{ "objects" : [ { "embark_ID" : 935, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/935", "Disp_Access_No" : "13-G-3549O", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Silver Mine Worker, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Francisco Mora", "Sort_Artist" : "Mora, Francisco", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A The cooperative that works the mine called “Dos Carlos” must make use of very mediocre facilities to do its work. The miners work on the veins traced by former owners—veins which, as can well be imagined, are now very impoverished. Under these conditions, the workers receive a salary that barely covers the necessities of life. In spite of this hard reality, however, they keep going in the hope of discovering a rich vein, and the necessary credit with which to purchase the mechanical equipment to work it. The arches of the tunnels are so low that the miners must walk hunched over and sometimes crawl on their stomachs like reptiles. When miners are asked why the tunnels are not made higher they answer frankly: 'We cannot procure wood to secure the sides of the mine so we dare not open normal sized tunnels. Even so, we are under constant danger of being crushed or buried alive by an avalanche of rocks." <i>"La cooperativa minera que explota la mina llamada “Dos Carlos”, cuenta con muy escasos medios materiales para la expoltación de ésta. Los obreros que trabajan esta mina lo estan hacienda sobre las vetas que trazó la antigua empresa propietaria, vetas, que como es de suponer han quedado muy empobrecidas. En estas condiciones, los obreros cooperativistas de este mineral, solo logran un salario que dificilmente llena sus necesidades más apremientes. Pero a pesar de esta dura realidad, lo que allí les mantiene, son las esperanzasde encontrar una veta rica y el crédito necesario para adquirir el equipo mecánico indispensable para trabajarlo. Las bóvedas de los túneles son de tan escasa altura, que obligan al minero a caminar encorvado y a veces a rastras como un reptil. A la pregunta de porqué los túneles no son más altos, los mineros contestan claramente: “Como no podemos conseguir madera para ademar, pues las empresas mineras vecinas la acaparan toda, no podemos adventurarnos a ábrir túneles normales. Sin embargo, aún así, estamos bajo la amenaza constante de ser aplastados o sepultados en vida por el desprendimento de las rocas."</i> ", "Dedication" : "", "Copyright_Type" : "Art © Catlett Mora Family Trust/Licensed by VAGA, New York, NY", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549O.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549O.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549O.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549O.jpg", "IsPrimary" : "1", "_SurrogateID" : "6003", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8085, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8085", "Disp_Access_No" : "16-G-4983", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1930", "_Disp_Start_Dat" : "1925", "_Disp_End_Date" : "1935", "Disp_Title" : "Revolucion #2", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arturo Garcia Bustos", "Sort_Artist" : "Bustos, Arturo Garcia", "Disp_Dimen" : "11 3/4 x 15 13/16 in. (29.8 x 40.2 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "15 13/16 in.", "Dimen_Extent" : "Image", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Gift of the Rubin-Ladd Foundation", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / SOMAAP, Mexico City", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/16-G-4983.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/16-G-4983.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/16-G-4983.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/16-G-4983.jpg", "IsPrimary" : "1", "_SurrogateID" : "9341", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 966, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/966", "Disp_Access_No" : "13-G-3580", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "Alfabetización (Literacy)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth Catlett", "Sort_Artist" : "Catlett, Elizabeth", "Disp_Dimen" : "9 3/4 x 12 1/4 in. (24.8 x 31.1 cm)", "Disp_Height" : "9 3/4 in.", "Disp_Width" : "12 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : " Label from Elizabeth Catlett: Art for Social Justice, La Salle University Art Museum, March 11 - June 4, 2015: Catlett often addressed the subject of literacy and education for the poorest members of society. In Alfabetización, she depicts three Indian women seated with rebozos around their shoulders. One of the women reads from a book, as the other two listen attentively. This print was made for the national literacy campaign established in 1944 by the Mexican government. In 1953, Catlett’s image of Alfabetización also appeared on the cover of the official publication of the national literacy campaign. ", "Dedication" : "Purchased with the Benjamin D. Bernstein Acquisition Fund", "Copyright_Type" : "Art © Catlett Mora Family Trust/Licensed by VAGA, New York, NY ", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3580.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3580.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3580.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3580.jpg", "IsPrimary" : "1", "_SurrogateID" : "1261", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 930, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/930", "Disp_Access_No" : "13-G-3549J", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Lumber Workers, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alfredo Zalce", "Sort_Artist" : "Zalce, Alfredo", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "The large logs of mahogany that arrive at Ciudad del Carmen are brought from the jungles of Chiapas. To transport them there, they are put into the river and towed to the sea, a trip that lasts several weeks. When they are near the beach, the ends are sawed off to make the logs all the same size. Then they are picked up by the boats that carry them to foreign countries such as the United States and Europe. This lithograph depicts the moment when the workers cut the ends of the logs. This work is very wearing because of the primitive conditions under which it must be done, standing in the sea up to the waist, under an exhausting tropical sun." <i>"A ciudad del Carmen llegan los grandes troncos de caoba, que son traidos de las selvas de Chiapas. Para transportarlos, se ponen en los ríos y son remolcados hasta el mar, viaje que dura algunas semanas. Cuando están cercade la playa son cortados de sus extremos hasta tener todos una misma medida. Entonces han cuedado listos para ser recogidas por barcos que los llevan al extrenjero—E.U. y Europa. La litografía representa el momento en que los trabajadores cortan los extremos del tronco, trabajo sumamente penoso, por las condiciones primitivas en que tiene que hacerse, sumidos en el mar hasta la cintura, y bajo um clima tropical extenuante."</i> ", "Dedication" : "", "Copyright_Type" : "© Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549J.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549J.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549J.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549J.jpg", "IsPrimary" : "1", "_SurrogateID" : "5998", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 942, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/942", "Disp_Access_No" : "13-G-3556", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "El Petrolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth Catlett", "Sort_Artist" : "Catlett, Elizabeth", "Disp_Dimen" : "6 3/8 x 8 in. (16.2 x 20.3 cm)", "Disp_Height" : "6 3/8 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "Image", "Medium" : "Linocut, Signed and Dated", "Support" : "", "Disp_Medium" : "Linocut, Signed and Dated", "Info_Page_Comm" : " Label from Elizabeth Catlett: Art for Social Justice, La Salle University Art Museum, March 11 - June 4, 2015: A politically-conscious artist, Catlett produced numerous works that responded to contemporary issues. This linocut celebrated the nationalization of the petroleum industry that occurred in 1938. It is an intriguing landscape which portrays a petroleum plant with its tall towers and tanks resting in the palm of an upstretched human hand, framed by a radiating halo of bright light. The hand rises out of a giant map of Mexico, which dominates the lower half of the composition.", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Art © Catlett Mora Family Trust/Licensed by VAGA, New York, NY ", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3556.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3556.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3556.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3556.jpg", "IsPrimary" : "1", "_SurrogateID" : "1260", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 933, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/933", "Disp_Access_No" : "13-G-3549M", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Brick Makers, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pablo O'Higgins", "Sort_Artist" : "O'Higgins, Pablo", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "The brick-makers and their families live next to their kilns. Sometimes they even live within the kilns themselves. The entire family works together even the smallest child who helps to stack the bricks for drying. The process of making bricks is difficult and complicated and has been handed down from generation to generation for hundreds of years. There are many brick kilns in the Valley of Mexico and in spite of the primitive methods used, these kilns have been able to supply very efficiently the needs of the new modern Mexico City which is undergoing a fever of construction." <i>"El ladrillero y su familia viven junto a su horno, y a veces hacen del horno su casa. Trabajan juntos, hasta el más pequeño niño, él cual amontona los ladrillos para se que sequen. El proceso es difícil y complicado, es proceso heredado durante años. Hay, en el valle de México, muchos ornos de ladrillos y a pesar del método primitivo de hacer los lodrillos, han podido abastecir eficientamente lo necesario para la nueva moderna ciudad de México, que esta pasando una fiebre de construcción."</i> ", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / SOMAAP, Mexico City", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549M.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549M.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549M.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549M.jpg", "IsPrimary" : "1", "_SurrogateID" : "6001", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2738, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2738", "Disp_Access_No" : "85-G-1338", "_AccNumSort1" : "", "Disp_Create_DT" : "1939", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1939", "Disp_Title" : "Cement Finishers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leon Gilmour", "Sort_Artist" : "Gilmour, Leon", "Disp_Dimen" : "10 x 8 in. (25.4 x 20.3 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "Image", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "<SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Gilmour immigrated to the United States in 1916 at the age of nine. Born in Riga, Russia, Gilmour pursued artistic training during his brief stay in Boston at the School of Practical Art. To support himself, he worked in a variety of capacities, including as a truck driver, construction worker and field hand. Upon moving to the west coast, Gilmour studied at the Otis Art Institute under Paul Landacre, who is often credited with elevat­ing wood engraving to an art form. As a result of his own experience with menial labor, Gilmour produced numerous prints glorifying the strength and resilience of workers. During this period of rampant unemployment in the 1930s, images of productivity were intended to be received as symbols of optimism. Moreover, under the WPA/FAP, artists themselves were considered skilled labor, therefore allying them with the monumental ve­hicles of industry pictured here.<BR/><BR/>Miranda Clark-Binder<BR/>Curator of Education and Public Programs, La Salle University Art Museum</SPAN>", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-G-1338.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-G-1338.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-G-1338.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-G-1338.jpg", "IsPrimary" : "1", "_SurrogateID" : "2217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2062, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2062", "Disp_Access_No" : "79-G-1054", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1938-1939", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1939", "Disp_Title" : "Life (Young Girl Reading)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Dox Thrash", "Sort_Artist" : "Thrash, Dox", "Disp_Dimen" : "10 3/4 x 8 3/4 in. (27.3 x 22.2 cm)", "Disp_Height" : "10 3/4 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Carborundum Mezzotint, Restrike", "Support" : "", "Disp_Medium" : "Carborundum Mezzotint, Restrike", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Thrash depicted African American subjects in an era when many worried that being labeled an African American artist, rather than just an artist, would marginalize their work. Langston Hughes, Alain Locke, and Marcus Garvey called for race-conscious art and Thrash was among the artists who embraced their thinking. <BR/><BR/>Here Thrash depicts a little girl absorbed in the act of reading </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Life </SPAN><SPAN STYLE="font-size:10pt">magazine. The choice of </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Life</SPAN><SPAN STYLE="font-size:10pt"> magazine em­phasizes the girl’s identity as an American. Art historian Richard Powell asserts that the “non-racial genre” image soft sells the idea of “commonality” and “unity” rather than separation in the African American experience of childhood.<BR/><BR/>Between 1930 and 1947, African American illiteracy rates stood at 11-18% compared with 2-4% for European Americans.3 Thrash had left school after fourth grade, which was not uncommon for an African American growing up in rural Georgia in the early 20th century. Thrash was an autodidact who studied by correspondence while living on the road as a teenager before attending the School of the Art Institute of Chicago. The act of reading was no doubt intended to communicate a posi­tive affirmation of the sitter’s literacy, intelligence, and cultural savvy.<BR/><BR/>Carmen Vendelin </SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std'">Curator of Art, La Salle University Art Museum<BR/></SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-G-1054.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-1054.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-1054.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-1054.jpg", "IsPrimary" : "1", "_SurrogateID" : "2457", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1045, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1045", "Disp_Access_No" : "14-G-3647", "_AccNumSort1" : "", "Disp_Create_DT" : "2011", "_Disp_Start_Dat" : "2011", "_Disp_End_Date" : "2011", "Disp_Title" : "Alto a la Criminalizacion de Migrantes (Stop the Criminalization of Migrants)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mazatl", "Sort_Artist" : "Mazatl", "Disp_Dimen" : "25 x 16 in. (63.5 x 40.6 cm)", "Disp_Height" : "25 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "Image", "Medium" : "1-Color Linoleum Block Print", "Support" : "", "Disp_Medium" : "1-Color Linoleum Block Print", "Info_Page_Comm" : "<SPAN><SPAN STYLE="color:#212121"><BR/></SPAN><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><SPAN STYLE="color:#212121"><BR/><BR/></SPAN><SPAN STYLE="font-style:italic;color:#212121">Alto a la Criminalizacion de Migrantes</SPAN><SPAN STYLE="color:#212121"> was created in 2011 for an “Immigrant know your rights” campaign that was put together by organizers here in Mexico and across the border in the U.S. Part of the purpose of the campaign was to fundraise for Mexican, Chicanos, and Spanish speakers from the U.S to attend the 2011 Allied Media Conference in Detroit, Michigan. We find it important for Latinos to raise our voice and be heard in the midst of an all-out war against our communities and communities of color throughout the US. Therefore we put together several workshops at the conference to share tactics and strategies on how to better protect our communities. Since people have welcomed this image well, two different versions of it have been used. One was for the Justseeds installation in the Pittsburgh Biennial at Carnegie Mellon University in the summer of 2011; and the other is in the new Justseeds portfolio on Immigration Issues.<BR/><BR/></SPAN>— Mazatl <SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Mazatl", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3647.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3647.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3647.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3647.jpg", "IsPrimary" : "1", "_SurrogateID" : "2870", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 997, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/997", "Disp_Access_No" : "13-T-154", "_AccNumSort1" : "", "Disp_Create_DT" : "2009", "_Disp_Start_Dat" : "2009", "_Disp_End_Date" : "2009", "Disp_Title" : "Immigration Reform Girl", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Shepard Fairey", "Sort_Artist" : "Fairey, Shepard", "Disp_Dimen" : "30 5/8 x 22 5/8 in. (77.8 x 57.5 cm)", "Disp_Height" : "30 5/8 in.", "Disp_Width" : "22 5/8 in.", "Dimen_Extent" : "Image", "Medium" : "Offset Color Lithograph", "Support" : "", "Disp_Medium" : "Offset Color Lithograph", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>I am an immigrant. My ancestors left England and Scotland to come to this land to create a better life for themselves and their families. America is a land of immigrants. Ironically, the peoples who this land was inhabited by before “Americans” were Native Americans of North and South American descent. I bring up this history not to stir up controversy or animosity, but to simply point out the complexity of who is entitled to live here. Something that is not complex and should not be controversial is the right of all humans to be treated like humans. People coming to America for the same reasons our ancestors did deserve human rights. The United States was created by immigrants and now our country needs immigration reform. I collaborated on this project with my co-worker Ernesto Yerena who shot the photos and helped with the graphics. Zack De La Rocha and Producciones Cimarron provided input and support. All the proceeds from these posters go to creating materials for the May Day marches and donations for immigration reform organizations. Thanks for supporting human rights!<BR/><BR/>– Shepard Fairey<BR/> ObeyGiant.com<BR/><SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Ernesto Yerena Mantejano and Shepard Fairey", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-T-154.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-T-154.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-T-154.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-T-154.jpg", "IsPrimary" : "1", "_SurrogateID" : "3515", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4084, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4084", "Disp_Access_No" : "14-G-3653", "_AccNumSort1" : "", "Disp_Create_DT" : "2008", "_Disp_Start_Dat" : "2008", "_Disp_End_Date" : "2008", "Disp_Title" : "Persecucion de la Felicidad (The Pursuit of Happiness)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Humberto Saenz", "Sort_Artist" : "Saenz, Humberto", "Disp_Dimen" : "18 3/4 x 14 7/8 in. (47.6 x 37.8 cm)", "Disp_Height" : "18 3/4 in.", "Disp_Width" : "14 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>This print is based loosely on a couple of events that happened when immigrants were being chased by the border patrol. As you examine the print there is a little girl in the middle of the print. One of the events described a little girl being trampled by the other immigrants as they ran from the border patrol. The gate is a chain link fence that signifies our over expenditure on building walls at the border that do not work and only cause consternation between the local communities on both sides of the border. Many other figures signify other extremes of the migrant cause including pregnant women. The translation is a play on words with the direct translation. But I felt it worked as the culture and the people can be described as happiness and we as a culture are always in pursuit of this unattainable object. Persecucion would translate directly to “persecution,” but I felt that a more common phrase and one used by popular culture would still be in keeping with the meaning of the artwork.<BR/><BR/>—Humberto Saenz<SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Humberto Saenz", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3653.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3653.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3653.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3653.jpg", "IsPrimary" : "1", "_SurrogateID" : "2602", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4083, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4083", "Disp_Access_No" : "14-G-3652", "_AccNumSort1" : "", "Disp_Create_DT" : "2008", "_Disp_Start_Dat" : "2008", "_Disp_End_Date" : "2008", "Disp_Title" : "La Arca (The Ark)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Humberto Saenz", "Sort_Artist" : "Saenz, Humberto", "Disp_Dimen" : "18 3/4 x 14 7/8 in. (47.6 x 37.8 cm)", "Disp_Height" : "18 3/4 in.", "Disp_Width" : "14 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>A "coyote" who was trafficking immigrants was driving a truck with people in the back of the truck. When a border patrol agent passed him on the highway, the "coyote" became afraid, pulled over and abandoned the truck fearing going to jail. It was not until a couple of days later that the truck was inspected, because the border patrol never attempted to stop the truck. Unfortunately the truck was locked from the outside and the immigrants were unable to exit the vehicle.<BR/><BR/>—Humberto Saenz<SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by Tom and Loretta Witt", "Copyright_Type" : "Artwork © Humberto Saenz", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3652.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3652.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3652.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3652.jpg", "IsPrimary" : "1", "_SurrogateID" : "2601", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1050, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1050", "Disp_Access_No" : "14-G-3654", "_AccNumSort1" : "", "Disp_Create_DT" : "2010", "_Disp_Start_Dat" : "2010", "_Disp_End_Date" : "2010", "Disp_Title" : "La Marcha de Los Desvalidos (The March of the Powerless)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tony Ortega", "Sort_Artist" : "Ortega, Tony", "Disp_Dimen" : "20 x 16 in. (50.8 x 40.6 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "Image", "Medium" : "Screen Print", "Support" : "", "Disp_Medium" : "Screen Print", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>As an expressionistic printmaker, I use distortion and exaggeration for emotional effect. I apply vivid and dynamic color, overlapping transparent color with opaque color. I combine flat space with cubical space. I merge abstraction, simplification, and realism. I juxtapose and superimpose unlikely images of realism, icons, symbols and fantasy from history and the contemporary world to foster opportunities for the bending of meaning and the warping of time and place. <BR/><BR/>In this silkscreen I combine my reinterpretation of Mount Rushmore with the May 1, 2006 national rally, "A Day without Immigrants." I use Mount Rushmore which is one of the most recognizable icons of the U.S. I replace the heads of the four U.S. presidents with the Latino portraits of Che Ernesto <SPAN STYLE="color:#222222">Guevara</SPAN>, Frida Kahlo, César Chavez and Rodolfo Corky Gonzales. May 1, 2006 was an important day in U.S. history: 10 million immigrants, activists and allies in over 200 cities from across the country chose to skip work, school, and the normal daily routine to participate in "A Day without Immigrants." A national boycott, general strikes, rallies and symbolic actions were held in order to demand basic rights for all immigrants, and to build a new multi-ethnic united civil rights movement. <BR/><BR/>As a contemporary Chicano printmaker, I note the changing demographics of this country as the Latino population increases. Our southern border is no longer just El Paso, Ju<SPAN STYLE="color:#252525">á</SPAN>rez, San Diego or Tijuana. The border also exists here in Denver, in Los Angeles and in Phoenix. It either expands or is shot full of holes. Cultures and languages mutually influence each other. The U.S. is indeed the final destination of many human migrations, the result of multiple factors like unemployment, overpopulation and especially the enormous economic disparity between North and South. My artwork reflects the integration of culture, history, religion and the changing demographics of Latinos in the U.S.<BR/><BR/>—Tony Ortega<SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Tony Ortega", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3654.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3654.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3654.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3654.jpg", "IsPrimary" : "1", "_SurrogateID" : "3413", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5154, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5154", "Disp_Access_No" : "16-G-3751", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Eres mi Todo (You are My Everything)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Michelle Angela Ortiz", "Sort_Artist" : "Ortiz, Michelle Angela", "Disp_Dimen" : "16 x 16 in. (40.6 x 40.6 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "Image", "Medium" : "Digital Print", "Support" : "", "Disp_Medium" : "Digital Print", "Info_Page_Comm" : " See the interpretive label written by Candace Robertson-James, DrPH, MPH, <i>Director and Assistant Professor, Master of Public Health Program</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/22/">HERE</a>. <SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>This print is based on a public art installation entitled, <SPAN STYLE="font-style:italic">Eres Mi Todo</SPAN>, one of five artworks that I created for my <SPAN STYLE="font-style:italic">Familias Separadas</SPAN> project. The original artwork was temporarily installed in the Courtyard Rose Compass in Philadelphia’s City Hall and highlighted in the city-wide Open Source project in October 2015.<BR/><BR/>"<SPAN STYLE="font-style:italic">Eres Mi Tod</SPAN>o" are words written by Maria's husband who is currently incarcerated and in the process of deportation. After being deported from Philadelphia, he attempted to cross the border again to be reunited with his family. He was caught by U.S. Immigrations and Customs Enforcement (ICE) in Texas and now has 6 months left to his three year jail sentence in California. Once his sentence is over, he will be sent back to Mexico. Maria continues to live in Philadelphia with her five children. She speaks about the difficulty of deciding whether to stay or to leave for Mexico to be reunited with her husband. <BR/><BR/>In preparation for this project, I worked with undocumented youth and families in partnership with Juntos, a Latino immigrant community-led organization fighting for human rights as immigrants, parents, youth, and workers. I collected audio stories from undocumented families that reveal how their lives changed before and after deportation. <BR/><BR/>My project reflects the stories of immigrant families that have found Philadelphia to be a safe place to provide a better future for their children. Very much like the Irish, Jewish, and Italian immigrants that made their way to the city, these families see this new home as a place of progress and safe haven, where their children will grow to be the next generation of Philadelphians (like myself, a child of immigrants) that will contribute to the livelihood and fabric of this city. Philadelphia is a sanctuary for immigrants and honoring their contributions to the growth of the city is crucial especially during the current national anti-immigrant climate. For these reasons, this project is important because it offers a platform to tell the stories of our undocumented immigrant communities that are often unheard in our city.<BR/><BR/>—Michelle Angela Ortiz<SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Michelle Angela Ortiz", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/16-G-3751.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/16-G-3751.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/16-G-3751.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/16-G-3751.jpg", "IsPrimary" : "1", "_SurrogateID" : "5784", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1011, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1011", "Disp_Access_No" : "14-G-3611", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "CAUTION: Dreamers in/on Sight", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sandra C. Fernandez", "Sort_Artist" : "Fernandez, Sandra C.", "Disp_Dimen" : "17 1/2 x 22 in. (44.5 x 55.9 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "Image", "Medium" : "Serigraphy, chine colle and thread drawings.", "Support" : "", "Disp_Medium" : "Serigraphy, chine colle and thread drawings.", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><SPAN STYLE="color:#040404"><BR/><BR/>This work is about the south-of-the-border migration to the U.S. The DREAM act (acronym for Development, Relief and Education for Alien Minors) was a bill intended to provide conditional permanent residency to certain immigrants who arrived in the U.S. as minors and graduated from U.S. high schools.<BR/><BR/></SPAN><SPAN STYLE="font-style:italic;color:#040404">CAUTION: Dreamers in/on sigh</SPAN><SPAN STYLE="color:#040404">t focuses on the “Dreamers,”</SPAN><SPAN STYLE="font-style:italic;color:#040404"> </SPAN><SPAN STYLE="color:#040404">a</SPAN><SPAN STYLE="font-style:italic;color:#040404"> </SPAN>name that is utilized to denominate these students. A few years ago, I had the privilege to meet a group of Dreamers at the University where I was teaching at the time. I was able to learn from them and listen to their personal stories of migration. I witnessed their commitment to push for laws to be passed that would allow them to become legal and permanent participants in society. I admire their bright minds and their kind spirits. This print is homage to those young adults who are fighting each day to change their situation and the situation of other millions of undocumented students. <BR/><BR/>— Sandra C. Fernandez <SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds in honor of Michael and David Ellerson", "Copyright_Type" : "Artwork © Sandra C. Fernandez ", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3611.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3611.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3611.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3611.jpg", "IsPrimary" : "1", "_SurrogateID" : "3669", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 948, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/948", "Disp_Access_No" : "13-G-3562", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1936-1942", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1942", "Disp_Title" : "Coal Mining", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Burke", "Sort_Artist" : "Burke, David", "Disp_Dimen" : "9 5/8 x 14 in. (24.4 x 35.6 cm)", "Disp_Height" : "9 5/8 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "Image", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Active in 1930s and 1940s New York City for the WPA/ FAP, Burke experimented with a number of printing techniques, including color woodcuts, lithographs, lin­ocuts and serigraphs. He typically depicted scenes of large-scale industrial construction, anonymous laboring masses and abandoned farm homes in disrepair. Burke had a particular interest in the coal industry, producing imagery of pairs of laborers at work in the mining shaft and teams of coal pickers hunched over on steep hills. Unlike his lithograph </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Coal Hole </SPAN><SPAN STYLE="font-size:10pt">(c. 1935-43), which depicts two workers at rest in a black and white palette, Coal Mining captures them mid-toil, their increasingly abstracted bodies echoing the geometric shape of the coal shaft.<BR/><BR/>Maeve Coudrelle<BR/>Ph.D. student in Art History, Tyler School of Art, Temple University</SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3562.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3562.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3562.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3562.jpg", "IsPrimary" : "1", "_SurrogateID" : "2390", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1041, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1041", "Disp_Access_No" : "14-G-3643", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Farmworker Justice", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mazatl", "Sort_Artist" : "Mazatl", "Disp_Dimen" : "36 3/4 x 24 in. (93.3 x 61 cm)", "Disp_Height" : "36 3/4 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "Image", "Medium" : "3-Color Silkscreen Print", "Support" : "Tan Paper", "Disp_Medium" : "3-Color Silkscreen Print on Tan Paper", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><SPAN STYLE="color:#212121"><BR/><BR/>In Florida in February of 2013, I had the privilege to collaborate with the Coalition of Immokalee Workers (CIW). Along with a group of Cultural Workers, we gathered in the offices of the CIW to generate together with the community flags, graphics, stencils, banners, arm bands and papier-mâché statues as visual support. The Coalition was getting ready to embark on a 200 mile march from Fort Myers to Lakeland, Florida, that would last for two weeks. In March of this same year Justseeds was invited to participate in the Southern Graphics International Conference in Milwaukee, Wisconsin. We created a collective installation that we named Uprisings: Images of Labor, a direct reference to the struggles that the state of Wisconsin has experienced in the recent years. Each graphic worker and artist in Justseeds produced a print or two as part of the install. This image is the fruit of the collaboration with the CIW. The image is of a Farmworker and in specific an immigrant farmworker in the tomato fields of Florida, and in her bucket she carries a new day for farmworkers that is being constructed through organizing.<BR/><BR/></SPAN>— Mazatl <SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Mazatl", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3643.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3643.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3643.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3643.jpg", "IsPrimary" : "1", "_SurrogateID" : "2866", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1051, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1051", "Disp_Access_No" : "14-G-3655", "_AccNumSort1" : "", "Disp_Create_DT" : "2010", "_Disp_Start_Dat" : "2010", "_Disp_End_Date" : "2010", "Disp_Title" : "La Migra (Border Patrol)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Byron Brauchli", "Sort_Artist" : "Brauchli, Byron", "Disp_Dimen" : "19 1/2 x 15 1/2 in. (49.5 x 39.4 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "15 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Screen Print", "Support" : "", "Disp_Medium" : "Screen Print", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>This screen print was based on photographs from the project <SPAN STYLE="font-style:italic">Cultural Refractions: Border Life en la tierra de nadie (“In No Man’s Land”)</SPAN>. The work focuses on the merging of modernity with tradition along the U.S.-Mexico border; it contrasts the North and the South; it establishes a visual dialectic between the two banks of the Rio Grande that narrates the coexistence and contrast of order and chaos, progress and its discontinuity; showing some ambiguities of our modern society.<BR/><BR/>— Byron Brauchli<BR/><BR/><BR/>The U.S.-Mexico border is an open wound where the Third World grates against the first and bleeds. And before a scab forms bleeds again, the lifeblood of two worlds merging to form a third country – a border culture.<BR/><BR/>— Gloria Anzaldúa, Borderlands/La Frontera: <BR/>The New Mestiza, 1987<BR/><SPAN STYLE="font-style:italic"><BR/><BR/></SPAN>There are so many borders that divide people, but for every border there is also a bridge.<BR/><BR/>— Gina Valdés, <SPAN STYLE="font-style:italic">Puentes y Fronteras/<BR/>Bridges and Borders</SPAN>, 1996 <SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN><SPAN STYLE="font-family:'Times New Roman';font-size:11pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Byron Brauchli", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3655.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3655.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3655.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3655.jpg", "IsPrimary" : "1", "_SurrogateID" : "2873", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 986, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/986", "Disp_Access_No" : "13-MM-18", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Our True History", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ernesto Yerena", "Sort_Artist" : "Yerena, Ernesto", "Disp_Dimen" : "44 x 30 in. (111.8 x 76.2 cm)", "Disp_Height" : "44 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "Sheet", "Medium" : "Spray paint, stencil, and collage", "Support" : "paper", "Disp_Medium" : "Spray paint, stencil, and collage on paper", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>Cheyenne is a strong young woman with a strong sense of identity with an unruly hunger to learn about her ancestors. Cheyenne feels that it is very important for her to honor her ancestors by educating the younger generations. She has strong beliefs that in this consumer driven society if you do not have a strong identity, society will give you a blind consumer identity which will be to the advantage and serve greedy corporations. Her mentor is the very wise Ofelia Esparza who never holds any knowledge from Cheyenne and does anything in her power to help her grow as a human. Cheyenne herself is a mentor to 11 year old Oscar who is beginning to understand that “Knowledge is Power.”<BR/><BR/>I created this image… in 2010 for my Ganas 2020 solo show in San Francisco. Originally it was a canvas. Recently I started releasing more and more prints and due to the energy of the world and the journey of DECOLONIZATION that millions of people across world of all colors have recently embarked on. This image was inspired by the American history books in American public schools which never teach us the true history of this country let alone teach people with indigenous ancestry to the continent the true history of their ancestor. This image is in honor of our ancestors. This print’s purpose is to hopefully get people to question borders / colonizations / nation states built over our ancestral nation / our indigenous diet / our connection with nature / women and men dynamics / medicine / and many types of KNOWLEDGE.<BR/><BR/>– Ernesto Yerena Montejano<BR/> Hechoconganas.com<BR/> Hechoconganas.bigcartel.com<SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Ernesto Yerena Montejano", "Disp_Obj_Type" : "MIXED MEDIA", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-MM-18.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-MM-18.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-MM-18.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-MM-18.jpg", "IsPrimary" : "1", "_SurrogateID" : "3341", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }