Enriquez, Gasparsubject Borderlands Frontera Culture Barrios Childhood Texas--El Paso Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Manteca de Cacao Quemada
title Manteca de Cacao Quemadadescription Macabre dance in a drunken world, from Serie Print Project XII (2004 - 2005), # 29/50.artist/creator Guerra, Manuelcontributor Mexic-Arte Museum (MAM) -
Cruzando el Rio Bravo
title Cruzando el Rio Bravodescription Color lithograph on paper, 38.75 in. x 28.5 in. A famous artist of the Chicano art movement, El Paso artist Luis Jiménez combined Pop Art with Chicano social commentary to celebrate the downtrodden and marginalized, such as immigrants who cross the Rio Grande (or Rio Bravo) to pursue the American Dream. This border crossing is based on the artist’s grandfather carrying his wife and son across the Rio Grande from Mexico to El Paso. Despite the dangers of such crossings, immigrant families demonstrate heroic spirit in search of a better life. Jiménez later rendered this study into a series of painted fiberglass sculptures that pay homage to the countless immigrants who undertake the perilous trek to the U.S. Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and in El Paso. He eventually traveled to Mexico to study with the Mexican muralists Diego Rivera and José Clemente Orozco, and he was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966, Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jiménez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Rio Grande Immigration Immigrants Color Lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Head - Guernica Rattlesnake
title Head - Guernica Rattlesnakedescription Lithograph on paper, 18.5 in. x 24.5 in. Sketches of rattlesnakes with grenade rattle tails. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study with the famous Mexican muralists Diego Rivera and José Clemente Orozco, and he was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Animals in art Snakes Serpents in art Grenades Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Horse (Caballo)
title Horse (Caballo)description Color lithograph on paper, 11 in. x 12.75 in. Proud of his Chicano roots, Luis Jiménez (1940 – 2006) was an El Paso, Texas native, best known for his large-scale, brightly colored sculptures immersed in the Chicano iconography of Texas and New Mexico. Jiménez studied art and architecture at The University of Texas in Austin and El Paso. He eventually traveled to Mexico to study with the famous Mexican muralists Diego Rivera and José Clemente Orozco, and he was also influenced by regionalists Thomas Hart Benton and Grant Wood. After completing school, he went to work for his father making neon signs and car decals. In 1966 Jiménez moved to New York and joined the Pop Art scene, making painted fiberglass figurative works inspired by the everyday lives of Latinos living in the Southwest. His work shows his concern for working-class people and those who have suffered from discrimination. Jimenez was and remains respected in Latino communities for his perspective and narrative of the culture of Mexico and the Southwest. His artwork emulates popular Cholo car culture, demonstrated in his use of fiberglass, spray paint, and imagery consisting of Aztec emperors, border crossing, and vaqueros riding wild broncos. His works are in the collections of the Albuquerque Museum, the Smithsonian American Art Museum in Washington, D.C., the El Paso Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts in Houston, among others.artist/creator Jiménez, Luissubject Borderlands Frontera Horses Color lithographs Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Incomprendido
title Incomprendidodescription Lithograph on paper, 22 in. x 30 in. La Ceiba Gráfica, Veracruz, MX. Profile of a pitbull and other dogs in the background surrounded by a rattlesnake. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and he grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books, exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Animals in art Borderlands Frontera Dogs Pit bulls Snakes Serpents in art Relationships Texas--El Paso Lithographs Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
American Graffiti: White Elephant
title American Graffiti: White Elephantdescription Lithograph on paper, 22 in. x 30 in. Flatbed Press, Austin, TX. Man walking next to a truck with an elephant on it while pigeons pour gasoline on the road. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and he grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Borderlands Frontera Texas--El Paso Elephants Lithographs Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
American Graffiti: II
title American Graffiti: IIdescription Lithograph on paper, 22 in. x 30 in. La Ceiba Gráfica, Veracruz, MX. An alligator in a car while a gorilla in front of it pours gasoline on a duck next to a pitbull. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Borderlands Frontera Cars Automobiles Animals in art Gorilla Texas--El Paso Lithographs Prints Allegory Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
I Am IMMIGRANT You Are
title I Am IMMIGRANT You Aredescription Serigraph on paper, 11 in. x 15 in. Text as image composition that reads "I Am IMMIGRANT You Are."artist/creator Coronado, Pepesubject Borderlands Frontera Immigration Immigrants Prints Screen prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Estéban Jordan
title Estéban Jordandescription Color lithograph on paper, 30.25 in. x 22.25 in. In his print, Luis Jiménez paid tribute to Estéban “Steve” Jordan (1939-2010), the celebrated accordionist who played conjunto, Tejano, jazz, rock, and blues music. Jiménez used a dynamic overhead perspective to emphasize the energy that Jordan generated on stage when making music. In Jiménez’s portrait, viewers see the musical notes flowing from Jordan’s accordion, and can almost hear his trademark sound. A man with an eye patch playing the accordion. Born near the Mexico – U.S. border in Elsa, Texas to migrant farm workers, he was partially blinded as an infant and unable to work in the fields. Instead, Jordan decided to be a musician after hearing conjunto musician Valerio Longoria playing for the migrant farm workers in their camps. Because he wore a patch over his bad eye, he was called “El Parche.” A talented musician, he played 35 different instruments. Jordan experimented with electronic devices to enhance his sound, and he was nicknamed the “Jimi Hendrix of the accordion.” He received numerous awards and provided music for Hollywood movies.artist/creator Jiménez, Luissubject Music Portraits Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Oil pastel on paper, 19 in. x 25.25 in. Man wearing a green fedora with a colorful background.artist/creator Luján, Gilbert "Magu"subject Portraits Borderlands Frontera Hats Oil pastels Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Pavo
title Pavodescription Woodcut on paper, 20.25 in. x 30 in. Francisco Delgado portrays an obese rich man devouring a whole turkey, while barefooted Latino servers bring him more food and drink. The artist depicts the glaring economic inequality between the “haves” and the “have nots.” Here, Delgado references gluttony, one of the seven deadly sins in Christian religion, representing an excessive and ongoing eating of food or drink. Temperance cures gluttony, by encouraging persons to be healthy and to serve others. The rich man consumes a turkey, (Meleagris gallopavo), a species that is native only to the Americas. In the 1500s, Spanish traders brought some that had been domesticated by Original Peoples to Europe and Asia. Today, the turkey is an important part of the Thanksgiving celebration. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books, exhibited in national and international art exhibitions, and community institutions. Francisco currently resides, teaches and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Satire Borderlands Frontera Turkeys Texas--El Paso Woodcuts Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Susto
title Sustodescription Lithograph on paper, 8.25 in. x 11.25 in. A man with his back turned next to a pig creature with a decapitated head in the foreground. "My formal art studies began at the Rufino Tamayo Plastic Arts Workshop in Oaxaca City while I was an assistant and student of the Lithography studio. In 2006, I enrolled to complete my bachelor’s degree in visual arts at La Escuela de Bellas Artes/Fine Arts School of Oaxaca where I studied under the guidance of prolific artists Shinzaburo Takeda and Raul Herrera. During this time, I completed my education by taking workshops with artists such as Isis Rodriguez, Marietta Bernstorff, Inma Coll and Elvia Esparza. I was also an assistant in the print studios of Artist Demian Flores (Taller Grafica Actual) and Alejandro Santiago (Taller la Huella). In 2010 I moved to Riverside, California and started getting involved in printmaking projects with a social justice and educational awareness in communities of color throughout California. In 2015, I opened my printmaking studio by collaboration with “The Desert Triangle Print Carpeta” located provisionally in Riverside. In 2017, I was commissioned by the Wignall Contemporary Art Museum to elaborate a permanent mural, which is located in Southern California. My artwork has been exhibited in different group shows between Mexico and the U.S. in public and private institutions as well individually: Rufino Tamayo Workshop (Mx); Casa de la Ciudad Oaxaca (Mx); Museo de los Pintores Oaxaqueños (Mx); Arte Cocodrilo (Mx); Plan B (Mx); Riverside Art Museum (US); Mission Cultural Center (San Francisco, CA), Museum of Art El Paso (US); The Mexic-Arte Museum (US); Comalito Collective (US); College of the Canyons (US)." — Pavel Acevedoartist/creator Acevedo, Pavelsubject Head Fear Borderlands Frontera Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Serigraph on paper, 15 in. x 19 in. El Paso Serie Project. An American flag in black and grey.artist/creator Escobedo, Miguelsubject Politics in art Borderlands Frontera Immigration Immigrants Flags Texas--El Paso Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Open Season
title Open Seasondescription Serigraph on paper, 15 in. x 22.25 in. Crossed out caution sign with a man, woman, and child running. The Statue of Liberty is facing away from the sign.artist/creator Moya, Oscarsubject Borderlands Frontera Immigration Immigrants Statues Statue of Liberty (New York, N.Y.) in art Irony Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Se Están Apoderando de mi Bandera
title Se Están Apoderando de mi Banderadescription Serigraph on paper, 10.5 in. x 14.75 in. Mexican flag with a faint image of a bird in background.artist/creator Aragón, Miguel A.subject Borderlands Frontera Flags Mexico Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Paso Del Norte
title Paso Del Nortedescription Graphite on paper, 23.5 in. x 18 in. Conquistador with a sword pointing north.artist/creator Glass, Richardsubject Borderlands Frontera Graphite pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
The Don Juan de Oñate Expedition at Paso del Norte
title The Don Juan de Oñate Expedition at Paso del Nortedescription Offset lithograph on paper, 17.5 in. x 23 in. El Paso artist José Cisneros created this print interpreting the Don Juan de Oñate expedition at El Paso del Norte. Tasked with establishing a colony in New Mexico after scouts saw the Gipuy (or Kewa Pueblo) and Acoma people living stationary, agricultural-based lives, Spanish conquistador Oñate (1550-1630) led his army, settlers, missionaries, and farm animals in 1598 through the challenging Chihuahuan Desert, searching for a passage to New Mexico. After four months, Oñate discovered the Rio Grande and established headquarters at El Paso del Norte. He organized a mass and ceremony, el toma, to claim the lands for Spain, celebrating their survival and giving thanks to God. The mass and the feast are thought to be the first Thanksgiving ceremony in North America. Oñate marched through El Paso del Norte towards New Mexico, invading pueblos of the Gipuy (or Kewa Pueblo) along the way. Upon reaching the area of modern-day Santa Fe, he briefly lived in peace with the Acoma people before his nephew, Juan de Zaldívar, led a coup against the Acoma People, pillaging food and prisoners in his wake. Zaldívar was killed in the struggle. Oñate retaliated in January of 1599, known as the Acoma Massacre. An estimated 800-1,000 Acoma were murdered, while another 500 were punished through extreme mutilation and sold into slavery. News of Oñate’s atrocities reached the Spanish crown, and King Phillip II banished Oñate from New Mexico and Mexico. José Cisneros (1910-2009) has been described as a leading historical illustrator of the Southwest. While he was a painter, wood carver, writer and muralist, his primary focus was recording the history of the Southwest border region through his illustrations. Born in Villa Ocampo, Mexico, Cisneros eventually moved to Juarez with his family in 1925 where he obtained a school passport to attend the Lydia Patterson Institute in El Paso, Texas. While enrolled in a painting class, he discovered during one of the lessons that he was color blind. Two years later, he was forced to quit school to help financially support his family. He procured a position at El Paso’s White House Department Store, where he designed displays and began to draw on Poster Board. He introduced himself to artist Tom Lea, which led to an invitation for Cisneros to exhibit his work at the El Paso Public Library in 1938. His work was so popular that his exhibit was extended for two weeks, and he was eventually exhibited in Juarez. Later, he was invited to illustrate many books and printing projects through a long-term collaboration with Carl Hertzog, the famous typographer, book designer, and publisher. During this time, he designed the coat of arms for the city of Juarez, and eventually the seal for The University of Texas at El Paso. Among his many honors are the Americanism Award given to him by the Daughters of the American Revolution; he was knighted by Pope John Paul II in 1990, and he was given the Order of Civil Merit by King Juan Carlos I of Spain in 1991. In 2001, he received the National Humanities Medal presented by President George W. Bush. José Cisneros remained a lifelong resident of El Paso, Texas up until his death on November 14, 2009.artist/creator Cisneros, Josésubject Borderlands Frontera Texas--El Paso Offset Lithographs Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Señor Reagan?/Cual es mi futuro?
title Señor Reagan?/Cual es mi futuro?description Serigraph on paper, 23 in. x 17.5 in. La Raza Graphic Center, San Francisco, CA. Part of La Raza Graphic Center's 1983 Political Calendar. Young girl with cartoon Reagan in her eyes and "Señor Reagan? Cual es mi futuro?" written in red.artist/creator Montoya, Emmanuelsubject Politics in art Borderlands Frontera Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
No Nos Queda Nada Que Perder Mas Que Nuestra Miseria
title No Nos Queda Nada Que Perder Mas Que Nuestra Miseriadescription Serigraph on paper, 23 in. x 17.5 in. La Raza Graphic Center, San Francisco, CA. Cover of "La Raza Graphic Center's 1983 Political Art Calendar." Two men behind bars. "No Nos Queda Nada Que Perder Mas Que Nuestra Miseria" is written above them. One of the best-known artist-activists of the Chicano Movement (El Movimiento), Malaquías Montoya was born in Albuquerque, New Mexico in 1938. He was raised by a single mother in a family of migrant workers who worked in the fields of central California. He joined the U.S. Marine Corps and attended the University of California at Berkeley, through the G.I. Bill. Montoya has taught at a number of universities, and he has held a professorship at The University of California, Davis, since 1989. Montoya teaches both in the Department of Art, and the Department of Chicanx Studies. A painter and prolific silk screen artist, Montoya is famous for making artworks to support the United Farm Workers (UFW) and the struggle for labor rights to protect migrant farm workers. In 1968, Montoya founded the Mexican American Liberation Art Front in Sacramento. Later, in the early 1970s, he joined his brother José and other artists to form the Royal Chicano Air Force. Members painted murals addressing social justice, made banners and props for UFW marches, led poetry circles, and operated a bookstore. Montoya combined political protest with Chicano art, developing a program of cultural resistance and political consciousness in the Chicano pueblo. Through his art, activism, and teaching, Montoya has inspired Chicanx people to demand equal opportunity in education and employment and to resist societal discrimination by embracing their unique ethnic identity.artist/creator Montoya, Malaquíassubject Politics in art Borderlands Frontera Activism Misery Screen prints Prints Calendar art Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Governor of the Tarahumaras
title Governor of the Tarahumarasdescription Etching on paper, 20 in. x 13 in. Portrait of Governor of the Tarahumaras in foreground, with flat landscape and wooden house in background. Artist Marta Arat (1932-2002) was born in Ciudad Juarez, Chihuahua, Mexico. She spent most of her adult life along the El Paso-Juárez border, where she studied art at The University of Texas at El Paso. Arat painted her social and spiritual self and created work that experimented with color while mirroring a time and place that reflects the region of the Chihuahuan borderlands. Arat’s work presents images taken from the beauty and diversity of people’s hopes, aspirations and dreams. Marta Arat painted a full spectrum of women, with the belief that women along the US-Mexico border are often overlooked though they are a historic example of life and change. She was a close friend of the El Paso collector Juan Sandoval. Arat was active in the Soñando Juntos organization, an immigrant youth-led organization that empowers borderland immigrant youth through civic engagement. Locally, her first exhibition Life in the Barranca Del Cobre in 1980 was followed by her first group exhibition La Mujer y Su Arte in 1984. Arat’s artwork has been published in magazines, books, and commercially. From Chihuahua, Mexico throughout Texas and to other parts of the region, she has exhibited in museums, galleries and university libraries. Her paintings can be found in many private, corporate, and public museum collections throughout Mexico and the United States.artist/creator Arat, Martasubject Indigenous peoples Indígenas Workers Governors Farmworkers Elders Ancianos Nature in art Leadership Borderlands Frontera Tarahumara Indians Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Untitled
title Untitleddescription Graphite on paper, 14 in. x 16 in. Portrait of elderly woman wearing a sun hat. Artist Marta Arat (1932-2002) was born in Ciudad Juarez, Chihuahua, Mexico. She spent most of her adult life along the El Paso-Juárez border, where she studied art at The University of Texas at El Paso. Arat painted her social and spiritual self and created work that experimented with color while mirroring a time and place that reflects the region of the Chihuahuan borderlands. Arat’s work presents images taken from the beauty and diversity of people’s hopes, aspirations and dreams. Marta Arat painted a full spectrum of women, with the belief that women along the US-Mexico border are often overlooked though they are a historic example of life and change. She was a close friend of the El Paso collector Juan Sandoval. Arat was active in the Soñando Juntos organization, an immigrant youth-led organization that empowers borderland immigrant youth through civic engagement. Locally, her first exhibition Life in the Barranca Del Cobre in 1980 was followed by her first group exhibition La Mujer y Su Arte in 1984. Arat’s artwork has been published in magazines, books, and commercially. From Chihuahua, Mexico throughout Texas and to other parts of the region, she has exhibited in museums, galleries and university libraries. Her paintings can be found in many private, corporate, and public museum collections throughout Mexico and the United States.artist/creator Arat, Martasubject Elders Ancianos Workers Sun hats Farmworkers Women Borderlands Frontera Indigenous peoples Indígenas Tarahumara Indians Graphite pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Cargador de Cultura
title Cargador de Culturadescription Intaglio on paper, 11.25 in. x 14 in. Horned Toad Prints, El Paso, TX. Crocodiles on top of a masked man in El Paso. Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Borderlands Frontera Survival Traditions Manners and customs Texas--El Paso Crocodiles Alligators Wrestlers in art Tejanos Intaglio Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Soy un Pobre Vendadito . . .
title Soy un Pobre Vendadito . . .description Acrylic and color pencil on paper, 8.5 in. x 11 in. Wounded deer with male head and cacti on a treadmill. A banner reading "Soy un pobre vendadito que...la serancia como no [...] bajo noche[...] tus brazos..." Francisco Delgado was born on November 3, 1974, in Ciudad Juárez, and grew up in El Paso’s Segundo Barrio. He received his Master of Fine Arts from the Yale School of Art. His Bordeño artworks are informed by the social and cultural struggles inherent to life on the Mexican and United States border. His artwork addresses issues of identity, race, cultural traditions, and government policies that affect migration and immigrants. In his own words, Delgado says, “I am a visual artist with an artistic focus on social issues.” He visually represents the history of his community and creates a dialogue for social change. Often using dark humor or satire to depict his narratives, his artwork highlights the struggles of underrepresented people along the border. A prolific artist, Delgado works in painting, drawing, printmaking, and has also produced community murals. His works have been published in books and exhibited in national and international art exhibitions and community institutions. Francisco currently resides, teaches, and creates artwork in El Paso.artist/creator Delgado, Franciscosubject Satire Borderlands Frontera Treadmills Deer Bow and arrow in art Cactus Antlers Banners Acrylic and color pencils Drawings Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Starving
title Starvingdescription Watercolor and ink on paper, 8 in. x 9 in. Portrait of a male profile. "My formal art studies began at the Rufino Tamayo Plastic Arts Workshop in Oaxaca City while I was an assistant and student of the Lithography studio. In 2006, I enrolled to complete my bachelor’s degree in visual arts at La Escuela de Bellas Artes/Fine Arts School of Oaxaca where I studied under the guidance of prolific artists Shinzaburo Takeda and Raul Herrera. During this time, I completed my education by taking workshops with artists such as Isis Rodriguez, Marietta Bernstorff, Inma Coll and Elvia Esparza. I was also an assistant in the print studios of Artist Demian Flores (Taller Grafica Actual) and Alejandro Santiago (Taller la Huella). In 2010 I moved to Riverside, California and started getting involved in printmaking projects with a social justice and educational awareness in communities of color throughout California. In 2015, I opened my printmaking studio by collaboration with “The Desert Triangle Print Carpeta” located provisionally in Riverside. In 2017, I was commissioned by the Wignall Contemporary Art Museum to elaborate a permanent mural, which is located in Southern California. My artwork has been exhibited in different group shows between Mexico and the U.S. in public and private institutions as well individually: Rufino Tamayo Workshop (Mx); Casa de la Ciudad Oaxaca (Mx); Museo de los Pintores Oaxaqueños (Mx); Arte Cocodrilo (Mx); Plan B (Mx); Riverside Art Museum (US); Mission Cultural Center (San Francisco, CA), Museum of Art El Paso (US); The Mexic-Arte Museum (US); Comalito Collective (US); College of the Canyons (US)." — Pavel Acevedoartist/creator Acevedo, Pavelsubject Portraits Borderlands Frontera Watercolors and ink Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM) -
Q-Vo-Way
title Q-Vo-Waydescription Serigraph on paper, 22 in. x 30 in. Coronado Studios, Austin, TX. Serie Project V. "The title of the work Q-Vo-Way is a play on words from the familiar Chicano slang greeting 'Q vo wey,' or 'Q vo guey,' meaning 'what’s up, buddy' or simply 'what’s happening.' This image deals directly from daily experiences with the people I know, individuals who remind me of friends and people I grew up with. It is not a crusade to change lives or lifestyles but a record of experiences, ideas and feelings about a subculture that has endured in the Mexican American life since the Second World War. This lifestyle has been passed from generation to generation. It has survived wars, prisons, and various other elements. My portrayal of these individuals and their lifestyle is neither positive nor negative. My interpretation is subjective and with the viewers, interpretations depended on his or her experience with this lifestyle." — Gaspar Enriquezartist/creator Enriquez, Gasparsubject Identity Heritage Portraits Borderlands Frontera Screen prints Prints Life and Experiences in the U.S./Mexico Borderlands (exhibition)contributor Mexic-Arte Museum (MAM)