Guide to the Chicano Visual Arts Kit

Essay: Ramón Favela and translated by R. González; editing, design, and bibliography: Salvador Güereña; editorial consultant: Yves-Charles Grandjeat; production assistant: Rosemarie Leon Morales; machine-readable finding aid created by Brooke Dykman Dockter

Department of Special Collections

Davidson Library

University of California, Santa Barbara

Santa Barbara, CA 93106

Phone: (805) 893-3062

Fax: (805) 893-5749

Email: special@library.ucsb.edu

URL: http://www.library.ucsb.edu/speccoll/speccoll.html

Guide to the Chicano Visual Arts Kit

California Ethnic and Multicultural Archives

Donald C. Davidson Library

Department of Special Collections

University of California, Santa Barbara

Contact Information:

Department of Special Collections
Davidson Library
University of California, Santa Barbara
Santa Barbara, CA 93106
Phone: (805) 893-3062
Fax: (805) 893-5749
Email: special@library.ucsb.edu
URL: http://www.library.ucsb.edu/speccoll/speccoll.html

Essay:: Ramón Favela and translated by R. González
Editing, design, and bibliography:: Salvador Güereña. Bibliography annotated by Romelia Salinas and translated by R. González.
Editorial consultant:: Yves-Charles Grandjeat
Production Assistant:: Rosemarie Leon Morales
Encoded by:: Brooke Dykman Dockter

Descriptive Summary

Title: Chicano Visual Arts Kit

Repository: University of California, Santa Barbara. Library. California Ethnic and Multicultural Archives

Santa Barbara, CA 93106

Shelf location: For current information on the location of these materials, please consult the library's online catalog.

Language: English.

Administrative Information

Restrictions

None.

Publication Rights

Comments

Production of these materials was supported in whole or in part by the U.S. Department of Education under the provisions of the Library Services and Construction Act, administered in California by the State Librarian.

Preferred Citation

[Identification of item], Chicano Visual Arts Kit, Special Collections, University of California, Santa Barbara.

Introduction

This kit is made up of an assortment of slides and various published materials on the Chicano visual arts. It was assembled with the aim of making Chicano art more accessible to the general public. It is part of a much larger project that preserves the visual images of the Chicano Art Movement for research and study through the California Ethnic and Multicultural Archives (CEMA). CEMA is based in the Davidson Library at the University of California at Santa Barbara.

The materials in this kit may be used in any number of ways; the slides and books can be consulted individually, school teachers can assemble selected slides for classroom presentations or workshops, student groups may wish to use them for projects and librarians may wish to use them in cultural programs for the community.

People with varying levels of awareness and knowledge about Chicano art will find this collection useful. For those with no prior experience with Chicano art, these materials will be enlightening; for those already familiar with the field, such as students of art history, the slides will affirm, reinforce, and enrich what they may already know. For the purpose of this project the concept of "Chicano art" is defined in Chicano Art: A Resource Guide that is included in this visual arts kit; as such, the definition is inclusive and it applies to the cultural arts that were produced by Chicanos as well as works created by certain non-Chicano artists who were affiliated with one or more of the Chicano cultural centers represented in this collection; these are artists who have been a part of the exhibitions and because the artists have demonstrated a strong identification with the Chicano Movement and a commitment to the ideals inherent in Chicano art.

The slide duplicates which form a part of this kit number 500, and they were selected as representative images drawn from a much larger collection of 14,000 slides. The original slides were supplied by four of California's most important Chicano cultural centers/galleries. These four centers are San Diego's Centro Cultural de la Raza, Los Angeles' Self-Help Graphics and Art, San Francisco's Galeria de la Raza, and Sacramento's Royal Chicano Air Force. The archives of these four centers are deposited with CEMA as permanent collections. More information about the centers is found in Chicano Art: a Resource Guide enclosed in this kit. To a certain extent the present catalog is a "work in progress."

The entries are as complete as possible; some of the information about the images is listed as "unknown" and, it is hoped that with the passage of time, the cataloging will be updated. Accent marks are used throughout the catalog unless the artist of a work chose not to use these either for his or her name or for the title of the work.

The individual slides in the kit are organized first according to major category of art medium, such as "Drawings," "Graphic Arts," or "Murals." Within these broader categories the individual slides are arranged in alphabetical order by name of the artist. All the slides are sequentially numbered from 001 to 500 so that it will be easy to re-file them in their proper location in the kit. Please note that in Appendix B there is a glossary of the thirteen art medium classifications that were used to group the slide images, along with their accompanying definitions.

Further duplication of these slides is expressly prohibited. Any questions concerning the contents of this kit should be directed to the California Ethnic and Multicultural Archives. A complete listing showing the location in California of other comparable kits is included with this packet in Appendix C. Production of these materials was supported in whole or in part by the U.S. Department of Education under the provisions of the Library Services and Construction Act, administered in California by the State Librarian.

List of Items in the Kit

1. Chicano Art: Resistance and Affirmation, 1965-1985. Edited by Ricahard Griswold de Castillo, Teresa McKenna, Yvonne Yarbro-Bejarano. Los Angeles: Wight Gallery, University of California, Los Angeles, c1991.
2. Chicano Expressions: A New View in American Art: April 14-July 31, 1986. Director: Lockpez, Inverna et al. New York, NY: INTAR Latin American Gallery, c1986. 48p.
3. Chicano Monograph Series (Includes 8 different issues) Galería de la Raza. Profiles of individual Chicano Artists
4. Made in Aztlan. 1 ed. Brookman, Philip and Guillermo Gómez-Peña, eds. San Diego, CA: Centro Cultural de la Raza, c1986. 116p.
5. Chicano Art History: A Book of Selected Readings. Quirarte, Jacinto, ed. San Antonio, TX: Research Center for the Arts and Humanities, University of Texas at San Antonio, c1984. 137p.
6. Signs From the Heart: Chicano Murals. Cockcroft, Eva Sperling and Holly Barnet-Sanchez, eds. Venice, CA. Social and Public Art Resource Center, c1990. 105p. (incl. slide/educational text supplement)
7. High Performance Magazine -Special Issue #35 v.9, no.3, 1986. Interviews with selected Chicano artists.
8. Imagine: International Chicano Poetry Journal -Special Issue v.3, nos. 1-2 Summer-Winter 1986. Profiles 54 Chicano artists, including portfolios and artist's statements.
9. The Border Art Workshop/Taller de Arte Fronterizo. (BAW/TAF) 1984-1989: A documentation of 5 years of interdisciplinary art projects dealing with U.S.-Mexico border issues (a binational perspective). (BAW/TAF). San Diego, California: Border Art Workshop/Taller de Arte Fronterizo, c1988.
10. Chicano Visual Arts Kit. 2 slide albums and printed guide.

Appendix A

About Proyecto CARIDAD

Proyecto CARIDAD (Chicano Art Resources Information Development and Dissemination) is a project which was founded in 1990 to preserve the visual arts resources created by the nation's leading Chicano art collectives in California. The project has a two-part focus. Its first mission is to comprehensively record the contributions of Chicano artists which are documented in the slide collections of four major Chicano/Latino cultural arts centers. As part of this mission the project aims to preserve the original visual arts slides contributed by these centers, and to produce duplicates of these for research and study and for access and use by libraries, community groups and schools.

The comprehensive collection created by the project is an invaluable resource of an important art movement that began in the mid-1960s. This historic archive of slides that record the past and present history of the centers of Chicano art production and exhibition in California, provides an unprecedented visual record of that important art and cultural history for the broader public of California. The centers represented in the project include the Centro Cultural de la Raza (San Diego), Galería de la Raza (San Francisco), the Royal Chicano Air Force (Sacramento), and Self-Help Graphics and Art (Los Angeles).

An important part of this project is the production of Chicano visual arts kits made up of selected slides and printed material to be placed in various sites throughout the state. Such sites include selected public libraries and museums. These kits include printed resource guides which are also available separately for use in schools, libraries, and by community groups.

Chicano art historian Ramón Favela states "what is important to keep in mind, is that Chicano art was created for all people of all of all ethnicities and classes to appreciate." To learn more about this subject please request a free copy of the resource guide "An Introduction to Chicano Art in California" which includes an essay and an annotated list of readings.

Proyecto CARIDAD is a component of the California Ethnic and Multicultural Archives (CEMA), located in the Donald C. Davidson Library of the University of California, Santa Barbara. CEMA is a program which collects historical materials that document the cultural and political experiences of the Asian American, African American, Chicano/Latino, and Native American ethnic groups in California.

Appendix B

Proyecto CARIDAD

Slide Classifications and Definitions

1. ASSEMBLAGE-COLLAGE
2. ATELIER
3. CENTER ACTIVITIES AND PROGRAMS
4. DRAWINGS
5. GRAPHIC ARTS
6. INDIGENOUS CHICANO MEDIUMS AND ART FORMS
7. INSTALLATION ART
8. MURALS
9. PAINTINGS
10. PERFORMANCE AND CONCEPTUAL ART
11. PHOTOGRAPHY
12. SCULPTURES
13. NON-CENTER ACTIVITIES AND PROGRAMS

GENERAL NOTE: The identification process is strictly object-oriented. The "work" will always refer to the work of art in the slide, or in the case of photography, if the slide film is the medium of the photographer, the "work" will also refer to the slide itself. In the event that the slide is not focused on an individual work, but rather on a wider view which includes the work and several other works (as in a gallery installation photograph, or the artist photographed next to the work) unless the slide is a "work of art" itself, i.e., the product of a professional photographer or artist who wants it catalogued as such, the category of the slide should be "Center Activities and Programs."

1. ASSEMBLAGE-COLLAGE -The use of and assembly of three-dimensional found materials to create an individual and unique art object. In addition to more conventional forms of contemporary assemblage, the following examples should be classified as Assemblage-Collage and cross-referenced with Indigenous Chicano Mediums and Art Forms:

Altar (Spanish form of altar) -All "altares" are assemblages if they are created by artists as works of Contemporary Art, and are not private and devotional religious home or church altars, within the tradition of Mexican Catholicism.
Ofrenda -An elaborate assemblage altar made from mixed mediums in an interior or outdoor setting, but made with a distinct ceremony or ritual "offering" in mind.
Caja (Box) -An assemblage contained in a box or box-like form.
Nicho (Niche) -A variation on the Caja, above, where the emphasis is placed on the niche-like format of the assemblage sculpture.

2. ATELIER -This special classification pertains exclusively to the on-going annual experimental silk screen print atelier at Self-Help Graphics & Art, Inc.

3. CENTER ACTIVITIES AND PROGRAMS -Please include in this section all slides of the centers' various outreach activities, museum education, and cultural programs, including Dance Performances, Poetry Readings, Ballet Folklorico and Conchero performances, Teatro, Workshop and Talleres activities, Musical concerts, and any public events such as protest marches or political gatherings, meetings, and gallery exhibition installations (i.e., hanging of paintings or installing of sculptures and other works) of shows and openings.

4. DRAWINGS -The unique and direct application of an image, in which line dominates mass, to a support ground (such as, paper). Some drawings are independent and finished works of art. Others are preparatory or preliminary designs or sketches for other works of art such as paintings, murals, sculpture, architecture, etc.

5. GRAPHIC ARTS -The various multiple-edition, or multiple-reproductive print processes by which original prints are created. The printing processes utilize a master (matrix) plate, block, lithographic stone, or silkscreen, by which multiple images are transferred to paper. The principal graphic arts processes include: silkscreen, etching, aquatint, woodcut, linoleum cut, lithography, xerox (black and white or color), or other commercial reproductive print process, such as offset lithography.

6. INDIGENOUS CHICANO MEDIUMS AND ART FORMS -The word "Indigenous" is not meant in the anthropological sense, but rather in its positive social and historical sense, meaning art forms and mediums "Unique to, or Native to" the Chicano Art Movement. These are mediums and art forms that originated in the Chicano art movement as a result of the creativity and originality of Chicano and Chicana artists who drew their inspiration from the pre-Hispanic and Hispanic Mexican traditions and mediums as well as from those in contemporary American and International art. Examples of such works and mediums are: Lowriders created as moving painted sculptures, such as Magu's Our Family Car, the tortilla art of José Montoya and others, Ricardo Favela's Coronas produced for the Day of Dead, as well as the altares, ofrendas, cajas and nichos,also produced for Día de los Muertos and other occasions, or the Galeria de la Raza's Calendarios, to name a few.

7. INSTALLATION ART -A site-specific artwork, usually temporary or ephemeral. The arrangement of objects and use of different mediums in a creation made especially for a particular gallery space or outdoor site, to be viewed as an entire ensemble or environment. Installations created by one or various artists are usually exhibited for a brief period and then dismantled, leaving only the photographic, visual, sometimes audiovisual, documentation as the work of art. Installations in Chicano art may include portable murals painted exclusively for the installation in combination with works in other mediums, such as sculpture, videotape monitors, paintings, or assemblages. Altares or ofrendas that are so large as to encompass the entire gallery space will be cross-referenced with Assemblage and Indigenous Chicano Art Forms.

8. MURALS -A painting executed directly on a wall or ceiling or done on a portable panel that is destined for a wall or architectural setting.

9. PAINTINGS -A creative work done by the skilled application of paint, or in the case of pastel, colored masses, to a surface or ground support. Easel paintings, usually of moderate size, are executed on a traditional painter's easel or similar device, and are destined for hanging on a wall for public or private viewing in either a collection, museum, or gallery.

10. PERFORMANCE AND CONCEPTUAL ART -This category includes artworks produced by individual artists or artists' groups, who create "idea" or Conceptual Art by working in multi-media, semi-theatrical performance. The term is also retroactively applied to earlier live-art forms, such as Body Art, Happenings, Guerrilla Art Actions, and Dada and Neo-Dada, and anti-traditional art events in general.

11. PHOTOGRAPHY -In general terms, a medium-technique like oil paint or pastel, photography is the art of using and manipulating the camera and film to produce unique images of reality or formal abstractions. The subject and the stylistic or aesthetic intentions of the photographer will determine whether the "type" of photography is creative, journalistic or documentary.

Creative photography is a photographic print or a slide, in which the photographer intentionally manipulates the camera and the development process, to produce an original and unique work of art.
Journalistic Photography or Photo journalism is the making of photographs or slides for the printed news page. If the slide is a photograph meant to be reproduced in books, magazines, or newspapers, or a slide of such a photograph, it is a Journalistic photograph or slide.
Documentary Photography is photography that responds to social activities or social problems that are particularly pressing to the photographer. Unless the slide depicts a particular social activity meant to be documented as such by the photographer, the slide should be identified as a Center Activity or Program.

12. SCULPTURES -Sculpture will be classified under traditional mediums and carving or modeling techniques, e.g., Wood, Clay, Bronze cast (specify Number Edition if cast in multiples), Wood, Papier mache, Masks, Ceramic (glazed), Plaster, Welded metal, Stone, etc.

13. NON-CENTER ACTIVITIES AND PROGRAMS -Slide documentation of exhibits, art works, parades, festivals and other programs and events. The slide photographer may not necessarily be representing a particular cultural center and that center may not be represented or be participating in the activity being documented. In general, the event is not considered a major center activity but the photographer saw the importance of documenting the event.

Condensed from: "Proyecto CARIDAD Slide Identification Form Glossary-Guidelines, Index-Classifications" by Ramon Favela, 1990

Appendix C

Designated Sites for Proyecto CARIDAD Chicano Visual Arts Kits

San Francisco Bay Area

Galeria de la Raza

2857 24th Street

San Francisco, CA 94114

(415) 826-8009
The Mexican Museum

Fort Mason Bldg. D

Laguna and Marina Blvd.

San Francisco, CA 94123

(415) 441-0445

San Diego Area

Centro Cultural de la Raza

2130-1 Pan American Plaza #1

San Diego, CA 92101

(619) 235-6135

Los Angeles Metropolitan Area

Chicano Resource Center

East Los Angeles Public Library

4801 E. 3rd Street

Los Angeles, CA 90022

(213) 264-0155
Self-Help Graphics and Art, Inc.

3802 Avenida Cesar Chavez

Los Angeles, CA 90063

(213) 264-1259

Sacramento Area

California State Library

Special Collections Department

1001 Sixth Street

Sacramento, CA 95809

(916) 653-0101

Central Coast and South Coast Area

Donald C. Davidson Library

California Ethnic and Multicultural Archives

University of California

Santa Barbara, CA 93106

(805) 893-8563

Appendix D

Chicano Art: A Resource Guide

September 1991

The purpose of this brief guide is to provide an overview on the subject of Chicano art, to help acquaint the reader with the history, the meaning, and significance of this important aspect of Chicano culture. The guide includes an annotated list of suggested further readings.

This is the first of several resource guides prepared by Proyecto CARIDAD (Chicano Art Resources Information Development and Dissemination). The project is a component of the California Ethnic and Multicultural Archives of the Library at the University of California, Santa Barbara.

The primary focus of Proyecto CARIDAD was to collect, organize, duplicate, and catalog the many slides of paintings, posters, murals, sculptures and other activities of Chicano artists represented in the archival collections of four of the major Chicano cultural art centers in California. The resulting slide library is being made available for study and research at the UC Santa Barbara Library. Selected duplicates from these slides will be available for community use, in the form of visual arts kits which may be borrowed from selected California libraries and cultural centers. A current list of these sites may be requested from Proyecto CARIDAD at the address given on the verso of this guide.

The guide was published under the auspices of the Galería de la Raza in San Francisco, one of the cultural centers which have collaborated with Proyecto CARIDAD. Its existing Chicano Artist Monographs Series consists of informative booklets on Chicano artists printed in a similar format to this resource guide.

INTRODUCTION TO CHICANO ART IN CALIFORNIA

Chicano art is in a most general way a community art form that expresses the experiences, feelings, ideas, and aspirations of both a very real and ideal Chicano community. In the United States, this Chicano community exists in all its diversity of ideas, gender, symbols and shared history with one uniting factor, and that is the history of its cultural origins. The Chicano Art Movement was born out of the frustration, inner necessity, and struggle for basic human, civil, and distinctive cultural rights of a once neglected and even denigrated people in this country, Mexican Americans. It reflects the cultural expressions of Mexican Americans who with their substantial material, political, cultural and artistic heritage and contributions to American culture enrich the pluralistic history of California and the United States. In fact, its works, ideas, and even artists, often cross ethnic and class boundaries. Following the recent dramatic demographic changes in California and the rest of the country, many artists of the original Movement have sought to expand and redefine it. Chicano art is a straightforward activist, political (in the sense of "choosing a side" on an issue), and didactic art form that calls on the viewer to educate him or herself about the cultural origin of the art and the intentions of the artists in order to appreciate and understand it.

Its first known artworks were created in farmworker communities of central California in the mid-Nineteen Sixties in support of the United Farmworker labor struggle of César Chávez, and for Luis Valdez's Teatro Campesino (Farmworkers' Theater). Those Chicano artworks that were later produced throughout the Southwest were often directly inspired by the political and cultural developments among "working class" (low-wage earning) Mexican Americans in this state. The Chicano art community has existed as a relatively cohesive ideological community with shared cultural aspirations since the Chicano youth and student movement of the mid-1960s, and has produced a substantial body of public artwork from about the year 1970, when the concept of a "Chicano Art" crystalized.

Art historians define artistic Movements as phenomena characterized by groups of artists producing works with basically similar and definable characteristics and aims. The analogy of a "school" of fish who, to the observer, swim together, is an apt one when applied to the concept of a School of artists, who appear from a distance to swim together regardless of their slightly different and individual characteristics. In the case of Chicano and Chicana art and artists, it is the self-chosen, and highly symbolic name and public self-identification as "Chicano/Chicana artists," as well as the social-aesthetic concerns of their works that binds them together in the creative waters of Contemporary American art.

Although the term "art" encompasses each creative activity including music, dance, theater, film, and literature, the subject of this essay and the content of the CARIDAD archive is focused on the "Visual Arts," those art forms that provide the "visual" expression of the Chicano people and their cultural experience through painting, drawing, the graphic arts, photography, sculpture, and architecture, as well as through the more recent developments in conceptual, performance, multi-media, video, and interdisciplinary arts recorded in various print or electronic media. The realm of things made or formed by human hands is the realm of the visual arts, and this is the focus of the CARIDAD archival project, which is to our knowledge the first slide collection in the United States documenting in a systematic way, the history of a specific contemporary American vanguard visual art movement in all its forms. The vantage point is the Chicano experience and Chicano worldview in the United States.

Although examples of "Chicano Art," can be traced to the mid 1960s, in California it did not develop as a fully articulated style and movement in the visual arts until 1970, when the first works expressing a distinctive "Chicano" content, style and identity appeared. Previously, works by American artists of Mexican descent in this country with few exceptions had followed traditional "folk" art and decorative artistic styles and genres. After the 1950s, and the entrance of Mexican Americans into college art programs, (mostly through the G.I. Bill) several artists began to work in progressive American vanguard styles such as Abstract, Pop, Minimalist, and Conceptual art. The important events of 1969, in the Chicano Social and Civil Rights Movement (El Movimiento) led directly to a concerted movement of "Mexican American" artists to create public art in the service of the Chicano social revolution. They also created very different and original works in private, non-public art mediums such as easel painting, prints, photography, and sculpture, collage and assemblage, along with completely new indigenous Chicano art forms. These latter are art forms and mediums "unique to," or "native" to the Chicano art experience, such as Magu's lowrider cars created as moving painted sculptures, Jose Montoya's "tortilla art," or Diane Gamboa's "paper fashions." These forms originated in the Chicano art movement as a result of the creativity and originality of Chicano and Chicana artists who drew their inspiration from the pre-Hispanic (pre-Columbian), and colonial Hispanic Mexican traditions and mediums as well as sources in contemporary American art and society.

By its very "Chicano" community-based nature, Chicano art is a public and political art, proclaiming and expressing public and social concerns in its themes and subjects, and even in its most private or seemingly obscure, extravagant, or initially incomprehensible examples. An example of the latter would be the works of the Chicano Conceptual group ASCO (Nausea), performed at Los Angeles' Self-Help Graphics.

It is the aim of this essay to introduce this important visual archive of Chicano art, which contains the visual record of the arts and the artists who originate from and continue to live the "Chicano" experience. The CARIDAD archive is comprised of the visual record of the California artists (Chicano, Chicana, White and other Latino and ethnic origins and mixtures) who were all associated with the Chicano Art Movement. The bulk of the visual materials come from the important art collectives who have committed themselves to expressing that very special "Chicano" experience rooted in economic poverty and cultural alienation within the broader and dominantly white European American cultural reality.

This historic archive collection of slides that record the past and present history of the four key and historic centers of Chicano art production and exhibition in California, will provide an unprecedented visual record of that important art and cultural history for the broader public of California. What is important to keep in mind, is that Chicano art was created for all people of all ethnicities and classes to appreciate. The art which was documented in the slides which will accompany the packets, includes photographs of original works of art, but also many photographs of the very real interdisciplinary process and context in production and exhibition of Chicano art, which at times gives new meaning to the concept of the visual arts.

The four centers of Chicano art which comprise the bulk of the collection all have their origins in the Chicano civil rights movement that peaked in the year of 1969. The national and cultural origins of Chicanos are Mexican, but the fact that Chicanos are born and live in the United States, adopting many North American cultural values and traits, makes them culturally different from Mexican nationals and Mexican immigrants who choose to retain a clear and close relationship with their mother culture, most often fostered by language maintenance. Recently, as can be seen in the slides of Chicano cultural center activities, Central and South American and Caribbean immigrants, as well as some Euroamericans have come to participate in many Chicano art manifestations.

The four cultural art centers represented in the CARIDAD Archive, thus far include Self-Help Graphics, Inc., founded in Los Angeles in 1972 by Sister Karen Boccalero, a Franciscan nun, as a silkscreen print poster collective. Its aim was to produce professional quality posters and fine art silkscreen prints (serigraphs) by Chicano artists who would convey through this public art form, a distinct and indigenous Chicano cultural identity, pride and artistic achievement, through its professionally guided Silk Screen Ateliers (workshops) for emerging community Chicano artists. The silk-screen print was one product, but through idealistic and committed efforts of Sister Karen and the staff over the years, the by-product was the artistic achievement that the collective Atelier experience instilled in young hopeful Chicano and Chicana artists. Equal in importance for the Self-Help Graphics documentation is the large group of slides recording the center's activities and community outreach programs which were as innovative as they were far-ranging. The important slides documenting the now popular November 1st community celebrations of the Mexican Day of the Dead, are of tremendous historical value. In fact, all four centers were involved and continue to be involved in important youth and community-based artistic and cultural programs that celebrate and encourage broad-based interest and development in the cultural contributions and artistic potential of the California Chicano-Latino artistic community. They also encourage and facilitate the exposure of American and World Art to poor and neglected segments of their communities.

Galería de la Raza, which literally means "The Gallery of the People," was co-founded in 1970 by the Chicano conceptual artist René Yáñez and the late serigrapher Ralph Maradiaga, in concert with a group of Latino Bay Area artists. For close to two decades Maradiaga and Yáñez administered the daily operations and curatorial projects of the gallery considered to be one of the most important community-based galleries in the country. Its art education and gallery store component, Studio 24, was founded in 1980 by María Pinedo, its present manager. Studio 24 provides an outlet for highly-prized folk art, books and music from Mexico and Latin America. Since its founding the Galería has been on the cutting edge of ideas and new forms of Chicano/Latino artistic expression in California. It has served as both an exhibition space for progressive and traditional exhibitions of Chicano and Latin American art of all styles and persuasions, and as a community center for the teaching and appreciation of art and culture. Like the other centers in the Archive, it was instrumental in the organization and founding of the Chicano Mural Movement in San Francisco, beginning in the 1970s. With the rich Latin American and Third World immigrant population in the Mission District where the Galería is located, to this day it continues to be a committed Chicano/Latino organization with a broad-based Latin American constituency.

Centro Cultural de la Raza of San Diego, which was also founded as an artists' multi-disciplinary collective in 1970, was the dynamic center of indigenismo (indigenism) in the early years of the Aztlán phase of Chicano art (1970-75). The celebrated Chicano poet Alurista, one of its co-founders, was instrumental in leading the Centro towards this orientation. Contacts and cultural exchanges were initiated with Native American artistic groups as well as indigenous performance groups in Mexico, such as the Mascarones, and Conchero groups, and various Mexican and Mexican American Ballet Folklorico groups who would contribute so much to the Chicano art and performance movements throughout the Southwest, and later, the nation. Victor Ochoa, co-founder of the Centro, who was, and still is actively associated with it, was also a major figure in the formation of the Toltecas en Aztlán artists' collective originally based in the Centro, and who contributed to the monumental mural campaign at Chicano Park in San Diego.

Last, but not least, and actually first in the chronology of Chicano art in California, is the RCAF, or Royal Chicano Air Force. Founded in Sacramento in 1969, by the veteran Chicano artists José Montoya and Esteban Villa, its original name the "Rebel Chicano Art Front" was so-named in homage to the Vietnamese National Liberation Front and other Third World liberation movements of self-determination going on in the world at the time. The two artists had earlier been associated with the pioneering San Francisco Bay area collective Mexican American Liberation Art Front, or MALAF, formed early in 1969. The archive of the RCAF/Centro de Artistas Chicanos of Sacramento, is a comprehensive record of a truly community-based effort of the Chicano art movement, which produced various now-prominent Chicano and Chicana artists working throughout the United States. The RCAF's community outreach program in art education is a model program of humanistic commitment in contemporary Chicano and American art.

The University of California at Santa Barbara was the birthplace of the Plan de Santa Barbara, a Chicano manifesto of self-determination and commitment to the community, issued in 1969. We here, at UC Santa Barbara, have very much accepted Chicano art as a legitimate art movement of contemporary art, and Proyecto CARIDAD is actively involved in an attempt to preserve for posterity the historical visual record of this important contemporary American art movement.

Administrative Information

El proposito de esta breve guía es el de exponer al público en general al arte chicano y ayudar al lector a conocer su historia y familiarizarse con este aspecto de la cultura chicana. La guía incluye una lista descriptiva de otros materiales de lectura que son recomendables.

Esta es la primera de varias guías de archivos, acervos documentales y colecciones de diapositivas preparada por el Proyecto CARIDAD (Chicano Art Resources Information Development and Dissemination). El Proyecto es uno de los componentes del programa California Ethnic and Multicultural Archives (CEMA) o Archivos Etnicos y Multiculturales de California de la Universidad de California en Santa Barbara.

El énfasis del Proyecto CARIDAD es el de coleccionar, organizar, duplicar y catalogar un gran número de diapositivas de pinturas, carteles y murales de artistas representados en las colecciones de archivos de cuatro centros culturales de arte en California. El resultado ha sido una biblioteca de diapositivas de gran valor para el estudio e investigación en la biblioteca de la Universidad de California en Santa Barbara. Un grupo de diapositivas han sido seleccionadas para hacerlas disponibles a la comunidad. Estas forman parte de los paquetes de artes visuales que podrán pedirse en préstamo a los seleccionados centros culturales y bibliotecas de California. La lista que contiene los nombres de estos sitios puede ser solicitada por medio del Proyecto CARIDAD a la dirección indicada al final de esta guía.

La guía fué publicada bajo los auspícios de la Galería de La Raza de San Francisco, uno de los centros que han colaborado con el Proyecto CARIDAD. La Galería publica una serie de folletos llamados: "Serie Monográfica de Artistas Chicanos" que proporcionan información acerca de artistas chicanos, y que son publicados en forma similar a esta guía.

INTRODUCCION AL ARTE CHICANO EN CALIFORNIA

El arte chicano es, en general, un arte de la comunidad que expresa las experiencias, sentidos, ideas, y aspiraciones de la comunidad chicana. En los Estados Unidos, esta comunidad chicana existe en toda su diversidad compuesta de ideas, géneros, símbolos, e historia, con un factor unificante que es la historia de sus orígenes culturales. El Movimiento de Arte Chicano nació de la frustración, necesidad interna, y la lucha por los derechos civiles y culturales de un pueblo ya una vez abondonado y hasta denigrado en este país, los mexico-norteamericanos. Este movimiento refleja las expresiones culturales de los mexico-norteamericanos, que con su considerable herencia política, cultural y artística y con contribuciones a la cultura norte-americana enriquesen la historia pluralística de California y Los Estados Unidos. Inclusive, sus obras, ideas, y artistas suelen cruzar límites étnicos y culturales. Después de los cambios demográficos recientes en California y en el resto del país, muchos artistas del movimiento original, han tratado de desarrollarlo y redefinirlo. El arte chicano es un medio activista, político (en el sentido de que nos hace tomar un punto de vista), y didáctico, que pide que el interesado se eduque sobre el origen cultural de la obra y las intenciones de los artistas para poder apreciar y comprender tal arte.

Las primeras obras de la plástica chicana fueron creadas en las comunidades campesinas del valle central de California durante los años sesentas cuando se apoyaba la lucha laboral de César Chávez y al Teatro Campesino de Luis Valdéz. Aquellas obras de arte de caracter chicano que después se producieron en el area del suroeste, fueron inspiradas, con frecuencia, en el desarrollo político y cultural de la clase humilde trabajadora de mexico-norteamericanos en California. El movimiento de arte chicano ha existido como una comunidad relativamente cohesiva e ideológica con aspiraciones culturales compartidas desde el movimiento chicano estudiantil de los años sesenta, y ha producido un grupo considerable de obras desde el año 1970, cuando el concepto de un "arte chicano" se cristalizó.

Los historiadores de arte definen los movimientos artísticos como fenómenos que se caracterizan por grupos de artistas que producen obras con características y enfoque básicamente similares y definibles. La analogía de un banco de peces que nadan juntos, es apropiada cuando se aplica al concepto de una escuela o grupo de artistas, que de lejos parecen nadar juntos, a pesar de ligeras diferencias y características individuales. En el caso de artistas chicanos/chicanas y sus obras, se han auto-identificado, con gran simbolismo y auto-identificación como artista chicano/chicana, tanto por los intereses socio-estéticos como por sus obras que los une en las aguas creativas del arte norteamericano contemporaneo.

A pesar de que el termino "arte" abarca cada una de las actividades creativas que incluye la música, baile, teatro, cine, y la literatura, es el objetivo de este ensayo y el contenido en los archivos CARIDAD, enfocarse en "las artes plásticas o visuales," y en aquellas formas de arte que proporcionan expresión "visual" del pueblo chicano y su experiencia cultural a través de la pintura, el dibujo, las artes gráficas, la fotografía, la escultura, y la arquitectura, tanto como los mas recientes desarollos en el arte conceptual, "performance", multi-media, video, y artes interdisciplinarias ya documentados en varios medios (incluyendo los electrónicos). Dentro de lo que se crea con las manos se pueden incluir las artes visuales, y este precisamente es el enfoque del proyecto documental de CARIDAD, que es, en lo que se sabe, la primera colección de diapositivas reunidas en los Estados Unidos que documenta sistemática y coherentemente la historia de un movimiento vanguardista de arte norteamericano contemporaneo en todas sus formas. El enfoque es la experiencia chicana en los Estados Unidos.

Aunque ejemplos de "arte chicano" se pueden remontar a medio de la década 1960, en California no se desarrollo como estilo y movimiento definido en las artes visuales hasta 1970, cuando aparecieron las primeras obras con un estilo e identidad netamente "chicana". Previamente, obras de artistas de ascendencia mexicana en este país se habian influenciado por el "folk" tradicional y estilos artísticos decorativos. Después de 1950 y con el ingreso de mexico-norteamericanos a universidades con programas en las artes plásticas, varios artistas comenzaron a trabajar en el estilos de vanguardia norteamericano como el Arte Abstracto, Pop, Minimalismo y el arte Conceptual. Los eventos de importancia de 1969, en el "movimiento" étnico-social-polítco chicano de los años 60 condujo directamente a un movimiento concertado de artistas "mexico-norteamericanos" a crear un arte público a beneficio de la revolución social chicana. Así mismo, este grupo creo obras muy diferentes y originales en privado y en medios de arte no públicos, tales como, pintura de caballete, fotografía, escultura, "collage" y "assemblage" junto con nuevas formas de arte indígeno chicano. Estas últimos son formas de arte y técnicos originarias o exclusivas de la experiencia de arte chicano, como los coches "lowrider" de Magú creados como esculturas con pinturas móviles; el arte "tortilla" de José Montoya o los "modelos de papel" de Diane Gamboa y representaciones callejeras y rituales. Estas formas artísticas tuvieron su origin en el movimiento de arte chicano como resultado de la creatividad y originalidad de artistas chicanos y chicanas que se inspiraron en las tradiciones y símbolos pre-hispanicas (pre-colombinos), tanto como en el arte hispano y mexicano, al igual que en fuentes de arte contemporáneo americano y su sociedad.

Por su carácter e origen distintivo, el arte chicano está basado en la comunidad, y es un arte público y político que proclama y expresa intereses sociales en sus temas y forma de expresión. Lo mismo sucede hasta en las obras más íntimas, extravagantes, y o inicialmente incomprensibles, como las obras del grupo conceptual ASCO.

El objetivo de este ensayo es el de introducir esta importante colección visual de arte chicano, la cual contiene documentos visuales tanto de arte y su contexto como de los artistas mismos que originaron y aun continuan viviendo la experiencia "chicana." Los archivos CARIDAD constan de documentos de artes visuales de artistas californianos (chicanos, chicanas, anglo-sajones, otros latinos y de origen mesclado) quienes han sido asociados con el movimiento de arte chicano. La mayor parte de estos materiales se obtuvieron de varios colectivos de arte que se han dedicado a la expresión de la experiencia "chicana" que tiene como fundamento la pobreza económica y alienación cultural dentro de la dominante realidad cultural anglo-sajona.

Esta colección histórica de diapositivas documenta el pasado y el presente de cuatro centros históricos muy importantes en la producción y exhibición del arte chicano en California. Proporcionará también documentación visual, sin precedente, de la significante historia de arte y cultura para el público en general de California. Lo importante es que el arte chicano se creó para ser apreciado por todos, sin distinción de clase étnica. El arte que ha sido documentado en diapositivas y que acompaña cada paquete incluyen fotografías de obras de arte original, con numerosas fotografías del proceso y contenido inter-diciplinario de produción y exhibición del arte chicano, que suele dar un diferente significado al concepto común de las artes visuales.

Los cuatro centros de arte chicano que componen la mayoría de la colección tienen sus origenes en el movimiento socio-cultural chicano que se culminó en el año 1969. El origen nacional y cultural del chicano es México, pero el hecho de que los chicanos nacen y viven en los Estados Unidos, adaptando muchos de los valores culturales de Norteamerica, los hace culturalmente distíntos a los mexicanos e inmigrantes mexicanos quienes prefieren retener su cultura de origen, frecuentemente fomentada por el mantenimiento de su lengua de orígen. Recientemente, como se puede ver a través de las diapositivas que documentan las actividades de los centros culturales chicanos, los inmigrantes de Centro, Sud America y del Caribe, así como algunos euro-americanos han participado en varias manifestaciones del arte chicano.

Los cuatro centros culturales de arte representados en los archivos CARIDAD, por ahora incluyen "Self-Help Graphics, Inc.," una colectiva de carteles serigráficos fundada en Los Angeles en el año 1972 por una monja de la orden Franciscana, la Hermana Karen Boccalero. El objetivo de la colectiva es producir carteles de alta calidad (serígrafos) y de nivel profesional, por artistas chicanos que, por medio del arte público, han expresado con orgullo su identidad cultural e indigena a través de los "Silk Screen Ateliers" (Talleres de Serigrafía). La Hermana Karen Boccalero con su dedicación idealista y con su personal asistente, han inspirado a través de los años a los jovenes artistas con el resultado de la producción de las serigrafías en estos talleres también llamados "Atelier." Asímismo, de mucha importancia, es la extensa colección de diapositivas que documentan las actividades del centro y promueven los programas educativos e inovadores en la comunidad. Las diapositivas que documentan la celebración del Día de los Muertos (1ro de Noviembre) en Los Angeles y otras ciudades Californianas es de un gran valor histórico. Inclusive, los cuatro centros siguen aun participando en programas culturales y artísticos, importantes para la juventud, que fomentan el interés y desarrollo de las contribuciones culturales y artísticas en la comunidad chicano-latina en California. Estas por lo tanto facilitan el conocimiento del arte tanto nortemericano como universal a las comunidades con desventajas económicas.

La Galería de la Raza, se fundó en 1970 por el artista conceptual chicano René Yañez, y el ya fallecido Ralph Maradiaga (especialista en la serigrafía), junto con un grupo de artistas latinos procedentes de la bahía de San Francisco. Por cerca de dos decadas, Yáñez y Maradiaga administraron las actividades y dirigeron el Programa de exhibiciones de la Galería, considerada como una de las más importantes galerías del país. Su programa educativo y tienda/librería Studio 24 fue fundado por María Pinedo en 1980, su gerente actual. Studio 24 es un centro de difusión de libros, musica, y arte popular de Mexico y la America Latina. Galería de la Raza ha surgido en la vanguardia de ideas y formas nuevas de la expresión artística del chicano en California. Se ha utilizado para exhibir el arte chicano/latino progresivo y tradicional con sus diversos estilos e influencias y como centro de la comunidad para la enseñanza y apreciación del arte y la cultura. La Galería, como los otros centros en los Archivos, fué instrumental en la organización y fundación del Movimiento Chicano Muralista en San Francisco, que empezó en los años setentas. Con la población inmigrante del latino-americano y del Tercer Mundo al distrito de la Misión, donde se encuentra la Galería, esta continua siendo una dedicada organización chicana/latina con seguidores en toda America Latina.

El Centro Cultural de la Raza de San Diego, que igualmente fué fundado como colectiva multi-diciplinaria de artistas en 1970, dió comienzo al indigenísmo del arte chicano de Aztlán en la primera etapa (1970-1975). Uno de sus fundadores, el célebre poeta chicano Alurista, fué clave en la dirección del centro. Contactos e intercambios culturales fueron iniciados con grupos de artistas indígenas de Norte America y grupos de actuación y baile indígenas mexicanos, como Los Mascarones y Los Concheros. Huvo varios grupos mexicanos de danza folklórica que contribuyeron a los movimientos chicanos de baile y arte por todo el sudoeste y poco después en toda la nación. Victor Ochoa, otro miembro fundador que aun sigue asociando con el centro, también desarrolló un papel clave en la formación de la colectiva Toltecas de Aztlán, originalmente localizado en El Centro y que contribuyó a la fenomenal campaña muralista el "Chicano Park" (Parque Chicano) de San Diego.

Como punto final, que se puede llamar esencial en la cronología del arte chicano en California, es la compañía RCAF, (Royal Chicano Air Force). Esta fué fundada en Sacramento en 1969, por los artistas veteranos chicanos José Montoya y Esteban Villa. El nombre original de este grupo fue el de "Rebel Chicano Art Front" así nombrado en homenaje a "Vietnamese National Liberation Front" (El Frente Nacional de Liberación del Vietnam del Sur) y otros movimientos de liberación del Tercer Mundo que en esos tiempos tomaban fuerza. Estos dos artistas habian sido ya antes asociados con la colectiva pionera de la bahía de San Francisco llamada el "Mexican American Liberation Art Front (MALAF) fundada a principios de 1969. Los archivos del RCAF/Centro de Artistas Chicanos de Sacramento es una colección completa de un esfuerzo comunal del movimiento de arte chicano que produjo varios artistas chicanos y chicanas, ahora prominentes y esparcidos en todo los Estados Unidos. El programa que mantiene RCAF en la comunidad, donde imparten educación del arte a la juventud, es un programa modelo con responsabilidad humanistica en el arte contemporaneo y chicano.

La Universidad de California en Santa Barbara, lugar donde se originó El Plan de Santa Barbara, el manifesto chicano de auto-determinación con promesas a la comunidad, se publicó en 1969. Aquí estamos de nuevo en la Universidad de California, aceptando al arte chicano como un movimiento auténtico y legítimo del arte contemporaneo. El Proyecto CARIDAD a tomado con entusiasmo la responsabilidad de adquisición, preservación y difusión de este material histórico e importantísimo, no sólo para la historia chicana, sino también para la historia del arte contemporáneo norteamericano.

SUGGESTED READINGS

BIBLIOGRAFIA SELECTA

Barnett, Alan W. Community Murals: The People's Art. Philadelphia, PA: Art Alliance Press, c1984. 516p.

Documents the first fourteen years (1967-1981) of the community-based mural movement throughout the U.S. Discusses its history, obstacles and problems and the means utilized to overcome them. Includes largely black and white illustrations and a bibliography.

Documenta los primeros catorce años (1967-1981) del movimiento muralista en los Estados Unidos. Habla de su historia, obstáculos, problemas y maneras para vencerlos. Incluye ilustraciones en blanco y negro y bibliografía.

Beardsley, John. Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors. With an essay by: Octavio Paz. New York: Abbevile Press, 1987. 260p.

Includes several essays discussing various facets of Latino art and society. Also features artists' biographies and bibliographies accompanied by many vivid full-color illustrations.

Incluye varios ensayos que hablan de las varias facetas de la sociedad y el arte hispano en los Estados Unidos. Contiene biografías de los artistas, bibliografías e ilustraciones.

Cancel, Luis R., et al. The Latin American Spirit: Art and Artists in the United States, 1920-1970: Essays. New York, NY: Bronx Museum of the Arts in association with Harry N. Abrams, 1988. 343p.

Various essays documenting and examining the participation and influence of Latin American artists in the cultural life of the United States. Features a vast number of stunning illustrations depicting diverse forms and styles.

Contiene ensayos documentando y examinando la participación e influencia de artistas latino-americanos en la vida cultural de los Estados Unidos. Incluye numerosas y atractivas ilustraciones representando diversas formas y estilos.

Chicana Voices and Visions: A National Exhibit of Women Artists: 27 Artists from Arizona, California, Colorado, Michigan, New Mexico, and Texas. Coordinated by: Mary-Linn Hughes. Venice, CA: Social and Public Arts Resource Center, c1983. 26p.

Discusses the emergence of Chicana artists and their evolution. Provides brief expressions by the artists regarding their art work. Sparsely illustrated in black and white.

Una examinación del surgimiento de artistas chicanas y su evolución con breves comentarios de las artistas con respecto a sus obras. Algunas ilustraciones en blanco y negro.

Chicano Art History: A Book of Selected Readings. Quirarte, Jacinto, ed. San Antonio, TX: Research Center for the Arts and Humanities, University of Texas at San Antonio, c1984. 137p.

An anthology of previously published articles on Chicano art. It also offers a glossary of terms and names of historical figures related to Chicano art.

Una antología de artículos previamente publicados sobre el arte chicano. También contiene un glosario sobre nombres y terminos relacionados con el arte chicano.

Chicano Expressions: A New View in American Art: April 14-July 31, 1986.Director: Lockpez, Inverna et al. New York, NY: INTAR Latin American Gallery, c1986. 48p.

An exhibition tracing the evolution of urban mass culture. Replete with color and black and white reproductions and offers essays covering the visual arts, graphic arts, mural art and religious folk art.

Un catálogo de exhibición que remonta la evolución y cultura de las masas urbanas. Le acompañan numerosas reproducciones de arte a color y blanco y negro, y ofrece ensayos en las artes visuales, arte gráfico, arte muralista, al igual que arte religioso popular.

Comité Chicanarte. Chicanarte: An Exhibition. Los Angeles, CA: Comité Chicanarte, c1976. 108p.

Catalog of an exhibition of 102 California artists. Mainly a black and white illustrative book created to preserve and promote the vibrant expressions of the Chicano artist, portraying various aspects of Chicano life.

Catálogo de exhibición de 102 artistas de California. Esencialmente un libro con reproducciones en blanco y negro elaborado para preservar y promover las expresiones vibrantes de los artistas chicanos, representando los diferentes aspectos de la vida chicana.

Dale Gas: An Exhibition of Contemporary Chicano Art. Curator: Martínez, Santos. Houston, TX: Contemporary Arts Museum, 1977. 72p.

A historical overview of Chicano art which traces the lives of several artists, offering inside stories on the subject. Bibliography included.

Recuento histórico del arte chicano-tejano que investiga las raices y la vida de varios artistas y ofrece relatos en estos temas. Contiene bibliografía.

Favela, Ramón. The Art of Rupert García: A Survey Exhibition, August 20, October 19, 1986. San Francisco, CA: San Francisco Chronicle Books, c1986. 96p.

This book is the first scholarly exhibition catalog to examine a Chicano artist's work. Included are fifty-five beautiful full-color illustrations of a representative selection of García's silkscreens and pastel paintings, biography and bibliography.

Uno de los primeros trabajos documentados que se ha publicado sobre las obras de un artista chicano. Son incluidas cincuenta y cinco bellas ilustraciones a color de una selección representativa de serigrafías, carteles y pinturas al pastel. Una biografía y bibliografía forman parte de esta obra.

Goldman, Shifra M. Arte Chicano: A Comprehensive Annotated Bibliography of Chicano Art, 1965-1981. Goldman, Shifra M. and Tomás Ybarra-Frausto, comps. Berkeley, CA: Chicano Studies Library Publications Unit, University of California at Berkeley, 1985. viii, 778p.

Important bibliographic reference work which provides subject, author/artist and title citations to articles, books, catalogs, exhibit brochures and art works. Includes an introductory essay for the study of Chicano art.

Un importante libro bibliográfico de referencia que contiene citas hemerográficas, artículos, libros, catálogos, y folletos de exhibiciones de arte y artistas chicanos. Incluye un ensayo sobre el estudio del arte chicano.

Made in Aztlán. 1 ed. Brookman, Philip and Guillermo Gómez-Peña, eds. San Diego, CA: Centro Cultural de la Raza, c1986. 116p.

Four essays attempting to put into perspective the attitudes and developments central to the evolution of the Centro Cultural de la Raza. Photographs and illustrations included.

Cuatro ensayos que intentan poner en perspectiva las actitudes y el desarrollo fundamentales para la evolución del Centro Cultural de la Raza. Fotografía e ilustraciones son incluidas.

Mano a Mano Abstracción/Figuración: 16 Pintores Mexicano Americanos y Latino Americanos del Area de la Bahía de San Francisco. By: Eduardo Carrillo, et al. Santa Cruz, CA: Art Museum of Santa Cruz County, 1988. 63p.

An attempt to rectify the lack of recognition of existing abstract currents in Chicano and Latin American Art. Provides brief biographies of such artists complemented with brilliant full-color illustrations.

Un esfuerzo a rectificar la falta de reconocimiento a las corrientes abstractas que existen en el arte chicano y latino-americano. Contiene bibliografías cortas de los artistas y complementadas con ilustraciones en vivos colores.

Quirarte, Jacinto. Mexican American Artists. Austin, TX: University of Texas Press, 1973. xxv, 149p. (The John Fielding and Lois Lasater Maher series: 2).

Examines Mexican American artists' contributions to U.S. culture, while providing a historical account of the various aspects that influenced contemporary Chicano artists.

Examina las contribuciones de artistas "mexico-norteamericanos" a la cultura de los Estados Unidos, al mismo tiempo que proporciona un relato histórico de los varios aspectos que influenciaron los artistas chicanos de la época contemporánea

Signs From the Heart: California Chicano Murals. Cockcroft, Eva Sperling and Holly Barnet-Sanchez, eds. Venice, CA: Social and Public Art Resource Center, c1990. 105p.

Featuring captivating illustrations, it includes four interpretive essays by Chicano scholars revealing the development of the innovative Chicano art style.

Incluye cuatro ensayos interpretativos por investigadores del arte chicano que revelan la evolución del estilo inovador del arte chicano. Le acompañan buenas reproducciones a color de muy alta calidad.

A través de la Frontera. Coordinación por: Rodriguez Pampolini, Ida. México City, México: Centro de Estudios Económicos y Sociales del Tercer Mundo, A.C., Instituto de Investigaciones Estéticas, UNAM, 1983. 241p.

Broadly examines many aspects of art and culture such as theater, music, films, and the visual arts, while documenting the social and political issues related to the Mexican immigrant. Copiously illustrated and entirely in Spanish.

Examina en general los varios aspectos de la producción del arte y cultura mexico-norteamericano tales como teatro, música, cine y las artes visuales, mientras que documenta los problemas socio-políticos con relacíon al inmigrante mexicano. Contiene numerosas ilustraciones y esta publicado completamente en español.

CATALOG OF SLIDES

ASSEMBLAGE

item 1.

Anguía, Ricardo (title unknown)

Date: n.d.

Medium: assemblage (mixed media)

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From Espinas de la Vida/Thorns of Life Exhibition at Galería de la Raza (April 26-May 21, 1988).

item 2.

Artist Unknown Mi Linda Nicaragua

Date: October 1987

Medium: altar

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1987 Exhibition at Galería de la Raza (October 13-November 14, 1987).

item 3.

Artist Unknown (title unknown)

Date: n.d.

Medium: altar

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1989 Exhibition at Galería de la Raza (October 10-November 4, 1989).

item 4.

Artist Unknown (title unknown)

Date: October 1986

Medium: assemblage (mixed media)

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1986 Exhibition at Galería de la Raza (October 15-November 8, 1986).

item 5.

Artist Unknown (title unknown)

Date: October 1986

Medium: assemblage (mixed media)

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1986 Exhibition at Galería de la Raza (October 15-November 8, 1986).

item 6.

Avalos, David Agarra la Onda

Date: 1985

Medium: altar; wood, barbed wire, Xerox and metal

Art Center: Centro Cultural de la Raza

Site:

Galería Posada, Sacramento, CA

Comments:

From the David Avalos Exhibition at Galería Posada, Sacramento, CA (1985). This altar's central focus is a woman holding a sign announcing a "National Protest March Against the Militarization of the Border." A heart with spikes extending from it, combined with barbed wire, decorates the top. Lotería cards are arranged in the bottom third with a hand holding a campesino wrapped in barbed wire and another hand with a PEMEX oil drum. A skull and crossbones is upside down on a disk at bottom center.

item 7.

Avalos, David Hubcap Milagro Series: Combination Platter: Straight Razor Taco

Date: 1989

Medium: assemblage; wood, steel, chrome, tin, fabric, netting and cactus

Art Center: Centro Cultural de la Raza

Site:

INTAR Gallery, New York, NY

Comments:

From the Cafe Mestizo Exhibition at INTAR Gallery (June 1989). This assemblage's central focus is a white heart with a hole in its center, lined with sheet metal shaped into scallops and saw blades cut in half. The heart is placed on a hubcap and covered with black netting. A cactus pad and gun lie on the right. On the left an axe lies across the spine of the book The Last of the Mohicans and two cacti and a doll's head complete the design.

item 8.

Avalos, David Lotería Chicana

Date: 1983

Medium: assemblage; paper, aluminum, plastic, barbed wire, chainlink fence and color Xerox

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza and Gallery of the Multicultural Arts Institute, San Diego, CA

Comments:

From the California Murals Off the Wall Exhibition at Centro Cultural de la Raza (March 1983 and 1984). This piece integrates a painting made from a photo taken during a Committee on Chicano Rights march at the U.S./Mexican border. A man is holding a map of Mexico which has the words: "Asi era Mexico antes del Robo" ["This was Mexico before the robbery"]. This image was mixed with the artist's version of Lotería, a game similar to Bingo.

item 9.

Avalos, David Mr. Chile

Date: 1989

Medium: assemblage; cloth, wood, chilies and seeds

Art Center: Centro Cultural de la Raza

Site:

INTAR Gallery, New York, NY

Comments:

From the Cafe Mestizo Exhibition at INTAR. A torso with legs to the knees, no arms, and a red abstract head is dressed in a lime green suit. The coat has circles of seeds with red chilies in their centers glued on in a pattern. Remaining seeds are strewn on the floor around the torso. The pants are unzipped and "Y QUE" written on the chest.

item 10.

Bermudes, John Cornucopia

Date: ca. 1991

Medium: assemblage; cloth, chicken wire, Christmas lights and tinsel

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Luis Stand and John Bermudes Exhibition, organized by Patricio Chavez at Centro Cultural de la Raza (1991). The design is a variation on the cornucopia, though made with non-traditional materials.

item 11.

Burciaga, José Antonio (title unknown)

Date: n.d.

Medium: caja

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From the Cajas y Otras Cosas Exhibition, organized by Ralph Maradiaga at Galería de la Raza (September 11-October 16, 1982).

item 12.

Cervantez, Yreina (title unknown)

Date: n.d.

Medium: assemblage (altar)

Art Center: Self-Help Graphics

Site:

California Museum of Science and Industry, CA

item 13.

Cervantez, Yreina (title unknown)

Date: n.d.

Medium: assemblage (altar)

Art Center: Self-Help Graphics

Site:

California Museum of Science and Industry, CA

item 14.

Emmanuel, Cristina Etapas

Date: 1985

Medium: altar; doily, milagros, string and paper

Dimension: 18 1/2" x 28"

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Ceremony of Memory Exhibition, organized by Patricio Chavez at Centro Cultural de la Raza (November 17, 1989-January 21, 1990). Drawings were made reproducing photographs and arranged on the back of the altar. A cord strung with milagros hangs in an arc in front of the images. Two doll hands, painted gold, suspend from the center top of the assemblage. A doily decorates the bottom ledge.

item 15.

Emmanuel, Cristina Mano Poderoso

Date: n.d.

Medium: cajas

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Assemblages/collages from Cristina Emmanuel's one person show Evocando el Paraisoat Galería de la Raza, curated by Enrique Chagoya (March 14-April 15, 1989).

item 16.

Emmanuel, Cristina Pague Mi Promesa Como se Debia

Date: 1983

Medium: caja

Dimension: mixed media. 33" x 15"

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Ceremony of Memory Exhibition, organized by Patricio Chavez at Centro Cultural de la Raza (November 17, 1989-January 21, 1990). A wooden caja with lacy fabric lines the background. A golden heart shape with a red flower in its center is in the middle and flowers extend to the bottom and top of the box. The artist strung gold doll arms in an arc across the top and silver doll legs hang across the bottom.

item 17.

Favela, Ricardo Coronas de Muertos

Date: 1977

Medium: assemblage; collage

Dimension: 8' x 4'

Art Center: Royal Chicano Air Force

Site:

Holy Angels Schoolyard at Centro de Artistas; Sacramento, CA; La Raza Bookstore/Galería Posada

Comments:

Coronas carried as part of the community procession for Día de los Muertos. The Cultural Affairs Committee added flowers on all.

item 18.

Fernandez, Rudy (title unknown)

Date: ca. 1978

Medium: caja

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From the Homenaje de Frida Kahlo, El Día de los Muertos Exhibition.

item 19.

García, Lorraine (title unknown)

Date: October 1986

Medium: collage

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Window display for El Día de los Muertos, 1986 Exhibition at Galería de la Raza (October 15-November 8, 1986).

item 20.

Garza, Carmen Lomas Altar to Don Pedrito

Date: 1982

Medium: altar

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1982 Exhibition, organized by René Yañez and Ralph Maradiaga at Galería de la Raza (October 30-November 20, 1982).

item 21.

Lou, Richard Invitation to the Necropolis: The Death Dance

Date: n.d.

Medium: assemblage; paper, wood, photographs and candles

Art Center: Centro Cultural de la Raza

Comments:

From the En Memoria Exhibition, at Centro Cultural de la Raza (October-December 1987).

item 22.

Mesa-Bains, Amalia (title unknown)

Date: October 1988

Medium: altar

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1988 Exhibition at Galería de la Raza (October 18-November 12, 1988).

item 23.

Montoya, Gina, Tere Romo, Lupe Portillo, and Señora Angelbertha Cobb Día de los Muertos Altar

Date: November 1, 1978

Medium: altar

Dimension: 10' x 6' x 8'

Art Center: Royal Chicano Air Force

Site:

Washington Neighborhood Center, Sacramento, CA

Comments:

Constructed for the Día de los Muertos community ceremony.

item 24.

Ochoa, Victor Chicanosaurus

Date: January 1989

Medium: mixed media

Art Center: Centro Cultural de la Raza

Site:

New York Artist Space Gallery, New York, NY, and Centro Cultural de la Raza

Comments:

From the Vidas Perdidas/Lost Lives Exhibition, organized through Border Arts Workshop/Tallér de Arte Fronterízo by Richard Lou, Victor Ochoa, Robert Sanchez and Michael Schnorr (January 1989). This piece is a modified dinosaur with the front section of a low rider as its head. The low rider's hood is open and a tongue hanging out of it reads: "In Spanish/en Ingles."

item 25.

Pruneda, Maximiliano Ghost Stick Carrier

Date: 1988

Medium: assemblage; cloth, paint, beads, wood and string

Dimension: 35" x 23" x 14"

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Ceremony of Memory Exhibition, organized by Patricio Chavez at Centro Cultural de la Raza (November 17, 1989-January 21, 1990). This piece uses a human face, painted blue, on an animal body with a pointed tail. The back is impaled by slender, knife-like pieces of wood (ghost sticks) with faces painted on them. They all have orange top knots with string or strips of cloth tied to them.

item 26.

Rodríguez, Patricia Heart Times

Date: 1982

Medium: caja; wood and found objects

Dimension: 12" x 8" x 4"

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Ceremony of Memory Exhibition, curated by Patricio Chavez at Centro Cultural de la Raza (November 17, 1989-January 21, 1990). This caja has as its centerpiece a large red heart with nails half-driven into it. Below it is a clock with wires extending from it that resemble a bomb. Long, white hair acts as a frame for the piece, which the artist placed within a hand carved wooden frame.

item 27.

Rodríguez, Patricia (title unknown)

Date: n.d.

Medium: caja

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From the Cajas y Otras Cosas Exhibition, organized by Ralph Maradiaga at Galería de la Raza.

item 28.

Rodríguez, Peter Milagros

Date: 1987

Medium: caja; wood and metal

Dimension: 26" x 16" x 9 1/2"

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Ceremony of Memory Exhibition, curated by Patricio Chavez at Centro Cultural de la Raza (November 17, 1989-January 21, 1990). The artist arranged three dimensional hands and legs on the bottom of this caja and attached them to the sides and top. Two clasped hands decorate the gable. The unique feature of this caja is the miniature box, with a leg visible inside, mounted on its back wall.

item 29.

Soto, Joseph (title unknown)

Date: n.d.

Medium: mixed media

Art Center: Galería de la Raza

Comments:

From El Día de los Muertos, 1986 Exhibition at Galería de la Raza (October 15-November 8, 1986).

item 30.

Vallejo, Linda Day of the Dead Fan

Date: 1989

Medium: assemblage (mixed media)

Dimension: 40" x 70" x 8"

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

Comments:

From the Day of the Dead '89 Exhibit.

item 31.

Walker, J. Michael Mexico Frantico

Date: February 1-5, 1988

Medium: assemblage/silk screen

Dimension: 20" x 22" x 4"

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 32.

Yañez, Larry (title unknown)

Date: n.d.

Medium: altar

Art Center: Self-Help Graphics

item 33.

Yañez, René (title unknown)

Date: October 1986

Medium: altar

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1986 Exhibition at Galería de la Raza (October 15-November 8, 1986).

ATELIER (SELF-HELP GRAPHICS AND ART, INC.)

item 34.

Aguirre, José Antonio Firedream

Date: March 7-11, 1988

Medium: silk screen

Dimension: 30 1/2" x 26"

Art Center: Self-Help Graphics

Comments:

"My work is closely related to personal experience. This visual poem tells the story of a relationship that was so intense that it was extinguished by the fire of passion. This love is being reborn through a new fire of life but it has to face a deconstruction of its past and, in a cathartical experience, overcome the present to be able to grow into the future." J.A. Aguirre

item 35.

Aguirre, José Antonio It's Like the Song, Just Another Op'nin' Another Show...

Date: January 8-12, 1990

Medium: silk screen

Dimension: 39" x 26"

Art Center: Self-Help Graphics

Comments:

"This print is intended to be a tribute to the memory of Carlos Almaraz and to all others who have died from AIDS. The image of the cross coming from the head/photograph of Almaraz is combined with a few symbols from Carlos' own iconography, developed with my own treatment and color perception." J.A. Aguirre

item 36.

Alferov, Alex Icon

Date: February 15-20, 1987

Medium: silk screen

Dimension: 40" x 26"

Art Center: Self-Help Graphics

item 37.

Alferov, Alex Oriental Blond

Date: October 3-7, 1988

Medium: silk screen

Dimension: 26" x 33"

Art Center: Self-Help Graphics

Comments:

Oriental Blond is a portrait that speaks of the two diverse background cultures that Mr. Alferov has come from. The bright blond side of the face is the white cultural roots while the blue side represents his oriental ancestry. The body of Mr. Alferov's work speaks about the conflicts and resolutions of meeting middle ground through cultural and emotional diversity.

item 38.

Alicia, Juana Sobreviviente

Date: January 29-February 2, 1990

Medium: silk screen

Dimension: 32 1/4" x 26"

Art Center: Self-Help Graphics

Comments:

"Originally done as a book illustration on the theme of Tales of survival and disappearance in Argentina, then as a pastel painting, a lithograph, and now as a silk screen, the image has evolved to mean an expression of the tenacity and inner spiritual light of all women who persevere in oppressive situations, be they imprisoned in concentration camps, jails, or their own homes." J. Alicia

item 39.

Amemiya, Grace Where is my Genie in the Bottle

Date: October 23, 1989

Medium: silk screen

Dimension: 24 3/4" x 37"

Art Center: Self-Help Graphics

Comments:

According to Amemiya, this print deals with "depression, the escape--the glamour, addiction, the high--the hysteria--emptiness."

item 40.

Amescua, Michael M. Toci

Date: January 14-19, 1989

Medium: silk screen

Dimension: 38 1/2" x 25 1/2"

Art Center: Self-Help Graphics

Comments:

"'Toci' mother of the gods and heart of the earth. The divine grandmother. Mother Earth. She says, 'Look at me, I am beautiful, do not destroy me'." M. Amescua

item 41.

Avila, Glenna Plumas para Paloma

Date: March 20-24, 1989

Medium: silk screen

Dimension: 37" x 26"

Art Center: Self-Help Graphics

Comments:

"This is a personal piece celebrating the birth of my first child, Sara Paloma, depicted at four months. The two weavings symbolize two cultures from her background--Mexican and Indian--and also the textures and interweavings of one's life. The photographs symbolize her connections to her past (she is named for her great-grandmother Sarah). The feathers on the rug symbolize feathers of the dove which in Native American cultures stands for good deeds and power in one's life. This print represents gifts she has received from her past." G. Avila

item 42.

Baray, Samuel Advenimiento de Primavera

Date: February 5-9, 1990

Medium: silk screen

Dimension: 36 3/4" x 26"

Art Center: Self-Help Graphics

Comments:

"'Advenimiento de Primavera'--the arrival of spring. Ancient and contemporary Angels of Los Angeles. There are very few angels that sing." S. Baray

item 43.

Bautista, Vincent Calaveras in Black Tie

Date: October 30-November 3, 1989

Medium: silk screen

Dimension: 38" x 26"

Art Center: Self-Help Graphics

Comments:

Three calaveras attending a Día de los Muertos art opening, party, and celebration.

item 44.

Bert, Guillermo ...And His Image Was Multiplied

Date: January 22-26, 1990

Medium: silk screen

Dimension: 38" x 26"

Art Center: Self-Help Graphics

Comments:

"This image refers to the alienation of people who live in a super metropolis experience. Human beings are separated from direct contact with nature. The person becomes a mere reflection of self. These entities are defined by their own image within the little box of a television set." G. Bert

item 45.

Boccalero, Karen Without

Date: March 1983

Medium: silk screen

Dimension: 23" x 35"

Art Center: Self-Help Graphics

item 46.

Botello, David Long Life to the Creative Force

Date: February 13-19, 1989

Medium: silk screen

Dimension: 38 1/4" x 25 1/2"

Art Center: Self-Help Graphics

Comments:

"The elder represents long life in a peaceful setting. The plumed serpent is 'Quetzalcoatl' representing the 'creative force' but also 'chaos' which surrounds the elder and wants the heart as the final sacrifice of life. The braids on the heart are her/his life story; the nopales cactus are new life still growing. The cat is the jaguar, 'Tezcatlipoca', death lingering over your left shoulder, waiting for the person giving up on life. The message is that we must remain in balance, rest and soothe our hearts, not succumb to desires, etc." D. Botello

item 47.

Botello, Paul Reconstruction

Date: November 27-December 1, 1989

Medium: silk screen

Dimension: 26" x 38"

Art Center: Self-Help Graphics

Comments:

"This piece is about the reconstruction of man with the help of a woman. Time swings back and forth, half man, half skeleton. The pregnant woman lying down shackled is a reference to the responsibility of motherhood." P. Botello

item 48.

Brehn, Qathryn (title unknown)

Date: February 16-20, 1986

Medium: silk screen

Dimension: 24 1/4" x 36 1/2"

Art Center: Self-Help Graphics

item 49.

Calderón, Rudy Manifestation of Trinity

Date: December 7-11, 1987

Medium: silk screen

Dimension: 26" x 37 5/8"

Art Center: Self-Help Graphics

Comments:

"'Manifestation of Trinity' is an attempt to portray analogies between the ancient and the universal concept of Trinity and recognizable manifestations in life that are triple in nature, the three primary colors from which all other colors emerge, and the family unit of father, mother and child from which all nations take form. Spirit endows matter with dynamic conscious life." R. Calderón

item 50.

Cárdenas, Mari In Our Remembrance is Our Resurrection

Date: December 10-11, 1983

Medium: silk screen

Dimension: 22" x 34"

Art Center: Self-Help Graphics

item 51.

Carrasco, Barbara Negativity Attracts

Date: March 26-30, 1990

Medium: silk screen

Dimension: 40" x 26"

Art Center: Self-Help Graphics

Comments:

"The print is the result of minimalizing detail work in order to focus more clearly on color and content (form). 'Negativity Attracts' reflects male-female relationships often seen as conflicting yet attracting because of, or in spite of, differences." B. Carrasco

item 52.

Carrasco, Barbara Self-Portrait

Date: February 24-March 1, 1984

Medium: silk screen

Dimension: 28" x 40"

Art Center: Self-Help Graphics

Comments:

This print is the response to a 1983 censorship battle the artist had with the Los Angeles Redevelopment Agency. Carrasco's mural for the 1984 Olympics depicted scenes of the internment of the Japanese-Americans during World War II, and the mass lynching of Chinese workers in the late 1800s. In this self-portrait, the artist is about to be white-washed by a paint roller. The paintbrush in the artist's hand reads, "Siqueiros No. 1," referring to the whitewashing of a mural by renowned Mexican artist David Alfaro Siqueiros.

item 53.

Cervantez, Yreina La Noche y los Amantes

Date: February 1987

Medium: silk screen

Dimension: 25 1/2" x 19 1/2"

Art Center: Self-Help Graphics

item 54.

Cervantez, Yreina (title unknown)

Date: 1983

Medium: silk screen

Dimension: 23" x 35"

Art Center: Self-Help Graphics

item 55.

Cervantez, Yreina Victoria Ocelotl

Date: December 4-10, 1983

Medium: silk screen

Dimension: 22" x 30"

Art Center: Self-Help Graphics

item 56.

Chamberlin, Ann Stadium

Date: February 21-26, 1988

Medium: silk screen

Dimension: 23" x 35"

Art Center: Self-Help Graphics

Comments:

The soldiers are playing and posing in a menacing manner.

item 57.

Coronado, Sam Pan Dulce

Date: November 7-11, 1988

Medium: silk screen

Dimension: 38 1/2" x 26"

Art Center: Self-Help Graphics

Comments:

Based on distorted perspective creating abstract-like forms and accented by lines to frame the objects. Shadows are also incorporated into the design through the use of shape and color. The subjects are familiar to most Mexican-Americans; they evoke an ethnic feeling unique to the culture that introduced this type of pastry, "Molletes," to our society. "The subjects I paint are a reflection of the bi-cultural work that surrounds me. They express the rebirth of ideas and feelings which are emerging in today's society." S. Coronado

item 58.

Costa, Sam Media Madness

Date: March 1983

Medium: silk screen

Dimension: 35" x 23"

Art Center: Self-Help Graphics

item 59.

Davis, Alonso Now is the Time

Date: March 15-19, 1988

Medium: silk screen

Dimension: 26" x 40"

Art Center: Self-Help Graphics

Comments:

"The print emphasizes the power and impact of the right to vote and is meant to raise the consciousness of those involved with the Jesse Jackson Presidential Campaign." A. Davis

item 60.

De Batuc, Alfredo Comet Over City Hall

Date: December 9-12, 1985

Medium: silk screen

Dimension: 25" x 38"

Art Center: Self-Help Graphics

item 61.

Delgado, Robert (title unknown)

Date: March 5-14, 1984

Medium: silk screen

Dimension: 26 1/2" x 37"

Art Center: Self-Help Graphics

item 62.

Donis, Alex Río, por no llorar

Date: November 28-December 2, 1988

Medium: silk screen

Dimension: 39" x 26"

Art Center: Self-Help Graphics

Comments:

"Basically my print is a statement about oppression. It is about people who struggle to survive while their lands are stripped away and their resources siphoned. I recently read the lyrics to a song which I think most clearly defines my piece: '...So take a good look at my face, you'll see my smile looks out of place, look even closer, it's easy to trace the track of my tears'." A. Donis

item 63.

Duardo, Richard The Father, the Son and the Holy Ghost

Date: February 29-March 6, 1988

Medium: silk screen

Dimension: 36 3/4" x 23 3/4"

Art Center: Self-Help Graphics

Comments:

"Well, it was quite a spontaneous activity indeed. The content of this image is totally appropriated from the commonplace of contemporary culture. Their layout is to indicate the following: Mickey, omnipotent god (benevolent and happy); the robot, man on earth, a replicant of god--meaning everything is swell on earth." R. Duardo

item 64.

Duardo, Richard (title unknown)

Date: January 27-February 2, 1984

Medium: silk screen

Dimension: 27 1/2" x 39 1/2"

Art Center: Self-Help Graphics

item 65.

Duardo, Richard (title unknown)

Date: January 25-February, 1985

Medium: silk screen

Dimension: 28 3/4" x 41"

Art Center: Self-Help Graphics

item 66.

Flores, Florencio Jaguar

Date: March 1983

Medium: silk screen

Dimension: 35" x 23"

Art Center: Self-Help Graphics

item 67.

Gamboa, Diane Little Gold Man

Date: 1990

Medium: silk screen

Dimension: 26" x 38"

Art Center: Self-Help Graphics

Comments:

"The Little Gold Man is the focal point of the other figures, but at the same time is one of the many figures involved in this print, as in other prints I have created through the Atelier program. I attempted to work on an image using a new technique that is very different from my other prints." D. Gamboa

item 68.

Gamboa, Diane Three

Date: March 17-20, 1986

Medium: silk screen

Dimension: 25" x 34"

Art Center: Self-Help Graphics

item 69.

Gamboa, Diane (title unknown)

Date: January 9-18, 1984

Medium: silk screen

Dimension: 28" x 40"

Art Center: Self-Help Graphics

item 70.

Gamboa, Diane (title unknown)

Date: October 6-9, 1986

Medium: silk screen

Dimension: 12 3/4" x 18 3/4"

Art Center: Self-Help Graphics

item 71.

García, Lorraine (title unknown)

Date: November 6-11, 1984

Medium: silk screen

Dimension: 28" x 40 3/4"

Art Center: Self-Help Graphics

item 72.

García, Margaret Romance

Date: January 4-8, 1988

Medium: silk screen

Dimension: 40" x 26"

Art Center: Self-Help Graphics

Comments:

"The print is symbolic of the sexual tensions in the first stages of romance. The fork foams on the appetite of those involved. Chili, sex, something that feels so good can burn so bad." M. García

item 73.

García, Margaret (title unknown)

Date: February 24-27, 1986

Medium: silk screen

Dimension: 14 1/4" x 17 1/4"

Art Center: Self-Help Graphics

item 74.

García, Margaret Untitled

Date: February 24-27, 1986

Medium: silk screen

Dimension: 14 1/4" x 17 1/4"

Art Center: Self-Help Graphics

item 75.

Gil de Montes, Robert Movie House

Date: February 8-12, 1988

Medium: silk screen

Dimension: 24" x 36"

Art Center: Self-Help Graphics

item 76.

Gonzalez, Yolanda El Vaquero

Date: December 11-15, 1989

Medium: silk screen

Dimension: 35 1/2" x 26"

Art Center: Self-Help Graphics

Comments:

"Designed for Plaza de La Raza Cultural Center. My concept of the legend of the cowboy is 'life is to be lived' and El Vaquero is certainly living life. His motion is free; with the air blowing through his scarf and hair, he has no worries. Life should be as free and fun loving as El Vaquero." Y. Gonzalez

item 77.

Gonzalves, Ricardo Don Juan's Got the Blues

Date: December 5-9, 1988

Medium: silk screen

Dimension: 36" x 24 1/4"

Art Center: Self-Help Graphics

Comments:

"The image of the coyote is a representation of the brujo Don Juan as he is transformed into animal form. This work is an expression of an indigenous epistemological view that considers an alternative reality. Don Juan is presented here as an animal warrior on a mission to preserve and advance Chicano culture. ¿Y qué?" R. Gonzalves

item 78.

Guerrero-Cruz, Dolores Untitled (The Bride)

Date: February 19-28, 1985

Medium: silk screen

Dimension: 27 3/4" x 39 3/4"

Art Center: Self-Help Graphics

Comments:

"The bride is a statement about my struggle as an artist who leaves the professional field of art in order to survive as a single parent. During this time, this woman feels like she is slowly dying because she is not able to be what she wants to be. This is not against marriage, but a statement that one must be what she really wants to be before she can be anything else. Women have a harder struggle than men simply because we are women; I hope that for the women of tomorrow the struggle to make their lives better will be easier." D. Guerrero-Cruz

item 79.

Guerrero-Cruz, Dolores La Mujer y el Perro

Date: February 15-19, 1988

Medium: silk screen

Dimension: 24 1/4" x 20 1/4"

Art Center: Self-Help Graphics

Comments:

"The dog or perro symbolizes men or man. It's a concept of men chasing women. This woman does not want to be chased and therefore hides in her room, holding her body in despair." D. Guerrero-Cruz

item 80.

Guerrero-Cruz, Dolores Peacemakers

Date: November 4-7, 1985

Medium: silk screen

Dimension: 27 3/4" x 22 11/16"

Art Center: Self-Help Graphics

Comments:

This print depicts the irony of three Chicano children growing up in an Anglo society, and losing their heritage. It also speaks to the idea that children can be taught to save the world from nuclear war with their peacemaking friends.

item 81.

Hamada, Miles (title unknown)

Date: November 5-6, 1983

Medium: silk screen

Dimension: 22" x 34"

Art Center: Self-Help Graphics

item 82.

Healy, Wayne Sawin' at Sunset

Date: March 16-20, 1987

Medium: silk screen

Dimension: 26" x 40"

Art Center: Self-Help Graphics

item 83.

Hernández, Ester The Cosmic Cruise

Date: January 15-18, 1990

Medium: silk screen

Dimension: 38" x 26"

Art Center: Self-Help Graphics

Comments:

"The theme is our interconnectedness with each other and The Universe. The car represents movement in space and time is represented by the images of four women: La Virgen de Guadalupe (the driver), the Mexican Indian grandmother, the modern Chicano mother and child. The Aztec moon goddess Coyolxauqui signifies our link with the past. The print is part of my ongoing tribute to La Mujer Chicana." E. Hernández

item 84.

Herrón, Willie (title unknown)

Date: October 23-November 1, 1984

Medium: silk screen

Dimension: 26 1/4" x 32"

Art Center: Self-Help Graphics

item 85.

LaMarr, Jean Some Kind of Buckaroo

Date: March 12-15, 1990

Medium: silk screen

Dimension: 26" x 38"

Art Center: Self-Help Graphics

Comments:

"The warrior spirit continues in contemporary times. Encroachment on sacred areas of nature for U.S. military testing, and fencing off lands keep Indian people from sacred lands." J. LaMarr

item 86.

Lane, Leonie Vulcán de Pacaya

Date: March 6-10, 1989

Medium: silk screen

Dimension: 37 1/2" x 25"

Art Center: Self-Help Graphics

Comments:

"This print is based on my New Years's Eve 1988-89 spent with 14 people on top of Vulcán de Pacaya just south of Guatemala City, Guatemala. The combination of the active volcano, fireworks, campfire, and fireflies is a potent mixture of heat, light, and symbols. The volcano is a symbol for many things--underlying political, social, sexual, and emotional tensions exploding to the surface. This night and this mountain serve as a stage for reflection on events of the present and future. Fire is a catalyst for change, ignition of passion, destruction of the old, commencement of the new." L. Lane

item 87.

Leal, Steven (title unknown)

Date: October 29-30, 1983

Medium: silk screen

Dimension: 34" x 22"

Art Center: Self-Help Graphics

item 88.

Lenero Castro, José Camine, No Camine

Date: January 20-23, 1986

Medium: silk screen

Dimension: 25" x 28"

Art Center: Self-Help Graphics

item 89.

Limón, Leo Dando Gracias

Date: October 16-22, 1983

Medium: silk screen

Dimension: 22" x 34"

Art Center: Self-Help Graphics

item 90.

Limón, Leo Madre Tierra--Padre Sol I

Date: December 8-11, 1986

Medium: silk screen

Dimension: 37 1/2" x 13"

Art Center: Self-Help Graphics

item 91.

Limón, Leo Madre Tierra--Padre Sol II

Date: December 8-11, 1986

Medium: silk screen

Dimension: 37 1/2" x 13"

Art Center: Self-Help Graphics

item 92.

Maradiaga, Ralph Lost Childhood

Date: October 1-9, 1984

Medium: silk screen

Dimension: 28" x 36"

Art Center: Self-Help Graphics

item 93.

Martínez, Daniel The Promised Land

Date: November 10-14, 1986

Medium: silk screen

Dimension: 38" x 26"

Art Center: Self-Help Graphics

item 94.

Montaño Valle, Ernest The Dream

Date: March 13-17, 1989

Medium: silk screen

Dimension: 37 1/4" x 26"

Art Center: Self-Help Graphics

Comments:

[The first work created with Chicano support, its principal characteristic refers to a real situation--abstracted from a drawing that interprets the dream, like the utilization of colors with a smooth tonic, colors a bit absurd but related.] E. Montaño-Valle. Translated from the original Spanish.

item 95.

Montoya, Dalilah Tijerina Tantrum

Date: February 27-March 3, 1989

Medium: silk screen

Dimension: 33" x 26"

Art Center: Self-Help Graphics

Comments:

"The Tijerina Tantrum is about Reyes Tijerina, the Aloncia, the forest station, and the U.S. Military. The image in the center symbolizes Shiva Energy that emerges through her dance of the Tijerina Tantrum; energy spins off igniting the tension between Reyes-Aloncia and the Forest Ranger-Military. In general this print embraces the energy generated by the politically turbulent 60s." D. Montoya

item 96.

Montoya, Malaquías Sí Se Puede

Date: January 9-13, 1989

Medium: silk screen

Dimension: 23" x 32"

Art Center: Self-Help Graphics

Comments:

"These images deal with struggle. I use the maguey plant as a symbol of strength. The plant and its power are the manifestation of the frustration of the poor represented by the person looking out of the rectangular box. The maguey is ripping through the American flag, used here as a symbol of those things which oppress people." M. Montoya

item 97.

Norte, Armando Savagery & Technology

Date: March 1983

Medium: silk screen

Dimension: 35" x 23"

Art Center: Self-Help Graphics

item 98.

Norte, Armando (title unknown)

Date: November 19-20, 1983

Medium: silk screen

Dimension: 22" x 34"

Art Center: Self-Help Graphics

item 99.

Ochoa, Victor Border Bingo/Lotería Fronteriza

Date: October 25-30, 1987

Medium: silk screen

Dimension: 36 1/2" x 26"

Art Center: Self-Help Graphics

item 100.

Oropeza, Eduardo El Jarabe de los Muertianos

Date: January 16-February 17, 1984

Medium: silk screen

Dimension: 24 1/2" x 34"

Art Center: Self-Help Graphics

item 101.

Oropeza, Eduardo Onward Christian Soldiers

Date: December 15-18, 1985

Medium: silk screen

Dimension: 24" x 33"

Art Center: Self-Help Graphics

item 102.

Perez, Jesús Arreglo

Date: October 8-9, 1983

Medium: silk screen

Dimension: 22" x 34"

Art Center: Self-Help Graphics

item 103.

Perez, Jesús The Best of Two Worlds

Date: November 9-13, 1987

Medium: silk screen

Dimension: 24" x 38"

Art Center: Self-Help Graphics

Comments:

"The past three generations formulated the passionate Mexican-American heritage. But the Mexican-American was to enter his own revolution: to fight for his identity; to establish his values in a country which differed in culture and in values from the three generations that had preceded him. Now the fifth generation has to respond to a new-age culture: electronics, space, sex, materialism, Ronald Reagan, etc. Like the cactus which supports the eagle on the Mexican flag, they are all undeniably Mexican-rooted!" J. Perez

item 104.

Perez, Jesús (title unknown)

Date: December 29-31, 1985

Medium: silk screen

Dimension: 25" x 38"

Art Center: Self-Help Graphics

item 105.

Perez, Juan Vértigo

Date: November 24-28, 1986

Medium: silk screen

Dimension: 38" x 26"

Art Center: Self-Help Graphics

item 106.

Perez, Louie Thinking of Jesús and Mary

Date: February 6-10, 1989

Medium: silk screen

Dimension: 26" x 30 3/4"

Art Center: Self-Help Graphics

Comments:

"Based on series of pastel sketches on newspaper. The religious imagery of the sacred hearts of Jesus and Mary conveys personal religious convictions in a purely aesthetic approach. The print medium has recreated the newspaper accurately, while the image retains the immediacy of the original. I've also used monotype to enhance the attitude of making art at the moment. The overall piece conveys an irony in the juxtaposition of religious symbols and the disposable, temporary material on which they are executed." L. Perez

item 107.

Ponce, Michael Familia

Date: March 1983

Medium: silk screen

Dimension: 35" x 23"

Art Center: Self-Help Graphics

item 108.

Rodriguez, Elizabeth (title unknown)

Date: October 7-10, 1985

Medium: silk screen

Dimension: 36" x 23 1/4"

Art Center: Self-Help Graphics

item 109.

Rodriguez, Joe Bastida Night Falls as I Lay Dreaming

Date: February 19-23, 1990

Medium: silk screen

Dimension: 25" x 33"

Art Center: Self-Help Graphics

Comments:

"This print depicts a young girl who, while in her sleep, visualizes her fear of a snake curled close to her which may strike as it reaches towards the sunset. Images of unborn children within a tree (tree of life) and the dark clouds shaped like an eagle edge towards the sunset, reflecting an old Indian wise man that oversees her presence. The symbols relate to the notion of the fear of losing one's cultural identity and of the hope for children to maintain their heritage." J. Bastida-Rodriguez

item 110.

Rodriguez, Reyes A Part of You and Me

Date: 1989

Medium: silk screen

Dimension: 25" x 38"

Art Center: Self-Help Graphics

Comments:

"The print is inspired by my daughter. The coming together of two Latin cultures, one Brazilian and the other Chicano. The snake is transformed from an Aztec symbol to the streets of Rio. On the upper left corner is the diety Yemanja, Goddess of the Sea, and in front of her are lilies associated with Chicano and Mexican art. A calavera peeks through on the right hand side." R. Rodriguez

item 111.

Romero, Frank Cruz Arroyo Seco

Date: January 18-22, 1988

Medium: silk screen

Dimension: 25" x 19 1/4"

Art Center: Self-Help Graphics

Comments:

"The white cross in a field of yellow sunflowers stands in Arroyo Seco, New Mexico, in the local cemetery. Arroyo Seco is near Taos, New Mexico, and the background is an indication of the magic mountain sacred to the Pueblo Indians." F. Romero

item 112.

Romero, Frank Frutas y Verduras

Date: October 16-20, 1989

Medium: silk screen

Dimension: 2' x 3'

Art Center: Self-Help Graphics

item 113.

Romero, Frank Untitled

Date: October 12-17, 1986

Medium: silk screen

Dimension: 26" x 38"

Art Center: Self-Help Graphics

item 114.

Salazar, Daniel Eternal Seeds

Date: December 4-8, 1989

Medium: silk screen

Dimension: 26" x 38"

Art Center: Self-Help Graphics

Comments:

"The love and sacrifice of Jesus Christ is to plant seeds of eternal life." D. Salazar

item 115.

Segura, Daniel Like Father, Like Son

Date: March 1983

Medium: silk screen

Dimension: 35" x 23"

Art Center: Self-Help Graphics

item 116.

Segura, Daniel This is Pain

Date: December 18 -20, 1983

Medium: silk screen

Dimension: 22" x 34"

Art Center: Self-Help Graphics

item 117.

Self-Help Graphics Group Poster Atelier IV Group Poster

Date: November 6-December 13, 1984

Medium: silk screen

Dimension: 29" x 41 3/4"

Art Center: Self-Help Graphics

item 118.

Self-Help Graphics Group Poster Atelier V Group Poster

Date: 1985

Medium: silk screen, collage

Art Center: Self-Help Graphics

item 119.

Self-Help Graphics Group Poster (title unknown)

Date: March 1-3, 1984

Medium: silk screen

Art Center: Self-Help Graphics

item 120.

Sparrow, Peter Omens

Date: March 1983

Medium: silk screen

Dimension: 35" x 23"

Art Center: Self-Help Graphics

item 121.

Taylor, Neal Balance of Knowledge--Balance of Power

Date: October 11-16, 1987

Medium: silk screen

Dimension: 36" x 24"

Art Center: Self-Help Graphics

Comments:

"'Balance of Knowledge--Balance of Power' deals with the individual coming to a point in himself and society, being educated by their own example. The use of the arch for knowledge and balance; the spiral for inner strength, understanding and compassion; the lightning for physical strength and endurance. Power to the person." N. Taylor

item 122.

Thomas, Matthew Cosmic Patterns Print II

Date: 1987

Medium: silk screen

Dimension: 24" x 36"

Art Center: Self-Help Graphics

Comments:

"The inner worlds are made visible to our senses through symbols." M. Thomas

item 123.

Torres, Eloy The Pope of Broadway

Date: November 19-30, 1984

Medium: silk screen

Dimension: 28" x 40 1/2"

Art Center: Self-Help Graphics

item 124.

Torres, Eloy (title unknown)

Date: December 3-13, 1985

Medium: silk screen

Dimension: 37" x 24 1/2"

Art Center: Self-Help Graphics

item 125.

Urista, Arturo The Travel Back

Date: 1989

Medium: silk screen

Dimension: 35 3/4" x 26"

Art Center: Self-Help Graphics

Comments:

"The migration of the cultural from the logic of Blind Justice back to the spirituality of the Mayans. The imagery depicts women as the sole identity of the movement towards the roots of cultural awareness; from Mexico to the U.S. and back." A. Urista

item 126.

Urista, Arturo Welcome to Aztlán

Date: February 2-6, 1987

Medium: silk screen

Dimension: 37" x 26"

Art Center: Self-Help Graphics

item 127.

Valadez, John (title unknown)

Date: March 19-26, 1985

Medium: silk screen

Dimension: 24 3/4" x 35 1/2"

Art Center: Self-Help Graphics

item 128.

Valdez, Patssi The Dressing Table

Date: November 14-18, 1988

Medium: silk screen

Dimension: 25" x 38"

Art Center: Self-Help Graphics

Comments:

"This depicts a section of my environment." P. Valdez

item 129.

Valdez, Patssi Scattered

Date: November 30-December 4, 1987

Medium: silk screen

Dimension: 24" x 36"

Art Center: Self-Help Graphics

Comments:

"This print is autobiographical: The breaking away of the old and the emergence of the new self." P. Valdez

item 130.

Vallejo, Linda (title unknown)

Date: December 4-13, 1984

Medium: silk screen

Dimension: 41 1/4" x 28 1/2"

Art Center: Self-Help Graphics

item 131.

Zains, Marísa Phantom Feur II

Date: March 1983

Medium: silk screen

Dimension: 35" x 23"

Art Center: Self-Help Graphics

item 132.

Zaragoza, Alex Raised in the U.S.A.

Date: February 21-25, 1989

Medium: silk screen

Dimension: 40" x 26"

Art Center: Self-Help Graphics

Comments:

"This work portrays passages of my life as a Mexican raised and educated in the U.S. Having left Mexico at a very young age, I had to adjust to a new culture, new environment, and hardest of all, a new language. Thinking back, it was an experience impossible to match, but easy to express. Mom once said, 'Vamos a los Estados Unidos, donde todo es color de rosa' (We are going to the U.S. where everything is like paths covered with rose petals [sic]). It has not been that easy!" A. Zaragoza

item 133.

Zoell, Bob Sunflowers for Gauguin

Date: October 14-17, 1985

Medium: silk screen

Dimension: 22 1/4" x 33"

Art Center: Self-Help Graphics

CENTER ACTIVITIES AND PROGRAMS

item 134.

Border Arts Workshop/Tallér de Arte Fronterízo Capp Street Project--Border Axes

Date: July-August 1989

Art Center: Centro Cultural de la Raza

Site:

Capp Street residence in San Francisco, CA

item 135.

Border Arts Workshop/Tallér de Arte Fronterízo End of the Line Workshop

Date: October 12, 1986

Art Center: Centro Cultural de la Raza

Site:

Borderline between Tijuana, Mexico, and San Diego, CA

Comments:

Costumes by Victor Ochoa.

item 136.

Border Arts Workshops/Tallér de Arte Fronterízo End of the Line Workshop

Date: October 12, 1986

Art Center: Centro Cultural de la Raza

Site:

Borderline between Tijuana, Mexico, and San Diego, CA

item 137.

Centro Cultural de la Raza Border Realities III

Date: February 1987

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

The Border is an International Fiction is the title of the mural from which this installation view was taken.

item 138.

Centro Cultural de la Raza Border Realities--Part Two

Date: February 1987

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Guillermo Gomez Peña Performance.

item 139.

Centro Cultural de la Raza Bus Art/Bus Poster: "Welcome to America's Finest Tourist Plantation"

Date: 1988

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

This sign depicts the plight of undocumented, low wage workers. It was displayed on one hundred San Diego Transit buses and resulted in controversy.

item 140.

Centro Cultural de la Raza Cafe Mestizo Exhibition

Date: ca. 1985

Art Center: Centro Cultural de la Raza

Site:

INTAR Gallery, New York, NY

Comments:

An installation view of Cafe Mestizo.

item 141.

Centro Cultural de la Raza and Border Arts Workshop/ Taller de Arte Fronterizo Colon Colonizado

Date: April 1990

Art Center: Centro Cultural de la Raza

Site:

Aperto '90, Venice Biennale, Venice, Italy

Comments:

This work examines colonization and its aftermath.

item 142.

Centro Cultural de la Raza Destination L.A. Exhibition

Date: December 199

Art Center: Centro Cultural de la Raza

Site:

Los Angeles Contemporary Exhibition (LACE), Los Angeles, CA

Comments:

An exhibition installation view.

item 143.

Centro Cultural de la Raza Día de los Muertos Celebration and Exhibition: Barbara Carrasco's Work

Date: 1988

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

An exhibition installation view.

item 144.

Centro Cultural de la Raza En Memoria Exhibition

Date: October-December 1987

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

item 145.

Centro Cultural de la Raza Entrance is Not Acceptance Exhibition

Date: October 1991-January 1992

Art Center: Centro Cultural de la Raza

Site:

Newport Harbor Art Museum, Newport Beach, CA

Comments:

Interactive multi-media installation with videotaped interviews and slide projections for the "Newport Harbor Art Museum's Third Biennial: Mapping Histories."

item 146.

Centro Cultural de la Raza The Hugo Sanchez Walking Performance

Date: November 1987

Art Center: Centro Cultural de la Raza

Site:

Streets of Tijuana, Mexico and San Ysidro, CA

Comments:

Part of the En Memoria Exhibition (October-December 1987).

item 147.

Centro Cultural de la Raza Huichol Style Yarn Art Workshops and Demonstrations and Exhibitions

Date: ca. 1977-1980

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

item 148.

Centro Cultural de la Raza James Luna Exhibition

Date: 1986

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

item 149.

Centro Cultural de la Raza On the Spot Exhibition

Date: January 1988

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

item 150.

Centro Cultural de la Raza On-Going Dance Performance, Demonstration, Workshops and Education

Date: ca. 1972-1988

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza, and other community locations in San Diego, CA

item 151.

Centro Cultural de la Raza On-Going Dance Performance, Demonstration, Workshops and Education

Date: ca. 1972-1988

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza, and other community locations in San Diego, CA

item 152.

Centro Cultural de la Raza On-Going Dance Performance, Demonstration, Workshops and Education

Date: ca. 1972-1988

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza, and other community locations in San Diego, CA

item 153.

Centro Cultural de la Raza Performance by Paradise Senior Rondalla

Date: 1980

Art Center: Centro Cultural de la Raza

item 154.

Centro Cultural de la Raza Reunion XX--Twentieth Anniversary Exhibition

Date: June 15-July 29, 1990

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

An exhibition installation view.

item 155.

Centro Cultural de la Raza Santiago Vaca--One Person Exhibit

Date: June 15-July 28, 1991

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

An exhibition installation view.

item 156.

Centro Cultural de la Raza Spreckels Elementary Residency

Date: ca. February 1986

Art Center: Centro Cultural de la Raza

Site:

Spreckels Elementary School, San Diego, CA

Comments:

Slide documents an activity at Spreckels Elementary school. Participants erected a pyramid, and a dancer performed in a costume from an early period of Meso-American history.

item 157.

Centro Cultural de la Raza Suspended Text/A Border Matrix Exhibition

Date: March-April 1991

Art Center: Centro Cultural de la Raza

Site:

Palomar College-Boehm College, San Marcos, CA

Comments:

Interactive multi-media installation.

item 158.

Centro Cultural de la Raza/Toltecas en Aztlán Toltecas en Aztlán Exhibition

Date: n.d.

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

This is a banner backdrop.

item 159.

Centro Cultural de la Raza A Tri-Cultural Street Event

Date: January 4, 1986

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

The San Diego Donkey Cart, created to comment on the border and the "migra" are taken out into the street and parked on the sidewalk in Front of Sushi Performance Space.

item 160.

Centro Cultural de la Raza Wearing of Día de los Muertos Mask by David Avalos

Date: 1982

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Slides document the artist wearing the mask.

item 161.

Centro Cultural de la Raza Whitewash(ed) Exhibition

Date: April 1991

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Exhibition installation views.

item 162.

Centro Cultural de la Raza Whitewash(ed) Exhibition

Date: April 1991

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Exhibition installation views.

item 163.

Centro de Artistas Chicanos Fiesta de Maiz

Date: June 1982

Art Center: Royal Chicano Air Force

Site:

Southside Park, 7th and T Street, Sacramento, CA

Comments:

Xilonen is taken to the "North" direction where Jennie Baca gives her consejos (advice). North is direction of the elders and wisdom.

item 164.

Centro de Artistas Chicanos, Breakfast for Niños Program, Royal Chicano Air Force and Cultural Affairs Committee Royal Chicano Air Force and Breakfast for Niños Program Fundraiser

Date: October 1978

Art Center: Royal Chicano Air Force

Site:

Sacramento High School Auditorium, Sacramento, CA

Comments:

RCAF Band leader, Freddy Rodríguez singing one of the songs he composed for the Chicano opera Xic-Indio. The evening's entertainment included a poetry reading by José Montoya, a performance of a segment of Freddy Rodríguez' Xic-Indio, and Teatro Campesino's performance of El Fin del Mundo.

item 165.

CSUS and Centro de Artistas Chicanos, Inc Anciano City Hall Art Show

Date: May 1979

Art Center: Royal Chicano Air Force

Site:

City Hall, 12th and I Street, Sacramento, CA

item 166.

Cultural Affairs Committee Día de los Muertos Annual Procession and Ceremonia

Date: 1977

Art Center: Royal Chicano Air Force

Site:

St. Mary's Cemetery, 21st Avenue and 65th Street, Sacramento, CA

Comments:

"As with many Chicano communities, in Sacramento we also celebrated 'Día de Los Muertos', but we have celebrated ours for many years at the main Chicano cemetery in Sacramento. It is here that the majority of our familias are buried so it makes our ceremonia that much more real because we come to visit our recently deceased each and every year."

item 167.

Cultural Affairs Committee Día de los Muertos Community Procession

Date: November 2, 1977

Art Center: Royal Chicano Air Force

Site:

Hiram Johnson High School (site of procession formation), Sacramento, CA

Comments:

From the Día de los Muertos Celebration.

item 168.

Cultural Affairs Committee Día de los Muertos Community Procession

Date: November 2, 1978

Art Center: Royal Chicano Air Force

Site:

Hiram Johnson High School to Saint Mary's Cemetery (65th Street and 21st Avenue), Sacramento, CA

Comments:

Procession arriving at St. Mary's Cemetery.

item 169.

Cultural Affairs Committee Día de los Muertos Máscara (Mask-Making) Workshop

Date: October 1978

Art Center: Royal Chicano Air Force

Site:

Inner City Schools, Sacramento, CA

Comments:

Masks drying at the Washington neighborhood center floor.

item 170.

Cultural Affairs Committee Día de los Muertos Máscara (Mask-Making) Workshop

Date: October 1978

Art Center: Royal Chicano Air Force

Site:

Inner City Schools, Sacramento, CA

Comments:

High school students making a mask on a fellow student.

item 171.

Cultural Affairs Committee Día de los Muertos Silk Screen Workshop

Date: October 1978

Art Center: Royal Chicano Air Force

Site:

Inner City Schools, Sacramento, CA

Comments:

Louie "The Foot" Gonzalez giving a silk screen workshop.

item 172.

Cultural Affairs Committee Fiesta de Colores Celebration

Date: March 1978

Art Center: Royal Chicano Air Force

Site:

Southside Park, 7th and T Street, Sacramento, CA

Comments:

"Tlaloc" the Aztec god of rain personified and leading the procession around the Southside Park pond.

item 173.

Cultural Affairs Committee Fiesta de Colores Celebration

Date: March 1979

Art Center: Royal Chicano Air Force

Site:

Southside Park, 7th and T Street, Sacramento, CA

item 174.

Cultural Affairs Committee Fiestas de Colores Celebration

Date: March 1980

Art Center: Royal Chicano Air Force

Site:

Southside Park, 7th and T Street, Sacramento, CA

Comments:

The guardians for the "West" are joined by Gina Montoya, a guardian for the "Center." As a guardian for the Center, she, Juanishi Orosco, and Dr. Arnaldo Solis were responsible for setting up the main altar.

item 175.

Cultural Affairs Committee Fiesta de Colores Celebration

Date: March 1982

Art Center: Royal Chicano Air Force

Site:

Southside Park, 7th and T Street, Sacramento, CA

Comments:

Procession into the ceremonial circle. Danza Mexicayotl from San Diego were guests of honor.

item 176.

Cultural Affairs Committee Fiesta de Colores Celebration

Date: March 1982

Art Center: Royal Chicano Air Force

Site:

Southside Park, 7th and T Street, Sacramento, CA

Comments:

Danza Mexicayotl making a musical offering.

item 177.

Cultural Affairs Committee Fiestas de Maiz First Annual Celebration of Chicano Cultural Ceremonies

Date: ca. 1976

Art Center: Royal Chicano Air Force

Site:

Zapata Park Housing Project, Sacramento, CA

Comments:

"Sacramento ceremonies conceived by community activists working for the Centro, Breakfast for Niños, Sacramento Concilio, La Raza Bookstore and MECHA California State University, Sacramento (CSUS). Its purpose was to fill the ceremonial void in the Chicano Movement. This ceremonia is to honor the coming of age of our Chicana youths represented by "Xilonen," a young tender ear of corn (maiz). The first Xilonen was Maria Maiz." Gloria Rangel (center) is pictured with the children's group from the "South" direction. These neighborhood children (many from the Zapata Park Housing Project) learned a dance that they offered up during the ceremony. The dance shows the transformation of Maria Maiz into "Xilonen."

item 178.

Cultural Affairs Committee Fiesta de Maíz Celebration

Date: June 1977

Art Center: Royal Chicano Air Force

Site:

Southside Park, 7th and T Street, Sacramento, CA

item 179.

Cultural Affairs Committee Fiesta de Maíz Celebration

Date: June 1979

Art Center: Royal Chicano Air Force

Site:

Southside Park, 7th and T Streets, Sacramento, CA

Comments:

Pyramid built by Rodolfo Cuellar. Guardians of the Center wait for the approach of Xilonen.

item 180.

Cultural Affairs Committee One More Canto Poetry Reading

Date: February 27, 1979

Art Center: Royal Chicano Air Force

Site:

Reno Club, 12th and D Street, Sacramento, CA

Comments:

Though shortlived (it took place for only two years), the poetry reading drew crowds from the Bay Area on Tuesday nights due to its unique setting. The Reno Club was a neighborhood bar in the barrio.

item 181.

Danza Quetzalcoatl Ceremonia para Tonanzín en el Día Doce de Diciembre, La Fiesta para la Virgen de Guadalupe

Date: December 1976

Art Center: Royal Chicano Air Force

Site:

La Iglesia "La Virgen de Guadalupe," 7th and T Street, Sacramento, CA

Comments:

"As we became more familiar with our indigenous ceremonies, we began to honor them. The ceremonia for the Virgen is one of the most important and concludes the ceremonial cycle for the year." Children from Danza Quetzalcoatl dance in front of Our Lady of Guadalupe Church in honor of the Virgen's feast day.

item 182.

Galería de la Raza/Studio 24 Animal Wood Carvers of New Mexico Exhibition

Date: June 15-July 16, 1985

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Work by Mike Rios.

item 183.

Galería de la Raza/Studio 24 Annual Christmas Folk Art Sale

Date: November 28-December 24, 1983

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 184.

Galería de la Raza/Studio 24 Cactus Hearts/Barbed Wire Dreams: Media-Myths and Mexicans Exhibition

Date: September 6-October 1, 1988

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 185.

Galería de la Raza/Studio 24 Christmas Folk Art Sale

Date: November 26-December 24, 1984

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 186.

Galería de la Raza/Studio 24 Christmas Folk Art Sale

Date: November 26-December 24, 1984

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 187.

Galería de la Raza/Studio 24 Day of the Dead, 1989 Procession

Date: November 2, 1989

Art Center: Galería de la Raza

Site:

From 2857 24th Street through La Raza Park, San Francisco, CA

item 188.

Galería de la Raza/Studio 24 Day of the Dead, 1989 Procession

Date: November 2, 1989

Art Center: Galería de la Raza

Site:

From 2857 24th Street through La Raza Park, San Francisco, CA

item 189.

Galería de la Raza/Studio 24 Day of the Dead, 1989 Procession

Date: November 2, 1989

Art Center: Galería de la Raza

Site:

From 2857 24th Street through La Raza Park, San Francisco, CA

item 190.

Galería de la Raza/Studio 24 Day of the Dead, 1989 Procession

Date: November 2, 1989

Art Center: Galería de la Raza

Site:

From 2857 24th Street through La Raza Park, San Francisco, CA

item 191.

Galería de la Raza/Studio 24 Day of the Dead, 1989 Procession

Date: November 2, 1989

Art Center: Galería de la Raza

Site:

From 2857 24th Street through La Raza Park, San Francisco, CA

item 192.

Galería de la Raza/Studio 24 El Arte de los Huicholes Exhibition: Part I, the Peter Young Collection

Date: August 23-October 12, 1975

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Huichol Yarn Painting Exhibition, 1976.

item 193.

Galería de la Raza/Studio 24 El Día de los Muertos Exhibition, 1977

Date: 1977

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

An exhibition installation view.

item 194.

Galería de la Raza/Studio 24 El Día de los Muertos, 1986 Exhibition

Date: October 15-November 8, 1986

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 195.

Galería de la Raza/Studio 24 El Día de los Muertos, 1989 Exhibition

Date: October 10-November 4, 1989

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Sugar skull maker from Mexico, Emilio Quintana.

item 196.

Galería de la Raza/Studio 24 Espinas de la Vida/Thorns of Life Exhibition

Date: April 26-May 21, 1988

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Work by Jaime Palacios.

item 197.

Galería de la Raza/Studio 24 Everchanging Exhibition: Works by Eva García and Ramiro Martinez

Date: May 16-June 20, 1986

Art Center: Galería de la Raza

item 198.

Galería de la Raza/Studio 24 Evocando el Paraíso One Person Show of Cristina Emmanuel

Date: March 14-April 15, 1989

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

An exhibition installation view.

item 199.

Galería de la Raza/Studio 24 Homenaje a Frida Kahlo: El Día de los Muertos, 1978

Date: November 2-December 17, 1978

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Silk screen poster by Rupert Garcia.

item 200.

Galería de la Raza/Studio 24 Homenaje a Frida Kahlo: El Día de los Muertos, 1978

Date: November 2-December 17, 1978

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 201.

Galería de la Raza/Studio 24 In Progress Exhibition

Date: May 4-June 12, 1982

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Patricia Rodriguez painting a mural.

item 202.

Galería de la Raza/Studio 24 La Cruz: Spiritual Source, Ancient and Contemporary Expressions

Date: March 15-April 9, 1988

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 203.

Galería de la Raza/Studio 24 La Cruz: Spiritual Source, Ancient and Contemporary Expressions

Date: March 15-April 9, 1988

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 204.

Galería de la Raza/Studio 24 La Misión Nueva Exhibition

Date: September 1-26, 1987

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 205.

Galería de la Raza/Studio 24 Low 'n Slow Exhibition

Date: July 28-September 22, 1979

Art Center: Galería de la Raza

Site:

Bay Area event

Comments:

Exhibition installation with Low Rider bicycle.

item 206.

Galería de la Raza/Studio 24 Performance of Aztec Dance and Music by the Group "Xipe-Totec"

Date: November 2, 1989

Art Center: Galería de la Raza

Site:

La Raza Park, San Francisco, CA

Comments:

Display of hand made traje for danza.

item 207.

Galería de la Raza/Studio 24 Pinturaltura--Vermillion Blues Spilling Exhibition by Juana Alicia and Barbara Carrasco

Date: January 24-February 18, 1989

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Work by Juana Alicia.

item 208.

Galería de la Raza/Studio 24 Pinturaltura--Vermillion Blues Spilling Exhibition by Juana Alicia and Barbara Carrasco

Date: January 24-February 18, 1989

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Work by Juana Alicia.

item 209.

Galería de la Raza/Studio 24 Recuerdos de Frida Exhibition

Date: May 5-June 27, 1987

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Photograph by Imogen Cunningham.

item 210.

Galería de la Raza The Renaissance of Paper Cut-Outs Exhibition

Date: May-June 1982

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 211.

Galería de la Raza/Studio 24 Santos de New Mexico Exhibition

Date: April 3-June 4, 1983

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 212.

Galería de la Raza South Africa, State of Emergency

Date: n.d.

Art Center: Galería de la Raza

Site:

Galería de la Raza/Studio 24

Comments:

From The South Africa, State of Emergency Exhibition (July 15-August 24, 1986).

item 213.

Royal Chicano Air Force Concilio de Arte Popular Conference and Workshops

Date: April 1978

Art Center: Royal Chicano Air Force

Site:

Centro de Artistas Chicanos, Holy Angels Site, 7th and S Street, Sacramento, CA

Comments:

Silk screen workshop led by Louie "the Foot" Gonzalez. Next to him is "Sapo" (Tomás Avilez) from La Brocha del Valle in Fresno.

item 214.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 215.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 216.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 217.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 218.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 219.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 220.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 221.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 222.

Self-Help Graphics Day of the Dead '80

Date: November 2, 1980

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 223.

Self-Help Graphics Day of the Dead '82

Date: November 7, 1982

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 224.

Self-Help Graphics Day of the Dead '82

Date: November 7, 1982

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 225.

Self-Help Graphics Day of the Dead '82

Date: November 7, 1982

Art Center: Self-Help Graphics

Site:

Self-Help Graphics

item 226.

Self-Help Graphics Day of the Dead '89 Exhibition

Date: November 3, 1989

Art Center: Self-Help Graphics

Site:

Galería Otra Vez

item 227.

Self-Help Graphics Day of the Dead '89 Exhibition

Date: November 3, 1989

Art Center: Self-Help Graphics

Site:

Galería Otra Vez

Comments:

Work by Consuelo Norte, Sandra Hahn, and Frances España.

item 228.

University of Colorado-Boulder Mis.ce.ge.Nation

Date: October 11-November 9, 1991

Art Center: Centro Cultural de la Raza

Site:

University Art Gallery, University of Colorado-Boulder, Boulder, CO

Comments:

Exhibition installation views.

DRAWINGS

item 229.

Artist Unknown (title unknown)

Date: n.d.

Medium: stick medium such as Conté crayon or pastel

Art Center: Galería de la Raza

Comments:

From the "Border Realities" Exhibition at Galería de la Raza.

item 230.

Avalos, David (title unknown)

Date: n.d.

Medium: pen and ink

Art Center: Centro Cultural de la Raza

Comments:

Avalos uses the comic book format to convey his message about humans' lack of direction, being lulled into complacency by media manipulation and ultimately losing our free will through mind control. The tale is circular and the cycle continues ad infinitum.

item 231.

Carrasco, Barbara Here Lies/Hear Lies Our Artist

Date: 1988

Medium: ink on clay coated paper

Dimension: 11" x 14"

Art Center: Galería de la Raza

Comments:

From Pinturaltura-Vermillion Blues Spilling Exhibition by Juana Alicia and Barbara Carrasco at Galería de la Raza (January 24-February 18, 1989).

item 232.

Carrasco, Barbara (title unknown)

Date: 1988

Medium: ink on clay coated paper

Art Center: Galería de la Raza

Comments:

From Pinturaltura-Vermillion Blues Spilling Exhibition by Juana Alicia and Barbara Carrasco at Galería de la Raza (January 24-February 18, 1989).

item 233.

Esparza, Carlos Victor Ochoa, Yasue Dandera, Guillermo Rosete and Michael Schnorr Sketches for "The Life of Pedro J. Gonzalez" Mural

Date: 1983-1984

Medium: pastel

Art Center: Centro Cultural de la Raza

Comments:

Preliminary sketches for the mural painted at Chicano Park, 1970 Logan Ave., San Diego, CA.

item 234.

Favela, Ricardo Police Brutality

Date: 1970

Medium: pen and ink, and color pencil

Art Center: Royal Chicano Air Force

item 235.

Gronk (title unknown)

Date: ca. 1982

Medium: pen and ink color markers

Art Center: Galería de la Raza

Comments:

From ASCO 1982 Exhibition of Los Angeles conceptual artists, organized by René Yañez at Galería de la Raza (August 7-31, 1982).

item 236.

Hernández, Ester If This Is Death, I Like It

Date: 1987

Medium: pastel

Art Center: Galería de la Raza

Comments:

From the Defiant Eye, Solo Exhibition of Works by Ester Hernández at Galería de la Raza (June 7-July 2, 1988).

item 237.

Martinez, Cesar 1940 Glamour Pose

Date: ca. 1981

Medium: markers and color pencils

Art Center: Galería de la Raza

Comments:

From the Ajo Granadas y Tres Flores Exhibition at Galería de la Raza (June 26-July 26, 1981).

item 238.

Montoya, José Sketch Book Drawings

Date: ca. 1973-1974

Medium: pen and ink

Art Center: Royal Chicano Air Force

item 239.

Montoya, José Sketch Book Drawings

Date: ca. 1973-1974

Medium: pen and ink

Art Center: Royal Chicano Air Force

Comments:

"La Curadera" [sic].

item 240.

Orosco, Juanishi V. Do You Know What Happens Between the Light?

Date: 1991

Medium: oil pastel on paper

Dimension: 12" x 16"

Art Center: Royal Chicano Air Force

item 241.

Orosco, Juanishi V. Marcha Pa'l Agua

Date: ca. 1978

Medium: watercolor on watercolor paper

Dimension: 18" x 12"

Art Center: Royal Chicano Air Force

Comments:

Preliminary sketch for silk screen.

item 242.

Orosco, Juanishi V. (title unknown)

Date: ca. 1991

Medium: oil pastel on paper

Dimension: 9" x 13"

Art Center: Royal Chicano Air Force

Comments:

This work, and others by the artist, have been represented by Galería Nueva, Los Angeles, CA.

item 243.

Palacios, Jaime El Muerto Jinete

Date: 1987

Medium: graphic arts

Art Center: Galería de la Raza

Comments:

From the Espinas de la Vida/Thorns of Life Exhibition at Galería de la Raza (April 26-May 21, 1988).

item 244.

Palacios, Jaime Pensamientos

Date: 1987

Medium: pen and ink on printed paper

Art Center: Galería de la Raza

Comments:

From the Espinas de la Vida/Thorns of Life Exhibition at Galería de la Raza (April 26-May 21, 1988).

item 245.

Villa, Esteban Black and White Mujer Series

Date: ca. 1973

Medium: pen and ink

Art Center: Royal Chicano Air Force

item 246.

Villa, Esteban Judge Chargin

Date: ca. 1970

Medium: pencil, pen and ink, and Conté crayon

Art Center: Royal Chicano Air Force

Comments:

This is a drawing of "a real racista judge who was in the national spotlight for trying an incest case against a Mexicano. He was quoted as saying all Mexicanos were not fit to live in this society, were animals, etc."

item 247.

Zalce, Alexandra (title unknown)

Date: slides 1-10: 1990; 11: 1991

Medium: oil pastel

Dimension: 18" x 24"

Art Center: Centro Cultural de la Raza

Comments:

From the Alexandra Zalce Exhibition curated by Patricio Chavez at Centro Cultural de la Raza (February 14-March 29, 1992).

GRAPHIC ARTS

item 248.

Aranda, Guillermo (title unknown)

Date: ca. 1971

Medium: silk screen poster

Art Center: Centro Cultural de la Raza

Comments:

Poster from Centro Cultural de la Raza.

item 249.

Avalos, David The Border is an International Fiction

Date: n.d.

Medium: book art

Art Center: Centro Cultural de la Raza

Comments:

Pages from the journal Fiction International (San Diego, CA) focusing on the ongoing debate about the U.S./Mexican border.

item 250.

Avalos, David (title unknown)

Date: n.d.

Medium: silk screen poster

Art Center: Centro Cultural de la Raza

Comments:

This is an image of Pancho Villa in a poster from Centro Cultural de la Raza.

item 251.

Barajas, Salvador Los Mascarones

Date: n.d.

Medium: silk screen poster

Art Center: Centro Cultural de la Raza

Comments:

Poster from Centro Cultural de la Raza for a theater presentation by Los Mascarones.

item 252.

Cervantes, Juan Fiesta de Navidad

Date: 1975

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 253.

Cervantes, Juan Friends of the River

Date: 1976

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 254.

Cervantes, Juan Third World Writers and Thinkers Symposium

Date: ca. 1973-1978

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 255.

Cid, Armando Chicano Ball

Date: 1976

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection

item 256.

Cid, Armando Cinco de Mayo

Date: 1976

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection

item 257.

Cid, Armando Tardeada con Cesar Chavez

Date: 1976

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 258.

Cuellar, Rudy 10 y 6 de Septiembre

Date: 1977

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 259.

Cuellar, Rudy Ché

Date: 1973

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 260.

Cuellar, Rudy Chicano Art Expo 74

Date: 1974

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 261.

Cuellar, Rudy Día de la Raza

Date: n.d.

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 262.

Cuellar, Rudy Mascarones

Date: 1973

Medium: woodcut, print on rice paper

Art Center: Royal Chicano Air Force

item 263.

Cuellar, Rudy Murales

Date: ca. 1973-1990

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 264.

Cuellar, Rudy Teatro Campesino

Date: ca. 1975-1980

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 265.

Duardo, Richard Zootsuit

Date: ca. 1978

Medium: silk screen

Art Center: Galería de la Raza

Comments:

From the Hecho en Aztlán Exhibition, organized by Galería de la Raza/Studio 24 (April 29-May 18, 1980).

item 266.

Favela, Ricardo Artist at 8 Years Old

Date: ca. 1983-1984

Medium: Canon 400 camera, photocopies of photographic prints altered and enlarged with color pencil treatment

Dimension: 22" x 16"

Art Center: Royal Chicano Air Force

Comments:

From Cañonazos series.

item 267.

Favela, Ricardo Centennial

Date: 1975

Medium: silk screen

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 268.

Favela, Ricardo Chicano Art Show

Date: 1973

Medium: silk screen

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 269.

Favela, Ricardo Compañeros Artistas

Date: ca. 1983-1984

Medium: Canon 400 camera, photocopies with color pencil treatment

Dimension: 16" x 22"

Art Center: Royal Chicano Air Force

Comments:

From Cañonazos series. From right to left: Jose Montoya, Esteban Villa, Richard Favela.

item 270.

Favela, Ricardo The Devaluation of the American Dollar

Date: ca. 1983-1984

Medium: Canon 400 camera, phototcopies with color pencil treatment

Dimension: 20" x 10"

Art Center: Royal Chicano Air Force

Comments:

From Cañonazos series.

item 271.

Favela, Ricardo Día de los Muertos

Date: 1977

Medium: silk screen

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 272.

Favela, Ricardo El Centro de Artistas Chicanos

Date: 1975

Medium: silk screen

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 273.

Favela, Ricardo In Search of Mr. Con Safos

Date: 1989

Medium: silk screen

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 274.

Favela, Ricardo Rivera Orozco Siqueiros

Date: 1973

Medium: offset print

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 275.

Favela, Ricardo Self-Portrait

Date: 1985

Medium: photocopied prints with color pencil treatment

Dimension: 22" x 16"

Art Center: Royal Chicano Air Force

Comments:

From Cañonazos series.

item 276.

Favela, Ricardo Sube la Xilonen (poem by Dr. Arnaldo Solis)

Date: 1976

Medium: silk screen

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 277.

Garcia, Kathryn Celebración

Date: 1974

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster collection.

item 278.

García, Max Chicano Teatro

Date: ca. 1970-1980

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 279.

García, Max Third World Writers and Thinkers Symposium

Date: 1976

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 280.

Garcia, Rupert Ché Guevara

Date: 1968

Medium: silk screen poster

Art Center: Centro Cultural de la Raza

Comments:

Poster of Ché Guevara for Centro Cultural de la Raza.

item 281.

Garcia, Rupert The Day of the Dead (of Political Prisoners)

Date: 1975

Medium: silk screen

Art Center: Galería de la Raza

Comments:

From El Día de los Muertos Exhibition at Galería de la Raza (November 2-December 1, 1975).

item 282.

Garcia, Rupert The Mexican Film Poster

Date: 1971

Art Center: Galería de la Raza

Comments:

From the Galería de la Raza First Mexican Film Poster Exhibition, 425 14th St., San Francisco, CA. (June 25-July 22, 1971) Printed by the artist when he was a member of the San Francisco Poster Workshop and the Galería de la Raza.

item 283.

Gonzalez, Louie 8 Dias del Mundo Chicano

Date: ca. 1973-1990

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 284.

Gonzalez, Louie Chismearte

Date: ca. 1973-1990

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 285.

Gonzalez, Louie En Estos Ojos

Date: ca. 1973-1990

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 286.

Gonzalez, Louie (title unknown)

Date: ca. 1977

Medium: silk screen

Art Center: Galería de la Raza

Comments:

From El Día de los Muertos Exhibition 1977 at Galería de la Raza (1977).

item 287.

Gonzalez, Louie Yes on 14

Date: ca. 1973-1990

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 288.

Hernández, Ester Sun Mad

Date: 1982

Medium: silk screen

Art Center: Galería de la Raza

Comments:

From the Defiant Eye Solo Exhibition of works by Ester Hernandez at Galería de la Raza (June 7-July 2, 1988).

item 289.

Juanino Una Mujer Cualquiera

Date: 1946

Art Center: Galería de la Raza

Comments:

From the Movie Posters from the Golden Age of Mexican Chicano Exhibition at Galería de la Raza (February 10-March 31, 1979).

item 290.

Ledesma, Sylvia (title unknown)

Date: n.d.

Medium: photo silk screen

Art Center: Galería de la Raza

Comments:

From El Día de los Muertos, 1985 Exhibition and Celebration at Galería de la Raza (October 15-November 9, 1985).

item 291.

Lerma, Irma C. Pensativa--Study After Zuñiga

Date: 1991

Medium: silk screen

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

item 292.

Lerma, Irma C. Royal Chicano Air Force Guerrillas del Corazon III

Date: 1990

Medium: silk screen with oil pastel color treatment

Dimension: 18" x 23"

Art Center: Royal Chicano Air Force

Comments:

This comes from the personal collection of the artist. Since it has been reworked, it is not a multiple print. Irma Lerma was probably the first female RCAF artist in the colectiva.

item 293.

Maradiaga, Ralph Michtlantecuhtle, Lord of Death and Darkness (Día de los Muertos)

Date: November 1974

Medium: silk screen

Dimension: 20" x 26"

Art Center: Galería de la Raza

item 294.

Montoya, José Just Us

Date: n.d.

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 295.

Montoya, José La Raza Drug Effort

Date: n.d.

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 296.

Montoya, José Pachuco Art: A Historical Update

Date: 1978

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 297.

Montoya, José Recuerdos del Palomar

Date: ca. 1969-1985

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 298.

Ochoa, Victor Teatro Mestizo

Date: 1978

Medium: silk screen poster

Art Center: Centro Cultural de la Raza

Comments:

Poster from Centro Cultural de la Raza.

item 299.

Orosco, Juanishi V. Fiesta de Colores

Date: 1979

Medium: silk screen

Dimension: 23" x 18"

Art Center: Royal Chicano Air Force

Comments:

Eighteenth de Marzo spring mercado, musica y comida at Southside Park.

item 300.

Orosco, Juanishi V. Gran Baile Y Noche Social

Date: n.d.

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 301.

Orosco, Juanishi V. One More Canto

Date: 1978 or 1984

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 302.

Orosco, Juanishi V. Royal Chicano Air Force Art Sale and Fundraiser

Date: October 1982

Medium: silk screen

Art Center: Royal Chicano Air Force

item 303.

Padilla, Stan Fiesta de Colores

Date: ca. 1974-78

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

Part of the Royal Chicano Air Force Poster Collection.

item 304.

Siguenza, Herbert (title unknown)

Date: ca. 1983

Medium: silk screen

Art Center: Centro Cultural de la Raza

Comments:

Designed and printed by La Raza Graphic Center. Posters from the Life on the Street: Herbert Siguenza Retrospective Exhibition organized by Centro Cultural de la Raza (December 1983).

item 305.

Valdez, Patssi (title unknown)

Date: ca. 1989

Art Center: Centro Cultural de la Raza

Comments:

From the Gaia Pacifica: The Art of Activism Exhibition organized by Mary Hsi at Centro Cultural de la Raza (April 14-May 6, 1989). This black and white print is a photo collage depicting the separate realities of Los Angeles (L.A.) and Tijuana (T.J.). Images of L.A. (skyscrapers, expressways, cars, and even Valdez's self-portrait) dominate the upper two-thirds of the print. The lower section is of men in hats and barbed wire. A white border around the collage is filled on one side with the letters "L" and "A" and on the other side with "T" and "J."

item 306.

Villa, Esteban 5 de Mayo con el Royal Chicano Air Force Arte Musica Poesia

Date: 1973

Medium: offset print poster

Art Center: Royal Chicano Air Force

item 307.

Villa, Esteban Herencia Cultural

Date: 1974

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 308.

Villa, Esteban I.M.C.

Date: n.d.

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

From El Royal Chicano Air Force Poster Collection.

item 309.

Viramontes, Xavier Boycott Grapes: Support the United Farmworkers Union

Date: 1973

Medium: silk screen

Art Center: Centro Cultural de la Raza

Comments:

Poster from Centro Cultural de la Raza.

INDIGENOUS CHICANO MEDIUMS AND ART FORMS

item 310.

Artist Unknown (title unknown)

Date: February 1-March 10, 1991

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Lowrider car on display.

item 311.

Artist Unknown (title unknown)

Date: November 2-23, 1979

Medium: papel picado

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Cut paper design for El Día de los Muertos Exhibition at Galería de la Raza (November 2-23, 1979).

item 312.

Avalos, David Day of the Dead Mask

Date: n.d.

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From the Máscaras Exhibition, organized by Ralph Maradiaga at Galería de la Raza (September 10-October 8, 1983).

item 313.

Connell, Kate El Volario

Date: n.d.

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1985 Exhibition and Celebration at Galería de la Raza.

item 314.

Connell, Kate Here Comes Trouble

Date: n.d.

Medium: mixed media

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1984 Exhibition and Celebration at Galería de la Raza.

item 315.

Espinosa, Roberto (title unknown)

Date: ca. 1977-1980

Medium: huichol style yarn craft

Art Center: Centro Cultural de la Raza

item 316.

Felix, José Abril 1975

Date: ca. 1974

Medium: silk screen and offset

Art Center: Royal Chicano Air Force

Comments:

Print for the Royal Chicano Air Force Calendario.

item 317.

García, Max Royal Chicano Air Force Calendario, 1975

Date: 1975

Medium: silk screen and offset

Art Center: Royal Chicano Air Force

Comments:

Drawing of the calendario cover by Max García.

item 318.

Garcia, Rupert Frida Kahlo

Date: 1975

Medium: indigenous chicano mediums and art forms (silk screen)

Art Center: Galería de la Raza

Comments:

From the Galería Calendario Exhibition at Galería de la Raza (January 22-February 13, 1977).

item 319.

Garza, Carmen Lomas (title unknown)

Date: ca. 1976

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Paper masks made for the Day of the Dead Exhibition, 1976 at Galería de la Raza (November 2-28, 1976).

item 320.

Garza, Carmen Lomas (title unknown)

Date: 1978

Medium: papel picado

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From the Homenaje a Frida Kahlo, El Día de los Muertos Exhibition at Galería de la Raza.

item 321.

Gorena, Xavier (title unknown)

Date: ca. 1989

Medium: papel picado

Art Center: Galería de la Raza

Comments:

From the Ajo Granadas y Tres Flores Exhibition at Galería de la Raza (June 26-July 26, 1981).

item 322.

Guerrero, Xochitl (title unknown)

Date: n.d.

Medium: papier maché

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1984 Exhibition and Celebration at Galería de la Raza.

item 323.

Linares, Pedro Domino Players

Date: n.d.

Medium: papier maché

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos Exhibition, organized by René Yañez and Ralph Maradiaga at Galería de la Raza (October 23-November 2, 1981).

item 324.

Maradiaga, Ralph Calendario de Comida 1976

Date: 1976

Medium: silk screen

Art Center: Royal Chicano Air Force

Comments:

Cover to the calendar, a collaborative project of Royal Chicano Air Force and Galería de la Raza.

item 325.

Maradiaga, Ralph Reality

Date: 1975

Medium: silk screen

Art Center: Galería de la Raza

Comments:

From the Galería Calendario Exhibition at Galería de la Raza (January 22-February 13, 1977).

item 326.

Montoya, José Dali Tortilla

Date: April 1973

Medium: Flour tortillas utilizing a soldering iron for detail drawing, and white glue for protection against decomposition

Dimension: 8" diameter

Art Center: Royal Chicano Air Force

Comments:

From José Montoya's Tortilla Art series.

item 327.

Montoya, José El Coyote

Date: April 1973

Medium: Flour tortillas utilizing a soldering iron for detail drawing, and white glue for protection against decomposition

Dimension: 8" diameter

Art Center: Royal Chicano Air Force

Comments:

From José Montoya's Tortilla Art series.

item 328.

Montoya, Jose En Una Tortilla Vide

Date: 1976

Dimension: silk screen

Art Center: Royal Chicano Air Force

Comments:

Print for the Calendario de Comida, 1976, a collaborative project of Royal Chicano Air Force and Galería de la Raza.

item 329.

Orosco, Juanishi V. Viva la Huelga

Date: 1977

Medium: silk screen

Art Center: Galería de la Raza

Comments:

From the Galería Calendario Exhibition at Galería de la Raza (January 22-February 13, 1977).

item 330.

Yañez, Rene Chile

Date: 1976

Dimension: silk screen

Art Center: Royal Chicano Air Force

Comments:

Print for the Calendario de Comida 1976, a collaborative project of Royal Chicano Air Force and Galería de la Raza.

item 331.

Yañez, Rene Historical Photo-Silk Screen Movie

Date: 1977

Medium: silk screen

Art Center: Galería de la Raza

Comments:

From the Galería Calendario Exhibition at Galería de la Raza (January 22-February 13, 1977).

INSTALLATION ART

item 332.

Artist Unknown Amnesty Room

Date: 1985

Art Center: Centro Cultural de la Raza

Site:

New York Artist Space Gallery, New York, NY, and Centro Cultural de la Raza

Comments:

From the Border Realities Exhibition at New York Artist Space Gallery and Centro Cultural de la Raza (February 23-March 23, 1985).

item 333.

Artist Unknown (title unknown)

Date: 1988

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1988 Exhibition at Galería de la Raza (October 18-November 12, 1988).

item 334.

Avalos, David, Robert Sanchez, Victor Ochoa, Michael Schnorr, and Richard Morris Allen 911--A House Gone Wrong

Date: 1987

Art Center: Centro Cultural de la Raza

Site:

Parameters 8 Downtown Gallery, San Diego, CA, and La Jolla Museum of Contemporary Art, La Jolla, CA

Comments:

From the 911-A House Gone Wrong Exhibition organized by Border Arts Workshop/Tallér de Arte Fronterízo (April 1987).

item 335.

Brito-Avellana, Maria Come Play With Us (Childhood Memories)

Date: 1985

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Ceremony of Memory Exhibition organized by Patricio Chavez at Centro Cultural de la Raza (November 17, 1989-January 21, 1990). A section of a room has been reconstructed and modified. A plank floor was laid and a wall erected. A mirror hangs on the wall along with four photographs of eyes. A non-standard crib (big enough for a baby to stand up in) has been placed in front of the mirror and a miniature ladder leans against it. A box on the wall is a small scale version of the installation.

item 336.

Connell, Kate and María V. Pinedo Dressed Skeletons

Date: 1980

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From Calaca Huesuda--El Día de los Muertos Exhibition at Galería de la Raza (October 19-November 7, 1980).

item 337.

Dominguez, Eddie The Bedroom Installation

Date: 1986-1987

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Ceremony of Memory Exhibition organized by Patricio Chavez at Centro Cultural de la Raza (November 17, 1989-January 21, 1990). Photographs of an installation of modified bedroom furniture (a bed, vanity, dresser, and lamp).

item 338.

Gamboa, Harry (title unknown)

Date: ca. 1985

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the Día de los Muertos Exhibition and Celebration at Centro Cultural de la Raza (1985).

item 339.

Lou, Richard Casa de Cambio-The Tunnel

Date: 1985

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Part of the Casa de Cambio installation. From the Border RealitiesExhibition at Centro Cultural de la Raza (February 22-March 23, 1985).

item 340.

Lou, Richard (title unknown)

Date: 1989

Art Center: Centro Cultural de la Raza

Site:

New York Artist Space Gallery, New York, NY and Centro Cultural de la Raza

Comments:

From the Vidas Perdidas/Lost Lives Exhibition organized through Border Arts Workshop/Tallér de Arte Fronterízo by Richard Lou, Victor Ochoa, Robert Sanchez and Michael Schnorr (January 1989). Five weavings are hung on the wall. The center one is striped and has clothing attached to it; the two on either side are black with skeletons in various positions and have photographs affixed to their centers. A triangle of carpeting extends out into the gallery space and shoes and votives are placed around its edges. A coffin is in the center covered with a weaving.

item 341.

Luna, James Indian Graveyard

Date: ca. 1990

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Part of the California Mission Daze installation. From the We Are Part of the Earth Exhibition, curated by Jaune Quick-to-See Smith at Centro Cultural de la Raza (April 16-May 20, 1990). A square enclosure constructed of wooden fence posts, wood scraps, wire, and recycled metal head boards from beds, is filled with soil and stones. Crosses of various sizes and tombstones have been used to create the impression of a graveyard. Lit candles have been placed at the base of each "grave."

item 342.

Ochoa, Victor and Carmela Castrejon Casa de Cambio-Documentation Room

Date: 1985

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Part of the Casa de Cambio installation. From the Border RealitiesExhibition at Centro Cultural de la Raza (February 22-March 23, 1985).

item 343.

Patlan, Ray Earthquake in Mexico

Date: 1985

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1985 Exhibition and Celebration at Galería de la Raza (October 15-November 9, 1985).

item 344.

Sanchez, Robert and Michael Schnorr Casa de Cambio

Date: 1985

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

Title wall and entrance to the Casa de Cambio installation. From the Border Realities Exhibition at Centro Cultural de la Raza (February 22-March 23, 1985).

item 345.

Sanchez, Robert and Richard A. Lou La Frontera Nos Parte Hasta los Huesos

Date: February-March 1991

Art Center: Centro Cultural de la Raza

Site:

University of Baja, California, North Gallery, B.C.N., Tecate, Mexico

Comments:

From the United States/Mexican Border Art Forum at the University of Baja. Interactive multi-media installation.

item 346.

Schnorr, Michael and Liz Sisco Red Asphalt

Date: 1989

Art Center: Centro Cultural de la Raza

Site:

New York Artist Space Gallery, New York, NY, and Centro Cultural de la Raza

Comments:

From the Vidas Perdidas Exhibition organized through Border Arts Workshop/Tallér de Arte Fronterízo by Richard Lou, Victor Ochoa, Robert Sanchez, and Michael Schnorr (January 1989).

item 347.

Valdez, Patssi (title unknown)

Date: n.d.

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From a Día de los Muertos Exhibition and Celebration at Centro Cultural de la Raza.

MURALS

item 348.

Aguilar, Mario and David Avalos El Maguey

Date: 1974

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 15 1/2' x 13'

Art Center: Centro Cultural de la Raza

Site:

Exterior of Centro Cultural de la Raza, 2004 Park Blvd. Building #671, San Diego, CA

Comments:

This mural consists of two parts: the one at the right is by David Avalos, the one at the left by Mario Aguilar.

item 349.

Aguirre, Vidal Mayan Ball Game

Date: 1982

Medium: pro-line vinyl on acid concrete, rubber surface conditioner

Dimension: 25'x 30'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Ave., San Diego, CA

item 350.

Aranda, Guillermo La Dualidad

Date: ca. 1970-1984

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 15 1/2' x 45'

Art Center: Centro Cultural de la Raza

Site:

Interior of Centro Cultural de la Raza, 2004 Park Blvd. Building #671, San Diego, CA

item 351.

Aranda, Guillermo, Mario Acevedo, Victor Ochoa, Salvador Torres, José Cervantes, Tomás Castañeda, and Guillermo Rosete Ramp 1B

Date: 1973-1984

Medium: acrylic on concrete

Dimension: 12' x 50'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park Ramp (north), 1800 Logan Ave., San Diego, CA

Comments:

Artwork after restoration.

item 352.

Armijo High School MECHA Club Armijo MECHA Mural

Date: 1980

Medium: Politec Mural Paint on cement stucco building

Dimension: 14' x 100'

Art Center: Royal Chicano Air Force

Site:

Armijo High School Administration Building, Fairfield, CA

Comments:

Mural dedication.

item 353.

Artist Unknown The Renaissance of Paper Cut-Outs: An Exhibition of Student Work

Date: July 9-July 31, 1982

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 354.

Artist Unknown South Africa, State of Emergency Exhibition Billboard

Date: July 15-August 24, 1986

Art Center: Galería de la Raza

Site:

Galería de la Raza/Studio 24

item 355.

Artist Unknown W x W (Women by Women) Exhibition Billboard

Date: May 10-June 1, 1985

Art Center: Galería de la Raza

Site:

Galería de la Raza/Studio 24

item 356.

Centro Cultural de la Raza American Heart Association Smoke Busters Mural

Date: 1986

Art Center: Centro Cultural de la Raza

Site:

Sweetwater High School, National City, CA

Comments:

Dedication ceremony for the mural painted in support of The American Heart Association.

item 357.

Centro Cultural de la Raza Border Watch I Exhibition

Date: January 1990

Art Center: Centro Cultural de la Raza

Site:

Soccer field/Cañon Zapata and Galería de la Raza

Comments:

This exhibit focuses on the year Columbus "discovered" (occupied) America (1492) and demonstrates the poverty and destitution that resulted.

item 358.

Cervantes, Juan Southside Park Mural II

Date: 1977

Medium: airbrush, paint brush, rollers, stencil, Mexican Politec acrylic paints

Dimension: 14' x 110', 25 000 square feet

Art Center: Royal Chicano Air Force

Comments:

A detail of Juan Cervantes' panel.

item 359.

Cid, Armando Ollin

Date: 1976-1977

Medium: Mexican mosaic tile

Dimension: 8' x 24'

Art Center: Royal Chicano Air Force

item 360.

Cid, Armando Ollin

Date: 1976-1977

Medium: Mexican mosaic tile

Dimension: 8' x 24'

Art Center: Royal Chicano Air Force

item 361.

Cid, Armando Para la Raza del Barrio

Date: ca. 1976

Medium: house paints, brush and rollers on concrete stucco

Dimension: parking lot wall: 6' x 40'; Reno Club wall: 20' x 60'

Art Center: Royal Chicano Air Force

Site:

Reno Club, 12th Street, Sacramento, CA

item 362.

Cid, Armando Para la Raza del Barrio

Date: ca. 1976

Medium: house paints, brush and rollers on concrete stucco

Dimension: parking lot wall: 6' x 40'; Reno Club wall: 20' x 60'

Art Center: Royal Chicano Air Force

Site:

Reno Club, 12th Street, Sacramento, CA

item 363.

Cid, Armando Por la Raza United Flight

Date: April 22, 1973

Medium: latex house paint on plywood panels

Dimension: 14' x 24'

Art Center: Royal Chicano Air Force

Comments:

This building is no longer standing. The mural panels are housed at La Raza Bookstore/Galería Posada.

item 364.

Cid, Armando and José Felix The Resurrection of the Tecato

Date: ca. 1973

Medium: paint brush, rollers and commercial house paints on plywood panels

Dimension: 8' x 16'

Art Center: Royal Chicano Air Force

Site:

Centro de Artistas Chicanos, Folsom Blvd., Sacramento, CA

item 365.

East Los Streetscapers: David Botello, Wayne Healy, and Yepes No Nukes for Mother Nature

Date: 1982

Medium: acrylic on canvas

Dimension: 12' x 15'

Art Center: Centro Cultural de la Raza

Comments:

From the California Murals off the Wall Exhibition at Centro Cultural de la Raza, 2004 Park Blvd. Building #671 (March 1983).

item 366.

Elk Grove High School MECHA Club "La Raza, Mexicano Español--Chicano or Whatever I Call Myself, I Look the Same, I Feel the Same, Accept Me for What I am, Chicano"

Date: 1978

Medium: Politec mural paints on cinder block

Dimension: 14' x 40'

Art Center: Royal Chicano Air Force

Site:

Elk Grove High School, Administration Building Elk Grove, CA

item 367.

Esparsa, Carlos, Victor Ochoa, Yasue Daudera, Guillermo Rosete, and Michael Schnorr The Life of Pedro J. Gonzáles

Date: 1983-1984

Medium: oil crayon on synthetic canvas and concrete

Dimension: 87' x 80'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Ave., San Diego, CA

Comments:

Pedro J. González was a telegraph operator for Pancho Villa; he became a popular radio and recording artist in Los Angeles. González was convicted of a crime and sent to San Quentin on false charges. After being released in 1941, he became a broadcasting pioneer in the border region of San Diego and Tijuana.

item 368.

Galería de la Raza Staff and Lowrider Magazine Low 'n Slow Exhibition Billboard

Date: July 28-September 22, 1979

Medium: mural

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 369.

Galvez, Daniel Lowrider Queen, Union City, CA

Date: 1982

Art Center: Galería de la Raza

Comments:

From the In Progress Exhibition, organized by René Yañez at Galería de la Raza (May 4-June 12, 1982).

item 370.

Galvez, Daniel New Dimensions in Realism Exhibition

Date: January 28-February 25, 1984

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 371.

Gamboa, Socorro Sueños Serpentinos

Date: 1978

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 30' x 30'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Ave., San Diego, CA

Comments:

Work in progress.

item 372.

Gamboa, Socorro Sueños Serpentinos

Date: 1978

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 30' x 30'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Ave., San Diego, CA

Comments:

Work in progress.

item 373.

Garcia, Eva 16th Annual Día de los Muertos Billboard

Date: 1986

Medium: mural

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From El Día de los Muertos, 1986 Exhibition (October 15-November 8, 1986).

item 374.

Garcia, Eva Christmas Folk Art and Craft Sale Billboard

Date: November 28-December 24, 1986

Art Center: Galería de la Raza

Site:

Galería de la Raza/Studio 24, Galería de la Raza

item 375.

Garcia, Eva The Defiant Eye, Solo Exhibition of Works by Ester Hernández Billboard

Date: June 7-July 2, 1988

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 376.

Garcia, Eva El Día de los Muertos, 1987 Exhibition Billboard

Date: October 13-November 14, 1987

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 377.

Garcia, Eva Evocando el Paráiso: One Person Show of Cristina Emmanuel Billboard

Date: March 14-April 15,1989

Medium: mural

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 378.

García, Lorraine and Sam Rios Southside Park Mural II

Date: 1977

Medium: airbrush, paint brush, rollers, stencil, Mexican Politec acrylic paints

Dimension: 14' x 110', 25 000 square feet

Art Center: Royal Chicano Air Force

Comments:

This is a detail of the panels of Lorraine Garcia and Sam Rios.

item 379.

García, Rupert Muralistas Mexicanos

Date: 1978

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 30' x 30'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Ave., San Diego, CA

Comments:

This mural includes the portraits of Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, and Frida Kahlo.

item 380.

Gronk ASCO 1982 Exhibition

Date: 1982

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Exhibition of work by Los Angeles conceptual artists Harry Gamboa, Gronk, Armando Norte, and Marisa Zains at Galería de la Raza (August 7-31, 1982).

item 381.

Gronk (title unknown)

Date: 1988

Medium: acrylic on dry wall surface

Dimension: 16' x 40'

Art Center: Centro Cultural de la Raza

Comments:

From the On the Spot Exhibition at Centro Cultural de la Raza (January 1988).

item 382.

Lopez, Yolanda (title unknown)

Date: n.d.

Medium: Politec acrylic

Art Center: Galería de la Raza

Comments:

From the In Progress Exhibition, organized by René Yañez at Galería de la Raza (May 4-June 12, 1982).

item 383.

Montoya, José Farmworker Family

Date: 1975

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 35' x 30'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Ave., San Diego, CA

item 384.

Montoya, José, Juanishi V. Orosco, Esteban Villa, Stan Padilla, Juan Cervantes, Sam Rios, and Lorraine García Southside Park Mural II

Date: 1977

Medium: airbrush, paint brush, rollers, stencil, Mexican Politec acrylic paints

Dimension: 14' x 110', 25 000 square feet

Art Center: Royal Chicano Air Force

Comments:

This is a panoramic view of the mural.

item 385.

Montoya, José Southside Park Amphitheater Mural II

Date: 1978

Medium: Politec mural paints on concrete amphitheatre

Dimension: 14'x 100'

Art Center: Royal Chicano Air Force

Site:

WPA era Amphitheatre, Southside Park, 7th and T Street, Sacramento, CA

Comments:

Panel by José Montoya.

item 386.

Ochoa, Victor Basta con Censura

Date: ca. 1989

Art Center: Centro Cultural de la Raza

Comments:

From the Capp Street Project--Border Axes at San Diego, CA (July-August 1989)

item 387.

Ochoa, Victor Border Realities

Date: 1985

Art Center: Centro Cultural de la Raza

Comments:

Portable mural from the Border Realities Exhibition at Galería de la Raza (February 23-March 23, 1985).

item 388.

Ochoa, Victor Labor in San Diego

Date: September 21, 1985

Medium: acrylic (nova) on concrete

Dimension: 11' x 185'

Art Center: Centro Cultural de la Raza

Site:

25th Street and Imperial Ave., San Diego, CA

item 389.

Ochoa, Victor and David Avalos Nature's Movement--Our Voice

Date: 1983

Medium: acrylic on canvas

Dimension: 9' x 15'

Art Center: Centro Cultural de la Raza

Site:

University of California, San Diego, Student Center, SAAC office, La Jolla, CA

Comments:

Many faces of different historical figures have been combined in this work.

item 390.

Orosco, Juanishi V. Heroes

Date: 1987

Medium: acrylic airbrush paints on Masonite panels (3)

Dimension: 8' x 12'

Art Center: Royal Chicano Air Force

Comments:

This was designed as a portable mural that could be used as a backdrop at functions. This mural reflects several of the most profound heroes of La Raza who can serve as positive role models for our cultura.

item 391.

Orosco, Juanishi V. and Esteban Villa Idaho Migrant Council Murals

Date: 1978

Medium: One Shot enamel paints on concrete wall

Dimension: stairway 20'x 14'

Art Center: Royal Chicano Air Force

Site:

Idaho Migrant Council, Burley, Idaho

Comments:

The left panel is by Orosco, and deals with the "Leyenda de Nuestra Raza from Aztecas to Campesinos."

item 392.

Orosco, Juanishi V. and Esteban Villa Idaho Migrant Council Murals

Date: 1978

Medium: One Shot enamel paints on concrete wall

Dimension: stairway 20'x 14'

Art Center: Royal Chicano Air Force

Site:

Idaho Migrant Council, Burley, Idaho

Comments:

The lowrider is by Orosco.

item 393.

Orosco, Juanishi V., Stan Padilla, Esteban Villa, and artists from Centro de Artistas Chicanos "Metamorphosis" Butterfly Mural

Date: 1980

Medium: Politec mural paints, airbrushed and brushwork on concrete

Dimension: 65' x 65' stories high x 4 panels 1650 sq. ft.

Art Center: Royal Chicano Air Force

Site:

4th and L Street Parking Lot Garage, Sacramento, CA

item 394.

Orosco, Juanishi V., Stan Padilla, Esteban Villa, and artists from Centro de Artistas Chicanos "Metamorphosis" Butterfly Mural

Date: 1980

Medium: Politec mural paints, airbrushed and brushwork on concrete

Dimension: 65' x 65' stories high x 4 panels 1650 sq. ft.

Art Center: Royal Chicano Air Force

Site:

4th and L Street Parking Lot Garage, Sacramento, CA

item 395.

Orosco, Juanishi V. Out of the Fire, Strength and Peace

Date: 1989

Medium: surfaced low-relief cement stucco on cinderblock. Low fire ceramic glazes on 6' x 6' ceramic bisque tile. Glazes were airbrushed

Dimension: Wall #1: 6' x 24'

Art Center: Royal Chicano Air Force

Site:

Joseph E. Rooney Police Substation, Barrio Franklin, Sacramento, CA

Comments:

The central "Aguila" designs on both walls are low-relief to create a three dimensional effect. The artist airbrushed the design with a glaze gun. Juanishi Orosco, Gina Montoya Orosco, and Pete Ximenez installed the tile.

item 396.

Orosco, Juanishi V. Programa Campesino Murals-Tres Aguilas de la Raza

Date: ca. 1972-1973

Medium: paint brush, roller and latex paint

Dimension: 10' x 30'

Art Center: Royal Chicano Air Force

Site:

1911 F Street, Sacramento, CA

item 397.

Orosco, Juanishi V. Sacramento Concilio, Farmworkers Program Building Mural

Date: 1974

Medium: Politec mural paints on stucco

Dimension: 10' x 24' (two exterior walls) and 10' x 24' (interior walls)

Art Center: Royal Chicano Air Force

Comments:

Panel with segments depicting: police beating a huelgista (lower left); campesinos (upper left); huelgistas with Virgen de Guadalupe (center); Tierra y libertad (upper right); and Cuahtemoc y Zapata

item 398.

Orosco, Juanishi V. Southside Park Mural II

Date: 1977

Art Center: Royal Chicano Air Force

Comments:

Detail, Juanishi Orosco's panel.

item 399.

Padilla, Stan Southside Park Mural II

Date: 1977

Medium: airbrush, paint brush, rollers, stencil, Mexican Politec acrylic paints

Dimension: 14' x 110', 25 000 square feet

Art Center: Royal Chicano Air Force

Comments:

This is a detail of Stan Padilla's panel.

item 400.

Paul, Ernesto Bicentennial King

Date: 1974

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 15' x 60'

Art Center: Centro Cultural de la Raza

Site:

Exterior of Centro Cultural de la Raza, 2004 Park Blvd., Building # 671, San Diego, CA

item 401.

Perez, Antonia El Sol

Date: 1974

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 15 1/2' x 25'

Art Center: Centro Cultural de la Raza

Site:

Exterior of Centro Cultural de la Raza, 2004 Park Blvd., Building #671, San Diego, CA

item 402.

Rios, Mike Animal Wood Carvers of New Mexico

Date: 1985

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Billboard for the Animal Wood Carvers of New Mexico Exhibition at Galería de la Raza (June 15-July 16, 1985).

item 403.

Rios, Mike Carnaval 80

Date: 1980

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

This mural is on the billboard outside of Galería de la Raza.

item 404.

Ríos, Mike Christmas Folk Art Sale

Date: n.d.

Art Center: Galería de la Raza

Site:

2857 24th Street, San Francisco, CA

Comments:

Billboard for the Annual Christmas Folk Art Sale Benefit and Exhibition at Galería de la Raza (November 28-December 24, 1983).

item 405.

Rios, Mike Christmas Folk Art Benefit Sale Billboard

Date: November 29-December 24, 1985

Art Center: Galería de la Raza

Site:

Galería de la Raza/Studio 24

item 406.

Rios, Mike Homenaje a Frida Kahlo

Date: 1978

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Billboard for the Homenaje a Frida Kahlo, El Día de los Muertos Exhibition at Galería de la Raza (November 2-December 17, 1978). Rios painted the mural outside of Galería de la Raza.

item 407.

Rios, Mike INTL Year of the Child

Date: 1979

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

This mural is on the billboard outside of Galería de la Raza.

item 408.

Rios, Mike Recuerdos de Frida

Date: 1987

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Billboard for the Recuerdos de Frida Exhibition at Galería de la Raza (May 5-June 27, 1987).

item 409.

Rios, Mike Salsa Ahora

Date: n.d.

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Rios painted Salsa Ahora on a billboard outside of Galería de la Raza.

item 410.

Royal Chicano Air Force Crystallizing the Chicano Art Myth

Date: May 14 to June 26, 1983

Dimension: 12' x 28'

Art Center: Royal Chicano Air Force

Site:

Crocker Art Museum, Sacramento, CA

item 411.

Schnorr, Michael When Food is Used as a Tool...Utensils Become Weapons

Date: ca. 1983

Art Center: Centro Cultural de la Raza

Site:

Centro Cultural de la Raza

Comments:

From the "California Murals off the Wall" Exhibition at Centro Cultural de la Raza (March 1983).

item 412.

Sigüenza, Herbert The Border

Date: n.d.

Medium: Politec acrylic

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From In Progress Exhibition, organized by René Yañez at Galería de la Raza (May 4-June 12, 1982).

item 413.

Thomas, Myron "Images of the American Indian Movement" Exhibition of Works by Michelle Vignes and Michael Dubois Billboard

Date: January 23-February 19, 1983

Art Center: Galería de la Raza

Site:

Galería de la Raza

item 414.

Torero-Acevedo, Mario La Virgen de las Americas

Date: 1978

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 30' x 30'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Ave., San Diego, CA

item 415.

Torero-Acevedo, Mario Sherman Youth

Date: 1981

Medium: stucco

Dimension: 20' x 60'

Art Center: Centro Cultural de la Raza

Site:

Intersection of 20th & K Street, San Diego, CA

item 416.

Torero-Acevedo, Mario (title unknown)

Date: 1979

Medium: stucco

Dimension: 12' x 40'

Art Center: Centro Cultural de la Raza

Site:

San Diego State University, San Diego, CA

item 417.

Villa, Esteban Emergence of the Chicano Social Struggle in a Bi-Cultural Society

Date: ca. 1969-1970

Medium: acrylic and commercial house paints, brushes, rollers on brick wall

Dimension: 16' x 110'

Art Center: Royal Chicano Air Force

Comments:

This is probably the oldest mural by RCAF in existence, and may be the earliest mural with the word "Chicano." As of this printing it was still standing at the Washington Neighborhood Center on 16th and D streets.

item 418.

Villa, Esteban and Juanishi V. Orosco LASERIUM

Date: 1983-1984

Medium: Politec mural paints, brush, roller, and airbrush; built-up painting surface with cement layer, diamond-shaped tile pieces

Dimension: 8' x 128'

Art Center: Royal Chicano Air Force

Site:

K Street Underpass of I-5 Freeway into Old Sacramento, Sacramento, CA

item 419.

Villa, Esteban Mujer Cósmica/Cosmic Woman

Date: 1975

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 40' x 30'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Ave., San Diego, CA

item 420.

Villa, Esteban Queztalcoatl

Date: ca.1969-1970

Medium: paint brush, roller and latex paint

Dimension: 16' x 30'

Art Center: Royal Chicano Air Force

item 421.

Villa, Esteban Southside Park Mural II

Date: 1977

Medium: airbrush, paint brush, rollers, stencil, Mexican Politec acrylic paints

Dimension: 14' x 110', 25 000 square feet

Art Center: Royal Chicano Air Force

Comments:

A center detail of Esteban Villa's panel.

item 422.

Villa, Esteban, Ricardo Favela, and Louie Gonzalez When Your Mother Asks You Who You Are

Date: ca. 1975-1976

Medium: paint brush, rollers, acrylics and commercial latex paints on sheetrock wall board

Dimension: 20' x 40'

Art Center: Royal Chicano Air Force

Site:

Sacramento Concilio Inc. Farmworker Program, Dining Hall, 1911 F Street, Sacramento, CA

item 423.

Viramontes, Xavier Keep the Streets Clean

Date: 1976

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

Mural on the billboard outside of Galería de la Raza.

item 424.

Viramontes, Xavier (title unknown)

Date: ca. 1982

Medium: Politec acrylic

Art Center: Galería de la Raza

Site:

Galería de la Raza

Comments:

From the In Progress Exhibition, organized by René Yañez at Galería de la Raza (May 4-June 12, 1982).

item 425.

Yamagata, Susan and Michael Schnorr Coatlicüe, Diosa de la Tierra-Earth Goddess

Date: 1978

Medium: pro-line vinyl on acid-etched concrete, rubber surface conditioner

Dimension: 40' x 30'

Art Center: Centro Cultural de la Raza

Site:

Chicano Park, 1970 Logan Avenue, San Diego CA

Comments:

Part of the 1978 Mural Marathon.

PAINTINGS

item 426.

Artist Unknown (title unknown)

Date: n.d.

Art Center: Galería de la Raza

Comments:

From the South Africa, State of Emergency Exhibition at Galería de la Raza (July 15-August 24, 1986).

item 427.

Artist Unknown (title unknown)

Date: 1986

Art Center: Galería de la Raza

Comments:

From El Día de los Muertos Exhibition at Galería de la Raza (October 15-November 8, 1986).

item 428.

Carrasco, Barbara Frida y Yo

Date: 1985

Medium: drawing

Dimension: 8" X 10"

Art Center: Galería de la Raza

Comments:

From W x W (Woman by Woman) Exhibition at Galería de la Raza (May 10-June 1,1985).

item 429.

Cervantez, Yreina (title unknown)

Date: 1978

Art Center: Galería de la Raza

Comments:

From the Homenaje a Frida Kahlo, El Día de los Muertos Exhibition at Galería de la Raza (November 2-December 17, 1978).

item 430.

Cid, Armando Chicano Crucifix

Date: ca. 1970s

Medium: mix with enamel

Art Center: Royal Chicano Air Force

item 431.

Cid, Armando Las Tortilleras

Date: ca. early 1970s

Medium: oil on canvas, pine wood support

Dimension: 28" x 36"

Art Center: Royal Chicano Air Force

item 432.

Galvez, Daniel (title unknown)

Date: n.d.

Medium: painting

Art Center: Galería de la Raza

Comments:

From the New Dimensions in Realism Exhibition at Galería de la Raza (January 28-February 25, 1984).

item 433.

Lerma, Irma C. Be-Causa You

Date: 1990

Medium: oil painting

Dimension: 33" x 27"

Art Center: Royal Chicano Air Force

Comments:

This is a broken sculpture with flying jalepeños, wedding rings, and a brown beret.

item 434.

Lerma, Irma C. Recuerdos del Palomar

Date: ca. 1972

Medium: oil painting

Dimension: 33" x 27"

Art Center: Royal Chicano Air Force

Comments:

Singing woman (head, hands, and gold lamé teeth).

item 435.

Loya, W. Sugar Skulls

Date: n.d.

Art Center: Self-Help Graphics

Comments:

From the Day of the Dead '90 exhibit (November 3, 1989).

item 436.

Maes Gallegos, David (title unknown)

Date: n.d.

Art Center: Galería de la Raza

Comments:

From the New Dimensions in Realism Exhibition at Galería de la Raza (January 28-February 25, 1984).

item 437.

Maes Gallegos, David (title unknown)

Date: n.d.

Art Center: Galería de la Raza

Comments:

From the New Dimensions in Realism Exhibition at Galería de la Raza (January 28-February 25, 1984).

item 438.

Mercado, Patricia (title unknown)

Date: 1984

Art Center: Centro Cultural de la Raza

Comments:

From the Tijuana 1984 Exhibition at Centro Cultural de la Raza (1984).

item 439.

Montoya, José La Juana

Date: 1977

Medium: oil on canvas, pine wood support

Art Center: Royal Chicano Air Force

Comments:

From the Pachuco Art Show.

item 440.

Ochoa, Victor El Tiburon Molacho

Date: 1984

Art Center: Centro Cultural de la Raza

Comments:

From the Border Realities Exhibition organized by Border Arts Workshop/Tallér de Arte Fronterizo at Galería de la Raza (February 23-March 23, 1985).

item 441.

Ochoa, Victor Que Victoria?

Date: 1976

Art Center: Centro Cultural de la Raza

Comments:

From the Victor Ochoa--Easel Painting and Graphics Exhibition at Centro Cultural de la Raza. According to the artist, this painting is about Mexican labor. A man hangs from chains in front of the red and white stripes of a flag. He is wearing the uniform of a peasant: a white shirt and pants, sombrero, huaraches, with a machete tucked in his waistband. The Virgen de Guadalupe is emblazoned on his chest. In one hand is the Mexican flag; in the other a pig. Below the shackled man, at the bottom of the painting, is a group of faces with their mouths taped shut.

item 442.

Ovejero, Graciela (title unknown)

Date: n.d.

Medium: painting on cloth

Art Center: Centro Cultural de la Raza

Comments:

From the Desperdicio Contestatario a las Recompensas por Defender una Tierra PlanaExhibition, curated by Patricio Chavez at Centro Cultural de la Raza (February 2-March 11, 1990). This is a painting of contorted and malformed human bodies on cloth, pinned up across three walls.

item 443.

Padilla, Stan Abuela Mía

Date: ca. 1967-1974

Medium: acrylic on canvas, pine wood frame

Art Center: Royal Chicano Air Force

item 444.

Padilla, Stan (title unknown)

Date: ca. 1967-1974

Medium: acrylic on canvas, pine wood frame

Art Center: Royal Chicano Air Force

item 445.

Quiroz, Alfredo J. Aw-Dee-Aw-Dee

Date: 1987

Medium: acrylic and glitter on masonite with mixed media

Dimension: 72" x 135 3/5" x 6 1/4"

Art Center: Centro Cultural de la Raza

Comments:

From Medal-Honor Series Exhibition at Centro Cultural de la Raza (1987).

item 446.

Rodriguez, B. (title unknown)

Date: n.d.

Art Center: Centro Cultural de la Raza

Comments:

From the Somos Nuevos Mexicanos Exhibition curated by Patricio Chavez at Centro Cultural de la Raza (August 25-September 29, 1989). Painting of Lydia Mendoza playing her guitar. A piece of ribbon is tied in a bow across the head stock of the instrument.

item 447.

Rodriguez, Celia (title unknown)

Date: 1985

Medium: watercolor

Dimension: 22" x 30"

Art Center: Royal Chicano Air Force

Comments:

Part of La Llorona series; from the Oro de Aztlan/El Arte del Royal Chicano Air Force Art Show at the Robert Else Gallery, California State University, Sacramento, CA (November 8-December 21, 1990).

item 448.

Sanchez, Leo Máscaras

Medium: oil, spray paint, vinyl

Dimension: 37" x 47"

Art Center: Self-Help Graphics

Comments:

From the Day of the Dead '90 Exhibit (November 3, 1989).

item 449.

Vaca, Santiago (title unknown)

Date: ca. 1991

Art Center: Centro Cultural de la Raza

Comments:

From the Santiago Vaca: One Person Exhibit organized by Patricio Chavez at Centro Cultural de la Raza (June 15-July 28, 1991). This is a painting of a children's 25 cent ride, except that this "horse" has the head of a man. The machine is placed on a platform with the words "Exotic" and "Wild" to clarify the visual point of the piece.

item 450.

Vaca, Santiago (title unknown)

Date: ca. 1991

Art Center: Centro Cultural de la Raza

Comments:

From the Santiago Vaca: One Person Exhibit organized by Patricio Chavez at Centro Cultural de la Raza (June 15-July 28, 1991). This is a painting of a screaming man's head, the mouth propped open with human figures. Crosses have been driven into his skull and small figures cling to the crosses as if caught in a whirlwind. A grave has been dug in the man's forehead.

item 451.

Villa, Esteban Mujer Huelgista

Date: ca. 1974-1975

Medium: watercolor on French block paper

Art Center: Royal Chicano Air Force

item 452.

Villa, Esteban Mujer Series

Date: ca. 1970s

Medium: watercolor with airbrush and stencils

Art Center: Royal Chicano Air Force

PERFORMANCE AND CONCEPTUAL ART

item 453.

Avalos, David Intifada: Birth of a Nation

Date: April 1990

Art Center: Centro Cultural de la Raza

Site:

Spectacolor Lightboard, Times Square, New York, NY

Comments:

This computer animation message was displayed on an electronic billboard in Times Square. Graphic designs and the words "Intifada" and "Birth of a Nation" are flashed on the large billboard; a by-line runs underneath and refers to "groups holding three American hostages," "threatening to kill President Bush," etc.

item 454.

Centro Cultural de la Raza and Border Arts Workshop/Tallér de Arte Fronterízo Border Sutures Performance/Journey

Date: 1990

Art Center: Centro Cultural de la Raza

Site:

Matamoros/Brownsville to San Diego/Tijuana

Comments:

This is from the Performance/Journey from Matamoros/ Brownsville to San Diego/Tijuana.

item 455.

Centro Cultural de la Raza and Border Arts Workshop/ Tallér de Arte Fronterízo Day of the Dead Performance

Date: October 31, 1991

Art Center: Centro Cultural de la Raza

Site:

San Diego, California

Comments:

Performance for the California Confederation of the Arts.

item 456.

Centro Cultural de la Raza Oh George, Oh Panama Performance

Date: January 1990

Art Center: Centro Cultural de la Raza

Site:

Cañon Zapata

Comments:

This performance was a protest against United States' involvement in Panama.

item 457.

Centro Cultural de la Raza Roll the Dice with a Lucky Hand, We Want to Own A Lot of Land Performance

Date: 1990

Art Center: Centro Cultural de la Raza

Site:

Cañon Zapata

item 458.

Centro Cultural de la Raza Roll the Dice with a Lucky Hand, We Want to Own A Lot of Land Performance

Date: 1990

Art Center: Centro Cultural de la Raza

Site:

Cañon Zapata

PHOTOGRAPHY

item 459.

Artist Unknown (title unknown)

Date: n.d.

Medium: B/W Kodak TMX 5052

Art Center: Galería de la Raza

Comments:

From Recuerdos de Frida Exhibition at Galería de la Raza (May 5-June 27, 1987).

item 460.

Casasola, Agustin V. ¡Tierra y Libertad! Images of the Mexican Revolution Exhibition

Date: n.d.

Dimension: 20" x 24"

Art Center: Centro Cultural de la Raza

item 461.

Casasola, Agustin V. ¡Tierra y Libertad! Images of the Mexican Revolution Exhibition

Date: n.d.

Dimension: 20" x 24"

Art Center: Centro Cultural de la Raza

item 462.

Gamboa, Harry (title unknown)

Date: n.d.

Art Center: Galería de la Raza

Comments:

From the ASCO 1982 Exhibition of Los Angeles conceptual artists, organized by René Yañez at Galería de la Raza (August 7-31, 1982).

item 463.

Gamboa, Harry (title unknown)

Date: n.d.

Art Center: Galería de la Raza

Comments:

From the ASCO 1982 Exhibition of Los Angeles conceptual artists, organized by René Yañez at Galería de la Raza (August 7-31, 1982).

item 464.

Gandert, Miguel A. El Pin

Date: n.d.

Medium: black and white photograph

Art Center: Centro Cultural de la Raza

Comments:

From the Somos Nuevos Mexicanos Exhibition curated by Patricio Chavez at Centro Cultural de la Raza (August 25-September 29, 1989). Photograph of a gaunt man standing in front of a window covered with graffiti.

item 465.

Hahn, Sandra Stepping Phase

Date: n.d.

Medium: computer animation and photography

Art Center: Self-Help Graphics

Comments:

From the Day of the Dead '89 Exhibit (November 3, 1989).

item 466.

Ledezma, Sylvia (title unknown)

Date: n.d.

Medium: photo silk screen

Art Center: Galería de la Raza

Comments:

From The Earthquake in Mexico-Tragedy and Hope Exhibition at Galería de la Raza (February 21-March 29, 1986).

item 467.

Maradiaga, Ralph Incident At Downieville

Date: ca.1978

Art Center: Galería de la Raza

Comments:

Movie film collage.

item 468.

Marjon, Soledad Other Women Series

Date: ca. 1989

Medium: painted photographs

Dimension: 26 x 33"

Art Center: Centro Cultural de la Raza

Comments:

From the Somos Nuevos Mexicanos Exhibition curated by Patricio Chavez at Centro Cultural de la Raza (August 25-September 29, 1989). The door is ajar to a decaying building with gauze strung about.

item 469.

Marjon, Soledad Other Women Series

Date: ca. 1989

Medium: painted photographs

Dimension: 26 x 33"

Art Center: Centro Cultural de la Raza

Comments:

From the Somos Nuevos Mexicanos Exhibition curated by Patricio Chavez at Centro Cultural de la Raza (August 25-September 29, 1989). The arrangement includes Indian figures in the forefront and a nude in the background.

item 470.

Oriole, Eriberto (title unknown)

Date: ca. 1985

Medium: color photography

Art Center: Centro Cultural de la Raza

Comments:

Photographs taken in preparation for the Development of Labor in San Diegomural.

item 471.

Schnorr, Michael Night Vision

Date: n.d.

Art Center: Centro Cultural de la Raza

Comments:

From the Border Realities--Part Two Exhibition organized by Border Arts Workshop/Tallér de Arte Fronterízo at Centro Cultural de la Raza (February 1986).

item 472.

Yañez, René Hologram for Pachuco Art Show

Date: n.d.

Art Center: Galería de la Raza

Comments:

Hologram with 360 degree movement for the Pachuco Art Show (1978) at Galería de la Raza.

SCULPTURES

item 473.

Allen, Richard Morris (title unknown)

Date: n.d.

Art Center: Centro Cultural de la Raza

Comments:

From the Heart Art: You've Gotta Have Heart Exhibition at Centro Cultural de la Raza (February 12-March 12, 1989).

item 474.

Archuleta, Felipe Housecat

Date: n.d.

Medium: carved wood

Art Center: Galería de la Raza

Comments:

From the Animal Wood Carvers of New Mexico Exhibition at Galería de la Raza (June 15-July 16, 1985).

item 475.

Artist Unknown Cross With Milagros

Date: n.d.

Art Center: Galería de la Raza

Comments:

From the La Cruz: Spiritual Source, Ancient and Contemporary Expressionsat Galería de la Raza (March 15-April 9, 1988).

item 476.

Artist Unknown (title unknown)

Date: n.d.

Art Center: Centro Cultural de la Raza

Comments:

From the Máscaras Mexicanas Exhibition at Centro Cultural de la Raza.

item 477.

Artist Unknown (title unknown)

Date: n.d.

Art Center: Galería de la Raza

Comments:

From La Cruz: Spiritual Source, Ancient and Contemporary Expressions at Galería de la Raza (March 15-April 9, 1988).

item 478.

Artist Unknown (title unknown)

Date: n.d.

Art Center: Galería de la Raza

Comments:

From El Día de los Muertos Exhibition, organized by Ralph Maradiaga and René Yañez at Galería de la Raza (October 23-November 2, 1981).

item 479.

Artist Unknown (title unknown)

Date: n.d.

Art Center: Centro Cultural de la Raza

Comments:

From the Máscaras Mexicanas Exhibition at Centro Cultural de la Raza.

item 480.

Artist Unknown (title unknown)

Date: n.d.

Art Center: Centro Cultural de la Raza

Comments:

From the Máscaras Mexicanas Exhibition at Centro Cultural de la Raza.

item 481.

Artist Unknown (title unknown)

Date: n.d.

Art Center: Centro Cultural de la Raza

Comments:

From Máscaras Mexicanas Exhibition at Centro Cultural de la Raza.

item 482.

Artist Unknown (title unknown)

Date: November 2-November 23, 1974

Art Center: Galería de la Raza

Comments:

From El Día de los Muertos, 1974 Exhibition at Galería de la Raza.

item 483.

Artist: Avalos, David Art Sanctifies Boredom

Date: 1984

Medium: wood

Art Center: Centro Cultural de la Raza

Comments:

This calavera sits on a stool constructed of limbs from a tree, inside a structure which suggests that it is a frame for a house. An open window hangs from the crossbeam. The calavera is armless, has its legs crossed, and clenches a cigarette between its teeth. Dice stick into a pile of dirt at its feet.

item 484.

Avalos, David Donkey Cart Altar

Date: 1985

Medium: wood

Art Center: Centro Cultural de la Raza

Comments:

A two wheel carreta has the painted image of a man with his hands raised in the air and a border patrol agent frisking him. Stairsteps in the piece have "1985 San Diego" painted on them. On the back of the cart is a Xerox of a photograph and information that identifies it as a "portrait of Francisco Sanchez, shot to death by the border patrol on December 8, 1980."

item 485.

Avalos, David Little Big Boy Meets El Niña

Date: ca. 1985

Medium: wood and metal

Art Center: Centro Cultural de la Raza

Comments:

A wooden box supports the simple frame of a house. The floor of the house has been carved and painted to look like an ocean, and a ship resembling those of the Spanish conquistadors is riding the waves. On the roof is a torpedo or bomb waiting to be dropped on the Spaniards either because of their decimation of indigenous populations, or in reference to the Spaniards' massive annihilation of and disrespect for other cultures.

item 486.

Avalos, David (title unknown)

Date: ca. 1980's

Art Center: Centro Cultural de la Raza

Comments:

The artist mounted a pink heart in a purple box. Across this he strung a piece of rusty barbed wire. A gash is evident and red chilies extend from a "wound" at the top of the heart. Gold rays radiate from the heart, creating a sacred quality.

item 487.

Cuellar, Rudy Rene's Diamond-Studded Calcos

Date: n.d.

Medium: leather shoes with studs

Art Center: Royal Chicano Air Force

item 488.

Cuellar, Rudy Royal Chicano Air Force Piñata Biplane

Date: December 1977

Medium: acrylic paint with brush, bamboo construction with paper and styrofoam

Dimension: 5' x 6' x 3'

Art Center: Royal Chicano Air Force

Comments:

Built for the Christmas Unity Children's Program.

item 489.

Favela, Ricardo Los Vatitos

Date: 1972

Medium: handbuilt ceramic clay, high fire glazes

Dimension: 7' tall

Art Center: Royal Chicano Air Force

item 490.

Favela, Ricardo Official Royal Chicano Air Force Ashtray Series

Date: 1982-1985

Medium: ceramic assemblage

Dimension: 8 1/2" x 8 1/2"

Art Center: Royal Chicano Air Force

item 491.

Favela, Ricardo Official Royal Chicano Air Force Ashtray Series

Date: 1982-1985

Medium: ceramic assemblage

Dimension: 8 1/2" x 8 1/2"

Art Center: Royal Chicano Air Force

item 492.

Guerrero, Zarco (title unknown)

Date: n.d.

Art Center: Galería de la Raza

Comments:

From the Máscaras Exhibition organized by Ralph Maradiaga at Galería de la Raza (September 10-October 8, 1983).

item 493.

Linares, Pedro (title unknown)

Date: n.d.

Medium: paper maché

Art Center: Centro Cultural de la Raza

Comments:

From a Centro Cultural de la Raza slide collection.

item 494.

Linares, Pedro (title unknown)

Date: n.d.

Medium: papier maché

Art Center: Centro Cultural de la Raza

Comments:

From a Centro Cultural de la Raza slide collection.

item 495.

Lopez, José Benjamin Carreta de la Muerte

Date: n.d.

Medium: structures of carved and assembled wood

Dimension: 53" x 42" x 61"

Art Center: Galería de la Raza

Comments:

From the Santos de New Mexico Exhibition organized by Ralph Maradiaga and René Yañez at Galería de la Raza (April 3-June 4, 1983).

item 496.

Lopez, José Benjamin Nuestro Padre Jesús Nazareno

Date: n.d.

Medium: structures of carved and assembled wood

Dimension: 67" x 8" x 8"

Art Center: Galería de la Raza

Comments:

From the Santos de New Mexico Exhibition organized by Ralph Maradiaga and René Yañez at Galería de la Raza (April 3-June 4, 1983).

item 497.

Lopez, Leroy Nuestra Señora de Guadalupe

Date: n.d.

Medium: structures of carved and assembled wood

Dimension: 24" x 13" x 9"

Art Center: Galería de la Raza

Comments:

From the Santos de New Mexico Exhibition organized by Ralph Maradiaga and René Yañez at Galería de la Raza (April 3-June 4, 1983).

item 498.

Mercado, Patricia (title unknown)

Date: 1984

Art Center: Centro Cultural de la Raza

Comments:

From Tijuana, 1984 Exhibition at Centro Cultural de la Raza (1984).

item 499.

Trejo, Ruben The Birth of the Jalapeño

Date: ca. 1981

Medium: wood, paint and glass

Art Center: Galería de la Raza

Comments:

From the Ajo Granadas y Tres Flores Exhibition at Galería de la Raza (June 26-July 26, 1981).

item 500.

Trejo, Ruben El Tata

Date: ca. 1981

Medium: wood and paint

Art Center: Galería de la Raza

Comments:

From the Ajo Granadas y Tres Flores Exhibition at Galería de la Raza (June 26-July 26, 1981).

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