Desert Triangle Print Carpeta

PRINT CARPETA

PÁVEL ACEVEDO • JESUS "CIMI" ALVARADO • CHRIS BARDEY • CRISTINA CÁRDENAS • NANI CHACON • MARK CHRISTIAN • MICHAEL CONTRERAS • FRANCISCO DELGADO • GONZALO ESPINOSA RUDY FLORES • KRRRL • LOS DOS • MANUEL GUERRA • TINO ORTEGA • JELLYFISH COLECTIVO • JOE MARSHALL • HENRY MORALES • RAUL MONARREZ • LAUREN MORAN • ROGO RUBEN URREA MORENO • VICTOR MUHEDDINE • MATTHEW POE • ZEKE PEÑA • MARTÍN QUINTANILLA • TIM RAZO • TANYA RICH • FEDERICO VILLALBA • MYKL WELLS, YORCH

30 printmakers

from around Tucson, Albuquerque & El Paso

Credits

FRONT COVER: RECARGADO SOBRE EL BORDE

BY JELLYFISH COLECTIVO BACK COVER: +++ BY NANIBAH “NANI” CHACON

ART AGITATOR Krrrl CO-CONSPIRATOR & PHOTOGRAPHER Federico Villalba www.fv-foto.com

CHUCO WHIP Los Dos: Ramon & Christian Cardenas LOGO Miguel Ibarra www.miguelibarra.com

CATALOG DESIGNER Dominic Arizona Bonuccelli www.azfoto.com

WEBSITES DesertTriangle.blogspot.com DesertTriangle.com

catalog available at lulu.com ©2016 ALL RIGHTS RESERVED

CATALOG DEDICATED TO ERNEST DE SOTO (OCTOBER 26, 1923 – DECEMBER 29, 2014)

PREVIOUS PRINT PROJECT CATALOGS AVAILABLE AT LULU.COM

Ernest de Soto, born in Tucson, was a master lithography printmaker who printed for both American and Mexican artists, including José Luis Cuevas, Francisco Zúñiga, Rufino Tamayo, Luis Jiménez and Rupert Garcia. De Soto was once a fresco apprentice for David Alfaro Siquieros.

YAYBIG SOUTHWEST YayBigSouthwest.blogspot.com ISSUU version: issuu.com/krrrl/docs/yaybig_southwest

YAYBIG PRINT EXCHANGE YayBigPrintExchange.blogspot.com ISSUU version: issuu.com/krrrl/docs/yaybig_print_exchange

PRINT CARPETA

contents

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Introductions El Paso Museum Print Collection Augmented Reality

Bold colors and graphics—vivid images and symbols— provocative forms and meanings—these are fundamental hallmarks of the diverse range of artworks to be discovered in Desert Triangle Print Carpeta. The exhibition is the latest seminal Southwestern print project brought to life by tireless “art agitator” Krrrl (Karl Whitaker), whose own work shares the stage here with that of twenty-nine colleagues he commissioned last year to create new art for this endeavor.

Krrrl and his associates’ Carpeta (Spanish word for print portfolio) features printmakers of the “desert triangle” formed

by Tucson / Albuquerque / and El Paso-Ciudad Juárez-Las Cruces, with almost half the exhibitors heralding from this last metroplex (and, for good measure, adding one artist from the California city of Riverside). The El Paso Museum of Art (EPMA) is proudly debuting this rich Carpeta from 31 January to 22 May 2016 in its Dede Rogers Special Events Gallery, where the creations of these Southwest artists reveal the makers’ fresh visions, technical mastery, and evocative verve.

Desert Triangle Print Carpeta exists not only as a vibrant exhibition but also as a project grounded since its inception in connections with the public and collaboration and crosspollination between the printmakers. A third of the prints were produced in Mexico, ten at the Taller 75 Grados in Mexico City and two others at La Ceiba Gráfica in Xalapa and the Taller Gráfica Libre in Oaxaca. (The EPMA is grateful for the many associated events Krrrl is bringing to the

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Studios Artists Media & Promo Exhibitions

128 Kaleidoscope 139 Artist Roster 141 Thanks

Museum, one of which is a print demonstration on the evening of 14 April by master Mexican printmaker and owner of Taller 75 Grados, Arturo Negrete.) Production studios on this side of the border included private ateliers and entities such as the Tucson Community Print Shop, Albuquerque’s New Grounds Print Workshop, and El Paso’s Proper Print Shop (a studio that will join in the Museum’s 14 April print demo). Sharing a standard format (22 x 30 or 30 x 22 inches) and executed in editions of fifty, the Carpeta prints travel easily for diffusion and remain accessible to the budding collector with limited means.

Krrrl’s collaborative Carpeta has its roots in his own and others’ similarly innovative ventures. Some of these were the initiatives of Tucson printmaker Joe Marshall, who opened his yAyBiG (you And your Big ideas Gallery) in late 2012, and the El Pasoan Federico Villalba, who helped Krrrl and his Tucson colleague Tanya Rich mount the first yAyBiG Pop-Up Gallery at El Paso’s sixth annual CTB (Chalk the Block) Arts Festival in 2013. More recently, the 2014 Horned Toad Print Exchange orchestrated by El Paso artist and UTEP professor Manuel (“Manny”) Guerra sparked Krrrl to organize the yAyBiG Print Exchange in Tucson, after which selections from these two complementary exchanges appeared in El Paso at the seventh CTB Festival.

All the aforementioned artists and many more are represented in Desert Triangle Print Carpeta, which stands

introductions 4

as a singular expression of the creative fertility burgeoning between these three corners of the desert Southwest, and also serves as a testament to the communal aesthetic commitment of individuals like Krrrl and studios like El Paso’s own Proper Print Shop and Horned Toad Prints.

While the Carpeta works possess mutual qualities such as striking color, design, and imaginative figures or narratives, they manifest a varied array of inspired influences. These encompass Chicano, Hispanic, and indigenous art and culture (for instance, Jesus “Cimi” Alvarado’s richly hued Esto es un Rio, which recalls the painting of the late Chicano artist Carlos Almaraz)—border identity, popular culture, and Pop art (in the latter realm, the all-girl Lineup of Rogo [Rich Rogowski] resurrecting the comic-book style of Roy Lichtenstein, and Nanibah “Nani” Chacon’s +++ appropriating for this female Navajo artist the type of Popgirl pinup that was previously the domain of a white male artist like Tom Wesselmann)—the venerable technique of woodcut along with the new realm of computer-appactivated Augmented Reality (the three Carpeta prints by

Krrrl, Zeke Peña, and Tanya Rich have been brought to new life by the creative group Augment El Paso)—and the twentieth-century Mexican tradition of the Taller de Gráfica Popular (for example, Martín Quintanilla’s El Ultimo Taco) back to the late nineteenth-century European styles of Art Nouveau and Symbolism (Raul Monarrez’s El Diablo es Bien Diablo melding the style of English Art Nouveau illustrator Aubrey Beardsley with the acid colors of 1960s psychedelic art, and Henry Morales’s Southwest Pachamama transporting the French Symbolist Paul Gauguin’s earthy female nudes and primitive printmaking style to a mythological theme of the pre-Hispanic New World).

PATRICk ShAw CAblE SENIOR CURATOR EL PASO MUSEUM OF ART (MARCH 2016)

Ph.d.

i would encourage everyone to visit the El Paso Museum of Art to view the DESERT TRiANGLE PRiNT CARPETA, which will be displayed on the first floor until May 22 of this year. From a collector’s point of view, it is one of the most exciting exhibitions to be presented at the museum. My own collection, the Juan A. Sandoval Collection was shown for six months in 2013. Karl Whitaker who was in town viewed the exhibition and was impressed by the variety of work displayed. i was deeply touched and shocked when Karl Whitaker and “Manny” Guerra walked into my office carrying a large object and presented me with an edition of the DESERT TRiANGLE PRiNT CARPETA for a token peso.

They stated that they were honored to be included within my collection. Patrick Shaw Cable, the Curator of the El Paso Museum of Art has written about the genesis of this marvelous project.

Last summer, on my annual visit to Oaxaca, Mexico i arranged to meet up with Francisco Delgado, an El Paso artist whom i have collected since he was a student at the University of Texas at El Paso at a mezcal tasting. i secured my folding bike and was delighted upon meeting his guest who happened to be Karl Whitaker. i learned a little about

the project of the Desert Triangle Print Carpeta for the first time and i was impressed by the vision of Karl and by his dedication. Of course, i couldn’t conceive of the breadth of Karl’s dedication and commitment of what he was doing.

Francisco was in Oaxaca to produce his print for the Carpeta, which lead to “Manny” going to Veracruz to create one of his masterful works.

Whitaker has dedicated himself to the quest of a quixotic visionary who was able to miraculously effect the impossible by having inspired 30 artists, printmakers from Tucson, El Paso, Ciudad Juárez, Albuquerque and other cities to produce a body of work consisting of 30 prints. He has proven that the arid desert has gestated and given birth to many artists. Because prints of various mediums can be transported easily and can be viewed by many as opposed to paintings and sculptures, he commissioned 30 fellow artists to make large prints. Even though the artists were left to do what they were inspired to create, the 30 prints on display appear to be cohesive and create a unity of purpose.

This is an exhibit everyone who lives in this desert should view. it is an exhibit that fills one with pride upon seeing what has blossomed out of the desert thanks to the skills of Whitaker and his visionary quest to bring his dreams to fruition.

He has done the almost impossible task of inspiring 30 artists to create individual works by deadlines he established. These artists worked in two countries and throughout the desert southwest and came through for Karl. Out of the thirty prints on display, many are masterpieces as evinced by the meticulous work of “Manny” Guerra and Francisco Delgado. ESTE ES UN RiO by “Cimi” Alvarado captures the essence of the show. EL ULTiMO TACO by Martín Quintanilla is whimsical and fun to view. There are so many works which merit attention.

LEFT TO RiGHT:

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JUAN SANDOVAL RECEiViNG THE DESERT TRiANGLE PRiNT CARPETA FROM MANUEL GUERRA

JUAN SANdOVAl ART COLLECTOR (MARCH 2016)

El Paso Museum of Art EXhIbIT RUNS JANUARY 31 – MAY 22 2016 One Arts Festival Plaza, El Paso, TX 79901 www.elpasoartmuseum.org (915) 212-0300

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inspired by 60s psychedelic posters and Mexican American serigraphs, i provoked, annoyed and commissioned fellow artists to make large prints — of the kind that "want to get out of the studio" to be shared and exhibited.

Ultimately 30 printmakers consented from around — Tucson, Albuquerque, and El Paso — the cities where i have been art agitating for the past decade. The Southwest artists were free to tackle any subject they wished, though i did express a preference for non-abstract work. The viewers now, can determine for themselves, whether any new themes surfaced, and whether those themes unify or fragment the region of the deep Southwest. Disclaimer: no cowboys were harmed, or represented, in the production of this carpeta (print portfolio).

The prints were produced in 14 different studios in 2015 (one finished in 2016). Those studios created editions of fifty 22-by-30-inch prints that can be "seen from across the room."

These works, many of them colorful, compete well against paintings. Also, while the majority were pulled in the Southwest United States, almost half were produced at 3 studios in Mexico. This lead to a huge unexpected windfall, as we experienced the strong printmaking fever south of the border. Perhaps in the immediate future, our Southwest printmakers might better relate to those in Mexico, rather than those in the United States.

This impulse to exhibit prints was nurtured by the "Chalk the Block" art festivals in downtown El Paso. i wanted to show artwork in the neighboring cities, to stir up any complacent creative types there. However, it was expensive and impractical to drive sculpture or paintings to the next cultural oasis. Prints, on the other hand, travel easily. Therefore Tanya Rich and i brought a few boxes full

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from Tucson to show in a pop-up gallery at "Chalk the Block" in 2013 (with the help of Federico Villalba). We included some El Paso prints that i had bought from the Maintain Collective, at the previous "Chalk the Block" festivals in 2011 and 2012. That momentum carried us to other nearby cities, and we showed those prints at pop-up galleries in Albuquerque, Phoenix, Tucson, Las Cruces and San Antonio, while picking up new prints at each location. We considered our popup shows an extension of the modest yayBig (you and your Big ideas) Gallery in Tucson, run by printmaker Joe Marshall, and thus called our exhibits "yayBig Southwest," ultimately self-publishing a catalog with the same name.

The next year Joe Marshall and i generated the "yayBig Print Exchange," and exhibited the small prints for 3 days, with those of the "Horned Toad Print Exchange," run by Manuel Guerra, at "Chalk the Block" in 2014. The 60 framed 8 x 10 inch prints looked great together in our pop-up gallery.

Glowing in the moment, i approached the Maintain pop-up gallery, and asked Ramon and Christian Cardenas if they wanted to combine forces and create a portfolio of large prints, like the carpeta we later saw in Oaxaca. Ultimately we lured Manuel Guerra and two of his crew to participate as well.

Having decided to print big, we modeled our vision on the traveling show "Estampas de la Raza: Contemporary Prints from the Romo Collection," which Tanya and i drove out to see in Los Angeles. Many of the large, colorful serigraphs in that collection were made at Self Help Graphics in Los

Angeles, and the Serie Project in Austin, Texas, both of which assumed the paper and production costs, then split the coeditions of 50 prints with the artists (25 prints going to the printmaker). They also printed on a large standard sheet of cotton art paper, and kept the print prices down for the public.

Therefore we followed their examples as we understood them, and gave the artists an extra fee in addition to 25 prints.

Only then did i learn that 4 of our artists had already printed with the Serie Project — Jesus "Cimi" Alvarado, Cristina Cárdenas, Francisco Delgado, and Manuel Guerra. Cristina Cárdenas and Zeke Peña had also printed at Self Help Graphics. i personally was inspired by, and more familiar with, Mission Grafica in San Francisco, having run the life drawing sessions at the Mission Cultural Center in the mid 90s. We would draw underneath the print studio balcony where René Castro, Juan R. Fuentes and Calixto Robles pulled large beautiful prints, in the common space below where Michael Roman used to silk screen paper and fabric. Long before then, i always admired the work of Taller de Gráfica Popular, especially that of Leopoldo Mendez, who ran that Mexican print shop, which was founded in the 30s. Those political masterpieces were screaming to get out of the studio.

My print ambitions laid dormant until 2012, when Martín Quintanilla joined us at the Sculpture Resource Center in Tucson, and showed off his prolific relief prints, most of which were cut from Mexican shoe rubber. it was in that place and moment that Gonzalo Espinosa, Joshua Woodhall, and i started the "Taller Sin Miedo" silk screen studio. This was the Tucson birth of our particular print initiative, which later converged with

the activity of the Tucson Community Print Shop, the Gloo Factory and other printmaker impulses in Arizona. i am very proud of our printmakers, all of whom discovered that it was not easy making an edition of 50 large prints. i am especially excited that we managed to include works from members of two art collectives in Ciudad Juárez, Mexico, just across the border from El Paso. Plus we are very pleased to stretch the Tucson cluster out to the Riverside, California desert, to include Pável Acevedo, who brings that contemporary Oaxacan flavor to our carpeta, as he comes from Oaxaca originally. Of course, we regret not including more local printmakers. However, the Desert Triangle Print Carpeta is hardly the last word from the inner core of the Southwest. We would rather think of this carpeta as a beginning for bigger things to come, and hope that other local printmakers will be inspired by our example. i would especially like to thank Keith Allyn Spencer, who ran the former SpAG Gallery in El Paso, and Steve Eye, who runs the Solar Culture Gallery in Tucson, for their dedication to showing community artwork. We draw from their examples, to reinforce our conviction to exhibit — because ultimately, prints have to be seen!

kARl whITAkER AKA

KRRRL

(MARCH 2016) PHOTOS FROM TOP LEFT:

KRRRL; COULD HAVE BEEN THE "DE ANZA TRIANGLE" (ALBUQUERQUE); ACADEMIA DE SAN CARLOS (MEXICO CITY); JAVIER MARIN SCULPTURE NEAR THE ZOCALO; ZOCALO (MEXICO CITY)

tucson cluster

ThE PRINTS PÁVEl ACEVEdO RIVERSIDE, CA

Black Veil (60 fwy) RELIEF PRINT PRINTED AT URGE PALETTE ART STORE (RIVERSIDE)

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MARk ChRISTIAN TUCSON

False Idols Win Titles WOODCUT PRINT PRINTED AT HORNED TOAD PRINTS (EL PASO)

CRISTINA CÁRdENAS TUCSON

Medusa SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

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MIChAEl CONTRERAS TUCSON

Encierro RELIEF PRINT PRINTED IN HIS HOME STUDIO IN TUCSON

GONzAlO ESPINOSA TUCSON

Duena de las Chichis SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

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RUdY FlORES TUCSON

Stolen Halo SERIGRAPH PRINTED AT THE TUCSON COMMUNITY PRINT SHOP

JOE MARShAll TUCSON

I See the West Reflected in Your Face SERIGRAPH AND RELIEF PRINT PRINTED AT THE TUCSON COMMUNITY PRINT SHOP

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RUbEN URREA MORENO TUCSON

Before the Migration WOODCUT PRINT PRINTED AT NEW GROUNDS PRINT WORKSHOP (ALBUQUERQUE)

lAUREN MORAN TUCSON

Final Thoughts Before the Reconstruction RELIEF PRINT PRINTED AT THE TUCSON COMMUNITY PRINT SHOP

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TANYA RICh TUCSON

Receive the Desires of Your Heart SERIGRAPH PRINTED AT THE GLOO FACTORY (CITY OF SOUTH TUCSON)

MARTÍN QUINTANIllA TUCSON

El Ultimo Taco RELIEF PRINT PRINTED AT HIS HOME STUDIO IN TUCSON

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AUGMENTED PRINT VISIT DESERTAUGMENT.COM FOR MORE INFO

ROGO TUCSON

Lineup SERIGRAPH PRINTED AT THE GLOO FACTORY (CITY OF SOUTH TUCSON)

MYkl wEllS TUCSON

Santa Muxe SERIGRAPH PRINTED AT THE TUCSON COMMUNITY PRINT SHOP

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albuquerque cluster ThE PRINTS

NANIbAh “NANI” ChACON ALBUQUERQUE

+++ SERIGRAPH PRINTED AT PROPER PRINT SHOP (EL PASO)

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kRRRl ALBUQUERQUE

La Chulada SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

hENRY MORAlES ALBUQUERQUE AUGMENTED PRINT VISIT DESERTAUGMENT.COM FOR MORE INFO

Southwest Pachamama WOODCUT PRINTED AT HENRY'S HOME STUDIO IN ALBUQUERQUE

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el paso cluster

ThE PRINTS JESUS "CIMI" AlVARAdO EL PASO

Esto es un Rio SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

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FRANCISCO dElGAdO EL PASO

Lastima Margarito LINOLEUM PRINT PRINTED AT TALLER GRﾃ：ICA LIBRE (OAXACA)

ChRIS bARdEY LAS CRUCES, NEW MEXICO

Rogues' Gallery: Artists vs Robots SERIGRAPH PRINTED AT PROPER PRINT SHOP (EL PASO)

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JEllYFISh COlECTIVO CIUDAD JUAREZ

Recargado sobre el Borde SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

MANUEl GUERRA EL PASO

Se Queman los Aguacates LITHOGRAPH PRINTED AT LA CEIBA GRﾃ：ICA (NEAR XALAPA, MEXICO)

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lOS dOS EL PASO

El Gallo SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

RAUl MONARREz EL PASO

El Diablo es Bien Diablo SERIGRAPH PRINTED AT PROPER PRINT SHOP (EL PASO)

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AlbERT "TINO" ORTEGA EL PASO

Our Heritage Future SERIGRAPH PRINTED AT PROPER PRINT SHOP (EL PASO)

VICTOR MUhEddINE EL PASO

Ugly Arab SERIGRAPH PRINTED AT PROPER PRINT SHOP (EL PASO)

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zEkE PEñA EL PASO

MATThEw POE EL PASO

A Nomad in Love SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

AUGMENTED PRINT VISIT DESERTAUGMENT.COM FOR MORE INFO

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Olé SERIGRAPH PRINTED AT PROPER PRINT SHOP (EL PASO)

FEdERICO VIllAlbA EL PASO

Bici Rider # 1 of Saipan SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

TIM RAzO EL PASO

Enigmatic Ascending Society SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

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YORCh FROM COlECTIVO REzIzTE CIUDAD JUAREZ

Presa es la Frontera, la Frontera Te Apresa SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

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Augmented Reality

Three of the prints have been enhanced with "Augmented Reality” — those of Zeke Peña, Tanya Rich and Krrrl.

Visit DesertAugment.com for more details

Through the Lens of the iPhone DESERTAUGMENT.COM After downloading and opening the "Augment El Paso" app appropriate to your smart phone or tablet, position your device in front of the print, as if you were going to take a picture.

Your phone will take a moment to "load," and then the print will become animated on the screen.

DESERTAUGMENT.COM

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Sometimes the viewer needs to point the phone away from the print for a second, and then back to the print, for the augmented animation to work.

Fab Lab El Paso maintained the demo iPads at the El Paso Museum of Art

TOP RIGHT PHOTO, LEFT TO RIGHT:

DAVID FIGUEROA AND ROBERT CASTAÑEDA OF AUGMENT EL PASO TEAM

MAP BY CLAUDIA S. PREZA

Even an image printed in a magazine can be "augmented."

YouTube playlist shows how the Augment El Paso app works

ThE STUdIOS 52

facebook @75grados

Taller 75 Grados 75GRADOS.BLOGSPOT.COM

Arturo Negrete has been running a high quality silk screen printing studio in Mexico City for more than 32 years.

mexico cluster

ThE STUdIOS 54

Participating Artists: Jesus "Cimi" Alvarado Cristina Cárdenas Gonzalo Espinosa Jellyfish Colectivo Krrrl Los Dos Zeke Peña Tim Razo Federico Villalba Yorch

ARTURO NEGRETE IN THE STUDIO

Participating Artist: Manuel Guerra

La Ceiba Gráfica WWW.LACEIBAGRAFICA.ORG Founded by Per Anderson, Martín Vinaver and Rafael Ruiz in 2005, La Ceiba Gráfica is a lithography studio located in an ex-hacienda outside of Coatepec, Veracruz (near Xalapa). They are selfsufficient, making all of their own lithography supplies from local sources — which includes mining marble stones from the state of Veracruz.

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TALLERGRAFICALIBRE.WORDPRESS.COM

ADRIร N AGUIRRE AND BEATRIZ RIVAS

Adriรกn Aguirre and Beatriz Rivas run an energetic printmaking studio in the city of Oaxaca, producing editions of relief, intaglio and lithography prints. They have a close association with the Espacio Centro exhibition space in Oaxaca, run

by Nidia Rosales Moreno y Pรกvel Acevedo.

Taller Grรกfica Libre

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Jeik Catlin Ficker runs the Tucson Community Print Shop, with facilities for screen printing, letterpress, relief, and intaglio printmaking.

He also runs the Tiny Town Gallery in Tucson, to show the prints.

FACEBOOK.COM/TUCSON-COMMUNITY-PRINT-SHOP-344734409000509

Tucson Community Print Shop Participating Artists: Rudy Flores Joe Marshall Lauren Moran Mykl Wells

tucson cluster

THE STUDIOS

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JEIK CATLIN FICKER

PHOTO BY JASON VILDUSEA

THEGLOOFACTORY.COM Dwight Metzger runs the Gloo Factory in the City of South Tucson, dedicated to silk screening since 2000.

Gloo Factory

PHOTO BY JASON VILDUSEA

Participating Artists: Tanya Rich Rogo

DWIGHT METZGER AND KRRRL PHOTO BY JASON VILDUSEA

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Urge Palette URGEPALETTE.COM Pável Acevedo prints at the Urge Palette art store in Riverside, California.

Deborah Cool-Flowers and her husband Jim gave her old etching press to Pavel, after driving it over from El Paso.

LEFT TO RIGHT:

PÁVEL ACEVEDO AND NIDIA ROSALES MORENO

LEFT TO RIGHT:

JIM COOL-FLOWERS, UNKNOWN, DEBORAH COOL-FLOWERS, PÁVEL ACEVEDO

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MARTÍN QUINTANILLA IN THE MICROGALLERY MANDIBULA

LEFT TO RIGHT:

GONZALO ESPINOSA AND JOSHUA WOODHALL AT THE SCULPTURE RESOURCE CENTER

Taller Sin Miedo

Michael Contreras home studio WWW.CONTRERASHOUSEFINEART.COM Michael Contreras prints at home in his studio in Tucson. He also runs the Contreras Gallery, with his wife Neda, near downtown Tucson.

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Gonzalo Espinosa and Tanya Rich began their prints here

Gonzalo Espinosa runs "Taller sin Miedo" in his private home in South Tucson. "Taller sin Miedo" was started by Gonzalo, Joshua Woodhall, and Krrrl at the Sculpture Resource Center in Tucson, in 2012.

REGINA HELD

New Grounds Print Workshop NEWGROUNDSPRINTSHOP.COM Regina Held runs a non-toxic print studio in the Nob Hill area of Albuquerque, offering facilities for etching, relief and silk screening techniques.

She also directs the Matrix Gallery in front of the studio.

albuquerque cluster THE STUDIOS

Participating artist: Ruben Urrea Moreno

HENRY MORALES

home studio

Henry Morales

Henry Morales creates woodcut prints from his home studio in Albuquerque. He built his own press (using skateboard wheels under the bed) to make his color edition of 50 large reduction prints.

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LEFT TO RIGHT:

JONATHAN "JJ" CHILDRESS, TINO ORTEGA, ALAN HODSON

Participating artists: Chris Bardey Nani Chacon Raul Monarrez Victor Muheddine Albert "Tino" Ortega Matthew Poe

Proper Printshop M P.CO O H TS

ing. n s ru screen s e r silk hild PR I N PE R J" C ated to J O " R HEP than edic W.T ona aso, d J d P WW n l on a in E ods tshop H Alan er Prin p Pro

el paso cluster

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THE STUDIOS

LEFT TO RIGHT:

RAUL MONARREZ AND MANUEL GUERRA

CHRIS BARDEY

Participating artist: Mark Christian

Horned Toad Prints

WWW.MANUELGUERRA.NET/HORNED-TOAD-PRINTS.HTML Manuel Guerra runs Horned Toad Prints from his private studio in El Paso, producing relief, etching and lithography prints.

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WWW.NMSU.EDU Chris Bardey started with a woodcut at New Mexico State University in Las Cruces, New Mexico, where he was teaching printmaking. That woodcut was the basis for his serigraph edition.

New Mexico State University print shop

Black Veil (60 fwy) RELIEF PRINT PRINTED AT URGE PALETTE ART STORE (RIVERSIDE)

Mi trabajo se basa en la figura humana como un vehículo de apropiación de su entorno. Las figuras no permanecen en estática y siempre están retando el tiempo y el espacio, poniendo en riesgo la representación y reconocimiento de ellas mismas. La trascendencia de las personas mas alla de los limites geográficos y crear un vinculo entre el espectador y la pieza atravez de un gesto o de elementos que el puede reconocer en su espacio.

Termine la licenciatura en Artes Visuales en la escuela de Bellas artes en Oaxaca, Mexico.

También he desarrollado mi educación en diferentes talleres y de manera autodidacta.

Actualmente resido en Riverside, CA y colaboro con Espacio Centro y Taller Gráfica Libre en la ciudad de Oaxaca. Mi trabajo se ha expuesto en los estados unidos y en la república Mexicana.

PÁVEL ACEVEDO RIVERSIDE, CALIFORNIA PAVEL-ACEVEDO.NET

tucson cluster

THE ARTISTS

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CRISTINA CÁRDENAS TUCSON, ARIZONA WWW.CITIZENSART.COM/CRISTINA-CARDENAS

Medusa SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

I am a "Tapatia de Corazon" born in Guadalajara, Jalisco.

My draftsmanship, iconography, artistic forms, color and style are derived from Mexican neo-figurative expressionism, which I learned from academic training at the Universidad de Guadalajara, Escuela de Artes Plasticas, in combination with the training I received in the University of Arizona where I earned a Master of Fine Arts degree in printmaking. I am a recipient of grants and fellowships: The Lila Wallace Reader’s Digest Award Residency at Claude Monet Museum in Giverny, France; NEA/WESTAF Regional Fellowship for Visual Artists; and Great Walls Unlimited, SPARC, Venice, CA, among others.

Due to my personal history as an immigrant, the reoccurring theme in my work responds to and communicates relevant political and personal impressions, such as the right for immigrants to have a path to American citizenship. My work is an exploration of immigration / migration and its effects on culture, family, the loss of los ausentes (the ones who left their homelands and are considered missing in their physical absence, but not in their psychological presence), and the individual in these times of racism. I also represent with images the timeless human phenomena of deconstructing female stereotypes, echoing themes of divided families, struggle, strength, and success. I create from the perspective of a woman artist born “al otro lado” that has now lived and worked in the border region of Tucson, Arizona for over two decades.

False Idols Win Titles

I like to look at change. In the context of this print, the unraveling of the myth that my childhood idols were anything more than regular people, represents that change. Throughout the print are scattered references to the heroes of my childhood and where they became mortal in my eyes. Stylistically, it is chaotic and jumbled representing the many thoughts that come with a drastic shift in perspective.

WOODCUT PRINT PRINTED AT HORNED TOAD PRINTS (EL PASO)

I graduated with a BFA from the University of Arizona in 2013.

Encierro RELIEF PRINT PRINTED IN HIS HOME STUDIO IN TUCSON

MARK CHRISTIAN TUCSON, ARIZONA BADBOYPRESS.WEEBLY.COM

Line drawing and printing, (intaglio and relief) are two forms of art, that I associate with.

Design and form are important aspects of my background in art, because I grew up as an apprentice in my father's jewelry business.

My father, Alberto Contreras, was taught by the famous jewelry master, Frank Patania Sr., in the 1940's. Sometimes my jewelry designs and art resemble each other.

Cultures and Art History are what inspire me.

The "Encierro", (Running of the Bulls), is an example. I have an Applied Arts degree from Pima College.

MICHAEL CONTRERAS TUCSON, ARIZONA WWW.CONTRERASHOUSEFINEART.COM

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GONZALO ESPINOSA

Stolen Halo

TUCSON, ARIZONA issuu.com/krrrl/docs/gonzalo_espinosa-40_years_smallpdf.

PRINTED AT THE TUCSON COMMUNITY PRINT SHOP

SERIGRAPH

Painting and printing has been a parallel learning process in my career.

My first intent was in 1978 with a black and white lithography, and from there on serigraph is the technique of printing of my preference, because it is a more direct process and it provides me flexibility.

I graduated from the Universidad de Guadalajara in 1979.

Duena de las Chichis SERIGRAPH

My name is Rudy Flores from Tucson, Az. I have been printmaking for 5 years. I mostly work with linocut and occasionally silk screening. I prefer to hand press my linocuts because I appreciate the differences of one print from another. I decided to silk screen "Stolen Halo" because of the amount of detail I wanted to include. The piece represents both loss and theft, being forced into situations that cause adaptation and growth.

PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

RUDY FLORES TUCSON, ARIZONA RUDYFLORESART.COM

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I See the West Reflected in Your Face

Final Thoughts Before the Reconstruction

SERIGRAPH AND RELIEF PRINT

RELIEF PRINT

PRINTED AT THE TUCSON COMMUNITY PRINT SHOP

PRINTED AT THE TUCSON COMMUNITY PRINT SHOP

LAUREN MORAN JOE MARSHALL TUCSON, ARIZONA WWW.PORKCHOPPRESS.COM While I printed a woodcut for this print, I also wanted to flex my screen printing muscles, and chose to print a rainbow blend.

This work is a mediation image and forces the viewer to sit and focus on the work. The interaction between the rainbow blend and the white of the woodcut causes your perception of the work to phase in and out, changing from flat to 3D and back. The image is of Rainbow Jaguar, the bridge between this world and the upper world. Sit and take flight with him.

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TUCSON, ARIZONA LAURENGRACEMORAN.COM This print was created using two different relief blocks, and three different printing sessions. A wood block was used for the color block, for its texture that you can see in the finished print. Using a stencil around the outer edge, the first layer printed was the blue polygon in the middle.

The second layer was rolled up with the brown and orange at the same time, then blended where the colors meet with a separate roller with a stencil again used, this time in the middle of the block. The last layer was created by printing a linoleum key block, where all the detailed imagery comes in.

The subject matter of this print is based to the artist's reflection on inner and environmental experiences living in Tucson, Arizona. The figures, commonly repeated in Moran's work, intentionally mutate to and fro, from personal signifiers to symbols that could echo larger social issues. The title comes from the fact that this was the final print created before the artist moved to Portland, Oregon, away from the desert.

Lauren Moran is a socially engaged artist based out of Connecticut, currently living in Portland, Oregon.

Through printmaking, curation, teaching and collaborative projects she attempts to engage with people and make authentic connections. Lauren is currently pursuing an MFA in Art and Social Practice at Portland State University. She was previously living and working in Tucson, Arizona where she helped establish the Tucson Community Print Shop, taught art and developed a gallery/work-training program through ArtWorks at the University of Arizona.

Before the Migration WOODCUT PRINT PRINTED AT NEW GROUNDS PRINT WORKSHOP

MARTÍN QUINTANILLA

(ALBUQUERQUE)

TUCSON, ARIZONA MARTINQUINTANILLA.WEEBLY.COM

RUBEN URREA MORENO TUCSON, ARIZONA RUBENURREAMORENO1111.BLOGSPOT.COM

January 15th 1944. My grandparents in front of La Catedral, D.F., Mexico City. The four hundred year old church built from the stones of the Aztec's Templo Mayor. My father, only four years old at the time and his brother, my namesake, an infant. They moved to Tucson Arizona from Puebla in a mining truck my grandfather delivered to the Pima Copper Mines. With 1500 miles ahead of them, I can only imagine what an arduous task that was. I don't know for sure because all four of these family members have passed on but I wonder if they visited La Catedral to say goodbye and pray for a safe journey. Besides wanting the reminder of where my family came from, I wanted to get to know them through this photo: I wanted to feel how they felt that day, to feel the sun on their faces, the awe from the sheer grandeur of architecture, and maybe even the warmth of their hearts from the presence of God. Through the carving process, the image also revealed their brewing excitement, and hope for a better future. They had to have known that their diligence would add prosperity to future generations. It makes me grateful for their hard work and perseverance to arrive in America.

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El Ultimo Taco RELIEF PRINT PRINTED AT HIS HOME STUDIO IN TUCSON

Naci y vivi en Mexico City por 21 años, vivi en Madrid España y luego me Fui a vivir a los Estados Unidos donde Radico hoy, siempre me ha gustado el Arte popular, los luchadores, los Tacos al Pastor y el Guacarrock de Botellita de Jerez. Soy Nako de Corazòn y mi Grabado es como una estampita de la Iglesia, de esas que siempre habia una en cualquier cajon de la casa.

Receive the Desires of your Heart

Lineup

SERIGRAPH (BEGUN AS WOODCUT)

SERIGRAPH

PRINTED AT THE GLOO FACTORY

PRINTED AT THE GLOO FACTORY

(CITY OF SOUTH TUCSON)

(CITY OF SOUTH TUCSON)

ROGO RICH ROGOwSKI TUCSON, ARIZONA ROGOILLO.WEEBLY.COM

I'm heavily influenced by the 80's punk rock aesthetic. I like the idea of these girls lined up as if they were being admonished for their sexuality, but then they take control of the situation and turn it on it's head. I like using bright colors in my work to harken back to the heyday of 80's neon and grit.

Rogo is famed for his graphic and illustrative work that is silkscreened on various substrates.

TANYA RICH TUCSON, ARIZONA TANYA-RICH.BLOGSPOT.COM Tanya Rich is a printmaker living in Tucson. She graduated from the University of Pittsburgh in 2003 with a BA in Art History and a minor in Fine Arts. Currently Tanya is the Youth Program Director and Exhibitions Curator at The Drawing Studio as well as an independent Art Curator for local businesses in town. Tanya's interests are in serigraphs and woodblock printing.

He is a self-taught printmaker heavily influenced by the skateboarding and punk rock aesthetic of the 80's.

As an avid skateboarder, Rogo absorbed the underground culture of skateboarding, punk rock and comic books.

Born in 1971, Rogo attended the Art Institute of Pittsburgh, Visual Arts program in 1990, but attained most of his training through colleagues and peers with the Pittsburgh Society of Illustrators as a volunteer and member from 2008-2010.

As an Illustrator, Rogo has created artwork for The New Yorker Magazine, Concrete Warrior Skateboards, Tucson Roller Derby, Pacific Roller Derby (artwork was featured on an episode of the new Hawaii 5-0 television series), Pain Killer Products, and Deadbolt Skatepads.

Rogo has had numerous solo shows in both Pittsburgh, Pa and Tucson, AZ.

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Santa Muxe SERIGRAPH PRINTED AT THE TUCSON COMMUNITY PRINT SHOP

+++ SERIGRAPH PRINTED AT PROPER PRINT SHOP (EL PASO)

MYKL wELLS TUCSON, ARIZONA MYKLWELLS.COM This print was born out of a deep respect I have for the people and culture of Mexico.

I have traveled extensively and Mexico is by far my favorite country. In Oaxaca there is a third sex, the Muxe. I imagined a patron saint in the Catholic tradition who might see over those who are not quite men, not quite women. Who might guide with a sequined hand for the non-binary, the celebrated and unacceptable. Sexual and repressed a culture of contradictions and those who trek ever-changing paths.

Confident in a miasma of uncertainty.

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NANIBAH “NANI�

CHACON ALBUQUERQUE, NEW MEXICO WWW.NANICHACON.COM

www.youtube.com/watch?v=OPtOTTkMdk4

"+++" is an interpretion and exploration in weaving, I use the textile pattern, color, positive and negative space and the use of the figure to create a composition which moves in and out of these elements, the view is let with 3 interpretations of the "+" one that is black one that is created by negative space and one that is an inverted representation. I employ the figure as an organic shape that allows the weaving of the geometric pattern to shift and change thoughout the composition Nanibah "Nani" Chacon is an Painter, Muralist, Educator and Art Activist and Organizer. She was raised in Chinli, Arizona and Albuquerque, New Mexico. Her cultural heritage and experience often informs her work as an artist and activist. Nani has a prolific career as an artist which spans close to 20 years, covering Graffiti art, illustration, fine art painting, Murals and public works. In 2002 she received her BA in education, she has taught grades K-College Prep both formally and informally as an artist and mentor. As an artist Nani has won numerous recognitions and exhibits her work nation wide. Her recent endeavors include work as an art activist with the nationally recognized group Honor the Treaties, curatorial projects and community organizing.

albuquerque cluster

THE ARTISTS

La Chulada

Southwest Pachamama

SERIGRAPH

WOODCUT

PRINTED AT TALLER 75 GRADOS

PRINTED AT HIS HOME STUDIO IN ALBUQUERQUE

(MEXICO CITY)

HENRY MORALES ALBUQUERQUE, NEW MEXICO Pachamama. This piece honors the earth.

It represents the four corners region and the need to save it.

KRRRL KARL wHITAKER ALBUQUERQUE, NEW MEXICO KRRRL.BLOGSPOT.COM Rather than offer a realistic likeness, I prefer to draw the space, and promote the illusion that the figure can move through the picture space.

The thin lines both obey gravity and describe a female body. Likewise, I want the viewer to imagine himself walking around that space, and reaching through the figure.

My style is my content, and it's about space and motion.

I graduated with a BA in Art from the University of Texas at Austin, 1987; and a Maestria en Artes Plasticas from the University of Mexico (UNAM — ex-Academia de San Carlos) 1991.

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Esto es un Rio

Rogues' Gallery: Artists vs Robots

SERIGRAPH PRINTED AT TALLER 75 GRADOS

SERIGRAPH (BEGUN AS RELIEF PRINT)

(MEXICO CITY)

PRINTED AT PROPER PRINTSHOP (EL PASO)

JESUS “CIMI” ALVARADO EL PASO, TEXAS WWW.CIMIONE.COM

CHRIS BARDEY

“Es Un Rio” is a memory of growing up on the border. As a child I remember crossing the bridge from El Paso to Juarez and watching people cross the river in makeshift inner-tube rafts. People with jobs in the US side and who didn’t want to get wet would pay “lancheros” to cross every day. I see this as the universal experiences we all have as people who cross boundaries and blaze paths to reach our goals, whatever they may be.

LAS CRUCES, NEW MEXICO WWW.WESTENDARTDEPOT.ORG

For years political graffiti has been painted on the concrete banks of the border. I decided to use “Esto No Es Una Frontera/Esto es un rio” as one of many messages painted on the concrete banks for years.

The quote is from Simon Bolivar, who alluded to the use of borders to divide communities instead of uniting them. Bolivar suggested that the overreaching powers in place politically at the time benefited from the ensuing chaos that occurs once divisions are made and enforced.

He further suggested that if one community suffered, the other “opposite” community suffered, as well.

Another graffiti tag appears on one of pillars that support the international bridge. The message was painted by the family of Sergio Adrian Hernandez Guereca, who was shot and killed by a US Customs and Border Protection agent through a barbed wire border fence near El Paso, Texas. At the time of the shooting Guereca, a 15year-old-Mexican national was standing on the Mexican side of Mexico-United States border, while the agent was on the American side. The agent claimed after the shooting that he had used deadly force because Guereca had been throwing rocks.

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My representational works in painting and printmaking often place an alter-ego in an unusual situation.

Engaged in some dimly seen narrative – no more understood by himself than by the viewer - the rodeo clown (or suburban schmoe) tries on a new persona, seeks wisdom, or does some other pointless thing.

“Rogues’ Gallery” is a more direct self-portrait. My part-cyborg self wanly contemplates the denizens of a future that may or may not come to pass, some of whom we recognize from old movies and TV shows.

Will the wonders of technology create a life of leisure for all, where everyone’s free to be an artist? It’s hard, honestly, to be optimistic.

I hold a BFA in printmaking and book arts from the University of Georgia and MFA in painting from New Mexico State University, as well as K-12 certification in art education from the University of WisconsinMadison. I currently teach art at La Academia Dolores Huerta Charter Middle School in Las Cruces, New Mexico. I’ve taught high school art, photography and animation in Las Cruces, Chicago, and Atlanta, and printmaking as an adjunct instructor at NMSU.

el paso cluster

THE ARTISTS

el paso cluster

FRANCISCO DELGADO

Se Queman los Aguacates

EL PASO, TEXAS FRANCISCODELGADO.WEEBLY.COM

PRINTED AT LA CEIBA GRÁFICA

LITHOGRAPH

(COATEPEC, VERACRUZ • OUTSIDE OF XALAPA)

“Lastima Margarito!” is an expression made popular by comedian Victor Trujillo in his parody of a game show. In Mexican culture, the expression has become symbolic of the contestant’s failed attempt to achieve a goal after successfully overcoming many barriers and only to ultimately be given an unachievable task.

The linoleum print “Lastima Margarito” is critical of the lack of diversity in most United States’ colleges and universities due to the unarticulated status quo. Like in Trujilllo’s parody, some institutions of higher education consciously set barriers for qualified members of under-represented communities to get hired in faculty positions. They undermine the voice of large minority groups they pride themselves in serving.

Lastima Margarito LINOLEUM PRINT TALLER GRÁFICA LIBRE (OAXACA)

The print was created in the City of Oaxaca, Mexico in collaboration with Desert Triangle Carpeta, Taller de Gráfica Libre and Espacio Centro. Education: BFA UT El Paso 2000, MFA Yale School of Art 2002

MANUEL GUERRA EL PASO, TEXAS WWW.MANUELGUERRA.NET Ciudad Juárez, Mexico was at one time considered the deadliest city in the world.

Infamous for a wave of attacks beginning in the 1990s that left hundreds of women dead -the majority of the victims were young women from impoverished backgrounds working in factories. The crimes, similarities across cases include the rape, torture, mutilation, and murder. Since then, Ciudad Juárez received international attention, primarily due to a perceived government passiveness. Currently, the media’s attention has moved on and more victims still being discovered.

This print is a reaction towards this on-going social pandemic. It was created at La Ceiba Gráfica, located on one of the most important and beautiful haciendas in Coatepec, Veracruz with renowned Master Printer Per Anderson. La Ceiba Gráfica specializes in traditional lithography using Mexican marble.

Manuel Guerra holds three degrees including an Associate of Arts degree from El Paso Community College, a B.F.A. degree from the University of Texas at El Paso and an M.F.A. from the State University of New York at Albany. As a studio artist, his work has been shown throughout the United States, Mexico, and Europe.

His drawings and prints are included in museums and private collections.

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Recargado sobre el Borde

El Gallo

SERIGRAPH

SERIGRAPH

PRINTED AT TALLER 75 GRADOS

PRINTED AT TALLER 75 GRADOS

(MEXICO CITY)

(MEXICO CITY)

JELLYFISH COLECTIVO LEONEL PORTILLO (PILO) ATENAS CAMPBELL RICARDO HERRERA (KUKUI) FRANCISCO CHAVEZ (PIKA) CIUDAD JUÁREZ, MEXICO BORDERARTISTS.COM/2015/02/02/JELLYFISH Our work for DESERT TRIANGLE PRINT CARPETA is based in this strange relation between two countries divided for a line, and how we live that. Our work try to represent our opinion about this relation and how all we forget the more simple things like we all are just humans trying to live in this difficult world and we all want to be happy. That's why just we leaning over a fence and wait for the next nonsense decision, rule or law in this world while we see so many hard things passing by through our eyes, people looking for money, fame and so many things with no real meaning and in that search all we lost a very value moment in our lives and we don't see the amazing simple things, while a dog pee our shoe.

Jellyfish colectivo it's a creative group who work with graphic art (Murals, exhibitions, animation) and with social art projects based in Juárez since 2010. This group has work in many differents projects, like workshops with young kids, people with some disability or adolescents for 3 years (2010-2013) and they did big events in Juárez like HOLA COLOR (2013) and COLOR WALK (2014).

With his art work they have worked in places like México city, New York, Austin or Germany to name a few, and they won with his first animated short film the best animated short film of 2014 in FILM (festival internacional de cine de Morelia).

We are three graphic designers and one architect.

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LOS DOS RAMON CARDENAS CHRISTIAN CARDENAS EL PASO, TEXAS MAIN-TAIN.COM

The “El Gallo” print is based on a series of paintings done in 2013 titled “Tres Animales” (El Gallo, El Chivo, El Coyote). The animal portraits were painted on old Sonidero Party posters found on the streets of Canutillo, TX. The title is inspired by the song “Mis Tres Animales” by Mexican norteño band Los Tucanes De Tijuana who describe the song as one of their “Valientes crónicas del acontecer diario” or “brave chronicles of the every day life”. The song is a first person narrative where a drug dealer uses animals to metaphorically speak about the products he sells in the U.S. In both the song and the print “El Gallo” symbolizes a marihuana cigarette and along with the other animals is used to describe the narco culture and its impact on every day life.

For the artists it also represents the human factor involved in transforming an animal and a plant as complex symbols of social behavior, this is why the rooster has a human eye.

Los Dos is the collaborative moniker of husband and wife duo Ramon and Christian Cardenas.

Ramon is a Filipino-American visual artist and co-founder of Maintain; a multimedia artist network formed in 2007 involved in curating cultural art events and projects in El Paso. Christian is a female mixed media artist from Cd. Juárez Chihuahua with a background in textiles, design, and printmaking. Their approach is ethnographic in nature; describing the unique border culture, as well as their own Filipino and Mexican heritage (respectively).

El Diablo es Bien Diablo

Ugly Arab

SERIGRAPH

SERIGRAPH

PRINTED AT PROPER PRINTSHOP

PRINTED AT PROPER PRINTSHOP

(EL PASO)

RAUL MONARREZ

(EL PASO)

EL PASO, TEXAS Since I can remember, communicating visually has been a basic part of my nature. I create art that is from my subconscious, so most, if not, all my work has a spontaneous approach. I set my mind on a topic and through the elements of art and design I set out to visually answer my concerns. In this serigraph I pose the question of religion and how it forces itself upon my own undoing. This pushes me to find an escape, to overlay my inability to control my inner urges.

Therefore, it is the devil that is being devilish in tempting my desires and not my failure to clear my mind.

My educational background Bachelors of Fine Arts from the University of Texas at El Paso, 2008. In addition I am currently working on my Master of Education in Instructional Technology.

VICTOR MUHEDDINE EL PASO, TEXAS WWW.TUMBLR.COM/SEARCH/VICTOR-MUHEDDINE Victor M. Muheddine has a Bachelor of Fine Arts degree from the University of Texas at El Paso with a Major in Painting and Minor in Printmaking. He resides in El Paso, Texas and teaches art to high school youth.

Being inspired by the Egyptian Revolution of February 2011 during the Arab Spring, he embraced his heritage that he felt had been tainted by the September 11, 2001 terrorist attacks on the World Trade Center in New York City. His art focuses around the Arabic word “Qabeeh”, which translated to English means “Ugly”. Ugly is the word that best describes how the media, movies, and stereotypes of Arabs made him feel throughout the years.

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FROM LEFT TO RIGHT: ALAN HODSON AND VICTOR MUHEDDINE

A Nomad in Love

ALBERT “TINO” ORTEGA

SERIGRAPH

EL PASO, TEXAS THEARTAVE.COM/STREETS-IS-CALLIN-HOME-TINO-ORTEGA

(MEXICO CITY)

PRINTED AT TALLER 75 GRADOS

Albert “TINO” Ortega was born and raised in El Paso, TX in 1986. The rich culture of the southern U.S border helped fuel his artistic creativity, and can be seen through the artwork that he produces.

This print is dedicated to all of the surrounding tribes of the southwest, and all the people who have fought to keep their heritage alive.

FROM LEFT TO RIGHT: TINO ORTEGA AND ALAN HODSON

Our Heritage Future SERIGRAPH PRINTED AT PROPER PRINTSHOP (EL PASO)

ZEKE PEñA EL PASO, TEXAS ZPVISUAL.COM A Nomad in Love is a personal narrative. While making this print I was also working on a painting for an exhibit with the National Museum of Mexican Art about home and community. When I think of home the image of the mountains comes to mind, so in this print I depict the Franklin mountains. These mountains bare a sacred indigenous symbol of the thunderbird on them. As a kid I played at the foot of these mountains and they make me feel grounded. The image of a hummingbird is inspired by the Mexica (Aztec) tradition that says the spark in our hearts beats like the flight of a hummingbird: steady and self-sustaining. I was in some hard times personally having lost important people in my life. I was feeling crazy and alone like a coyote howling at the rabbit moon. So I'm telling a love story through symbols and images about heartbreak and anxiety. But there is also some comedy in those wild eyes.

Laughing at my loss. There is a saying I know from the work of the artist and poet, José Montoya: La locura cura (Craziness cures).

Laughter heals and this print cracks me up.

I was born in Las Cruces, NM and raised in El Paso, TX. I've exhibited in museums, galleries and community spaces in Chicago, Los Angeles and throughout the southwest region. I have a Visual Studies degree from the University of Texas at Austin and I'm self-trained in my craft. My multidisciplinary work explores identity, community & life on the border. My process often involves community collaboration and engagement.

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Olé

Enigmatic Ascending Society

SERIGRAPH

SERIGRAPH

PRINTED AT PROPER PRINTSHOP

PRINTED AT TALLER 75 GRADOS

(EL PASO)

MATTHEW POE EL PASO, TEXAS www.youtube.com/watch?v=HRlbZ184jKQ

FROM LEFT TO RIGHT: JONATHAN “JJ” CHILDRESS AND MATTHEW POE

(MEXICO CITY)

TIM RAZO EL PASO, TEXAS PAZOMOTTI.COM My name is Tim Razo and I’m a Southwestern, United States multimedia artist based out of El Paso, TX. I don’t like talking about art, because ultimately it’s pointless. To me the point of art is to become incomprehensible.

Olé is an abstracted depiction of war and a war on false idols.

Great culture is lost and has become a savage obsession over power, corruption, greed and status. The golden calf is an homage to the Book of Exodus.

It represents the gods people have made to go before them.

This piece expresses a slaying of a false idol.

Poe is from and still resides in El Paso, Texas. He has a BFA from New Mexico State University.

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YORCH FROM COLECTIVO REZIZTE JORGE PéREZ

FEDERICO VILLALBA

CIUDAD JUÁREZ, MEXICO WWW.YORCHPEREZ.COM VIMEO.COM/73285704

EL PASO, TEXAS WWW.FV-FOTO.COM

Bici Rider # 1 of Saipan SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

Bici Rider No. 1 of Saipan is my Desert Triangle serigraph, which originated with the crisp click of my camera’s shutter while covering a grassroots rally in May 2014 to save the historic Lincoln Center in El Paso, Texas, from the destructive swing of a wrecking ball for new freeway construction. The still photograph has been featured in several art exhibitions in the photography form. My friend, Karl Whitaker, asked to use the image for a print created by maestro Arturo Negrete and his team at Mexico City’s Taller 75 Grados.

Presa es la Frontera, la Frontera Te Apresa SERIGRAPH PRINTED AT TALLER 75 GRADOS (MEXICO CITY)

The print features Luis (Tego), a young Chicano bicycle enthusiast proudly resting on his beautiful blue and chrome, three-wheel custom lowrider bike in the midst of Lincoln Park, an urban jungle playground of grass and freeway concrete pillars adorned with colorful art murals with Mexican American themes. The area has become a center of the celebration of Chicano culture, art, and heritage with its Chicanothemed murals and events like the annual Lincoln Park Day featuring lowrider cars and bicycles, art, music, dance, and attire. It is El Paso’s flavor of San Diego’s famous Chicano Park.

Lincoln Center and Park are located under several feeder arteries in the I-10/54 “Spaghetti Bowl” freeway exchange area historically known as Concordia and Saipan. Lincoln Center, the last remaining structure from El Paso’s past, was a training camp for Buffalo Soldiers (1860’s) and the first non-segregated school, admitting MexicanAmerican and Black students (1915). The summer when I took the photograph of Luis, the issue of Lincoln Center’s future had reached a fevered pitch involving Texas Department of Transportation, El Paso City Council, multiple car clubs, and several grassroots neighborhood groups like Save Lincoln Center and Lincoln Park Conservation Committee.

El Paso is my home base to wander the US/Mexico border. My street photography art tends to focus on visually documenting the things – dimples and blemishes – that make life along “la frontera” so colorful and unique. The debate on the future of Lincoln Center is still ongoing.

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Esta ilustracion habla acerca del espacio fronterizo entre Estados Unidos y Mexico.

El ave encadenada representa el corte de la libertad natural, por las reglas y diviciones que el hombre crea en el mundo. En este caso el muro que nos divide.

Tambien los personajes pequeños representan el control que hay en la frontera y la decision de quien cruza y quien no.

Nació en Cd. Juárez Chihuahua, Artista Urbano, Muralista, Serigrafista. Parte del Colectivo Rezizte desde el 2003, sus trabajos se inclinan a lo urbano y resaltar la vida fronteriza, ha tenido la oportunidad de exponer sus trabajos en diferentes partes de la República, ha realizado murales tanto en galerías, museos y en las calles.

También ha impartido talleres en diferentes colonias conflictivas de Cd. Juárez.

HI-FRUCTOSE MAGAZINE HIFRUCTOSE.COM ISSUE: VOLUME 39

FUSION MAGAZINE THEFUSIONMAG.COM ISSUE: #88, PAGES 16 AND 17

GONZALO ESPINOSA XXX XXX XXX XXX

BUSINESS CARDS

ARTURO NEGRETE, OVERSEEING GONZALO ESPINOSA'S PRINT AT TALLER 75 GRADOS

promotion and media 108

MEXICO

EL PASO

PATZCUARO EXHIBITION SEPTEMBER - OCTOBER 2015 DESERTTRIANGLE.BLOGSPOT.COM/2015/09/PATZCUARO.HTML

OAXACA POP-UP EXHIBITION NOVEMBER 1, 2015 DESERTTRIANGLE.BLOGSPOT.COM/2015/11/OAXACA-POP-UP.HTML

TRIFOLD BROCHURE FROM THE EL PASO MUSEUM OF ART WWW.ELPASOARTMUSEUM.ORG

FROM RIGHT TO LEFT: MARINA MONSISVAIS INTERVIEWED DR PATRICK SHAW CABLE (SENIOR CURATOR AT THE EL PASO MUSEUM OF ART), MANUEL GUERRA (ART LECTURER AT UTEP) AND KRRRL (NOT PICTURED) ON KTEP RADIO, EL PASO KTEP.ORG/POST/STATE-ARTS-DESERT-TRIANGLE-PRINT-CARPETA

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EL PASO SCENE

WWW.EPSCENE.COM

FEBRUARY ISSUE

TUCSON

THE DESERT TRIANGLE PRINT CARPETA WAS MENTIONED ON KXCI RADIO IN TUCSON, AS UNDERWRITERS, FROM FEBRUARY 5TH TO 9TH, 2016 KXCI.ORG

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ZOCALO MAGAZINE WWW.ZOCALOMAGAZINE.COM ISSUE 71, PAGE 12

DIGITAL BANNERS AT LOFT CINEMA LOFTCINEMA.COM

EXHIBITIONS Pátzcuaro

El Centro Cultural Antiguo Colegio Jesuita SEPTEMBER 18 – OCTOBER 18, 2015

the first 18 prints

WWW.EXCOLEGIOJESUITA.MX/HOME.PHP Enseñanza esq. Alcantarilla s/n Colonia Centro Pátzcuaro, Michoacán México C.P. 61600

MARTÍN QUINTANILLA BROUGHT THE PRINTS TO PÁTZCUARO

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Mexico City OCTOBER 30, 2015

Taller 75 Grados

The Desert Triangle was part of the 32nd Anniversary of Taller 75 Grados exhibition

75GRADOS.BLOGSPOT.COM Francisco Álvarez de Icaza #15-B Cuauhtémoc, Obrera Ciudad de México, D.F., México C.P. 06800

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TOP RIGHT PHOTO:

HUMBERTO VALDEZ, ARTURO NEGRETE, KRRRL

ARTIST JOSÉ QUINTERO (MIDDLE) DESIGNED THE 32ND ANNIVERSARY POSTER

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El Rincón de Sabina Oaxaca Oaxaca — pop-up

WWW.FACEBOOK.COM/PROCESSEDICIONES 5 de Mayo #204, Centro, Oaxaca, Oaxaca México C.P. 68000

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NOVEMBER 1, 2015

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LEFT TO RIGHT:

POSTER ARTIST ALEX ARIZMENDI, ARTURO NEGRETE, UNKNOWN, GALLERY OWNER JAVIER RAMÍREZ "CHA!", UNKNOWN

Gurú Galería Mexico City

NOVEMBER 14–27, 2015

The Desert Triangle was part of the Taller 75 Grados Anniversary Exposition

WWW.GURUGALLERYSHOP.COM Londres 37, Juárez Ciudad de México, D.F., México C.P. 06700

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WWW.ELPASOARTMUSEUM.ORG One Arts Festival Plaza El Paso, TX 79901 (915) 212-0300

El Paso Museum of Art

J A N U A R Y 3 1 – MA Y 2 2 2016 ( R E C E P T I O N A P R IL 14 ) 124

ALL IMAGES ARE FROM OPENING DAY; BOTTOM HALF OF PAGE, LEFT TO RIGHT: TINO ORTEGA; RICARDO HERRERA (KUKUI); VICTOR MUHEDDINE

¡VIVA XEROCRAFT!

Tucson

Contreras Gallery

FEBRUARY 6 – 27, 2016 DAVID OLSEN BUYS THE FIRST PRINT, BY RUDY FLORES, FROM MICHAEL CONTRERAS

WWW.CONTRERASHOUSEFINEART.COM 110 E 6th St. Tucson, Arizona 85705 (520) 398-6557

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kaleidoscope CLOCKWISE FROM TOP LEFT:

EDWIN STEWART MAY BE SYNESTHETIC (EL PASO); CONNOR FURR AND MARCUS ROBIASON DELIVER A BABY PRESS (TUCSON); CYNTHIA EVANS GIVES A PRINT DEMO AT JVB'S (EL PASO); DROOPY CONTRERAS LIVE PRINTING AT RAICES TALLER (TUCSON)

ABOVE: YAYBIG SOUTHWEST PRINT SHOW - CHALK THE BLOCK 2013.

BELOW: WE WERE INSPIRED BY THE "ESTAMPAS DE LA RAZA: CONTEMPORARY PRINTS FROM THE ROMO COLLECTION" AT THE VINCENT PRICE ART MUSEUM IN LOS ANGELES, 2015.

print momentum 128

THIS PAGE TOP LEFT:

YAYBIG VS. HORNED TOAD PRINT EXCHANGES EXHIBITION AT CHALK THE BLOCK 2014 (EL PASO)

THIS PAGE BOTTOM RIGHT:

PRINT SALON AT THE SCULPTURE RESOURCE CENTER 2012 (TUCSON) THIS PAGE CLOCKWISE FROM TOP:

ROGO PRINTING AT THE MAKETOPOLIS 2014 (TUCSON); FIRST PRINT SHOW, ACE BARBERSHOP 2012 (ALBUQUERQUE); MAINTAIN AT CHALK THE BLOCK 2012 (EL PASO)

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THIS PAGE, TOP TO BOTTOM:

MUJERES GRABANDO RESISTENCIAS (MUGRE) (MEXICO CITY); NANI CHACON PAINTING AT DESERT NEON MUSIC FESTIVAL 2015 (EL PASO) OPPOSITE PAGE, RIGHT COLUMN FROM TOP TO BOTTOM:

ESPACIO ZAPATA, PRINTMAKING STUDIO (OAXACA); CARTEL COFFEE LAB DOWNTOWN (TUCSON), 2015; TALLER-GALERIA SIQUEIROS, PRINTMAKING STUDIO (OAXACA)

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A) ZEKE PEÑA PAINTING AT DESERT NEON MUSIC FESTIVAL 2015 (EL PASO) B) LIQEN MURAL ON THE WALL OF MUSEO DEL JUGUETE ANTIGUO MEXICANO (MUJAM) (MEXICO CITY) C) JELLYFISH COLECTIVO D) TAD LAMB FRAMES OUR PRINTS AT SARNOFFS (TUCSON) E) CHUY MEEDINA, MANUEL TAPIA, ARTURO NEGRETE, KRRRL, FEDERICO VILLALBA, AND GOSKE ROJO (OAXACA) (PHOTO CREDIT ALONSO CARBAJAL)

A

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D

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M B

LERY RY GAL M P OR A E T N O O ÁREZ C ALK Z ND PIL THE JU EZ COLORW JUÁRE RCH A RAL AT RIA IN ÁR U E U D M) YO M J A H E N H IS A T F P Y E L IN L H L E T A N) J MUR AL AT LYFISH EZIZTE MUR O ) JE L IVO R T C E L P) CO

A

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D A) KABRITO (OAXACA) B) ZAMER PRINT SHOW AT "LA OTRA" PULQUERIA 2015 (XALAPA) C) ABRAHAM TORRES (OAXACA) D) YOUNG PRINTMAKERS CREATED THEIR CARPETA AT THE TALLER DE ARTES PLÁSTICAS RUFINO TAMAYO (OAXACA) E) EXHIBITION OF LEOPOLDO MÉNDEZ 2015 (MEXICO CITY)

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artist roster

ARTISTS

PAGES

Acevedo, Pável Alvarado, Jesus "Cimi"

17, 78 35, 94

Bardey, Chris

36, 95

Cárdenas, Cristina Chacon, Nanibah “Nani” Christian, Mark Contreras, Michael

18, 79 31, 91 19, 80 20, 81

Delgado, Francisco

37, 96

Espinosa, Gonzalo

21, 82

Flores, Rudy

22, 83

Guerra, Manuel

38, 97

Jellyfish Colectivo

39, 98

Krrrl

32, 92

Los Dos

40, 99

Marshall, Joe Monarrez, Raul Morales, Henry Moran, Lauren Moreno, Ruben Urrea Muheddine, Victor

23, 84 41, 100 33, 93 24, 85 25, 86 42, 101

Ortega, Albert "Tino"

43, 102

Peña, Zeke Poe, Matthew

44, 103 45, 104

Quintanilla, Martín

26, 87

Razo, Tim Rich, Tanya Rogo

46, 105 27, 88 28, 89

Villalba, Federico

47, 106

Wells, Mykl

29, 90

Yorch

48, 107

GRATITUDE

RAMON CARDENAS RECEIVES HIS CARPETA AT PROPER PRINTSHOP

Ren Adams, Adrián Aguirre, Carlos Alejandro Evaristo, Per Anderson, Gustavo Arriaga, Nick Beauregard, Hector Becerra, Eduardo Bouché, Patrick Shaw Cable, Atenas Campbell, Robert Castañeda, Jonathan “JJ” Childress, Deborah & Jim Cool-Flowers, Arturo Negrete Cuéllar, David Negrete Cuéllar, Stuart Einhorn, Eleanor Erskine, Cynthia Evans, Steve Eye, Jeik Catlin Ficker, David Figueroa, Ben Fyffe, Christian Gerstheimer, Carlos Gomez, Regina Held, Mari Hernandez, Alan Hodson, Miguel Ibarra, Eric Koenig, Tad Lamb, Bulmara Cruz Lopez, Isiah Marines, Chuy Meedina, Dwight Metzger, Javier Ramirez “Cha!”, Nidia Rosales Moreno, Russell Riekeman, Beatriz Rivas, Nadia Sánchez, Juan Sandoval, Henry Sarnoff, James Schaub, Anthony Siddons, Cedric Simbi, David Sokolec, Keith Allyn Spencer, Laura Turon, Pamela Wesolek, Ruth and William Whitaker

THIS PAGE, CLOCKWISE FROM TOP RIGHT:

RAUL URIAS; COLECTIVO REZIZTE MURAL ON THE BANKS OF THE RIO GRANDE (JUÁREZ/EL PASO); CUAUHTEMOC KAMFFER; TEGO; JASON LUCERO

THANK YOU TO MARI HERNANDEZ FOR HER HELP

ZEKE PEÑA SIGNS HIS PRINTS AT RAMON AND CHRISTIAN CARDENAS' HOUSE

thanks 140

Brave! Brave! Brave! Brave! Brave!

Let's Party!

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— AUDRIE

PRINT CARPETA