1. CHICANO ART MOVEMENT attends: Pasadena Museum of California Art (PMCA), opening reception for January - April 2014 exhibitions

    On Saturday January 18th, 2014 we attended the opening reception to Pasadena Museum of California Art’s (PMCA), January - April exhibitions. The exhibits on view were, Picturing Mexico: Alfredo Ramos Martínez in California (Main Gallery), Serigrafía (Back Gallery) and Flora Kao’s: Homestead (Project Room). This would also be our first visit to PMCA.
    (Left to Right) Artists: Leonard Castellanos, Esther Hernandez and Xavier Viramontes.

    Arriving at the Pasadena Museum of California Art our first viewing opportunities at the opening reception were, Flora Kao’s: Homestead and Picturing Mexico: Alfredo Ramos Martínez in California, but we made a direct line to the exhibition I had been anticipating since hearing about the January - April 2014 shows, Serigrafía, which was located in the Back Gallery at the museum. I was excited to view the array of vintage Chicano posters that were to be displayed, some of which I had only ever been able to examine in jpeg form or in art catalogs. Walking into the gallery where Serigrafía was exhibited we were instantly drawn in with the vibrant palette of colors and powerful positive chicano messages in the artworks. The inventory of posters presented consisted from recent to vintage, with a handful of digitally reproduced and the remainder being silkscreened prints.
    From what I gathered, the basis of the Segrafia exhibition was to survey the "tradition of information design in Califonia’s Latino culture" and "examines how both aesthetics and portability are key aspects of the prints as communicative and educational objects."
    (Xico Gonzalez - “ChePata” 2006 silkscreen)

    The posters that enticed me for a more meticulous observation in the Segrafia exhibition were, Esther Hernandez's, “Sun Mad" 1982, and Xaviver Viramotes’, “Boycott Grapes" 1973, which were created by the artists to bring fourth awareness of unsafe working conditions to farmworkers. Also notable was Xico Gonzalez’s “ChePata" 2006, a Che Guevara and Emiliano Zapata melded image which advocated against unjust immigration laws and practices of undocumented humans, along with Favianna Rodriguez's, “Resist U.S. Imperialism" 2003 print, which was a first-rate example of activist art.

    Artists also represented in the exhibition were Jesus Barraza, Barbara Carrasco, Rene Castro, Melanie Cervantes, Enrique Chagoya, Ricardo Favela, Juan R. Fuentes, Rupert Garcia, Daniel González, Yolanda M. López, Linda Lucero, Estria Miyashiro, Malaquias Montoya, Gilda Posada, Celina Rodriguez, Jos Sances, Mark Vallen, and Ernesto Yerena.

    This was a wonderful show that gave me a sense gratification being a guardian of Chicano prints and posters that are in my personal collection.
    Alfredo Ramos Martinez - (Left) “La India de Tehuantepec” (Mujer de Tehuantepec) ca. 1930 (Middle) “La Madre India” (Right) “La Malinche” ca. 1940

    After indulging and surveying Segrafia it was then time to move on and absorb some modern art history with the extraordinary Mexican artist Alfredo Ramos Matinez's (November 1871 - November 1946), Picturing Mexico: Alfredo Ramos Martínez in California, which was located in the Main Gallery and is the largest gallery space at the Pasadena Museum of California Art (PMCA)
    From my readings what I learned about the Picturing Mexico: Alfredo Ramos Martínez in California exhibition, is that it was to bring fourth his travel and artistic output in California. The exhibit is also going to be used to "advocate for the inclusion of his works in histories of the visual art traditions of the region and ultimately aims to inspire a richer and more complex understanding of American art."
    Picturing Mexico: Alfredo Ramos Martínez in California exhibition will also be traveling to the Nevada Museum of Art, May 10 to August 17, 2014.
    (Alfredo Ramos Martinez - “Las Floreras” 1933 oil on canvas)

    The first of Mr. Alfredo Ramos Martinez's beautiful artworks that lured me in the showcase was his largest and most prominent, "La Madre India" a grandeur work on paper which took and deserved the key real estate in the Main Gallery at the museum. When we walked into the gallery the room was filled and abuzz, you could feel the electricity from the enamored patrons. I have to say, I was very impressed with the mass amount of artworks accumulated for Mr. Alfredo Ramos Martinez's exhibition which took every bit of wall space to present. Picturing Mexico: Alfredo Ramos Martínez in California quickly became my favorite and the most stimulating of the three exhibitions at the Pasadena Museum of California Art (PMCA).
    The second piece that caught me was Mr. Martinez’s “Vendedora de Alcatraces”, 1929 oil on canvas, in which the calla lily’s depicted reminded of the paintings of maestro Diego Rivera’s Alcatraces, but the blossoms were completely in Alfredo Ramos Martinez's style.
    (Alfredo Ramos Martinez - “Vendedores de Frutas con Canastas” ca. 1946 silkscreen)

    After viewing those two major artworks Anita and I became captivated with every piece in the exhibit that proceeded. Other highlights for us included Mr. Alfredo Ramos Martinez's works on vintage newspaper and his vivid polychromatic paintings. One non-Martinez created piece that garnered most of our attention in the exhibition was an extraordinary intricate carved frame by Bernard Vandeuren, that was commissioned by a collector in 2010 for one of Alfredo Ramos Martinez's original paintings.
    I would like to acknowledge curator Amy Galpin, Ph. D, and give a Bravo! for an engaging and stimulating exhibit.
    (Gallery view of Flora Kao’s: Homestead exhibition)

    Our third and final stop at Pasadena Museum of California Art (PMCA) opening reception was Flora Kao's: Homestead exhibition, which was located in the Project Room gallery.
    The premise for Homestead was, "Flora Kao highlights the poignant histories of deserted shacks that dot the Mojave Desert, remnants of America’s most recent wave of manifest destiny. By virtue of the Small Tract Act of 1938"
    "Through life-size rubbings of each side of the dilapidated shack’s four walls, Kao captures the homestead at a specific moment in its decay."
    Flora Kao’s approach was very new to me exhibition wise, which made it that much more interesting to study. Walking into the Project Room gallery, my sense of smell was first activated with an almost musky odor lingering in the space, which I think came from the canvases absorbing the redolences of the Mojave desert. Then came the visual sensory, as the canvas rubbings surrounded us. I could vividly perceive myself in the Mojave Desert inside the exact same shack Flora used for the installations rubbings. All that was necessary to transpire for the complete experience was the sweltering heat and dust from the mostly barren wasteland for the full effect.

    I would like to thank Emma Jacobson-Sive, Director of Public Relations, the PMCA staff, artist and curators that were involved in all three exhibits at the Pasadena Museum of California Art.
    More info on these three amazing exhibitions visit: pmcaonline.org
    On view January 19–April 20, 2014

    More images of the opening reception exhibition also at: CHICANO ART MOVEMENT/Facebook page


  2. CAM:
    San Diego! I would like to thank my friend JOSE FEVER for the heads up!


  3. CHICANO ART MOVEMENT visits: Diego Rivera Fresco murals in San Francisco, California 2013


    A handful of months ago we started planning our expedition to San Francisco, California. For Anita, it was mostly business as we would arrive a week early for her official stay and attendance to Graduate school at San Francisco State University for the next two years, but for me it was a weeks filled art vacation to the Bay Area. A couple months prior to our road trip I did some research on art related latino events and places of interest to visit in the Bay Area. We spent a total of 6 days in the San Francisco area, enjoying the sights, sounds, smells and tastes of S.F., and in a few different segments I will bring you the arte we visited.
    (TOP: Entrance to the Diego Rivera theater at City College of San Francisco (CCSF) where “Pan American Unity” Fresco mural is located)
    (Bottom: Panoramic image I captured of Maestro Diego Rivera’s “Pan American Unity” mural)

    First on the list and most awe-inspiring of our art filled days would be visiting three Diego Rivera murals in the San Francisco area in one afternoon. The three frescos we visited were, 1) "Pan American Unity" at City College of San Francisco (CCSF), 2) "The Allegory of California at the San Francisco City Club (formerly the Stock Exchange building) and, 3) " The Making of a Fresco Showing the Building of A City" at the San Francisco Art Institute (SFAI). Mr. Rivera's works fall into the Mexican Modern art category, but I wanted to share these Mexican masterpieces that are located in the United States. I have not yet had the opportunity to view Diego's other murals across the world. These three frescos would be my introduction to his mural works. Prior to this outing I had only been able to survey Mr. Rivera's smaller works, like his paintings and sketches within a museum setting. Up until my research I had only known of one Diego Rivera mural located in San Francisco, California. Which was “Pan American Unity” at City College of San Francisco (CCSF). After learning that there were four in the Bay Area our plan was to view all or most of the fresco murals. The mural we did not visit was at UC Berkley, which will be first on our list to view upon our return to the Bay Area.

    The first mural we chose to visit was "Pan American Unity", which is located at the City College of San Francisco (CCSF) in the Diego Rivera Theater and created in 1940. This was my personal favorite of all three we visited, it was also the mural I was most knowledgeable of all visited. Walking into the Diego Rivera Theater I was astonished and instantly halted in my tracks from the shear size and beauty of the Fresco in person. At that moment Mr. Rivera’s largest single standing mural, almost 1800 square feet, overcame my visual sense and I meticulously appreciated every detail in this ten steel-framed panel fresco mural. It was a moving experience to finally set my eyes on a mural(s) of my favored Mexican Master painter, Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez. Out of the five individual titled panels, the sections I contemplated the most on in the "Pan American Unity" fresco were, Panel #1 The Creative Genius of the South Growing from Religious Fervor and the Native Talent for Plastic Expression, for the interpretation of Aztec and Mexican culture in the mural. Panel #3 The Plastification of the Creative Power of the Northern Mechanism by Union with the Plastic Tradition of the South, it is always interesting to observe Diego's depictions of Frida Kahlo, I was also drawn to the Ceiba tree: Mayan Tree of Life depicted in the panel which looked as if the paint was luminescent. And Panel #4 Trends of Creative Effort in the United States. The Rise of Woman in Various Fields of Creative Endeavor Through her Use of Power of Manmade Machinery, I pondered on the depiction in the panel where Mr. Rivera attacks the World War II Axis’ tyranny by depicting scenes from Hollywood movies.
    Diego Rivera - “The Allegory of California” Fresco at the San Francisco City Club (formerly Pacific Stock Exchange building), San Francisco, California

    After basking in the “Pan American Unity” mural and all its glory, we were ready to move on and visit his next fresco entitled, "The Allegory of California" at the San Francisco City Club (formerly the Stock Exchange building) downtown. Which was a 15-20 minute drive into the city from the CCSF campus. Making it to downtown S.F., we found a public parking garage and prepared for a 20 minute slog to the second mural. Arriving at the San Francisco City Club, we walked into a amazing Art Deco designed lobby where as if I felt I had traveled back in time. That is where we were greeted by the friendly attendant who directed us to the tenth floor where Mr. Rivera’s mural is located. A quick trip up on the elevator,exiting and turning the corner my eyes first caught a glimpse of the Art Deco stairway which was also very couth. As I slowly looked up, there it was, "The Allegory of California" a glorious floor to ceiling fresco painted by Diego Rivera in 1930. What I learned about the mural was the central figure, which is a woman represents the bountiful state of California. The depiction is also a portrait of tennis player, Helen Wills Moody who has been described as "the first American born woman to achieve international celebrity as an athlete." I was most captivated with the section of the fresco on the ceiling, and was trying to imagine where and how Diego erected the ladder and scaffolding in such a tight and odd space. However that happened it worked with astounding results. "The Allegory of California" was the smallest of the three murals we viewed, but still was impressive and monumental. After appreciating the fresco and the Art Deco design building it was housed in, we moved on to our next and last mural of the afternoon, "The Making of a Fresco Showing the Building of A City" at the San Francisco Art Institute (SFAI).

    (Diego Rivera - ” The Making of a Fresco Showing the Building of A City” at the San Francisco Art Institute (SFAI) 1931)

    Another walk, 10-15 minutes this time from San Francisco City Club to the San Francisco Art Institute (SFAI), we arrived to visit " The Making of a Fresco Showing the Building of A City", created in 1931. Walking up to the SFAI campus I noticed the architectural hodgepodge of buildings and styles, from modern looking conical skylights, to elements of both Italian and Spanish colonial. Entering through the SFAI campus we proceeded through the courtyard made a left to enter the Diego Rivera Gallery where "The Making of a Fresco Showing the Building of A City" is housed. Walking into the student-directed gallery I first took notice of the high ceilings and large skylights. With no artificial lighting the natural rays of the sun come through for optimum optical viewing of the fresco. My attention then turned to the "The Making of a Fresco Showing the Building of A City" mural. Anita and I first took notice in the trompe o’lei scaffolding depicted in the fresco, which was an approach we had never observed Diego Rivera take in his works. I then Recalled I had viewed one of his cubist paintings, in turn then recollected reading about Mr. Rivera’s travels through Europe in the early 1900’s. That is where I imagine Diego could have viewed and studied artworks with the Baroque practice of the optical illusion. The rest of the mural was created in what I thought was Diego’s signature style which this mural could never be mistaken for any other artist.
    After viewing "The Making of a Fresco Showing the Building of A City" we took a self tour of the SFAI campus which had great views of Coit Tower, the bay, and Alcatraz Island.
    It was a great day spending the day absorbing the Arts and Culture of San Francisco, California on foot.
    I will be making occasional trips to the Bay Area for the next two years visiting Anita, so stay tuned for CAM in S.F. coverage.

    More images at CHICANO ART MOVEMENT/Facebook

    For more information on Diego Rivera murals in San Francisco visit: www.riveramural.org and www.sfai.edu


  4. CHICANO ART MOVEMENT: City of Coachella’s longest Chicano/Mexican historical timeline mural.

    imageCity of Coachella’s longest Chicano/Mexican historical timeline mural

    About a month ago I received a message from Oralia (Yaya), Founder and President of Culturas1 Music & Art through the CHICANO ART MOVEMENT Facebook page. Oralia wrote to me about the project which she was working on with her city. The endeavor she spoke to me about was the longest Chicano/Mexican historical timeline mural in the City of Coachella, California. What interested me about Culturas1 Music & Arts project was the community involvement of the beautification of their city. I wanted share what they were doing in Coachella, so I asked Oralia if she would send me some images and a write up to share with all the CHICANO ART MOVEMENT readers and beyond to help promote the feat they are on the verge of accomplishing.

    If you would like to visit City of Coachella’s longest Chicano/Mexican historical timeline mural it is located at: 85-471 Bagdad Ave on Shady Lane. Or if you would like Information for tours or questions can be addressed to Ruben Gonzalez, Projects Coordinator or email Culturas1 Music & Art.

    Artists, Curators, galleries and museums! Culturas1 Music & Art is looking for Chicano and Mexican art exhibitions to travel to their city. If you have a exhibition which you would like to show to the Coachella Valley masses connect with them.
    As Oralia (Culturas Music & Art) said: "It would be awesome to see what the great City of Los Angeles is doing and expose the beautiful arte that is being created or have creating for years."
    Contact them here: culturas1@aol.com

    More images at: CHICANO ART MOVEMENT Facebook page
    imagevia Culturas Music & Arts:
    Culturas Music & Arts (CMA), mission is to support all individuals to form strong positive community values, cultural understanding, and artistic awareness within themselves and others by ensuring a safe, healthy, educational environment that promotes art, music, dance, and theater.
    In 2008 a small group of local Coachella residents were concerned with the lack of public art programs in our community. Culturas Music & Arts was formed to try and addressed those issues.

    In the late 70’s early 80’s a mural was painted depicting Chicano History by Artistas del Valle, a group of young Chicano artists. The Chicano mural was never finished due to lack of funds. Years passed and the mural began to fade and wall began to collapse, years later a new wall took its place.
    In 2009 CMA began to organize to replace a whole new mural. We submitted a proposal to the City of Coachella for funding of material and paint. CMA requested and posted a call for artists. All artists would be on a volunteer basis. A panel of 3 committee members would oversee and would be responsible for picking the artists. Each artist was assigned a 6’ x 50” panel and was given a historical timeline to research, and then an accurate sketch of the timeline had to be submitted for approval. Once approved, the artist would either sketch free hand or project in black and white, and then sketched. The research provided an opportunity to gain knowledge of important events; contributions and struggles Chicano/Mexicans people. Each panel is different in style and shows the individual talents and styles of each artist. The mural (research was done) is the second longest historical timeline mural in California that we know of and we are proud to have painted in the City of Coachella. The mural actually began in 2011.

    The beginning of the mural reads; this mural is dedicated to the mystic City of Aztlan and the great people of the Mexica, past, present and future.
    Artists and their timeline;
    Pre-Columbian; Victor Pacillo & Chris Pacillo
    Colonization; Chris Sanchez
    Mexican Independence; Cuahtemoc Aldrete
    Mexican/Spanish War; The Alamo, Los Ninos Heros, Cece & Ryan Bowens.
    French/Mexican War; Cinco De Mayo, Sal Gomez, George Mendez, Pedro Facio
    Mexican Revolution; “Dreamer” (sketch), Kimberley Garcia, Keila Cupil,
    Mexican Folklore; Cortez, Vasquez, Murrieta; Frank & Oscar Lemus
    Zoot Riots, Chavez Ravine; Gina Ortega, Johnny Esquivel
    War 1&11, Chris Redman, Moe Ramos, Robbie Ochoa, Jerry Cervantes
    Mexican Artists, Diego Rivera, Frida Kahlo, Jose Cemente Sequiros, David A. Orozco, Lorena Carrington; Princess Ramirez
    A small mural of La IIorna; Princessa Ramierz
    Mosic of the Virgen; Ruben R Gonzalez
    Mexican Golden Era of Music & Film; Keila Cupil
    The Braceros Period; Joe Noe Hernandez
    Chicano Music Wave; Date Farmers
    Chicanos in Vietnam; Chris Redman, Landon Johnson
    Cesar Chavez & UFW’s; Jesus Gonzalez, Octavio Gonzalez
    Chicano Movement; Raices Members, Gabriel Perez, Carlos Gonzalez, Tone Rubio
    Lowrider Movement; (Still need to be finished) Jerry Cervantes, Robbie Ochoa, J J Perez,
    Chicanos in Government and leadership; Jesus Olivares
    At the end of the mural, some small images of Chicanos in education
    Around the corner of the wall an image of Aztec Peloteros and images of the 52 cycles, (Which is pretty interesting because the mural ends in the corner of Ave 52).

    Besides these artists there have been many volunteers, often local residents who just wanted to assist, help paint something. It’s been a great journey. I find it a relief that we are almost done, yet there is sadness. The mural has been our life, we slept, drank mural. But, I must say I can’t wait to finish it up in the next two weeks so we can start a new project.

    Photos courtesy of: Bri Urena

    More info on CMA visit: Culturas1 Music & Art Facebook


  5. 3rd International Exhibit

    "Women of Yesteryear, Today…& Forever"

    Opening Reception, Saturday, March 9th at 7pm

    Vino & Hors d’oeuvres

    Entertainment / Show Artistico:
    * Danza Azteca Coatlicue Cemilitzli*
    * Cantautor y Promotor Cultural Mexicano : Eduardo Parra*
    * Platica “No a la Violencia Domestica”
    Expositor: Cathy Mendonca Activist Gabriela Network / AF3IRM

    Art Curators: Rogelio Casas & Marisol De Las Casas

    2004 Park Blvd., San Diego, Califaz, 92101



  6. "The fact that nearly half of the population of Los Angeles has roots in Latin America is so profound that it warrants a major exhibition and research project with accompanying publications,” said Getty Trust head James Cuno. “These are complicated roots, over many generations, and relationships between the U.S. and those antecedent countries have changed considerably over time, so we want to be respectful of those complexities."

  7. smb2719:

    Today I got to help out my friend/mentor Margaret Garcia with this flyer for a show she curated here in LA…I now realize that I love design a lot more than I actually thought. 

    This is a great start to actually go back and build my portfolio…I think I just needed to see what I produce has an “end” result, a happy “client” 

    Anyways, enough about that - Here are the details for the show:

    Casa 0101 Production

    Runs from Nov. 3, 2012-Nov 18, 2012



    A production at CASA 0101 Theatre



    an exhibit of Women artists

    Curated by Margaret Garcia

    Co-Curated by Sonji Mariposa

    VERVE /vɜrv/ noun
    1.enthusiasm or vigor, as in literary or artistic work; spirit: 
    2.vivaciousness; liveliness; animation

    The Works here have a grace of form and figure many expressing light as a form of sublime celebration. From these women this celebration communicates the Verve of Life our work bestows on us. The Feminine Perspective of strength and beauty, with a fierce expression of talent. 

    As an artist I have been acknowledged and often asked by other women artists; “How were you able to build such a career and be celebrated as you are?” What I have come to understand is that there is no shortage of talent amongst women Artists and writers, though many have not been recognized within the community. Sometimes we wait for a gallery, curator, or historian to recognize us, to validate what we know; and that is that we are a talented force. 30 years ago I did not have a degree in Art, there was nothing to say I was a curator, I simply starting curating exhibits.

    As an artist with an artist eye, helping others to show their work. That is how I built my career. We must as artists validate others in order to help ourselves. This collection is my effort.

    Exhibiting Artists:

    Grace Barraza-Vega
    Bonnie Lambert
    Kikki Eder
    Graciela Iturbide
    Suzanne Delacruz Urquiza
    Ester Petschar
    Sonji Mariposa
    Emilia García
    Kristina Sandoval
    Poli Marichal
    Margaret Garcia

  8. Chicano Art Movment attends: Open Your Eyes/ Abre Los Ojos @ The Muckenthaler Cultural Center - Opening reception

    On August 30th, I attended the opening reception of my friend, artist, and curator Jose Lozano’s curated exhibit Open Your Eyes/ Abre Los Ojos at The Muckenthaler Cultural Center in Fullerton C.A. It is always a delight to talk Mr. Lozano, he always leaves me with my sides aching from so much laughter from the stories he gifts me with.

    Ixrael - Transfiguracion Ficticia 2002 Giclee

    Arriving early to the venue there was already a hustle and bustle brewing. Entering The Muckenthaler galleries it was great to see so many artgoers showing Jose support and enjoying the fantastic artworks he curated for the Open Your Eyes/ Abre Los Ojos exhibition.

    Wall of: Gronk, Robert Palacios, Diane Gamboa, Jose Lozano and Barbara Carrasco

    My expectations of the Open Your Eyes/ Abre Los Ojos exhibition was that there would be a handful of good artworks to view, but I was blown away by the pieces hand picked by curator Jose Lozano. Many of the pieces exhibited are what would be considered “Museum pieces.” The artworks chosen Mr. Lozano complimented each other and made this a visuallly satisfying exhibition.

    Roberto Gutierrez - Not Yet, 2005 - acrylic on canvas

    It was also a special treat to see a few of the collectors who lent their artworks in attendance. It is always interesting for me to see what type of person and who collects Chicano art.
    One of the non-artwork related highlights for me was meeting Chicano great Gilbert “Magu” Lujan’s son.
    The Open Your Eyes/ Abre Los Ojos exhibition has a numeros amout of different artist showing like, Salomon Huerta, Carlos Almaraz and Roberto Gutierrez.
    Show runs until November 4th 2012.
    There will also be Curator’s Walk Through November 1 . 6 PM, if you could not make it to the opening here is your best next chance to meet Artist and cuartor Jose Lozano.

    More photos for your viewing pleasure @ CHICANO ART MOVEMENT FACEBOOK

    The Muckenthaler Cultural Center
    1201 West Malvern Avenue
    Fullerton, California 92833


  9. Frida Kahlo, Self-portrait with Thorn Necklace and Hummingbird (detail)

    Feliz Cumpleanos hermosa FRIDA KAHLO 106 years!!

    You have inspired many of a Chicano and Mexican-American to create, dream, and go against the grain.
    First time I saw “Las Dos Fridas” in person I was stunned for a minute, and could not believe how mighty this piece was in size and in inspiration. That is when I connected why so many artist have recreated this lovely masterpiece by Magdalena Carmen Frida Kahlo y Calderón.


  10. MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985

    Curated by Rubén Ortiz-Torres in association with Jesse Lerner, the exhibition MEX/L.A.: “Mexican” Modernism(s) in Los Angeles, 1930-1985, focuses on the construction of different notions of “Mexicanidad” within modernist and contemporary art in Los Angeles. The period from 1945 to 1985 is attributed as the time when Los Angeles consolidated itself as an important cultural center. However, this time span excludes the controversial and important presence of the Mexican muralists and the production of other artists such as Philip Guston and Jackson Pollock who responded to their ideas and later influenced other artists in New York and throughout the United States.

    If you were not able to make it out to this Pacific Standard Time event here is a great video narrated by assistant curator Selene Preciado summarizing the theme of the exhibition of MEX/LA at MOLAA.
    MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985 and “Art Along The Hyphen” The Mexican-American Generation were my two favorite exhibitions of the Pacific Standard Time of events. I enjoyed this exhibit, I got to see how Mexican and Mexican-Americans influenced Los Angeles in Flim, food and artworld. This exhibition was also the first time Chicano artist have been exhibited inside the confinements of Museum Of Latin American Art.


  11. David Alfaro Siqueiros - Artist by Barefoot Productions

    “Yes, I think we can do something with that”

    via: TheAutry.org
    Artists who knew about the mural (“La América Tropical”) took it as inspiration, and those who studied Siqueiros’ work emulated his techniques. The Chicano Muralist Movement of the 1960s and 1970s took some of its political and aesthetic cues from Siqueiros’ work.