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(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" : 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" : 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" : 8069, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8069", "Disp_Access_No" : "16-LA-103", "_AccNumSort1" : "", "Disp_Create_DT" : "300 BCE-300", "_Disp_Start_Dat" : "300 BCE", "_Disp_End_Date" : "300", "Disp_Title" : "Three pale green serpentine stone "beads"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Pre-Columbian, Veracruz Culture", "Sort_Artist" : "Unknown, Pre-Columbian, Veracruz Culture", "Disp_Dimen" : "9 3/4 x 10 x 1 5/8 in. 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(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" : 934, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/934", "Disp_Access_No" : "13-G-3549N", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Peasants of Tlahuac, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arturo Garcia Bustos", "Sort_Artist" : "Bustos, Arturo Garcia", "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 "Since the last decades of the colonial period in Mexican history, in the southern part of what is now the Federal District, there have existed the floating islands on which are raised the vegetables that feed Mexico City. In this region are found the villages of Tlahuac, Xochimilco, Mixquic and Tezompa. Their inhabitants are small land-owners and their lives are bound, as were the lives of their pre-Hispanic forefathers, to these “chinampas” or floating gardens which dot the canals that are always filled with crystal clear water from the springs at the foot of the Ajusco mountain range. These islands and small lagoons held an important position in the agrarian fight of Mexico. Even today, when some rancher or simple farmer speaks of “those days,” he respectfully bares his head when the name of the leader of these struggles, Don Emiliano Zapata, is mentioned." <i>"Seguramente, ya desde las últimas décadas de la colonia, en al sur de lo que es hoy el Distrito Federal, ha estado el vivero de las legúmbras para la ciudad de México. En esta región se encuentran Tlahuac, Xochimilco, Mixquic, Tezompa. La totalidad de las habitantes de estos pablados son pequeños propietarios de la tierra y su vida esta ligada, como la estuvo la de nuestros abuelos prehispánicos, a la chinampas y a los canales que todavía se mantenien del agua cristalina de los manantiales que brotan a los pies de la serranía del ajusco. Estas tierras y pequeños lagos fueron importante sitio de operaciones de la lucha agraria de México, y a veces cuando algun ranchero o simple campesino hable de “aquellos tiempos,” al pronunciar el nombre del lider de estas luchas, Don Emiliano Zapata, se descubre respetuosamente."</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-3549N.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549N.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549N.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549N.jpg", "IsPrimary" : "1", "_SurrogateID" : "6002", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3289, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3289", "Disp_Access_No" : "95-G-3189(a)", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "Eagle Rocks", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Alfaro Siqueiros", "Sort_Artist" : "Siqueiros, David Alfaro", "Disp_Dimen" : "6 1/2 x 9 in. 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(19.1 x 22.9 cm)", "Disp_Height" : "7 1/2 in.", "Disp_Width" : "9 in.", "Dimen_Extent" : "Image", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95-G-3189(c).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95-G-3189(c).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95-G-3189(c).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95-G-3189(c).jpg", "IsPrimary" : "1", "_SurrogateID" : "2262", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3290, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3290", "Disp_Access_No" : "95-G-3189(b)", "_AccNumSort1" : "", "Disp_Create_DT" : "1929", "_Disp_Start_Dat" : "1929", "_Disp_End_Date" : "1929", "Disp_Title" : "Yeveshle Campfires", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Alfaro Siqueiros", "Sort_Artist" : "Siqueiros, David Alfaro", "Disp_Dimen" : "8 5/8 x 11 1/4 in. (21.9 x 28.6 cm)", "Disp_Height" : "8 5/8 in.", "Disp_Width" : "11 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95-G-3189(b).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95-G-3189(b).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95-G-3189(b).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95-G-3189(b).jpg", "IsPrimary" : "1", "_SurrogateID" : "2261", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 931, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/931", "Disp_Access_No" : "13-G-3549K", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Grinding Maze, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leopoldo Méndez", "Sort_Artist" : "Méndez, Leopoldo", "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 "In the Mayan document, known by the name of “Chilam-Balam de Chumayel” written during the first years of the Spanish conquest, is consecrated the Indian tradition of the cultivation of white maize. It says that for the Mayan people “The white maize was their maize.” Today, four centuries after “Chilam-Balam” was written the Mexican agricultural leaders and the heads of the centers of Agricultural Experimentation in Mexico find that in an effort to cultivate better crops they must fight the almost religious persistence of the natives of using only white maize for their sowing. This traditional attitude seems to be reflected in the buildings that the farmers use to store their harvests of grain. These buildings, called “Coscomates” are of two types, and the most spectacular is presented in the lithograph “Grinding Maize.” It is believed by some historians that the “Coscomate” originated in pre-Hispanic times. In the region of Cuautla, this type of “Coscomate” is common. They are at times so large they seem to dominate the entire country-side as well as man himself." <i>"En el documento maya conocido con el nombre de el libro "Chilam-Balam de Chumayel," escrito en los primeros años de Ia conquista Española, se consagra Ia tradición indígena del cultivo del maíz blanco diciendo textualmente que para el pueblo maya: "El maíz blanco era su maíz." Hoy, después de cuatro siglos de haberse escrito el “Chilam-Balam," los agrónomos mexicanos que estan al frente de los centros de experimentación agrícola de México, tienen que luchar, en sus primeros pasos de trabajo en el mejoramiento de l cultivo de maíz, con Ia persistencia, de los campesinos que podría calificarse de religiosa, en el uso casi exclusive del maíz blanco para sus siembras. Esta actitud concervadora parece reflejarse en las construcciones que nuestros campesinos emplean para almacenar sus cosechas de granos principalmente las del maíz. Estas construcciones llamadas coscomates son de dos tipos, y el más espectacular de ellos es el que se presenta en Ia litografía "EI Maíz.” Algunos historiadores consideran que este tipo de coscomate proviene de las épocas prehispánicas. En Ia región de Cuautla, este tipo de coscomate es muy común y a veces sus proporciones son de tal naturaleza, que parecen dominar al paisaje y al hombre mismo."</i> ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549K.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549K.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549K.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549K.jpg", "IsPrimary" : "1", "_SurrogateID" : "5999", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4098, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4098", "Disp_Access_No" : "15-G-3672", "_AccNumSort1" : "", "Disp_Create_DT" : "June 5, 1969?", "_Disp_Start_Dat" : "6/5/1969", "_Disp_End_Date" : "6/5/1969", "Disp_Title" : "Los Deseos De Paz (Desires of Peace)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leopoldo Méndez", "Sort_Artist" : "Méndez, Leopoldo", "Disp_Dimen" : "5 1/4 x 8 1/8 in. (13.3 x 20.6 cm)", "Disp_Height" : "5 1/4 in.", "Disp_Width" : "8 1/8 in.", "Dimen_Extent" : "Image", "Medium" : "linoleum block print", "Support" : "", "Disp_Medium" : "linoleum block print", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds from the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-G-3672.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-G-3672.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-G-3672.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-G-3672.jpg", "IsPrimary" : "1", "_SurrogateID" : "2427", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8087, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8087", "Disp_Access_No" : "16-G-4985", "_AccNumSort1" : "", "Disp_Create_DT" : "1930", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1930", "Disp_Title" : "La Danza del Fauno", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leopoldo Méndez", "Sort_Artist" : "Méndez, Leopoldo", "Disp_Dimen" : "5 x 4 in. (12.7 x 10.2 cm)", "Disp_Height" : "5 in.", "Disp_Width" : "4 in.", "Dimen_Extent" : "Image", "Medium" : "Linocut", "Support" : "", "Disp_Medium" : "Linocut", "Info_Page_Comm" : "", "Dedication" : "Gift of the Rubin-Ladd Foundation", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/16-G-4985.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/16-G-4985.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/16-G-4985.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/16-G-4985.jpg", "IsPrimary" : "1", "_SurrogateID" : "9340", "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" : 926, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/926", "Disp_Access_No" : "13-G-3549F", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Grinding Sugar Cane, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alberto Beltrán", "Sort_Artist" : "Beltrán, Alberto", "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 farmers of the northern sierra of the state of Puebla construct for themselves a primitive sugar-grinding machine they call a “trapiche”. To make a “trapiche” only wood is used—there is not even one inch of metal. This primitive machine originated, to the best of our knowledge, during the colonial era. In the process of refining sugar, beginning with cutting the cane, the entire family works. Frequently, during the cutting, families help each other. The low income possibilities of this crop, during the feudal-colonial era and even today has caused the farmers to produce no more than necessary for their own needs. For this reason these native farmers still use the antiquated sugar mill shown in the lithograph." <i>"Los campisinos nahuatl de la sierra norte del estado de Puebla, contruyen por si mismos la máquina llmada Trapiche, que sirve para moler la caña de azucar. En la construcción de este tipo de trapiche se emplea exclusivamente madera y ni una sola pulgada metal. Esta rudimentaria máquina según se sabe proviene de la época colonial. En el proceso de elaboración del azucar comenzado por el corte de la caña, trabaja toda la familia, pero frecuemente, en la época del corte de la caña, las familias se ayudan unas a las otras. El cerco de desprecio feudal-colonialista que ha existido y existe frente a estos campesinos, ha originado, entre otras muchas cosas, su resistencia a producir más de lo que sus propias necesidades de consumo requieren, influyendo en gran parte, esta actituden el persistente empleo del tipo de trapiche que se ve en la litografía."</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-3549F.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549F.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549F.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549F.jpg", "IsPrimary" : "1", "_SurrogateID" : "5994", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 925, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/925", "Disp_Access_No" : "13-G-3549E", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Henequen Plant, 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 "To visit the “training schools” as these plants are called with their mechanical installations for extracting the fiber of the maguey is to witness one of the most interesting aspects of this work. The pressing machines are located near the platforms which are loaded with leaves. These mountains of leaves, each cut by hand, and chosen carefully leaf by leaf, already represent tremendous labor. These prickly leaves are immediately put through a complicated process. They are pressed, washed, bleached, sun dried, and then the fibers are combed. Once the fibers are separated by types, they are sent in packages to the rope and cord factories in Merida, capital of Yucatan, from where the finished product is sent to the markets of the world. Fiber and fiber making is the main product and source of income of this state." <i>"Visitar el “plantel” como se lo llama en el lugar, con sus instalaciones mecánicas para la extracción de la fibra de henequen, es probablemente, asistir a uno de los aspectos más interesantes de este trabajo. Al lugar donde se encuentran las máquinas exprimidoras, llegan plataformas cargadas de hojas de henequen, cuyo corte a mano, escogiendo cada hoja ya significa un trabajo tremendo. Estas pencas son sometidas immediatamente a un proceso complicao—exprimir, lavar, blanquear, y secar el sol, pienar las fibras, etc., etc. Separada la fibra por clases se manda en pacas a las fábricas de cordelería de Mérida, capital de Yucatán, de donde sale a surtir los mercados mundiales. Como es sabido, el henequen es el único cultivo de importancia en el Estado y su principal riqueza."</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-3549E.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549E.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549E.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549E.jpg", "IsPrimary" : "1", "_SurrogateID" : "5993", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 929, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/929", "Disp_Access_No" : "13-G-3549I", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Lime Kilns, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raúl Anguiano", "Sort_Artist" : "Anguiano, Raúl", "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 "Lime is indispensable to the Mexican people. It is not only used for construction but also for food; since maize is cooked with lime to make the “masa” for “tortillas”. The pueblos near the lime kilns in the region of Tula in the state of Hidalgo derive their income from the small commerce of lime. The lime which is extremely pure and clean is carefully selected from the ovens by the workers and used in making “tortillas”. The quarries from which come the stones that produce the lime; the stones with which the ovens are constructed; and the land itself are all blindingly white. The workers, principally those who attend the fires or those who work nearby, frequently become blind because of the lack of protection from this whiteness. This blindness is incurable. The paltry salaries these workers earn keep them in despairing misery." <i>"La cal es indispensable a todo el pueblo mexicano y no únicamente para la construcción, sino para la alimentación, con ella se cuece el maíz para hacer la masa de las tortillas. Hay pueblos cercanos a los hornos de cal de la región de Tula del Estado de Hidalgo cuyos habitantes viven del pequeño comercio de la cal, de la cal más pura y limpia que personalmente estas gentes escogen en los hornos mismos y que es usada para usar el nixtamal (maíz cocido) con el cual se hace la masa de las tradicionales tortillas. Las canteras cercanas a estos hornos donde se extrae la piedra para producir la cal, la piedra con que están construidos esos hornos y la tierra misma son de un blanco deslumbrante. Los trabajadores, pricipalmente aquellos que atienden los quemadores o están más cerca de ellos, frecuentemente por la falta de protección se quedan ciegos sin remedio. Los reducidos slarios de que disfrutan las trabajadores de estos primitivos hornos los tienen en una miseria desesperante."</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-3549I.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549I.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549I.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549I.jpg", "IsPrimary" : "1", "_SurrogateID" : "5997", "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" : 923, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/923", "Disp_Access_No" : "13-G-3549C", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Mexican People portfolio - Artists", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "", "Sort_Artist" : "", "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", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549C.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549C.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549C.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549C.jpg", "IsPrimary" : "1", "_SurrogateID" : "5991", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 921, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/921", "Disp_Access_No" : "13-G-3549A", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Mexican People portfolio - Cover", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Various Artists", "Sort_Artist" : "Various Artists", "Disp_Dimen" : "16 x 15 1/4 in. (40.6 x 38.7 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "15 1/4 in.", "Dimen_Extent" : "", "Medium" : "lihograph", "Support" : "", "Disp_Medium" : "lihograph", "Info_Page_Comm" : " This is a portfolio of 12 prints titled, <i>Mexican People: Lithographs of the Taller de Gráfica Popular</i>, published in 1946 in an edition of 250 by the Associated American Artists in New York. The portfolio aimed to showcase the labor that went into products that were exported from Mexico into the United States. The TGP artists received funds to travel to the provinces in Mexico to witness people at work in the rural areas of the country. The location of the scenes depicted in the prints is indicated on the illustrated map of Mexico. Each print is accompanied by text written by the artists in 1946. Taller de Gráfica Popular (People’s Graphic Workshop, commonly known as the TGP), was a graphic art collective founded in Mexico City in 1937. TGP artists shared liberal, leftist politics and advocated the use of art to advance social and political causes. Aiming to reach a broad audience, TGP artists utilized inexpensive wood and linoleum block prints to communicate their views on social and political issues, such as the exploitation of the poor, land ownership, U.S. imperialism, and racial discrimination. From the introductory pages: “We believe that the plastic development of these themes offers the possibility of giving expression both to the landscape of the different regions of Mexico as well as to the character of the men who inhabit these different regions; the physical aspects and the habits and customs of these people; also the process of work in the manufacture of the different products; and finally the social drama which surrounds the work of the Mexican in these occupations.” – Leopoldo Mendez ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549A.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549A.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549A.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549A.jpg", "IsPrimary" : "1", "_SurrogateID" : "5989", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 922, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/922", "Disp_Access_No" : "13-G-3549B", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Mexican People portfolio - Map", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "", "Sort_Artist" : "", "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", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549B.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549B.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549B.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549B.jpg", "IsPrimary" : "1", "_SurrogateID" : "5990", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 928, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/928", "Disp_Access_No" : "13-G-3549H", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Pottery Maker, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Isadoro Ocampo", "Sort_Artist" : "Ocampo, Isadoro", "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 "Entire families work as pottery makers in the suburb of Chanenetla in the city of Puebla. The men carry the clay for making the pottery and knead it, and the women and children together mold jars, flour pots, crocks and many other different kinds of pieces. The artistic ability and skill of these people has been handed down for generations. The workshop of these pottery makers is also their home, for the family hearth is under the same roof as the wheel and the space where the women and children decorate the turned pieces. This lithograph depicts the workers who for many hours without rest kneads with his feet the white clay which will later be turned into many pottery objects." <i>"En el barrio de Chanenetla de la ciudad de Puebla, hay familias enteras que trabajan en Ia alfarería. Los hombres adultos adarrean y amasan el barro; éstos, así como las mujeres y niños, colectivamente moldean jarros, cazuelas, macetas y otras diversas piezas. La habilidad evidente de estas familias artesanas proviene de generaciones. El taller de estos alfareros es al mismo tiempo su habitación. Al lado del torno o del sitio donde mujeres y niños decoran las piezas fabricadas, está Ia cama o bien el fogón. La litografía, muestra al hombre que por horas enteras, sin descansar amasa con sus pies Ia arcilla que ha de servir para Ia fabricación de múltiples objetos de alfarería."</i> ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549H.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549H.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549H.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549H.jpg", "IsPrimary" : "1", "_SurrogateID" : "5996", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 927, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/927", "Disp_Access_No" : "13-G-3549G", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Ritual of the Huichol Indian Tribe, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Angel Bracho", "Sort_Artist" : "Bracho, Angel", "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 "Among the “huichola” families of the region of Ixcatan, Nayarit—basin of the San Pedro River persists the “Coamitl” a primitive form of land rotation (not rotation crops). This rotation consists of cutting declivities or landing places in the most intricate craggy rocks. Frequently upon the completion of this work the grass or weeds are burned to enrich the land chosen for sowing. Since these spots appear inaccessible and are far from the ranches and towns, the natives move there with their wives and children, dogs, tools, and household goods which usually consists of “petate” (mat), a basket, a bule or water cask made from a fruit, a lamp and some provisions. All of this is loaded on their shoulders. The fathers go ahead of the mothers who carry the smaller children on their shoulders. Thus they walk, heavily burdened, over high mountains wading ancestral brooks between banks which show the formidable effects of erosion by water. In many cases, the sands have formed blockades similar to the one in the background of the lithograph to which the old tree clings with the talons of its roots. Thus the elements in this lithograph are the semi-nomadic agriculture of the huicholes, the uncivilized land, and the life of man fighting desperately and quietly for his existence." <i>"Entra las familias huicholas de la region Ixcatán, Nayarit, cuenca del Rio San Pedro, asiento de pueblos y rancherías de caras y mestizos, persiste el Coamitl, forma primitiva de rotación de tierras, (ya que no rotación de cultivos) que consiste en talar laderas o mesetas en las partes más intricadas de la sierra, el complement de ésta labor consiste frecuentemente en quemar el pasto o maleza para enriquecer con sus cenizas el terreno escogido para el sombrado. Como estos lugares al parecer inaccesibles están alejados de los ranchos y pueblos, los indígenas principalmente, se transladan con mujer, hijos, perro, herranientas, mobiliario que se reduce a un patate (estera), una cobija, un canasto, un bule (ánfora hecha de fruto) y un quinqué y unas pocas de proviciones. Con este cargamento sobre las espaldas, va al padre delante de la madre que lleva al crío también a la espalda. Así van en pasadas jornadas sobre empinadas cuestas, vadean las ancetrales arroyos que entre acatilados, que muestra el poder que tiene por estos lugares el agua en su formidable eroción, mostrando tambien como las arenas de su cause han formado bloques como el que serió el fondo de ésta litografía, y al que el árbol viejo se aferra con sus raíces aprisinándolo. Así, los elementos de estas litografías son la agricultura seminómada de los huicholes, el paisaje grandioso no domesticado y la vida del hombre luchando desesperada y cayadamente."</i> ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549G.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549G.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549G.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549G.jpg", "IsPrimary" : "1", "_SurrogateID" : "5995", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "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" : 924, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/924", "Disp_Access_No" : "13-G-3549D", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "The Market, 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 forms, in character and color, of the Cuautla market are a vital presentation in movement and light, of indigenous life. The native women sit among the crowds of people and present their wares. They are generally selling the products which they themselves have cultivated, and sometimes they have walked to market from faraway, carrying their children with them." <i>"Las formas, en carácter y color, del mercado de Cuaulta, son una presentación vital en movimientos y luz de la vida indígena. Las mujeres, la mayor parte de ellas indígenas, sentadas entre la muchedumbre de gentes, que presenta sus mercancías, generalmente vendiendo productas que ellas mismas han cultividado, y que de veces han caminado de muy lejos cargando sus hijos."</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-3549D.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549D.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549D.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549D.jpg", "IsPrimary" : "1", "_SurrogateID" : "5992", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 932, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/932", "Disp_Access_No" : "13-G-3549L", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Working with Ixtle, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fernando Castro Pacheco", "Sort_Artist" : "Pacheco, Fernando Castro", "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 "In the valley of Mezquital, a large region in state of Hidalgo, exists one of the poorest indigenous groups of all Mexico. On the extremely arid ground of this valley grow plants and bushes such as “huizaches,” “magueyes” and other classes of cactus. It is possible to assert that the maguey is actually the center of existence for the entire population of this valley. From the maguey come their homes, their beds and a great portion of their food. The pulp which they extract from the maguey, when combined with maize, forms the basis of their food; but there is something more they extract from the maguey—the fiber of the tenderest prickly leaves. With these fibers, the natives weave fabrics and make rope, using the tools inherited by the community from their pre-Hispanic forebears. The entire family works at this primitive industry; even the children walk through the thickets busily spinning by turning spindles with their small hands. In this way, they do their share in helping the family earn a livelihood." <i>"En el valle de Mezquital, extensa región del estado de Hidalgo, se encuentra uno de los núcleos indígenas más pobres de México. Sobre la tremenda aridez de este valle, crecen plantas y arbustos como los mezquites, los huizaches, los magueyes y otras clases de cactus. Puede decirse que el maguey es para la población otomi de este valle el centro de toda su existencia. Del maguey sale la casa, el lecho, y en gran proporción, el alimento de estos indígenas. El pulque que extraen del maguey y el maíz, forman la base de su alimentación; pero hay algo más que sacar del maguey; la fibra fibra que producen sus pencas más tiernas. Con ellas, estos indígenas, hacen tejidos y cordeles, usando de los instrumentos que los legó tanto la colonia como so pasado prehispánico. Toda la fimilia trabaja en este primitive industria, a los niños se les encuentra caminando entre los matorrales ocupados en hilar dando vueltas sus pequeñas manos al malacate (huso). En esta forma cumplen su tarea de trabajo para ayudar a conseguir el sustento de toda la familia."</i> ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549L.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549L.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549L.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549L.jpg", "IsPrimary" : "1", "_SurrogateID" : "6000", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8120, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8120", "Disp_Access_No" : "17-G-4998", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Posada y Yo (Posada and I)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Juan R. Fuentes", "Sort_Artist" : "Fuentes, Juan R.", "Disp_Dimen" : "9 3/8 x 13 3/8 in. (24 x 34 cm)", "Disp_Height" : "9 3/8 in.", "Disp_Width" : "13 3/8 in.", "Dimen_Extent" : "Image", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : " As a cultural activist/artist/printmaker, Juan Fuentes has dedicated his career to being part of a global movement for social change. His works address issues relating to local communities of color, social justice, and international struggles for liberation. Fuentes' relief printing process follows closely the social realist tradition of Latin American artists such as Jose Guadalupe Posada and Leopoldo Mendez. His personal focus has been on using the figure or portrait as a means to tell a story, elaborating on the human condition. - Warnock Fine Arts http://www.warnockfinearts.com/ ", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Juan R. Fuentes", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/17-G-4998.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/17-G-4998.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/17-G-4998.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/17-G-4998.jpg", "IsPrimary" : "1", "_SurrogateID" : "9396", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }