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"Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Saul Steinberg Foundation, 2019", "Copyright_Type" : "Non-Exclusive License", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 23207, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23207", "Disp_Access_No" : "2017.288", "_AccNumSort1" : "", "Disp_Create_DT" : "1985", "_Disp_Start_Dat" : "1985", "_Disp_End_Date" : "1985", "Disp_Title" : "Rumbos de Expresión [exhibition poster]", "Alt_Title" : "", "Obj_Title" : "Rumbos de Expresión [exhibition poster]", "Series_Title" : "", "Disp_Maker_1" : "Anonymous Self-Help Graphics", "Sort_Artist" : "Anonymous Self-Help Graphics", "Disp_Dimen" : "76.5 x 56.8 cm (30 1/8 x 22 3/8 in.)", "Disp_Height" : "76.5 cm", "Disp_Width" : "56.8 cm", "Dimen_Extent" : "sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "", "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": [ ] },{ "embark_ID" : 23249, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23249", "Disp_Access_No" : "2017.329", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "El pueblo chicano con el pueblo centroamericano [The Chicano People with the Central American People]", "Alt_Title" : "", "Obj_Title" : "El pueblo chicano con el pueblo centroamericano [The Chicano People with the Central American People]", "Series_Title" : "", "Disp_Maker_1" : "Yreina D. Cervántez", "Sort_Artist" : "Cervántez, Yreina D.", "Disp_Dimen" : "97.1 x 63.4 cm (38 1/4 x 24 15/16 in.)", "Disp_Height" : "97.1 cm", "Disp_Width" : "63.4 cm", "Dimen_Extent" : "sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "Many Chicanx artists draw from the rich visual reservoir of Mexico and Central American countries as a way of negotiating their lives and artistic practice in the United States and maintaining a link to their ancestral and community heritage. Yreina Cervántez’s print features well-known figures and motifs: Augusto César Sandino, Che Guevara, Quetzalcoatl, the Virgin of Guadalupe, and Indigenous people. Cervántez transforms these visual icons, lending them new meanings in the context of the struggle for social justice that took place in Central America during the 1980s. What seems at first like a dense collage reveals a clever logic: the viewer is positioned as if inside a car, looking out at a series of Chicanx murals painted along the freeway in support of the Nicaraguan Sandinista rebels fighting Anastasio Somoza’s dictatorial regime.", "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/2017.329.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.329.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.329.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.329.tif", "IsPrimary" : "1", "_SurrogateID" : "17193", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23350, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23350", "Disp_Access_No" : "2017.420", "_AccNumSort1" : "", "Disp_Create_DT" : "1994", "_Disp_Start_Dat" : "1994", "_Disp_End_Date" : "1994", "Disp_Title" : "Cesar E. Chavez Avenida [Cesar E. Chavez Avenue]", "Alt_Title" : "", "Obj_Title" : "Cesar E. Chavez Avenida [Cesar E. Chavez Avenue]", "Series_Title" : "", "Disp_Maker_1" : "Roberto Gutiérrez", "Sort_Artist" : "Gutiérrez, Roberto", "Disp_Dimen" : "60.8 x 66.3 cm (23 15/16 x 26 1/8 in.)", "Disp_Height" : "60.8 cm", "Disp_Width" : "66.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "For artists like Roberto Gutiérrez, who grew up in East Los Angeles, Self Help felt like a second home that was always welcoming. "Cesar E. Chavez Avenida" records the neighborhood’s history, as it commemorates the name change of the area’s main avenue from “Brooklyn” to “Cesar E. Chavez” in 1994. During the 1960s, this part of the city transformed from a predominantly Jewish to a Mexican American community. Today East Los is undergoing another change in demographics as a targeted site of gentrification. Through the arrival of new communities, Self Help remains a symbol of the Latinx history in the area.", "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/2017.420-Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.420-Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.420-Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.420-Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "19169", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.420-Sheet.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.420-Sheet.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.420-Sheet.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.420-Sheet.tif", "IsPrimary" : "0", "_SurrogateID" : "19170", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23355, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23355", "Disp_Access_No" : "2017.427", "_AccNumSort1" : "", "Disp_Create_DT" : "1990", "_Disp_Start_Dat" : "1990", "_Disp_End_Date" : "1990", "Disp_Title" : "The Cosmic Cruise", "Alt_Title" : "", "Obj_Title" : "The Cosmic Cruise", "Series_Title" : "", "Disp_Maker_1" : "Ester Hernández", "Sort_Artist" : "Hernández, Ester", "Disp_Dimen" : "96.3 x 65.6 cm (37 15/16 x 25 13/16 in.)", "Disp_Height" : "96.3 cm", "Disp_Width" : "65.6 cm", "Dimen_Extent" : "sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "A California native of Indigenous Mexican (Yaqui) decent, Ester Hernández addresses the struggles and joys of Latina/Indigenous women in relation to rural labor issues and Mexican history since ancient times. She describes the theme of "The Cosmic Cruise" as "our interconnectedness with each other and the universe.” In the print, womanhood intersects with Mesoamerican and Catholic spirituality. She depicts the Virgen de Guadalupe, alongside a multigenerational trio of Indigenous Mexican and Latina women, driving a Model T among the stars. Seven golden discs depicting the Aztec moon goddess Coyolxāuhqui hover beneath the vehicle.", "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/2017.427-sheet.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.427-sheet.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.427-sheet.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.427-sheet.tif", "IsPrimary" : "1", "_SurrogateID" : "19133", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23377, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23377", "Disp_Access_No" : "2017.451", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "La Ozone Burns II", "Alt_Title" : "", "Obj_Title" : "La Ozone Burns II", "Series_Title" : "", "Disp_Maker_1" : "Léo Limón", "Sort_Artist" : "Limón, Léo", "Disp_Dimen" : "33.1 x 96.4 cm (13 1/16 x 37 15/16 in.)", "Disp_Height" : "33.1 cm", "Disp_Width" : "96.4 cm", "Dimen_Extent" : "sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "", "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": [ ] },{ "embark_ID" : 23398, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23398", "Disp_Access_No" : "2017.469", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Cruising Turtle Island", "Alt_Title" : "", "Obj_Title" : "Cruising Turtle Island", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Luján", "Sort_Artist" : "Luján, Gilbert", "Disp_Dimen" : "63.5 x 97.3 cm (25 x 38 5/16 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "97.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "In "Cruising Turtle Island", Gilbert Luján—a member of Los Four, a foundational art collective in Los Angeles—explores the concept of Aztlán, the ancestral home of the Aztecs and the spiritual home of the Chicanx community. Many Indigenous groups in North America believed the world was suspended on the back of a mythic turtle. Activists defending Indigenous rights began calling the Americas “Turtle Island.” Luján imagines this place as an enclave with Mesoamerican-style temples in the shape of howling dogs and an ancient warrior driving a low-rider car crowned by Quetzalcoatl, the feathered serpent god.", "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/2017.469-Sheet.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.469-Sheet.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.469-Sheet.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.469-Sheet.tif", "IsPrimary" : "1", "_SurrogateID" : "19187", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23512, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23512", "Disp_Access_No" : "2017.590", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "L.A./T.J.", "Alt_Title" : "", "Obj_Title" : "L.A./T.J.", "Series_Title" : "", "Disp_Maker_1" : "Patssi Valdez", "Sort_Artist" : "Valdez, Patssi", "Disp_Dimen" : "66.5 x 50.7 cm (26 3/16 x 19 15/16 in.)", "Disp_Height" : "66.5 cm", "Disp_Width" : "50.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "Boundaries blur and overlap in Patssi Valdez’s collaged depiction of Los Angeles (L.A.) and Tijuana (T.J.). Iconic images of L.A., including its city hall, palm trees, and highways occupy the top portion. A photographic portrait of the artist split in two hovers over the cityscape, visually bisecting her dual identities. Below, a chain-link fence separates the two cities. The barbed wire presses down on individuals that appear to wander aimlessly, presumably on the Tijuana side of the border. As a U.S.-born citizen with Mexican ancestry living in Los Angeles, Valdez is constantly being pulled towards the border—a liminal place where opportunity and divisiveness coexist.", "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/2017.590-Crop.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.590-Crop.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.590-Crop.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2017.590-Crop.jpg", "IsPrimary" : "1", "_SurrogateID" : "22671", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.590-sheet.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.590-sheet.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.590-sheet.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2017.590-sheet.jpg", "IsPrimary" : "0", "_SurrogateID" : "22672", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }