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Chávez Morado reflects his pessimistic view of the growing metropolis in a series of unsettling vignettes set in dark streets. Outside a theatre, musicians perform by the light of the passing cars. Police are about to storm a peaceful meeting. A seductive woman waits by the door of a one-star hotel. A man leaves the scene of a hideous crime. Under the cover of night, we discover the dark side of modernity. Signs of modern life are everywhere, yet the harsh contrast of black and white and the seedy subjects recall the gritty aesthetic of film noir rather than the utopian optimism of much of the works created in Mexico in the previous decade.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, University purchase, 1966; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Mexican", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.869.2-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.869.2-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.869.2-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.869.2-4.tif", "IsPrimary" : "1", "_SurrogateID" : "6873", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16837, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16837", "Disp_Access_No" : "2003.77", "_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "Poli IV (Cop IV), from the series Orillese a la orilla (Edge Over to the Edge)", "Alt_Title" : "", "Obj_Title" : "Poli IV (Cop IV), from the series Orillese a la orilla (Edge Over to the Edge)", "Series_Title" : "", "Disp_Maker_1" : "Yoshua Okón", "Sort_Artist" : "Okón, Yoshua", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Color video with sound", "Support" : "", "Disp_Medium" : "Color video with sound", "Info_Page_Comm" : "Okón generally invites ordinary people to act in his videos, offering them a fee in exchange for working with him to broadly define and perform a storyline. Poli IV is one of a series of six videos the artist created in collaboration with different Mexico City policemen. In this case, Okón asked an officer to repeat a baton-twirling routine he had performed on the street. For the filming, the policeman embellished his performance, displaying a combination of martial-arts movements, bodybuilding poses, and sexual gestures. Okón shot the video straight-on with a handheld camera, against a plain backdrop, giving the video an amateurish look. When the piece is displayed, the life-size projection of the figure creates a one-to-one relation with the viewer. The unfiltered and extravagant performance undermines and implicitly ridicules the policeman’s authority. Visitor response to the work ranges from amusement to disgust at what might be seen as the acting out of arrogant, testosterone-fueled fantasies by a uniformed law enforcer. Meanwhile the viewer, as anonymous as the policeman, is a voyeur watching a private performance for entertainment. 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Diego-based artist Victor Ochoa has often addressed the culture on the border between United States and Mexico, where aspects of both countries are blended into new local forms. In "Border Bingo", Ochoa focused on Mexican lotería, which is played like a form of Bingo with illustrated cards. Embracing the possibilities of hybrid and transnational creativity, the artist ironically populated his "lotería" cards with anthropomorphized objects drawn from border culture, including a border patrol agent’s binoculars, a tourist’s camera, a maid's cleaning products, a soldier’s boot, and a punk’s chains. The grouping reflects stereotypes commonly associated with the border during the 1980s. 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The prints, sponsored by Self Help Graphics and co-published by Galería Sin Fronteras, were produced at Taller Romero in Mexico City by printer Renato Esquivel Romero. According to Cárdenas, this series pays “homage to the perseverance and dignity of the new Latino immigrants as they struggle with the transition into American society.” He has also said that they are a reminder of “the role that immigration plays in enriching the economic vitality of our society and the contributions that the immigrants and their children will have in making American society a better community for tomorrow—a community ‘sin fronteras.’” Each of the five selected artists presents a distinctive take on politics, immigration, and the border. Alejandro Romero used dark, dense imagery to evoke the terror of violence enacted by the U.S. Border Patrol and detention centers. His layered style suggests a haunting vision of ghostly bodies floating past a maguey or agave plant at the center of each of his compositions.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Gilberto Cárdenas, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.605.9-sheet.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.605.9-sheet.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.605.9-sheet.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.605.9-sheet.tif", "IsPrimary" : "1", "_SurrogateID" : "19149", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }