Your last chance to see the exhibition, buy work, and mingle with the artists before it comes down!
Stop by Galería de la Raza for one last hurrah in honor of “Empujando Tinta” this Friday for a night of cocktails, screenprinting, and artists. Jesus Barraza of Taller Tupac Amaru has collaborated with fellow artists Rio Yañez, Viviana Paredes, and Favianna Rodriguez to each produce a limited edition piece of work, on sale the night of only. Don’t miss out:
Look what just arrived at the studio. 5 trial proofs from Migration Now portfolio. Hit me if interested in one. #culturestrike #justseeds
Almost 40 years ago, with his compatriots in the art collective Los Four,Frank Romero became the first Chicano artist to show at LACMA. In fact, it was the first Chicano art show in any big American museum. With his broad brush strokes and bright colors, Romero has continued to document life in LA — the cars, the freeways, the tragedies — on murals and smaller canvases.
For years, Romero lived and worked in the working-class Frogtown neighborhood by the LA River, but for the past eight years now, he’s been spending more and more time in France, inspired by Diego Rivera’s autobiography, other painters’ works, and his French-speaking wife Sharon.
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Published on May 15, 2013
Incorporated in 1973, Self Help Graphics & Art is the leading non-profit visual arts center serving the predominantly Latino community of Los Angeles. Self Help Graphics’ mission is to drive the creation of new work by Chicano and Latino artists through fine art printmaking and multiple visual art forms.
Self Help Graphics & Art is a non-profit 501(c)3 organization. Our programs and events are supported in part by our artists, volunteers, and board of directors, as well as by our major donors and collectors. Additional support is provided by the Alliance for California Traditional Arts, AltaMed, the Andy Warhol Foundation for the Visual Arts, Bank of America Foundation, California Community Foundation, Camachos Incorporated, Department of Cultural Affairs, City of Los Angeles, The Walt Disney Company, Entravision Communications Corporation, The James Irvine Foundation, Los Angeles County Arts Commission, the Los Angeles County Board of Supervisors, First District, Lexus, Milagro Communications Group, the National Endowment for the Arts, Rose Hills Foundation, Sheppard Mullin Richter Hampton, Sony Pictures Entertainment, Pasadena Art Allaince, TransAmerica and Weingart Foundation.
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I would like to thank Dr. Chon A. Noriega, staff and students at the UCLA Chicano Research Center for the recognition. It is truly an honor coming from an institution that has educated me on the past and present of Chicanos and Mexican-Americans.
If you live in Los Angeles be sure to watch the CSRC exhibition it will be profiled on Telemundo’s ‘Enfoque Los Angeles’ Sunday, May 26, at 11:30 a.m. (Telemundo 52).
Go sit with your abuelita in the sala and watch it with her.
Viva La Mujer Sticker Pack http://bit.ly/13gEybS
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Display case at the entrance to UCLA CSRC Library showcasing UFW pieces from Chican@s (re)Imagining Zapata exhibit.
Last week Anita and I attended two exhibitions in one day on our cultured filled date. With our permission slips signed and all four wheels rotating simultaneously, we headed to destination number one of our two stops. The first visual delight was contemporary Artist Gary Baseman’s, The Door Is Always Open at The Skirball Cultural Center in Los Angeles. Which was a spectacular survey that takes you through the artist career and life. Mr. Baseman is one of my favorite Low brow/Pop Surrealism artists. But, for The Door Is Always Open write up on the exhibition will have to read it on my other blog (Shhh, if you know which one it is, enjoy!)
I would like to recognize the Skirball Cultural Center for having the most friendliest museum staff.
Mr. Baseman, I have two words for you artwork and The Door Is Always Open exhibition, Visual Heaven.
Wait a minute, is that who I think it is? Mr. Baseman visiting “The Door Is Always Open” exhibition. The real almost felt surreal.
Stop deux, would be to the University of California Los Angeles (UCLA), for Chican@s (re)Imagining Zapata at the Chicano Studies Research Center Library, which runs until May 10, 2013. I had already viewed the exhibition online, but I wanted to take a gander in person to view these images I have only seen in books and on the internet. One of those pieces I wanted to see in person was Andy Zermeño’s poster, “No Tomen Gallo (Don’t Drink Gallo)”, which is an iconic UFW image used to boycott Gallo Winery in the early 1970’s.
Remnants of Ramiro Gomez Jr.s “Luxury Interrupted” exhibition
The “No Tomen Gallo (Don’t Drink Gallo)” artwork was exhibited with other UFW and Chicano related pieces outside of the Chicano Studies Research Center Library in a display case at the entrance. Upon entering the CSRC Library the first piece to awake my visual perception was not from Chican@s (re)Imagining Zapata, but from the previously held exhibition, Ramiro Gomez’s, Luxury Interrupted (Pictured above). I visited Ramiro’s home in 2012 (Read here) where I saw the actual Mid-Century sofa he depicted in the artwork (pictured above). Which brought a grin to my face while in conversation with Anita about said piece.
Barrio Bilingual Communications - “Las Carilleras” 1977
The next poster I was pleased to view in persona from Chican@s (re)Imagining Zapata was Barrio Bilingual Communications - “Las Carilleras”, a thought provoking image of a Chicana draped in artillery ammunition, who looks prepared to fight por la causa. Although my favorites had to be the El Taller Gráficos, Black and Red United Farm Worker posters. Which contained images of Mexican heroes, Francisco ‘Pancho’ Villa and Emiliano Zapata.
Malaquis Montoya artwork located inside the Chicano Studies Research Center conference room
While exploring Haines Hall at UCLA, we came upon the Chicano Studies Research Center conference room. Where two more of Mr. Gomez’s artworks were situated along a wall with a large scale serigraph diptych by Chicano master Carlos Almaraz, titled “Mystery in the Park” and three smaller black & white works by master printer Malaquis Montoya, that were located on opposite walls in the conference room. Which were pleasant surprises to discover while on our visit to this recognized institution. The Almaraz work was an exquisite museum worthy piece which was donated to UCLA CSRC.
Visit Chican@s (re)Imagining Zapata exhibit. Runs until May, 10th, 2013 @ the UCLA CSRC Library
More images @ CHICANO ART MOVEMENT Facebook page
Just finished printing this poster by Malaquias Montoya for the Taller Tupac Amaru 10 Year retrospective - come out and join us May 4th at Galeria de la Raza for the opening…
2013 Chicano Park Day
Thousands turned out to celebrate Chicano Park’s 43rd anniversary on Saturday.
In January, the Chicano Park Steering Committee announced it had won a place in the National Register of Historic Places, making this year’s Chicano Park Day an especially celebratory occasion.
Josephine Talamantez of the CPSC told the San Diego Union-Tribune of plans to build an adjoining museum:
“We want a Chicano Park art history and science museum, and cultural center,” Talamantez said. “We will fundraise and get donors and build this museum so that our history is protected and told.”
Photos via Instagram users pielmorena9, caathybee, Twitter user BH Kim; poster via the Chicano Park Steering Committee.
Fans of comedian George Lopez were disappointed when his TBS late night show (“Lopez Tonight”) ended in 2011 but the Mexican American comedian is planning to return to television with a new series titled “Saint George” on FX.
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via: Aztlan Libre Press
Aztlan Libre Press, an independent Xican@ press based out of San Antonio, Texas, announces the publication of its sixth book: Reyes Cárdenas: Chicano Poet 1970-2010.
Organized mostly in chronological order, this book is a 40-year retrospective of Reyes Cárdenas’ life and work written from 1970-2010. It’s divided into 11 sections; five of which are selections from previous publications, and six are new, never before published collections of poetry.
This book also features cover artwork and 11 original black and white title-page illustrations for each section by San Antonio artist, L.A. David; plus, an introductory essay on Reyes’ work by noted Chicano literary critic, Associate Professor of English, and Director of the Mexican-American Studies Center at Texas Lutheran University, Juan Rodríguez.
“Reyes Cárdenas’ work boldly depicts the outrageous ironies and wildly brutal truths of our humanity. Everyone is found here, from the Royal Chicano Air Force to Buddy Holly, and from Emily Dickinson to Gulliver to the S.S. Gloria Anzaldúa, and somehow they all confess honestly to each other in the unassuming genius of one of Aztlan’s most prolific poets and most constant chroniclers… A powerful and courageous poet.”
Carmen Tafolla, Poet Laureate, City of San Antonio
“My hope is that this ground-breaking book will be the means by which Reyes Cardenas will indeed ‘roar’ as loudly as any great poet of the past and present.”
From the Introduction by Juan Rodríguez
Purchase Reyes Cárdenas: Chicano Poet 1970-2010 at 15% off through April 30. Visit www.aztlanlibrepress.com to purchase other Aztlan Libre Press publications. For a review copy, contact Anisa Onofre or Juan Tejeda at firstname.lastname@example.org. Aztlan Libre Press books are also available through Small Press Distribution at www.spdbooks.org
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